PERFORMANCE NOTES
Reading the Performance Sheets
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bank |
|
|
A |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
||
|
|
Voice number |
|
|
|
|
|
|
Category |
|
|
Voice name |
|
Scene variations |
|
|
||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
||||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
No. A01(01) |
|
|
|
|
|
|
|
|
|
|
|
|
|||||||
|
|
|
|
|
Voice Name |
SPad: |
SpacePorta |
|
|
|
|
|
|
|
|
|
||||||||
Element |
|
|
|
|
|
|
|
|
EL1: |
SpacePorta |
EL2: |
- |
|
|
|
|
|
|
|
|||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
||||||||||
|
|
|
|
|
|
|
|
EL3: |
- |
|
|
|
EL4: |
- |
|
|
|
|
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Long-release pad sound with portamento |
|
|
|
|
|
|
|
|
||||||||||
Initial scene |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
||||||
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
|
1 Indistinct (dull) |
2 Normal |
|
3 Modulated |
|
|
|||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
|
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|||
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
|
|
- |
- |
|
Vibrato Depth |
|
|
|
|
|
|
|||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Brilliance |
- |
|
|
- |
- |
|
Controls brilliance |
|
|
|
|
|
|
|||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
HarmPosit |
- |
|
|
- |
- |
|
Depress to reduce harmonics |
|
|
|
|
|
||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
HarmVol |
- |
|
|
- |
- |
|
Controls the sound clarity |
|
|
|
|
|
|
|||||
Variations |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
|
- |
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
||
|
|
|
Param6 (MBy) |
- |
|
- |
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|||||
produced by |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
||
|
|
|
Param7 (CS1) |
Emerge |
- |
|
|
- |
- |
|
Raise to convert sound into noise |
|
|
|
|
|
||||||||
|
|
|
|
|
|
|
|
|
|
|
||||||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
||||||||||||
controllers |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
Resonance |
- |
|
|
- |
- |
|
Resonance |
|
|
|
|
|
|
|||||||
|
|
|
|
|
Param9 (BC) |
- |
|
- |
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
|
|
- |
- |
|
Stress |
|
|
|
|
|
|
|||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
- |
|
- |
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
|
- |
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
|
- |
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|||
|
|
|
|
|
Sustain Enable |
OFF |
- |
|
|
- |
- |
|
|
|
|
|
|
|
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
ON |
- |
|
|
- |
- |
|
|
|
|
|
|
|
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
|
- |
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
|
|
- |
- |
|
|
|
|
|
|
|
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
EffectType |
Reverb Hall |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Useful for synth rubato and intro, or as normal background pad.
Use MW2 and CS2 in combination to obtain extreme analog-type synthetic nuance.
FC1 provides an interesting, extremely distinctive effect: depressing the controller eliminates the lower ranges.
Lifting the CS1 controller converts the sound into noise.
Use the scene controller to simultaneously modulate all control parameters.
If portamento is too strong, adjust Quick Edit POR TIME.
Performance
Hints
Voice number 01
Function Map
|
PLAY |
|
PLAY MODE |
EXIT |
Notes Close |
F1 |
Information Display |
F2 |
Controller Value View |
F3 |
Keyboard Transmit Channel |
F4 |
Controller Assign Table |
F5 |
Scene |
F6 |
Voice Setup |
F7 |
Output |
F8 |
Voice Directory |
STORE |
Store |
COMPARE |
Compare |
|
SYSTEM |
|
SYSTEM MODE |
F1 |
TG Settings |
F2 |
Kbd Settings |
F3 |
MIDI Settings |
F4 |
Assignable Controllers |
F5 |
Greeting Message |
F6 |
Miscellaneous Settings |
|
DISK |
|
DISK MODE |
F1 |
Load All Data |
F2 |
Load 1 Bank |
F3 |
Load 1 Voice |
F4 |
Save All Data |
F5 |
Rename |
F6 |
Format |
|
F1 Control Range |
|
|
|
|
|
|
|
|
|
Element Switch |
|
|
|
|
|
|
|
Max Note |
|
|
|
Receive Channel |
|
|
|
Key Assign Mode |
|
|
|
Volume |
|
|
|
Detune |
|
|
|
Note Shift |
|
|
|
Pan Range |
A |
|
Note Limit |
|
/ |
|
|
BMicro Tuning Portamento Mode
Portamento Resolution PB Range
PB Curve
Zoned After Touch Mode Zoned After Touch Split Sustain
F1 Element Copy
Mixer
F8 Effect
F8 F8 Equalizer
A
No. A01(01)
|
Voice Name |
SPad: |
SpacePorta |
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
SpacePorta |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Long-release pad sound with portamento |
|
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Indistinct (dull) |
2 Normal |
3 Modulated |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
- |
- |
Vibrato Depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Brilliance |
- |
- |
- |
Controls brilliance |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
HarmPosit |
- |
- |
- |
Depress to reduce harmonics |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
HarmVol |
- |
- |
- |
Controls the sound clarity |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
Emerge |
- |
- |
- |
Raise to convert sound into noise |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
Resonance |
- |
- |
- |
Resonance |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
ON |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
EffectType |
Reverb Hall |
|
|
|
|
|
|
|
Useful for synth rubato and intro, or as normal background pad.
Use MW2 and CS2 in combination to obtain extreme analog-type synthetic nuance.
FC1 provides an interesting, extremely distinctive effect: depressing the controller eliminates the lower ranges. Lifting the CS1 controller converts the sound into noise.
Use the scene controller to simultaneously modulate all control parameters.
If portamento is too strong, adjust Quick Edit POR TIME.
Performance
Hints
01
A
No. A02(02)
|
Voice Name |
MSFx: WaterBell |
|
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
WaterBell |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Use controllers to select water, crystal, or bell sound. |
|
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Water sound |
2 Pitched water sound |
3 Crystal bell sound |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
Stiffness |
- |
- |
- |
Bell sound |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Mellow |
- |
- |
- |
Overall clarity |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
FluidSpeed |
- |
- |
- |
Modulation speed |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
Emerge |
- |
- |
- |
Harmonic level |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
Resonance |
- |
- |
- |
Metallic quality |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
Thickness |
- |
- |
- |
Metallic quality |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
PitchDown |
- |
- |
- |
Pitch-down |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
EffectType |
Reverb Hall |
|
|
|
|
|
|
|
At initial selection, this voice produces a background sound of flowing water. Flow speed is extremely slow with FC1 in full-up position, but increases as FC1 is depressed.
Pressing FC2 adds harmonics; when FC2 is in full-up position, sound is completely metallic and virtually pitchless.
|
The MB controller alters the resonance within the metallic range. |
|
As you continue to adjust controllers, you may lose track of the initial sound. To restore sound, return the Scene |
Performance |
Controller to Position 2. (If the Scene Controller is already at Position 2, move it slightly off the position, |
Hints |
then return it.) |
|
This voice offers a wide variety of differing sounds. Practice using the controllers to get the sounds you like. |
02
A
No. A03(03)
|
Voice Name |
MSFx: StrSqueak |
|
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
StrSqueak |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Squeaking string effect |
|
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Muted |
2 Normal |
3 Vibrato |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
FluidVol |
- |
- |
- |
Water sound |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
StrMute |
- |
- |
- |
String mute |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
Squeak |
- |
- |
- |
String stroke position |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
SqueakSpd |
- |
- |
- |
Speed of stroke-position change |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
|
At initial selection, this voice produces attack/decay qualities characteristic of flanger application. As you hold the key down, a synth string sound gradually comes up. The voice is highly distinctive; it will not appeal to everyone, and is probably not suitable for ensemble play. But you can remove the flanging effect and produce a normal string sound by increasing the Quick Edit Attack/Decay speed.
The voice includes a background sound of running water, but you can eliminate this effect completely by shifting MW2 all the way down.
Performance
Hints
03
A
No. A04(04)
|
Voice Name |
OEns: OrcheStr |
|
|
|||
|
|
|
|
|
|
|
|
|
|
EL1: |
RoughStr' |
|
EL2: |
Low Bowed |
|
|
|
EL3: |
High Bowed |
|
EL4: |
KitBowed' |
|
|
|
|
|
|
|
|
|
|
Comment |
Strings ensemble sound |
|
|
|
||
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Ensemble with high and low solos 2 Ensemble with high solo 3 Solo |
||
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Tremolo |
Tremolo |
Tremolo |
Tremolo |
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
- |
Volume |
- |
- |
Volume of low solo |
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
- |
- |
Volume |
- |
Volume of high solo |
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
Volume |
- |
- |
- |
Volume of ensemble strings |
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
- |
- |
- |
Volume |
Solo volume |
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress1 |
Stress |
Stress |
Stress |
Stress |
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
- |
VibDepth |
VibDepth |
VibDepth |
Solo vibrato depth |
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
Stress2 |
Strs&VibSp |
Strs&VibSp |
Strs&VibSp |
Solo vibrato speed, volume |
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
OFF |
OFF |
OFF |
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
OFF |
OFF |
ON |
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
11 |
MONO |
MONO |
3 |
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
Equal_(off) |
Equal_(off) |
Equal_(off) |
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
This voice produces the sound of a large string ensemble combined with distinct solo voices. If you feel that the default attack setting is too slow for rapid passages, increase the Quick Edit ATTACK speed.
Use the foot controllers to change the solo/low-range balance. Aftertouch adds vibrato to the solo.
Performance
Hints
04
A
No. A05(05)
|
Voice Name |
Chor: |
VowBra |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
VowBra |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Brassy sound; sound of human voice as replayed at high-speed. |
|
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Vibrato |
2 Normal |
3 Dual |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Chorus |
- |
- |
- |
Dual |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
AtkPitch |
- |
- |
- |
Attack-pitch instability level |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
Wah |
- |
- |
- |
Wah-Wah |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
|
At low velocities, this voice may sound either human or brassy. At higher velocities, it sounds like a clavinet.
Be sure to try out the aftertouch wow effect.
If you increase the Quick Edit Attack/Decay speed, the voice will produce a more conventional synth solo sound.
Performance
Hints
05
A
No. A06(06)
|
Voice Name |
SCmp: NoisyKing |
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
EL1: |
VowBra |
|
EL2: |
- |
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Pitched attack noise |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Faint pitch |
2 Normal |
3 Modulation, distortion |
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
- |
- |
Vibrato Depth |
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
HarmPosit |
- |
- |
- |
Combines with CS1 to produce extreme pitch changes |
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
Emerge |
- |
- |
- |
Reduces pitch quality, converting sound into noise |
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
Resonance1 |
- |
- |
- |
Resonance |
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
HarmVol |
- |
- |
- |
Changes overall harmonics |
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
Resonance2 |
- |
- |
- |
Resonance |
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Highly unusual voice, with distinctive balance between low-range noise and pitched sound. |
|
|||||
|
|
FC1 controls the balance. |
|
|
|
|
||
|
|
FC2 and CS2 both control resonance, but their effects are slightly different. |
|
|||||
|
|
Operation of MW2 has little effect until you raise CS1. When CS1 is raised, MW2 will produce violent ringing |
||||||
|
|
modulation. |
|
|
|
|
|
|
|
Performance |
|
|
|
|
|
|
|
|
Hints |
Skillful handling of velocity and controllers will allow you to produce extremely interesting low-range percussive |
||||||
|
|
sequences. If you are using a sequencer, try recording the notes first, then mixing in the controller signals |
||||||
|
|
in real time. |
|
|
|
|
|
|
|
|
Note that this voice's pitch quality begins to degrade as you move into the higher ranges. |
|
|||||
|
|
|
|
|
|
|
|
|
06
A
No. A07(07)
|
Voice Name |
SCmp: Fantasy |
|
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
Crystal |
|
EL2: |
Crystal |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Sparkling synth decay sound |
|
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
1 |
|
1 Variation 1 |
2 Variation 2 |
3 Variation 3 |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
VibDepth |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
MetalTone |
MetalTone |
- |
- |
Increases metallic tone component |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
Stiffness |
Stiffness |
- |
- |
Adds distinctive harmonics |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
Stress |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
OFF |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
OFF |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
8 |
8 |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
Equal_(off) |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
|
Decay sound with high-quality metallic harmonics; can be used as synth bell or as chord backing.
Controller effects are relatively mild, making the voice ideal for typical performances. Use the scene controller to produce appropriate variations.
To filter out all components other than the attack sound, shift the following Quick Edit sliders all the way down: EG ATTACK, DECAY, SUSTN, and RELSE. Then try the MW2 slider for some interesting effects.
Performance
Hints
07
A
No. A08(08)
|
Voice Name |
SCmp: Sweepy |
|
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
Sweepy |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Bell sound with aftertouch effect |
|
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
3 |
|
1 Decay |
2 Decay + pad |
3 Decay + sweep |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
NzVol |
- |
- |
- |
Noise highlight |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
CompVol |
- |
- |
- |
Volume of decay sound |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
NzVol |
- |
- |
- |
Volume of noise component |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
NzStress |
- |
- |
- |
Noise emphasis |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
|
At initial selection, this voice produces a soft attack followed by metallic harmonics. (If velocity is very low, you will not hear the harmonics.)
You can use aftertouch to achieve a strong padding image.
|
For best results, play arpeggios with your right hand while holding down chords (for aftertouch effect) with your left |
|
hand. |
Performance |
Use CS1 and CS2 to alter the balance of the decay and sustain components. |
Hints |
Once you have moved either one of these controllers, sound will be cut off if you then move both controllers |
|
to the full down position. |
|
Aftertouch and MW2 affect the sustain component only. |
08
A
No. A09(09)
|
Voice Name |
MKey: HarpBell |
|
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
HarpBell |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Harp timbre with bell-like metallic component mixed in |
|
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Bell attack |
2 Normal |
3 Short decay |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Stiffness1 |
- |
- |
- |
Harmonics of attack component |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
StrMute |
- |
- |
- |
Decay |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
HarmVol |
- |
- |
- |
Decay (Clearer than FC1) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
Stiffness2 |
- |
- |
- |
Overall harmonics |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
HarmPosit |
- |
- |
- |
Harmonics of attack component |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
|
When first selected, this voice produces a pleasant decay sound, with a bell sound in the high range and a plucked sound in the low range.
If you move MW2 all the way down, the metallic overtones change into the overtones produced by tapped glass, while the plucked component becomes thinner.
Use CS1 and CS2 to emphasize and control the plucking sound.
Experiment with MW2, CS1, and CS2 to produce a wide range of sound variation.
Performance
Hints |
You can use FC1 to cut the peak harmonics. Depress FC2 to reduce the decay and release times for a |
|
more percussive sound. |
09
A
No. A10(10)
|
Voice Name |
EGtr: |
HyperDrive |
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
HyperDrive |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Lead-guitar effect with extreme sound changes |
|
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Eerie |
2 Normal |
3 Feedback |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Drive |
- |
- |
- |
Drive |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
ScreamWah |
- |
- |
- |
Wow effect with harmonics change |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
AtkSpd |
- |
- |
- |
Attack speed |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
DirtyMod |
- |
- |
- |
Adds rapid pitch modulation for muddier sound |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
ON |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
MONO |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Stereo Echo |
|
|
|
|
|
|
|
At initial selection, this voice produces the sound of a distortion guitar lead. Use the pitch wheel to get a choking or tremolo arm effect: moving the wheel all the way raises pitch only two steps, while moving it all the way down drops the pitch by one octave.
Moving MW2 below middle position produces the sound of scraping guitar strings, with various harmonics.
But if you move MW2 all the way down, only the attack component will remain.
Performance Try working with aftertouch and the FC1 wow effect to achieve some strange, drastic sounds. Hints
This voice is initially set for monophonic, but feel free to reset it for polyphonic.
10
A
No. A11(11)
|
Voice Name |
AGtr: |
SteelSpeak |
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
Guitaristk |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Steel guitar sound |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
1 |
|
1 Normal |
2 Thin string |
3 Overtone |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
HarmVol |
- |
- |
- |
Harmonics |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Str Mute1 |
- |
- |
- |
Adds steeliness |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
BodyTone1 |
- |
- |
- |
Adds body resonance |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
Str Mute2 |
- |
- |
- |
Brightness |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
Pan1 |
- |
- |
- |
Pan (for some components) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
Pan2 |
- |
- |
- |
Pan (for remaining components) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
NzVol |
- |
- |
- |
Noise quality |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
BodyTone2 |
- |
- |
- |
Fine tuning of body resonance |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
VibDepth |
- |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb White Room |
|
|
|
|
|
|
This voice produces the sound of a plucked acoustic steel guitar. You can use the controller to add various other components. Controllers will not produce drastic sound changes.
This voice differs from most in that MW1 regulates harmonics rather than vibrato depth.
In this voice, vibrato can only be applied by aftertouch.
Body resonance has a significant affect on the overall sound, so be sure to practice with the Performance FC1 and CS2 controllers. The scene controller can be also be quite effective for broad sound changes. Hints
This is essentially a guitar-like voice, but you can make it percussive by lifting MW1 all the way up and lowering MW2 all the way down.
11
A
No. A12(12)
|
Voice Name |
Bass: |
FeedBackB |
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
EL1: |
FeedBack1 |
|
EL2: |
- |
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Chopper bass sound, useful for feedback or percussion effect |
|
|
||||
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
1 |
|
1 Bass |
2 Feedback and harmonics 3 Bell |
||
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Feedback |
- |
- |
- |
Feedback |
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
AtkTone |
- |
- |
- |
Low-range quality |
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
Stiffness |
- |
- |
- |
Bell sound |
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Thickness |
- |
- |
- |
Sound, volume; feedback harmonics |
||
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
This voice initially sounds like a normal electric bass. Try lifting the MW2 controller to sustain the harmonics for an interesting avant-garde quality. The pitch of the harmonics changes drastically in response to velocity, offering some peculiar possibilities.
When playing this voice as a normal bass, you can use FC1 to bring out the lower-range harmonics for a heavier sound.
Performance
Hints
12
A
No. A13(13)
|
Voice Name |
Eth : |
Oriental |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
AsianPc |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Bell sound with free decay |
|
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Attenuating strings |
2 Normal |
3 Vibrato |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
VibDepth |
- |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
Stiffness |
- |
- |
- |
String stiffness (thickness) = harmonic discord |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
StrMute |
- |
- |
- |
String mute |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
RelseVol |
- |
- |
- |
Reverberation |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
|
At initial selection, this voice produces an attractive decay sound with free metallic overtones.
Pressing FC2 all the way down (if it is already fully depressed, raise it a little and then press it down again) shortens the decay time, producing a clearer attack. If you fully depress FC1 while FC2 is also down, you eliminate the discordant metallic overtone, obtaining a koto-like sound.
Applying aftertouch will bring up a sustained modulated tone. The tone comes up very slowly it will take at least three or four seconds to arise.
Performance
Hints
13
A
|
No. |
A14(14) |
|
|
|
|
|
|
|
Voice Name |
CPrc: |
Clox |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
Clikbel |
|
EL2: |
- |
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Backup sound: a multitude of analog clocks |
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Added winding noise 2 Clock shop |
3 Large old clocks |
||
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
NzVol1 |
- |
- |
- |
Winding noise |
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Tone |
- |
- |
- |
Bell tone |
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
Thinness |
- |
- |
- |
Thinness |
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
Formant |
- |
- |
- |
Formant |
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
Buzzmetal |
- |
- |
- |
Buzzing |
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
NzVol2 |
- |
- |
- |
Noise change (fine) |
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Chorus |
|
|
|
|
|
|
At initial selection, this voice produces a pleasant bell sound with rapid decay. Raise MW1 to add a winding noise. Playing the appropriate sequence with the right hand while raising MW1 will produce a vivid impression of clocks.
MW2 changes the attack harmonics, while FC1 adjusts the overall harmonics. Use these controllers to produce different "clock sizes."
CS2 introduces a buzzing noise, and can be used in combination with CS1 to produce interesting Performance harmonic changes.
Hints
14
A
No. A15(15)
|
Voice Name |
Perc: |
TalkDrum |
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
TalkDrum |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Percussive sound with interesting controller-induced variations |
|
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Pitched decay |
2 Drum |
3 Pitched percussion |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
Brilliance |
- |
- |
- |
Addition, variation of noise |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Stiffness |
- |
- |
- |
Harmonics change |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
AtkTone1 |
- |
- |
- |
Sound change (Most effective with MW2 at Max) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
AtkTone2 |
- |
- |
- |
Sound change (Most effective with MW2 at Max) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
Tone |
- |
- |
- |
Tone brightness |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
HarmVol |
- |
- |
- |
Lift to produce velocity-driven pitch change |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
||
|
Param10(VEL) |
HarmP/Mute |
- |
- |
- |
Volume control.Combine with CS2 to control pitch.High velocity produces mute sound. |
|||
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Room 1 |
|
|
|
|
|
|
This voice becomes interesting as you master the use of the controllers.
The pitch wheel is particularly important: adjust the wheel during play to produce the nuance of a "tabla" or "talking drum."
MW1 adds a rough, frictional pink-noise reverb effect.
FC1 and FC2 produce muted pitch changes, different from the effects you get with the pitch wheel. Performance CS2 also produces pitch changes, based on velocity.
Hints
Bringing MW2 all the way down removes all inharmonic overtones, allowing you to use the lower ranges for bass effects. But note that other controllers continue to remain effective.
If you are using a sequencer, try playing a simple phrase first, then merging in the controller signals later.
15
A
No. A16(16)
|
Voice Name |
SSFx: Harmagedon |
|
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
Harmagedon |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Eerie, scary sound effect |
|
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Turbulent rumbling |
2 Knocking sound (left) |
3 Modulating sound (right) |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
MadMachine |
- |
- |
- |
Volume of right-side modulation sound |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Mute/Wah |
- |
- |
- |
Overall brightness |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
Tone1 |
- |
- |
- |
Quality change in punch and modulation sounds |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
Tone2 |
- |
- |
- |
Quality change in punch and modulation sounds |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
Wildness |
- |
- |
- |
Wild changes in punching and modulation sounds |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
|
A thunderous storm, with someone (or something) rapping on the door.
Depress the sustain pedal to make the sound even scarier.
Use MW2, FC1, and FC2 to vary the character of the rapping sound making it heavier, shriller, more violent. Slowly raise MW1 to bring in some hysteric overtones. When MW1 reaches full-up position, the sound becomes one of dreadful chaos. Now try striking violently at random keys for some additional panic.
Performance (Safety tip: Avoid extended use of this voice while listening through headphones.)
Hints
16
B
No. B01(17)
|
Voice Name |
Bowd: Viologue |
|
|
|
|
|||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
Bowed |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Bowed-string sound |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
2 |
|
1 Tremolo |
2 Normal |
3 Unstable |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Tremolo |
- |
- |
- |
Tremolo depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
Tone-Deaf |
- |
- |
- |
Random-attack pitch. Raise to increase randomness. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress |
- |
- |
- |
Stress |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
VibDepth |
- |
- |
- |
Vibrato depth |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
Strs&VibSp |
- |
- |
- |
Volume, vibrato speed |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
ON |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
|
This voice produces a bowed-string lead.
If the initial attack setting seems too slow, increase the Quick Edit ATTACK speed.
Try varying MW2 (tremolo), aftertouch vibrato, and volume.
For a strange, scary effect, try raising the Quick Edit POR TIME control to full-up position.
Phrasing will become unclear, but the sound will be eerie and full of tension.
Performance
Hints
01
B
|
No. |
B02(18) |
|
|
|
|
|
|
|
|
Voice Name |
OEns: Jody |
|
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
|
EL1: |
Jody |
|
EL2: |
- |
|
|
|
|
|
EL3: |
- |
|
EL4: |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Comment |
Dynamic mix of noise and strings |
|
|
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
Notes |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Scene (Foot) |
Initial Scene No. = |
3 |
|
1 Noise |
2 Chorus |
3 Strings |
||
|
|
|
|
|
|
|
|
|
|
|
|
Element1 |
Element2 |
Element3 |
Element4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param1 (MW1) |
FluidVol |
- |
- |
- |
Volume of modulating sound; range and speed of modulation |
|||
|
|
|
|
|
|
|
|
|
|
|
Param2 (MW2) |
Stiffness |
- |
- |
- |
Chorus effect |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param3 (FC1) |
StrMute |
- |
- |
- |
Noise component (Overall brightness) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param4 (FC2) |
Emerge |
- |
- |
- |
Resonance level |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param5 (MBx) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param6 (MBy) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param7 (CS1) |
HarmVol |
- |
- |
- |
Octave up (if CS2 is at MIN position) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param8 (CS2) |
HarmPosit |
- |
- |
- |
Sliding CS2 while CS1 is "on" will produce an interesting effect |
|||
|
|
|
|
|
|
|
|
|
|
|
Param9 (BC) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param10(VEL) |
Stress2 |
- |
- |
- |
Volume |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param11(AT) |
Stress1 |
- |
- |
- |
Volume |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param12(PB) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Param13(TEG) |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sustain Enable |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Portamento |
OFF |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Max Notes |
16 |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Microtuning |
Equal_(off) |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Effect Type |
Reverb Hall |
|
|
|
|
|
|
|
At initial selection, this voice produces the sound of a string ensemble. But lifting MW2 changes the overall harmonics completely, producing a square-wave timbre with a formant feel.
Depressing FC2 to full-down position removes all pitch quality, creating a white-noise effect.
Try bringing in the pitch gradually for an interesting lead-in highlighting the unusual capabilities of the VP1.
Note that once you depress FC1, bring it back up will close the low-pass filter, blocking out almost Performance all sound.
Hints
Moving CS1 into full-up position renders MW2 completely ineffective while increasing the flanger effect of CS2.
02