Alesis Fusion Reference Manual

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Fusion

Reference Manual

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Table Of Contents

Introduction ........................................................5

Welcome! .......................................................................... 5

Unpacking and Inspection .......................................... 6

How to Use This Manual .............................................. 6

Main Features................................................................. 7

The Fusion’s Synthesis Engine.............................................................8

Eight Channel Hard Disk Recorder ....................................................10

Sampling Capability................................................................................10

Chapter 1: Fusion Hardware ...........................11

Center Section.........................................................................................11

Performance Panel Description ...........................................................12

Audio Hookup Diagram: ......................................................................14

MIDI Hookup: .......................................................................................17

Computer/USB Hookup: .....................................................................18

Powering the Fusion ..............................................................................19

Factory Reset...........................................................................................20

Chapter 2: Fusion Basics ..................................21

Fusion 101: The Basics.................................................. 21

What is a Program? ................................................................................21

What is a Mix?.........................................................................................21

What is a Song?.......................................................................................21

What is a Sampler? .................................................................................21

Fusion Architecture................................................................................22

Getting Around on the Fusion .................................... 23

The Mode Buttons .................................................................................23

Navigating The Fusion’s Menus...........................................................25

Useful Navigation Shortcuts.................................................................28

Storing Your Work ......................................................... 31

Storing Programs, Mixes, Songs, and Multisamples..........................31

The Clipboard .........................................................................................34

Connecting to a Computer via USB....................................................36

Chapter 3: Fusion Modes ..................................37

Program Mode ................................................................ 37

Setting Overall Program Parameters ...................................................37

Synthesis Type: Sample Playback.........................................................45

Synthesis Type: Drum............................................................................52

Synthesis Type: Analog..........................................................................63

Synthesis Type: FM ................................................................................70

Synthesis Type: Reed Model .................................................................77

Synthesis Type: Wind Model ................................................................81

Program Utility Page..............................................................................85

Filters........................................................................................................87

Envelopes ................................................................................................89

Low Frequency Oscillators (LFOs).....................................................95

Mix Mode.......................................................................... 99

Setting Overall Mix Parameters............................................................100

Setting Individual Part Parameters.......................................................103

Mix Utility Page ......................................................................................113

Table Of Contents

Song Mode ....................................................................... 115

Setting Overall Song Parameters..........................................................116

Setting Track Parameters.......................................................................123

Editing Song Tracks...............................................................................135

Track Editing Filters ..............................................................................145

Processing Synth and Audio Tracks ....................................................147

Song Utility Page ....................................................................................167

Sampler Mode ................................................................. 171

Setting Overall Sample Settings............................................................172

Setting Individual Zone Settings..........................................................173

Capturing Samples..................................................................................179

Editing and Processing Samples ..........................................................186

Sampler Utility Page...............................................................................189

Mixer Mode...................................................................... 190

Mixer Mode .............................................................................................190

Using the Mixer ......................................................................................190

Global Mode .................................................................... 193

Global Workstation Settings .................................................................193

Global MIDI Settings ............................................................................196

Global Controller Settings: ...................................................................198

Metronome Settings...............................................................................200

Multitrack Audio Input Settings...........................................................202

Other Global Settings (USB & User Interface).................................203

The Item Explorer .................................................................................204

The Media Explorer:..............................................................................208

Operating System Information ............................................................209

Upgrading your Operating System ......................................................210

System CPU Usage.................................................................................211

Setting the Date and Time ....................................................................212

Chapter 4: Common Features..........................213

The Arpeggiator ............................................................. 213

Configuring Your Arpeggiation Patterns............................................215

Recording Arpeggiation Patterns .........................................................227

Processing Your Recorded Arpeggiations..........................................230

Editing your Arpeggiation Patterns.....................................................232

The Modulation Matrix ................................................ 236

Creating and Deleting Modulation Routes.........................................237

Editing Your Modulation Routes.........................................................239

Effects............................................................................... 249

Master EQ ...............................................................................................249

Insert Effects...........................................................................................252

Bus Effects ..............................................................................................255

Creating and Deleting Effects Modulation Routes...........................259

Editing Your Effects Modulation Routes...........................................260

Output Block Diagram..........................................................................262

Table Of Contents

Appendix A: Effects and Implementation ....263

Master EQ Effects Parameters.............................................................263

Insert Effects Parameters......................................................................264

Bus Effects Parameters..........................................................................273

MIDI Implementation Chart (Synthesizer)........................................283

MIDI Implementation Chart (Sequencer)..........................................284

Appendix B: Frequently Asked Questions....285

Appendix C: Troubleshooting..........................287

Index......................................................................289

Specifications ......................................................291

Sound Engine..........................................................................................291

Sampling Inputs......................................................................................291

Multitrack Inputs ....................................................................................291

Audio Output..........................................................................................292

Physical.....................................................................................................292

Legal Information: .................................................................................293

Table Of Contents

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Introduction

Welcome!

Thanks for purchasing the Fusion digital audio workstation! The Fusion one of the most powerful and full-featured products we’ve ever built, and we’re sure you’ll love using it!

You could say Alesis knows a few things about synthesis. We have a 15year long track record of creating some of the most powerful and wellregarded keyboards in the world. We’ve used everything we learned in the past while keeping our eyes open to future possibilities in order to make the Fusion the best workstation you’ve ever used. We hope the Fusion will be remembered as the next great Alesis keyboard.

Be sure to register your Fusion at our website (www.alesis.com) so we can give you the best possible service. And since the Fusion’s operating system is upgradeable, check the site once in a while for late breaking news. Future versions of the operating system will include things like new features requested by our users as well as improvements to existing features. Also, you might want to check for new program banks and sounds every once in a while.

We hope your investment will bring you many years of creative enjoyment and help you achieve your musical goals.

Sincerely, The People of Alesis

Introduction

Unpacking and Inspection

The shipping carton for your Fusion should contain the following items:

• A Fusion 6HD or 8HD workstation

• AC power cable

• This Reference manual

• A Quickstart guide

• Important Safety and Warranty Information

• A registration reminder card

Please log on to the Alesis website at www.alesis.com to register your new Fusion synthesizer. This will help us give you the best support we possibly can.

How to Use This Manual

We’re sure you’d like to jump in and start using your Fusion quickly. To help you do this, check out the Fusion’s Quickstart guide. The Quickstart guide is a separate manual that should have everything you need to start playing quickly.

Once you’re ready for more in-depth information, this reference manual is for you. This manual will describe the workings of every single feature and parameter on the Fusion and you should be able to find answers to all of your Fusion questions here.

We’ve also compiled a list of Frequently Asked Questions at the end of this manual that should address many of your troubleshooting questions. Please check the FAQ before contacting our technical support staff as that will save time and energy for both you and our friendly support staff.

Helpful tips and advice are highlighted in a

haded box like this.

When something important appears in the manual, an exclamation mark (like the one shown at left) will appear with some explanatory text.

Introduction

Main Features

Your Fusion workstation is packed with features to help you make better music. Let’s take a quick look at these features and get a sense of why each feature is important.

Total Integration

The Fusion has one of the biggest feature lists of any workstation on the market today. That said, the beautiful thing about this workstation is not its sheer number of features, but rather the perfect integration of these features with each other. All the different parts (synthesizers, hard disk recorder, sampler, arranger, mixer, etc.) talk to each other intelligently so that you can focus on writing songs rather than troubleshooting why one part won’t work well with another.

For example, you can use Song mode to arrange and record digital audio and MIDI seamlessly on the same screen. You don’t need to worry about getting a separate MIDI arranger and hard disk recorder to work together since we’ve taken care of that for you. Once you’re done arranging, each of your synth and audio tracks automatically appear on your mixer for quick and intuitive mixing just like on a hardware mixer. Again, everything is automatically and intuitively laid out in a way that makes sense to musicians. Even loading, saving, and organizing your songs and programs (which can often turn into a troubleshooting headache) has been made completely seamless—you can load programs from either the hard disk or compact flash memory without ever having to worry about what’s going on “under the hood” of the workstation (if you don’t want to, that is).

Intuitive Interface

We’ve analyzed how musicians commonly work and figured out ways of streamlining the songwriting process. For example, we’ve minimized keypresses and placed shortcuts and quick access buttons right where most musicians will want them.

The user interface was carefully designed for both novice keyboard players and hardcore synth enthusiasts alike. We did this through a two level interface design: On the top level, novice users can find what they need quickly without ever having to see (or deal with) the more complex inner workings of the keyboard. On the other hand, knob twiddlers can go digging inside the Fusion’s deeper menus and program to their hearts’ content. Regardless of the type of user you are, you’ll find the interface to be clean and intuitive.

Introduction

The Fusion’s Synthesis Engine

Your Fusion is capable of four completely different types of synthesis: Sample Playback, Virtual Analog, FM, and Physical Modeling. Our brand new “Dynamic DSP Synthesis” engine lets you load up any combination of synthesis types you’d like to use. There are no artificial limits placed on synthesis or polyphony—you’re free to configure and push your Fusion as far as the synth engine can handle (which is pretty far considering there are eight processors inside).

Sample Playback

Sample playback synthesis lets you use recorded sounds of actual instruments (or any recorded sound, for that matter) to create a program. For example, the Fusion’s “Grand Piano” program is actually a carefully recorded concert grand. In general, sample playback synthesis is a great way of reproducing lifelike versions of real, acoustic instruments.

Virtual Analog (VA) Synthesis

Analog synthesis lets you create wonderfully complex sounds using a small number of simple waveforms, envelopes, and low frequency oscillators.

What does all this mean in musical terms? It means you can create the deep basses, lush pads, and many other sounds analog synthesizers are known for without the difficulty and expense of real-analog synthesis.

FM Synthesis

FM synthesis was created in the 1970s and became an overnight sensation because of its ability to produce electronic piano, bell, and melodic percussion sounds such as vibes and marimba. These sounds are created by taking sound sources and modulating their frequencies.

Programming FM synthesizers used to be a challenge because it can be hard to conceptualize and visualize how your waveforms are interacting with each other. We carefully designed the Fusion’s graphical FM signal router to let you know what’s going on without overwhelming you with too much information, making it easy to sculpt the perfect sound you want. All of the detailed information can be found on separate sub-pages within the FM Synthesis section.

Introduction

Physical Modeling

Physical modeling is a state-of-the-art process that mathematically describes how a sound wave would behave if it were Inside a real instrument. This results in incredibly lifelike virtual instruments that you can play on the Fusion. The cool thing is that you can actually create virtual instruments that do not (or cannot) exist in real life by simply setting your parameters accordingly. For example, you can create a 30-foot long flute played with a hurricane-strength breath if you’d like—the sky is the limit!

Physical models involve a lot of math and model parameters are often very complex and difficult to understand. We took a great deal of care in designing an interface that musicians can relate to—enabling you to tweak your sounds in real-time without complex math or confusing parameters. Currently, the Fusion has two physical models letting you create the most realistic (or unreal, if that’s what you’re into) wind and reed instruments ever to come out of a synthesizer.

Introduction

Eight Channel Hard Disk Recorder

Most keyboard players that record songs end up taking their synthesizer parts and recording them on to a separate multitrack recorder along with other live instruments (drums, guitar, etc.) Having built some legendary multitrack recorders in the past including the ADAT and the HD24, we integrated an 8-channel, 24-bit hard disk recorder in the Fusion.

There are several advantages to having an integrated multitrack recorder over a separate keyboard and multitrack. First, you have much less gear to buy, carry around, and maintain—with the Fusion, you can do all your recording and mixing in one box making it much easier to record on the road. Second, since the synthesizers, sequencer, and multitrack recorder are built to work together from the ground up, you won’t spend any time troubleshooting why things aren’t working correctly. Finally, since you’re arranging and editing all of your MIDI and audio on one screen, you’ll find it much easier and faster to compose and record songs.

The inputs record at 24 bit, 44.1 kHz and can be active at the same time, letting you record up to eight channels simultaneously. All inputs are balanced and the recorder has standard transport controls with locate points.

Sampling Capability

If you want to create a custom program using your own sounds, you can do it with the Fusion’s sampler. The sampler has stereo inputs with a Trim knob for adjusting levels. Your recorded samples can be either mono or stereo, and are recorded and stored files on either the Fusion’s internal hard disk or Compact Flash cards.

Chapter 1: Fusion Hardware

Center Section

1. Mode Selection Buttons (Mix, Program, Song, Sampler, Mixer and Global): These buttons select the main modes of the Fusion.

2. Soft Buttons (No Labels on the front panel): These buttons match up with the LCD screen labels and let you navigate the user interface.

3. Contrast Control: This knob adjusts the contrast of the LCD screen.

4. Category and Bank Buttons (Category, Bank forward and reverse):

The category button brings up the category function on the LCD screen. The Bank forward and reverse buttons allow you to quickly move through sound banks.

5. Quick Access Buttons (A-P , 1-8): These buttons allow you to directly select a Bank and a specific Program in a Bank.

6. Transport Controls (Locate, Set Locate, Rewind, Fast Forward, Stop, Play and Record): These buttons are used to play songs, set and select Locate points in a song, as well as other control functions in other Modes.

7. Control Wheel and Edit Buttons (Edit, Prev, Next, Inc, Dec, Store and Undo): The Control Wheel is used for quickly moving through values on the screen when the cursor is highlighting a parameter. The Edit button allows you to look “under the hood” of the mode that is currently selected. The undo button allows you to revert to previous settings of parameters in case you change your mind about an edit you’ve made. The Store button allows you to name and save your work. The Prev and Next buttons let you to navigate the parameters on the pages. Finally, the Inc and Dec buttons let you step through the values of a highlighted parameter.

8. LCD (Liquid Crystal Display): This screen is used to view parameters and information in relationship to the mode you have selected.

Chapter 1: Fusion Hardware

Performance Panel Description

The Fusion’s Performance Panel has several real-time controllers (wheels, knobs, buttons, and switches) that you can assign to perform a variety of tasks. These controllers let you tweak sounds in real-time as you play for maximum expression and sonic control.

The Performance Panel’s components consist of the following:

1. PITCH BEND WHEEL: This wheel lets you raise or lower the pitch of your program during a performance. Push this wheel forward to raise the pitch and pull it back toward you to lower the pitch. The wheel is spring loaded and will snap back to normal once you let go.

You can change the pitch bend range on a per-program basis in the Program/Pitch page under the Program menu. See “Pitch Bend Range” parameter on page 41 for more about this.

2. MODULATION WHEEL: The mod wheel can be assigned to control a variety of parameters including vibrato, tremolo, FM amount, etc. This wheel is usually mapped to vibrato as a default, but it is possible to map it to almost anything on the Fusion.

Use the modulation matrix to map the mod wheel. See page 236 for more about the modulation matrix.

3. PERFORMANCE GRID: The Performance Grid lets you assign what your four Control Knobs do (see section 6 for more on the Control Knobs). By having four “rows,” of functions, the knobs can actually control up to 16 different parameters. You can easily tell what row is selected because the active row is brightly lit whereas the other rows remain dimmed. The ARP, FILTER, EQ, and ASSIGN buttons (see below) are used to select your active row.

Chapter 1: Fusion Hardware

4. ARP, FILTER, EQ, ASSIGN: These buttons select the active row on the performance panel. ARP, FILTER, and EQ are hard-wired to arpeggiator, filter, and EQ functions whereas the assign row lets you map the Control Knobs to any parameters of your choosing. You’ll notice the names of the knobs on the bottom of the LCD screen change to reflect what row you’ve selected. For example, if you select “EQ,” the bottom of the screen will change to Low, Low-Mid, High-Mid, and High.

The Assign row knobs can be assigned through the Modulation Matrix. See page 236 for more about the modulation matrix.

5. CONTROL KNOBS: These knobs can be used to manipulate all kinds of parameters within the Fusion like filter frequencies, resonance, modulation, or even tempo. The Performance Grid (see section #3 above) tells you what your knobs are currently assigned to control. When you then turn a knob, you’ll notice the on-screen knob (at the top level of Program, Mix, and Song Modes) will change accordingly.

These knobs work in real-time so you can hear the effects of your knob twiddling as you play.

6. ARP On/Off, S1, S2: The ARP On/Off (Arpeggiator) button engages and disengages the Fusion’s arpeggiator. The S1 and S2 buttons are assignable ON/OFF switches that can be set to affect all kinds of functions within the Fusion such as filters or effects sends. Switch assignments can be made through the modulation matrix. See page 236 for more about the matrix. See page 213 for more about the Arpeggiator.

7. TRIGGER 1 – 4: These four assignable buttons can trigger envelopes, LFOs, and many other functions. Unlike the S1 and S2 switches described above, these trigger buttons are only active when you are holding them down—once you release the triggers they become inactive. Use the Modulation Matrix to assign these buttons (see page 236 for more).

8. MASTER VOLUME: This is the Fusion’s master volume control.

Chapter 1: Fusion Hardware

Audio Hookup Diagram:

This diagram will show you how you can hook up your Fusion to the rest of your studio. Let’s go through and discuss the inputs and outputs. We’ll start from the left side of the diagram above and work our way to the right:

Sampling inputs: These inputs—labeled “Left/Mono” and “Right”— feed the Fusion’s internal sampler. You can use these inputs to capture sounds to convert into a custom program. The workstation lets you sample in stereo or mono, and the Gain trim knob lets you to set input level.

Note that you can use these inputs to route a microphone (or other external device) through the Fusion’s synthesis or effects engines. This effectively turns the Fusion into an extremely powerful effects processor.

Headphone outputs: Connect your headphones to this output. This output mirrors whatever is coming out of the Main Outputs of the Fusion. In other words, if you’ve routed any sounds out of the Aux Outputs, you will not hear them in the headphones.

About the Inputs and Outputs:

All audio inputs and outputs use balanced ¼” TRS connectors. You can use unbalanced ¼” TS cables for these connections, but you should consider using balanced cabling for maximum clarity and lowest noise. This is especially important if you have long cables in your studio since audio quality quickly degrades as unbalanced cabling increases in length.

Chapter 1: Fusion Hardware

Main Outputs: These are the Fusion’s primary outputs. By default, all multitrack and synthesizer audio is routed to these outputs and you’ll generally connect these outputs to your amplifier (or mixer).

Aux Outputs: These are a second pair of outputs to which you can route multitrack and synthesizer audio if you’d like to process these tracks differently.

S/PDIF Output: This output is designed to transfer sounds digitally to other gear in your studio that supports S/PDIF. This output mirrors whatever is being sent out of the main outs on the synth.

Optical Output: This optical digital output is supports 8-channel ADAT format. The output will be as follows:

ADAT Channel

1 2 3 4 5 6 7 8

Foot Pedals: These three inputs allow you to control a variety of functions. EXPRESSION is the Fusion’s continuous controller expression pedal input and can be assigned to control things like volume.

The FOOTSWITCH input is configurable and lets you trigger envelopes, LFOs, and other events with your foot. It is similar to the trigger buttons found on the Performance Panel. Unlike the EXPRESSION input, the FOOTSWITCH is binary and is either “on” or “off ” with no range of control in between.

The SUSTAIN input is for a sustain pedal and is commonly used by keyboard instruments to hold notes. Like the FOOTSWITCH, the SUSTAIN pedal input is either “on” or “off” and there is no middle ground.

Output

Main Out Left Main Out Right Aux Out Left Aux Out Right Insert 1 Send Left Insert 2 Send Left Insert 3 Send Left Insert 4 Send Left

Why have two sets of outputs?

Let’s say you’ve set up a bass/lead split but you want to EQ and process each part differently using outboard gear. No problem—just route the bass to one output (either Main or Aux Out) and the lead to the other. Now you have two totally separate instruments coming out of each output.

If your programs are mono, you actually have four discrete channels to work with (Main Left, Main Right, Aux Left, and Aux Right), giving you even more flexibility for outboard processing/mixing.

A note on S/PDIF cabling

The S/PDIF jack on the back of the Fusion looks like a standard RCA connector, but you cannot use ordinary audio cables for this connection. S/PDIF requires special 75-ohm “digital audio” cables to work properly and will most likely result in very loud white noise if you use the wrong type of cables. If you’re hearing clicks, pops, or white noise when using S/PDIF, your cable is the likely culprit.

Chapter 1: Fusion Hardware

Multitrack Inputs: These eight inputs link directly to the Fusion’s hard disk recorder. You can use these inputs to record things like live instruments (guitars, bass, drums, etc.) as well as mixers, CD players, turntables, and more. Note that you need to plug in a line level signal into these inputs and many instruments (condenser microphones, guitars, turntables, etc.) will require a preamplifier to bring the signal up to line level before you can record into the Fusion.

The inputs can be switched between -10 and +4 dB to accommodate all kinds of gear ranging from “consumer” to “professional” grade (see page 202 for more on this). The internal recorder captures audio at a sampling rate of 44.1k with 24-bit audio fidelity letting you make extremely high quality recordings without any additional gear.

Chapter 1: Fusion Hardware

MIDI Hookup:

This diagram shows common ways of hooking up your Fusion to other gear in your studio through MIDI.

MIDI IN: Hook up the MIDI output of your external gear to the “MIDI In” of the Fusion when you want the Fusion to receive MIDI data from the outside world. There are two common scenarios in which you’ll want this:

1. You may want to use another keyboard to control the Fusion. This is commonly done by synth players on stage if they want to use one “master” keyboard to control all other keyboards.

2. You may want to arrange a song on a computer MIDI sequencer, and then use the sequencer to play back sounds from the Fusion.

MIDI OUT: If you want to use your Fusion to control other synthesizers or to send MIDI data to a MIDI sequencing program on a computer, you should connect this output to the input of your MIDI destination device (sound modules, other keyboards, external sequencer, etc).

MIDI THRU: All MIDI data that comes in on the “MIDI IN” connection is passed through the Fusion and sent out of the “MIDI THRU” jack completely unaffected. This is a useful feature for people using multiple keyboards (or MIDI modules) along with a “Master” MIDI controller because it lets you pass MIDI data to all of your synths.

Chapter 1: Fusion Hardware

Computer/USB Hookup:

USB: Connect your Fusion to a Mac or PC for easy file transfers. The Fusion supports USB 2.0 and is fully backwards-compatible with USB

1.1/1.0, but we highly recommend using 2.0 since audio files tend to be quite large and transfers will be slower on USB 1.1/1.0 connections.

The Fusion is designed to work with any computer that supports “USB Mass Storage” devices using the FAT32 formatting standard. Current versions of virtually all common operating systems support these features.

For more about memory, storage, and file management, see the section titled “Storing Your Work” starting on page 37.

Chapter 1: Fusion Hardware

Powering the Fusion

Before connecting the power cable, make sure the Fusion’s power switch is turned off. There is no need to worry about whether you are using 110V or 220V since the Fusion has an internal switching power supply that automatically adjusts itself to the correct power setting anywhere in the world.

1. Plug the female end of the power cable into the Fusion’s power socket.

2. Plug the male (plug) end into a properly grounded power outlet.

Do not power-cycle the Fusion repeatedly! Doing so may damage to the workstation. Repeated power-cycling puts the sensitive internal electronics (particularly the hard drive, memory, and processors) under undue stress and may shorten the lifespan of these components. Under normal use, these components will provide many years of trouble-free performance.

Treat the Fusion just like a computer: If you need to reboot, wait about 10 seconds before restarting the machine. This will give the capacitors inside the unit time to discharge and for memory to clear.

Chapter 1: Fusion Hardware

Factory Reset

The Fusion has a “factory reset” option that will reset your global parameters to their initial factory settings. This has been included as a last resort option in case you have accidentally changed a global setting and need to return the workstation back to normal quickly.

Resetting your Fusion is easy: Hold down both the Play and Record buttons as you turn on your Fusion and wait for the unit to finish loading. Once the Program screen is displayed, factory defaults have been loaded, and your Fusion is ready to go.

Note that doing this does not change any of your programmed sounds, songs, samples, or arpeggiations. Factory Reset only affects parameters found in Global mode.

Chapter 2: Fusion Basics

Fusion 101: The Basics

If you’re new to workstations and aren’t sure about what everything does (or why it is important), this section is for you. Let’s take a moment to explain all the basics that you’ll need to know:

What is a Program?

The sounds in your Fusion are called “Programs.” Programs contain all the samples, routings, settings, and other programming required to create the sound. For example, our “Grand Piano” sound contains all the individual samples, loop points, filter parameters, and other settings that make up the piano.

What is a Mix?

A “Mix” is simply a collection of programs. Each mix can contain up to 16 programs and those programs can be layered, split, or set up in a number of ways to help you get the sound you’re looking for. Being able to load up and arrange multiple programs in different ways opens up a world of musical possibilities—The following “Fusion Architecture” will explain your options in detail.

What is a Song?

A “Song” is a complete arrangement (including both synthesizer and digital audio parts) that is created using the Fusion’s MIDI sequencer and multitrack digital audio recorder. A song can have up to 32 synthesizer tracks as well as 8 tracks of digital audio. This means you can compose, record, edit, and mix an entire song all within the Fusion.

What is a Sampler?

A “Sampler” is a recording device that lets you capture a sound (called a “sample”) that you can then playback and manipulate in a number of different ways. The Fusion’s built-in sampler allows you to record your own instruments, loops, and other sounds that you can turn into your own custom programs. This means you are not limited to the world-class set of programs that ship with the Fusion and that you are free to create your very own programs.

Why not just call them “Instruments?”

You may be wondering why we don’t just call them “instruments.” We do this to avoid confusion. The word “instrument” is ambiguous and could potentially be confused with other things (such as the Fusion’s actual hardware, or the source of a sample rather than the result of putting together a set of samples to form a program). On the other hand, “Program” has a specific definition that can’t be confused.

Chapter 2: Fusion Basics

Fusion Architecture

The Fusion is packed with a ton of features and it can be easy to be overwhelmed by it all. Let’s take a moment to explain how all the different parts interact with one another.

Take a look at the diagram above. The arrows show you how audio, MIDI, and control data flows from one section of the Fusion to another. If you ever find yourself being confused by how signals are routed, refer back to this diagram to help sort things out.

On the left column, you’ll notice the different modes of the Fusion. These modes are listed in the same order as they appear on the left of the Fusion’s LCD screen.

Chapter 2: Fusion Basics

Getting Around on the Fusion

The Mode Buttons

The Fusion has six modes: Mix, Program, Song, Sampler, Mixer, and Global. Each mode is specialized to handle specific tasks, which are covered below.

Note that Mix, Program, Song, and Sampler modes have parameters that you can edit. To go “under the hood” of these modes, press the EDIT button located on the upper left of the data wheel. To return to the “top” just press that mode button again.

Program Mode

This mode is where you’ll probably spend most of your time. In Program Mode, you can load and play one instrument at a time and explore the thousands of sounds that can be found on the Fusion. Say you just want to play a Grand Piano—just enter Program mode, call up the type of piano you want, and go!

The Category button to the right of the display will take you to a special “Librarian” mode that will help you track down specific programs quickly.

Finally, when you’re ready to create your own programs, you can do that in Program mode as well.

Mix Mode

Mix Mode is the Fusion’s “multitimbral” mode. This means you can have multiple programs loaded and playing at the same time. In general you’ll use Mix mode in one of three ways:

1. Layering sounds. Sometimes you’ll want to layer two sounds on top of each other so that you can hear both when you play. A common example of this is to have a piano plus strings playing at the same time.

2. Splits. Sometimes you’ll want to split the keyboard so you can play one program with your left hand and another program with your right. For example, keyboard players sometimes like to play a bass part with the left hand and a synth lead on the right. Mix mode is the easiest way to set this up.

3. External Sequencing. If you’re using an external sequencer and want to use the Fusion as a sound module, you can load up to 16 programs and assign each program to a different channel that you can then control with an external sequencer.

Chapter 2: Fusion Basics

Song Mode

Song mode takes you to the audio and MIDI sequencer found within the Fusion. You can arrange, edit, and record your compositions using this mode. Song mode controls both your MIDI sequencer as well as your hard disk recorder and provides up to 32 MIDI tracks and 8 audio tracks for each song.

Sampler Mode

When you’re ready to create your very own sample-playback programs, Sampler mode is where you’ll need to go. All sampling and waveform editing takes place here. Press Edit when you’re in Sampler mode and you’ll see all the editing and mapping capabilities of the Fusion on the Multi, Zone, Sample, Process, and Utility tabs along the left side of the display.

Once you’re done with your samples, you can create a custom program (using Program mode) and then load and play it just like any other program on the Fusion.

Mixer Mode

Mixer Mode has been created so you can conveniently mix your synthesizer and audio tracks together on one screen. The mixer lets you set levels and pan positions for each synth and audio track as well as set send levels and enable or solo tracks just like on a hardware mixer.

Note that the mixer is only accessible when you are in Mix and Song modes since these are the only modes in which you can have multiple programs or audio tracks to mix together. Program or Sampler modes only play one instrument at a time and don’t require a Mixer (since you have nothing to mix)

Global Mode

Global mode lets you set parameters that affect all areas of the Fusion. For example, things like master tuning, and keyboard velocity scaling can be found here.

The SETTINGS tab lets you modify various keyboard, MIDI, and controller related settings, while the MEDIA tab lets you access the hard drive, and Compact Flash card. The SYSTEM tab lets you view and update the current system information.

Chapter 2: Fusion Basics

Navigating The Fusion’s Menus

All navigation on the Fusion takes place using the Center Panel. Let’s break down navigation section-by-section:

1. MODE SELECT BUTTONS: These buttons let you switch into the Mix, Program, Song, Sampler, Mixer, or Global modes.

If you’ve pressed the EDIT button and you’re editing parameters deep within the Fusion, you can return to the “Top Level” of the mode by pressing the mode button again.

2. CONTROL WHEEL & SURROUNDING BUTTONS: The Fusion’s control wheel lets you cycle through sounds and parameters quickly. Turning it clockwise is the same as pushing the “Inc” (or Increment) button in rapid succession whereas turning it counter-clockwise is the same as pushing the “Dec” (or Decrement) button.

Generally, you’ll use this wheel to control large parameter changes (such as going from 0% to 100%) whereas you’ll will use the Inc/Dec buttons for fine tuning (for example, going from 10%-12%).

3. The EDIT, UNDO, STORE, PREV, NEXT, DEC, and INC buttons that surround the Control Wheel have the following functions:

• EDIT: This button takes you “under the hood” of Mix, Program, Song, and Sampler modes—letting you adjust or fine-tune the mode’s various parameters.

• UNDO: This button allows you to undo recent actions in case you change your mind about something you’ve edited. You have 100 levels of undo available for most functions.

• STORE: This button allows you to save any edits you’ve made to your program, mix or song.

• PREV, NEXT: The Previous and Next buttons allow you to select the different editable parameters on each page.

• DEC, INC: The Decrement and Increment buttons allow you to alter the values of selected parameters.

Undoing Your Actions:

The UNDO button will light when it is possible to undo an action.

Saving Your Work:

Remember to save your work before you change a program, song, or mix. If you change a program, mix, or song without first saving, you’ll lose any modifications you’ve made.

The “ screen indicates that something has been edited in your program, mix, or song since the last time you saved. If these changes are important, you should save your work before switching to another program, mix, or song.

Returning to Default Settings:

Pressing both INC and DEC buttons at the same time will return whatever parameter you are editing to its “default” state. This is useful in cases where you are tweaking a parameter and decide you’d like to jump back to the default state.

” icon on the upper right of the

Chapter 2: Fusion Basics

4. SOFT BUTTONS: The 12 unlabeled buttons along the sides

of the display and allow you to access different parts of the user-interface. The buttons on the left of the display are “menu” buttons that let you access different tabs within each mode. The buttons to the right of the display bring up different pages and overlays (i.e., prompts, sub-menus, etc.) within each tab.

Whenever you have opened an overlay or a prompt, you’ll need to exit that prompt by pressing the “OK,” “Cancel,” or “Exit” button before you can edit any further parameters.

Finally, if you ever get lost navigating through the Fusion’s menus, you can re-press the current menu button (on the left side of the display) to take you back to the initial page of that menu.

5. CATEGORY and BANK: The CATEGORY button accesses the Fusion’s “sound librarian.” The sound librarian allows you to view your programs (or mixes if you are in MIX mode) sorted by category. For example, when you’re in PROGRAM mode, the Category button brings up a screen that lists programs contained within each category. This makes it easier to find a particular program you’re looking for.

The BANK buttons allow you to cycle through the different banks of programs and mixes that are stored on the Fusion.

6. QUICK ACCESS BUTTONS: The Fusion provides twentyfour QUICK ACCESS buttons for easy access to sounds, editable parameters, and other things. The top sixteen of these buttons are labeled A through P whereas the remaining eight buttons (bottom row) are numbered. This gives you access to the first 128 sounds that can be stored in a bank (since 16 * 8 = 128). Once you’re familiar with sounds you like on the Fusion, you can call them up directly from Program mode using these shortcut keys. For example, you can access the Grand Piano (program A-1) by pressing “A” and “1.”

The 1-8 QUICK ACCESS buttons can be set up to serve other useful functions such as quickly enabling/disabling oscillators as you are editing and designing sounds in Program mode. These additional functions will be covered in future sections of this manual as they come up.

About the Soft Buttons:

You may have noticed that some soft buttons have a small dot located in the lower left corner while other buttons have a triangle.

The dot indicates that an action will be performed as soon as you press the button. These buttons are known as “action buttons.”

The buttons with the triangle in the corner are known as “overlay” buttons and open up a new menu page. This page is known as an “overlay” because it appears on top of your current page and must be closed before you can return to your menu. Overlay pages are closed by pressing soft buttons entitled “OK,” “Cancel,” or “Exit.”

Chapter 2: Fusion Basics

7. TRANSPORT CONTROLS: These seven buttons control the Fusion’s integrated MIDI sequencer/multitrack audio recorder. The SET LOC button sets a locator point in the song that you can jump to using the LOCATE button. The remaining buttons control the recorder’s various Record and transport functions just like on a regular tape machine (or computer-based sequencer).

Like the 1-8 QUICK ACCESS BUTTONS, the LOCATE button serves a variety of purposes depending on what menu you are in and should help make your life easier (such as setting key ranges, or locating key zones, etc.) These shortcuts and additional functions will be covered in future chapters as they come up.

Chapter 2: Fusion Basics

Useful Navigation Shortcuts

The Fusion has a number of shortcut features that are designed to make your life a lot easier. Take a moment to learn these shortcuts now and you’ll save a ton of time in your future sessions with the workstation.

User-Interface (UI) Locates

[Hold SET LOC + 1—8 buttons to set a locate point] [Hold LOCATE + 1—8 buttons to jump to locate point]

UI Locate points allow you to jump to any page on the Fusion with one keypress combination. Many people will find this to be an extremely useful feature since they can set UI Locate points for up to eight of their most commonly used pages and instantly jump to these pages without having to navigate through any menus.

Hold the SET LOC and press any of the 1 through 8 buttons to set a UI locate point. Then, hold LOCATE and press that number again to return to the page you had previously marked.

Locate Points

[Hold SET LOC + A—P buttons to set a locate point] [Hold LOCATE + A—P buttons to jump to the locate point]

Locate points are extremely useful in Song mode because they allow you to mark different parts of a song. You can then return to these marked points instantly with one keypress combination. For example, by marking the beginning of each verse and chorus in your song, you will be able to jump to these points without having to search for these points using the fast forward and rewind transport controls.

To set a location point, hold the SET LOC button and press any of the A through P buttons (each button is a different locate point and you have 16 locate points for each song).

To jump to a locate point you’ve set, hold the LOCATE button and press the A through P button that corresponds to where you want to go.

If you press SET LOC without specifying an A—P button, it will set your locate point to whatever your “Current Loc” parameter is set to on the Song/Song/General page. Similarly, if you press the LOCATE button without pressing one of the A—P buttons, your transport will jump to whatever the “Current Loc” parameter has been set to.

Chapter 2: Fusion Basics

Rewind to Beginning/Fast Forward to End [Press LOCATE + REW to return to the beginning of a song] [Press LOCATE + FFWD to jump to the end of a song]

When working in Song mode, you may want to rewind to the beginning of a song or to fast-forward to the end of the song. To rewind, press LOCATE and REW at the same time. To fast-forward, press LOCATE and FFWD at the same time.

Return to Default Settings

[Hold INC + DEC buttons]

Each parameter has a designated “default” setting. If you’ve changed a parameter and you’d like to return to its “default” settings, press both INC and DEC buttons at the same time.

Setting Parameter Values Quickly

[Hold LOCATE + keyboard note]

A useful shortcut for setting parameter values is to use the LOCATE key and press a note on the keyboard. If you have selected a parameter that accepts either positive or negative values, then middle C corresponds to zero and values become larger (or smaller) as you get farther away from middle C. If the parameter only accepts positive values, then the lowest note on the keyboard selects the lowest value that is available for the parameter.

EDIT/COMPARE Modes

[Press EDIT when you are in EDIT mode]

If you’ve changed any parameters and would like to compare your changes with the original settings in the saved program, mix, song, or sample, press EDIT once and you will be taken into “Compare” mode. Press the EDIT button again to be taken back to your current settings. This button lets you quickly compare your changes to what has been saved.

Note that the text at the top of the screen changes from “Edit” to “Comp” as you jump between edit and compare modes. Also note that you cannot change any of the settings when you are Compare mode—the mode is only provided as a reference.

Finally, once you save your updated parameter settings, you can no longer compare your current program, mix, song, or sample since your current settings have overwritten the old ones.

Chapter 2: Fusion Basics

EDIT/Back

[Press EDIT when you are out of EDIT mode]

If you have been editing a page and jump to another mode (such as Mixer or Global mode), you can immediately return to that page by pressing the EDIT button.

This may be very useful in Song and Mix modes as you may find yourself jumping back and forth between Mixer mode and in-depth pages in your Mix and Song modes. Once you’re done tweaking your mixer, press EDIT and you’ll be taken back to whatever page you came from.

Jump to Item Explorer

[Hold LOCATE and press either INC or DEC] [Hold LOCATE and press either BANK button]

When you’re searching for a particular program, mix, song, sample, or arpeggiation pattern, you may spend quite a bit of time looking for it because the Fusion has a massive internal hard disk drive that can store a lot of data. We’ve made searching much easier by letting you link directly to the Fusion’s “Item Explorer.”

The next time you are searching for something, make sure the cursor is on a bank or item (items include programs, mixes, songs, samples, and arpeggiation patterns) and hold LOCATE and press either INC or DEC. This will take you to the Global/Item menu where you can see all the items within the current bank laid out before you. Once you have found the item you are looking for, press the “Open” button and this item will be loaded into whatever field you came from and you will be returned from the item explorer back to where you came from.

Alternatively, when the cursor is on a bank or item , you can jump to the item explorer by holding the LOCATE button and pressing either BANK button. When you are using this method, the Fusion will take you to the Global/Item menu where all the banks are laid out before you. Select the desired bank and press “Open”, and then select the desired item.

Quick Access Buttons

Whenever you are in Program, Mix, or Sampler modes, you can always select programs, mixes, or multisamples directly by using the A—P and 1—8 buttons. The A—P and 1—8 buttons allow you to load any of the individual items contained within each bank.

Chapter 2: Fusion Basics

Storing Your Work

Before we dive into the inner workings of the Fusion workstation, let’s take a moment to learn how to store your programs, mixes, songs, multisamples, and arpeggiation patterns.

Storing Programs, Mixes, Songs, and Multisamples

Storing your work on the Fusion is easy. Whenever you want to save your work, press the “STORE” button and you’ll be taken to the menu shown below. This menu will let you name and store your work from Program, Mix, Song, and Sampler modes.

[Note: The image above is taken from Program mode but Mix, Song, and Sampler modes look similar and function in the same way.]

Menu: (various modes)/STORE/Store Parameter: Store (parameter; left side of screen) Value Range: (varies depending on mode)

In some cases, you may need to specify exactly what you’d like to store. For example, in Sampler mode you can work on an individual sample or a set of samples that are layered and grouped together (called a “multisample”). You need to specify whether you’d like to save the sample or the multisample using this parameter.

Similarly, if you have been working with arpeggiation patterns in either Program, Mix, or Song modes, you will be able to select between “Current Program” which will save the entire program, or “Arp 1 Pattern” through “Arp 4 Pattern” which will only save the selected arpeggiation pattern. Note that you cannot select arpeggiations 1 through 4 unless you’ve actually loaded or recorded a pattern into your current mix, or song. Also note that Programs can only load one arpeggiation pattern at a time.

If you add or edit samples within a multisample, you must store them before storing your multisample. The same is true for patterns within programs, mixes, and songs.

Chapter 2: Fusion Basics

Menu: (various modes)/STORE/Store Parameter: Bank Value Range: (varies depending on available banks)

Your program, mix, song, or multisample can be stored in any bank available to your Fusion. Select that bank using this parameter.

If none of the existing banks are appropriate for your needs, you can always create a new bank using the “New Bank” button (see below).

Menu: (various modes)/STORE/Store Parameter: # Value Range: A-1 (000) to P-8 (127)

This program lists where your current program, mix, song, or sample will be stored within the bank.

Note that if an existing program, mix, song, or multisample is already occupying that spot in the bank, its name will be listed in quotes to the right of the bank number. If the quotes are empty, it means that this spot in the bank has never been used and that you can store in this location without overwriting anything.

If you decide to store over an existing program, a prompt will appear asking you to confirm that you want to overwrite the existing item with your current item.

Menu: (various modes)/STORE/Store Parameter: Store (action button; right side of screen) Value Range: (none)

This button stores your current program at the location indicated by the “Bank” and “#” parameters.

Menu: (various modes)/STORE/Store Parameter: Rename Value Range: (none)

This button brings up a page allowing you to rename your program. Use the PREV/NEXT buttons to move the cursor back and forth while using the Control Wheel to select your letters and numbers.

Menu: (various modes)/STORE/Store Parameter: New Bank Value Range: (none)

This button brings up a prompt allowing you to select the name and physical location of a new bank. See page 33 for more.

Banks with more than 128 items:

Each bank of the Fusion can contain more than 128 items (i.e., programs, mixes, songs, multisamples, samples, or patterns). However, we do not recommend doing this since you will not be able to access the programs using the Quick Access buttons or “Program Change” messages (via MIDI).

The only way to access such items will be by selecting them using the Control Wheel or the INC/DEC buttons.

Using Keys to Name Programs:

You can use the keys starting from the leftmost note on the workstation to select your letters and numbers. Some users may find this to be faster than using the Control Wheel for selecting characters—especially for longer names.

Press a key once for lowercase and twice for uppercase. Use the PREV/NEXT buttons to move the cursor back and forth.

Chapter 2: Fusion Basics

[Note: The image above is taken from Program mode but Mix, Song, and Sampler modes look similar and function in the same way.]

Menu: (various modes)/STORE/Store/New Bank Parameter: Device Value Range: Hard Drive, CF Media

This parameter lets you select the physical location of your new bank on the Fusion. This parameter will vary depending on whether or not you have inserted a Compact Flash card into the Fusion.

Menu: (various modes)/STORE/Store/New Bank Parameter: New Bank Value Range: (none)

This button creates the new bank on your Fusion.

Menu: (various modes)/STORE/Store/New Bank Parameter: Rename Value Range: (none)

The name of your bank is listed in large letters in the middle of the screen. If you’d like to change the name, press this button. A prompt will appear allowing you to change the name.

Chapter 2: Fusion Basics

The Clipboard

The clipboard of the Fusion is a useful tool for copying and pasting an entire page of parameters. For example, if you want to transfer all of the envelope settings from one program to another, you can do so without having to write down (or remember) all the settings from one program and then manually enter them into another program’s envelope page.

The clipboard can be used to copy settings from the following pages in Program mode: Envelope, LFO, Filter, Bus Effects, Insert Effects, and MasterEQ.

To use the clipboard, simply go to one of the pages listed above and press the “Store.” Then press the “Clipboard” soft button on the upper left. You screen should then look like the following:

Once you press the “Copy” soft button, the contents of the page you just came from will be copied to the clipboard. Your screen will then look something like the following (the “contents” may be different depending on what you copy to the clipboard):

Notice that the “Paste” button has now appeared on screen and that the page you just copied is now listed under the word “Content:”

Chapter 2: Fusion Basics

Now you can freely navigate through the Fusion’s pages. The “Paste” button will appear on the clipboard whenever you access a page to which you can copy the clipboard contents. In other words, if you copied Envelope parameters, every time you access an Envelope page, the “Paste button will become available on this clipboard page.

If the “Paste” button is unavailable, it means you cannot copy the contents of the clipboard to the current page.

Using this functionality, you can save a lot of time and energy when you need to copy things like Envelope, LFO, and other settings to other pages.

Chapter 2: Fusion Basics

Connecting to a Computer via USB

The Fusion’s USB port allows you to connect your Fusion to a computer. This is a very useful feature since it allows you to transfer programs, mixes, songs, samples, multisamples, and arpeggiation patterns to (and from) your computer. Once you have your files on your computer, you can back them up for safe-keeping, give them to friends who own Fusion workstations, or even share your Fusion related files over the Internet.

This opens up a lot of possibilities, but you must be careful not to disrupt existing file references by moving (or deleting) files or folders on the Fusion’s hard disk. In other words, don’t move (or delete) files unless you’re sure that doing so won’t affect your other files!

This sounds complicated, so let’s break it down into a real-world example: Let’s say you move a program to a different folder (using either the Fusion’s own Item Explorer or through the USB connection). The next time you fire up your Fusion and try to load a mix or song that needs the program you just moved, you’ll get an error message telling you that the program can’t be found. You’ll then have the option to tell the Mix or Song where it can find the moved program. Now, if you had deleted that program you’d be in trouble because the song or mix would no longer be able to load the program.

The moral of the story is this: move and delete files carefully and make sure that doing so won’t have unintended consequences!

Moving or Deleting Files:

Be very careful whenever you move or delete any files on your Fusion. If you move (or delete) a file, all other files referencing the moved or deleted item will become invalid and this may turn into an unexpected headache for you.

If you do move files, you’ll need to update all other files that refer to the moved file. If you delete files, make sure they are not referenced by any other files.

Formatting the Hard Disk:

Do not format the Fusion’s internal hard disk via USB. Using USB to format the hard disk may severely degrade audio playback performance.

Instead, use the “Format” function in Global mode (see page 193) since that will ensure that the drive is formatted for optimal audio performance.

Chapter 3: Fusion Modes

This chapter covers all of the Fusion’s modes including Program, Mix, Song, Sampler, Mixer, and Global. Since some features (including Envelopes, LFOs, Filters, Arpeggiations, and Effects) are common to all of these modes, we cover them separately in chapter 4.

Program Mode

This section covers parameters relating specifically to Program mode. This includes everything found on the “Program,” “Synth,” and “Utility” tabs (to the left of the display). See chapter 4 for detailed descriptions about the “Mod,” “Arp,” and “Effects” tabs.

Setting Overall Program Parameters

Menu: Program/Program/General Parameter: Tempo Value Range: 50 – 300 BPM

The tempo that you set here–expressed in Beats Per Minute (BPM)– determines the tempo at which the arpeggiator plays.

You can change this value during a performance by switching to the “Arp” row on the Performance Panel and turning the corresponding knob. If you change programs without saving your program, the tempo value will revert back to the original tempo value so remember to save your program if you want to keep your newly selected tempo.

Menu: Program/Program/General Parameter: Category Value Range: Piano, Chromatic, Organ, Guitar, Bass, Strings,

Ensemble, Brass, Reed, Pipe, Lead, Pad, Synth FX, Ethnic, Drum/Perc, Sound FX, OTHER

Use this option to place the program into one of the seventeen categories listed to the right of the parameter. Once you place the program in a category, it will show up under that category when you are browsing through the Fusion’s programs menu. Note that if you change this parameter, your program will not show up under the new category until you’ve saved your program.

Chapter 3: Fusion Modes

Menu: Program/Program/General Parameter: Alternative Category (Piano, Chromatic, Organ, Guitar,

Bass, Strings, Ensemble, Brass, Reed, Pipe, Lead, Pad, Synth FX, Ethnic, Drum/Perc, Sound FX)

Value Range: On, Off

Sometimes a sound fits into more than one category. For example a sawtooth synth sound might work equally well as a bass or a lead. For that reason, the Fusion allows you to assign a program to Alternate Categories. If you select any of these check boxes, the instrument will appear in multiple places when you’re browsing through your Fusion’s sounds. Like the “Category” parameter, if you check alternative boxes, your program will not show up under the new menus in the category until you’ve saved your program.

Chapter 3: Fusion Modes

Menu: Program/Program/Pitch Parameter: Voice Mode Value Range: Polyphonic, Monophonic

This parameter lets you choose how your program is set up. “Polyphonic” instruments can play many notes at the same time whereas “Monophonic” instruments only play one note at a time. Pianos and organs are examples of polyphonic instruments while flutes and trumpets are examples of monophonic instruments. Fusion programs can either be polyphonic or monophonic.

Menu: Program/Program/Pitch Parameter: Number of Voices (only available if “Voice Mode” is

set to “Polyphonic”)

Value Range: Dynamic, 1 – 16

Unlike most synths which have a fixed number of voices that can play at the same time, the Fusion automatically optimizes itself to squeeze the maximum number of voices out of the synth engine. In other words, the Fusion does not set arbitrary limits on how many voices you can play at the same time and lets you push the processor to its absolute limit.

In general, you should leave this parameter set to Dynamic to allow the workstation to optimize itself. The only case in which you might consider changing this to a fixed limit is if you are creating a multiinstrument Mix and want to limit the voices of one instrument to maximize the voices of another.

Menu: Program/Program/Pitch Parameter: Tuning Type (Not available if your “Synthesis Type” is

set to “Drum”)

Value Range: Equal Tempered, Just Major, Just Minor

Since the Classical era, pianos and other instruments in Western music have been tuned to “Equal Temperament,” in which note pitches are evenly spaced apart from one another.

However, the Fusion’s other tuning types can produce fantastic results and may at times be more suitable for particular types of music. With this option, you can experiment with tuning types beyond the standard Equal Tempered.

There are different tuning types?

Yes! “Equal tempered” tuning is the most common scale used today. Each semitone step in a scale is equally spaced apart so it is easily possible to transpose compositions. For example, you can compose a song and then play it in another key without any problems.

“Just major” and “just minor” ar e tu ned in a way in which there are no beats between whole tones and semitones. A byproduct of this kind of tuning is that the intervals between adjacent notes in the scale vary, and so it is not always possible to transpose your compositions into another key. In other words, if you compose a song in just major or just minor tuning and try playing it in another key, there’s a good chance your song will sound very odd, out-of-tune, and just plain wrong… unless you’re into that sort of thing.

If none of this has made any sense to you, don’t worry. Unless a musical composition specifically calls for a different tuning type, just leave your tuning equal tempered.

Chapter 3: Fusion Modes

Menu: Program/Program/Pitch Parameter: Tuning Root (Not available if “Tuning Type” is set to

“Equal Tempered”)

Value Range: C through B

Sets the “root” note on which the rest of the note tunings are based. For example, if you’re playing a just major (or minor) composition in the key of F, you have to set this value to F for proper tuning.

Equal Tempered tuning does not have a root note because all the notes are equally spaced apart.

Menu: Program/Program/Pitch Parameter: Transpose Value Range: -48 to +48 semitones

Use transposition to reassign the notes that are triggered when you play the keyboard (or access the Fusion via an external MIDI device). For instance, with a “2 semitones” transposition, every time you play a C key, the Fusion will play the D note instead.

You can transpose the Fusion up to four octaves higher or four octaves lower than the default “0”-semitone setting.

Menu: Program/Program/Pitch Parameter: Coarse Tune Value Range: -48 to +48 semitones

Unlike transpose, which reassigns the notes that are triggered when you play the keyboard, Coarse Tune actually pitch-shifts the notes you play. Where transpose generally sounds natural, pitch can create weird and often comical artifacts, especially when you radically pitch-shift samplebased sounds. (If you’ve ever heard The Chipmunks Christmas record, you’ve heard enough pitch shifting to last a lifetime… or two.)

Menu: Program/Program/Pitch Parameter: Fine Tune Value Range: -99 to +99 cents

Fine tune allows you to make small pitch changes. Use this function to tune the program to a slightly flat or sharp ensemble.

If you’re playing a composition in Just Major (or Just Minor) and you’ve set the Tuning Type, but your chords and intervals still sound odd, double check your Tuning Root to make sure it’s set correctly.

Chapter 3: Fusion Modes

Menu: Program/Program/Pitch Parameter: Pitch Bend Range Value Range: 0 – 12 Semitones

Assign the pitch bend wheel’s range here. Values range from 0 (no pitch bend) to 12 semitones.

Menu: Program/Program/Pitch Parameter: Portamento Time Value Range: 0 – 30 Sec

Portamento is when your instrument “glides” between notes (like a cello for example) instead of abruptly jumping between them (like a piano). This value sets the time it takes to glide between one note and another. You can turn this function off by setting its value to 0.

Menu: Program/Program/Pitch Parameter: Scaled Value Range: On, Off

If you check this box, your “Portamento Time” setting (see above) represents the time it takes to glide one octave. If you leave this box unchecked, your “Portamento Time” parameter represents the time it takes to glide from one note to another (regardless of distance between each note).

Menu: Program/Program/Pitch Parameter: Legato Value Range: On, Off

If this parameter is set, portamento only occurs if when you play in legato fashion (i.e., when you play a note before releasing the last note played).

Menu: Program/Program/Pitch Parameter: Continuous Pitch Value Range: On, Off

If this parameter is set to “on,” the portamento pitch starts from where the last portamento stopped. In other words, if you stop your portamento in the middle of its glide, it will pick up wherever you left off when you play your next note.

On the other hand, if this parameter is left off, the pitch will simply pick up from the last note played.

Chapter 3: Fusion Modes

Menu: Program/Program/Output Parameter: Program Volume Value Range: 0 – 100%

This sets the overall volume for the program you’re playing.

Menu: Program/Program/Output Parameter: Program Pan Value Range: L100% to R100%

Pan (or Balance) sets the stereo positioning from hard left (L100%) to hard right (R100%). This parameter changes depending upon your sample type—if you’re using a mono sample, the screen displays “Pan,” but if you’re using a stereo sample it says “Balance.” See the FAQ section at the end of this manual (page 285) if you’d like to know why we labeled things this way.

Menu: Program/Program/Output Parameter: Insert (The effect is listed in the parenthesis to the

right of the parameter)

Value Range: On, Off

An Insert Effect is “inserted” between the program and the Fusion’s audio outputs.

Here you can choose whether to enable or disable an insert effect for the program. Your insert options will vary depending on what insert effect you have selected in the Effects/Insert menu (page 252 for more on this).

Chapter 3: Fusion Modes

Menu: Program/Program/Output Parameter: Bus Send 1 & 2 (The effect is listed in the parenthesis

to the right of each Bus Send parameter)

Value Range: 0 – 100%

Bus Effects, unlike Insert Effects are shared by every program, mix, and song on the Fusion. There are two Bus Effects available, labeled “Bus Send 1” and “Bus Send 2.”

Dial in the amount of processing you want from each Bus Effect. For instance, if Bus Effect 1 is a reverb, 0% will have no effect on the program, whereas 100% will yield the maximum amount of reverb which will sound like a washy, indistinct sound. With most Bus Sends (including reverbs), a medium setting will yield the best results.

Note that these settings affect the MAIN outputs only. If you set your program to output on the AUX output (see below), the program will bypass all bus effects.

Menu: Program/Program/Output Parameter: Output Bus Value Range: Main, Aux, None

The program’s audio output can be played through either the MAIN or AUX outputs or disabled completely by setting this parameter to NONE.

Keep in mind that your sends are prior to the output selection. So if a program has sends to an effect and the output set to MAIN then the user hears the program + effect on the main outputs and nothing on the Aux outputs. If the output setting is set to AUX then the user hears program on the Aux and all “wet” effect output on the mains. If the output is set to NONE, then the user hears all “wet” effect on the main outputs and nothing on the Aux outputs. A setting of NONE is useful if the user wants just the effect output without hearing the actual program output. Also note that the effects bus return volume (on the effects page) must be turned up in order to hear the effect. The diagram on page 262 should clear up any confusion.

Menu: Program/Program/Output Parameter: Jump Mod Value Range: (none)

Once you have created a modulation route to a parameter on this page (using the modulation matrix), a new button called “Jump Mod” appears on the right that allows you to immediately jump to the page of the matrix where the connection is being made.

Selecting Effects:

To select which effects you’d like to use, go to the Effects/Bus/Select menu (see page 253 for more about this).

Chapter 3: Fusion Modes

Menu: Program/Program/Output Parameter: Jump FX Value Range: (none)

This button will take you to the Effects menu where you can select and edit the effects that you’d like to use.

Chapter 3: Fusion Modes

Synthesis Type: Sample Playback

Sample Synthesis uses looped, layered, and filtered samples of real acoustic sources and the direct output of other electronic instruments for the utmost sonic realism.

• Oscillators: One or two multi-sample sets.

• Filters: 3 Filters total. 2 minimized filters (one at each

oscillator) + 1 filter for the voice. Each “minimized filter” is a 1-pole low pass, non-resonant filter. All other filters mentioned above have variable type, steepness, cutoff frequency, and resonance.

• Envelopes: Up to eight envelopes for controlling volume,

filter, pitch, or other parameters.

• Low-frequency oscillators (LFO): Up to eight low-frequency

oscillators for controlling vibrato, filter operation, or other parameters.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Config Parameter: View Value Range: Osc Enable, Osc Multisample, Osc Transpose, Osc

Coarse Tune, Osc Fine Tune, Osc Volume, Osc Pan

This screen provides a convenient overview showing how many of the commonly used parameters in the Sample Synthesis submenus are configured.

This page shows parameter settings of both oscillators in relation to one another. By having these common parameters on one screen, it saves users from having to jump back and forth between multiple oscillator pages. You can change oscillator settings (volume, pan, tuning, etc) by editing the “1:” and “2:” parameters.

Since our synthesis type is set to Sample Synthesis, we have two oscillators available for editing (remember that the Sample Synthesis type has two oscillators).

Menu: Program/Synth/Osc/Config Parameter: X: (Crossfade) Value Range: 0 – 100%

Sets the volume balance between each of your two oscillators. Many users route the velocity of the keyboard to this parameter to achieve a velocity cross-fade in which you hear more of one oscillator and less of another as a key is struck harder.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Select Parameter: EDIT Osc Value Range: Osc 1 to Osc 2

Select the oscillator you’d like to edit.

Menu: Program/Synth/Osc/Select Parameter: Enable Value Range: On, Off

Allows you to enable or disable each oscillator

Menu: Program/Synth/Osc/Select Parameter: Multisample Value Range: (varies depending on available multisamples)

This parameter lets you select the multisample you want to load for each of the two oscillators in Sample Playback mode.

Menu: Program/Synth/Osc/Select Parameter: Start Value Range: 0 – 10%

When you set a Start point, you indicate how much of the initial attack of your sample you want to include. When set to “0%,” the sample will begin playing at the beginning. At “10%,” the sample will begin playing 10% into the sample and will bypass much of the natural “attack” of your sample. Bypassing the attack of your sample results in more “mellow” tone since much of the initial transients have been removed.

Sound designers sometimes use this parameter to control the perceived “hardness” of the sound. For example, by mapping note velocity of the keyboard to the start point of guitar or drum samples, the harder you strike the keyboard, the more of the natural attack comes through resulting in a seemingly “harder” strike (or pick, in the case of a guitar). Conversely, as you play more softly, more of the attack is bypassed and a mellower tone results.

About Zero-Crossing Points:

If you place your start point on a non-zero crossing (i.e., at the top or the bottom of a waveform) then you’ll hear a click or a pop as the sample is triggered. This click has nothing to do with the actual sample attack, but can be perceived as an attack. If you do not want this sound to appear in your sample, you can either change the start point until it lands on (or close to) a zerocrossing, or you can set an amplitude envelope attack time to about 5 or 10 milliseconds and that should smooth out any clicks or pops.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Select Parameter: Trigger on key up Value Range: On, Off

Usually, you want sounds to play when you press a key. But there are some cases–such as a harpsichord’s release sound–where you want the sound to play when you raise your fingers off the keys. Enable Trigger On Key Up in such cases.

Menu: Program/Synth/Osc/Select Parameter: FM source Value Range: None, Osc 1, Osc 2, Filter

You can have the filter or an oscillator’s waveform modulate the frequency of the current oscillator. The result is a more complex waveform with richer harmonics.

Menu: Program/Synth/Osc/Select Parameter: FM Amount Value Range: 0 – 100%

Blend in any amount of the FM source. Higher percentages blend in more of the FM source and create richer harmonics. Smaller percentages blend in less of the FM source and leave a more pure tone from your oscillator.

About Key Up Envelope Triggering:

You’ll probably want to set the envelope trigger mode (see page 226 for more) to “key up” so that the volume envelope does not jump to the Release state and quickly mute your sound when you release a key. Alternatively, you could leave the trigger mode to “normal” but increase the release time so that this oscillator has a chance to play before being muted.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Pitch Parameter: Edit OSC Value Range: Osc 1 to Osc 2

Choose the oscillator you’d like to edit.

Menu: Program/Synth/Osc/Pitch Parameter: Transpose Value Range: -48 to +48 semitones

Use transpose to reassign the notes that are triggered when you play the keyboard (or access the Fusion via an external MIDI device). For instance, with a “2 semitones” transposition, every time you play a C key, the Fusion will play the D note instead.

Menu: Program/Synth/Osc/Pitch Parameter: Coarse Tune Value Range: -48 to +48 semitones

Use this parameter to make large pitch changes to your oscillator (in semitone steps).

Menu: Program/Synth/Osc/Pitch Parameter: Fine Tune Value Range: -99 to +99 Cents

Change this parameter to fine tune your oscillator’s pitch.

Menu: Program/Synth/Osc/Pitch Parameter: Keytrack Value Range: On, Off

Under normal circumstances, you’ll most likely want the oscillator pitch to follow the key you’re playing on the keyboard so leave this parameter set to “On.” Turn this function off if you don’t want your oscillator pitch to follow the key you’re playing on the keyboard.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Output Parameter: Edit Osc Value Range: Osc 1 to Osc 2

Choose the oscillator you’d like to edit.

Menu: Program/Synth/Osc/Output Parameter: Osc Out Value Range: On, Off

If you want to mute the output of an oscillator, uncheck this box. This option exists because it allows an oscillator to modulate another oscillator without its output being heard (you only hear the effects of the modulation on another oscillator).

For normal operation, leave this box checked.

Menu: Program/Synth/Osc/Output Parameter: Optimize osc to Mono Value Range: On, Off

This option conserves processing power and maximizes the number of voices on your Fusion by removing panning for an oscillator.

Menu: Program/Synth/Osc/Output Parameter: Mono source channel (only appears when “Optimize to

Mono” is checked and a stereo sample is being used)

Value Range: Left, Right

If you check the “Optimize osc to Mono” parameter and are using a stereo sample for this program, your oscillator can only use one channel of your stereo sample. Select which channel you’d like to use here.

About “Optimize to Mono”

When you set Optimize to Mono ON, you can’t pan each individual oscillator, but you can still pan the overall program through the Program/Output page.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Output Parameter: Osc Volume Value Range: 0 – 100%

Sets the volume of each oscillator. This is different from the Volume parameter in the Program/Output menu because it lets you set the volume of each individual oscillator in your program, whereas the Volume/Output menu sets the level of the entire program.

Menu: Program/Synth/Osc/Output Parameter: Osc Pan (only visible if “Optimize to Mono” is turned

off)

Value Range: L100% to R100%

Sets the pan position of each individual oscillator. This is different from the Pan parameter under the Program/Output section because each oscillator can be panned to its own position whereas the Program/Output setting will pan the entire program.

Chapter 3: Fusion Modes

Synthesis Type: Drum

This synthesis type is specifically designed and optimized for drums and other sample sets where each note on the keyboard corresponds to one distinct type of sound (i.e., kick drum, snare drum, ride cymbal, etc.)

• Oscillators: Each oscillator can have up to four cross-switched

samples, and up to 64 oscillators can be “stacked” on the same note. This allows you to use up to 256 samples per program.

• Filters: 64 filters total. One filter at each oscillator. You can

assign each filter’s type, cutoff, frequency, and resonance.

• Envelopes: Up to eight envelopes for controlling volume,

filter, sustain, or other parameters.

• Low-frequency oscillators (LFO): Up to eight low-frequency

oscillators for controlling vibrato, filter operation, or other parameters.

Chapter 3: Fusion Modes

The Synth/Osc/Config screen provides a convenient overview showing how many of the commonly used parameters in the Drum Synthesis submenus are configured.

This page shows parameter settings of eight consecutive oscillators in relation to one another. By having these common parameters on one screen, it saves users from having to jump back and forth between multiple oscillator pages. You can change oscillator settings (volume, pan, tuning, etc) by editing the parameters labeled “1:”, “2:”, and so on.

Since our synthesis type is set to Drum Synthesis, we have 64 oscillators available for editing.

Menu: Program/Synth/Osc/Config Parameter: View (Left Side; oscillator range) Value Range: 1 to 64 (displayed in groups of 8)

This menu allows you to cycle through all 64 oscillators that you can use under the Drum Synthesis method.

Menu: Program/Synth/Osc/Config Parameter: View (Right Side; Oscillator Parameter) Value Range: Osc Enable, Osc Note, Osc Coarse Tune, Osc Fine

Tune, Osc Volume, Osc Pan

This section provides quick access to common oscillator parameters. Choose the parameter that you want to edit across your eight drums. Note that this selection changes what appears in the 1: through 64: fields (see below).

Menu: Program/Synth/Osc/Config Parameter: 1: through 64: Value Range: Varies depending on View setting (see above)

This section provides quick access to common oscillator parameters. The contents of this parameter change depend on your “view” (Right Side) settings. Use the Control Wheel to adjust the listed values.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Select Parameter: EDIT Osc: Value Range: Osc 1 to Osc 64

Select the oscillator you’d like to edit. The value in the parenthesis varies depending on what note the oscillator has been assigned to (using the “Note” parameter—see below).

Menu: Program/Synth/Osc/Select Parameter: Enable Value Range: On, Off

Allows you to enable or disable each oscillator.

Menu: Program/Synth/Osc/Select Parameter: Note Value Range: C-2 to G8

This parameter selects the note your oscillator will play on. Keep in mind that it is possible for multiple oscillators to be assigned to the same note.

Menu: Program/Synth/Osc/Select Parameter: Start Value Range: 0 % to 10%

Sound designers sometimes use this parameter to control the perceived “hardness” of the sound. For example, by mapping note velocity of the keyboard to the start point of drum samples, the harder you strike the keyboard, the more of the natural attack comes through resulting in a seemingly “harder” strike (or pick, in the case of a guitar). Conversely, as you play more softly, more of the attack is bypassed and a mellower tone results.

About Zero-Crossings:

If you place your start point on a non-zero crossing (i.e., at the top or the bottom of a waveform) then you may hear a click or a pop as the sample is triggered. This click has nothing to do with the actual sample attack, but can be perceived as an attack. If you do not want this sound to appear in your sample, you can either change the start point until it lands on (or close to) a zerocrossing, or you can set an amplitude envelope attack time to about 5 or 10 milliseconds and that should smooth out any clicks or pops.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Select Parameter: Mute Group Value Range: None, Self, A to P

This allows you to mute one oscillator when another is played.

Certain percussion sounds mute other sounds when played in succession. For example, when you play an open hi-hat and then follow it with a closed hi-hat, the closed hi-hat stops the open hat from ringing. By assigning individual oscillators to the same mute group (groups range from A through P) you can have one oscillator mute another oscillator’s output as soon as you play it.

You can also assign an instrument to mute itself by setting the parameter to Self. This is commonly used to save polyphony on drum sounds with long decay times (such as ride cymbals). Instead of repeatedly triggering a new voice (and thus, quickly eating up your polyphony), you can stop and re-trigger the same voice.

Menu: Program/Synth/Osc/Select Parameter: Reverse Value Range: On, Off

Check this box to make the sample play backwards.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Pitch Parameter: EDIT Osc Value Range: Osc 1 to Osc 64

Select the oscillator you’d like to edit. Since we’re in Drum Synthesis mode, you have 64 oscillators to choose from.

The value in the parenthesis varies depending on what note the oscillator has been assigned to (using the “Note” parameter on the Synth/Osc/Select page).

Menu: Program/Synth/Osc/Pitch Parameter: Coarse Tune Value Range: -48 to +48

This parameter pitch-shifts the drum sample you are editing. Smaller amounts of pitch shifting can be used to change the tuning of a drum, whereas large amounts of pitch shifting can be used to create strange and interesting (and sometimes otherworldly) percussion sounds.

Menu: Program/Synth/Osc/Pitch Parameter: Fine Tune Value Range: -99 to +99

Change this parameter to tune your oscillator sharp or flat.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Output Parameter: EDIT Osc Value Range: Osc 1 to Osc 64

Choose the oscillator you’d like to edit. Since our synthesis type is set to Drum, you have 64 oscillators to choose from.

The value in the parenthesis varies depending on what note the oscillator has been assigned to (using the “Note” parameter on the Synth/Osc/Select page).

Menu: Program/Synth/Osc/Output Parameter: Optimize osc to Mono Value Range: On, Off

This option conserves processing power and maximizes the number of voices on your Fusion by removing panning for an oscillator.

Menu: Program/Synth/Osc/Output Parameter: Osc Volume Value Range: 0 to 100%

Sets the volume of each oscillator. This is different from the Volume parameter in the Synth/Drum/Output menu because it lets you set the volume of each individual oscillator in your program, whereas the Program/Output menu sets the level of the entire program.

Menu: Program/Synth/Osc/Output Parameter: Osc Pan (only visible if “Optimize to Mono” is turned

off)

Value Range: L100% to R100%

About “Optimize Osc to Mono”

When you set Optimize to Mono ON, you can’t pan each individual oscillator, but you can still pan the overall program through the Program/Output page.

Chapter 3: Fusion Modes

Menu: Program/Synth/Drum/Config Parameter: View Value Range: Drum Enable, Drum Sample, Drum Vel Max/Split,

Drum Coarse Tune, Drum Fine Tune, Drum Volume, Drum Pan

This screen provides a convenient overview showing how many of the commonly used parameters in the Drum Synthesis submenus are configured.

This page shows parameter settings of several samples in relation to one another. By having these common parameters on one screen, it saves users from having to jump back and forth between multiple drum pages. You can change drum settings (volume, pan, tuning, etc) by editing the “1:” “2:” “3:” and “4:” parameters (see below).

Menu: Program/Synth/Drum/Config Parameter: 1: to 4: Value Range: Varies depending on View setting (see above)

This section provides quick access to common drum settings. The contents of this parameter change depend on your “view” parameter settings. Use the Control Wheel to adjust the listed setting.

Chapter 3: Fusion Modes

Menu: Program/Synth/Drum/Select Parameter: EDIT Osc Value Range: Osc 1 to Osc 64

Choose the oscillator you’d like to edit. Since our synthesis type is set to Drum, you have 64 oscillators to choose from.

The value in the parenthesis varies depending on what note the oscillator has been assigned to (using the “Note” parameter on the Synth/Osc/Select page).

Menu: Program/Synth/Drum/Select Parameter: EDIT Drum Value Range: Drum 1 to Drum 4

Each oscillator in the Drum Synthesis type can have up to four drum samples. Select the individual drum sound you’d like to edit here.

Menu: Program/Synth/Drum/Select Parameter: Enable Value Range: On, Off

This parameter lets you enable or disable individual drum samples.

Menu: Program/Synth/Drum/Select Parameter: Sample Value Range: [Varies depending on samples available to the

Fusion]

You can assign one sample to each drum. Assign that sample here.

Chapter 3: Fusion Modes

Menu: Program/Synth/Drum/Select Parameter: Drum 1 Vel Max (varies slightly depending on which

drums have been enabled)

Value Range: 0 to 127

This parameter sets the maximum drum velocity (or velocity-switching point if you have more than one drum sample enabled).

Note that if you only have one drum enabled and “Drum 1 Vel Max” is set below 127 then you won’t hear any sounds when a note is triggered at a velocity above the maximum velocity. By that same token, if your “Drum 1 Vel Min” is set high, then you will not hear any sounds when a note is triggered too softly.

Menu: Program/Synth/Drum/Select Parameter: Sample Start Value Range: [depends on sample]

This parameter is identical to the “Start” parameter mentioned earlier in this chapter (see the Synth/Osc/Select section for more).

Menu: Program/Synth/Drum/Select Parameter: Loop Start Value Range: [depends on sample]

This parameter sets the point at which your looping will start taking place. Once playback of your sample reaches the “Loop End” point (see below), it jumps back to this point and begins looping between these two points. If the Loop Start is greater than or equal to the Loop End, then the Fusion will default to using the loop points defined within the sample.

Menu: Program/Synth/Drum/Select Parameter: Loop End Value Range: [depends on sample]

This parameter sets the end point of your loop. Once playback of your sample reaches this point, it will jump back to the “Loop Start” point (see above) and a loop will begin taking place between these two points. If the Loop End is less than or equal to the Loop Start then the Fusion will default to using the loop points defined within the sample.

Menu: Program/Synth/Drum/Select Parameter: Loop Fine Tune Value Range: [depends on sample]

This parameter lets you make small adjustments to the loop portion of your sample.

Chapter 3: Fusion Modes

Menu: Program/Synth/Drum/Pitch Parameter: EDIT Osc Value Range: Osc 1 to Osc 64

Choose the oscillator you’d like to edit.

Menu: Program/Synth/Drum/Pitch Parameter: EDIT Drum Value Range: Drum 1 to Drum 4

Each oscillator in the Drum Synthesis type can have up to four drum parts. Select the individual drum sound you’d like to edit here.

Menu: Program/Synth/Drum/Pitch Parameter: Coarse Tune Value Range: -48 to +48 Semitones

Use this parameter to make large pitch changes to your drum (in semitone steps).

Menu: Program/Synth/Drum/Pitch Parameter: Fine Tune Value Range: -99 to +99 Cents

Change this parameter to fine tune your drum’s pitch.

Chapter 3: Fusion Modes

Menu: Program/Synth/Drum/Output Parameter: EDIT Osc Value Range: Osc 1 to Osc 64

Choose the oscillator you’d like to edit.

Menu: Program/Synth/Drum/Output Parameter: EDIT Drum Value Range: Drum 1 to Drum 4

Each oscillator in the Drum Synthesis type can have up to four drum parts. Select the individual drum sound you’d like to edit here.

Menu: Program/Synth/Drum/Output Parameter: Volume Value Range: 0 to 100%

This parameter sets the volume of each individual drum sound for one oscillator. This is different from the “Osc Volume” parameter found in the Synth/Osc/Output menu because it lets you adjust drum sounds relative to one another. The “Osc Volume” parameter, on the other hand, adjusts the volume of the entire oscillator (i.e., all the drums in that oscillator).

Menu: Program/Synth/Drum/Output Parameter: Pan Value Range: “Optimized to mono,” or L100% to R100%

Sets the pan position of each individual drum. This is different from the Pan parameter under the Program/Output section because each drum can be panned to its own position whereas the Program/Output setting will pan the entire program.

Optimizing to Mono:

This parameter will be replaced by the words “(Osc is optimized to mono)” if the “Optimize osc to mono” parameter for that drum is checked in the Synth/Osc/Output.

Chapter 3: Fusion Modes

Synthesis Type: Analog

Analog Synthesis uses oscillators, Envelopes, LFOs, and a filter to generate all kinds of sounds ranging from simple bass instruments to complex, otherworldly pad and lead instruments (and everything in between).

• Oscillators: Up to three basic waveforms (sawtooth, pulse, and

sine waves, plus white, pink, and red noise, as well as incoming sound from the External Inputs).

• Filters: One filter. You can assign the filter’s type, cutoff,

frequency, and resonance.

• Envelopes: Up to eight envelopes for controlling volume,

filter, pitch, or other parameters.

• Low-frequency oscillators (LFO): Up to eight low-frequency

oscillators for controlling vibrato, filter operation, or other parameters.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Config Parameter: View Value Range: Osc Enable, Osc Type, Osc Coarse Tune, Osc Fine

Tune, Osc Random Tune, Osc Volume, Osc Pan

This screen provides a convenient overview showing how many of the commonly used parameters in the Analog Synthesis submenus are configured.

This page shows parameter settings of several oscillators in relation to one another. By having these common parameters on one screen, it saves users from having to jump back and forth between multiple oscillator pages. You can change oscillator settings (volume, pan, tuning, etc) by editing the “1:” “2:” and “3:” parameters (see below).

Since our synthesis type is set to Analog Synthesis, we have three oscillators available for editing (remember that the Analog Synthesis type has three oscillators).

Menu: Program/Synth/Osc/Config Parameter: 1:, 2:, 3: Value Range: Varies depending on View setting (see above)

This section provides quick access to common oscillator settings. The contents of this parameter change depend on your “view” parameter settings. Use the Control Wheel to adjust the listed setting.

Menu: Program/Synth/Osc/Config Parameter: R: (Ring Mod On/Off) Value Range: On, Off

Enable or disable ring modulation with this parameter.

Menu: Program/Synth/Osc/Config Parameter: R: (Ring Mod Type) Value Range: None, Osc 1 x Osc 2, Osc 1 x Osc 3, Osc 2 x Osc 3,

Osc 1 x Osc 2 x Osc 3

Allows you to choose how the three oscillators will modulate each other.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Select Parameter: EDIT Osc

Value Range: Osc 1 to Osc 3

Select the oscillator you’d like to edit.

Menu: Program/Synth/Osc/Select Parameter: Enable Value Range: On, Off

Allows you to enable or disable each oscillator

Menu: Program/Synth/Osc/Select Parameter: Type Value Range: Sawtooth, Pulse, Sine, White Noise, Pink Noise, Red

Noise, Ext In

This parameter allows you to select the shape of your oscillator. When you select “Ext In” as your oscillator type, your oscillator becomes whatever audio is being played into the ¼” input jacks labeled “Input Left” and Input Right” on the back of the Fusion.

Menu: Program/Synth/Osc/Select Parameter: Shape (only available on Sawtooth and Pulse oscillator

types)

Value Range: -100% to 100%

Shape alters the waveform of your Sawtooth or Pulse oscillator type. This parameter is sometimes called “Pulse Width Modulation” on some synthesizers when referring to square waves.

How do I make Sawtooth and Up/Down Saw waveforms?

You can create down-saw, triangle, and upsaw waveforms by selecting “Sawtooth” and changing the “shape” parameter (see below). To create a down-saw, set your “shape” parameter to “-100%” whereas to create an up-saw, set this parameter to +100%. For a triangle wave, leave the parameter set to 0%.

You can create a square wave by selecting a “Pulse” waveform and setting the “Shape” parameter to 0% (see below).

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Select Parameter: Sync Value Range: None, Osc 1, Osc 2, Osc 3, Ring Mod, Filter

Resets the phase of your oscillator in relation to the initial phase of another Oscillator, Ring Mod, or Filter. This creates richer harmonic content on your currently selected oscillator.

Note that you generally end up with better results if your current oscillator is synced to another oscillator that is lower in pitch. If both oscillators are at the same pitch (or close to one another), little or no harmonics will be generated.

Menu: Program/Synth/Osc/Select Parameter: Oscillator Reset Value Range: On, Off

If set to “on” this parameter starts the oscillator from the beginning of the waveform every time a voice is triggered. If set to “off ” the oscillator is free running and does not reset whenever a new voice is triggered.

Menu: Program/Synth/Osc/Select Parameter: FM Source Value Range: None, Osc 1, Osc 2, Osc 3, Ring Mod, Filter

You can use a filter, ring mod, or another oscillator’s waveform to modulate the frequency of the current oscillator. The result is a more complex waveform with richer harmonics.

Menu: Program/Synth/Osc/Select Parameter: FM Amount Value Range: 0-100%

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Pitch Parameter: EDIT Osc Value Range: Osc 1 to Osc 3

Choose the oscillator you’d like to edit. Since our synthesis type is set to Analog, you have three oscillators to choose from.

Menu: Program/Synth/Osc/Pitch Parameter: Coarse Tune Value Range: -48 to +48 Semitones

This parameter pitch-shifts the oscillator you are playing.

Menu: Program/Synth/Osc/Pitch Parameter: Fine Tune Value Range: -99 to +99 Cents

Use this parameter to fine-tune (or detune) your oscillator.

Menu: Program/Synth/Osc/Pitch Parameter: Random Tune Value Range: 0-100%

Random Tune generates unpredictable tuning variances in your oscillator. The higher you set this value, the more unpredictable your tuning becomes.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Output Parameter: EDIT Osc Value Range: Osc 1 to Osc 3

Choose the oscillator you’d like to edit. Since our synthesis type is set to Analog, you have three oscillators to choose from.

Menu: Program/Synth/Osc/Output Parameter: Osc Out Value Range: On, Off

When using an oscillator as a modulation source for another oscillator (this often happens in FM, sync, or ring modulation), you may want to mute the actual output of the oscillator so that you only hear the effects of its modulation.

If you want to mute the output of an oscillator, uncheck this box. Otherwise, leave this box checked for normal operation.

Menu: Program/Synth/Osc/Output Parameter: Optimize Osc to Mono Value Range: On, Off

This parameter reduces DSP load on the Fusion by summing the oscillator’s output into mono. Turning this option on allows you to have higher polyphony, but it means you cannot pan the oscillator across a stereo field.

In cases where the oscillator is panned to the center, it is best to leave this option set to “on” since you’re not using panning anyway.

Menu: Program/Synth/Osc/Output Parameter: Osc Volume Value Range: 0 – 100%

Sets the volume of each oscillator. This is different from the Volume parameter in the Volume/Output menu because it lets you set the volume of each individual oscillator in your program, whereas the Program/Output menu sets the level of the entire program.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Output Parameter: Osc Pan (only visible if “Optimize to Mono” is turned

off)

Value Range: L100% to R100%

Chapter 3: Fusion Modes

Synthesis Type: FM

FM is a form of synthesis that relies on two (or more) oscillators modulating each other to create a sound. Since its inception in the 1970s, FM synthesis has found its way into countless hit songs and continues to be used today because of the wide palette of sounds it can produce.

• Oscillators: Six basic waveforms (sine wave variations, plus

white noise).

• Filters: One filter. You can assign this filter’s type, cutoff,

frequency, and resonance.

• Envelopes: Up to eight envelopes for controlling volume,

filter, pitch, or other parameters.

• Low-frequency oscillators (LFO): Up to eight low-frequency

oscillators for controlling pitch, volume, or other parameters.

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Config Parameter: View Value Range: Osc Enable, Osc Output, Osc Type, Osc Coarse

Tune, Osc Fine Tune, Osc Random Tune, Osc Pan

This screen provides a convenient overview showing how many of the commonly used parameters in the FM Synthesis submenus are configured.

This page shows parameter settings of several oscillators in relation to one another. By having these common parameters on one screen, it saves users from having to jump back and forth between multiple oscillator pages. You can change oscillator settings (volume, tuning, etc) by editing to the “1:” through “6:” parameters (see below).

Since our synthesis type is set to FM Synthesis, we have six oscillators available for editing.

Menu: Program/Synth/Osc/Config Parameter: 1: to 6: Value Range: Varies depending on View setting (see above)

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Select Parameter: EDIT Osc Value Range: Osc 1 to Osc 6

Select the oscillator you’d like to edit.

Menu: Program/Synth/Osc/Select Parameter: Enable Value Range: On, Off

Allows you to enable or disable each oscillator.

Menu: Program/Synth/Osc/Select Parameter: Type Value Range: Sine, Sine Square Root, Sine Squared, Sine Warp,

White Noise

This parameter allows you to select the shape of your oscillator.

Menu: Program/Synth/Osc/Select Parameter: Oscillator Reset Value Range: On, Off

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Pitch Parameter: EDIT Osc Value Range: Osc 1 to Osc 6

Choose the oscillator you’d like to edit. Since our synthesis type is set to FM, you have six oscillators to choose from.

Menu: Program/Synth/Osc/Pitch Parameter: Coarse Tune Value Range: -48 to +48 Semitones

This parameter pitch-shifts the oscillator you are playing.

Menu: Program/Synth/Osc/Pitch Parameter: Fine Tune Value Range: -99 to +99 Cents

Use this parameter to fine-tune (or detune) your oscillator.

Menu: Program/Synth/Osc/Pitch Parameter: Random Tune Value Range: 0-100%

Random Tune generates unpredictable tuning deviations in your oscillator. The higher you set this value, the greater the range of pitch variance.

Menu: Program/Synth/Osc/Pitch Parameter: Key Track Value Range: On, Off

Turn this function off if you don’t want your oscillator pitch to follow the key you’re playing on the keyboard. For example, sound designers sometimes want certain modulation sources to stay constant whereas the destination oscillator pitches follow the keyboard normally. To do this, go ahead and turn “Key Track” off.

Under normal circumstances, you’ll most likely want the oscillator pitch to follow the key you’re playing on the keyboard so leave this parameter set to “On.”

Chapter 3: Fusion Modes

Menu: Program/Synth/Osc/Output Parameter: EDIT Osc Value Range: Osc 1 to Osc 6

Choose the oscillator you’d like to edit. Since our synthesis type is set to FM, you have six oscillators to choose from.

Menu: Program/Synth/Osc/Output Parameter: Osc Out Value Range: On, Off

Check this parameter if you want to route your oscillator to the output.

Menu: Program/Synth/Osc/Output Parameter: Osc Volume (only visible if “Osc Output” box is checked) Value Range: 0 – 100%

This parameter sets the output volume for the oscillator that is currently selected. Note that this parameter is only available if the “Osc Out” box is checked.

Menu: Program/Synth/Osc/Output Parameter: Route To (All oscillators including self) Value Range: On, Off

These checkboxes allow you to route the output of your currently selected oscillator to modulate any other oscillator.

Menu: Program/Synth/Osc/Output Parameter: Modulation Amount (only visible when the

corresponding “Route To” box is checked)

Value Range: 0 – 100%

This parameter determines how much your source oscillator is going to modulate the destination oscillator. The higher you set this value, the more modulation will take place (resulting in richer harmonics).

Chapter 3: Fusion Modes

Menu: Program/Synth/Router Parameter: EDIT Route (Source) Value Range: Osc 1 to Osc 6

Choose the oscillator you’d like to edit.

Menu: Program/Synth/Router Parameter: EDIT Route (Destination) Value Range: Osc 1 to Osc 6, Output

Use this parameter to select where you’d like the oscillator to be routed. The Fusion allows you to route an oscillator to any other oscillator (including itself) or to the audio output of the keyboard. Keep in mind it is possible to connect one source to multiple destinations.

The diagram on the top indicates how each oscillator is routed. Note that your source is not routed to the destination until the “Enable” box is checked. Also note in order to modulate an FM route, this box must be checked. If it is not checked then it will not show up as a possible choice within the destination choices in the Mod Menu.

Menu: Program/Synth/Router Parameter: Enable Value Range: On, Off

This box indicates whether your currently selected source is being routed to the current destination. To make a connection, select your source and destinations (see above) and check this box. Conversely, to break a connection select your source and destinations and uncheck the “Enable” box.

As stated in the section above, in order to modulate an FM route, the enable box must be checked. If left unchecked, the FM route will not show up as a possible choice within the destination choices in the Mod Menu.

Chapter 3: Fusion Modes

Menu: Program/Synth/Router Parameter: Amount Value Range: 0-100%

This parameter determines how much your currently selected source is going to modulate the currently selected destination. Note that the “Enable” box has to be checked for any modulation to take place.

Chapter 3: Fusion Modes

Synthesis Type: Reed Model

The Reed Model synthesis type uses complex mathematics to simulate the behavior of sound waves inside a reed instrument. This allows you to create extremely realistic programs of any instrument that has a mouthpiece with a vibrating reed connected to a cylindrical bore (such as a clarinet.) You can also use this model to create instruments that do not (or cannot) exist in real life.

• Model Parameters: Breath, Noise, Threshold, Slope, Curve,

Frequency, Mix, Gain.

• Filters: One filter. You can assign this filter’s type, cutoff,

frequency, and resonance.

• Envelopes: Up to eight envelopes for controlling volume,

filter, pitch, or other parameters.

• Low-frequency oscillators (LFO): Up to eight low-frequency

oscillators for controlling vibrato, filter operation, or other parameters.

Chapter 3: Fusion Modes

The Reed Physical Model:

The following diagram describes the Fusion’s Reed Model. In it, you’ll notice three distinct groups of parameters including “Breath,” “Reed,” and “Bore.” Each group makes up a different portion of the physical model and these groups interact with one another to create the overall sound that you hear.

The “Breath” parameters model the performer blowing into the instrument, while the “Reed” parameters model the mouthpiece of the instrument that is being played. Finally, the “Bore” parameter models the body of the instrument.

Breath

Pressure, Noise

Reed

Threshold, Slope, Curve

Output

To Filter

Bore

Frequency, Mix,

Gain, Filter

Why Can’t I Hear Anything?

Since Physical Modeling creates a mathematical model of a “real world” instrument, it is possible to set your Synth/Model menu settings in a way where no sound or unmusical tones (or noise) will be synthesized. This is analogous to either playing a physical instrument incorrectly or building an instrument that is incapable of creating musical tones. If you adjust a parameter and your program doesn’t make any sound (or you only hear strange noises and tones), this is not an error. You’ve probably just pushed the physical model into unmusical territories. If this happens, scale back the parameter you were editing until you start hearing musical tones again.

Chapter 3: Fusion Modes

Menu: Program/Synth/Model Parameter: Breath Value Range: 0 – 100%

This is the volume parameter for the Model. This simulates the strength of the player’s breath which can excite the model and produce different timbres.

Menu: Program/Synth/Model Parameter: Noise Value Range: 0 – 100%

This parameter adds in white noise to simulate the natural sound of the wind blowing into the mouthpiece. In general, a small amount of white noise gives your instrument more realism.

Menu: Program/Synth/Model Parameter: Threshold Value Range: -100% to +100%

This parameter sets the minimum breath pressure required to cause the instrument to generate sound.

Menu: Program/Synth/Model Parameter: Slope Value Range: 0 – 100%

Sets the steepness of the Threshold boundary. Low values create extremely steep curves (i.e., your sound is usually very soft and then becomes loud very quickly as velocity increases). High values create more gradual curves (i.e., your sound gradually becomes louder as note velocities increase).

Menu: Program/Synth/Model Parameter: Cur ve Value Range: -100% to +100%

This parameter affects the tonal character of the mouthpiece and contributes to the attack of the sound.

The “Breath” and “Noise” parameters are used to model the act of blowing into the instrument.

The “Threshold,” “Slope,” and “Curve” parameters are used to model the mouthpiece of the instrument.

Chapter 3: Fusion Modes

Menu: Program/Synth/Model Parameter: Frequency Value Range: -12.00 to +12.00 Semitones

This parameter determines the frequency of the harmonic component of the bore’s tone.

Menu: Program/Synth/Model Parameter: Mix Value Range: 0 – 100%

This parameter determines the tonal mix of the base tone and the harmonic component from the bore. At 50% it is an equal mix of both parts. At 100% there is no harmonic component. At 0% there is no base tone.

Menu: Program/Synth/Model Parameter: Gain Value Range: 0 – 100%

This parameter determines the amount that the resonance at the reed instrument’s body—or “bore,” contributes to the sound.

Menu: Program/Synth/Model Parameter: Bore Filter Value Range: 0 – 100%

This parameter determines the tonal character of the instrument’s body. This parameter acts like a low-pass filter on the bore of the instrument.

The “Frequency,” “Mix,” “Gain,” and “Bore Filter” parameters are used to model the body of the instrument.

Chapter 3: Fusion Modes

Synthesis Type: Wind Model

The Wind Model synthesis type uses complex mathematics to simulate the behavior of a sound wave inside a wind instrument. This allows you to create extremely realistic programs of any instrument that has an embouchure (i.e., a player’s lips and tongue) acting on a mouthpiece that is connected to a bore (such as a flute). You can also use this model to create instruments that do not (or cannot) exist in real life.

• Model Parameters: Breath, Noise, Jet, Curve, Offset,

Frequency, Mix, Gain, Bore Filter

• Filters: One filter. You can assign this filter’s type, cutoff,

frequency, and resonance.

• Envelopes: Up to eight envelopes for controlling volume,

filter, pitch, or other parameters.

• Low-frequency oscillators (LFO): Up to eight low-frequency

oscillators for controlling vibrato, filter operation, or other parameters.

Chapter 3: Fusion Modes

The Wind Physical Model:

The following diagram describes the Fusion’s Wind Model. In it, you’ll notice three distinct groups of parameters including “Breath,” “Mouthpiece,” and “Bore.” Each group makes up a different portion of the physical model and these groups interact with one another to create the overall sound that you hear.

The “Breath” parameters model the performer blowing into the instrument, while the “Mouthpiece” parameters model the mouthpiece of the instrument that is being played. Finally, the “Bore” parameters model the body of the instrument.

Why Can’t I Hear Anything?

Chapter 3: Fusion Modes

Menu: Program/Synth/Model Parameter: Breath Value Range: 0 – 100%

This is the volume parameter for the Model. This simulates the strength of the player’s breath which can excite the model and produce different timbres.

Menu: Program/Synth/Model Parameter: Noise Value Range: 0 – 100%

This parameter adds in white noise to simulate the natural sound of the wind blowing into the mouthpiece. In general, a small amount of white noise gives your instrument more realism.

Menu: Program/Synth/Model Parameter: Jet Value Range: -12 to +12 Semitones

The “jet” parameter determines the frequency of the harmonic component of the mouthpiece’s tone.

Menu: Program/Synth/Model Parameter: Cur ve Value Range: -100% to +100%

This parameter affects the tonal character of the mouthpiece and contributes to the attack of the sound.

Menu: Program/Synth/Model Parameter: Offset Value Range: -100 to +100

This parameter adjusts the tonal interaction between the mouthpiece and the bore.

The “Breath” and “Noise” parameters are used to model the act of blowing into the instrument.

The “Jet,” “Curve,” and “Offset,” parameters are used to model the mouthpiece of the instrument.

Chapter 3: Fusion Modes

Menu: Program/Synth/Model Parameter: Frequency Value Range: -12.00 to +12.00 Semitones

This parameter determines the frequency of the harmonic component of the bore’s tone.

Menu: Program/Synth/Model Parameter: Mix Value Range: 0 – 100%

Menu: Program/Synth/Model Parameter: Gain Value Range: 0 – 100%

This parameter determines the amount that the resonance at the wind instrument’s body—or “bore,” contributes to the sound.

Menu: Program/Synth/Model Parameter: Bore Filter Value Range: 0 – 100%

This parameter determines the tonal character of the instrument’s body. This parameter acts like a low-pass filter on the bore of the instrument.

The “Frequency,” “Mix,” “Gain,” and “Bore Filter” parameters are used to model the body of the instrument.

Chapter 3: Fusion Modes

Program Utility Page

Menu: Program/Utility Parameter: Create a new Program Value Range: (none)

This button creates a new program with default settings. Remember to save your current program otherwise you will lose your work once the new program is created.

Menu: Program/Utility Parameter: Add to Favorites Value Range: 1-8

This button adds your program to any of the 8 “favorite” program categories of the Fusion for easy access. Press the Category button and scroll down to the “Fav 1” through “Fav 8” categories to see your favorite programs.

Once you have selected a favorite category, press the “Favorite” action button (on the right side of the screen) to add the program to that category. If a program already belongs to a Favorites category, the display will read “Remove from Favorites.” This allows you to remove this program from a Favorites category.

Menu: Program/Utility Parameter: To Mix Value Range: Generate Layer Mix, Generate Split Mix, Add to

Current Mix

This button adds your current program to a Mix. If you’d like to simply add the current program as a new part in the mix, select “Add to Current Mix.” If you’d like to create a layer (i.e., to have two programs playing at the same time when you play one part), select “Generate Layer Mix.” Finally, if you’d like to “split” the keyboard (i.e., to play one instrument on one side of the keyboard and another instrument on the other side), select “Generate Split Mix.”

Press the “To Mix” action button to add the program to a mix.

Note that you can’t add a program to a favorites category until it has been saved (see pg. 31 for more about saving programs, mixes, and songs).

Chapter 3: Fusion Modes

Menu: Program/Utility Parameter: Split point (only available for “Generate Split Mix”) Value Range: C-2 to G8

This parameter lets you select at which point the split will take place in your mix. Note that this parameter is only available when you select “Generate Split Mix” for the parameter listed above. You can also hold LOCATE and press the desired split key when the cursor is on this parameter to select the split point.

Menu: Program/Utility Parameter: To Song Value Range: Generate Song, Add to Current Song

This button adds the current program to a song. To add the program to a new song, select “Generate Song.” To add the program to the song that is currently loaded in Song mode, select “Add to Current Song.”

Menu: Program/Utility Parameter: Multi (only available for sample and drum programs) Value Range: (varies)

This button allows you to select any of your multisamples (from a sample or drum based program) for further editing in Sampler mode. Select the oscillator you’d like to edit and press the “Multi” action button to the right of the screen.

Note that this button is only available if your current program is a Sample or Drum program (since the other program types do not use samples).

Chapter 3: Fusion Modes

Filters

Filters are an integral part of a synthesizer’s ability to create sounds and the Fusion has variety of filters to help you achieve the sound you’re looking for. All of the Fusion’s synthesis modes have at least one filter per voice. The following chart will explain the small differences in filter implementation between all of the different synthesis types:

Sample - 3 Filters total. 2 minimized filters (one at

Drum - 64 filters total. One filter at each oscillator. Analog - 1 Filter per voice FM - 1 Filter per voice Reed Model - 1 Filter. per voice Wind Model - 1 Filter. per voice

each oscillator) + 1 filter for the voice.

What is a “Minimized” filter?

A “minimized filter” is a 1-pole low pass, non-resonant filter. All other filters mentioned above have variable type, steepness, cutoff frequency, and resonance.

Chapter 3: Fusion Modes

Menu: Program/Synth/Filter Parameter: Filter Bypass Value Range: On, Off

Check this box if you want to bypass the filter.

Menu: Program/Synth/Filter Parameter: Type Value Range: Low Pass, High Pass, Band Pass, Band Stop, Band

Boost

The Fusion has several different filter types that you can select in this menu. The on-screen diagram shows the shape of filter you’ve selected.

Menu: Program/Synth/Filter Parameter: Steep Value Range: 1-pole, 2-pole, 4-pole, 6-pole, 8-pole

This parameter determines the number of poles on your filter. Filters with one or two poles are more gradual whereas filters with six or eight poles are much steeper in cutoff. All filters on the Fusion except the 1pole have variable resonance (see below).

Menu: Program/Synth/Filter Parameter: Frequency Value Range: 20.000 Hz to 20.000 kHz

This parameter sets the point (or region) at which the filter starts affecting the incoming signal. As you change this value, you will see the cutoff point move right or left to correspond with your changes.

Menu: Program/Synth/Filter Parameter: Resonance (Not available on 1-pole filter Steep setting) Value Range: 0-100%

Filter resonance is a “bump” that is located at the cutoff frequency of a filter. This resonance is a big part of the unique “sound” of many of the analog synthesizers from the 70s and 80s. The Fusion allows you to add as much (or as little) resonance as you’d like using this parameter. The shape of the filter on the screen will change to reflect how much resonance you’re adding.

Chapter 3: Fusion Modes

Envelopes

If you play a note on a piano (or most other acoustic instruments), you’ll hear a burst of sound energy as the hammer strikes the string, followed by lower level of loudness as you hold down the note and let the string ring out, which fades quickly as soon as you release the note and the damper is applied. Synthesizer designers model this behavior using ADSR envelopes. ADSR stands for “attack, decay, sustain, release”, and represents the different stages that the sound goes through over the life of the note.

ADSR envelopes are commonly used to control amplitude, but can also be used to control countless other parameters (i.e., pitch, filter frequency, etc.) The Fusion allows you to hook up an envelope to any modulatable parameter using the modulation matrix (see page 236).

Menu: Program/Synth/Envelope Parameter: Add Env Value Range: You can create up to 8 envelopes

If the Envelope page appears blank (like the picture above), it means no envelopes have been created for this program. Go ahead and press the Add Env. button and this will create an envelope for you. Your screen will then look like the one below.

Chapter 3: Fusion Modes

Menu: Program/Synth/Envelope Parameter: Edit Envelope Value Range: 1-8 Envelopes (Varies depending on how many

envelopes you have created)

All programs on the Fusion have up to eight envelopes to modulate things like volume, filter, and other parameters. Choose the envelope you’d like to edit here.

The word in parenthesis indicates where the current envelope is routed in the modulation matrix. If you see “(Unused)” that means your current envelope has not been mapped to any parameter in that program. Once you map an envelope in the modulation matrix, a new button called “Jump Mod” appears on the right that allows you to immediately jump to the page of the matrix where the connection is being made.

Menu: Program/Synth/Envelope Parameter: Trigger (Trigger Source) Value Range: Key Down, Key Up, FS Down, FS Up, T1 Down, T2

Down, T3 Down, T4 Down, T1 Up, T2 Up, T3 Up, T4 Up

This setting selects what will trigger the envelope you are currently editing. The following chart explains what each setting does:

Key Down Triggers when a note is played. Key Up Triggers when a note is released. Foot Switch Dn Triggers when foot switch is pressed. Foot Switch Up Triggers when the foot switch is released.

Trigger 1-4 Dn Triggers when the T1-T4 buttons (to the

left of the screen, below the control knobs) are pressed.

Trigger 1-4 Up Triggers when the T1-T4 buttons (to the

left of the screen, below the control knobs) are released

Chapter 3: Fusion Modes

Menu: Program/Synth/Envelope Parameter: Legato Value Range: On, Off

Legato mode keeps the envelope from re-triggering if you play in legato fashion (i.e., you play a note before releasing the last note played).

Menu: Program/Synth/Envelope Parameter: Mode (Trigger Type) Value Range: Normal, Freerun

This determines how the envelope will start and stop based on how the keys are held and released.

When set to Normal, the envelope will play from the attack stage through the sustain stage as long as the note is held. When the note is released, the envelope will jump to its release stage.

When set to Freerun, the envelope will complete its entire cycle even if the note is released before the envelope has completed its cycle.

Menu: Program/Synth/Envelope Parameter: Curve Value Range: Exp -, Linear, Exp +

Sets how your envelope will ramp up (and down) once triggered. Your envelope will look like one of the following:

Menu: Program/Synth/Envelope Parameter: Delay Value Range: 0 – 30 Sec

This is the amount of time the envelope will wait before doing anything. When the delay is set to zero, the envelope begins its attack right away.

Chapter 3: Fusion Modes

Menu: Program/Synth/Envelope Parameter: Attack Value Range: 0 – 30 Sec

This sets the amount of time the envelope will take to reach its maximum level. The higher the value, the slower the attack.

Envelope

Menu: Program/Synth/Envelope Parameter: Decay (not available if sustain level is set to 100%) Value Range: 0 – 29.953 Sec, Hold

This sets the amount of time the envelope takes from the end of the Attack stage to reach the Sustain level. The higher the value, the longer it will take.

You can set this parameter to Hold by setting the value higher than

29.953. By doing this, the envelope will remain at maximum until it reaches the Release stage. Since the envelope is held at maximum level, the Sustain and Sustain Decay parameters are removed from the menu to avoid confusion.

Fast Attack

Time

Slow Attack

Envelope

Time

Envelope

Decay Hold

Time

Chapter 3: Fusion Modes

Menu: Program/Synth/Envelope Parameter: Sustain Level Value Range: 0-100%

This sets the level that the envelope will reach at the end of the Decay stage.

Menu: Program/Synth/Envelope Parameter: Sustain Decay (not available if sustain level is set to

0%)

Value Range: 0 – 29.953 Sec, Hold

This parameter determines the time it takes for the “Sustain Decay” stage to drop to 0. If this parameter is set to “Hold” the envelope will sustain at a constant level as long as the key is held down.

Menu: Program/Synth/Envelope Parameter: Catching (not available when Mode is set to

“Freerun”)

Value Range: On, Off

When enabled, catching allows you to switch back to the sustain stage of the envelope when you step on the sustain pedal during the release stage. This parameter allows you to mimic the feel of a piano’s sustain pedal.

If this parameter is set to “off ” stepping on the sustain pedal during the release stage will not have any effect on the envelope.

Chapter 3: Fusion Modes

Menu: Program/Synth/Envelope Parameter: Release Value Range: 0 – 30 Sec

This sets the amount of time the envelope will take to get from its current level to zero after the note has been released. The higher the value, the longer it will take.

Menu: Program/Synth/Envelope Parameter: Overlap Release Value Range: None, 1.002 ms – 30 Sec

If you play a note and trigger it a second time, the first instance of that note goes into “overlap release” state and decays at whatever time defined in this parameter. This parameter can be used to efficiently steal voices in order to make better use of the Fusion’s DSP (which ultimately leads to higher polyphony count).

If set to “none” both voices (or however many voices you have repeatedly triggered) will release as normal.

Menu: Program/Synth/Envelope Parameter: Del Env Value Range: Yes, No

This button deletes the currently selected Envelope. A dialog box (see above) will appear asking you to confirm whether you want to delete your envelope. Press “Yes” to delete.

Chapter 3: Fusion Modes

Low Frequency Oscillators (LFOs)

LFO stands for “low frequency oscillator.” Unlike the normal oscillators, the LFOs are not designed for producing sound. Instead, their purpose is to tweak a program parameter according to a looping pattern. For example, if you are looking to add some vibrato to your instrument, you’ll need the pitch to continuously waver up and down. An LFO is perfect for this application. Simply hooking up an LFO to the oscillator pitch parameter will get you the effect you need.

The Fusion allows you to hook up an LFO to any modulatable parameter using the Modulation Matrix (See page 236).

Menu: Program/Synth/LFO Parameter: Add LFO Value Range: You can create up to 8 LFOs

If the LFO page appears blank (like the picture above), it means no LFOs have been created for this program. Go ahead and press the Add LFO button to create an LFO. Your screen will then look like the one below.

Chapter 3: Fusion Modes

Menu: Program/Synth/LFO Parameter: EDIT LFO Value Range: 1-8 LFOs (You can create up to 8 LFOs)

Select the Low Frequency Oscillator (LFO) you’d like to edit here.

The word in parenthesis indicates where the current LFO is routed in the modulation matrix. If you see “(Unused)” that means your current LFO has not been mapped to any parameter in that program. Once you map an LFO in the modulation matrix, a new button called “Jump Mod” appears on the right that allows you to immediately jump to the page of the matrix where the connection is being made.

Menu: Program/Synth/LFO Parameter: Retrigger Value Range: None, Key Down, Key Up, FS Down, FS Up, T1

Down, T2 Down, T3 Down, T4 Down, T1 Up, T2 Up, T3 Up, T4 Up

This allows you to select a trigger that restarts the LFO for your current oscillator. For example: If you select T1, your LFO will restart whenever you push the T1 button. The following chart explains what each trigger setting means:

None When set to “None” you have one free running

LFO across all voices for your current program

Key Down Each voice’s LFO is retriggered from the

starting phase when you play a key. Key Up The LFO restarts when a note is released. Foot Switch Dn The LFO restarts when foot switch is pressed. Foot Switch Up The LFO restarts when the foot switch is

released. Trigger 1-4 Dn The LFO restarts when the T1-T4 buttons are

pressed. Trigger 1-4 Up The LFO restarts when the T1-T4 buttons is

released

Chapter 3: Fusion Modes

Menu: Program/Synth/LFO Parameter: Legato Value Range: On, Off

Legato mode keeps the trigger from restarting if you play in legato fashion (i.e., you play a note before releasing the last note played).

Menu: Program/Synth/LFO Parameter: Delay Value Range: 0 – 30 Sec

This is the amount of time the LFO will wait before doing anything. When the delay is set to 0 seconds, the LFO begins working right away.

Menu: Program/Synth/LFO Parameter: Type Value Range: Sawtooth, Pulse, Sine, Random

Sets the shape of the LFO. Take a look at the waveform on screen to see a representation of your LFO.

Menu: Program/Synth/LFO Parameter: Shape (only available when Type is set to “Sawtooth”

or “Pulse”)

Value Range: -100% to +100%

Shape lengthens and shortens the duration of square and saw wave LFOs. This setting is sometimes referred to as “Pulse Width” on other synthesizers.

Menu: Program/Synth/LFO Parameter: Sync (Unavailable when Type is set to “Random”) Value Range: None, 8 Whole Notes, 6 Whole Notes, 4 Whole

Notes, Triple Whole Note, Double Whole Note, Dotted Whole Note, Whole Note, Dotted Half Note, Half Note, Dotted Quarter, Half Note Triplet, Quarter Note, Dotted 8th Note, Quarter Triplet, 8th Note, Dotted 16th Note, 8th Note Triplet, 16th Note, 16th Note Triplet, 32nd Note

Synchronizes your LFO to the tempo (see p. 37 for more about setting your tempo). This is important for tempo-dependent effects like wahwah and vibrato.

Where are the Saw, Triangle, and Square LFO types???

You can create down-saw, triangle, and upsaw waveforms by selecting “Sawtooth” and changing the “shape” parameter (see below). To create a down-saw, set your “shape” parameter to -100% whereas to create an up-saw, set this parameter to +100%. For a triangle wave, leave the parameter set to 0%.

You can create a square wave by selecting a “Pulse” waveform and setting the “Shape” parameter to 0% (see below).

Chapter 3: Fusion Modes

Menu: Program/Synth/LFO Parameter: Rate (Only available when Sync is set to “None”) Value Range: 0.0200 Hz – 200 Hz

Sets the speed of the LFO. The higher the value, the faster the LFO will oscillate every second.

Menu: Program/Synth/LFO Parameter: Phase (Unavailable when Type is set to “Random”) Value Range: -100% (-180 Degrees) to +99% (178 Degrees),

Random

Shifts your waveform to the right (or left) allowing you to start your oscillator on an offset. Setting this parameter to “Random” causes your LFO to begin at a random point in its cycle.

Menu: S Program/Synth/LFO Parameter: Ramp Value Range: 0 – 30 Sec

Sets the amount of time it takes your LFO to gradually “fade in” from zero to the maximum amount of modulation. If you set this value to 0, then the LFO starts immediately.

Menu: Program/Synth/LFO Parameter: Del LFO Value Range: Yes, No

This button deletes the currently selected Envelope. A dialog box will appear asking you to confirm whether you want to delete your LFO. Press “Yes” to delete.

Alesis Fusion Reference Manual

Specifications and Main Features

Frequently Asked Questions

User Manual