Creamware Prodyssey ASB - Expander User manual

PRODYSSEY ASB
Authentic Sound Box
Disclaimer
Prodyssey ASB is manufactured by CreamWare Audio GmbH, Siegburg, Germany. (C) CreamWare 1999 - 2006 - all rights reserved.
The following documentation, compiled by CreamWare Audio GmbH (henceforth called CreamWare), represent s the current state of the described product. The documentation may be updated on a regular basis. Any changes which might ensue, including those necessitated by update specifications, are included in the latest version of this documentation. CreamWare is under no obligation to notify any person, organization, or institution of such changes or to make these changes public in any other way.
We must caution you that this publication may include technical inaccuracies or typographical errors. CreamWare offers no warranty, either expressed or implied, for the contents of this documentation. You will find
the warranty regulations for the product at the end of this documentation. In no event will CreamWare be liable for any loss of data or for errors in data use or processing resulting from the
use of this product or the documentation. In particular, CreamWare will not be responsible for any direct or indirect damages (including lost profits, lost savings, delays or interruptions in the flow of business activities, including but not limited to, special, incidental, consequential, or other similar damages) arising out of the use of or inability to use this product or the associated documentation, even if CreamWare or any authorized CreamWare representative has been advised of the possibility of such damages.
The use of registered names, trademarks, etc., in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations (patent laws, trademark laws etc.) and therefore free for general use. In no case does CreamWare guarantee that the information given in this documentation is free of such third-party rights.
Neither this documentation nor any part thereof may be copied, translated, or reduced to any electronic medium or machine form without the prior written consent from CreamWare Audio GmbH.
This product (and the associated documentation) is governed by the GTC (General Terms and Conditions) of CreamWare Audio GmbH.
Index
Owner’s Manual
Disclaimer 2 Index 3 Introduction 4
Getting started
Making connections 6 Power adaptor 6 MIDI connection 6 Audio connection 7 Power switch 7 USB connection and drivers 7 Installation of Remote Software 8 Presets 8
The Control Panel
Portamento, Noise 9 VCO 1 and VCO 2 9 Modulation 11 LFO 12 Sample/Hold 13 Filter 14 Envelopes 17 Configuration Strip 19
Prodyssey Remote Software
General information 23 Panel layout 23 Main page 24 Add page 25 Prefs page, Hardware info 29 MIDI monitor 31 MIDI keyboard 32 Preset administration 33
Specifications
MIDI implementation table 35 Specifications 36 Warranty regulations 37 CE certificate 37
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Welcome
Thank you for choosing the PRODYSSEY ASB. We are sure that you are going to have just as much fun with your new PRODYSSEY ASB as we had developing this unique and characteristic synthesizer. Please read this manual thoroughly in order to fully take advantage of the many features the PRODYSSEY ASB has to offer .
Introduction
The PRODYSSEY is a one-to-one reproduction of the ARP Odys­sey synthesizer. The ARP Odyssey is a true analog synthesizer from the 1970’s and has taken its proper place alongside other classic synths. It can be considered a compact version of the half­modular ARP 2600, making it ARP’s answer to the successful Mini­moog. But this synth is much more than that. While it is based on the classic analog synthesizer design – with oscillators, filters, and amplifier – it also offers a number of interesting improvements that make it unique and exciting. The most significant features are the wide range of modulation possibilities and of course the sample/ hold section. Its small footprint and rich feature set made it an immediate hit with experts who already knew the sweet and power­ful sounds the thing was capable of producing. And so it’s no surpri­se that the Odyssey became a legend, with its capability to produce the full gamut of tones in the sound spectrum, from deep basses to cutting leads to impressive effects. Its diversity of sounds makes the Odyssey one of the most sought after classic synths on today’s used market, and it clearly hasn’t lost any of its original appeal.
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We relied on our tried and true Circuit Modeling process in order to preserve the original character of this instrument and to faithfully reproduce its wide range of sounds. This process delivers extreme­ly faithful sound reproduction and aliasing-free algorithms. We were able to go beyond simply modeling certain aspects of this classic instrument; in fact, we fully emulated it. Even the knob settings and the behavior of the knobs themselves are identical to those of the original instrument. Within the variations from unit to unit of the original instrument, the PRODYSSEY perfectly reproduces the sounds of the original ARP Odyssey. So go ahead and grab all of your old patch sheets, or download a couple from the Web, and conjure up some of those classic sounds. Or play around with the synth’s new , expanded features, explore the integrated effect s sec­tion, and create the sounds of tomorrow. Give your imagination free reign!
The Creamware team wishes you lots of fun as you explore your new PRODYSSEY ASB!
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Getting started
Making Connections
Connecting the power adaptor
To connect your PRODYSSEY ASB to a mains supply, please use the power adaptor supplied with the unit. First connect the power adaptor to your PRODYSSEY ASB. Before plugging the adaptor's plug into a mains socket, make sure it is compatible with the mains voltage in your country . If you lose the power supply, a st andard AC or DC 12V / 1.5A power adaptor can be used as a replacement. The PRODYSSEY ASB's power socket requires a hollow plug (5.5 mm x
2.1mm x 1 1.5 mm, centre positive).
Important Notice: The only suitable Expression Pedal for your Prodyssey is the model "YamahaTM FC7" (or 100% compatible). Other models MUST NOT be connected as these may cause permanent da­mage to your Prodyssey !
MIDI connections
There are two ways to play your Prodyssey using MIDI:
1. Connect your Prodyssey directly to a master keyboard.
2. Connect your Prodyssey to your computer's MIDI port in order to use it with a sequencer or with the Prodyssey's Remote Software.
Connect the MIDI in and out of your PRODYSSEY ASB to the MIDI in and out of your keyboard or computer. The MIDI input of your PRODYSSEY ASB should be connected to the MIDI output of your keyboard / computer, and vice versa.
The PRODYSSEY ASB's incoming MIDI signal can also control another instrument if you connect the PRODYSSEY ASB's 'MIDI thru' to the instrument's MIDI in. If your computer does not have a MIDI port, you can use USB connection as an alternative.
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Audio Connections
In order to hear the PRODYSSEY ASB, connect its stereo outputs to the left / right inputs of a mixer, a computer sound card or a HiFi system. You can also process external signals by plugging an audio sound source into your PRODYSSEY ASB's input.
Power Switch
This is rather obvious, but in order to activate the PRODYSSEY ASB please turn the power switch on!
USB Connections and driver installation (Windows XP)
An alternative to using MIDI to connect your PRODYSSEY ASB to a computer is to use the built-in USB interface. On a PC, this requires Windows XP with Service Pack 2; the Mac version supports OS10.4. After connecting the PRODYSSEY to a computer, Windows will automatically recognize the PRODYSSEY ASB as an audio USB instrument. No extra drivers are required - you can start playing right away! Af ter starting your sequencer program (shown here: Cubase SX), you can use the USB audio instrument driver as a MIDI port. Once in a while, under older versions of Windows XP (before Service Pack 2), the USB port will not re-appear on screen after disconnecting the PRODYSSEY ASB. In this case, please reboot Windows XP. After rebooting, your USB port should appear again.
Installation of the Remote Software
T o install the Remote Sof tware supplied with the PRODYSSEY ASB on your PC, please put the CD-ROM labelled 'PRODYSSEY ASB' into the CD-R drive of your computer. The 'Install dialogue' should then automatically appear on your screen. (If you have de-activated the automatic start function of your CD-R drive, please start the installation by double-clicking the file 'setup.exe' on the CD.) On the first page, please choose the language you'd like to use for the install procedure and then confirm your choice by pressing the 'Next' button.
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Y ou will then see the message 'Welcome to the Installation' - please continue by pressing 'Next'.
On the following page you will find the license agreement. Please read it carefully and if you agree, select "I accept the license terms"
- then continue by pressing the 'Next' button. You can now set the installation path within the 'Installation path' drop-down menu. If you
don’t set a dedicated path here, the Remote Software will be installed to “C:\Programs\Creamware\Prodyssey ASB Remote”. Installation requires 6.7 MB of empty hard disk space.
The 'Choose Start Menu
Folder' lets you choose your own directory . If you don't make a choice, a 'Prodyssey' directory will be created.
Presets
Preset administration is handled in the 'sound' section of the 'configuration strip'. There are 128 user and 128 factory presets. To load a preset, press the 'preset' button, then use the 'down/up' button or the data wheel to scroll through the presets. A preset holds all parameter and effects settings, including the additional settings found in the Remote Software’s 'Add page' (see below).
Y ou can only save presets in the user bank - consequently, 'user' is automatically selected when saving a preset.
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The Control Panel
Portamento
Portamento allows you to smoothly transition (glide) the pitch between consecutive notes. The fader determines the time interval between the notes. Setting it to Minimum deactiva­tes portamento completely. You can toggle the portamento on/off with a footswitch.
Noise Generator
The noise generator allows you to select between White or Pink Noise.
V olt age Controlled Oscillators (VCO1, VCO2)
Oscillators 1&2 are identical except for a few minor differences. The audio mixer has a selector switch that lets you toggle between sawtooth and square waveforms. You can also change the pulse width either manually or via modulation. Each Oscillator has two inputs for pitch modulation for which you can select the intensity. Oscillator 1 can be used independently of the keyboard, making it into an LFO. Oscillator 2 can be synced to Oscillator 1.
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Coarse
Use this to set the oscillator frequency . The range can be adjusted over 6 octaves.
Fine
Use this knob to detune the oscillators with respect to one another. Detuning and then mixing two oscillators produces vibrations that result in a more lively sound. The range can be adjusted over approximately one octave.
Octave Up/Down
Unlike the original model, our remake is equipped with a switch that allows you to set each oscillators’ frequency in octave step s over a range of 3 octaves.
Keyboard On/Off
You can use this switch to disconnect Oscillator 1 from the key­board in order to use it as an LFO. The oscillator is now running at a much slower rate. Instead of frequencies spanning several octa­ves in the higher ranges, the “coarse” setting now ranges from just
0.2 Hz to 20 Hz.
Sync On/Off
This setting activates the hard sync from Oscillator 2 to Oscillator 1. Hard sync makes the Oscillator 2 waveform re-start with each cycle of the Oscillator 1 waveform. This process transfers the pitch from Oscillator 1 to Oscillator 2. Depending on the “coarse” setting and Oscillator 2’s frequency modulation, you can create different over­tone spectra each time you re-start the waveform.
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Pulse Width
This is where you set the oscillator’s pulse width. To hear what your setting sounds like you need to turn on the pulse waveform in the audio mixer. The range extends from 50% to 5% of the pulse width.
Pulse Width Modulation
With this setting you can use modulation to change the pulse width. Y ou can set either the sine wave LFO or the ADSR envelope as the modulation source. The knob determines the intensity of the modu­lation.
Frequency Modulation
Each of the oscillators has two inputs for frequency modulation. As modulation sources, you can choose either the sine or square wave LFO for Oscillator 1 as the first modulation input and the sample/ hold function or the ADSR envelope as the second modulation input. Oscillator 2 allows you to select either the sine LFO or the output of the sample/hold mixer as the first input and the sample/hold function or the ADSR envelope as the second modulation input; you could also choose the connected foot slider as the first modulation input (read the description below). Use the knobs to set the intensity of the modulation.
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The only suitable Expression Pedal for your PRODYSSEY is the model "YamahaTM FC7" (or 100% compatible). Other mo­dels MUST NOT be connected as these may cause permanent damage to your PRODYSSEY!
The PRODYSSEY ASB automatically recognizes a connected foot slider once the unit it switched on; however, it is activated only af ter it has been fully pressed and released.
LFO
The PRODYSSEY’s LFO features sine and square waveforms – you choose the wave form at the modulation destination. In addition, the LFO functions as a timing signal for the Samp­le/Hold and for the envelopes in the repeat mode.
LFO Freq
This sets the LFO frequency. The range is from 0.2 Hz to 20 Hz.
Sample/Hold Mixer
This is where the signals that provide the source for the sample/hold are mixed. The mixed signal can also be used directly as a modulation source in various areas. For example, noise or individual oscillators can be used as modulation sources. Y ou can mix your choice of any two of four available sources. You can choose between sawtooth and square from Oscillator 1 and noise or square from Oscillator 2. The faders adjust the signals’ intensities that are assi­gned to the sample/hold function or to a direct modula­tion destination. There are two faders to mix the signals and two switches to select the source. A selector switch directly below each fader determines the signal to be mixed. For channel 1 these are sawtooth and square, and for channel 2 you can choose between the noise generator or square.
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Sample/Hold
Sample/Hold transforms a continuous signal into a stepped signal by taking a sample from the sample/hold mixer’s signal at assigna­ble intervals and memorizes (or “holds”) this value until the next sample is taken. This sampling can be triggered by the LFO or by pressing a key. Various combinations of assigned signals and set trigger modes can produce different types of effects. For example, a smoothly rising sawtooth can be turned into a series of upwards steps, or the noise source can be made into a random modulation signal that changes according to the speed of the LFO. You can use Output Lag to smooth out the Sample/Hold steps.
Trigger Mode
The Sample/Hold process can periodically be triggered via the LFO or manually by playing notes on a keyboard. Choosing the LFO triggers sample/hold in time with the LFO frequency, meaning the sample/hold process takes place once for every cycle. Selecting the keyboard as the trigger will causes the sample/hold to start when a new note is played.
Output Lag
A high-pass filter at the output of the sample/hold can smooth out the sample/hold’s hard steps and jumps. The higher the setting, the greater the smoothing.
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Audio Mixer
This is where the signals are mixed before they get sent to the filter. You can choose up to three of the six signals and adjust their volume levels. Possible signals are noise or ring modulation of OSC1&2, sawtooth or square of OSC1 and saw­tooth or square of OSC2.
Filter Section
The filter section consists of a modulatable low-pass filter with resonance and is followed by a non-resonant, frequency-adjusta­ble high-pass filter. Each knob can be toggled between “Prodyssey” (ARP 24-dB low-pass filter with a cutoff at around 12 kHz) and “Minimax“ (Moog 24-db low-pass filter , a legendary Moog cascade) – a powerful feature that the original did not have. The low-pass filter determines not only the envelope and other modulations but also the shape of the sound curve. Frequencies below the cutoff frequency are not processed, hence the term “low-pass”; frequen­cies above the cutoff frequency are attenuated by 24dB/octave. Resonance is a result of feeding back the filter output to the filter input, thereby amplifying the frequencies near the cutoff frequency . The circuit modeling process enables both filters to emulate the characteristics of the original. The cutoff settings and the reso­nance behavior illustrate the typical ARP and Moog characters. The high-pass filter that follows the low-pass filter works without reso­nance and modulation. Frequencies above the cutoff frequency are not processed, hence the term “high-pass”; frequencies below the cutoff frequency are attenuated by 6dB/octave.
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V oltage-Controlled Filter
Adjustable parameters include the 24-db low-pass filter , “ARP” and “MOOG” modes, cutoff, and resonance. In addition, you can select three of six available modulation sources. VCF Frequency: The cutoff frequency of the low-pass filter is the frequency above which the spectrum is attenuated and overtones are de-emphasized. This is where you manually change the cutoff frequency.
VCF Resonance
Resonance results from feeding the filter output back to the filter input: the frequencies near the cutoff frequency are thus emphasi­zed. At full resonance the filter self-oscillates and creates a sine wave at the set cutoff frequency.
VCF Modulation
The filter cutoff features three modulators that can be adjusted according to intensity. There are three faders to adjust the intensi­ties and three switches to select the sources. Y ou can use a selec­tor switch directly below each fader to choose the signal to be mixed. For the first modulator you can select from Key Follow and the Sample/Hold mixer, or alternatively the connected foot slider (read the explanation below). For the second modulator you can select from the Sample/Hold function and the LFO’s sine wave. For the third modulator you can select either the AR or the ADSR enve­lope.
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The only suitable Expression Pedal for your PRODYSSEY is the model "YamahaTM FC7" (or 100% compatible). Other mo­dels MUST NOT be connected as these may cause permanent damage to your PRODYSSEY!
The PRODYSSEY ASB automatically recognizes a connected foot slider once the unit it switched on; however, it is activated only af ter it has been fully pressed and released.
With Key Follow selected, the cutoff frequency follows the played note according to the selected intensity. Setting the fader to maxi­mum sets the frequency control to 100%, thus tuning the filter out­put, so it can be played via the keyboard. Selecting the Sample/Hold function enables noise or one of the oscillators to function as a modulation source for the filter cutoff. This makes it possible to use Filter FM in the audible range, which can create particularly interesting sounds. The Sample/Hold function produces a stair-step or random modu­lation signal that can be used to create fascinating sound effects by tweaking the cutoff and resonance. For example, you can try ran­domly jumping the cutoff frequency or playing a pattern. Play around with the parameters of the Sample/Hold mixer and the Sample/ Hold itself. Y ou can use the LFO’s sine wave to modulate the filter periodically. Change the LFO’s frequency to change the modulation rate. You can use the AR or the ADSR envelope to modulate the filter cutoff frequency . The cutof f frequency follows the envelope’s shape according to the selected intensity .
HPF Cutoff Frequency
The cutoff frequency of the high-pass filter is the frequency below which the spectrum is attenuated, and the sound’s fundamental tone is de-emphasized. You can change the cutoff frequency ma­nually . The high-pass filter has no resonance and cannot be modu­lated. Use it to create unusual sounds, like for example to re-create the sound of analog hi-hats or other sounds that should be free of bass components.
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V oltage Controlled Amplifier
The envelope and the amplifier determine the sound’s volume curve. You can use the AR or the ADSR enve­lope to modulate the amplifier. You will also find the volume fader in this section of the synth.
VCA Gain
This is where you set the sound’s volume, which is inde­pendent of the envelope generated volume curve i.e. the PRODYSSEY ASB sounds the same even with no external keyboard, sequencer, etc.
Envelope Generators
Two envelopes are available for different modulation uses. The first envelope provides settings for attack and release, while sustain is fixed at maximum. The second envelope is more complex and features attack, decay, sustain, and release. You can select from various pla­ces on the synth which of the envelopes to use on the modulation. The ADSR envelope can be used to control the pitch, the pulse width, the cutoff frequency, and the volume. The AR envelope can be used on the filter cut­off and the Amplifier . An added feature of the new versi­on of the synth is that you can set the envelope genera­tors’ velocity to change when you play on the keyboard.
Attack
The duration of the first envelope segment. During the attack phase the envelope rises for the selected time frame to maximum. The selected intensity sets the rate of this rise.
Decay
The duration of the second envelope segment. During the decay phase the envelope level falls to the selected “sustain” level. Sustain: The third segment of the envelope. This control sets the level at which the envelope stays after decay phase while a note is held. The sustain effect is dependent on the selected modulation intensity.
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Release
The fourth segment of the envelope. In the release phase the enve­lope falls back to zero.
AR Velocity/ADSR V elocity
This setting modulates all envelope levels in response to velocity . Depending on the sel­ected modulation level the envelope levels can vary between minimum and maximum according to these settings. The velocity af­fects the assigned modulation.
KEYB Repeat/Auto Repeat
The PRODYSSEY’s envelopes can be triggered either manually by playing notes (via Keyboard Gate) or automatically by the LFO (via LFO Repeat). When Keyboard Gate is activated you can play nor­mally on the keyboard. The envelope is triggered by playing a note on the keyboard, and letting go of the note releases the envelope. Activating LFO Repeat repeats the envelope at the LFO’s tempo. The LFO’s rising edge starts the envelope and the falling edge closes the envelope according to the selected release time. You can alter the LFO speed and selected envelope times to create a variety of envelope shapes. Activating Keyboard Repeat makes it possible to listen to the result only when pressing a note on the keyboard. Activating LFO and Auto-Repeat triggers the envelopes from the LFO.
ADSR KEYB Gate/LFO Repeat
This is where you select the trigger mode for the ADSR envelope.
AR KEYB Gate/LFO Repeat
This is where you select the trigger mode for the AR envelope.
KEYB Repeat/Auto Repeat
Enabling LFO Repeat and Keyboard Repeat will cause envelopes to repeat for the durati­on that a note is held. Enabling Auto Repeat with LFO Repeat will cause envelopes to repeat endlessly.
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Configuration Strip
The lower 'configuration strip' section of the control panel contains various display features and controls to change system and effects settings and to manage presets.
Match
This display enables you to view the programmed value for every parameter of a currently active pre­set. When you turn a knob on the control panel, one of the seven yellow 'match' LED's will blink. If the altered value is smaller than the one stored in the preset, a left-of-centre LED will light up; if the value is greater, an LED on the right lights up. When the current front panel setting matches the stored value, the central LED blinks. Using this visual aid, you can easily work out and duplicate a preset's stored para­meter settings.
Value
With the data wheel (on the left) and 'down/up' buttons you can set configuration strip parameters such as MIDI channel and volume. You can also toggle between polyphonic and monophonic modes by pressing the 'down' and 'up' buttons at the same time: the display shows 'ON' for polyphonic and 'OF' for monophonic mode.
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MIDI
To change MIDI channel, press the 'channel' but­ton and select the channel using the 'down/up' buttons or the data wheel. If a small vertical line appears in the display to the left of the channel number, it indicates that the instrument receives MIDI data on all channels simultaneously (this is called MIDI 'omni mode'). In omni mode, MIDI data is received on all sixteen channels, but trans­mitted only on the selected channel. When no vertical line is shown, the instrument receives and sends MIDI data on one selected chan­nel.
MIDI V alues: MIDI Channel 1 … 16 (omni off) MIDI Channel I1 … I16 (vertical lines = omni on) Press the 'control' button to select the MIDI local mode using the
'down/up' buttons or the data wheel. The display toggles between 'ON' (indicating that the PRODYSSEY ASB is set to 'local on' mode) and 'OF', indicating that 'local off' is selected. In 'local on' mode, incoming MIDI messages are transmitted via the Prodyssey ASB's MIDI out socket; in 'local off' mode, only front panel control changes are sent to MIDI out.
Sound
To adjust the PRODYSSEY's overall volume, press the 'volume' button and use the 'down/up' buttons or data wheel. This global volume setting is not saved within presets.
Preset
To load a preset, press the 'preset' button, then use the 'down/up' button or the data wheel to scroll through the preset list. A preset holds all parameter and effects settings, including the settings in the Remote Software’s 'Add page' (see below). Presets can only be saved in the user bank, which is why 'user' is automatically selected when saving a preset.
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Having selected 'preset', you can press the 'user' button to switch between the factory and user banks. (Please note that this function will not work unless you press the 'preset' button first.)
User (secondary function)
The 'user' button has a secondary function which is activated by holding it down for one second. This sends current front panel settings to the PRODYSSEY's sound engine (and to the Remote Software) so you can hear them in action. (Hidden parameters on the Remote Software's 'Add page' will be set to their default valu­es).
Store
T o save a preset, press the 'store' button. The LED will start blinking
- now choose a preset number by turning the data wheel or by using the 'down/up' buttons and press 'store' again. At this point the LED will start flickering - press the 'store' button until the LED light goes off. The preset is now stored under the chosen preset number.
Effects
Pressing the 'bypass' button turns all effects off. (Depending on your effects settings, this might make some presets sound a little louder.) Once selected, the 'bypass' LED will light and all ef fects will be muted - pressing the button again cancels the 'bypass' and turns the effects back on. To choose an effects program, press the 'program' button and use the data wheel or 'down/up' buttons to make a selection. There are a total of five programs offering various combinations of chorus and delay. As you can see from the 'effects programs' table below, the three effects parameters (labelled 'Param 1 - 3' on the control pa­nel) differ from program to program.
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Effects programs:
surohC
emiTyaleD
MPByaleD
emiTyaleDsurohC
MPByaleDsurohC
Parameters value range:
1RETEMARAP2RETEMARAP3RETEMARAP
htpeDsurohC etaRsurohC kcabdeeFsurohC
gnipmaDyaleDtfeLemiTyaleDthgiRemiTyaleD
MPByaleD tfeLetoNyaleD thgiRetoNyaleD
htpeDsurohCtfeLemiTyaleDthgiRemiTyaleD
MPByaleD tfeLetoNyaleD thgiRetoNyaleD
egnaRlortnoC
htpeDsurohC
etaRsurohC
kcabdeeFsurohC
emiTyaleD
MPByaleD
etoNyaleD
01-0
zH02-zH10.0
5+...5-
s0684,1-sm3.0
291-27
T4/14/1P4/1T2/12/1P2/11/1 T61/161/1P61/1T8/18/1P8/1
T46/146/1P46/1T23/123/1P23/1
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Prodyssey ASB
Remote Software
General
To control your PRODYSSEY ASB with the Remote Software, you have to connect the PRODYSSEY ASB to a computer via USB or MIDI.
Panel Layout
The Remote Software has three pages for sound control: the 'Main' page duplicates the control panel of the PRODYSSEY ASB and contains all the parameters you already know from the hardware. The 'Add' page contains additional parameters which are not ac­cessible from the PRODYSSEY ASB hardware - these include af­tertouch and modulation wheel settings. Control settings for the chorus, flanger and delay effects are found on the 'Effects' page. An additional 'Prefs' page contains the Remote Software's system settings and also a facility to update your PRODYSSEY ASB's ope­rating system when updates become available. On the Remote Software's lower panel you will find the preset admi­nistration section, an integrated virtual MIDI keyboard and also a MIDI monitor which enables you to view incoming MIDI messages.
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