E-Mu B-3 User Manual

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64-Voice Tone Wheel Organ

OPERATION MANUAL

B-3

Operation Manual

Getting Started PN: FI10666 Rev. B

CD PN: CD10562 Rev. B

E-MU World Headquarters Europe, Africa, Middle East E-MU Systems U.S.A. E-MU Systems, Ltd.

P.O. Box 660015 Suite 6, Adam Ferguson House Scotts Valley, CA USA Eskmills Industrial Park 95067-0015 Musselburgh, East Lothian Telephone: 831-438-1921 Scotland, EH21 7PQ Fax: 831-438-8612 Tel: +44 (0) 131-653-6556 Internet: www.emu.com Fax: +44 (0) 131-665-0473

Important Notice:

In order to obtain warranty service on your B-3 unit, the serial number sticker must be intact and you must have a sales receipt or other proof of purchase. If there is no serial number sticker on the B-3, please contact E-MU Systems at once.

This product is covered under one or more of the following U.S. patents: 4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645; 5,111,727; 5,144,676; 5,170,367; 5,248,845; 5,303,309; 5,317,104; 5,342,990; 5,430,244 and foreign patents and/or pending patents. B-3 is a registered trademarks of E-MU Systems. All other trademarks belong to their respective companies.

Introduction 1

Product Description . . . . . . . . . . . . . . . . . . . .1

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Important Safety Instructions 3

Grounding Instructions. . . . . . . . . . . . . . . . . .3

Danger! . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Caution! . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

User Maintenance Instructions . . . . . . . . . . . .4

Radio and Television Interference . . . . . . . . . .5

Warnings - German 6

Wichtige Sicherheitsvorschriften . . . . . . . . . . .6

Erdungsinstruktionen . . . . . . . . . . . . . . . . . . .6

Gefahr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Vorsicht. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Unterhaltsinstruktionen für anwender. . . . . . .7

Vorsicht. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Warnings - French 9

Instructions de Sécurité Importantes. . . . . . . .9

Instructions de Mise à la Terre. . . . . . . . . . . . .9

Danger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Attention . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Instructions de

Maintenance. . . . . . . . . . . . . . . . . . . . . . . . . .9

Interférences Radio et Télévision . . . . . . . . . . .11

E-MU Systems

Declaration of Conformity 12 Setup 13

Unpacking . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Connection Instructions . . . . . . . . . . . . . . . . .14

Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Studio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Power Up! . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Instant Gratiﬁcation . . . . . . . . . . . . . . . . . . . .17

Playing Demo Sequences . . . . . . . . . . . . . . . . . 17

Auditioning Presets . . . . . . . . . . . . . . . . . . . . . . 17

Selecting and Quick Editing Presets . . . . . . . . . 18

Bank Select Commands . . . . . . . . . . . . . . . . . . 20

Basic Operations 21

Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Volume Control . . . . . . . . . . . . . . . . . . . . . . . . 21

Master Button . . . . . . . . . . . . . . . . . . . . . . . . . 21

Edit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Control Button . . . . . . . . . . . . . . . . . . . . . . . . . 21

Audition Button . . . . . . . . . . . . . . . . . . . . . . . . 22

Left/Right Cursor Buttons . . . . . . . . . . . . . . . . . 22

Multisetup Button . . . . . . . . . . . . . . . . . . . . . . 22

Save/Copy Button . . . . . . . . . . . . . . . . . . . . . . 22

Home/Enter Button . . . . . . . . . . . . . . . . . . . . . 23

Data Entry Control . . . . . . . . . . . . . . . . . . . . . . 23

Controller Knobs . . . . . . . . . . . . . . . . . . . . . . . 23

Front Panel Controller Modes . . . . . . . . . . . . .23

Real-time Control . . . . . . . . . . . . . . . . . . . . . . . 23

Quick Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Deep Edit Mode . . . . . . . . . . . . . . . . . . . . . . . . 25

Main Screen . . . . . . . . . . . . . . . . . . . . . . . . . .26

MIDI Channel Selection . . . . . . . . . . . . . . . . . . 26

Preset Selection . . . . . . . . . . . . . . . . . . . . . . . . 26

Channel Volume . . . . . . . . . . . . . . . . . . . . . . . . 27

Channel Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Sound Navigator. . . . . . . . . . . . . . . . . . . . . . .29

Preset Category . . . . . . . . . . . . . . . . . . . . . . . . 29

Instrument Category . . . . . . . . . . . . . . . . . . . . 29

Multitimbral Operation. . . . . . . . . . . . . . . . . .30

Multisetup 31

Multisetups. . . . . . . . . . . . . . . . . . . . . . . . . . .31

Restoring Multisetups . . . . . . . . . . . . . . . . . . . . 32

Multitimbral Sequencing. . . . . . . . . . . . . . . . .34

Master Menu 35

Deﬁning Master Parameters . . . . . . . . . . . . . .36

Transpose/Tune . . . . . . . . . . . . . . . . . . . . . . . . 36

Bend Range . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Velocity Curve . . . . . . . . . . . . . . . . . . . . . . . . . 37

Mix Output . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Master Effects . . . . . . . . . . . . . . . . . . . . . . . . .39

Effects Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Effects Multi Mode Control . . . . . . . . . . . . . . . . 39

Master FXA Algorithm . . . . . . . . . . . . . . . . . . . 40

FXA Parameters: Decay/HF Damping FxB -> FxA 41

FXA Send Amounts . . . . . . . . . . . . . . . . . . . . . . 41

Master FXB Algorithm . . . . . . . . . . . . . . . . . . . 41

FXB Parameters: Feedback/LFO Rate Delay Time 42

FXB Send Amounts . . . . . . . . . . . . . . . . . . . . . . 42

4 E-MU Systems

MIDI Parameters . . . . . . . . . . . . . . . . . . . . . . 43

MIDI Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

MIDI SysEx ID . . . . . . . . . . . . . . . . . . . . . . . . . 43

MIDI Enable . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

MIDI Program Change -> Preset . . . . . . . . . . . . 44

Receive Program Change . . . . . . . . . . . . . . . . . 45

Real-time Controller Assignment . . . . . . . . . . . 45

MIDI Footswitch Assign . . . . . . . . . . . . . . . . . . 46

Tempo Controller . . . . . . . . . . . . . . . . . . . . . . 47

Knob Preset Quick-Edit . . . . . . . . . . . . . . . . . . . 47

Knobs Deep Edit . . . . . . . . . . . . . . . . . . . . . . . 48

Knobs/Riff MIDI Out . . . . . . . . . . . . . . . . . . . . . 48

Preset Edit All Layers Enable . . . . . . . . . . . . . . . 48

Front Panel Knob Calibration . . . . . . . . . . . . . . 49

MIDI SysEx Packet Delay . . . . . . . . . . . . . . . . . 50

Send MIDI System Exclusive Data . . . . . . . . . . . 50

User Key Tuning . . . . . . . . . . . . . . . . . . . . . . . . 51

Base Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Screen Viewing Angle . . . . . . . . . . . . . . . . . . . 52

Programming Basics 53

Modulation. . . . . . . . . . . . . . . . . . . . . . . . . . 54

Modulation Sources . . . . . . . . . . . . . . . . . . . 55

Random Sources . . . . . . . . . . . . . . . . . . . . . . . 56

Modulation PatchCords. . . . . . . . . . . . . . . . . 56

Envelope Generators. . . . . . . . . . . . . . . . . . . 57

Low Frequency Oscillators (LFOs) . . . . . . . . . 59

Clock Modulation . . . . . . . . . . . . . . . . . . . . . 60

Modulation Destinations. . . . . . . . . . . . . . . . 62

Modulation Processors . . . . . . . . . . . . . . . . . 63

Preset Modulation Processors . . . . . . . . . . . . 65

Using the Modulation Processors . . . . . . . . . . . 67

More Examples . . . . . . . . . . . . . . . . . . . . . . . . 69

Dynamic Filters . . . . . . . . . . . . . . . . . . . . . . . 71

What is a Filter? . . . . . . . . . . . . . . . . . . . . . . . . 72

Parametric Filters . . . . . . . . . . . . . . . . . . . . . . . 75

The Z-Plane Filter . . . . . . . . . . . . . . . . . . . . . . . 76

Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . 77

MIDI Channels & Real-time Controls. . . . . . . 78

Bank Select Commands . . . . . . . . . . . . . . . . . . 80

Stereo Mix Outputs. . . . . . . . . . . . . . . . . . . . 81

Edit Menu 83

Preset Name . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Four Layer Architecture . . . . . . . . . . . . . . . . . 85

B-3 Operation Manual 5

Selecting Layers . . . . . . . . . . . . . . . . . . . . . . . . 85

Deﬁning Layer Parameters . . . . . . . . . . . . . . .86

Selecting an Instrument . . . . . . . . . . . . . . . . . . 86

Defining Key Range . . . . . . . . . . . . . . . . . . . . . 87

Defining the Velocity Crossfade Range . . . . . . . 90

Defining the Real-time Crossfade Range . . . . . . 92

Transposing the Instrument . . . . . . . . . . . . . . . 95

Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Amplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Volume Envelope . . . . . . . . . . . . . . . . . . . . . . . 97

Chorusing the Layer . . . . . . . . . . . . . . . . . . . . . 99

Sound Start Offset and Delay . . . . . . . . . . . . . . 99

Non-Transpose Mode . . . . . . . . . . . . . . . . . . . . 100

Solo Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Assign Group . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Glide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Z-Plane Filters . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Filter Envelope . . . . . . . . . . . . . . . . . . . . . . . . . 106

Auxiliary Envelope . . . . . . . . . . . . . . . . . . . . . . 108

Low Frequency Oscillators (LFOs) . . . . . . . . . . . 108

PatchCords . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Pitch Bend Range . . . . . . . . . . . . . . . . . . . . . . . 116

Mix Output . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Common Preset Parameters . . . . . . . . . . . . . .117

Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . 117

FXA Algorithm . . . . . . . . . . . . . . . . . . . . . . . . . 119

FXA Parameters . . . . . . . . . . . . . . . . . . . . . . . . 120

FXA Send Amounts . . . . . . . . . . . . . . . . . . . . . . 120

FXB Algorithm . . . . . . . . . . . . . . . . . . . . . . . . . 120

FXB Parameters . . . . . . . . . . . . . . . . . . . . . . . . 121

FXB Send Amounts . . . . . . . . . . . . . . . . . . . . . . 121

Preset Patchcords . . . . . . . . . . . . . . . . . . . . . . . 121

Initial Controller Amount . . . . . . . . . . . . . . . . . 123

Keyboard Tuning . . . . . . . . . . . . . . . . . . . . . . . 124

Preset Links . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Preset Tempo Offset . . . . . . . . . . . . . . . . . . . . . 127

Audition Riff Selection . . . . . . . . . . . . . . . . . . . 127

Play Solo Layers . . . . . . . . . . . . . . . . . . . . . . . . 127

E-MU Systems

Programming Tutorial 129

Editing Presets . . . . . . . . . . . . . . . . . . . . . . . .129

Changing the Instrument . . . . . . . . . . . . . . . . . 129

Changing the Tuning of an Instrument . . . . . . 130

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Volume Envelope . . . . . . . . . . . . . . . . . . . . . . . 131

Working with Filters . . . . . . . . . . . . . . . . . . . . . 133

Practice Modulating . . . . . . . . . . . . . . . . . . . . . 137

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . 138

Linking Presets . . . . . . . . . . . . . . . . . . . . . . . .139

Effects 141

Effects Overview . . . . . . . . . . . . . . . . . . . . . . 141

The Effects Sends . . . . . . . . . . . . . . . . . . . . . . . 141

Effect Types. . . . . . . . . . . . . . . . . . . . . . . . . . 143

Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . 143

Effects Programmed in the Preset . . . . . . . . . 145

Master Effects . . . . . . . . . . . . . . . . . . . . . . . . 146

Effects Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Flexible Effects Control . . . . . . . . . . . . . . . . . . . 148

Effect B Into Effect A . . . . . . . . . . . . . . . . . . . . . 150

General Effect Descriptions . . . . . . . . . . . . . . 152

Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Doubling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Slapback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Stereo Flanger . . . . . . . . . . . . . . . . . . . . . . . . . 153

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Stereo Delay . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Panning Delay . . . . . . . . . . . . . . . . . . . . . . . . . 154

Dual Tap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Save/Copy Menu 155

Saving a Preset . . . . . . . . . . . . . . . . . . . . . . . 155

Copying Information. . . . . . . . . . . . . . . . . . . 156

Copy Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Copy Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Copy PatchCords . . . . . . . . . . . . . . . . . . . . . . . 157

Copy Preset Bank . . . . . . . . . . . . . . . . . . . . . . . 158

Create Random Preset . . . . . . . . . . . . . . . . . . . 158

Copy User Bank to Flash . . . . . . . . . . . . . . . . . . 159

Rename Flash SIMM . . . . . . . . . . . . . . . . . . . . . 160

Duplicate Flash . . . . . . . . . . . . . . . . . . . . . . . . . 161

Appendix 163

Front Panel Knob Functions. . . . . . . . . . . . . . 163

Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

B-3 Preset Nomenclature 164

Preset Listing. . . . . . . . . . . . . . . . . . . . . . . . . 165

Preset Listing . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Preset Listing . . . . . . . . . . . . . . . . . . . . . . . . . . 167

B-3 Preset Suffixes . . . . . . . . . . . . . . . . . . . . . . 168

Riff Listing. . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Instrument Listing. . . . . . . . . . . . . . . . . . . . . 169

Instrument Listing. . . . . . . . . . . . . . . . . . . . . . . 170

B-3 Operation Manual 7

B-3 Instrument Suffixes . . . . . . . . . . . . . . . . . . 170

Velocity Curves. . . . . . . . . . . . . . . . . . . . . . . .171

PatchCord Amount Chart . . . . . . . . . . . . . . . .173

MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174

Received Channel Commands . . . . . . . . . . . . . 176

SysEx Specification . . . . . . . . . . . . . . . . . . . . . . 176

Technical Speciﬁcations. . . . . . . . . . . . . . . . . .177

Warranty. . . . . . . . . . . . . . . . . . . . . . . . . . . . .178

Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Warranty Restrictions . . . . . . . . . . . . . . . . . . . . 178

How To Obtain Warranty Service . . . . . . . . . . . 178

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Index 181

E-MU Systems

Introduction

Congratulations on your purchase of the E-MU B-3 - 64 voice tone wheel organ sound module. This custom module was carefully engineered to capture the sound and feel of the original legendary B-3. The rotating speaker effects can be spun-up and spun-down independent of note-on events and a single trigger, polyphonic harmonic percussion generator perfectly simulates the playing behavior of the original. Meticulous sampling and advanced synthesis technology combine to provide a perfect recreation of the original instrument.

Product Description

B-3 contains two user-upgradable sound SIMM sockets, allowing you to mix and match sound sets according to your needs. New sounds can be added as easily as plugging in a new 16MB or 32MB SIMM module. Each E-MU sound set has been painstakingly crafted to be the best of its kind. Samples are matched across the keyboard, perfectly looped, and rich in harmonic texture.

B-3 has enough memory for 512 user presets and can hold literally thousands of factory presets. (ROM presets are automatically added when

sound SIMMs are installed. As an example, a 32 MB SIMM may contain up to 1024 ROM presets.) B-3’s Sound Navigator is a major improvement to the

main screen that makes it easy to ﬁnd the exact sound you want. It’s powerful, yet simple to use.

The real power and value of B-3 becomes apparent when you want to customize your own sounds. The extremely ﬂexible yet easy to use, 4-layer synthesizer voices make it easy to build sounds of any kind. Layers can be switched or crossfaded using key position, velocity, real-time controllers or any modulation source. B-3 also contains 50 different 6th and 12th order resonant & modeling ﬁlters which are used to shape and modify the raw samples.

The 64 modulation sources include three multistage envelopes and two LFOs per layer, as well as full MIDI control over virtually every parameter. The digital patch bay, with 24 cords per layer, (and 12 more cords per preset) lets you connect modulation sources to 64 destinations in any imaginable way.

B-3 Operation Manual 1

Introduction Overview

The patch bay also contains a set of arithmetic modiﬁers, letting you create complex synthesis models.

Four front panel real-time controllers give you control over 12 userselectable parameters. The real-time knobs can adjust multiple parameters at once, allowing complex levels of control. For example, one knob can simultaneously turn up ﬁlter cutoff, while detuning one sample, and adjusting the release time of the volume envelope. Virtually every synth parameter in the B-3 is controllable using the real-time knobs or by any internal or external control source.

Two 18-bit analog outputs and four internal effect sends let you process separate sounds inside B-3 and output a complex mix controlled by MIDI or internal sources.

Once you have created your preset, you can add richness to your sound using B-3’s 24-bit stereo effects. You can choose a different effects setup for each preset from over 60 algorithms. B-3’s effects section is actually two separate effects processors with control over each wet/dry mix level on four effects sends. Effects Processor “A” contains primarily ambiance algorithms like reverb and delays, while effects processor “B” contains primarily spectral algorithms such as chorus, ﬂange, phase, distortion, and delay. Effects can be linked to each preset or used globally to further enhance your sound.

Overview

Other features include multiple solo, voice assignment and performance modes for expressive control, 12 user-deﬁnable alternate tunings, an extremely easy to use interface and, of course, an extensive MIDI implementation.

This is the Getting Started manual for setting up and playing B-3, which contains only the ﬁrst four chapters of the complete manual. This short manual is intended to give you the basics of playing and controlling B-3. To get the most out of this extremely powerful instrument please refer to the complete B-3 manual, which is provided for you in PDF format (PC and Mac formats) on the supplied CD-ROM.

The manual provides step-by-step instructions for all of B-3’s features. Each parameter is described in detail, with examples where deemed appropriate. Although a short synthesizer/synthesis tutorial is provided, you may require more information than this manual provides. Many excellent books and periodicals have been published on the subject of music synthesis. There are is also a large amount of information available via the www.

The appendix provides technical information, product speciﬁcations and the Index.

E-MU Systems

Important Safety Instructions

Use in countries other than the U.S.A. may require the use of a different line cord or attachment plug, or both. To reduce the risk of ﬁre or electric shock, refer all servicing to qualiﬁed service personnel. Do not expose this product to rain or moisture. There are no user serviceable parts or adjustments inside the unit.

Grounding Instructions

Danger!

Caution!

This product must be grounded. If it should malfunction or break down, grounding provides a path of least resistance for electric current, reducing the risk of electric shock. This product is equipped with a cord having an equipment-grounding conductor and a grounding plug. The plug must be plugged into an appropriate outlet properly installed and grounded in accordance with all local codes and ordinances.

Improper connection of the equipment’s grounding conductor can result in the risk of electric shock. Check with a qualiﬁed electrician or service personnel if you are in doubt as to whether the product is properly grounded. Do not modify the plug provided with this product. If it will not ﬁt the outlet, have a proper outlet installed by a qualiﬁed technician.

If your B-3 (Model Number 9112) is rack mounted, you must use a standard 19 inch open frame rack. Screw-on rack mount ears are provided for this purpose.

B-3 Operation Manual 3

Important Safety Instructions User Maintenance Instructions

User Maintenance Instructions

The B-3 should be kept clean and dust free. Periodically wipe the unit

with a clean, lint free cloth. Do not use solvents or cleaners. There are no user lubrication or adjustment requirements.

Caution -.

These servicing instructions are for use by qualiﬁed personnel only. To reduce the risk of electric shock, do not perform any servicing other than that contained in these operating instructions unless you are qualiﬁed to do so. Refer all servicing to qualiﬁed service personnel.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

READ THESE INSTRUCTIONS: When using electric products, basic precau-

tions should always be adhered to, including the following:

This symbol is intended to

alert you to the presence of

important operating and

maintenance (servicing)

instructions in the literature

accompanying the unit.

This symbol is intended to

alert you to the presence of

uninsulated dangerous

voltage within the product’s

enclosure that may be of

sufﬁcient magnitude to

constitute a risk of electric

shock to persons.

Read all instructions before using B-3.

To reduce the risk of injury, close supervision is necessary when using B-3 near children.

Do not use B-3 near water — for example near a bathtub, washbowl, kitchen sink, in a wet basement, on a wet bar, or near or in a swimming pool. Do not expose the unit to drips or splashes.

The B-3 should be situated so that its location or position does not interfere with its proper ventilation.

The B-3 should be located away from heat sources such as radiators, heat registers, ﬁreplaces, stoves, or ovens.

The B-3 should be connected only to a power supply of the type described in the operating instructions and marked on the product.

Care should be taken so that objects do not fall and liquids are not spilled into the enclosure of B-3 through openings.

This B-3 may be equipped with a polarized line plug (one blade wider that the other). This is a safety feature. If you are unable to insert this plug into the outlet, do not defeat the safety purpose of the plug. Contact an electrician to replace your obsolete outlet.

Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the unit.

10.

Unplug the B-3 from the power outlet during lightning storms or when left unused for a long period of time.

11.

This product, in combination with an ampliﬁer and headphones and speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, consult an audiologist.

12.

Only use attachments and accessories speciﬁed by E-mu Systems.

13.

The B-3 should be serviced by qualiﬁed service personnel when:

E-MU Systems

•

Important Safety Instructions

Radio and Television Interference

A. The power supply cord has been damaged; or B. Objects have fallen, or liquid has been spilled into the unit; or C. The unit has been exposed to rain; or D. The unit has been dropped or the enclosure damaged; or E. The B-3 does not operate normally or exhibits a marked change in

performance.

14.

All servicing should be referred to qualiﬁed service personnel.

Save These Instructions.

Radio and Television Interference

The equipment described in this manual generates and uses radiofrequency energy. If it is not installed and used properly —that is, in strict accordance with our instructions— it may cause interference with radio and television reception.

This equipment has been tested and complies with the limits for a Class B computing device in accordance with the speciﬁcations in Subpart J of Part 15 of the FCC rules. These rules are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that the interference will not occur in a particular installation, especially if a “rabbit ear” TV antenna is used.

If B-3 does cause interference to radio or television reception, you can try to correct the interference by using one or more of the following measures:

Turn the television or radio antenna until the interference stops. Move B-3 to one side or the other of the television or radio. Move B-3 farther away from the television or radio. Plug B-3 into an outlet on a different circuit than the television or radio. Consider installing a rooftop antenna with a coaxial lead-in between the

antenna and television set.

B-3 Operation Manual 5

Foreign Language Warnings - German Wichtige Sicherheitsvorschriften

Foreign Language W arnings

- German

Wichtige Sicherheitsvorschriften

Erdungsinstruktionen

Gefahr

In Ländern ausserhalb den U.S.A. können andere Kabel oder Stecker notwendig werden. Zur Verminderung des Risikos von Feuer oder eines elektrischen Schlages übergebe man den Service an qualiﬁzierte Fachleute. Das Gerät niemals Regen oder Nässe aussetzen.

Das Gerät muss geerdet sein. Bei einem Defekt oder Ausfall bietet Erdung dem elektrischen Strom den Weg des geringsten Widerstandes und reduziert das Risiko eines Schlages. Dieses Gerät ist mit einem geerdeten Kabel und Stecker ausgerüstet. Der Stecker muss in eine passende, einwandfrei montierte und geerdete Steckdose in Übereinstimmung mit den örtlichen Vorschriften eingeführt werden.

Unvorschriftsgemässer Anschluss des Gerätes kann zum Risiko eines elektrischen Schlages führen. Im Zweifelsfalle über die ordnungsgemässe Erdung soll ein qualiﬁzierter Elektriker oder eine Serviecestelle beigezogen werden. Ändern Sie den mitgelieferten Stecker nicht. Sollte er nicht in die Steckdose passen, soll die einwandfreie Installation durch einen qualiﬁzierten Techniker erfolgen.

Vorsicht

E-MU Systems

Wird der B-3 (Modell Nummer 9112) in einem Rackgestell montiert, muss ein offener 19-Zollrahmen verwendet werden.

Unterhaltsinstruktionen für anwender

Foreign Language Warnings - German

Unterhaltsinstruktionen für anwender

B-3 soll sauber und staubfrei gehalten werden. Das Gerät mit einem

sauberen und säurefreien Tuch periodisch abreiben. Keine Lösungsoder Reinigungsmittel anwenden.

Schmieren und Justieren sind nicht notwendig.

Bei weiteren Servicefragen wende man sich an eine qualiﬁzierte Service-

stelle.

Vorsicht

Dieses Symbol weist den

Anwender auf wichtige

Gebrauchs- und Service-

Vorschriften in den beilieg-

enden Drucksachen.

Dieses Symbol verweist auf

nicht-isolierte Stromspan-

nungen im Geräte-Innern,

welche zu einem elektrischen

Schlag führen könnten.

Diese Gebrauchsanweisungen sind nur für qualiﬁzierte Techniker beabsichtigt. Um die Gefahr eines elektrischen Schlages zu vermeiden, sollen Sie keine Arbeit unternehmen, die nicht in diesen Instruktionen vorgeschrieben ist. Wenden Sie Sich bei weiteren Servicefragen an eine qualiﬁzierte Servicestelle.

INSTRUKTIONEN BETR. FEUERRISIKO, ELEKTROSCHOCK ODER VERLETZUNG VON PERSONEN

WARNUNG; Beim Einsatz elektrischer Geräte sollten folgende Vorsichtsmassregeln stets beachtet werden:

Lesen Sie vor dem Einschalten des B-3 alle Instruktionen.

Zur Vermeidung von Verletzungsrisiken müssen Kinder bei eingeschaltetem B-3 sorgfältig überwacht werden.

B-3 nicht in der Nähe von W asser in Betrieb nehmen -- z.B. in der Nähe von Badewannen, Waschschüsseln, auf nassen Gestellen oder am Swimmingpool.

B-3 stets so aufstellen, dass seine Belüftung nicht beeinträchtigt wird.

B-3 nicht in der Nähe von Hitze aufstellen, wie Heizkörper, offenem Feuer, Öfen oder von Backöfen.

B-3 ausschliesslich mit einem Netzgerät gemäss Bedienungsanleitung und Gerätemarkierung verwenden.

Dieses Gerät kann bei Verwendung von Kopfhörern und Verstärkern hohe Lautpegel erzeugen, welche zu bleibenden Gehörschäden führen. Arbeiten Sie nicht während längerer Zeit mit voller Lautstärke oder hohem Lautpegel. Stellen Sie Gehörverlust oder Ohrenläuten fest, wenden Sie sich an einen Ohrenartz.

B-3 kann mit einem polarisierten Kabelstecker (mit ungleichen Stiften) ausgerüstet sein. Das geschieht für Ihre Sicherheit. Können Sie den Stecker nicht in die Steckdose einführen, ändern Sie nicht den Stecker ab, sondern wenden Sie sich an einen Elektriker.

Das Netzkabel des B-3 bei längerem Nichtgebrauch aus der Steckdose ziehen.

B-3 Operation Manual 7

Foreign Language Warnings - German

10.

11.

12.

DIESE INSTRUKTIONEN AUFBEWAHREN

Vermeiden Sie sorgfältig das Eindringen von Gegenständen oder Flüssigkeiten durch die Gehäuseöffnungen.

Das Gerät soll durch qualiﬁzierte Serviceleute gewartet werden, falls: A. das Netzkabel beschädigt wurde, oder B. Gegenstände oder Flüssigkeit in das Gerät gelangten, C. das Gerät Regen ausgesetzt war, oder D. das Gerät nicht normal oder einwandfrei arbeitet, oder E. das Gerät stürzte oder sein Gehäuse beschädigt wurde.

Servicearbeiten sollten nur qualiﬁzierten Fachleuten anvertraut werden.

E-MU Systems

Foreign Language Warnings - French

Instructions de Sécurité Importantes

Foreign Language W arnings

- French

Instructions de Sécurité Importantes

Instructions de Mise à la Terre

Danger

Une utilisation dans des pays autres que les U.S.A. peut nécessiter l’usage d’un cordon d’alimentation différent. Aﬁn de réduire les risques d’incendie ou d’électrocution, référez-vous à un personnel de service qualiﬁé, et n’exposez pas cet appareil à la pluie ou à l’humidité.

Cet appareil doit être relié à la terre. Dans le cas d’une malfonction éventuelle, la terre fournit un passage de moindre résistance pour le courant électrique, réduisant ainsi les risques d’électrocution. Le B-3 est équipé d’un cordon muni d’un conducteur et d’une ﬁche devant être branchée dans une prise appropriée et reliée à la terre en conformité avec les normes locales.

Une connexion incorrecte peut résulter en des risques d’électrocution. Vériﬁez avec un technicien qualiﬁé si vous avez des doutes quant à la connexion. Ne modiﬁez pas vous-même le cordon d’alimentation livré avec cet appareil; s’il ne rentre pas dans la prise, faites-en installer un autre par un technicien qualiﬁé.

Attention

Instructions de Maintenance

Si le B-3 (Model 9112) est installé dans un rack, utilisez un rack standard ouvert de 48.25cm.

le B-3 doit être maintenu propre et sans poussière. Nettoyez-le

périodiquement à l’aide d’un chiffon propre et non-pelucheux. N’utilisez pas de solvants, ou d’autres produits de nettoyage.

Aucune lubriﬁcation et aucun réglage ne sont nécessaires de votre part.

3. Pour tout autre service, référez-vous à un personnel qualiﬁé.

B-3 Operation Manual

Foreign Language Warnings - French Instructions de Maintenance

Instructions Concernant les Risques d’Incendie, d’Electrocution, ou de Blessures Corporelles.

ATTENTION: Lorsque vous utilisez des appareils électriques, certaines précautions élémentaires doivent toujours être prises, incluant les suivantes:

Ces instructions de dépanage sont destinées uniquement aux personnes qualiﬁées. Aﬁn d’éviter les risques d’électrocution, n’effectuez que les opérations décrites dans ce manuel, à moins que vous ne soyez qualiﬁê pour cela. Faites effectuer toute r’eparation par une personne qualiﬁé.

1. Lisez bien toutes les instructions avant d’utiliser le B-3.

2. Aﬁn de réduire les risques de blessures, une attention particulière est

3. N’utilisez pas le B-3 dans ou près d’endroits humides - par exemple près

Ce symbole vous alerte de la

présence d’instructions

importantes d’opération et

de maintenance dans la

notice accompagnant

l’appareil.

Ce symbole vous alerte de

la présence d’un voltage

non-isolé dangereux à

l’intérieur de l’appareil,

pouvant être d’une

magnitude sufﬁsante pour

constituer un risque

d’électrocution.

4. Le B-3 doit être placé de façon à ce que sa position n’interfére pas avec

5. Le B-3 doit être placé loin de sources de chaleur telles que des radia-

6. Le B-3 doit uniquement être connecté à une alimentation du type décrit

7. Une attention particulière doit être observée quant aux objets pouvant

8. Le B-3 peut être équipé d’une ﬁche secteur polarisée (avec une broche

9. Evitez de marcher sur le cordon d’alimentation ou de le coincer, parti-

10. Le cordon d’alimentation de le B-3 doit être débranché lorsque ce

11. Cet appareil, combiné avec un ampliﬁcateur, des haut-parleurs, et/ou

12. N’utilisez que les accessoires sp’eciﬁ’es par E-mu Systems.

13. Cet appareil doit être examiné par un personnel qualiﬁé lorsque:

nécessaire en la présence d’enfants en bas âge.

d’une baignoire, d’un lavabo, dans les toilettes, dans une cave humide, sur un bar fréquenté, en présence d’un bull-dog en rut, ou dans une piscine pleine. Protégez cet appareil de tout liquide, éclaboussure ou fuite.

sa propre ventilation.

teurs, cheminées, fours, ou groupies en chaleur.

dans les instructions d’opération et tel qu’indiqué sur l’appareil.

tomber et aux liquides pouvant être versés sur et à l’intérieur de le B-3.

plus large que l’autre). C’est une mesure de sécurité. Si vous ne pouvez pas brancher cette ﬁche dans une prise, ne neutralisez pas cette sécurité. Contactez plutôt un électricien pour remplacer la prise obsolète.

culiêrement prês des prises de courant, des boitiers ‘electriques dt du point de sortie de l’appareil.

dernier n’est pas utilisé pendant une longue période.

un casque, est capable de générer des niveaux sonores pouvant occasionner une perte de l’ouïe permanente. Ne travaillez pas trop longtemps à un volume trop élevé ou même inconfortable. Si vous observez une perte de l’audition ou un bourdonnement dans les oreilles, consultez un O.R.L.

A. Le cordon d’alimentation a été endommagé, ou

10 E-MU Systems

Foreign Language Warnings - French

Interférences Radio et Télévision

B. Des objets sont tombés, ou du liquide a été versé sur/à l’intérieur

de l’appareil, ou

C. Le B-3 a été exposé à la pluie, ou

D. Le B-3 est tombé, ou

E. Le B-3 ne fonctionne pas normalement, ou afﬁche un

changement radical de performance.

14. Tout service doit être effectué par un personnel qualiﬁé.

SAUVEGARDEZ CES INSTRUCTIONS

Interférences Radio et Télévision

L’appareil décrit dans cette notice génére et utilise une énergie de fréquence-radio. S’il n’est pas installé et utilisé correctement - c’est à dire en suivant strictement nos instructions - il peut occasionner des interférences avec la réception d’une radio ou d’une télévision.

Cet appareil a été testé et est conforme aux normes de Classe A en accord avec les spéciﬁcations du paragraphe J de la section 15 des lois FCC. Ces lois sont désignées pour fournir une protection raisonnable contre de telles interférences dans une installation résidentielle. Toutefois, il n’est pas garanti qu’aucune interférence n’apparaisse dans des installations particulières, et plus spécialement lorsqu’une antenne de télévision en «oreilles de lapin» est utilisée.

Si le B-3 occasionne des interférences , vous pouvez essayer de les corriger en utilisant une ou plusieurs des mesures suivantes:

• Tournez l’antenne de la télé ou de la radio jusqu’à ce que les interférences disparaissent.

• Déplacez le B-3 d’un côté ou de l’autre de la télé ou de la radio.

• Eloignez le B-3 de la télé ou de la radio.

• Branchez le B-3 sur une prise différente que la télé ou la radio.

• Installez une antenne sur le toit munie d’une connexion coaxiale entre

elle et le poste de télévision.

B-3 Operation Manual 11

DECLARATION OF CONFORMITY Interférences Radio et Télévision

DECLARA TION OF CONFORMITY

Manufacturer:

E-MU/Ensoniq 1600 Green Hills Road Scotts Valley, CA 95067-0015 USA

We hereby declare that the equipment listed herin conforms to the harmonized standards of the following European Commission Directives: 89/336/EEC and 72/23/EEC.

Trade Name: Audio Sampler/Emulator System Model Number: Proteus 1000 CR

Under 89/336/EEC as amended by 92/31/EEC, and 72/23/EEC

In accordance with EN 55103-1:1996, Emission Environments E1, E2, E3 In accordance with EN 55103-2:1996, Immunity Environments E1, E2, E3 Test information is contained in a report by Atlas Compliance and

Engineering dated November 15, 1999. Report No.: 9949EMU2KCR103

Under 73/23/EEC as amende by 93/68/EEC

In accordance with EN 60950 with amendments A1, A2, A3, A4, A11

This Declaration is made November 15, 1999

12 E-MU Systems

Setup

This section thoroughly describes how to set up your new B-3 for use. Setup includes unpacking instructions and how to connect the cables.

Unpacking Carefully remove B-3 from the packaging material. Take care to save the

packing materials in case you need to transport the unit. Check to make sure all components are included and in good condition. If there are missing or damaged components, contact E-MU Systems immediately for replacement or repair.

The B-3 box should include the following components:

• B-3 rack unit

• Power cable

• Rack mounting ears

• This Operation Manual

B-3 Operation Manual 13

Connection

Setup

Connection Instructions

Instructions

Basic Setup



If B-3 does not seem to be responding correctly, make sure that both B-3 and your MIDI controller are set to the same MIDI channel.

Footswitch

Aux. or Tape In

Set Footswitch - Controller #64 Set Control Pedal - Controller #7

REAL TIME C ONTROLL ERS

MIDI Out

Control Pedal

Male RCA plug

Male Phono Plug

ASSIG NABLE K EYS

PRESE T

SAMPL E

SEQUE NCER

EMULATOR

Main Outs

LEVEL

EXIT

ENTER

PAGE

PRESE T SELECT

RETURN

0 .987654321

Main Outs to Mixer In

Amp

The Headphone

Output is located

on the Front Panel

ININ THRUTHRU

Mixer

SC O TT S VSC O TT S V AL LE Y C A. U. S. A .AL L EY C A . U. S .A .



The Right Main output jack serves as a mono output when the Left Main plug is not plugged in.

The Left Main output jack is a stereo jack carrying both channels.

14 E-MU Systems

Speakers

Home Stereo

System

Home Studio

System

MIDI In

B-3 is controlled by MIDI messages received at the MIDI In jack. Normally you will connect MIDI Out of a controller such as a MIDI keyboard to the MIDI In jack of B-3. Be sure to connect a Footswitch and Control Pedal to your MIDI keyboard to take advantage of the factory presets. Set your MIDI Keyboard so that the Footswitch send MIDI Controller #64 (rotating speaker) and the Control Pedal sends MIDI Controller #7 (Volume).

Outputs

In order to reproduce B-3’s wide dynamic range and frequency response, use a high quality ampliﬁcation and speaker system such as a keyboard ampliﬁer or home stereo system. A stereo setup is highly desirable because of the added realism of stereophonic sound. Headphones can be used if an ampliﬁer and speaker system is not available. Plug stereo headphones into the headphone jack located on the left side of the front panel.

Studio Setup

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

REAL TIME C ONTROLL ERS

ASSIG NABLE K EYS

PRESE T

SAMPL E

SEQUE NCER

Setup

Connection Instructions

LEVEL

EXIT

ENTER

PAGE

PRESE T SELECT

RETURN

EMULATOR

0 .987654321

Computer

MIDI OutMIDI In

Additional

MIDI

Devices

MIDI In

MIDI

Interface

Out

“A” MIDI

channels

1-16

Out

ININ THRUTHRU

SC O TT S VSC O TT S VA LL EY C A . U. S. A.ALL E Y CA . U. S. A .

Mixer

Amp

MIDI In

In this setup, B-3 is controlled by MIDI messages, received at the MIDI input, which are routed by the MIDI interface. The MIDI interface allows any MIDI controller, such as a MIDI keyboard or a computer, to control the module.

MIDI Out

The MIDI Out jack transmits program data to a computer or other device.

Outputs

A stereo connection is highly desirable because of the added realism of stereophonic sound, especially for the rotating speaker effects. Plug stereo headphones into the headphone jack located on the left side of the front panel. The Right Main output jack serves as a mono output when the Left Main plug is not plugged in. The Left Main output jack is a stereo jack carrying both channels.

B-3 Operation Manual 15

Setup

Connection Instructions

Power Up! The power switch is located on the right side of the front panel. You can

turn on the B-3 and its MIDI controller in any order . When power is applied the liquid crystal display will light, indicating that B-3 is operating. You may have noticed that there is no 110/220 Volt power selector switch on B-3.

B-3 automatically switches itself to the proper line voltage.

16 E-MU Systems

Setup

Instant Gratiﬁcation

Playing Demo Sequences

This section presents step-by-step instructions for the most fundamental operations to get you up and making sounds quickly.

B-3 has several factory demonstration sequences that let you hear what this incredible machine can do. The actual number of demo sequences depends on which ROM sounds sets are installed. You can play these demo sequences by accessing the Demo Sequence page.

DEMO SEQUENCES B3

3 Madness

þ To Play a Demo Sequence

1. Press and hold the Master and Edit buttons at the same time to enter

the Demo Sequence page. The screen shown above appears.

2. Select a sequence using the data entry control. The Enter LED will be

ﬂashing.

3. Press the Enter button to begin playing the selected sequence. The

screen shown below appears.

PLAYING: B3 Madness

Press ENTER to stop

4. Press the Enter button again to stop playing the sequence.

5. When a demo sequence plays to the end, the next demo will automati-

cally begin playing. The screen will display the new demo name.

6. With the sequence stopped, press either the Master, Edit or Multi

button to Exit the demo sequence mode.

Auditioning Presets The front panel audition button allows you to hear any preset in B-3

without even hooking up a MIDI keyboard! When the Audition button is pressed, the LED next to the button will illuminate and a short “Riff” (programmed as part of the preset) will play. The Riff is latched on and plays continuously until the button is pressed again. Presets can be changed while Audition is latched on.

The top line of the display changes to show the MIDI Bank Select controller values needed to select the preset being auditioned. This is an extremely handy feature when sequencing.

B-3 Operation Manual 17

Instant Gratiﬁcation

BankSel 0:000 32:2 B-3

190 org: 808800008

To Audition a Preset

1. Select a preset by turning the data entry control while the cursor is

anywhere on the lower line. The preset number ﬁeld (shown above) is the normal position of the cursor and pressing the Enter button will return the cursor to this position.

2. Press the Audition button on the front panel. The Audition LED will

illuminate and a short riff will play the selected preset.

3. Continue to select and audition presets.

4. Press the Audition button again to turn Audition mode off. The LED

will extinguish.

Setup

Selecting and Quick Editing Presets

The ﬁrst thing you’ll do with the B-3 is select and play the factory provided presets. B-3 comes standard with 7 banks containing 128 presets each.

Preset

Location

Channel

Number

Initial Volume Setting

Initial

Pan

Setting

C01 Vol127 Pan01R User

702 org: Beasty B

Preset

Number

The ﬁrst four banks are USER locations that can be overwritten and used to store your own presets. The presets that come stored in the USER presets are duplicated in banks 0-2 of the “B-3” ROM bank, so feel free to overwrite them with your own presets. You won’t be losing anything.

Bank

Number

Preset Category

Preset Name

18 E-MU Systems

The ROM Card identiﬁer is shown in the top right of the display. The preset is identiﬁed in the bottom line of the main screen (the screen that appears when you ﬁrst power up the unit).

You can select presets from the Preset Number, Bank Number, Preset Category or Preset Name ﬁelds.

Setup

Instant Gratiﬁcation

Each bank of 128 presets is identiﬁed by a superscripted Bank Number to the right of the preset number . The bank numbers reset to 0 at the start of each ROM card you have installed. So with the B-3 ROM installed, the USER banks will go from 0-3, then start over from 0-2 for the B-3 ROM banks.

To the right of the preset number and bank is the preset Category name followed by the Preset Name.

þ To Change the Preset

1. Place the cursor under the ﬁrst character in the Preset Number ﬁeld.

This is the “Home” position which is selected instantly when you press the Home/Enter button. Pressing either of the two cursor buttons repeatedly also gets you there.

2. Turn the Data Entry Control knob on the front panel to select a new

preset number. If you turn the knob slowly, the presets advance one number for each “click” of the knob. If you spin the knob quickly, the numbers advance much faster (more than one number per click).

3. Play the keyboard (or press the Audition button) and listen to the

sounds made by your B-3!

4. TURN THE FOUR KNOBS on the front panel and note how they

change the sound of each preset! The button to the left of the knobs changes the knob’s function. Don’ t worry about ruining the sound, the values are automatically reset as soon as you select a new preset.

Bank Organization

USER USER USER USER

B3 B3

}

The User Banks

are duplicated

in the B-3

ROM bank.

The four User Banks can hold 512 custom presets. Feel free to overwrite these since the factory user presets are duplicated in nonvolatile ROM.

Bank 0 Bank 1 Bank 2 Bank 3

Bank 0 Bank 1 Bank 2

128 Presets 128 Presets 128 Presets 128 Presets

128 Presets 128 Presets 128 Presets

B-3 Operation Manual 19

Setup

Instant Gratiﬁcation

Bank Select Commands

When you press the Audition button, the Bank Select MSB and LSB are displayed on the top line of the display.

Bank Select Commands allow you to access more than 128 preset via MIDI. Continuous Controllers 0 and 32 are used to select banks of 128 presets each. Continuous Controller (CC) 0 is the MSB (most signiﬁcant byte) and CC 32 is the LSB (least signiﬁcant byte). Normally you send both the MSB and LSB controllers to implement a bank change.

B-3 remembers the MSB and the LSB that were last sent (or last changed from the front panel). For example, if you have already set the Bank MSB to 06, you need only send the LSB to change banks within the B-3 sound set. See the MIDI Bank Select chart below.

The selected bank remains selected until you change it (either via MIDI or by changing the bank from the front panel). Standard MIDI Program Change commands select from 128 presets within the selected bank.

MIDI BANK SELECT

MSB LSB

cc00 cc32

USER USER USER USER

00 00 00 00

00 01 02 03

Bank 0 Bank 1 Bank 2 Bank 3

20 E-MU Systems

B3 B3 B3

06 06 06

00 01 02

Bank 0 Bank 1 Bank 2

Basic Operations

Front Panel

Control

Button

Volume Control

FILFILTER CUT OFFTER C UTOFF

A-DA- D E-HE -H I-LI-L

FILFILTER RESTER RES

LALAYER 1YE R 1

DYNAM IC 1DYNAM IC 1

LALAYER 2YE R 2

DYNAM IC 2DYNAM IC 2

A/E/IA/E/IVOLUM EVO LUME B/F/JB/F/J C/G/KC/G /K D/H/LD/H/ L

PERC AMOUNTPERC AMOUNT

AATTTTACKA CK

FX AFX A

RELEA SERELEA SE

PERC DECAPERC DECAYY

Master

FX BFX B

CO1 Vo l 127 Pan01RB3

022

org:Perco l a t o r

Edit

MASTE RM ASTER

EDITEDIT

DEMOSDEM OS

AUDIT IONAUDIT ION MULMULTITI SASAVE/COPYVE/CO PY HOM E/ENTERHOME/ ENTER MIDIMIDI

Cursor

Controls

Power

Switch

POWERPOWER

Display

Headphone

Jack

Realtime

Control Knobs

Audition

Button

Multisetup

Button

Save/

Copy

Home/

Enter

Data

Entry

Front Panel The B-3 front panel contains an LCD screen, nine buttons and four real-

time controllers. Functions are grouped logically and the controls are arranged for ease of use. Precisely because B-3 is so simple to use, you might be tempted to skip this section. If you just can’t help yourself, at least read the Real-time Controller information beginning page 23. There are several “power user” features in the interface which make programming even easier and we wouldn’t want you to miss them.

Volume Control This control is the master volume control for all audio outputs. The Volume

Control does not affect any editing or user interface operations. Note: For maximum dynamic range and smoothest crossfading, set this

control to full level.

Master Button The Master menu contains parameters that affect the entire machine, not

just certain presets. An illuminated LED to the right of the button indicates that you are in the Master menu.

Edit Button Use the Edit menu when you want to create or modify a preset. An illumi-

nated LED to the right of the button indicates that you are in the Edit menu.

Control Button The Control button is used to change the function of the Controller knobs

(see the next section). Each time you press the Control button, the Control Mode toggles to select only one of the three Control Rows. The currently selected Control Row is indicated by one of the three LEDs to the right of the row’s label.

B-3 Operation Manual 21

Basic Operations

Front Panel

Audition Button The Audition button allows you to hear any preset without hooking up a

MIDI keyboard. When the Audition button is pressed, the LED next to the button will illuminate and a short “Riff” (programmed as part of the preset) will play. The Riff is latched on and plays continuously until the button is pressed again. Presets can be changed while Audition is latched on.

See “Bank Select Commands” on page 80 for more information on selecting banks via MIDI.

The top line of the display changes to show the MIDI Bank Select controller values needed to select the preset being auditioned. This handy feature lets you know the exact Bank and Preset number to enter into your sequencer.

MSB

LSB

Left/Right Cursor Buttons

BankSel 0:006 32:3

Preset #

These buttons move the cursor to the next parameter on the display. (The cursor is a little ﬂashing line underneath one of the parameters in the display.) Press either cursor button until the cursor is underneath the desired parameter. The cursor buttons have an auto-repeat feature which advances the cursor when the button is held continuously.

The cursor can be moved bidirectionally using the Data Entry Control while either cursor select button is held down (for example, press and hold the right cursor button and turn the Data Entry Control).

023 org: 8 0 8 0 8 8 0 6 3

Multisetup Button The Multisetup button allows you to select a Multi-setup. A Multi-setup is a

group of parameters that you might associate with a particular sequence or song. It is like a “snapshot” of the current conﬁguration of the module. There are 64 setups numbered 0-63.

A Multisetup includes all of the following parameters:

• The Preset/Volume/Pan assignments for each of the 16 MIDI channels.

• All Master menu parameters, except for the User Tuning Tables and the

MIDI program change->preset map.

• The Multisetup name.

Save/Copy Button The Save/Copy button is used to save or copy presets and to copy data.

Selected groups of parameters, such as PatchCord settings, can be copied between Presets and/or between Layers using this menu.

The LED to the right of the button illuminates to indicate that you are in the Save/Copy menu. The LED also illuminates when any preset parameter has been changed in the Edit menu (or if the front panel knobs have been moved with Quick-Edit mode enabled).

22 E-MU Systems

Basic Operations

Front Panel Controller Modes

Home/Enter Button The Home/Enter button is dual purpose. In general, this button acts as the

“Home” button. For example, when in an Edit menu, this button snaps the cursor to the page name ﬁeld of the current screen. When viewing the Preset Select screen (we also call it the main screen), this button snaps the cursor to the preset number ﬁeld. In these instances, the LED is not used.

Some screens and parameter ﬁelds use this button as the “Enter” button. In these cases, the LED blinks when the cursor is moved to one of these ﬁelds indicating that the module is waiting for your response to initiate the operation.

Data Entry Control The Data Entry Control is a stepped, variable control switch used to change

parameter values. The wheel increments or decrements the current value one unit with each click. This control incorporates acceleration, which advances the value faster if the Data Entry Control is turned quickly.

Controller Knobs Each of the four Real-time Controller knobs has a corresponding LED to its

upper right side. The function of the Real-time Controllers depends on which row is currently selected and the programming of the preset.

Front Panel Controller Modes

The Real-time Controller Knobs serve three purposes:

1. Real-time control of synthesizer parameters

2. “Quick Editing” the initial settings of the real-time controllers

3. “Deep Editing” the parameters

This section describes each of the three uses.

Real-time Control The Real-time controller knobs provide direct control of the B-3’s synthe-

sizer parameters. They are always active when on the Preset Select (main) screen. They can optionally be used to transmit MIDI controller messages to other MIDI devices.

The Control button (left of the knobs) changes the function of the real-time controller knobs. Each time the button is pressed, the Control Mode toggles to select one of the three Control Row groups. The currently selected Control Row is indicated by the illuminated LED to the right of the button. The control knob functions are determined by the selected Control Row.

The three Control Rows generate MIDI data that can control the preset on the current MIDI channel (the channel showing on the Preset and main screen. The labels (T one, Presence, Shape, Image, etc.) printed on these rows show how the factory ROM presets may be programmed to respond. (The controls might not conform to the front panel labels depending on the preset.) You can change the way a preset responds to MIDI A-L messages from the Edit menu (PatchCords).

B-3 Operation Manual 23

Basic Operations

Front Panel Controller Modes

There is an LED next to each of the control knobs which illuminates to indicate that the knob setting has been changed from the value programmed in the preset (when Quick Edit mode is enabled). If the knob position is returned to the original setting, the LED is extinguished.

If the “Knobs MIDI Out” parameter in the Master menu (see “Knobs/Riff MIDI Out” on page 48) is set to “transmit,” the system sends a MIDI controller message when you turn off the Control knob. The MIDI controller message is sent on the current MIDI channel (also called the basic channel) using the controller number assigned in the Master menu (see “Real-time Controller Assignment” on page 45).

The knobs only generate a message when you move a knob to a new value. The current value jumps to the new value.

Quick Edit This mode uses the Controller knobs to “Quick-Edit” the currently selected

preset without having to enter the Preset Edit menu. This mode is only active when on the Preset Select screen and when “Quick-Edit” is enabled in the Master menu (see “Knob Preset Quick-Edit” on page 47).

Quick-Edit mode must be enabled in the Master menu.

Initial controller values can be stored in every preset. When you move a knob with Quick-Edit enabled, the Initial Controller Value is updated with the knob’s new value. The knob’ s LED lights indicating that the preset value has been changed. The three Control Rows’ MIDI A-L values are stored in the corresponding Initial Controller Amount parameter in the Edit menu (see “Initial Controller Amount” on page 123). The Save/Copy button LED illuminates to remind you that the preset has been edited. “Quick-Edits” made to a preset are lost if you select another preset before saving them.

þ To Quick-Edit a Preset

1. Use the Control Knobs to change the sound of the current preset as

desired.

2. Press the Save/Copy button. The display reads, “Save Preset to.”

3. Press the right cursor button to select the bottom row.

4. Optional: Select a new preset location if you don’t want to overwrite

the current preset, or if the current preset is a ROM preset.

5. Press the Enter button to save the preset.

24 E-MU Systems

Basic Operations

Front Panel Controller Modes

Deep Edit Mode When in the Master, or Edit menus, you can use the Controller Knobs to

edit parameters. Using the Controller Knobs is a faster method for entering data, but the Data Entry Control offers ﬁner precision.

þ To Enable Deep Edit Mode:

1. Press the Master button and use the Data Entry Control to advance to

the “Knobs Deep Edit” screen as shown in the following illustration.

KNOBS DEEP EDIT

disabled

2. Press either Cursor key to move the cursor to the bottom line in the

display.

3. Use the Data Entry Control to change the value to “enabled.”

4. Press the Master menu button to exit the Master menu.

When you enter any of the Edit menus:

1. The four Controller Knobs are used for editing.

2. All the Controller LEDs are off.

3. All the Control Row LEDS are off.

When you turn a knob, the ﬁeld value jumps to the current knob value. Y ou can still use the Data Entry Control for editing by moving the cursor to the desired ﬁeld.

KEY: LO FADE HIGH FADE

A/E/IA/E/I B/F/JB/F/J C/G/KC/G/K D/H/LD/H/L

To move through menus horizontally, use the Data Entry Control (the page’s title ﬁeld is the default cursor position). To move through menus vertically (preset layers), press the left cursor to get to the layer ﬁeld, then change layers with the Data Entry Control.

C-2 000 G8 000

• Use the Data Entry Control to move through menus (horizontally) or layers (vertically).

• Use the Controller Knobs to change parameter values within each page.

B-3 Operation Manual 25

Basic Operations

Main Screen

Main Screen The Preset Select screen is B-3’s default screen (also called the main screen)

and is active when you have not selected any of the other button-activated menus. From this screen you can change or examine the Preset, Volume, Pan Position and Preset Location for each of the 16 MIDI channels.

MIDI Channel

ROM or RAM Preset Location

C01 Vol127 Pan01 0431 dir: 8 8 6 3 2 2 5 8 8

MIDI Channel Selection



The channel number shown in the main screen is the “basic MIDI channel” when in Omni or Poly modes.

þ To Change the MIDI Channel

1. Press either cursor button until the cursor is underneath the channel

number. (The cursor is the little ﬂashing line underneath one of the parameters in the display.)

2. Rotate the Data Entry Control to select a MIDI channel (01-16). As the

channel number changes, the display changes to show the preset, volume, pan and preset location associated with the displayed channel.

Preset Selection þ To Change the Preset

1. Press either cursor key until the cursor is underneath the preset number .

(The cursor is a little ﬂashing line underneath one of the parameters in the display.) As you rotate the Data Entry Control, the preset number and name changes.

2. The displayed preset is assigned to the displayed MIDI channel. Presets

Bank Contents

128 RAM Presets

USERROM 1

128 RAM Presets

128 ROM Presets

are arranged into banks of 128, as shown in the diagram at left.

Bank Number

Preset Number

C01 Vol127 Pan01

0432 var: 1 s t 4 D i s t

Depending on

ROM sets installed

USER

The USER preset banks can be modified or replaced with your own sounds.

26 E-MU Systems

Basic Operations

Main Screen

Using the screen above as an example, the superscripted number 2 in the second line of the display identiﬁes the current bank number.

• Select banks independently of the of the preset number by locating the cursor on the Bank ﬁeld and turning the Data Entry Control.

USER

Bank

128 User Presets

The Bank numbers start at zero for each ROM sound set installed in B-3.

Bank

0 1 2

128 ROM Presets 128 ROM Presets 128 ROM Presets

Channel Volume Channel Volume sets the volume of the selected MIDI channel in relation

to the other channels. This is the same parameter as MIDI volume control #7, and changes made over MIDI are shown in the display.

Volume

C01 Vol127 Pan01

USER

0431 dir: 8 8 6 3 2 2 5 8 8

þ To Change the Channel Volume

1. Press either cursor key until the cursor is underneath the volume value.

2. Rotate the Data Entry Control to select a volume level. The Channel

Volume range is 000-127.

B-3 Operation Manual 27

Basic Operations

Main Screen

Channel Pan Channel Pan sets the stereo position of the selected MIDI channel. This

control operates like the balance control on your home stereo system. Channel Pan is the same parameter as MIDI pan controller #10, and changes made over MIDI are shown in the display.

Pan Position

C01 Vol127 Pan01

USER

0431 dir: 8 8 6 3 2 2 5 8 8

Note: Pan settings in the preset ADD algebraically with the Channel Pan setting. Therefore, if the pan setting in the preset were set to “63R,” moving the Channel Pan setting full left would return the sound to the center position.

þ To Change the Channel Pan

1. Press either cursor key until the cursor is underneath the pan ﬁeld.

2. Rotate the Data Entry Control to select a pan value. 64L indicates a hard

left pan, 63R indicates a hard right pan. With a setting of “00,” the sound is centered in the stereo ﬁeld.

28 E-MU Systems

Basic Operations

Sound Navigator

Sound Navigator allows you to search through preset and instrument categories to ﬁnd the type of sound you’re looking for. Each preset and instrument has a name and a three letter preset category. You can create your own categories in order to group favorite presets. The preset category is assigned in the Edit menu (Preset Name). Instrument categories are ﬁxed.

Preset Category When you want to ﬁnd presets in a particular category, you simply change

the category ﬁeld in the main screen, then move the cursor to the preset name ﬁeld to scroll through all the presets in the selected category.

When the cursor is on the Preset Category ﬁeld, turning the Data Entry Control selects different preset categories. The Name Field will change to show the ﬁrst preset in each category.

C01 Vol127 Pan00

USER

0431 dir: 8 8 6 3 2 2 5 8 8

Preset Category

þ To Change the Preset Category

1. Press either cursor key repeatedly until the cursor is underneath the

preset category ﬁeld.

2. Rotate the Data Entry Control to select one of the preset categories.

Preset Categories are displayed in alphabetical order.

Preset Name

þ To Select a Preset within a Category

1. After selecting a category, move the cursor to the Preset Name ﬁeld.

2. Rotate the Data Entry Control to scroll through the presets in the

selected category. Note that the preset numbers will no longer change sequentially.

Instrument Category When the cursor is on the Instrument Category ﬁeld (Edit menu), turning

the Data Entry Control selects different instrument categories. The Name Field changes to show the ﬁrst instrument in each category. Move the cursor back to the instrument number to select instruments in the selected category.

INSTRUMENT ROM:B3

0043 dir: 8 8 6 3 2 2 5 8 8

B-3 Operation Manual 29

Basic Operations

Multitimbral Operation

Save the Multisetup using the instruction provided in Chapter 3:Multisetup.

Multitimbral operation means that B-3 can play more than one sound at the same time. Follow these instructions to access multiple presets on different MIDI channels simultaneously.

þ To Set Up B-3 for Multitimbral Operation

1. Set the MIDI mode to “multi mode,” using the MIDI mode function in

the Master menu.

2. Decide which MIDI channels you want the B-3 to receive (16 channels

can be used simultaneously). You can turn any unused channels OFF using the MIDI Enable function in the Master menu.

3. Select the desired preset for each of the MIDI channels you want the

B-3 to receive using the MIDI Channel/Preset selection screen (see previous instructions).

4. B-3 now responds multitimbrally on each of the MIDI channels you

have speciﬁed. The volume and pan position parameters can be adjusted over MIDI (for each MIDI channel) or using the Cursor and Data Entry Control in the Preset Select screen.

Channel 01

Channel 02

Volume

Pan

Volume

Pan

PRESET

30 E-MU Systems

Channel 03

Channel 04

Channel 16

Each of the 16 MIDI channels can be assigned to play a speciﬁc B-3 preset.

Volume

Pan

Volume

Pan

Volume

Pan

PRESET

Multisetup

Multisetups The Multisetup button allows you to save and restore Multisetups. A Multi-

setup is a group of parameters that you might associate with a particular sequence or song. It is like a “snapshot” of the current MIDI channel conﬁguration of the module. There are 64 setups numbered 0-63. All Multisetups are user programmable.

A Multisetup includes ALL the following parameters:

• Preset/Volume/Pan assignments for each of the 32 MIDI channels.

• Multisetup Name

• ALL MASTER MENU PARAMETERS

except…

• MIDI Program Change->Preset map

• User Key Tuning Tables

RESTORE MULTISETUP

03 B T & M G

Multisetups can also be restored (selected) via MIDI Bank and Program change commands. Select: cc00 = 80, cc32 = 00, (dec) then send a Program

Change command corresponding to the Multisetup you wish to select.

þ To Enable the Multisetup Menu

Press the Multi button, lighting the LED. The Multisetup screen displays the menu page most recently selected since powering up B-3. The cursor appears below the ﬁrst character of the screen heading on line one.

þ To Select a New Screen

Press the Home/Enter button or press the Cursor button repeatedly until the cursor is below the screen title heading. Rotate the Data Entry Control to select another screen.

B-3 Operation Manual 31

Multisetup

Multisetups

To Modify a Parameter

Press either Cursor button repeatedly (or hold down the left or right cursor button while turning the Data Entry Control) until the cursor is below the desired parameter value. Rotate the Data Entry Control to change the value.

þ To Return to the Main Screen

Press the Multi button, turning off the LED.

Restoring Multisetups

B-3 contains 64 Multisetup locations. These are all User locations which you can use to store your own Multisetups.

Multisetups can also be restored using a MIDI Bank Select command. Select: cc00 = 80, cc32 = 00, (dec) then send a Program Change command corresponding to the Multisetup you wish to select.

RESTORE MULTISETUP

03 Jazz Encounter

þ To Restore (Select) a Multisetup:

1. Press the Multi menu button lighting the LED. The Multi menu screen

displays the menu page most recently selected since powering up B-3. The cursor appears below the ﬁrst character of the screen heading on line one.

2. Go to the “Restore Multisetup” screen (shown above) using the Data

Entry Control. This is the ﬁrst screen in the menu.

3. Press either cursor button to move the cursor to the bottom line of the

screen.

4. Now, use the Data Entry Control to select a Multisetup. The Enter LED

will be ﬂashing.

5. Press the Enter button to load the selected Multisetup.

32 E-MU Systems

þ To Save a Multisetup:

1. Set the Preset, Volume, Pan settings the way you want them for all 16

channels. Set the Master menu parameters the way you want them.

2. Press the Multi menu button lighting the LED.

Multisetup

Multisetups

3. If you wish to Name your new Multisetup continue on, otherwise skip

to step 8.

4. Scroll to the “Setup Name” screen (shown below) using the Data Entry

Control.

SETUP NAME

User Setup 23

020

5. Press either cursor button to move the cursor to the bottom line of the

screen.

6. Scroll to the “Save Multisetup” screen (shown below) using the Data

Entry Control.

SAVE MULTISETUP to

Destination Multisetup

020

7. Press either cursor button to move the cursor to the bottom line of the

screen.

8. Now, use the Data Entry Control to select the destination location. The

Enter LED will be ﬂashing.

9. Press the Enter button to save the Multisetup.

B-3 Operation Manual 33

Multisetup

Multitimbral Sequencing

“Multitimbral” means that B-3 can play multiple sounds at the same time. For a multitimbral sequence to play back correctly, the proper preset must be selected for each MIDI channel. This could be done by inserting preset changes into each track of your sequence before the sequence starts. B-3 also provides another way to store this “pre-sequence setup” using the Multisetup menu.

Using Multisetups, you’ll set up the preset, volume and pan settings for each MIDI channel as you build your sequence, then save the Multisetup when it’s the way you want it. Sending one preset change command before the sequence starts selects the Multisetup and MIDI settings for all 16 channels.

þ To Set up B-3 for Multitimbral Operation

1. Set the MIDI mode to “multi mode,” using the MIDI mode function in

the Master menu.

2. Decide which MIDI channels you want B-3 to receive (up to 16

channels can be used simultaneously). You can turn any unused channels OFF using the MIDI Enable function in the Master menu.

3. Select the desired preset for each of the MIDI channels you want the

B-3 to receive using the MIDI Channel/Preset selection screen. You can also set the initial Volume and Pan settings for each channel.

1. Select Channel

2. Select Preset

4. B-3 now responds multitimbrally on each of the MIDI channels you

have speciﬁed. The volume and pan position parameters can be adjusted dynamically over MIDI (during the sequence).

5. Save the Multisetup.

þ To Link a Multisetup with your Sequence

1. Insert a MIDI bank and program change in the lead-in measure of your

sequence to select the proper Multisetup before the sequence starts.

2. The Multisetup will now be selected before the sequence starts.

C01 Vol127 Pan00

dir: 8 8 6 3 2 2 5 8 8

043

USER

34 E-MU Systems

Master Menu

The Master menu contains functions that affect the overall operation of B-3. For example, changing the Master Tune parameter changes the tuning of all the presets, not just the one currently displayed.

þ To enable the Master menu

Press the Master button, lighting the LED. The Master Menu screen displays the menu page most recently selected since powering up B-3. The cursor appears below the ﬁrst character of the screen heading on line one.

Warning: Master Menu changes are automatically saved when you exit the module. If the power is turned off before you exit the module any changes you have made will be lost.

To select a new screen

Press the Home/Enter button or press the Cursor button repeatedly until the cursor is below the screen title heading. Rotate the Data Entry Control to select another screen.

þ To modify a parameter

Press either Cursor button repeatedly (or hold down the right cursor button while turning the Data Entry Control) until the cursor is below the desired parameter value. Rotate the Data Entry Control to change the value.

þ To return to the main screen

Press the Master button, turning off the LED.

B-3 Operation Manual 35

Master Menu

Deﬁning Master Parameters

Deﬁning Master

Master setup parameters affect overall performance, range, and global effects. This section describes the Master parameters and how to deﬁne them.

Parameters

Transpose/Tune The Transpose parameter transposes the key of all presets, in semitone

intervals. The transpose range is ± 24 semitones. Master Tune adjusts the ﬁne tuning of all presets so that you can tune B-3

to other instruments. The master tuning range is ± 1 semitone in 1/64th semitone increments (1.56 cents). A master tune setting of “+00” indicates that B-3 is perfectly tuned to concert pitch (A=440 Hz).

MASTER TRANSPOSE TUNE

+00 semitones +00

Bend Range The Bend Range parameter sets the range of the pitch wheel. This affects

only presets that have their individual Pitch Bend range (deﬁned in the Edit menu) set to Master. The maximum pitch bend range is ±12 semitones or one octave in each direction.

36 E-MU Systems

MASTER BEND RANGE

+/- 7 semitones

Master Menu

Deﬁning Master Parameters

Velocity Curve You can modify incoming velocity data by a velocity curve in order to

provide different types of dynamics in response to your playing, or to better adapt to a MIDI controller . The Master V elocity Curve lets you select one of thirteen master velocity curves or to leave the data unaltered (linear).

MASTER VELOCITY CURVE

120 100

Result Velocity

Linear

Played Velocity

120 100

Result Velocity

Curve 9

60 40

Played Velocity

120 100

Curve 2

60 40

Result Velocity

120

100

120

100

Played Velocity

120 100

60 40

Result Velocity

120

100

Curve 13

100

120

Played Velocity

For a complete list of all available velocity curves, see “Velocity Curves” on page 171 of the Appendix.

Mix Output The Mix Output parameter allows you to override the routing assignments

made in each preset and instead assign the outputs according to MIDI channel. For each of the 16 MIDI channels, you can select Send 1-4, or Preset. When Preset is selected, the output assignment deﬁned in the Preset Edit menu is used.

B-3 Operation Manual 37

Master Menu

Deﬁning Master Parameters

MIX OUTPUT

channel 16: use preset

MIX OUTPUT

channel 15: Send 1

The Sends function as effect processor inputs (effect sends). The four Effect Sends allow you to get the most out of the two effect processors. For example, with Effect B set to an echo algorithm, you could route one MIDI channel to Send 3 and set the effect amount to 80%. Another MIDI channel could be routed to Send 4 with an effect amount of only 5%. This is almost like having two different effects!

MIDI Channel 1

MIDI Channel 2

MIDI Channel 3

MIDI Channel 4

MIDI Channel 5

MIDI Channel 6

MIDI Channel 16

MIDI CHANNEL

Preset

OUTPUT SECTION

& EFFECTS PROCESSORS

FX Sends

Send 1 15% Send 2 10% Send 3 0% Send 4 0%

S E

FX Sends

Send 1 0% Send 2 0% Send 3 20% Send 4 15%

S E

3 S

Effect

Hall 1

B➟A

Chorus

38 E-MU Systems

Master Menu

Master Effects

Master Effects The digital effect processors can be programmed as part of the preset (using

the Edit menu) so that effects will change along with the preset. However, there are only two effect processors, and so you cannot have a different effect on each preset when in Multi mode.

The Master Effects settings assign the effect processors “globally” for all presets to provide a way to use the effects in Multi mode. Detailed information is presented in the Effects chapter (see Effects on page 141).

Effects Mode The FX Mode page enables or bypasses the effects. When the FX Mode is set

to “bypass,” the effects are turned off on a global scale. This includes Effects programmed in the preset.

FX MODE

enabled

Effects Multi Mode Control

The routing scheme for the two stereo effects processors provides a lot of versatility. When in multi mode, you can “use master settings” which applies the Master menu effects settings to all 16 MIDI channels.

FX MULTIMODE CONTROL

use master settings

If you want more control, you can use the “channel” setting which applies the effects settings of the preset on a speciﬁed channel to all the other channels. Changing the preset on the speciﬁed channel changes the effect.

FX MULTIMODE CONTROL

preset on channel 1

If you are in Omni or Poly modes this parameter is disabled and the message in parentheses explains that Proteus is currently in Omni mode.

FX MULTIMODE CONTROL

(using Omni mode)

B-3 Operation Manual 39

Master Menu

Master Effects

Master FXA Algorithm

This function selects the type of effect used for the “A” effect. The following effect types are available.

MASTER FXA ALGORITHM

Room 1

A Effect Types

1. Room 1

2. Room 2

3. Room 3

4. Hall 1

5. Hall 2

6. Plate

7. Delay

8. Panning Delay

9. Multitap 1

10. Multitap Pan

11. 3 Tap

12. 3 Tap Pan

13. Soft Room

14. Warm Room

15. Perfect Room

16. Tiled Room

17. Hard Plate

18. Warm Hall

19. Spacious Hall

20. Bright Hall

21. Bright Hall Pan

22. Bright Plate

23. BBall Court

24. Gymnasium

25. Cavern

26. Concert 9

27. Concert 10 Pan

28. Reverse Gate

29. Gate 2

30. Gate Pan

31. Concert 11

32. Medium Concert

33. Large Concert

34. Large Concert Pan

35. Canyon

36. DelayVerb 1

37. DelayVerb 2

38. DelayVerb 3

39. DelayVerb 4 Pan

40. DelayVerb 5 Pan

41. DelayVerb 6

42. DelayVerb 7

43. DelayVerb 8

44. DelayVerb 9

40 E-MU Systems

Master Menu

Master Effects

FXA Parameters: Decay/HF Damping FxB -> FxA

This page lets you deﬁne the parameters of the selected Effects algorithm. Use this page to setup the effect decay, high frequency damping amount and to route “B” effects through the “A” effects. See “Effect Parameters” on page 143 for more details.

FXA DECAY HFDAMP FxB>FxA

040 096 001

FXA Send Amounts These parameters set the effects amounts for each of the four stereo effects

busses. See “Master Effects” on page 146 for detailed information.

FXA SEND AMOUNTS 1:100%

2: 50% 3: 10% 4: 0%

Master FXB Algorithm

This parameter selects the type of effect used for the “B” effect. The following effect types are available.

MASTER FXB ALGORITHM

Chorus 1

B-3 Operation Manual 41

B Effect Types

Master Menu

Master Effects

FXB Parameters: Feedback/LFO Rate Delay Time

1. Chorus 1

2. Chorus 2

3. Chorus 3

4. Chorus 4

5. Chorus 5

6. Doubling

7. Slapback

8. Flange 1

9. Flange 2

10. Flange 3

11. Flange 4

12. Flange 5

13. Flange 6

14. Flange 7

15. Big Chorus

16. Symphonic

17. Ensemble

18. Delay

19. Delay Stereo

20. Delay Stereo 2

21. Panning Delay

22. Delay Chorus

23. Pan Delay Chorus 1

24. Pan Delay Chorus 2

25. Dual Tap 1/3

26. Dual Tap 1/4

27. Vibrato

28. Distortion 1

29. Distortion 2

30. Distorted Flange

31. Distorted Chorus

32. Distorted Double

The FXB parameters setup the characteristics of the effect. Use this page to deﬁne the feedback amount, the LFO rate and delay amount for the selected type “B” effect. See “Effect Parameters” on page 143 for details.

FXB FEEDBK LFORATE DELAY

000 003 0

FXB Send Amounts These parameters set the effects amounts for each of the four stereo effects

busses. See the Effects chapter for detailed information.

FXB SEND AMOUNTS 1:100%

2: 50% 3: 10% 4: 0%

42 E-MU Systems

Master Menu

MIDI Parameters

MIDI

MIDI parameters control how the B-3 sends and receives MIDI data.

Parameters

MIDI Mode MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi

mode.

MIDI MODE CHANGE

omni ignored

The MIDI Mode Change parameter speciﬁes whether mode changes made through an external MIDI controller are accepted or ignored.

The MIDI modes are as follows:

Omni

Responds to note information on all MIDI channels and plays the preset currently displayed in the main screen.

Poly

Responds only to note information received on the currently selected MIDI channel (on the preset selection screen) and plays that channel’s associated preset.

Multi

Responds to data on any combination of MIDI channels and plays the speciﬁc preset associated with each of the MIDI channels. You must select multi mode for multitimbral operation.

MIDI SysEx ID This page deﬁnes the MIDI system exclusive (SysEx) device ID number . The

SysEx ID lets an external programming unit to distinguish between multiple B-3 units connected to the same preset editor. In this case each unit must have a unique SysEx ID number.

WARNING: When transferring SysEx data from one B-3 to another, the ID numbers of both units must be the same.

MIDI SYSEX ID

000

B-3 Operation Manual 43

Master Menu

MIDI Parameters

MIDI Enable MIDI Enable lets you turn each MIDI channel on and off independently

when in Multi mode. This feature is helpful when you have other devices connected to the same MIDI line and do not want the B-3 unit to respond to the MIDI channels reserved for the other devices.

MIDI ENABLE

channel 01: On

Because the MIDI Enable function only makes sense if you are in Multi mode, B-3 disables this feature when in Omni or Poly mode.

MIDI Program Change -> Preset



The Program->Preset Change only works for program changes received in Bank 0.

In Multi

Mode

In Omni

Mode

MIDI ENABLE channel 16: On

MIDI ENABLE (using Omni mode)

You can also remap incoming MIDI program changes to a different numbered preset. This is a handy feature when your master keyboard cannot send a bank change or you want to reorder preset numbers. Any preset can be mapped to any incoming MIDI program change number.

For example, you could set up the Program -> Preset map to call up preset #12 whenever B-3 receives MIDI program change #26.

The four ﬁelds shown below are editable.

MIDI PROG CHNG -> PRESET

000 User 000

44 E-MU Systems

Incoming Program Change in Bank 0

ROM Bank

Program No. Bank No.

Programs and presets are the same thing. “Preset” is the E-mu term for MIDI Program.

Selected Program

0 1 2 3 4 5 6 7 8 9

0000000000

00 01 02 03 04 05 06 07 08 09

201000 0 0

44 91 50 01 15 88 99 78 32 88

10002000 02

34 73 106 55 43 75 120 121 100

0000000000

30 31 32 33 34 35 36 37 38 39

0000000000

40 41 42 43 44 45 46 47 48 49

0000000000

50 51 52 53 54 55 56 57 58 59

0000000000

60 61 62 63 64 65 66 67 68 69

0000000000

70 71 72 73 74 75 76 77 78 79

0000000000

80 81 82 83 84 85 86 87 88 89

0000000000

90 91 92 93 94 95 96 97 98 99

0000000000

100 101 102 103 104 105 106 107 108 109

100 110 120

0000000000

110 111 112 113 114 115 116 117 118 119

00000000

120 121 122 123 124 125 126 127

Master Menu

MIDI Parameters

Mapped

Program

Receive Program Change

Real-time Controller Assignment

In this chart, program changes 10-29 have been remapped to new preset numbers. All other presets are selected normally.

Use this function to instruct the B-3 to utilize or ignore incoming MIDI preset changes or Bank Select commands for each channel. Use the cursor buttons to select the channel number ﬁeld, then use the Data Entry Control to select a channel number. Use the cursor button again to select the On/Off ﬁeld and the Data Entry Control to change the value.

RECEIVE PROGRAM CHANGE

channel 01 : on

Use these three pages to assign twelve real-time control sources. Each MIDI Controller is assigned a letter (A - L). The front panel Controller Knobs and twelve MIDI controller numbers share the A-L controller routings. These

screens let you select which MIDI real-time controllers numbers will be received (from 1 to 31 and from 64 to 119) and which controller numbers will be transmitted over MIDI if the front panel controls are turned.The PatchCord routing and amount in the Edit menu determine

what effect the controller has on each preset. Real-time controllers are shown in the PatchCord menu as MIDI A through MIDI L.

B-3 Operation Manual 45

B-3 factory presets have certain synth parameters assigned to each controller letter and so these are “Global” controller assignments.

For example, assigning a MIDI controller to “A” in this screen would let you control ﬁlter Fc for all the factory presets. See “Front Panel Knob Functions” on page 163.

Master Menu

MIDI Parameters

The Real-time Controller assignment also speciﬁes which controller numbers are transmitted when the “Knobs MIDI Out” is enabled (see “Knobs/Riff MIDI Out” on page 48).

REALTIME CONTROLLER #

A: 21 B: 22 C: 23 D: 24

REALTIME CONTROLLER #

E: 25 F: 26 G: 27 H: 28

REALTIME CONTROLLER #

I: 80 J: 81 K: 91 L: 93

MIDI Footswitch Assign

Note: Controllers 7 and 10 are already assigned to Volume and Pan for each MIDI channel. Controllers 91 & 93 are the standard controller numbers for reverb and chorus send amounts.

Following are a few of the standardized MIDI Controller numbers as deﬁned by the MIDI manufacturers association. The controllers shown in Bold are automatically routed to the destination (volume & pan) or have their own PatchCord source. Others, such as Portamento Time, can be routed using a PatchCord to have the desired effect.

1 - Modulation Wheel

2 - Breath Controller 3 - Old DX7 Aftertouch

- Foot Pedal

5 - Portamento Time 6 - Data Entry

Like the MIDI Controllers, you can assign three MIDI footswitches to MIDI footswitch numbers. Footswitches numbers are from 64-79. Destinations for the footswitch controllers are programmed in the PatchCord section of the Edit menu.

7 - Volume

8 - Balance 9 - Undeﬁned

10 - Pan

11 - Expression

FOOTSWITCH CONTROLLER #

1: 64 2: 65 3: 66

46 E-MU Systems

MIDI Parameters

Following are a few of the standardized MIDI Switch numbers.

Master Menu

64 - Sustain Switch (on/off) 65 - Portamento (on/off) 66 - Sostenuto (on/off)

67 - Soft Pedal (on/off) 69 - Hold Pedal 2 (on/off)

Tempo Controller This function allows a MIDI controller to change the Master Tempo. The

Global Tempo is used for the clock divisor PatchCords, tempo-based envelopes and synced LFOs. (See “Clock Modulation” on page 60.) Y ou can assign any controller number from 0-31, mono key pressure, or the pitch wheel to change the Global Tempo. A different controller can be used to change the tempo up or down. The Pitch Wheel can be assigned to both the up and down parameters to vary the tempo up and down from a single controller. If any other controller is assigned to both the up and down parameters, B-3 redeﬁnes the center of the controller’s range as zero.

MIDI Controller values are added to the Base T empo with an offset range of ±64. When the controller is set to “off” the tempo returns to its original setting. This control has no effect when using an external clock.

Knob Preset Quick-Edit



Quick Edit does not work while in the Edit menu with “Knobs Deep Edit” enabled.

TEMPO CONTROLLER# CHAN

Up: 03 Down: 09 16A

“Quick-Edit” changes the initial controller setting in the preset whenever you move a Control Knob. This parameter selects whether or not the front panel Controller Knobs are used to Quick-Edit the currently selected preset. See “Controller Knobs” on page 23 in the Operations chapter for more details.

KNOBS PRESET QUICK-EDIT

disabled

B-3 Operation Manual 47

Master Menu

MIDI Parameters

Knobs Deep Edit

This parameter speciﬁes whether or not the front panel controller knobs can be used to edit parameter values in the Master or Edit menus. This is called “Deep-Editing.” With Knob Deep Edit disabled, the front panel controller knobs retain their function as real-time controllers even when in the Master or Edit modes.

KNOBS DEEP EDIT disabled

Knobs/Riff MIDI Out This function allows you to select whether or not MIDI controller data is

transmitted when you turn the front panel Controller knobs. The knobs transmit on the controller numbers deﬁned by the Real-time Controller Assign parameter (see page 45). This function also enables or disables transmission of Riff note data over MIDI when the Audition button is pressed.

If Deep Edit is enabled, “Knobs MIDI Out” does not work while in any of the editing menus (Master, Edit, Save/Copy).

Preset Edit All Layers Enable

KNOBS/RIFF MIDI OUT

don’t transmit

This function allows you to turn the Edit All Layers feature on or off. “Edit All Layers” is an Edit menu feature which allows you to select all layers (A) in order to edit all four layers simultaneously. Because this feature can be confusing to the beginning programmer, it can be disabled here in the Master menu. Check this feature out when you’re ready. It’s great!

PRESET EDIT ALL LAYERS

enabled

48 E-MU Systems

Master Menu

MIDI Parameters

Front Panel Knob Calibration

This function calibrates the minimum and maximum values for the ﬁve front panel knobs. The controls should be calibrated periodically in order to compensate for normal wear and tear on the controls themselves or if the controls behave strangely. Before calibration, it’s usually a good idea to let the unit warm up for about half an hour to ensure you have the maximum range on all the front panel controls.

þ To Calibrate the Front Panel Control Knobs

1. Press the Master menu button and advance to the Calibrate Knobs page.

CALIBRATE KNOBS

Start

2. Press the Enter button to begin the calibration process. The following

screen appears.

Turn all knobs to MIN

Press Enter when ready

3. Turn all knobs to their minimum value (which is pegged in the counter-

clockwise direction), then press the Enter button. The screen brieﬂy ﬂashes, “Reading Values…,” then displays:

Turn all knobs to MAX

Press Enter when ready

4. Turn all knobs to their maximum value (pegged in the clockwise

position), then press the Enter button. The display shows, “Reading Values… Done.” Calibration is complete.

B-3 Operation Manual 49

Master Menu

MIDI Parameters

MIDI SysEx Packet Delay

Send MIDI System Exclusive Data

Sometimes errors occur if the computer or sequencer to which you are sending MIDI SysEx data is faster or slower than the B-3. The MIDI SysEx Packet Delay command lets you specify the amount of delay between MIDI SysEx packets so the input buffer of your computer does not overﬂow, causing an error. The value range is from 0 through 8000 milliseconds. A delay value of zero allows full speed MIDI transfer. If you are experiencing data transmission errors, try increasing the delay value until the problem disappears.

MIDI SYSEX PACKET DELAY

300 milliseconds

This command transmits MIDI System Exclusive (SysEx) data to the MIDI Out port of B-3. The MIDI data can be sent to a computer, sequencer or to another B-3. When transferring data between two B-3s be sure both units have the same SysEx ID number! See “MIDI SysEx ID” on page 43 to learn how to change the SysEx ID.

Using the cursor key and the Data Entry Control, select the type of MIDI data you want to transmit. Following are descriptions of the types of MIDI data that can be transmitted.

The Preset, Volume, and Pan information for all 16 channels is included when the Multi mode Map settings are transmitted or received.

Current Multisetup

Transmits all parameters in the Master menu except Tuning Tables, Program/Preset Map and Viewing Angle.

Program /Preset Map

Transmits the MIDI Program -> Preset Map.

All User Tuning Tables

Transmits all 12 user User Tuning Tables.

Multimode Map

Transmits the following parameters:

• Multimode Basic Channel

• Multimode Effects Control Channel

• Multimode Tempo Control Channel

and for each MIDI Channel…

• Preset, Volume, & Pan

• Mix Output

• Multimode Channel Enable

• Multimode Bank Map

• Multimode Receive Program Change

50 E-MU Systems

WARNING: When transferring SysEx data from one B-3 to another, the ID numbers of both units must match.

Master Menu

MIDI Parameters

Bank 0 User Presets

Transmits all the user deﬁned presets in Bank 0.

Bank 1 User Presets

Transmits all the user deﬁned presets in Bank 1.

Bank 2 User Presets

Transmits all the user deﬁned presets in Bank 2.

Bank 3 User Presets

Transmits all the user deﬁned presets in Bank 3.

Any Individual Preset

Transmits only the selected preset. The Enter LED will be ﬂashing. Press the Enter button to conﬁrm the

operation. To receive MIDI data, simply send the MIDI data into B-3 from another Proteus or from a computer/sequencer.

SEND MIDI SYSEX DATA

bank 1 user presets

þ To Record MIDI SysEx Data into a Sequencer:

1. Setup the sequencer to receive system exclusive data.

2. Place the sequencer into record mode, then Send MIDI Data.

þ To Receive MIDI SysEx Data from a Sequencer:

Simply play back the sequence into B-3.

User Key Tuning User Key Tuning lets you create and modify 12 user deﬁnable tuning tables.

The initial frequency of every key can be individually tuned, facilitating the creation of alternate or microtonal scales.

Using the cursor keys and the Data Entry Control, select the user table number, the key name, the coarse tuning and the ﬁne tuning. The key name is variable from C-2 to G8. Coarse Tuning is variable from 0 to 127 semitones. The ﬁne tuning is variable from 00 to 63 in increments of 1/64 of a semitone (approx. 1.56 cents). For each preset, the speciﬁc tuning table is selected in the Edit menu.

The user key tuning can be used to tune individual percussion instruments.

USER KEY TUNING Table:1

Key: C1 Crs: 036 Fine: 00

B-3 Operation Manual 51

Master Menu

MIDI Parameters

Base Tempo B-3 contains an internal master clock which can be used to: synchronize

the LFOs when in Tempo-based mode, control the times of Tempo-based envelopes or used as a modulation source in the PatchCords section. There are two tempo values shown in the display.

• Base Tempo - The base tempo is the value to which the MIDI controller speciﬁed in the Tempo Controller screen will be applied. (See “Tempo Controller” on page 47.)

• Current Tempo - The current tempo is equal to the base tempo modu- lated by the MIDI controller speciﬁed in the Tempo Controller screen. If no MIDI Tempo controller message has been received since the last Base Tempo change, the Current Tempo will be equal to the Base Tempo.

Current Tempo is NOT displayed when the Base Tempo is set to “MIDI Clock”.

þ To Change the Master Tempo:

1. Move the cursor to the lower line of the display.

2. Adjust the Base Tempo using the Data Entry Control.

Screen Viewing Angle

BASE TEMPO

20 bpm (current: 182)

The Master Tempo values range from 1 through 300 beats per minute (BPM) or you can select “use MIDI clock” to use an external MIDI clock source.

This function changes the viewing angle of the display so that you can read it easily from either above or below the unit. The angle is adjustable from +7 to -8. Positive values will make the display easier to read when viewed from above. Negative values make the display easier to read from below.

VIEWING ANGLE

52 E-MU Systems

Programming Basics

This chapter explains how B-3 sounds are constructed and contains important background information on how to create your own custom presets.

Your initial involvement with B-3 will most likely be using the existing presets and selecting MIDI channels. While the factory presets are very good, there are some things you will probably want to change eventually, perhaps the LFO speed, the ﬁlter frequency or the attack time. Y ou may also want to make your own custom presets using complex modulation routings. This module will do far more than make organ sounds, especially if you add another sound ROM. It is actually a powerful synthesizer in B-3’s clothing. There are 512 user locations (USER Banks 0-3) available to store your own creations or edited factory presets. Best of all, it’s easy to edit or create new presets using the Edit menu.

Each preset can consist of up to four instrument layers. Each of the four layers can be placed anywhere on the keyboard and can be crossfaded or switched according to key position, velocity , or by using a real-time control such as a wheel, slider, pedal, LFO or envelope generator. A preset can also be “linked” with up to 2 more presets creating additional layering or splits.

B-3 has an extensive modulation implementation using two multi-wave LFO’s (Low Frequency Oscillators), three multi-stage envelope generators and the ability to respond to multiple MIDI controllers. You can simultaneously route any combination of these control sources to multiple destinations.

B-3 Operation Manual 53

Programming Basics

Modulation

Modulation To modulate means to dynamically change a parameter, whether it be the

volume (amplitude modulation), the pitch (frequency modulation), and so on. Turning the volume control on your home stereo rapidly back and forth is an example of amplitude modulation. To modulate something we need a modulation source and a modulation destination. In this case, the source is your hand turning the knob, and the destination is the volume control. If we had a device that could turn the volume control automatically, we would call that device a modulation source.

Turning the volume control back and forth on your home stereo is an example of Amplitude Modulation.

B-3 is designed so that each of the variable parameters, such as the volume, has an initial setting which is changed by a modulation source. Therefore in the case of volume, we have an initial volume that we can change or modulate with a modulation source.

Two main kinds of modulation sources on B-3 are Envelope Generators and Low Frequency Oscillators. In the example above, an envelope generator could be routed to automatically turn the volume control as programmed by the envelope. Or, a low frequency oscillator could be routed to turn the volume up and down in a repeating fashion.

Positive modulation adds to the initial amount. Negative modulation subtracts from the initial amount.

Summing Nodes

All the modulation inputs on B-3 are summing nodes. This means that you can connect as many modulation sources as you want to an input (such as Pitch or AmpVol). Modulation sources are simply added algebraically— connecting two knobs one set to -100 and the other set to +100 yields a net value of zero.

54 E-MU Systems

Programming Basics

Modulation Sources

Tip: Try routing Key Glide to Filter Frequency if you want the ﬁlter to smoothly follow pitch in solo mode. Routing Key Glide to Pan creates another interesting effect.

Modulation sources include Envelope Generators, Performance Controllers and Low Frequency Oscillators. In the previous example, an envelope generator

was routed to automatically turn the volume control as programmed by the envelope, or, a low frequency oscillator could be routed to turn the volume control up and down in a repeating fashion. The following is a list of the modulation sources used in B-3.

Keyboard Key

Which key is pressed.

Key Velocity

How fast the key is pressed.

Release Velocity

How fast the key is released.

Gate

High if the key is pressed, low when the key is released.

Key Glide

A smoothly changing control source based on the Glide Rate and the interval between the last two notes played.

Pitch and Mod Wheels

Synthesizer pitch bend and modulation wheels.

Keyboard Pressure (mono aftertouch)

Key Pressure applied after the key is initially pressed.

Pedal

A continuously variable pedal controller.

Miscellaneous Controllers A -L

Any type of MIDI continuous controller data.

Low Frequency Oscillators (2 per layer)

Generate repeating waves.

Envelope Generators (3 per layer)

Generate a programmable “contour” which changes over time when a key is pressed.

Noise & Random Generators

Generate spectrums of noise and random signals.

Footswitches

Change a parameter when the switch is pressed.

Clock Divisor

The master tempo clock can be divided and used as a modulation source.

B-3 Operation Manual 55

Programming Basics

Modulation PatchCords

Random Sources Random modulation sources can be used when you want the timbre of the

sound to be “animated” in a random or non-consistent manner.

• Key Random 1 & 2 generate different random values for each layer which do not change during the note.

• The White & Pink Noise Generators produce varying random values. Both white and pink noise sources are low frequency noise designed for control purposes. Either noise source can be ﬁltered even more by passing it through a lag processor.

• The Crossfade Random function generates the same random value for all layers in a preset. This source is designed to be used for crossfading and cross-switching layers, although you may ﬁnd other uses.

Modulation PatchCords



The controller Knobs assignments printed on the front panel are the system defaults. You can change any of these assignments using the Real-time Controller Assignment page in the Master menu (see page 45 for details).

When setting up modulation with the B-3, you deﬁne a modulation source and a modulation destination. Then, you connect the source to the destination using “PatchCords.” B-3’s PatchCords are connected in the software. B-3 has 24 general purpose PatchCords for each layer.

You can connect the modulation sources in almost any possible way to the modulation destinations. You can even modulate other modulators. Each PatchCord also has an amount parameter which determines “how much” modulation is applied to the destination. The modulation amount can be positive or negative. Negative values invert the modulation source.

Modulation

Source

LFO 1

Modulation

Source

LFO 1 LFO 2

Amp Env

Filt Env

Aux Env

Wheel

Pressure

etc.

Amount +/-

- +

Destination

Amp

Volume

Destination

Amp Vol

Pitch

Pan

LFO Rate

Aux Env

Env Atk

Glide

etc.

56 E-MU Systems

Programming Basics

Envelope Generators

If two adjacent segments have the same level in a “time-based” envelope, the segment will be skipped. Adjacent segments must have different levels for the rate control to work.

An envelope can be described as a “contour” which is used to shape the sound over time in a pre-programmed manner. There are three envelope generators per layer and all of them are the rate/level type.

This is how the rate/level (time based) envelopes work: When a key is pressed, envelope starts from zero and moves toward the Attack 1 Level at the Attack 1 Rate. As soon as it reaches this ﬁrst level, it immediately begins the next phase and moves toward the Attack 2 level at the Attack 2 rate. As long as the key is held down, the envelope continues on through the Decay 1 and Decay 2 stages. If the key is still held when the envelope reaches the end of Decay 2, it simply waits there for you to release the key. When you release the key, the envelope continues into the Release 1 and Release 2 stages, stopping at the end of the Release 2 stage. B-3’s envelope generators provide great ﬂexibility for programming both complex and simple envelopes.

Atk2

Atk1

level

Dcy1

Dcy2

Rls1

Rls2

By routing the Auxiliary or Filter Envelopes to control the pitch (PatchCords) you can easily hear the shape of the envelopes you are creating.

time

Sustain

Key

Down

All three envelope generators have the six stages described above. The Volume Envelope generator controls the volume of the voice over time. The Filter Envelope generator is a general purpose envelope most often used to control the ﬁlter frequency . Unlike the Volume Envelope, however, the Filter Envelope can have a negative level value as well as a positive level. There is also an Auxiliary Envelope generator which is a general purpose envelope. The Auxiliary Envelope is identical to the Filter Envelope and can have negative as well as positive levels. You can adjust the time of each stage to create myriad envelope shapes, which in turn shape the sound over time.

• Volume envelopes contour the way the volume of a sound changes over time determining how we perceive that sound. For example, a bell struck with a hammer is instantly at full volume, then slowly dies away. A bowed violin sound fades in more slowly and dies away slowly. Using B-3’s Volume Envelope, you can simulate the different types of natural instrument volume envelopes by programming them appropriately .

Key

Released

B-3 Operation Manual 57

Programming Basics

Envelope Generators

Tempo-based Envelopes

Tempo-based envelopes are based on Time which is controlled by the Master T empo (located in the Master menu). The Master Tempo rate scales the time of the T empo-based envelope segments. The Master T empo can also be set to use an external MIDI clock so that the envelope times can be synchronized to external sequencer or arpeggiator tempo changes.

Tempo-Based Envelopes

= Initial Setting = Increase Master Tempo



Only the Filter and Auxiliary Envelopes have the repeating feature.

= Decrease Master Tempo

Envelope Repeat

The Envelope Generators can also be made to repeat. When the envelope repeat function is On, the Attack (1&2) and Decay (1&2) stages will continue to repeat as long as the key is held. As soon as the key is released, the envelope continues through its normal Release stages (1 & 2).

level

Atk1

Atk2

Dcy2

Dcy1

Rls1

Repeat Re..

time

Key Down Key Released

The diagram above show how the looping envelopes work. When the key is pressed the envelope goes through its regular Attack 1, Attack 2, Decay 1 and Decay 2 stages. In non-looping mode, the envelope would hold at the end of the Decay 2 stage until the key was released. In looping mode however, it jumps back to the Attack 1 stage and repeats the ﬁrst four stages. It continues to loop through these four stages until the key is released where it immediately jumps to the Release 1 stage.

58 E-MU Systems

Programming Basics

Low Frequency Oscillators (LFOs)

LFO Tricks & Tips:

• The Random LFO wave is truly random and is different for each voice and layer.

• The Pattern (Pat) waveforms will sound the same on different layers and voices.

• Sine + Noise is very useful for simulating trumpet and ﬂute vibrato.

★

When routing Hemi-quaver to Pitch:

+38= major scale

-38 = phrygian scale +76= whole tone scale (+38) + (+76) = diminished

(two cords)

odd amount = S+H sound

A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The B-3 has two multi-wave LFOs for each channel. The LFO waveforms are shown in the following illustration.

25% Pulse

Pat: Octaves

+ Octave

Pat: Neener

Sine + Noise

Random

Sine

- Octave

Triangle

Square

Pat: Fifth+Octave

Sine 1,2 Sine 1,3,5

Hemi-quaver

Sawtooth

33% Pulse

12% Pulse16% Pulse

Pat: Sus4 trip

Note: References to musical intervals in the pattern LFO shapes are with the LFO routed to pitch and a PatchCord amount of +38



Try combining the Pattern LFOs, or controlling the amount of one with another, or combining them with the clock divisors.

By examining the diagram of the LFO waveforms, you can see how an LFO affects a modulation destination. The shape of the waveform determines the result. Suppose we are modulating the pitch of an instrument. The sine wave looks smooth, and changes the pitch smoothly. The square wave changes abruptly and abruptly changes from one pitch to another. The sawtooth wave increases smoothly, then changes back abruptly. The sound’s pitch follows the same course. Controlling the pitch of an instrument is an easy way to hear the effects of the LFO waves.

Like the Auxiliary Envelope, LFOs can be routed to control any real-time function such as Pitch, Filter, Panning, or Volume. A common use for the LFO is to control the pitch of the sound (LFO -> Pitch). This effect is called vibrato and is an important performance effect. Many presets use this routing with the modulation wheel controlling “how much” LFO modulation is applied. Another common effect, Tremolo, is created by controlling the volume of a sound with the LFO (LFO -> Volume).

B-3 Operation Manual 59

Programming Basics

Clock Modulation

You might use the LFOs to add a slight bit of animation to the sound by routing the LFO to control the ﬁlter. For this effect, set the LFO “amount” low for a subtle effect.

When a PatchCord amount is a negative value, the LFO shape is inverted. For example, inverting the sawtooth wave produces a wave that increases abruptly, then smoothly glides down.

Negative Amount

Clock Modulation



Envelopes are triggered on the positive going edge of the clock. LFOs are triggered on the negative going edge of the clock.



The tempo of the master clock is set in the Master menu.

Sawtooth

Y ou can use the Master Clock as a modulation sour ce, to trigger the Filter or Auxiliary Envelope generators, trigger Sample Start, synchronize the LFOs, or directly as a square wave modulation source. The Clock source is available in eight divisions (octal whole note, quad whole note, double whole note, whole note, half note, quarter note, eighth note, sixteenth note). You can use the different rates separately or in conjunction to create complex “synchro-sonic” rhythm patterns. You can also use a MIDI Clock as the Master Clock to synchronize to an external MIDI device such as a drum machine or sequencer. (See Master Tempo in the Master menu.)

Clocks are routed exactly like the other modulations sources using the PatchCords. The PatchCord Amount MUST be positive (+) for the clock to pass. By modulating the PatchCord Amount, you can route the divided clocks using real-time controllers or other modulation sources.

When an LFO is triggered by a clock, the LFO wave resets to zero every time the clock wave goes low. If the LFO rate is close to the clock rate, the LFO virtually synchronizes with the clock. If the two rates are far apart, the waveform of the LFO will be mildly or radically altered.

Triggered LFO

Inverted Sawtooth

60 E-MU Systems

LFO Wave

Clock

LFO Trigger causes the LFO to reset each time the clock waveform goes low.

Programming Basics

Clock Modulation

LFOs can also be perfectly synchronized with the clock at any of 25 note divisions. This allows you to create very cool “synchro-sonic” effects that work perfectly at any tempo. Choosing one of the note divisors in the LFO rate screen selects the synced LFO function.

There are many possibilities for clock modulation and retrigger. For

example, you can create a repeating six segment curve of any shape by triggering the Filter or Auxiliary Envelope generators with the clock. A few other possibilities are listed below.

LFO Synced to 1/4 Note Clock

• Turn different voice layers on and off using different clock divisors.

• Switch between Auxiliary and Filter Envelope retriggering using a

slider or footswitch.

• Retrigger LFOs or Envelopes using noise or other LFOs to create random or semi random effects.

• Alter the LFO waveform by modulating the rate of a triggered LFO.

• Route multiple clocks with different divisors to the same destination

(such as pitch) to create complex patterns. (Hint: Adjust the PatchCord Amounts.)

Eighth

Note

Quarter

Note

Adding these two clocks together in equal amounts produces a stairstep waveform.

16th Note

8th

Note

Quarter

Note

Adding multiple clocks with unequal amounts produces complex repeating patterns.

B-3 Operation Manual 61

Programming Basics

Modulation Destinations



All the modulation destinations are summing nodes. This means that you can connect as many modulation sources as you want to a destination. Modulation sources are simply added algebraically — connecting two sources, one with a value of

-100 and the other with a value of +100 yields a net value of zero.

The PatchCords section of the Edit menu is where you connect sources to destinations. Each PatchCord has an amount associated with it which controls how much modulation is applied.

PATCHCORD #01

ModWhl -> RTXfade +036

The PatchCords screen above and the diagram below show how modulation sources are connected to destinations. The modulation sources can control any of the destinations in the layer.

Layer

Instrument

Glide

Pitch

Start Offset

Chorus

Z-Plane

Filter

Freq. Gain

Envelope

Gen.

Vol

Amp

Pan

Envelope

Gen.

62 E-MU Systems

LFOs

• Note-on modulation sources, such as key, velocity and gate output a single value at note-on time. Realtime modulation sources such as LFOs, envelope generators and modulation wheels output continuously changing values.

The possible modulation routings are completely ﬂexible as shown in the diagram above. Multiple sources can control the same destination, or a single source can control multiple destinations.

Mod

Wheel

Envelope

Gen.

MIDI

Controls

Key #

Velocity

Gate

Mod. Proc.

Programming Basics

Modulation Processors

Modulation processors are devices which can modify modulation sources such as LFOs and envelope generators before they are applied to a destination. Modulation processors let you create patches and do tricks which would not be possible otherwise. These modulation processors are independently programmable on each of the four layers.

Switch

Outputs a digital “1” when the input is greater than “0”.

Switch

(above zero)

Summing Amp

Lets you add several modulation signals together before applying them to a destination. This processor can save PatchCords when routing the output to multiple destinations.

Sum

Lag Processors

Slows down rapid changes in the input signal. The output “lags” behind the input at a pre-programmed rate. There are two lag processors, Lag 0 and Lag

1. Lag 1 has a longer lag time than Lag 0.

Lag

Processor

Absolute Value

This function inverts negative input values and outputs only positive values. This device is also called a full wave rectiﬁer.

Absolute

Value

B-3 Operation Manual 63



The value of a digital “1” is equal to the PatchCord amount.

Programming Basics

Modulation Processors

Diode

The diode blocks negative input values, passing only positive values.

Diode

Flip-Flop

The output of this processor alternates between a digital “1” and digital “0” each time the input goes positive from zero or a negative value. With an LFO input, the output will be a square wave of half the input frequency.

Flip-Flop

Quantizer

With the input PatchCord set to 100%, the output value is limited to 16 discrete values. The value of the input PatchCord controls the number of steps. The value of the output PatchCord controls the size of the steps.

Summing Amps can be useful in complicated patches where you want to control a combination of modulation signals with a single patchcord.

# of

Steps

Size of

Steps

Quantizer

4x Gain

This processor ampliﬁes the modulation source by a factor of 4.

Gain

Lag Inputs

The Lag processors can be used as 2 additional summing amps. Lag0sum and Lag1sum are modulation sources which equal the sum of PatchCords connected to the Lag in destination. The summing amp is located before the lag processor as shown in the following illustration.

Sum Node

Lag 0

Lag

64 E-MU Systems

Lag 0 sum

Programming Basics

Preset Modulation Processors

Preset Modulation Processors start working as soon as the preset is selected. The Layer Modulation Processors take effect only when a key is pressed.

There are also two “Preset Level” modulation processors located in the “Preset Patchcords” screen of the Edit menu. These processors were created especially for B-3 to duplicate the rotating speaker and key percussion effects of the original B-3 organ. It is important to understand that although the preset processors originate at the Preset Level PatchCords, their output is used in the Layer PatchCords.

Preset Lag

Like the Layer Lag processors (described on page 63) the Preset Lag slows down rapid changes in the input signal. The output “lags” behind the input at a pre-programmed rate. Unlike the layer level lag processors, the preset lag takes effect as soon as the preset is selected. In contrast, the layer level lag processors begin acting only after a keyboard key has been depressed. The Preset Lag also has a Lag Amount input which controls the lag time. Positive lag amounts increase the lag time. A MIDI controller (front panel knob) is commonly used to control lag amount.

In the B-3, the preset lag is often used to “spin-up” and “spin-down” the rotating speaker effect. A MIDI footswitch is commonly used as the input to the lag which acts to slow down the instantaneous change of the switch. The slowly changing output value is then routed using a layer patchcord to crossfade between layers or change the speed of an LFO.

Preset

Lag

ex. footswitch

Lag Amount

(+ value = longer)

Preset Ramp

This processor generates a positive or negative going slope whenever the ﬁrst key is depressed on the MIDI channel.

Preset Ramp

Negative Rate

time

1st Note

original

value

Played

increase

Preset Ramp

Positive Rate

time

original

value

decrease

1st Note

Played

B-3 Operation Manual 65

Programming Basics

Preset Modulation Processors

The preset ramp instantly resets when all notes have been released and the next ﬁrst key on the MIDI channel is pressed. The Ramp Rate polarity (+ or -) determines if the ramp will be positive or negative going. The value of the ramp rate sets the increment. Large values produce fast ramps and small values produce slow ramps. Multiple inputs can be connected to the ramp rate (just like all the other destinations in B-3).

Why do we want this? The original B-3 organ has a key percussion feature which only sounds on the ﬁrst note played. While this undoubtedly resulted from the technical shortcomings of the day, many players have adopted and embraced this unique feature. The Preset Ramp exactly duplicates the ﬁrst note percussion of the original B-3. The patch is a little complicated and you may ﬁnd it easier to simply copy and edit an existing preset. Nevertheless, here is the complete B-3 percussion patch.

Real Rocket Science

Cord

+100

Percussion

Decay Time

Cord

-100

Preset

Cords

One Layer

Percussion

Instrument

Rate

Percussion

Preset

Ramp

Amount

Z-Plane

Filter

Out

Invert

Initial Setting

-96 dB (off)

Amp

Cord

-100

Cord

+100

Vol

Pan

Layer

Cords

The combination of the DC & Perc. Decay Time Cords has the effect of reversing the Percussion Decay Time knob. The decay time increases as the knob is turned up.

66 E-MU Systems

1. DC - Sets initial ramp Fast-Positive (+100)

2. Decay Knob - Inverted value slows ramp as the knob value is increased.

3. Ramp Out Cord - Inverts Ramp slope (downward).

4. Amp Vol - Initial setting is Off (-96dB). Ramp cannot overcome this

negative bias.

5. Perc. Amt - When this knob is turned up, the positive bias on the Amp

is restored so that so that the Ramp can now affect Amp Volume.

6. Volume Envelope - Fast Attack, Full Sustain, No Release

Programming Basics

Preset Modulation Processors

Using the Modulation Processors

Modulation processors are inserted into a modulation routing as shown in the following diagram.

The modular analog synthesizers of yesteryear were incredibly ﬂexible, partly because processing devices could be connected in any order. Modulation processors are designed according to this modular concept. They can be linked and used in a wide variety of ways limited only by your imagination. Consider the following example:

Velocity ~

Cord Cord

The patch illustrated above is programmed by setting the PatchCord screens as shown below.

PATCHCORD #01

Switch

Switch On when

Velocity > 0

Switch value is Scaled by

Cord Amount

Pitch

Vel+- -> Switch +100

PATCHCORD #02

Switch -> Pitch +022

This particular modulation shifts the overall pitch up a ﬁfth when the key velocity exceeds 64. Velocities below 64 play at normal pitch. Notes with velocities of 64 and above are raised a perfect ﬁfth. The Velocity “~” source scales the played velocity around zero. In other words, low velocities (below

64) will have negative values and high velocities (64 and above) will be positive. A velocity of 64 would be zero. The Switch module only outputs a “1” if the input value is greater than zero. This digital “1” value can be scaled through the attenuator on the PatchCord to raise or lower the pitch by any amount. In this case, a scaling value of +22 raises the pitch by a perfect ﬁfth. The amount of the PatchCord on the input to the switch is unimportant because ANY velocity value equal or greater than 64 will ﬂip the switch. If the input PatchCord amount were a negative value however, the action of the velocity would be reversed and velocities less than 64 would raise the pitch and velocities equal or greater than 64 would play the original pitch.

B-3 Operation Manual 67

Programming Basics

Preset Modulation Processors

But what if you want the velocity switch point to be something other than 64? Thanks to modulation processors, it can be done. Here's how.

Velocity ~

Cord

Switch

Switch On when

Velocity > 0

Cord

Switch value

is Scaled by

Cord Amount

Pitch

Connect the DC level to the input of the switch along with the velocity value. Note that more than one modulation source can be applied to the input of a processor.

DC offset adds a ﬁxed value based on the PatchCord Amount setting. If applied to the switch along with the velocity, it changes the velocity value required to trip the switch. By setting the DC amount to a negative amount, higher velocity values are required to trip the switch. Setting the DC value to a positive value would bring the velocity switch point down. The PatchCord screens for this patch are shown below.

PATCHCORD #01

Vel+- -> Switch +100

PATCHCORD #02

DC -> Switch -021

PATCHCORD #03

Switch -> Pitch +022

68 E-MU Systems

Programming Basics

Preset Modulation Processors

More Examples To derive a smooth random function you could route the Pink Noise

generator through one of the Lag Processors. A smooth random wave is useful in small amounts to add a degree of natural variation to timbre when routed to ﬁlter cutoff. Normal pink noise is low pass ﬁltered audio frequency noise with a 3 dB/octave slope to give equal energy per octave. B3 pink noise is actually more like very low frequency ﬁltered noise, but it is perfect for use as a random control source.

Pink

Noise

Cord Cord

Lag

Processor

Lag Smooths

Pink Noise

Filter

Cutoff

Smooth

Random Function

The Quantizer can generate interesting whole-tone scales when envelope generators or LFOs are routed to the input. The quantizer turns a smoothly changing input signal into a series of steps. By routing the output of the quantizer to Pitch and adjusting the PatchCord amounts, you can control both the number of steps and the pitch interval of each step.

Number

Steps

Quantizer

Cord Cord

Size

Steps

The input PatchCord amount controls how many steps will be generated. With a sawtooth wave (LFO+) feeding the input and the PatchCord amount set to 100%, sixteen steps are generated. The output PatchCord amount controls the size (or interval) of the steps.

Try setting up the following patch exactly as shown below using your favorite preset as a starting point.

LFO1 SHAPE SYNC

sawtooth key sync

LFO1 RATE DELAY VAR

0.35Hz 000 000

B-3 Operation Manual 69

The 4x Amp can be used to get more steps or increase the interval of the Quantizer.

Experiment with this patch by connecting other sources and destinations to the Quantizer.

Programming Basics

Preset Modulation Processors

PATCHCORD #01

LFO1+ -> Quantize +030

PATCHCORD #02

Quantize -> Pitch +100

PATCHCORD #03

DC -> Pitch -050

This patch generates an ascending arpeggio every time a key is pressed. A diagram of the patch is shown below. The patch is very straightforward except for the DC offset which was added to bring the pitch down into tune. (Sometimes you have to ﬁx a problem, but using the mod processors there's usually a way around it to achieve the desired result.)

Number

LFO+

You can start to see some of the possibilities (and there are many). Whenever you ﬁnd yourself wishing for some esoteric type of control, take a minute to think and see if there is a way to achieve the desired result using the modulation processors.

100%

Quantizer

Cord Cord

Cord

-50%

Size

100%

Pitch

70 E-MU Systems

Programming Basics

Modulation Processors

Dynamic Filters

The block diagram of the B-3’s signal path is shown below.

Instrument

Pitch

Glide

To understand how a ﬁlter works, we need to understand what makes up a sound wave. A sine wave is the simplest form of sound wave. Any waveform, except a sine wave, can be analyzed as a mix of sine waves at speciﬁc frequencies and amplitudes.

Glide

Retrigger

Start Offset

Filter

Freq. VolQ

Z-Plane

Amp

Pan

Any waveform can be analyzed as a mixture of sine waves.

One way to represent complex waveforms is to use a chart with frequency on one axis and amplitude on the other. Each vertical line of the chart represents one sine wave at a speciﬁc amplitude and frequency.

100

Amplitude

40 80 160 360 720 1440 2880

...

Frequency

B-3 Operation Manual 71

Programming Basics

Dynamic Filters

What is a Filter? Most sounds are complex waves containing many sine waves of various

amplitudes and frequencies. A ﬁlter is a device which allows us to remove certain components of a sound depending on its frequency. For

example, a low-pass ﬁlter lets the low frequencies pass and removes only the high frequencies as illustrated in the following diagram.

100

Output of Filter

Cutoff Frequency

Low Pass

Filter

Amplitude

40 80 160 360 720 1440 2880

...

Frequency

A ﬁlter that lets only the high frequencies pass is called a high-pass ﬁlter as illustrated in the following diagram.

100

Initial Frequency

Filter Output

High Pass

Filter

Amplitude

72 E-MU Systems

40 80 160 360 720 1440 2880

Frequency

...

Programming Basics

Dynamic Filters

A ﬁlter which only lets a certain band of frequencies pass is called a band-pass ﬁlter.

100

Center Frequency

Filter

Output

Band Pass

Filter

Amplitude

40 80 160 360 720 1440 2880

Frequency

A notch ﬁlter is just the opposite of a band-pass ﬁlter and is used to eliminate a narrow band of frequencies.

Another control found on traditional ﬁlters is called Q or resonance. A lowpass ﬁlter with a high Q emphasizes the frequencies around the cutoff frequency. The following chart shows how different amounts of Q affect the low-pass ﬁlter response. In terms of sound, frequencies around the cutoff tend to “ring” with high Q settings. If a ﬁlter with high Q is slowly swept back and forth, various overtones are “picked out” of the sound and ampliﬁed as the resonant peak sweeps over them. Bells and gongs are real world examples of sounds which have a high Q.

...

Low Q Med Q High Q

Amplitude

Frequency

B-3 Operation Manual 73

Important: 12th order ﬁlters use twice as many voices!

Programming Basics

Dynamic Filters

Another characteristic of a ﬁlter is the number of poles it contains. Traditional synthesizer ﬁlters were usually either 2-pole or 4-pole ﬁlters. The B-3 has selectable 2, 4, 6, and even 12th order ﬁlters. The higher the order of a lowpass, highpass or bandpass ﬁlter describes the steepness of its slope. The higher the order (another word for the number of poles), the steeper the ﬁlter's slope and the stronger the ﬁltering action. The tone controls on your home stereo are probably one-pole or two-pole ﬁlters. Parametric equalizers are usually either two-pole or three-pole ﬁlters.

In terms of vintage synthesizers, Moog and ARP synthesizers used 4-pole ﬁlters, Oberheim and E-mu synthesizers were famous for their 2-pole ﬁlter sound.

Of course B-3 contains far more ﬁltering power than most synthesizers. In one of B-3’s complex 12th order morphing ﬁlters, there may be several peaks and dips which change according to the ﬁlter frequency parameter. For these ﬁlters, think of the order as the complexity of the ﬁlter.

B-3 has the processing power to produce 64 ﬁlters of up to 6th order or 32 ﬁlters of 12th order complexity. Therefore, if you decided to use all 12th order ﬁlters, B-3 would be limited to 32 voices.

Amplitude

6-pole Lowpass

4-pole Lowpass

2-pole Lowpass

Frequency

Using a ﬁlter, we have a way to control the harmonic content of a sound. As it turns out, even a simple low-pass ﬁlter can simulate the response of many natural sounds.

For example, when a piano string is struck by its hammer, there are initially a lot of high frequencies present. If the same note is played softer, there are fewer high frequencies generated by the string. We can simulate this effect by routing keyboard velocity to control the low-pass ﬁlter. The result is expressive, natural control over the sound.

If you use an envelope generator to control the cutoff frequency of a ﬁlter, the frequency content can be varied dynamically over the course of the note. This adds animation to the sound as well as simulates the response of many natural instruments.

74 E-MU Systems

Programming Basics

Dynamic Filters

Parametric Filters A more complex type of ﬁlter is called a parametric ﬁlter or Swept EQ. A

parametric ﬁlter allows control over three basic parameters of the ﬁlter . The three parameters are: Bandwidth, Frequency and Gain. The Bandwidth allows you to select the width of the range of frequencies to be boosted or cut, the Frequency deﬁnes the center frequency of the bandwidth, and the Gain parameter either boosts or cuts the frequencies within the selected band by a speciﬁed amount. Frequencies not included in the selected band are left unaltered. This is different from a band-pass ﬁlter which attenuates (reduces) frequencies outside the selected band.

+18 dB

Boost

Freq.

Parametric

Filter

0 dB

Amplitude

Cut

-18 dB

Bandwidth

Frequency

The parametric ﬁlter is quite ﬂexible. Any range of frequencies can be either ampliﬁed or attenuated. Several parametric sections are often cascaded in order to create complex ﬁlter response curves.

If four parametric ﬁlter sections were cascaded, it would be possible to create the following complex ﬁlter response.

4 Parametric Equalizers

dB Magnitude

-5 500 10,000 15,000

Linear Frequency - Hertz

20,000

Many natural instruments have complex resonances which are based on their soundboard or tube size. The resonance shown above would be impossible to create using a normal synthesizer ﬁlter.

B-3 Operation Manual 75

Programming Basics

Dynamic Filters

The Z-Plane Filter A Z-plane ﬁlter is a ﬁlter which can change its function over time. In a

Z-plane ﬁlter, we start with two complex ﬁlter types and interpolate between them using a single parameter. See the following diagram.

Morph

B Filter

Amplitude

A Filter

Morph

Frequency

The Z-plane ﬁlter has the unique ability to change its function over time.

Filters A and B represent two different complex ﬁlters or “frames.” Changing a single parameter, the Morph, changes many complex ﬁlter parameters simultaneously. Following along the Morph axis you can see that the ﬁlter response smoothly interpolates between the two ﬁlters. This is the essence of the Z-plane ﬁlter. Through the use of interpolation, many complex parameters are condensed into one manageable entity.

Consider, as an example, the human vocal tract, which is a type of complex ﬁlter or resonator. There are dozens of different muscles controlling the shape of the vocal tract. When speaking, however, we don't think of the muscles, we just remember how it feels to form the vowels. A vowel is really a conﬁguration of many muscles, but we consider it a single object. In changing from one vowel to another, we don't need to consider the frequencies of the resonant peaks. You remember the shape of your mouth for each sound and interpolate between them.

This Z-plane ﬁlter sweep can be controlled by an envelope generator, an LFO, modulation wheels or pedals, keyboard velocity, key pressure, and so on. In fact, any of the modulation sources can control the Z-plane ﬁlter.

76 E-MU Systems

Because creating the complex ﬁltering is difﬁcult and very time consuming, we have created 50 different ﬁlter types and installed them permanently in ROM for your use. You simply select and use the ﬁlters in a manner similar to choosing an instrument. Because there are so many types of instruments and ﬁlters to choose from, the number of possible permutations is staggering.

Programming Basics

Signal Flow

Signal Flow Going back to the Signal Path diagram for a single channel we can

reexamine the complete signal path.

Instrument

Sample

Pitch

Start

Filter

Envelope

Z-Plane

Filter

Freq Q

Velocity

DCA

Volume

Envelope

Pan

Instrument

This is the sampled sound wave. The pitch of the instrument can be modulated by any modulation source. The sample start point can be changed only at the time the note is played.

Z-Plane Filter

The Z-Plane Filter is used to shape the harmonic content of an instrument. The ﬁlter envelope is commonly used to shape the harmonic content dynamically over time but the ﬁlter frequency can be modulated by any source. The Q parameter can be modulated only at note-on time. There are 50 types of ﬁlters available. See “Filter Types” on page 103 for a complete list of the ﬁlters.

Digitally Controlled Ampliﬁer (DCA)

Together with the Volume Envelope, the DCA is used to shape the volume contour of a sound. The DCA can be controlled by any modulation source. Velocity is often used as a modulation sour ce for the DCA so that the harder you play, the louder the sound becomes.

Pan

Adjusts the balance of sound to the left and right channels. Pan can be modulated by any modulation source.

B-3 Operation Manual 77

Programming Basics

MIDI Channels & Real-time Controls



controls are automatically routed in B-3:

Pitch Wheel pwh Modulation Wheel 01 Old DX7 Aftertouch 03 Pedal 04 Volume 07 Pan 10

The following MIDI

The MIDI real-time controllers may seem confusing at ﬁrst, but they are really very simple once you understand them. You already know that there are 16 MIDI channels per MIDI cable. Each MIDI channel uses three basic types of messages; note on/off, preset changes, and continuous controller messages. Your MIDI keyboard, in addition to telling B-3 which note was played, can also send real-time control information, which simply means control occurring in real-time or “live.” (You may be using a MIDI device other than a keyboard, but for simplicity's sake we'll presume that you are using a keyboard.) Real-time control sources include such things as pitch wheels or levers, modulation wheels or levers, control pedals and aftertouch and are used to add more expression or control.

Your MIDI keyboard sends out real-time controller information on separate continuous controller numbers. There is a set of 32 continuous controller numbers for each MIDI channel. Some of the controllers, such as the modulation wheel, volume, and pan have standardized numbers. For example, volume is usually sent on continuous controller #7. Your keyboard may have other real-time controls such as a control pedal or data sliders which can also be programmed to control the B-3.

MIDI

Channel 1

Note

On/Off

Program

Change

Continuous Controllers

MIDI

Channel 2

Note

On/Off

Program

Change

Continuous Controllers

MIDI

Channel 3

Note

On/Off

Program

Change

Continuous Controllers

MIDI

Channel 16

Note

On/Off

Program

Change

Continuous

Controllers

78 E-MU Systems

Any MIDI controller can be routed to any modulation destination. First, you have to know which controller numbers your keyboard transmits. Most modern MIDI keyboards let you select a controller number for each control on the keyboard. For example, it may let you select a number from 0-31 for the data slider. The realtime controller numbers that the keyboard transmits must match the numbers B-3 is receiving, otherwise nothing will happen when you move the controls.

Suppose you wanted to send the four data sliders on your master keyboard. Proteus can handle 12 MIDI controllers (A-L) of your choosing. “MIDI A-L” are simply names for the internal connections that link external MIDI continuous controllers to the PatchCord section of Proteus. There are two parts to the connection. First, MIDI controller numbers are assigned to the letters A-L in the Master menu. Next, the letters A-L are connected to synthesizer control parameters in the PatchCord section of the Edit menu. The PatchCord Amount scales the amount of each controller by a positive or negative value.

Programming Basics

MIDI Channels & Real-time Controls

The factory presets have the MIDI A-L controls connected to standard synthesizer functions (marked on the front panel of B-3). By choosing any four of the 12 standard functions, the four sliders on your keyboard will work the same on every preset. The chart below shows how this might work if your keyboard transmitted the slider settings on MIDI controllers 21-24.

Control MIDI Controller # Routing Standard Function

Slider 1 21 A Controls Filter Frequency Slider 2 22 B Controls Filter Resonance Slider 3 23 C Controls Envelope Attack Slider 4 24 D Controls Envelope Release

MIDI

Master Menu

0 1

MIDI

2 3

Controller A

0 1

MIDI

2 3

Controller B

0 1

MIDI

2 3

Controller C

0 1

MIDI

2 3

Controller L

Control

Knobs

A/E/IA/E/ I

B/F/JB / F/J

C/G/KC/G/K

D/H/LD/H/L

Edit Menu

Amount

Patchcord Destinations

Key Sustain Fine Pitch Pitch Glide

Cord

Chorus Amount Sample Start Sample Loop Sample Retrigger Filter Frequency Filter Q Amplifier Volume Amplifier Pan

Cord

Amplifier Crossfade Volume Envelope Rates Volume Envelope Attack Volume Envelope Decay Volume Envelope Release Filter Envelope Rates Filter Envelope Attack

Cord

Filter Envelope Decay Filter Envelope Release Aux. Envelope Rates Aux. Envelope Attack Aux. Envelope Decay Aux. Envelope Release LFO 1 & 2 Rates LFO 1 & 2 Trigger Lag Processor Summing Amp Switch

Cord

Absolute Value Diode Quantizer 4x Gain Cord 1-24 Amount

FXA Send 1-4 FXB Send 1-4 Preset Lag In Preset Lag Amount Preset Ramp Rate

Preset Cords

MIDI A-L are internal connections which simultaneously carry front panel controller knob data and MIDI continuous controller data.

The four controller knobs on the B-3 front panel work just like MIDI realtime controllers. The four controller knobs are permanently assigned to controllers A-L. Pressing the control button adjacent to the row of knobs selects A-D, E-H or I-L functions for the knobs. The front panel knob (A-L) and incoming MIDI controller messages assigned to that letter, both control the same parameter that you select in the PatchCord screen.

B-3 Operation Manual 79

Programming Basics

MIDI Channels & Real-time Controls

Bank Select Commands



When you press the Audition button, the Bank Select MSB and LSB are displayed on the top line of the display.

When the original MIDI speciﬁcation was developed it included the capability to select up to 128 presets. At that time, when synthesizers had only 8 to 40 presets, being able to select up to 128 presets didn’t seem like much of a limitation.

But as time marched on, musicians wanted MORE and so the MIDI speciﬁcation was later amended to include Bank Select Commands. It was decided that Bank Select Commands would use Continuous Controllers 0 and 32 to allow the selection of up to 16,384 banks of 128 presets (over two million presets).

Because Bank Selects are implemented using Continuous Controllers, the Bank Selections can be made per channel. (This is getting better and better.) For each MIDI channel, you can select any of 16,384 banks and then one of the 128 presets in the bank. Of course no synthesizer has 16,384 banks (yet), but hey, it’s nice to know it’s possible (for that really BIG project).

Continuous Controller (CC) 0 is the MSB (most signiﬁcant byte) and CC 32 is the LSB (least signiﬁcant byte). Normally you send both the MSB and LSB controllers to implement a bank change.

80 E-MU Systems

MIDI BANK SELECT

MSB LSB

cc00 cc32

USER USER USER USER

B3 B3 B3

00 00 00 00

06 06 06

00 01 02 03

00 01 02

Bank 0 Bank 1 Bank 2 Bank 3

Bank 0 Bank 1 Bank 2

Programming Basics

Stereo Mix Outputs

This feature is useful for adding signal processing (EQ, reverb, etc.) of individual sounds prior to ﬁnal mixdown.

The routing can be performed according to MIDI channel from the Mix Output screen in the Master menu. Simply assign each channel to the desired output.

Master

To route a particular preset to a Send, ﬁrst go to the Mix Output screen in the Master menu and set the MIDI channel to “Preset”.

Master

Next set the Mix Output routing in the preset to the desired output (for each layer). Yes, you can send each layer to a different send if you want.

MIX OUTPUT

channel 01: Send 2

MIX OUTPUT

channel 01: Preset

Edit

By sending different amounts of presets to the effects, subtle or striking effects can be achieved using the two effect processors. This feature allows you to get the most out of two effects since you can have eight different mixes.

For more information, refer to the diagram on the following page or, See

“Mix Output” on page 37.

MIX OUTPUT

Send 2

B-3 Operation Manual 81

Programming Basics

Stereo Mix Outputs

OUTPUT SECTION

& EFFECTS PROCESSORS

Mix Output

Ch 1

PRESET SEND 2Ch 2 SEND 3Ch 3

SEND 4Ch 16

MASTER MENU

PRESET

EDIT MENU

Mix

Output

Send 1

FX Sends

Send 1 15% Send 2 10% Send 3 0% Send 4 0%

S E

FX Sends

Send 1 0% Send 2 0% Send 3 20% Send 4 15%

Hall 1

Effect

B➟A

Chorus

Effect

S E

3 S

82 E-MU Systems

The Mix Output screen in the Master menu assigns each MIDI channel to a Send (1-4) or to “Preset”.

The Mix Output screen in the Edit menu is ONLY used if the Master Mix Output is set to “Preset”. Otherwise the Edit menu Mix Output settings are ignored.

Edit Menu

The Edit Menu contains four layers of preset parameters that you can modify and then save as preset information in one of the user preset locations.

There are four instrument layers in the Edit menu. See the illustration on page 85 for a description of the Preset Layer model.



While the Edit menu is activated, all incoming MIDI preset changes on the selected channel are ignored.

If there is no “A” option in the Layer ﬁeld, you must enable the “Edit All Layers” function in the Master Menu.

To Access the Edit Menu

Press the Edit button, lighting the LED. The Edit Menu screen displays the menu page most recently selected since powering up B-3. The cursor appears below the ﬁrst character of the screen heading on line one.

þ To Scroll through Layers

Place the cursor below the layer ﬁeld. Rotate the Data Entry Control to select a layer (1-4).

You can also select All Layers by choosing “A” in the layer ﬁeld. When All Layers is selected, the existing parameter value for any ﬁeld will be displayed if the values of all four layers are equal. If the values of all four layers are NOT equal, the value of layer 1 will be displayed with ﬂashing characters. If you change the parameter value, all layers will assume the new value and the display will stop ﬂashing.

þ To Scroll through Pages

Place the cursor below the page title ﬁeld. This will automatically be done when you press the Home/Enter button. Rotate the Data Entry Control to scroll through the pages.

þ To Change a Parameter

Place the cursor below the parameter ﬁeld. Rotate the Data Entry Control to change the parameter value.

B-3 Operation Manual 83

Edit Menu

Preset Name The Preset names consists of two parts: a 3 letter preset category and a 12

letter preset name. Position the cursor under the character location and use the data entry control to change the character.

The preset category is used in conjunction with the Sound Navigator feature. Using the Sound Navigator, a category is selected and the presets in that category are listed in alphabetical order. Creating categories makes it easier to ﬁnd speciﬁc sounds when you need them. For more information on Sound Navigator, see Sound Navigator in Chapter 2: Operations.

PRESET NAME 0023 org: 8 0 8 0 8 8 0 6 3

The keyboard can also be used to select character. The charts below show the keyboard character assignments.

(

$ n k

)

-2

-1 0 1 2 3

;=@

GIL

SUX

]

[

_ad

C C# D D# E F F# G G# A A# B

blank

"!#$%&

'()*+,-./012 3456789: ;< >= ?@ABCDEFGHI J

KLMNOPQRSTUV

WXYZ[¥]^_`ab

kmp

wy|

Pitch

}

{

84 E-MU Systems

4 5 6

Octave

cdefghijklmn opqrstuvwxyz

{|}

Edit Menu

Four Layer Architecture

B-3 provides a 4 layer instrument structure. Each layer is a complete synthesizer voice with 50 ﬁlter types, over 64 modulation sources, more than 64 modulation destinations and 24 patchcords to connect everything together. In addition, the four layers can be crossfaded or switched by key position, velocity or any real-time modulation source.

Instrument

Layer 1

Z-Plane Filter

DCA

Pan

Instrument

Layer 2

Z-Plane Filter

DCA

Pan

Instrument

Layer 3

Z-Plane Filter

DCA

Pan

Instrument

Layer 4

Z-Plane Filter

DCA

Pan

Selecting Layers In most of the Edit screens, the selected layer is shown in the upper left

corner of the display. Layers 1-4 or All can be selected by positioning the cursor on this ﬁeld and using the Data Entry Control to change the layer. In the screen shown below, Layer 1 is selected.

INSTRUMENT ROM:CMPSR

0043 dir: 8 8 6 3 2 2 5 8 8

When “All Layers” (A) is selected, the existing parameter value for any ﬁeld will be displayed if all layers are equal. If the layer parameter values are NOT equal, the value of Layer 1 will be displayed with ﬂashing characters. If you move the Data Entry Control all values will be equal to this new value and the parameter value will no longer ﬂash.

B-3 Operation Manual 85

Edit Menu

Deﬁning Layer Parameters

Selecting an Instrument

The Edit menu parameters deﬁne the four layers and include the instrument assigned to the layer, the ranges of the layer, tuning, envelopes, ﬁlters, and patch cords. These parameters are deﬁned for each layer on an individual basis (based on the currently selected layer). See “Common Preset Parameters” on page 117 for global preset settings.

The Instrument parameter deﬁnes which of the available instrument sounds is played by the current layer.

ROM SIMM Name

INSTRUMENT ROM: CMPSR

0135 org: Stab

Instrument Category Instrument Name

To select an instrument for the selected layer(s), move the cursor to the bottom line of the display and change the instrument using the Data Entry Control.

Sound Navigator

Sound Navigator also works to help select Instruments although the category names are predeﬁned. When the cursor is on the Instrument Category ﬁeld, turning the Data Entry Control selects different instrument categories. The Name Field will change to show the ﬁrst instrument in each category. Move the cursor to the instrument name to select instruments in the selected category.

INSTRUMENT ROM: CMPSR

0135 org: Stab

1. Choose Category

Selecting Categories of Instruments using Sound Navigator.

2. Scroll through Instruments

86 E-MU Systems

Edit Menu

Deﬁning Layer Parameters

Deﬁning Key Range The Key parameter deﬁnes the range on the keyboard used by the current

layer. The Key range is from C-2 through G8.

Middle C

C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8 G8

To deﬁne the range, set the low key value and the high key value. You can select key numbers by simply pressing the desired keyboard key

when the cursor is positioned on the low or high key ﬁeld in the display.

Fade In Fade Out

For smoothest crossfades, turn the Master Volume control on the front panel up to maximum.

KEY: LO FADE HIGH FADE

C-2 000 C2 012

Layers can be crossfaded according to key position by adjusting the Low and High Fade parameters. The ﬁrst Fade ﬁeld determines how many semitones it takes the layer to Fade In from the low key. The second Fade ﬁeld determines how many semitones it takes the layer to Fade Out to the high key . The screen shot above and the diagram below show Layer 1 being faded out over a one octave range.

C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8 G8

Layer 1

Layer 2

Layer 3

Switch

Layer 4

With a High Fade value of zero (as in layer 3 of the diagram), the layer simply switches off at the high key.

B-3 Operation Manual 87



You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key ﬁeld n the display.

Edit Menu

Deﬁning Layer Parameters

To Switch Layers According to Key Position

The Key Range parameter allows you to create a “split” keyboard with up to four sounds adjacent to each other on the keyboard. This is shown in the diagram below.

C0 C1 C2 C3 C4 C5 C6

Layer 1 Layer 2 Layer 3 Layer 4

Switch Switch Switch

Just assign the low and high key range for each of the four layers with Fade set to zero. Set the Low and High Keys so they don’t overlap other layers.

KEY: LO FADE HIGH FADE

C0 000 F1 000

KEY: LO FADE HIGH FADE

If two layers do overlap, both will play as shown in the next example.

F#1 000 C3 000

KEY: LO FADE HIGH FADE

#3 000 F#4 000

KEY: LO FADE HIGH FADE

4 000 C6 000

88 E-MU Systems

Edit Menu

Deﬁning Layer Parameters

To Stack Layers

If the ranges of two or more Layers overlap it is called stacking layers. All Layers assigned to a key sound when the key is played. This is shown in the following diagram. It’s very easy to stack layers. Simply duplicate the key ranges for any layers you want to stack.

C0 C1 C2 C3 C4 C5 C6

Layer 1 Layer 2

KEY: LO FADE HIGH FADE

0 000 C6 000

B-3 Operation Manual 89

Edit Menu

Deﬁning Layer Parameters

Deﬁning the Velocity Crossfade Range

Velocity is a measure of how hard the key is pressed. V elocity Range lets you control the volume of the layers using velocity . Using this function you can crossfade or cross-switch between layers according to how hard you play the keyboard.

Set the velocity range of the layer by deﬁning the high and low velocity values. Values range from 0 (off) to 127 (hardest).

VEL: LO FADE HIGH FADE

The Fade ﬁelds deﬁne the velocity crossfade range for the currently selected layer. The ﬁrst Fade ﬁeld deﬁnes the Fade In range for the low velocity value. The second deﬁnes the Fade Out range for the high velocity value.

0 127

6 012 96 012

Velocity

Layer 1 Layer 2

Fade Fade Switch

36 96

With soft playing, Layer 1 sounds. As you play harder, Layer 1 gradually fades out and Layer 2 fades in. When the keyboard is played hard, Layer 3 plays.

Layer 3

Layer 4

90 E-MU Systems

Edit Menu

Deﬁning Layer Parameters

To Set Up a Velocity Crossfade Between Layers

Set the velocity fades so that layer 1 fades out with higher key velocity, while layer 2 fades in. At a velocity of 64, the two sounds are equal volume. You may want to adjust the fade in and fade out points to achieve a natural sounding crossfade. These parameters vary depending on the sounds.

Increasing Velocity0

VEL: LO FADE HIGH FADE

00 000 127 127

00 127 127 000

127

Layer 2Layer 1

B-3 Operation Manual 91

Edit Menu

Deﬁning Layer Parameters

Deﬁning the Real-time Crossfade Range

The Real-time Crossfade window lets you control the volume of the four layers using a real-time controller such as a front panel knob, a pedal or an LFO or Envelope generator. The controller is deﬁned by the PatchCord parameter (see “PatchCords” on page 113).

The Fade ﬁelds deﬁne the crossfade range in velocity for the currently selected layer. The ﬁrst Fade ﬁeld deﬁnes the Fade In amount for the low Real-time Control value. The second deﬁnes the Fade Out amount for the high Real-time Control value. The Fade value range is from 0 to 127.

0 127

Layer 1 Layer 2

Fade

After the Ranges and Fades have been adjusted for each layer in the Realtime Crossfade screen, you must assign a real-time controller to RTXfade (Real-time Crossfade) on each Layer in the PatchCord screen. Set the PatchCord Amounts to +100.

Realtime Control Value

Layer 3

Fade Switch

Layer 4

þ To Set Up a Real-time Crossfade Between Two Layers

As the real-time control (knob, pedal, LFO, etc.) is increased, Layer 1 fades out as Layer 2 fades in. This example only uses two of the possible four layers. Refer to the screen diagrams below.

RT: LO FADE HIGH FADE

000 000 127 1

RT: LO FADE HIGH FADE

000 1

1. Select a preset.

2. Press the Edit button to access the Edit menu.

3. Go to the Instrument page and select instruments for Layers 1 and 2.

27 127 000

92 E-MU Systems

E-Mu B-3 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Getting Started PN: FI10666 Rev. B

CD PN: CD10562 Rev. B

Introduction

Product Description

Overview

Important Safety Instructions

Grounding Instructions

Danger!

Caution!

User Maintenance Instructions

Radio and Television Interference

Gefahr

Vorsicht

Unterhaltsinstruktionen für anwender

Vorsicht

Foreign Language Warnings - French

Instructions de Sécurité Importantes

Instructions de Mise à la Terre

Danger

Attention

Instructions de Maintenance

Interférences Radio et Télévision

DECLARA TION OF CONFORMITY

Manufacturer:

Under 89/336/EEC as amended by 92/31/EEC, and 72/23/EEC

Under 73/23/EEC as amende by 93/68/EEC

This Declaration is made November 15, 1999

Setup

Unpacking Carefully remove B-3 from the packaging material. Take care to save the

Connection Instructions

Basic Setup

MIDI In

Outputs

Studio Setup

MIDI In

MIDI Out

Outputs

Power Up! The power switch is located on the right side of the front panel. You can

B-3 automatically switches itself to the proper line voltage.

Playing Demo Sequences

Auditioning Presets The front panel audition button allows you to hear any preset in B-3

Selecting and Quick Editing Presets

Bank Select Commands

Basic Operations

Front Panel

Volume Control

Master Button The Master menu contains parameters that affect the entire machine, not

Edit Button Use the Edit menu when you want to create or modify a preset. An illumi-

Control Button The Control button is used to change the function of the Controller knobs

Audition Button The Audition button allows you to hear any preset without hooking up a

Left/Right Cursor Buttons

Multisetup Button The Multisetup button allows you to select a Multi-setup. A Multi-setup is a

Save/Copy Button The Save/Copy button is used to save or copy presets and to copy data.

Front Panel Controller Modes

Home/Enter Button The Home/Enter button is dual purpose. In general, this button acts as the

Data Entry Control The Data Entry Control is a stepped, variable control switch used to change

Controller Knobs Each of the four Real-time Controller knobs has a corresponding LED to its

Real-time Control The Real-time controller knobs provide direct control of the B-3’s synthe-

Quick Edit This mode uses the Controller knobs to “Quick-Edit” the currently selected

Deep Edit Mode When in the Master, or Edit menus, you can use the Controller Knobs to

Main Screen

MIDI Channel Selection

Preset Selection þ To Change the Preset

Channel Volume Channel Volume sets the volume of the selected MIDI channel in relation

Channel Pan Channel Pan sets the stereo position of the selected MIDI channel. This

Sound Navigator

Preset Category

Instrument Category When the cursor is on the Instrument Category ﬁeld (Edit menu), turning

Multitimbral Operation

Multisetup

Multisetups The Multisetup button allows you to save and restore Multisetups. A Multi-

A Multisetup includes ALL the following parameters:

Restoring Multisetups

Multitimbral Sequencing

Master Menu

Transpose/Tune The Transpose parameter transposes the key of all presets, in semitone