E-Mu Classic keys Operation Manual

Read This First: 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 servicing to qualified service person­nel. To reduce risk of fire or electric
shock do not expose this product to rain
or moisture.

DANGER

Improper connection of equipment 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.

CAUTION

If the Classic Keys (model number 9027),
is rack mounted, a standard 19-inch open
frame rack must be used.

USER-MAINTENANCE INSTRUCTIONS

1. Classic Keys should be kept clean and
dust free. Periodically wipe the unit with
a clean, lint free cloth. Do not use sol­vents or cleaners.

2. There are no user lubrication or
adjustment requirements.

3. Refer all other servicing to qualified
service personnel.

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

WARNING; When using electric products,
basic precautions should always be
followed, including the following:

1. Read all instructions before using
Classic Keys.

2. To reduce the risk of injury, close
supervision is necessary when Classic
Keys is used near children.

3. Do not use Classic Keys 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.

4. Classic Keys should be situated so that
its location or position does not interfere
with its proper ventilation.

5. Classic Keys should be located away
from heat sources such as radiators, heat
registers, fireplaces, stoves, or ovens.

6. Classic Keys should only be connected
to a power supply of the type described in
the operating instructions and as marked
on the product.

7. This product, in combination with an
amplifier, headphones, and speakers, may
be capable of producing sound levels that
could cause full or partial hearing loss or
damaged equipment. Do not operate for
long periods of time at high volume levels
or at a level that is uncomfortable. If you

experience any hearing loss or ringing of
the ears consult your physician.

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

9. The power supply cord of Classic Keys
should be unplugged from the outlet
when left unused for a long period of
time.

10. Care should be taken so that objects
do not fall and liquids are not spilled into
the enclosure of Classic Keys through
openings.

11. The product should be serviced by
qualified service personnel when:

A. The power supply cord has been

damaged; or

B. Objects have fallen, or liquid has been

spilled into the product; or

C. The product has been exposed to rain;

or

D. The product does not appear to

operate normally or exhibits a marked
change in performance; or

E. The product has been dropped or the

enclosure damaged.

12. All servicing should be referred to
qualified service personnel.

SAVE THESE INSTRUCTIONS

Contents

Section 1 7 Introduction/Connection Instructions

9 Introduction
10 Basic organization
11 Basic setup
12 Studio setup
13 Performance setup
14 Power up
14 About Classic Keys

Section 2 15 Basic Operation

17 Main controls
18 Selecting presets
18 Selecting MIDI channels, volume & pan
19 Multi-timbral operation
20 Playing the demo sequences

Section 3 21 Master Menu

23 Enabling the master menu
24 FX mix select
24 Effect A
24 Effect B
25 Effects amount
25 Master tune
25 Transpose
25 Global bend
26 Global velocity curve
26 MIDI mode

CLASSIC KEYS OPERATION MANUAL

Master Menu

26 MIDI mode change
26 MIDI overflow
27 MIDI enable
27 Bank/Preset change
28 MIDI controller assign
29 MIDI footswitch assign
29 Program -> preset map
30 Send MIDI data
30 User key tuning
30 Viewing angle

Section 4 31 Effects Section

33 Effects bus architecture
34 Effects output routing
34 Effect programming
35 Reverb
38 Stereo chorus
39 Stereo flanger
41 Stereo phaser
42 Delay
43 Cross delay
44 Echo
46 Stereo fuzz
47 Ring modulator

Section 5 49 Preset Programming

51 Splitting & layering the keyboard
52 Modulation
53 Modulation sources
54 Envelope generators
55 Low frequency oscillators
56 Midipatch

CLASSIC KEYS OPERATION MANUAL

57 Keyboard & velocity modulation
58 Key number
58 Velocity curve
59 Realtime modulation
60 MIDI realtime controls

Section 6 63 Edit Menu

65 Enabling the edit menu
66 Preset name
66 Primary instrument
66 Secondary instrument
66 Key range
67 Primary key range
67 Secondary key range
68 Volume
68 Pan
68 Coarse tuning
68 Fine tuning
68 Chorus
69 Delay
69 Solo mode
69 Sound start
69 Reverse sound
70 Alternate envelope on/off
70 Primary & secondary alternate envelope parameters
70 Crossfade mode
71 Crossfade direction
71 Crossfade balance
71 Crossfade amount
72 Cross-switch point
72 LFO - shape & amount
72 LFO - rate, delay & variation

CLASSIC KEYS OPERATION MANUAL

Edit Menu

73 Auxiliary envelope
74 Keyboard & velocity modulation control
75 Realtime modulation control
76 Footswitch control
76 MIDI control amount
76 Pressure amount
76 Pitch bend range
76 Velocity range
76 Keyboard center
77 Keyboard tuning
77 Preset links
77 Save preset

Section 7 79 Step-by-Step

81 Linking presets
82 Editing presets
83 Sound splicing synthesis
85 Using Classic Keys with a sequencer

Section 8 87 Reference Section

88 Factory RAM presets
90 Factory ROM presets
92 Instrument listing

98 Drawbar diagrams
101 Percussion instrument locations
104 Technical specifications
105 MIDI implementation chart
106 MIDI specifications

Index

Warranty

OPERATION MANUAL
© 1994 E-MU SYSTEMS, INC.
ALL RIGHTS RESERVED

• FI449 REV. A

MANUAL - RILEY SMITH

IMPORTANT NOTICE:
IN ORDER TO OBTAIN WARRANTY SERVICE ON

YOUR CLASSIC KEYS 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
CLASSIC KEYS, PLEASE CONTACT E-MU SYSTEMS
AT ONCE.

THIS PRODUCT IS COVERED UNDER ONE OR
MORE OF THE FOLLOWING U. S. PATENTS:
3,969,682; 3,986,423; 4,404,529; 4,506,579;
4,699,038; 4,987,600; 5,013,105; 5,072,645;
5,111,727 AND FOREIGN PATENTS AND/OR
PENDING PATENTS.CLASSIC KEYS IS A REGISTERED
TRADEMARK OF E-MU SYSTEMS, INC.

E-MU WORLD HEADQUARTERS
E-MU SYSTEMS, INC. U.S.A.
P.O. BOX 660015
SCOTTS VALLEY, CA USA
95067–0015
TELEPHONE: [phone]
FAX: [phone]

EUROPE, AFRICA, MIDDLE EAST
E-MU SYSTEMS, LTD.
SUITE 6, ADAM FERGUSON HOUSE
ESKMILLS INDUSTRIAL PARK
MUSSELBURGH, EAST LOTHIAN
SCOTLAND, EH21 7PQ
TELEPHONE: [phone]
FAX: [phone]

Classic Keys INTRODUCTION

INTRO - CONNECTION INSTRUCTIONS

INTRO - CONNECTION INSTRUCTIONS

Introduction1

CLASSIC KEYS

Classic Keys is a musical instrument
whose sounds are based on actual digital
recordings of “real” instruments. In this
way, Classic Keys is very similar to a
sampling instrument. With Classic Keys,
we have done the sampling for you and
loaded it with a collection of the cleanest
16 bit sounds ever sampled.

Classic Keys contains a massive 8 Mega­bytes of the greatest keyboard sounds in
the world. These superb samples have
been selected from the Emulator III
sound library and stored in ROMs for
instant access. We have included every­thing you need to play and compose in a
wide range of contemporary styles. You
simply plug in and play.

But this is only the beginning. Classic
Keys gives you the ability to literally take
these sounds apart and reassemble them
into an almost limitless number of

entirely new sounds, combining parts of
one sound with another or with any of a
selection of digital waveforms also stored
on ROM. For example, the attack of a
flute can be faded out as a vibe tone is
faded in, giving you a completely new
sound! The monophonic and true stereo
16 bit samples are arranged into 512
preset locations, 256 of which are user­programmable.

Classic Keys features 32 voice polyphony,
allowing you to take full advantage of its
layering capabilities (up to 8 sounds on
each key) and its ability to respond multi­timbrally to all 16 MIDI channels makes
it ideally suited for multitrack sequencing
and composing using a MIDI sequencer.

Other features include two studio-quality
effects processors with 27 different
effects, a user definable alternate tuning,
and of course, an extensive MIDI imple­mentation.

INTRO - CONNECTION INSTRUCTIONS

Basic
Organization

Classic Keys is organized as shown in the
diagram below.

USER RAM PRESETS

CAN BE MOVED, ERASED
OR ALTERED AS DESIRED

ROM PRESETS

CANNOT BE MOVED OR
ALTERED UNLESS THEY ARE
FIRST COPIED TO A USER
LOCATION

The Preset is a complete set of all program
parameters for a complete Classic Keys
sound.

The preset memory is organized into two
banks of 128 user RAM presets (banks 0-1)
and two banks of unalterable ROM presets
(banks 2-3).

Each preset consists of one or more
Instruments. An instrument is a complete
set of samples or a digital waveform which
covers the entire keyboard range. An
instrument can be assigned to each of the
Primary and Secondary layers of the
preset.

The primary and secondary layers are
essentially two instruments with
complete modulation controls. The two
layers can be layered or placed adjacent
to each other, and can be switched or
crossfaded together in various ways.

Up to four presets can be Linked in
order to have more than one preset on
the keyboard at a time. The linked
presets may lie on top of each other to
create a dense layered sound or be
arranged side by side on the keyboard to
create a split keyboard.

INTRO - CONNECTION INSTRUCTIONS

Basic Setup

MIDI In - Classic Keys is controlled by
MIDI messages received at the MIDI In
connector. Connect the MIDI In of the
Classic Keys to the MIDI Out connector of
a MIDI controller such as a MIDI key­board, MIDI wind controller, or MIDI
guitar controller.

Outputs - Classic Keys is a high quality,
stereo audio device. In order to reproduce
its wide dynamic range and frequency

response, use a high quality amplification
and speaker system such as a recording
mixer and 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 are not
available. The right output jack serves as
a mono output when the left jack is not
plugged in.

INTRO - CONNECTION INSTRUCTIONS

Studio Setup

MIDI In - In this setup, Classic Keys is
controlled by MIDI messages received at
the MIDI In connector which have been
routed by a MIDI switcher. The MIDI
switcher allows any MIDI controller such
as a MIDI keyboard, MIDI wind controller,
or a computer to be easily connected.

MIDI Out - The MIDI Out jack is nor-
mally used to transmit program data to a
computer or other device.

Outputs - Use a high quality amplifica-
tion and speaker system such as a record­ing mixer and amplifier or home stereo
system. A stereo setup is highly desirable
because of the added realism of stereo­phonic sound. The right output jack
serves as a mono output when the left
jack is not plugged in.

INTRO - CONNECTION INSTRUCTIONS

Performance Setup

MIDI In - Classic Keys is controlled by
MIDI messages received at the MIDI In
connector. Connect MIDI In of the Classic
Keys to MIDI Out of a MIDI controller such
as a MIDI keyboard, MIDI wind controller,
or MIDI guitar controller.

MIDI Thru - MIDI Thru transmits an exact
copy of the messages received at the MIDI
In jack and is used to connect additional
MIDI devices onto the MIDI chain.

Outputs - Use a high quality amplifica-
tion and speaker system such as a
keyboard amplifier and speakers. A
stereo setup is highly desirable because
of the added realism of stereophonic
sound. The headphone jack is located on
the front panel. The right output jack
serves as a mono output when the left
jack is not plugged in.

INTRO - CONNECTION INSTRUCTIONS

POWER UP!

Before applying power, make sure that
you have received the correct AC adapter
for your part of the world (110V or 220V).
Always connect the AC adapter to the
Classic Keys before plugging it into the
wall. The power switch is located on the
right side of the front panel. Classic Keys
and its MIDI controller may be turned on
in any order. When power is applied, the
liquid crystal display will light, indicating
that the Classic Keys is operating.

ABOUT CLASSIC KEYS

Classic Keys, unlike many synthesizers,
utilizes digital recordings of “real”
instruments for the basis of its sound.
This is similar to a tape recorder except
that in Classic Keys, the sounds are
permanently recorded on digital memory
chips.

To perform this modern miracle, sounds
and instrument waveforms are first
sampled into the Emulator III, our top of
the line, 16 bit stereo digital sampler.

After the sounds and waveforms have
been truncated, looped and processed,
they are “masked” into the Classic Keys
ROM (Read Only Memory) chips.

Conceptually, the sampling process is
very simple, as shown in the Basic Sam­pling System diagram. As a sound wave
strikes the diaphragm of a microphone, a
corresponding voltage is generated. To
sample the sound, the voltage level is
repeatedly measured at a very high rate

and the voltage measurements are stored
in memory. To play the sound back, the
numbers are read back from memory,
converted back into voltages, then ampli­fied and fed to a speaker which converts
the voltage back into sound waves. Of
course, playing back 32 channels at
different pitches tends to complicate
matters, but this is basically how it works.
In Classic Keys, we have left out the
analog to digital converter stage since the
sounds are already sampled for you.

Classic Keys BASIC OPERATION

BASIC OPERATION

BASIC OPERATION

Main Controls2

Power Switch

Switches AC power to the Classic Keys On
and Off.

MIDI Activity LED

Indicates that MIDI data is being received.

Master Menu Select Button

The Master menu contains parameters
that affect the entire machine, not just
certain presets. The Effects screens are
also located in the Master menu. An
illuminated LED to the left of the button
indicates that you are in the Master menu.

Edit Menu Select Button

The Edit menu is used when you want to
change parameters of a preset. An illumi­nated LED to the left of the button indi­cates that you are in the Edit menu.

Home/Enter Button

The Home/Enter button is used to confirm
a particular operation or return the cursor
to the “Home” position. The adjacent LED
flashes to indicate that Classic Keys is
waiting for your response.

Cursor Control

These buttons move the cursor to the
next parameter on the display in a clock­wise or counterclockwise direction. (The
cursor is a little flashing line underneath
one of the parameters in the display.)
Press either cursor control repeatedly
until the cursor is underneath the desired
parameter.

Data Entry Control

The data entry control is a stepped,
variable control which is used to change
parameter values. The control increments
or decrements the current value one unit
with each click. This control incorporates
acceleration (values advance faster if the
control is turned quickly).

Volume Control

This is the master volume control for all
audio outputs. Note: For maximum
dynamic range, set this control at full
level and adjust the amplifier or mixer
volume.

BASIC OPERATION

IF CLASSIC KEYS IS NOT
RESPONDING PROPERLY OR
PLAYS THE WRONG PRESET,
MAKE SURE THAT CLASSIC
KEYS AND YOUR MIDI
CONTROLLER ARE SET TO
THE SAME MIDI CHANNEL
AND THAT THE MIDI
VOLUME IS TURNED UP.

FOR MORE INFORMATION
ABOUT MIDI, SEE MIDI
REALTIME CONTROLS ON
PAGE 60.

CHANNEL PAN SHOULD
NORMALLY BE SET TO "P"
UNLESS REALTIME CONTROL
OF PANNING IS DESIRED.
THIS WILL ALLOW THE PAN
SETTINGS PROGRAMMED
FOR EACH PRESET TO BE
USED.

MIDI CHANNEL SELECTION

Press the cursor key repeatedly until the
cursor is underneath the channel num­ber. (The cursor is a little flashing line
underneath one of the parameters in the
display.) Rotate the data entry control to
select MIDI channel 01-16. As the chan­nel is changed, the display will change to
show the preset, volume and pan associ­ated with the displayed channel.

C01 Vol127 Pan=P

0

000 Preset Name

PRESET SELECTION

Press the cursor key repeatedly until the
cursor is underneath the preset number.
(The cursor is a little flashing line under­neath one of the parameters in the
display.) As the data entry control is
rotated, the preset number and name will
change. The displayed preset will be
assigned to the displayed MIDI channel.
Preset numbers are arranged into four
banks of 128.

C01 Vol127 Pan=P

0

000 Preset Name

CHANNEL VOLUME

Press the cursor key repeatedly until the
cursor is underneath the volume value.
Rotate the data entry control to select
volume 00-127. (This is the same param­eter as MIDI volume control #7, and
changes made over MIDI will be shown in
the display.)

C01 Vol127 Pan=P

0

000 Preset Name

CHANNEL PAN

Press the cursor key repeatedly until the
cursor is underneath the pan value.
Rotate the data entry control to select pan
values -7 to +7 or “P”. When “P” is
selected, the pan value specified in the
preset is selected. Any other value will
override the pan parameter in the preset.
(This is the same parameter as MIDI pan
control #10, and changes made over MIDI
will be shown in the display.)

C01 Vol127 Pan+7

0

000 Preset Name

PRESET BANK SELECTION

You can jump between preset banks by
following the steps outined below.

1. Press and Hold the Home/Enter
button. While holding the button, turn
the data entry knob.

2. Turning the knob will cause the preset
to jump to the same location in the
next bank.

The bank selection feature allows you to jump
between banks of 128 presets.

BASIC OPERATION

Each of the 16 MIDI channels can be assigned to play a specific preset in Classic Keys.

MULTI-TIMBRAL OPERATION

Multi-timbral operation means that
Classic Keys can play more than one
sound at the same time. To access mul­tiple presets on different MIDI channels
simultaneously, follow these instructions:

1. Set the MIDI mode to MULTI-Mode,

4. Classic Keys will now respond multi­timbrally on 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 MIDI
Channel/Preset selection screen.

using the MIDI mode function in the
Master menu (page 26).

2. Decide which MIDI channels you wish
Classic Keys to receive, and (optionally)
turn all other channels OFF using the
MIDI Enable function in the Master menu
(page 27).

Up to 16 channels can be selected
simultaneously!

3. Select the desired preset for each of the
MIDI channels you wish Classic Keys to
receive using the MIDI Channel/Preset
selection screen (see previous instruc­tions).

BASIC OPERATION

PLAYING THE DEMO SEQUENCES

Classic Keys contains a play-only se­quencer in order to give you an idea of
what is possible using this amazing
machine. Press and hold both the Master
button and the Edit button. The sequence
will start in a moment. Press the Enter
button to stop the sequence. Press the
right cursor button to toggle between
the sequences. Press the left cursor
button to start the current sequence
again. Classic Keys contains 2 sequences.

DEMO: 1 2
ENTER=Stop >=Nxt

Classic Keys MASTER MENU

MASTER MENU

MASTER MENU

3 The Master Menu

The Master menu contains functions that
affect the overall operation of Classic
Keys. For example, changing the Master
Tune will change the tuning of all the
presets, not just the one currently dis­played. The Master Menu contains the
two digital effects processors, since they
are programmed globally for all presets.

TO ENABLE THE MASTER MENU

Press the Master key, lighting the LED.
The current screen will be the one most
recently selected since powering up
Classic Keys. The cursor will appear
underneath the first character of the
screen heading on the top line.

TO SELECT A NEW SCREEN

Press the cursor key repeatedly (or hold
the cursor key while turning the data
entry control) until the cursor is under­neath the screen title heading. Rotate the
data entry control to select another
screen.

TO MODIFY A PARAMETER

Press the cursor key repeatedly (or hold
the cursor key while turning the data
entry control) until the cursor is under­neath the parameter value. Rotate the
data entry control to change the value.

TO RETURN TO PRESET SELECT MODE

Press the Master key, turning off the LED.

MASTER MENU

EFFECT A

This function allows you to select the type
of effect for effect bus A and contains the
parameters associated with each effect.
See the Effects chapter for detailed
information on each effect.

FXA:Hall1
Decay Time 140

EFFECT B

This function allows you to select the type
of effect for effect bus B and contains the
parameters associated with each effect.
See the Effects chapter for detailed
information on each effect.

FXB:StereoChorus
Lfo Rate 050

FX MIX SELECT

This function selects which bus in the
output section will be used for each MIDI
channel. You can route each MIDI chan­nel through the FxA or FxB processors or
directly to the Main outputs (no effects).
An additional selection called Preset
(Prst), allows the selection to be made in
the preset (FX Mix Select). Thus effects
can be selected according to MIDI chan­nel or by preset.

FX MIX SELECT
channel 01: FxA

MASTER MENU

TO USE THE B->A ONLY
ROUTING FEATURE, THE
FX MIX SELECT MUST BE
SET TO “B”.

FX AMOUNT

This function allows you to adjust the
ratio of wet (processed) to dry (unproc­essed) signal coming out of each effect
processor. A setting of 100% would
indicate that all of the signal is being
processed by the effect. The B->A param­eter allows you to adjust the amount of
effect B that will be fed through the A
effect. If B->A is set above 100%, the word
“Only” is displayed and the B amount
changes to “Off”. This disconnects effect
B from the outputs and routes ALL of
effect B through effect A.

MASTER TUNE

Master Tune adjusts the overall tuning of
all presets so that Classic Keys can be
tuned to other instruments. The master
tuning range is ± 1 semitone in 1/64th
semitone increments. A master tune
setting of “00” would indicate that Classic
Keys is perfectly tuned to concert pitch
(A=440 Hz).

MASTER TUNE
+63

TRANSPOSE

This function transposes the key of
Classic Keys in half-step intervals. The
transpose range is ± 12 semitones or one
octave.

TRANSPOSE
+12 semitones

GLOBAL BEND

This function sets the range of the pitch
wheel only when it is routed to control
pitch. The maximum pitch bend range is
± 12 semitones. This function only affects
presets which have their individual pitch
bend range set to global.

FX AMOUNT A:50%
B->A:0% B:75%

GLOBAL BEND
+/- 12 semitones

MASTER MENU

WARNING! WHEN
TRANSFERRING SYSEX
DATA FROM ONE
CLASSIC KEYS TO
ANOTHER, THE ID
NUMBERS OF BOTH
UNITS MUST MATCH.

UNLESS YOU ARE USING
MULTIPLE CLASSIC KEYS
UNITS IT IS BEST TO
LEAVE THE ID NUMBER
SET TO 00.

GLOBAL VELOCITY CURVE

Incoming velocity data can be modified 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. This function allows you to
select one of the four velocity curves or
leave the velocity data unaltered (off).
Global velocity curve only affects presets
which have their individual velocity curve
set to global. For more information on
the velocity curves, see page 58.

GLOBAL VEL CURVE
4

MIDI MODE

This function selects one of the four MIDI
modes and the MIDI system exclusive ID
number.

note is released, the envelopes will not be
retriggered (legato). Mono mode is
particularly useful with alternate control­lers such as MIDI guitars, etc.

ID number

This function allows an external program­ming unit to distinguish between mul­tiple Classic Keys units. In the case of
multiple Classic Keys units, each Classic
Keys should have a different ID number.

Note: E-mu products Proteus, Proteus
FX, Vintage Keys and Classic Keys all use
product code 04 to maintain preset
compatibility. If you are using more than
one of these units in your MIDI setup, set
each unit to a separate ID to differentiate
each unit.

MIDI MODE ID
Omni 00

Omni mode

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

Poly mode

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

Multi mode

Classic Keys responds to data on any
combination of MIDI channels and plays
the specific preset associated with each of
the MIDI channels.

Mono mode

Classic Keys responds to data on any
combination of MIDI channels but plays
each channel monophonically. If a new
note on a channel is played before the last

MIDI MODE CHANGE

This function selects whether or not MIDI
mode change commands are accepted or
ignored when received over MIDI (see
MIDI Mode).

MIDI MODE CHANGE
Disabled

MIDI OVERFLOW

When on, if you play more notes than
Classic Keys has channels (32), the
additional note data will be directed out
the MIDI Out port to a second Classic
Keys or other MIDI device. MIDI Overflow
can be turned On or Off.

MIDI OVERFLOW
Off

MASTER MENU

.

MIDI ENABLE

When in MIDI Multi mode, this function
lets you turn each MIDI channel On or
Off. This is useful when you have other
MIDI devices connected and do not want
Classic Keys to respond to the MIDI
channels reserved for the other devices.
MIDI Enable only operates in Multi Mode.

MIDI ENABLE
channel:01 On

BANK/PRESET CHANGE

This function allows Classic Keys to
utilize or ignore incoming MIDI program
change commands for each channel.
Since MIDI can only select presets 000­127, this function also allows you to
select which bank of 128 presets will be
accessed via incoming program change
commands. Another option, “Map,”
routes incoming program changes to the
MIDI program -> preset mapping
function. See page 29.

BANK/PRST CHANGE
channel 01:Off

BANK/PRST CHANGE
channel 02:Bank1

BANK/PRST CHANGE
channel 03:Map

PROGRAM CHANGES IGNORED
ON MIDI CHANNEL 1

PROGRAM CHANGES ROUTED TO
PRESET BANK 1 ON MIDI CHANNEL 2

PROGRAM CHANGES ROUTED
THROUGH THE PROGRAM ->PRESET
MAP ON MIDI CHANNEL 3

MASTER MENU

SOME OF THE STANDARD
MIDI CONTROLLER
NUMBERS ARE LISTED
BELOW:

1 MODULATION WHEEL

OR LEVER
2 BREATH CONTROLLER
3 PRESSURE: REV 1 DX7
4 FOOT PEDAL
5 PORTAMENTO TIME
6 DATA ENTRY
7 VOLUME
8 BALANCE
9 UNDEFINED

10 PAN

MIDI CONTROLLER ASSIGN

Classic Keys allows you to assign up to
four realtime control sources from your
MIDI controller. These control sources
could be modulation wheels, data sliders
or whatever. In this screen, you set up
which controllers will be received by
Classic Keys. What effect the controller
will have is programmed separately for
each preset. MIDI controllers are each
assigned a letter, A-D. Each controller
letter can be assigned to a MIDI realtime
controller from 01-31. Note: If controller
numbers 7 or 10 are selected, they will
override the standard MIDI volume and
pan control routings.

CONTROLLER #
A:01 B:02

Next Screen:

For more information on MIDI control­lers, see “MIDI Realtime Controls” in
chapter 5, Preset Programming.

SOME OF THE STANDARD
MIDI SWITCH NUMBERS
ARE LISTED BELOW.

64 SUSTAIN SWITCH

(ON/OFF)

65 PORTAMENTO SWITCH

(ON/OFF)

66 SOSTENUTO

(CHORD HOLD,

ON/OFF)

67 SOFT PEDAL (ON/OFF)
69 HOLD PEDAL 2

(ON/OFF)

CONTROLLER #
C:03 D:04

The MIDI controller A-B-C-D must have both a source (0-31) and a control destination assigned.

MASTER MENU

IF THE PROGRAM ->
PRESET MAP DOES NOT
SEEM TO WORK, MAKE
SURE THAT THE BANK/
PRESET CHANGE
FUNCTION IS SET TO
“MAP” (PAGE 27).

This chart shows how MIDI preset changes can be re-mapped. In this example, program changes 10-29
have been re-mapped. All other programs will be selected normally.

MIDI FOOTSWITCH ASSIGN

Like the MIDI Controllers, 3 MIDI
footswitches can be assigned to MIDI
footswitch numbers. Footswitches can be
assigned numbers from 64-79. Destina­tions for the footswitch controllers are
programmed in the Edit menu.

FOOTSWITCH #
1:64 2:65 3:66

PROGRAM ->PRESET MAP

Incoming MIDI program changes can be
remapped to a different numbered preset.
This is a handy feature when you want a
specific preset number sent from the
master synth to call up another specific
preset number on Classic Keys. For
example, the Program Change Map could
be set to call up preset 012 whenever
Classic Keys receives program change
number 26. Any preset can be mapped to

3

any incoming MIDI program change
number.

MAP PROGRAM 026>

3

012 org:Jag Sub5

MASTER MENU

APPLICATION: THE USER KEY
TUNING CAN BE USED TO
TUNE INDIVIDUAL
PERCUSSION INSTRUMENTS.

THE PRESET, VOLUME, AND
PAN INFORMATION FOR ALL
16 CHANNELS IS INCLUDED
WHEN THE MASTER
SETTINGS ARE TRANSMITTED
OR RECEIVED.

WARNING! WHEN
TRANSFERRING SYSEX
DATA FROM ONE
CLASSIC KEYS TO
ANOTHER, THE ID
NUMBERS OF BOTH
UNITS MUST MATCH.

SEND MIDI DATA

This function transmits MIDI System
Exclusive data to the MIDI Out port. MIDI
data can either be sent to a computer/
sequencer or to another Classic Keys.
Using the cursor key and the data entry
control, select the type of MIDI data you
wish to transmit. The choices are:

Effect Settings

Transmits all the current effects param­eters except mix select (for the 16 MIDI
channels).

Master Settings

Transmits all parameters in the Master
menu except effects, tuning table,
program/preset map and viewing angle.

Program/Preset Map

Transmits only the program/preset map.

Tuning Table

Transmits only the user tuning table.

Factory Presets

Transmits all the factory presets.

User Presets

Transmits all the user presets.

Any Individual Preset

Transmits only the selected preset.

SEND MIDI DATA

3

040 air:AngelVox

The Enter LED will be flashing. Press the
Enter button to confirm the operation.

TO TRANSMIT MIDI DATA TO A
SEQUENCER

1. SET UP SEQUENCER TO RECEIVE
SYSTEM EXCLUSIVE DATA.

2. START SEQUENCER RECORDING, THEN
SEND PRESET DATA.

TO RECEIVE MIDI DATA FROM A
SEQUENCER

1. SIMPLY PLAY BACK THE SEQUENCE
INTO CLASSIC KEYS

USER KEY TUNING

In addition to standard twelve tone equal
temperament, Classic Keys contains four
additional preset tuning tables (Just C,
Vallotti, 19 tone, and Gamelan) and one
user definable tuning. User Key Tuning
allows you to alter the parameters of the
user definable tuning stored in memory.
The initial frequency of every key can be
individually tuned, facilitating the cre­ation of microtonal scales. Using the
cursor key and the data entry control,
select the key name, the MIDI key num­ber and the fine tuning. The key name is
variable from C-2 to G8. MIDI key num­ber is variable from 0 to 127. The fine
tuning is variable from 00 to 63 in
increments of 1/64 of a semitone (approx.

1.56 cents). For each preset, the specific
tuning table is selected in the Edit menu.

USER KEY TUNING
Key:C1 036-00

VIEWING ANGLE

This function allows you to change the
viewing angle of the display so that it may
be easily read from either above or below.
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
+7

Classic Keys EFFECTS SECTION

EFFECTS SECTION

EFFECTS SECTION

4 Effects Section

The two effect processors are programmed globally for the entire machine.

EFFECTS BUS ARCHITECTURE

Two separate digital effects processors are
included in the Classic Keys. The “A”
effect processor includes several types of
Reverberation, which is an electronic
simulation of a natural space such as a
room or hall, as well as Delays, Echoes,
Chorusing, Phaser and Flanging effects.
The “B” effect processor contains special
effects such as a Ring Modulator and two
types of Fuzz.

Each effect has its own set of control
parameters which are appropriate to that
particular effect. For both the A and B
effects there is an amount parameter
which determines the relative mix of the
processed and unprocessed signals (wet/
dry mix). The output of the B effect can
also be routed back through processor A.

The effect programming is done on a
global basis, meaning that the two effects
serve the entire machine. This is similar
to the way an external effects unit would
be connected except that in Classic Keys,
the signal path is kept entirely in the
digital domain in order to preserve the
excellent sound quality.

The choice of which of the two effects is
used for a particular sound can be made
by MIDI channel or it can be selected per
preset.

EFFECTS SECTION

EFFECTS CAN BE STORED AS
PART OF A SEQUENCE BY
USING “SEND EFFECTS” IN
THE MASTER MENU.

EDITED EFFECTS
PARAMETERS ARE NOT
REMEMBERED WHEN A
NEW EFFECT IS SELECTED.

EFFECTS OUTPUT ROUTING

The diagram above shows how the effects
section is integrated into the output jack
routing scheme. The mix bus can be
selected either by the preset or by MIDI
channel. When “Preset” is selected, the
FX MIX SELECT programmed in the
preset is used.

TO PROGRAM AN EFFECT:

1) Press the MASTER button lighting
the LED.

2) The first screen in the Master menu is
shown below. Select one of the effect
processors for each MIDI channel you
wish to use (or select “Preset” if you
want the selection in the preset to be
used), This control selects the input
to the effect processors.

FX MIX SELECT
channel 01:FxA

3) Select the desired effect and program
the appropriate parameters.

FXA:Echo
L Delay Time 255

4) Set the FX Amount for the A or B
effect. This adjusts the ratio of ef­fected to un-effected signal. B->A
allows you to route the output of
effect B through effect A (set the MIX
to FxB).

FX AMOUNT A:50%
B->A:0% B:50%

5) That's it!

EFFECTS SECTION

A EFFECTS

ROOM
WARM ROOM
SMALL ROOMS 1 & 2
HALLS 1, 2 & 3
CHAMBERS 1 & 2
PLATES 1 & 2
EARLY REFLECTIONS 1-4
REVERSE EARLY REFLECTIONS
RAIN & SHIMMER
STEREO CHORUS
STEREO FLANGE
PHASER
ECHO
DELAY
CROSS DELAY

REVERB

Reverberation is a simulation of a natural
space such as a room or hall. The reverb
effects in Classic Keys simulate various
halls, chambers, rooms and reverberation
plates. In addition, there are several other
reverb effects such as Early Reflections
and Rain. There is only one adjustable
parameter on the reverbs - Decay Time.
Decay time is the length of time that it
takes for the reflected sound from the
walls of the room to die away. In general,
the larger the room, the longer the decay
time.

B EFFECTS

STEREO CHORUS
STEREO FLANGE
PHASER
DELAY
CROSS DELAY
FUZZ
FUZZ LITE
RING MODULATOR

The diagram below breaks down the
reverberated sound into its component
parts. After an initial pre-delay period, the
echoes from the closest walls or ceiling
are heard. These first echoes or the early
reflection cluster, vary greatly depending
on the type of room. Roughly 20 millisec­onds after the reflection cluster, the
actual reverberation begins and decays
according to the time set by the decay
time parameter.

EFFECTS SECTION

Room programs simulate small rooms
with high frequency absorption caused by
drapes and furniture.

Plates simulate plate type reverbs with
their tight, dense early reflections and
sharp reverb build-up.

Chambers simulate medium sized rooms
with hard reflective surfaces.

Hall programs recreate the open, spa­cious ambience of large concert halls.

Early Reflection programs consist of the
reflection cluster only without the reverb
decay. These effects are similar to a
multiple tap delay line and have a single
adjustable parameter - Ambience.

The special reverbs Rain & Shimmer are
variations of the early reflection programs
and consist of a dense group of short
echoes followed by longer echoes.

FXA:Hall 1
Decay Time: 165

Place the cursor underneath the reverb
name and use the data entry control to
change the type of reverb. Moving the
cursor to the lower line allows you to
change the decay time of the reverb.The
decay times of the reverb programs vary
from effect to effect (Rooms: 50-250,
Small Rooms: 10-128, Halls: 100-255,
Chambers: 50-200, Plate 1: 80-200,
Plate 2: 80-250.

The Early Reflection programs have an
Ambience parameter which is variable
between 0-100. The ambience parameter
is a diffusion control which simulates the
effect of an irregular wall surface as the
amount is increased.

REVERB EFFECTS

Room

A bright, medium sized room. The
apparent source position is fairly close to
the listener. Suitable for use with 100%
wet mix setting for adding ambience.

Warm Room

This reverb is similar to “Room” with
more high frequency absorption, slightly
larger size and a more distant source
position.

Small Room 1

This reverb is also similar to “Room” with
shorter initial reflections, shorter decay
times and higher reflection density due to
the reduced room size. The apparent
source position is closer to the listener.

Small Room 2

This reverb is a variation of “Small Room
1” with greater high frequency damping
and a more distant source position.

Hall 1

Hall 1 is a large, highly reverberant space
with auditorium-like acoustics. Like all
the Hall programs, “Hall 1” exhibits a
warm, distant ambience with slow reflec­tion density buildup. With the decay
parameter set to maximum, “infinite”
reverberation effects can be obtained.
Adjustment of wet-dry mix can be used to
position the listener from the “front row”
(≈25%) to “back of the balcony” (≈100%).

Hall 2

This reverb is similar to “Hall 1”, but
harder and brighter, with more pro­nounced slap echoes that come from
parallel reflecting surfaces in the room.
Hall 2 also exhibits a pronounced reverb
“bloom” or late-reflection buildup. A 50%
wet mix creates the optimum “close”
distance adjustment.

EFFECTS SECTION

Hall 3

Hall 3 is similar to “Hall 2”, but with
larger scale stadium-like acoustics. Hall 3
is warmer than Hall 2 (more high fre­quency damping) and does not display the
obvious early reflections and slap echoes.
It also exhibits a distinct predelay of
approximately 100 milliseconds and a
pronounced late reflection buildup both
of which contribute to the impression of a
large space. Wet mix values of 10% to
50% are most appropriate, although a
setting of 100% produces an effective cave
simulation.

Chamber 1

A simulation of a bright, medium-sized
chamber reverb or recital hall with hard
walls. Early reflections are very promi­nent, with high reflection density. Moder­ately long decays are possible at the
maximum decay setting.

EARLY REFLECTION GROUP

Early Reflection 1
Early Reflection 2
Early Reflection 3
Early Reflection 4

All Early Reflection programs have a
single Ambience parameter which adds
diffusion to the individual reflections.
Lower ambience settings cause reflections
to become more discrete, simulating
harder reflecting surfaces. The early
reflection programs are simulations of
increasingly large acoustic spaces, from a
small studio (Early Refl 1) to a large room
like a sound stage (Early Refl 4). The wet
mix control acts effectively as source
distance control. In general, lower mix
amounts are more effective as the room
size increases.

Chamber 2

Similar to “Chamber 1” but with a much
warmer sound. The wet mix adjustment
provides an effective control over the
apparent source location from close
(10%) to very distant (100%).

Plate 1

Simulates a plate reverb unit. Gives a
tight, bright, slightly metallic sound.
Reflection buildup is very rapid, with high
density. Early reflections are minimized.

Plate 2

An effect similar to Plate 1, but slightly
warmer with less density.

Reverse Early Reflection

More of a special effect than an acoustic
simulation, Reverse ER contains a set of
exponentially increasing delay taps,
creating a kind of “zip” sound at low
Ambience settings. At maximum ambi­ence and lower wet mix values, the sound
is more authentically acoustic, with a
long, delayed reflection “bloom”. The
effect is similar to a large but well
damped parking garage.

EFFECTS SECTION

SPECIAL REVERBS

These special reverbs all have a single
Decay Time parameter.

Rain

Similar to a repeating delay, but with
complex spatial and filtering effects
occurring across the stereo panorama.
The effect on percussive sounds might be
likened to a bucket of marbles raining
down on a galvanized steel roof.

Shimmer

Distantly related to the Rain effect,
Shimmer causes input signals to be
progressively diffused in time and space
across the stereo panorama. The spatial
diffusion is accompanied by a flanging
effect. The program is highly responsive
to left or right-panned inputs. A stunning
special effect with percussive sounds,
especially through headphones.

STEREO CHORUS

The function of a chorus device is to
thicken the sound or to make one voice
sound like many. The way the effect is
achieved is by mixing one or more
delayed versions of the signal in with the
original. The delay times used are too
short to be perceived as an echo, but long
enough so that comb filtering does not
occur. In addition, the delay time is
varied to simulate the random differences
which occur when multiple instruments
are playing together. A slight amount of
feedback improves the effect by creating
multiple images of the sound as it recir­culates again and again. The delay times
are slightly different for each channel and
the LFO phase is inverted on the right
channel to help contribute to the overall
chorus effect. The LFO Rate and Depth
settings are critical to achieving a realis­tic effect with faster LFO Rates generally
requiring less LFO Amount and vice­versa.

STEREO CHORUS

EFFECTS SECTION

The stereo chorus in the Classic Keys is
very similar to the stereo flanger except
that the delay time is longer. The delay
times for the stereo chorus range from 13
milliseconds to 52 milliseconds, com­pared with the 26 microsecond to 6.5
millisecond range of the flanger.

FXA:StereoChorus
LFO Rate 050

FXA:StereoChorus
LFO Depth 050

FXA:StereoChorus
Min Delay 036

STEREO FLANGER

A flanger consists of a short audio delay
line whose output is mixed together with
the original signal. Mixing the delayed
and original signals together results in
multiple frequency cancellations creating
a comb filter effect as shown in the
diagram below. Since the flanger is a type
of filter, it works best with harmonically
rich sounds such as strings.

The flanging effect was originally created
using two tape recorders playing identical
recordings. By exactly synchronizing the
two decks and then slowing the speed of
one by grasping the tape reel flanges, the
flanging effect was born.

The flanger in the Classic Keys is a stereo
device consisting of two separate delay
lines controlled by a single set of con­trols. The block diagram of the flanger is
shown on the following page.

FXA:StereoChorus
Feedback +100

Adding the original signal together with a slightly delayed version creates multiple cancellations in the
output signal called “comb filtering”.

EFFECTS SECTION

A Minimum Delay control serves to tune
the flanger. In other words, it adjusts the
placement of the comb filter notches. The
initial delay is variable from 26 microsec­onds to 6.5 milliseconds.

FXA:StereoFlange
Min Delay 100

A Low Frequency Oscillator (LFO) varies
this initial delay setting, changing the
frequency of the notches and adding
animation to the sound. The LFO Rate
controls the rate of change and the LFO
Depth controls how much the delay is
changed by the LFO. The LFO adds to the
initial delay time so that with LFO Depth
set to 255 the maximum delay time is 13
milliseconds.

FXA:StereoFlange
LFO Rate 038

FXA:StereoFlange
LFO Depth 150

The Feedback control sends some of the
delayed signal through the delay line
again. When positive feedback is used
(values +1 to +127), the comb filter
notches are deepened; when negative
feedback is used (values -1 to -127)
resonant peaks are formed between the
notches which increase with the amount
of negative feedback.

FXA:StereoFlange
Feedback -127

STEREO FLANGER

EFFECTS SECTION

STEREO PHASER

The stereo phaser is an effect similar to
the flanger although much more subtle.
The phaser creates a swirly animation
when used with harmonically rich sounds
such as strings and voices. It can also be
used like a chorus to thicken-up a thin
sound.

Use the Minimum Frequency control to
“tune” the resonant frequencies of the
peaks and notches to the sound. The LFO
Depth controls the amount of animation
that the effect will add. Feedback controls
the depth of the peaks and notches.

STEREO PHASER

FXA:Phaser
Lfo Rate 060

FXA:Phaser
Lfo Depth 015

FXA:Phaser
Min Freq 001

FXA:Phaser
Feedback 060

EFFECTS SECTION

STEREO DELAY

DELAY

The delay line is a stereo effect which can
be used for doubling, echoes or fixed
formant comb filtering with completely
independent delay time and tap levels for
the left and right sides. The delay is
shown in the diagram above.

The Delay Time parameter is indepen­dently variable from 0 to 209 milliseconds
for both the left and right channels. The
Tap Level parameters control the amount
of signal from the left and right delays as
well as how much signal from each is
supplied to the feedback control.
Feedback controls how many echoes are
produced. A setting of 0 produces only
one echo. The delay line is incredibly
stable even with large amounts of feed­back. This quality allows the delay line to
be used as a resonator, where it acts as a
kind of oscillator when excited by an
input signal. Infinite delay effects are also
possible without the risk of runaway. The
stereo delay can function as two indepen­dent delay lines by panning the primary
and secondary instruments to the ex­treme left and right.

FXA:Delay
R DelayTime 060

FXA:Delay
R Tap Level 055

FXA:Delay
L DelayTime 255

FXA:Delay
L Tap Level 120

FXA:Delay
Feedback 120

EFFECTS SECTION

CROSS DELAY

Cross Delay is identical to the normal
delay line except that the output paths
and the feedback paths cross over to the
opposite channel in order to produce a
ping-pong type of effect when reproduced
in stereo. Delay time is adjustable from 0
to 209 milliseconds. The Cross Delay is
shown in the diagram below.

CROSS DELAY

FXA:Cross Delay
R DelayTime 060

FXA:Cross Delay
R Tap Level 055

FXA:Cross Delay
L DelayTime 255

FXA:Cross Delay
L Tap Level 120

FXA:Cross Delay
Feedback 120

EFFECTS SECTION

ECHO

The Echo produces echoes up to 400
milliseconds in length (twice that of the
Delay and Cross Delay effects). The feed­back path is independent of the output
level and utilizes a high frequency damp­ing (low pass filter) control which can
simulate traditional analog tape echo.
Because the left and right delay controls
are completely independent (0-400 mS)
they be adjusted to create very interesting
stereo echo effects.

FXA:Echo
Feedback 100

FXA:Echo
L DelayTime 255

FXA:Echo
R DelayTime 100

FXA:Echo
HF Damping 010

ECHO

EFFECTS SECTION

B EFFECTS

The B effects include Stereo Flanger,
Stereo Chorus, Phaser, Fuzz, Ring
Modulator, Delay, Cross Delay and Fuzz
Lite. Some of the B effects such as the
Fuzz and the Ring Modulator are a bit
bizarre (you won’t want to use them on
every sound), but can be used to create
some truly amazing effects. The B effects
can additionally be routed through the A
effect as shown in the diagram above.
Simple effects such as Fuzz can take on a
completely new character when routed
through a Reverb.

STEREO DELAY B

The B Delay is identical to the delay line
in the A effect group except that the
maximum delay time is 104 milliseconds
(instead of 209 milliseconds). This delay
is useful for short echoes, slapback and
doubling effects, as well as for fixed
formant comb filtering. Like Stereo Delay
A, the feedback parameter is extremely
stable even with high amounts, making it
useful as a resonator for “infinite” delays.

STEREO CROSS DELAY B

The B Cross Delay is identical to the cross
delay line in the A effect group except that
the maximum delay time is 104 millisec­onds (instead of 209 mS). This delay is
useful for short ping-pong echoes, stereo
slapback and doubling effects.

EFFECTS SECTION

STEREO FUZZ

The Stereo Fuzz introduces a controlled
distortion to any signal passing through
it. Distortion creates harmonics by
clipping the top of the wave when it
exceeds a certain level. Sine waves are
transformed into square waves and
complex waves take on noise-like quali­ties. There are two types of fuzz in Classic
Keys: Fuzz and Fuzz Lite.

FUZZ

This Fuzz is probably the “grungiest” fuzz
you have ever heard. Two filters, one at
the input and one at the output of the
fuzz, allow you to control the amount and
type of harmonics added to the sound.
The Input Filter controls the amount of
harmonics produced by the fuzz and the
Output Filter removes harmonics at the
output, smoothing the sound. Higher
values allow more harmonics to pass. The
level of the input sound greatly affects the
amount of fuzz, so that Classic Keys’
envelopes can now control harmonic
content as well as the volume. Output
Volume sets the output level of the fuzz.
There are two complete fuzz effects,
controlled by the same set of controls as
shown in the diagram below.

Two independent sounds can be pro­cessed by panning primary and secondary
to opposite sides, or a single sound can be
routed through both sides. If a single
sound is panned slightly off center, the
fuzz will act slightly differently on each
side because of the difference in level.

FUZZ LITE

This is a more restrained type of fuzz
utilizing “soft-clipping.” As the level
increases, the waveform through Fuzz
Lite becomes somewhat squared. As
signal level is increased further, it trans­forms into a square wave. There is no
Output Volume control on Fuzz Lite.

Experiment with the way the input and
output filters work on the sound. Fuzz is
a specialized effect, not for every situa­tion, but another powerful tool in your
musical arsenal.

EFFECTS SECTION

RING MODULATOR

A Ring Modulator is a device which takes
two signals and multiplies them together
into one resultant signal containing only
the sum and difference frequencies of
the two input waves. The original fre­quencies are not output! However, every
harmonic of each signal multiplies every
other, according to its amplitude. As a
result, ring modulators tend to generate a
lot of non-harmonic frequencies which
can sound very bell-like or out of tune.

There are no controls on the ring modu­lator as shown by the block diagram
below. The left and right outputs are
simply multiplied together to form a
monophonic output.

This diagram shows the result of Ring Modulating two sine waves with frequencies of 800 Hz and 200 Hz.
Only the Sum and Difference frequencies of 1000 Hz and 600 Hz will result.

EFFECTS SECTION

By routing the preset (or MIDI channel)
to effect B and panning to opposite sides
(shown below), two different waves can be
ring modulated. Ring modulation works
well with simple waves such as sine waves
and the harmonic waveforms. Also, try
complex waves modulated with sine
waves. (Play chords!) Complex waveforms
tend to sound rather noise-like.

Pan the primary and secondary instru­ments to left and right in the pan screen
and then move to the Effect B screen and
select Ring Modulator. There are no
parameters to adjust in this effect so the
lower line of the display always reads:
None.

FXB:RingModulate
None ---

Classic Keys PRESET PROGRAMMING

PRESET PROGRAMMING

PRESET PROGRAMMING

5 Preset Programming

These diagrams show how keyboard splits and layers can be created by linking presets. Remember that
each preset can consist of both a primary and secondary layer.

Your initial involvement with Classic
Keys will most likely consist of using the
existing presets and selecting MIDI
channels. While the factory presets are
very good, there are probably some things
you would like to change, perhaps the
LFO speed, or the attack time. You may
also want to make your own custom
presets using complex modulation
routings. Entirely new sounds can be
created by combining the attack portion
of one sound with the body of another
sound or by combining the digital wave­forms with sampled sounds. There are
256 user locations (banks 0-1) 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.

Presets can be made up of both a primary
and secondary instrument. Presets can
also be “linked” with up to 3 additional
presets to create layering or splits.

One way to create a keyboard split is to
assign an instrument to a specific range
and then link it to other presets which fill
in the empty keys. By using both the
primary and secondary instrument ranges
for each of the individual preset links, up
to eight keyboard splits can be produced.

PRESET PROGRAMMING

Classic Keys has an extensive modulation
architecture using two multi-wave LFO’s
(Low Frequency Oscillators), two
envelope generators and the ability to
respond to multiple MIDI controllers. You
may simultaneously route any combina­tion of these control sources to multiple
destinations.

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

MODULATION

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

volume (amplitude modulation), the
pitch (frequency modulation), or what­ever. Turning the volume control on your
home stereo rapidly back and forth would
be an example of amplitude modulation.
To modulate something we need a modu­lation source and a modulation destina-
tion. The source is your hand turning the
knob, and the destination is the volume
control. If we had a device that would
automatically turn the volume control,
we would also call that device a modula­tion source. Classic Keys (and most
synthesizers for that matter) are designed
so that for each of the variable param­eters, such as the volume, there is an

initial setting which can be changed by a
modulation source. Therefore in the case
of volume, we have an initial volume and
we can change or modulate that volume
with a modulation source. This can be
thought of as a type of remote control in
which one device automatically controls
another in a precise way.

Two main types of modulation sources on
Classic Keys 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 automatically turn the
volume control up and down in a repeat­ing fashion.

PRESET PROGRAMMING

MODULATION SOURCES

Classic Keys uses three kinds of modula­tion sources.

KEYBOARD & VELOCITY MODULATION

Values which are generated at the start of
a note and do not change during the note.

Keyboard Key

Which key is pressed.

Key Velocity

How hard the key is pressed.

REALTIME MODULATION

Values which can be continuously
changed during the entire duration of the
sound.

Pitch Wheel

A synthesizer pitch bend wheel.

Miscellaneous Controllers (4)

Any type of MIDI controller data.

Keyboard Pressure (mono aftertouch)

Key pressure applied after the key is
initially pressed.

FOOTSWITCH MODULATION

Changes a parameter when one of three
MIDI footswitches are pressed. The
footswitches can be programmed to
switch: Sustain (pri/sec/both), Alternate
Volume Envelope (pri/sec/both), Alternate
Volume Release (pri/sec/both), or Cross­Switch between the primary and second­ary instruments.

Polyphonic Key Pressure (poly
aftertouch)

Polyphonic aftertouch from a control­ler capable of generating polyphonic
pressure data. Poly pressure is received
on a “per note” basis.

Low Frequency Oscillators (2)

Generate repeating waves.

Envelope Generators (1)

Generate a programmable volume or
pitch contour which changes over time
when a key is pressed.

PRESET PROGRAMMING

THE GENERALIZED
ENVELOPE SHAPES OF A
FEW TYPES OF SOUNDS
ARE SHOWN BELOW.

ENVELOPE GENERATORS

An envelope can be described as a “con­tour” which can be used to shape the
sound in some way over time. Classic
Keys contains two different kinds of
envelope generators. One of the envelope
generators, the Alternate Volume Enve­lope, controls the volume of the primary
or secondary instrument and has 5 stages,
Attack, Hold, Decay, Sustain, and Release.
The other envelope, the Auxiliary Enve­lope, can be routed to any realtime
control destination and is a general
purpose envelope. The Auxiliary Envelope
has 6 stages: Delay, Attack, Hold, Decay,
Sustain, and Release. The Envelope
parameters can be described as follows:

Delay

The time between when a key is played
and when the attack phase begins.

Attack

The time it takes to go from zero to the
peak (full) level.

Hold

The time the envelope will stay at the
peak level before starting the decay
phase.

Decay

The time it takes the envelope to go
from the peak level to the sustain level.

Sustain

The level at which the envelope re­mains as long as a key is held down.

Release

The time it takes the envelope to fall to
the zero level after the key is released.

The six stages of the auxiliary envelope generator: Delay, Attack, Hold, Decay, Sustain and Release.

PRESET PROGRAMMING

If the key is released during the Hold (H) phase, the Release (R) phase begins.

LOW FREQUENCY OSCILLATORS (LFOs)

A Low Frequency Oscillator is simply a
wave which repeats at a slow rate. Classic
Keys has two multi-wave LFOs for each of
its 32 channels. The LFO waveforms are:
Triangle, Sine, Square, Sawtooth, and
Random, which is a random “sample and
hold” type of wave.

By examining the diagram of the LFO
waveforms, you can see how the LFO will
affect a modulation destination. Suppose

we are modulating the pitch of an instru­ment. The sine wave looks smooth, and
will smoothly change the pitch. The
square wave changes abruptly, and will
abruptly change the pitch from one pitch
to another. The sawtooth wave smoothly
decreases, then abruptly changes back up.
The sound’s pitch will follow the same
course. Controlling the pitch of an
instrument is an easy way to hear the
effects of the LFO waves.

LFO waveforms.

PRESET PROGRAMMING

When the amount of an LFO is a negative
value, the LFO shape will be inverted. For
example, inverting the sawtooth wave
produces a wave that smoothly increases,
then instantly resets down.

MIDIPATCH

Connecting a modulation source to a
destination is called a patch. Classic Keys
lets you connect the modulation sources
in almost any possible way to the modula­tion destinations. You can even modulate
other modulators. Each patch also has an
amount parameter which determines
“how much” modulation is applied to the
destination.

The modulation amount can be positive
or negative and will either add or subtract
from the initial value. Keyboard and
velocity sources can be simultaneously
patched to any 6 of the 33 destinations for
each preset. Realtime modulation sources
can be simultaneously patched to any 8 of
the 24 destinations for each preset.

PRESET PROGRAMMING

MODULATION SOURCES:

KEY NUMBER
KEY VELOCITY

DESTINATIONS:

PITCH, PRIMARY PITCH,
SECONDARY PITCH,
VOLUME, PRIMARY VOLUME,
SECONDARY VOLUME,
ATTACK, PRIMARY ATTACK,
SECONDARY ATTACK,
DECAY, PRIMARY DECAY,
SECONDARY DECAY,
RELEASE, PRIMARY RELEASE,
SECONDARY RELEASE,
CROSSFADE,
LFO 1 AMOUNT,
LFO 1 RATE,
LFO 2 AMOUNT,
LFO 2 RATE,
AUX. ENVELOPE AMOUNT,
AUX. ENVELOPE ATTACK,
AUX. ENVELOPE DECAY,
AUX. ENVELOPE RELEASE,
SAMPLE START,
PRIMARY SAMPLE START,
SECONDARY SAMPLE START,
PAN, PRIMARY PAN,
SECONDARY PAN,
TONE, PRIMARY TONE,
SECONDARY TONE

KEYBOARD & VELOCITY MODULATION

The Keyboard and Velocity Modulation
diagram shows the possible routings of

THE TONE FILTER IS A
SIMPLE LOW-PASS TONE
CONTROL WHICH CAN BE
USED TO DARKEN THE
TONE OF AN INSTRUMENT.

Key Number (which key is pressed), and
Velocity (how hard the key is pressed).
These modulation sources can control
any of the destinations indicated by the
small arrows. A modulation source can
control up to six destinations or one
destination can be controlled by up to six
modulation sources. The possible modu­lation routings are completely flexible as
shown in the example above.

PRESET PROGRAMMING

KEYS ABOVE THE
KEYBOARD CENTER POINT
WILL HAVE A POSITIVE
EFFECT. KEYS BELOW THE
KEYBOARD CENTER WILL
HAVE A NEGATIVE EFFECT.

KEY NUMBER

The Key Number is affected by the
Keyboard Center parameter which can be
set to any key from C-2 to G8. The key­board center establishes a reference point
for keyboard modulation; keys above this
point will have a positive value, while keys
below it will be negative. For example, if
we wished to change the volume of an
instrument using key number and the key
center were set to middle C, the instru­ment would get progressively louder

above middle C and progressively softer
below middle C.

VELOCITY CURVES

Incoming velocity values can be scaled by
one of the four velocity curves in order to
match your playing style or better adapt
to the MIDI controller. Experiment with
the four curves to find the one that works
best for your style and MIDI controller.

CHOOSE THE VELOCITY
CURVE THAT WORKS BEST
FOR YOUR PLAYING STYLE
AND YOUR MIDI
CONTROLLER.

PRESET PROGRAMMING

MODULATION SOURCES:

PITCH WHEEL,
MIDI CONTROL A,
MIDI CONTROL B,
MIDI CONTROL C,
MIDI CONTROL D,
MONO PRESSURE,
POLYPHONIC PRESSURE,
LFO 1, LFO 2,
AUXILIARY ENVELOPE

DESTINATIONS:

PITCH, PRIMARY PITCH,
SECONDARY PITCH,
VOLUME, PRIMARY VOLUME,
SECONDARY VOLUME,
ATTACK, PRIMARY ATTACK,
SECONDARY ATTACK,
DECAY, PRIMARY DECAY,
SECONDARY DECAY,
RELEASE, PRIMARY RELEASE,
SECONDARY RELEASE,
CROSSFADE,
LFO 1 AMOUNT,
LFO 1 RATE,
LFO 2 AMOUNT,
LFO 2 RATE,
AUX. ENVELOPE AMOUNT,
AUX. ENVELOPE ATTACK,
AUX. ENVELOPE DECAY,
AUX. ENVELOPE RELEASE

REALTIME MODULATION

In addition to keyboard and velocity
modulation, Classic Keys has multiple
realtime modulation sources. Realtime
modulation sources are parameters which
vary over time. The velocity and keyboard
modulations, in comparison, are set at
the key depression. The realtime modula­tion sources can control any of the
destinations except Sample Start, Tone
and Pan as indicated by the small arrows.
A modulation source can control up to
eight destinations or one destination can
be controlled by up to eight modulation
sources. The possible modulation
routings are completely flexible as shown
in the example above.

PRESET PROGRAMMING

MIDI WIND CONTROLLERS
MAY WORK BETTER IF YOU
ASSIGN ONE OF THE MIDI
A, B, C, D CONTROLLERS TO
CONTROL VOLUME. THIS
WILL ALLOW THE MIDI
VOLUME TO BE ADDED TO
THE CURRENT VOLUME.

MIDI REALTIME CONTROLS

The MIDI realtime controllers may seem
confusing at first, but they are really very
simple to understand. You probably
already know that there are 16 MIDI
channels that can be used. Each of the 16
MIDI channels uses basically 3 types of
messages; note on/off, program changes,
and continuous controller messages.
Your MIDI keyboard, in addition to telling
Classic Keys which note was played, may
also send realtime control information,
which simply means 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’re using a keyboard.) Realtime
control sources include such things as
pitch wheels or levers, modulation wheels
or levers, control pedals, aftertouch, etc.
and are used to add more expression or
control. Your MIDI keyboard sends out
realtime controller information on
separate channels called continuous
controller channels. There is a set of 32
continuous controller channels for each
of the 16 MIDI channels. Some of the
controller channels, such as pitch wheel,
volume, and pan have been standardized.
For example, volume is usually sent on
continuous controller channel #7.

Common realtime controllers such as the
pitch wheel, volume, pan and pressure are
pre-programmed to their proper destina­tions. Your keyboard may have other
realtime controls such as a control pedal
or data slider which can also be pro­grammed to control most of the param­eters on Classic Keys.

Classic Keys is equipped with our sophis­ticated MidiPatch™ system, which allows
you to route any continuous controller to
any realtime modulation destination. The
MidiPatch system is also very easy to use.
First, you must know which controller
numbers your keyboard can transmit.

PRESET PROGRAMMING

STANDARD MIDI

CONTROLLER NUMBERS:

1- MODULATION WHEEL
2- BREATH CONTROLLER
3- PRESSURE REV 1 DX7
4- FOOT PEDAL
5- PORTAMENTO TIME
6- DATA ENTRY
7- VOLUME
8- BALANCE
9- UNDEFINED
10- PAN

As an example, imagine you are using a
master keyboard which has pitch and
modulation wheels, a breath controller, a
data slider and a foot pedal, all of which
transmit their values over MIDI. The
standard MIDI controller numbers for the
controls are listed below (the pitch wheel
has a dedicated controller, PWH). First,
we would go to the Master menu, MIDI
Controller Assign and define the 4 MIDI
controllers that we wish to use. Assign
each controller number to one of the
letters A-B-C-D.

01 - Modulation Wheel A
02 - Breath Controller B
04 - Foot Pedal C
06 - Data Entry D

To complete the connections for a par­ticular preset, go to the Edit menu,
Realtime Control, and route the MIDI A,
B, C, D to the desired destinations. These
could be patched to any 4 destinations or
even to the same destination. The MIDI
Controller Amount menu, (in the Edit
menu) allows you to scale the amounts of
each of the controllers by a positive or
negative value. The signal flow is shown
in the diagram below.

The MIDI controllers A-B-C-D must have both a source (0-31), and a control destination assigned.

PRESET PROGRAMMING

Classic Keys EDIT MENU

EDIT MENU

EDIT MENU

The Edit Menu6

WHILE THE EDIT MENU IS
ACTIVATED, INCOMING
MIDI PRESET CHANGES ARE
IGNORED. THIS IS A QUICK
AND EASY WAY TO
TEMPORARILY TURN MIDI
PRESET CHANGE OFF.

The Edit menu contains functions that
can be modified by the user and then
saved as preset information in one of the
user presets. For example, the LFO speed
or other parameter can be edited, then
the preset can be saved to a user location
(Banks 0 and 1).

WARNING

Changes made in the Edit menu will
be forever lost unless the preset is
“saved” using the Save Preset
function (page 78) before changing
the preset.

TO ENABLE THE EDIT MENU

Press the Edit button, lighting the LED.
The current screen will be the one most
recently selected since powering up the
machine. The cursor will appear under­neath the first character of the screen
heading on line one.

TO SELECT A NEW SCREEN

Press the Home/Enter button or press a
cursor button repeatedly until the cursor
is underneath the screen heading. Rotate
the Data Entry Control to select the
screen.

TO MODIFY A PARAMETER

Press a cursor button repeatedly (or hold
the right cursor button while turning the
data entry control) until the cursor is
underneath the parameter value. Rotate
the data entry control to change the
value.

TO RETURN TO PRESET SELECT MODE

Press the Edit button, turning off the
LED.

EDIT MENU

Edit Menu Functions

CHANGING THE
INSTRUMENT IS A SIMPLE
WAY TO CREATE A NEW
SOUND WHILE RETAINING
ALL THE OTHER PARAMETERS
OF THE PRESET.

PRESET NAME

Preset Name allows you to name each of
the user presets with a name of up to 12
characters. Position the cursor under the
character location and use the data entry
control to change the character. The
keyboard can also be used to select
characters. The chart above shows the
keyboard character assignment.

PRESET NAME
000 Untitled

PRIMARY INSTRUMENT

This function allows you to select which
of the available instrument sounds (or
none) will be placed on the primary layer
of the current user preset.

INSTRUMENT pri
I013 Flute

SECONDARY INSTRUMENT

This function allows you to select which
of the available instrument sounds (or
none) will be placed on the secondary
layer of the current user preset.

INSTRUMENT sec
I023 Farfisa

KEY RANGE

Key range sets the keyboard range of both
primary and secondary instruments. This
sets the keyboard range for the entire
preset and will further limit the primary
and secondary keyboard ranges. The key
range can be set anywhere from C-2 to
G8.

KEY RANGE
C-2 -> G8

EDIT MENU

Classic Keys Range

ENTIRE PRESETS CAN BE
LINKED TO FORM SPLIT OR
LAYERED PRESETS. SEE THE
LINK FUNCTION AT THE
END OF THIS CHAPTER.

PRIMARY KEY RANGE

Key range sets the keyboard range of the
primary instrument. This is useful for
creating positional crossfades and key­board splits between the primary and
secondary layers. The key range can be set
anywhere from C-2 to G8.

SECONDARY KEY RANGE

Key range sets the keyboard range of the
secondary instrument. The key range can
be set anywhere from C-2 to G8.

KEY RANGE sec
C#0 -> G8

KEY RANGE pri
C-2 -> C0

EDIT MENU

VOLUME

Volume sets the amplitude of the primary
and secondary instruments. This function
also allows you to compensate for the
relative volume differences between
instruments.

VOLUME
pri:127 sec:64

PAN

Pan allows you to independently set the
initial pan position of the primary and
secondary instruments. A value of -7 pans
the instrument hard left and a value of +7
pans the instrument hard right. This pan
setting is only valid if “P,” for preset pan,
is selected in the main display.

COARSE TUNING

This function allows you to change the
tuning of the primary and secondary
instruments in semitone intervals. The
coarse tuning range is -36 to +36
semitones. A coarse tuning setting of “00”
would indicate that the instrument is
tuned to concert pitch (A=440 Hz).

TUNING coarse
pri:+00 sec:+00

FINE TUNING

This function allows you to change the
tuning of the primary and secondary
instruments in 1/64 semitone intervals
(approx. 1.56 cents). The fine tuning
range is ± 1 semitone.

IN ORDER FOR THE FX MIX
SELECT TO BE UTILIZED, THE
FX MIX SELECT FOR THE MIDI
CHANNEL (IN THE MASTER
MENU) MUST BE SET TO
PRESET.

PAN
pri:-7 sec:+7

FX MIX SELECT

This function allows you to direct a
particular preset to one of the effect
processors (FxA, FxB) or leave the preset
Dry-no effects (Main). This routing is
utilized if Mix Select for a particular MIDI
channel is set to “Preset” in the Master
menu. Otherwise this parameter is
ignored. This function allows you to
choose the effect bus in the preset rather
than by MIDI channel.

FX MIX SELECT
FxA

TUNING fine
pri:+00 sec:+00

CHORUS

Chorus “thickens” the sound by doubling
the sound and then detuning it. Chorus
can be turned On or Off for the primary
and secondary instruments. When Chorus
is on, a particular instrument will use
twice as many channels. If Chorus is used
for both primary and secondary instru­ments, the preset will use four channels
per key which correspondingly reduces
the available polyphony.

CHORUS
pri:Off sec:On

EDIT MENU

Sound

Start

DELAY

Delay varies the time between the arrival
of a MIDI Note On message and the onset
of a note. The delay time is adjustable
from 0 to 14 seconds (000-127).

DELAY
pri:000 sec:000

SOLO MODE

Solo mode provides the playing action of
a monophonic instrument with single
triggering and last-note priority. This
mode does not allow you to play a chord.
Solo mode will not retrigger the envelope
generators if a new note is played while
another is being held. This allows a legato
playing technique to be used. Solo mode
also provides more realistic effects when
working with guitar and wind controllers.

SOUND START

This function allows you to set where a
sample begins playing when you hit a key.
A setting of 000 plays a sound from the
beginning, higher values move the
sample start point toward the end of the
sound.

SOUND START
pri:000 sec:000

REVERSE SOUND

When reverse sound is turned On, the
instrument will be played backwards.
When an instrument is reversed, any
loops in the sound will be ignored, which
means that the sound will not sustain
indefinitely.

REVERSE SOUND
pri:Off sec:On

THE SOUND START
PARAMETER CAN BE USEFUL
TO REMOVE THE GRADUAL
ATTACK OF A REVERSED
SOUND. SEE THE STEP-BY­STEP CHAPTER FOR AN
APPLICATION USING
SOUND START.

SOLO MODE
pri:Off sec:On

The Sound Start parameter allows you to cut off the beginning of the sound. Higher values move the
start point toward the end of the sound.

EDIT MENU

The Alternate Volume Envelope dynamically controls the final output and can completely change the
character of a sound.

TO ENABLE THE
CROSSFADE OR CROSS­SWITCH FUNCTIONS,
YOU MUST ASSIGN
CROSSFADE TO A
MODULATION SOURCE
IN EITHER THE REALTIME
OR KEY/VELOCITY
MODULATION SCREENS.

ALTERNATE ENVELOPE ON/OFF

Each instrument has its own factory
preset AHDSR volume envelope which is
used if this parameter is set to Off. Turn
Alternate Volume Envelope On to use the
user-programmable alternate envelope
instead.

ALT ENVELOPE
pri:Off sec:On

PRIMARY & SECONDARY ALTERNATE
ENVELOPE PARAMETERS

These functions allow you to adjust the
alternate volume envelope parameters for
the primary and secondary instruments.
The parameters are Attack time, Hold
time, Decay time, Sustain level, Release
time, and are adjustable from 00 to 99.

CROSSFADE MODE

This function determines which of the
following crossfade modes will be
selected: Off, Crossfade, or Cross-Switch.

Off

When “Off” is selected, none of the
crossfade parameters will have any effect.

Crossfade

When Crossfade mode is selected, a
control input is used to fade between the
primary and secondary. Any modulation
source may be used as a control input
(velocity, LFO, etc.).

Cross-switch

When Cross-switch mode is selected, the
switched layer is selected if the input
crosses a certain threshold or if a
footswitch controlling cross-switch is
activated. The switch occurs only at the
start of the note; no further switching
takes place while the key is held down.

P: A H D S R
00 00 00 99 16

S: A H D S R
00 00 00 99 16

If key position or velocity is routed to
cross-switch, the threshold is the switch
point. Realtime controllers do not have
any effect when routed to cross-switch.
For more information, see Cross-Switch
Point on page 72.

XFADE MODE
Off

EDIT MENU

TO USE THE KEYBOARD FOR
CROSSFADE, SET THE
CROSSFADE BALANCE TO
64 AND THE KEY CENTER
TO THE SPLIT POINT.

By overlapping the primary and secondary instruments, you can crossfade or cross-switch between the
layers.

SEE ALSO CROSS-SWITCH
POINT ON THE FOLLOWING
PAGE.

A CROSSFADE BALANCE
SETTING OF 000 WOULD BE
APPROPRIATE WITH A
SOURCE SUCH AS A
MODULATION WHEEL OR
FOOTPEDAL, EITHER OF
WHICH CAN ONLY
CHANGE THE VALUE IN A
POSITIVE DIRECTION.

The crossfade and cross-switch functions
MUST be connected to a controller in
either the Key/Velocity or Realtime
Modulation screens. (Otherwise, what is
controlling the crossfade?)

CROSSFADE DIRECTION

This function determines the polarity of
the crossfade or cross-switch. The direc­tion is either primary -› secondary, or
secondary -› primary.

XFADE DIRECTION
Pri -> Sec

CROSSFADE BALANCE

The crossfade balance parameter deter­mines the initial balance between the
primary and secondary layers. Any modu­lation is subsequently added to this value.
Crossfade balance is variable between 000
and 127.

XFADE BALANCE
064

CROSSFADE AMOUNT

The crossfade amount parameter deter­mines the range over which crossfading
will occur. Crossfade amount is variable
from 000 to 255. The larger the value, the
more modulation will be required to
effect a complete crossfade.

XFADE AMOUNT
128

EDIT MENU

TO ENABLE THE CROSS­SWITCH FUNCTION, YOU
MUST ASSIGN
CROSSFADE TO A
MODULATION SOURCE
IN THE REALTIME OR
KEY/VELOCITY SCREENS.

Velocity

FOR MORE INFORMATION
ON THE LFOS, SEE THE
PRESET PROGRAMMING
CHAPTER OF THIS MANUAL.

CROSS-SWITCH POINT

The cross-switch point parameter deter­mines the point at which cross-switching
will occur when key position or velocity is
controlling cross-switch.

SWITCH POINT
064 (E3)

Key

LFO 1 - SHAPE AND AMOUNT

This screen controls the waveshape and
amount of Low Frequency Oscillator 1.
The LFO can be used to produce vibrato
(when routed to pitch), or tremolo (when
routed to volume). The five LFO wave­shapes are: Triangle, Sine, Square,
Sawtooth, and Random. The amount can
be varied from -128 to +127. Negative
values will produce inverted waveshapes.

LFO Rate

Varies the LFO speed from 0.052 Hz to 25
Hz (000-127).

LFO Delay

Sets the amount of time between hitting
a key and the onset of modulation. This
can be used to simulate an effect often
used by acoustic instrument players,
where the vibrato is brought in only after
the initial note pitch has been estab­lished. The delay range is variable from 0
to 13 seconds (000-127).

LFO Variation

Sets the amount of random variation of
an LFO each time a key is pressed. This
function is useful for ensemble effects,
where each note played has a slightly
different modulation rate. The higher the
number, the greater the note to note
variation in LFO rate. LFO variation is
variable from 000-127.

LFO1 SHAPE AMT
Rand +127

LFO 1 - RATE, DELAY AND VARIATION

This screen controls the rate, delay and
variation of LFO 1.

LFO1 RT DLY VAR
000 000 000

LFO 2 - SHAPE AND AMOUNT

LFO 2 is functionally identical to LFO 1.

LFO 2 - RATE, DELAY AND VARIATION

LFO 2 is functionally identical to LFO 1.

EDIT MENU

FOR MORE INFORMATION
ON THE ENVELOPES, SEE
THE PRESET PROGRAMMING
CHAPTER OF THIS MANUAL.

Delayed LFO - The LFO wave begins after the specified delay time has elapsed.

AUXILIARY ENVELOPE

This is a supplementary, utility envelope
that can be routed to any realtime control
destination. The auxiliary envelope
parameters are: Envelope Amount, Delay,
Attack Time, Hold Time, Decay Time,
Sustain Level, and Release Time. The
delay time is variable from 0 to 13 sec­onds (000-127). The envelope amount is
variable from -128 to +127. Negative
values will produce inverted envelopes.

AUX ENV AMT DLY
+127 000

A: A H D S R
00 00 00 99 20

The six stages of the Auxiliary Envelope Generator.

EDIT MENU

KEYBOARD & VELOCITY MODULATION

These functions allow you to route
keyboard and velocity information to any
of the modulation destinations on Classic
Keys. Up to 6 simultaneous paths or
“patches” may be programmed. For each
modulation patch, there is a source
(keyboard or velocity), and a correspond-

ing amount parameter which is variable
from -128 to +127. Place the cursor
under the appropriate parameter and
change the patch number, modulation
source, modulation destination, or the
amount using the data entry control. If a
parameter is not labeled either primary or
secondary, it will affect both.

KEY/VELOCITY CTL
1 V>Attack -064

MODULATION SOURCES:

KEY NUMBER
KEY VELOCITY

DESTINATIONS:

PITCH, PRIMARY PITCH,
SECONDARY PITCH,
VOLUME, PRIMARY VOLUME,
SECONDARY VOLUME,
ATTACK, PRIMARY ATTACK,
SECONDARY ATTACK,
DECAY, PRIMARY DECAY,
SECONDARY DECAY,
RELEASE, PRIMARY RELEASE,
SECONDARY RELEASE,
CROSSFADE,
LFO 1 AMOUNT,
LFO 1 RATE,
LFO 2 AMOUNT,
LFO 2 RATE,
AUX. ENVELOPE AMOUNT,
AUX. ENVELOPE ATTACK,
AUX. ENVELOPE DECAY,
AUX. ENVELOPE RELEASE,
SAMPLE START,
PRIMARY SAMPLE START,
SECONDARY SAMPLE START,
PAN, PRIMARY PAN,
SECONDARY PAN,
TONE, PRIMARY TONE,
SECONDARY TONE

THE TONE FILTER IS A
SIMPLE LOW-PASS TONE
CONTROL WHICH CAN BE
USED TO DARKEN THE
TONE OF AN INSTRUMENT.

EDIT MENU

MODULATION SOURCES:

PITCH WHEEL,
MIDI CONTROL A,
MIDI CONTROL B,
MIDI CONTROL C,
MIDI CONTROL D,
MONO PRESSURE,
POLYPHONIC PRESSURE,
LFO 1, LFO 2,
AUXILIARY ENVELOPE

DESTINATIONS:

PITCH, PRIMARY PITCH,
SECONDARY PITCH,
VOLUME, PRIMARY VOLUME,
SECONDARY VOLUME,
ATTACK, PRIMARY ATTACK,
SECONDARY ATTACK,
DECAY, PRIMARY DECAY,
SECONDARY DECAY,
RELEASE, PRIMARY RELEASE,
SECONDARY RELEASE,
CROSSFADE,
LFO 1 AMOUNT,
LFO 1 RATE,
LFO 2 AMOUNT,
LFO 2 RATE,
AUX. ENVELOPE AMOUNT,
AUX. ENVELOPE ATTACK,
AUX. ENVELOPE DECAY,
AUX. ENVELOPE RELEASE

REALTIME MODULATION CONTROL

These functions allow you to route
realtime controllers to any of the modula­tion destinations on Classic Keys except
Tone, Sample Start, and Pan. Up to 8
simultaneous patches may be pro­grammed. For each modulation patch,
there is a source and a destination

REALTIME CTL
1 LFO1 ->Pitch

parameter. Place the cursor under the
appropriate parameter and change the
patch number, modulation source or
modulation destination using the data
entry control. If a parameter is not
labeled either primary or secondary, it
will affect both.

WHEN MODULATING
ENVELOPE ATTACK,
DECAY OR RELEASE
TIMES:

POSITIVE AMOUNTS OF
MODULATION INCREASE
THE TIME.

NEGATIVE AMOUNTS OF
MODULATION DECREASE
THE TIME.

EDIT MENU

FOOTSWITCH CONTROL

This function allows you route the 3
footswitch controllers to any of the
footswitch destinations. The footswitches
can be routed to switch: Sustain (pri/sec/
both), Alternate Volume Envelope (pri/
sec/both), Alternate Volume Release (pri/
sec/both), or Cross-switch between the
primary and secondary instruments.

FOOTSWITCH CTL
1 -> Sustain

PITCH BEND RANGE

This function allows you to specify the
pitch wheel range for the current preset
or it can be set to be controlled globally
(set in the Master menu). Pitch bend
range is only applied when the pitch
wheel is used to control pitch.

PITCH BEND RANGE
+/- 12 semitones

MIDI CONTROLLER AMOUNT

This function allows you to specify an
amount parameter (variable from -128 to
+127) for each of the MIDI controllers.

CONTROLLER AMT
A:+127 B:-090

CONTROLLER AMT
C:+127 D:-090

PRESSURE AMOUNT

This function allows you to specify an
amount parameter for mono or poly
keyboard pressure data (aftertouch). The
pressure amount is variable from -128 to
+127.

PRESSURE AMOUNT
+127

VELOCITY CURVE

Incoming velocity data can be modified by
a velocity curve in order to provide
different types of dynamics in response to
your playing or better adapt to the MIDI
controller. This function allows you to
select one of the four velocity curves or
leave the velocity data unaltered (Off). In
addition, the velocity curve can be set to
Global, which means that the global
velocity curve (programmed in the Master
menu) is used.

VELOCITY CURVE
Global

KEYBOARD CENTER

The Keyboard Center parameter estab­lishes a reference point for keyboard
modulation. Keys above this point will
have a positive value and keys below it
will be negative. The keyboard center can
be set to any key within the range C-2 to
G8.

KEYBOARD CENTER
C#3

EDIT MENU

Choose the velocity curve that works best for your playing style and your MIDI controller.

Above the Keyboard Center point, key values will be positive; below the Keyboard Center, key values will
be negative.

EDIT MENU

KEYBOARD TUNING

In addition to the standard equally
divided octave tuning, Classic Keys
contains four other types of scale tuning
and one user-definable tuning. This
function selects which tuning will be used
in the current preset. The available
tunings are:

Equal tuning

12-tone equal temperament
(Standard Western tuning)

Just C tuning

Just intonation
(Based on small interval ratios; sweet and
pure; non-beating intervals)

Vallotti tuning

Vallotti & Young non-equal temperament
(Similar to 12 tone equal temperament;
for a given scale, each key has a different
character)

19-Tone tuning

19-tone equal temperament
(19 notes per octave; difficult to play but
works well with a sequencer)

Gamelan tuning

Javanese tuning: 5-tone Slendro and
7-tone Pelog
(Pelog-white keys; Slendro-black keys
Exotic tunings of Gamelan flavor)

User tuning

Defined in the Master menu.

KEYBOARD TUNING
Equal

PRESET LINKS

Presets may be linked to other presets in
order to create layering or keyboard
splits. The current preset can be linked
with up to three other presets. Each
linked preset can be assigned to a specific
range in order to easily create keyboard
splits. The modulation parameters
specified in each preset remain in effect
for each preset in the link.

LINK 1 C-2->F#4
000 Preset Name

LINK 2 C#1->F#4
127 Preset Name

LINK 3
Off

SAVE PRESET

Changes made to a preset in the Edit
menu are not made permanent until the
preset is Saved. To save a preset, move
the cursor to the bottom line and select
the location for the new preset with the
data entry control. The Enter LED will be
flashing. Pressing the Enter switch will
confirm the operation. Any user preset
(Banks 0 and 1) may be selected using the
data entry control. Writing to a user
preset erases the existing preset in that
location. Make sure that the destination
preset does not contain information that
you want to keep.

SAVE PRESET to
064 Preset Name

0

0

3

Classic Keys STEP-BY-STEP

STEP-BY-STEP

STEP-BY-STEP

7 Step-By-Step

This section is an introduction to the Edit
menu, explains the concept of Sound
Splicing Synthesis, and contains specific
programming examples and tips.

LINKING PRESETS

Linking presets is a quick and easy way to
create new sounds by “layering presets”
and also to “split” the keyboard into
sections containing different sounds.

LAYERING TWO PRESETS

1) Select the first preset you wish to
layer.

2) Press the Edit button.

3) Use the data entry control to move
through the screens until you find
one of the “LINK” screens.

4) Move the cursor to the second line
of the display, then select the preset
that you want to be linked with this
preset. You may want to play the
keyboard as you scroll through the
various presets in order to hear the
results.

5) If you want the link to be a perma­nent part of the preset, be sure to
“SAVE PRESET”.

CREATE A SPLIT KEYBOARD USING
LINKS

1) Follow steps 1 through 4 at left.

2) Now set the range of the linked
preset while still in the LINK menu.
Press Enter.

3) Now use the data entry control to
move through the screens to KEY
RANGE.

5) Set the range of the preset so that it
fills the remaining range of your
keyboard.

6) Save the preset.

STEP-BY-STEP

EDITING PRESETS

The easiest way to make a preset is to edit
an existing preset. This is also an excel­lent way of becoming familiar with
Classic Keys. If you don’t like what you
hear, simply change the preset and
Classic Keys reverts back to the original
sound. Changes are not made permanent
until you Save them using the “SAVE
PRESET” function, which is the last
screen in the Edit menu. Let’s experiment
and modify a few parameters of an exist­ing preset. We’ll start with functions that
have an obvious effect on the sound like
Instrument select, Coarse Tuning, Cho­rus, and Reverse Sound.

First, choose a preset that strikes your
fancy and press the Edit button.

CHANGING THE INSTRUMENT

This is probably the easiest way to modify
existing presets. Scroll through the Edit
menu functions until you come to:

INSTRUMENT pri
IXXX Instr Name

Move the cursor down to the bottom line
(using the cursor button) and change the
primary instrument with the data entry
control. Play the keyboard as you scroll
through the various instruments. When
you find an interesting instrument, move
the cursor back up to the first line and
select:

INSTRUMENT sec
IXXX Instr Name

Repeat the process for the secondary
instrument. Find an instrument that
sounds good when combined with the
first one you selected. You can probably
see that with all these great instruments
to work with, you really can’t go wrong.
Now let’s play with the tuning.

CHANGING THE TUNING OF AN
INSTRUMENT

Scroll through the Edit menu functions
until you come to:

TUNING coarse
pri:+00 sec:+00

If the numbers are “00” as in the example
above, it means that the instruments are
tuned to concert pitch (A=440 Hz). Each
whole number in coarse tuning repre­sents a semitone interval. To tune one or
both of the instruments up an octave,
move the cursor to the number (using
the cursor button) and set the number to
+12 using the data entry control. Try
tuning one of the instruments to a perfect
fifth above the other. Simply set the
coarse tuning to +7.

CHORUS

This is an easy one. With the cursor on
the top line of the display, turn the data
control until you find CHORUS. Chorus
can be turned on or off for each of the
primary and secondary instruments.
Chorus works by doubling the instru­ments and detuning them slightly. Try it.

CHORUS
pri:Off sec:Off

STEP-BY-STEP

REVERSING THE SOUND

A simple concept. The instrument sounds
can be played in reverse. This will nor­mally make an instrument sound quite a
bit different. It also virtually doubles the
number of raw instruments you have to
work with, and it’s fun.

REVERSE SOUND
pri:Off sec:Off

You’re probably getting the idea by now.
Remember not to change presets or the
preset will return to normal. If you want
to save your creation, select the last
screen in the Edit menu and select a
destination preset location for your
masterpiece, then press Enter. That’s it.

The previous examples were offered solely
to pique your curiosity. By all means, go
ahead and experiment with any of the
other functions. Some of the best sounds
have been discovered by accident. If it
sounds good ... Do it!

SOUND SPLICING SYNTHESIS

Oh, no! Not another form of synthesis to
learn. Relax. It’s easy. Sound Splicing
Synthesis is actually just a form of
additive synthesis. Only, instead of
building a sound from simple sine waves,
Classic Keys starts with complete sampled
sounds or complex waveforms and
combines all or part of these together to
form a new sound. The process is illus­trated below.

The envelope generators controlling the
DCAs (digitally controlled amplifiers) can
be used to fade between two instruments
(primary and secondary) during the
course of a note. This powerful technique
allows you to combine elements of
different instruments together to form
completely new sounds. New sounds that
are totally natural, because they are based
on natural sounds. Classic Keys also
contains many digitally generated wave­forms that can be combined with other
digital waves or with sampled instru­ments in order to change the character of
the sound, perhaps to add a digital “edge”
or add more bottom. In addition to the
envelope generators, parameters such as
Delay, Sample Start, and Crossfade allow
you to further control the blend of
primary and secondary instruments.

Portions of two sounds are dynamically crossfaded in order to produce a new sound containing elements
of both.

STEP-BY-STEP

CREATING A NEW SOUND

As an example, let’s add a sampled flute
attack to a Mini Moog synthesizer sound
to create a sort of Flute Synth. Start with
one of the default presets and change only
the parameters listed in the chart below.
The flute instrument is shaped by the
Alternate Volume Envelope so that only
the breathy attack “chiff” is heard (a short
Decay with the Sustain set to zero). Also
the attack time has been set to 2 to soften
the breath sound a bit.

The Mini Moog 1 instrument serves as the
body of the sound. The delay parameter is
used to delay the onset of the Mini Moog
until the flute sound has died away. The
Attack parameter of the Secondary
Alternate Volume Envelope is set so that
the Mini Moog will smoothly fade in as
the Flute is fading out. Lastly, the volume
of each instrument is adjusted to balance
the sound.

REVERB SPACES

The reverb spaces allow you to add reverb
ambience to Classic Keys drums. By
layering an instrument containing only
reverb with a “dry” drum instrument, the
effect of real reverb is created. In addi­tion, the reverb spaces can be shaped and
filtered just like any other instrument.
There are eleven reverb spaces (instru­ments 76-84, 86, 88) in Classic Keys.

Using the reverb spaces is easy. Use one of
the default presets as your starting point.
Set up the Edit menu parameters as in
the chart below and change only the
parameters specified.

All we have done here is layer a drum kit
with a reverb space, then adjust the
volumes slightly. That’s all there is to it!
Try out all the different reverb spaces and
note the differences. The reverb decay
time can be shaped using the Alternate
Volume Envelope.

The reverb spaces can be further shaped
using Reverse, Chorus, or any of the
other modulation parameters. How about
using the Auxiliary Envelope to control
the pitch of the reverb? You can do all
kinds of new things with this reverb.

STEP-BY-STEP

USING CLASSIC KEYS WITH A
SEQUENCER

We thought you’d never ask. Classic Keys
was designed from its conception with
multi-timbral sequencing in mind. Just
take a look at the main screen.

C01 Vol127 Pan+0

0

000 Preset Name

The preset for each MIDI channel is
selected from the main screen. Press the
cursor button to move the cursor up so
that it is underneath the channel num­ber.

C01 Vol127 Pan+0

0

000 Preset Name

MORE ADVANCED SEQUENCING

Pre-Sequence Setup

Suppose that you want to have your
sequencer set up everything for you
before the start of the song. Good idea.
This will make the Classic Keys setup
procedure automatic and prevent the
wrong presets from playing.

The basic idea of a pre-sequence setup is
to send out MIDI information just before
the start of the song. This MIDI informa­tion will select all the proper presets,
adjust the mix, and pan positions of each
preset.

Note: Classic Keys setup information
should be transmitted from the sequencer
before the song actually starts, perhaps
during a lead-in measure or countdown.
DO NOT send setup information just
before the first beat of the song or MIDI
timing errors could result.

Turn the data entry control and you will
see that every MIDI channel has a preset
assigned to it. Just select a preset for each
of the MIDI channels. It’s simple! In order
to respond to multiple MIDI channels,
Classic Keys must be in Multi-Mode.
Multi-Mode is selected in the Master
menu. Press the Master menu button and
use the data entry control to scroll
through the screens until you find MIDI
MODE.

MIDI MODE ID
Multi 00

Move the cursor down to the second line
and change the mode to Multi as shown.
Classic Keys will now respond to multiple
MIDI channels.

Initial Setup

In the Master menu:

1) Turn ON Multi-Mode

2) Turn ON Preset Change enable for

each channel.

3) Turn OFF MIDI Enable on MIDI

channels that are to be used for other
synthesizers.

PRESET, VOLUME & PAN SETUP

Program your MIDI sequencer to
transmit the following information before
the song starts.

1) Select the proper presets for each

MIDI channel used on Classic Keys.

2) Send MIDI volume information

(controller #7) for each MIDI channel
used on Classic Keys.

3) Send MIDI pan information (control-

ler #10) for each MIDI channel used
on Classic Keys.

STEP-BY-STEP

Now your song will play perfectly every
time using the proper presets, volumes
and pan positions. In addition, presets,
volumes and pan positions (or anything
else for that matter) can be adjusted in
realtime during the song. Note: If the
wrong presets are being selected, check
the MIDI Program -> Preset Map.

To carry the pre-sequence setup even
further, you can even include preset data
for each preset used in the sequence. See
page 30 for details.

USING THE 32 CHANNELS

As stated earlier, Classic Keys has 32
independent audio channels which are
utilized as needed. With 32 channels and
512 presets, you have a universe of sonic
textures at your disposal. But you have
probably noticed that many of the best
sounding presets in Classic Keys are
linked with other presets or have chorus
applied to them in order to make them
sound larger. While this is fine when the
preset is played solo, you may begin to
run out of channels when Classic Keys is
played multi-timbrally. Linking and
chorusing cause twice as many channels
to be used by the preset. Learn to “bud­get” your output channels for maximum
efficiency.

CHANNEL RIPOFF

When Classic Keys uses up all its 32
channels and needs more, it steals a
channel from the key that has been held
the longest. This is commonly known as
“channel ripoff ”. You will most com­monly encounter this ripoff when using
Classic Keys in multi-timbral mode. To
eliminate ripoff you must either, play
fewer notes, use simpler sounds, turn off
doubling (pri/sec, chorus, or linked
presets), or use MIDI overflow to another

Classic Keys.

INSTRUMENT DEFINITION

If your sequence has an instrumental
section using numerous chords it may be
advantageous to use a basic preset with­out links or chorus. A preset will sound
much different alone than when com­bined with an ensemble. Try to resist the
temptation to make every sound as fat as
possible or you can wind up with “MIDI
Soup”, a huge, stifling sound with every
possible audio frequency filled. A solo
saxophone in a band isn’t chorused and it
sounds great. Each voice in your compo­sition should have it’s own identity. Save
the monster sounds for solos or dramatic
effects.

Classic Keys REFERENCE SECTION

REFERENCE SECTION

RAM Presets

Bank 0

Organ

Brass

Mellotron

43. air:PanPiper

44. air:Siku

45. air:ARPreedz

46. air:M12Quack

47. air:DeepHeat

48. buz:M12 Pad

49. buz:BigBob55

50. buz:ARP Pad

51. buz:MoogPad3

52. buz:MoogPad5

53. buz:Rezo SEM

54. buz:EMU/Moog

55. buz:Wheel Op

56. rez:MoogPad1

57. rez:MoogPad4

58. rez:MoogPad6

59. rez:OB Pad

60. rez:P5Syncer

61. rez:MoogPad2

62. rez:ManyMoog

63. rez:Cartoon

64. bel:StikBell

65. bel:4OctBell

66. bel:Gamalan

67. bel:Metlimba

68. bel:PanBells

69. bel:Tubular

70. bel:Led Xtal

71. bel:WndChime

72. wrm:Harmonia

73. wrm:SineWave

74. wrm:FlutWave

75. wrm:Bendolin

76. wrm:Beautifl

77. wrm:Bend 4>5

78. wrm:StrngGld

79. wrm:WineGlas

80. bas:Punchy

81. bas:Hunted %

82. bas:Moog5th%

83. bas:SyncBtm%

84. bas:TwoMoogs

85. bas:B3 Pedal

0. org:Panner1%

1. org:Rocky B3

2. org:PercGrt%

3. org:LoMidPr%

4. org:LoHiPrc%

5. org:HiPerc %

6. org:StopsOut

7. org:Lo Dark

8. org:Airgan %

9. org:Sticky %

10. org:Bell Atk

11. org:Rococo

12. org:GrandM12

13. org:Funeral

14. org:Dynorg1

15. org:w/Vibes

16. epo:DXThang%

17. epo:Dyno’d %

18. epo:3 Dogs %

19. epo:BasicEl.

20. epo:Wurltzr%

21. epo:WurlBel%

22. epo:Clav Whl

23. epo:DblHonr%

24. epo:DoubleCP

25. epo:Bright70

26. epo:TakPiano

27. epo:WideCP70

28. epo:TronFade

29. epo:Vox Fade

30. epo:DX-70 %

31. epo:CP-B3-70

32. str:P5ala’99

33. str:Solina

34. str:SuperMel

35. str:ThikMoog

36. str:Moog Too

37. str:OBXStrng

38. str:ARPcomb1

39. str:ARPcomb2

40. air:WindKeys

41. air:GasDyno

42. air:PanninOz

Resonant
Synth

86. bas:PerkPedl

87. bas:UduSynth

88. led:MoogSqrs

89. led:MoogSaws

90. led:MoogRect

91. led:OB Saws

92. led:ARPpulse

93. led:M12 Sync

94. led:Pro5Sync

95. led:Sweepy

96. trn:M&F Vox

97. trn:Vln&FVox

98. trn:Vln&MVox

99. trn:Vln&Flut

100. trn:FVx&Flut

101. trn:Vx/Flut&

102. trn:SwoopVox

103. trn:HuluGurl

104. brs:Orson55%

105. brs:Memories

106. brs:MemMg5th

107. brs:BigSect%

108. brs:Section%

109. brs:MiniWarm

110. brs:BrassyMg

111. brs:Taurs5th

112. sfx:Psycotic

113. sfx:Who Me ?

114. sfx:Ahh-Ahh

115. sfx:Crazy

116. sfx:Triffids

117. sfx:Outer %

118. sfx:Limits

119. sfx:Huuuuge%

120. plk:Kotolith

121. plk:Hawaiian

122. plk:SurfBird

123. plk:Twangly%

124. plk:Bass&Gtr

125. plk:JazzBass

126. plk:FunkBass

127. plk:Bright %

% Indicates that the preset contains a Layered Link to one or more presets.
& Indicates that the preset contains a Split Link to one or more presets.

String
Synth

Airy
Synth

Buzzy
Synth

Bells

Warm
Synth

Bass
Synth

Plucked

Electric
Piano

Sound
FX

Synth
Leads

REFERENCE SECTION

RAM Presets

Bank 1

Organ

Electric
Piano

String
Synth

Airy
Synth

0. org:Panner2%

1. org:Solo 1 &

2. org:Solo 2 &

3. org:Solo 3 &

4. org:Solo 4 &

5. org:Solo 5 %

6. org:Solo 6 &

7. org:Solo 7 &

8. org:AirPower

9. org:GameShow

10. org:Cathedrl

11. org:Liteness

12. org:Morgan %

13. org:RockPls&

14. org:Dynorg2

15. org:Clav Atk

16. epo:Suitcs &

17. epo:DynoRhd&

18. epo:Hyper D&

19. epo:Mark I &

20. epo:HevyDyno

21. epo:DynoDlay

22. epo:TufWurli

23. epo:WurlBs1&

24. epo:WurlBs2&

25. epo:WurliPan

26. epo:ClavPanr

27. epo:BuzzClav

28. epo:SyncClav

29. epo:CP/M12

30. epo:CP/MemMg

31. epo:Eko CP70

32. str:LikeNife

33. str:Bob&Toms

34. str:M12 5ths

35. str:OBcanyon

36. str:GreatBig

37. str:RotorTrn

38. str:RotorARP

39. str:RotorM12

40. air:Omatic

41. air:PanProV

42. air:PanGtrz

Buzzy
Synth

Resonant
Synth

Bells

Warm
Synth

Bass
Synth

43. air:Subteran

44. air:Escaping

45. air:Flutgong

46. air:Creepy

47. air:Hu-Hu-Hu

48. buz:ARPinet

49. buz:Brazzzzz

50. buz:DuckRock

51. buz:ClavLike

52. buz:Britely

53. buz:Zophone

54. buz:Buzync

55. buz:Qwaack

56. rez:HotPile

57. rez:Scary

58. rez:ARPbssn

59. rez:Harpspad

60. rez:Fuzzywuz

61. rez:FuzGrowl

62. rez:GrowlWav

63. rez:Rev Moog

64. bel:Vibalong

65. bel:Malltbel

66. bel:OohBells

67. bel:Magic

68. bel:Popsikl%

69. bel:Disobel%

70. bel:DigiMoog

71. bel:Ironbel%

72. wrm:Accordia

73. wrm:RoadTone

74. wrm:Clavsine

75. wrm:DarkPipe

76. wrm:PercPad

77. wrm:Generatr

78. wrm:Swirly

79. wrm:PipeBndr

80. bas:ARP Rez2

81. bas:2 Micros

82. bas:EkoMini%

83. bas:Solidar%

84. bas:ClavSyn

85. bas:Watery %

Synth
Leads

Mellotron

Brass

Sound
FX

Plucked

86. bas:B3 Bass

87. bas:M12 Bass

88. led:Interval

89. led:Jumper

90. led:55 Moogs

91. led:2 OBies

92. led:2 Moogz

93. led:ISawMoog

94. led:RezoMoog

95. led:Moonman

96. trn:FemSwell

97. trn:SwellGyz

98. trn:SwlStrng

99. trn:5thStrng

100. trn:Strg&Vio

101. trn:Vox &Vio

102. trn:DualBend

103. trn:Hulalins

104. brs:SoloAlto

105. brs:SoloTenr

106. brs:SoloBari

107. brs:TwoSaxes

108. brs:&Reeds %

109. brs:Moog&Tpt

110. brs:BrassPan

111. brs:Sforzan%

112. sfx:TheOcean

113. sfx:Nostromo

114. sfx:Desent

115. sfx:BronzAge

116. sfx:Lifetime

117. sfx:DripDrum

118. sfx:VanDgraf

119. sfx:Scanline

120. plk:AsiaEns%

121. plk:SlideHrm

122. plk:LesliGtr

123. plk:Spageti%

124. plk:BassChr1

125. plk:BassChr2

126. plk:Bas/Harm

127. plk:BasicBas

% Indicates that the preset contains a Layered Link to one or more presets.
& Indicates that the preset contains a Split Link to one or more presets.

REFERENCE SECTION

0. org:B3 Fast

1. org:Lo&Mid %

2. org:Lo&Hi %

3. org:MostHi %

4. org:Mid&Hi %

5. org:LoPerc %

6. org:FulPerc%

7. org:DrkPerc%

8. org:Airy B3

9. org:FulBars%

10. org:Topper %

11. org:Bostone%

12. org:Chappel%

13. org:SimpleLo

14. org:SimpleHi

15. org:SmplFull

16. epo:MkI Chrs

17. epo:LA Dyno%

18. epo:DynoWhl%

19. epo:SpltRoad

20. epo:RuffDyno

21. epo:Suitcase

22. epo:HypDyno%

23. epo:DoorBas%

24. epo:Stereo

25. epo:Xpresive

26. epo:GrandOrg

27. epo:Pianofla

28. epo:CP/M12

29. epo:CP/ARP

30. epo:Out West

31. epo:Gospel

32. str:For Film

33. str:Early80s

34. str:Matrix12

35. str:MeloMoog

36. str:ARPtron

37. str:NoyzTron

38. str:Tron #1

39. str:Tron #2

40. air:Enchantd

41. air:Asiatic

42. air:Delicate

43. air:D50ish 1

44. air:WindPowr

45. air:Digital

46. air:Kaliopad

47. air:Jacinto

48. buz:ARPwave1

49. buz:OBXwave1

50. buz:EMUwave1

51. buz:MoogPuls

52. buz:OBXwave2

53. buz:P5Gitarz

54. buz:EMUHarps

55. buz:P5 Harps

56. rez:ARP Poly

57. rez:MoogFilt

58. rez:KtchSynk

59. rez:ARPenatr

60. rez:Moogles

61. rez:Al & Bob

62. rez:OBXJump

63. rez:Growl %

64. bel:Patina

65. bel:Mystery

66. bel:Ringer

67. bel:Vibrafon

68. bel:Carillon

69. bel:Xtal 1 %

70. bel:MusicBox

71. bel:ToyPiano

72. wrm:Sub Dude

73. wrm:Flautish

74. wrm:BrassPad

75. wrm:Pluto

76. wrm:Carousel

77. wrm:Matrix

78. wrm:AirMen

79. wrm:Infinity

80. bas:MinMog1%

81. bas:MinMog2%

82. bas:ARPrezo%

83. bas:MicroMg%

84. bas:MinMog3

85. bas:MinMog4%

ROM Presets

Bank 2

Organ

Electric
Piano

String
Synth

Airy
Synth

Buzzy
Synth

Resonant
Synth

Bells

Bass
Synth

Synth
Leads

Mellotron

Plucked

Special
FX

% Indicates that the preset contains a Layered Link to one or more presets.

Warm
Synth

86. bas:MinMog5%

87. bas:Rez Body

88. led:Emu Saws

89. led:Emu Sqrs

90. led:Emu Tri

91. led:EchoMoog

92. led:MicroMem

93. led:P5 Sync

94. led:Dual SEM

95. led:Winter

96. trn:Flute

97. trn:FlutMoog

98. trn:VerbFlut

99. trn:FlutePan

100. trn:FemChoir

101. trn:MenChoir

102. trn:MixChoir

103. trn:Noys2Men

104. brs:MemMoog

105. brs:FatBrass

106. brs:Regality

107. brs:3 Piece

108. brs:With Sax

109. brs:SoloMood

110. brs:Scoop

111. brs:TronBrs%

112. sfx:Peckerz

113. sfx:Vynlator

114. sfx:Dicer

115. sfx:Landing

116. sfx:Yes Sir

117. sfx:Microbs

118. sfx:DigiSlic

119. sfx:MagiFlut

120. plk:TheGitar

121. plk:Ricki 12

122. plk:Hrmonics

123. plk:AcGuitar

124. plk:PickBass

125. plk:Fretless

126. plk:WithTop%

127. plk:Fingerz

Brass

REFERENCE SECTION

ROM Presets

Electric
Piano

String
Synth

43. air:MoogPipe

44. air:Breath

45. air:OzonLayr

46. air:P5 Echo

47. air:D50ish 2

48. buz:BizzARP

49. buz:Tamboras

50. buz:Air Gtrs

51. buz:ARP 2600

52. buz:ARPreedz

53. buz:OB SEM3

54. buz:Elecroad

55. buz:ARPwave2

56. rez:DualSync

57. rez:Moog 55

58. rez:EchoSync

59. rez:Sitarz %

60. rez:Reztyne%

61. rez:AbleCmp%

62. rez:Rippoff

63. rez:DublM12%

64. bel:BelPiper

65. bel:ToyPno 2

66. bel:DxAngels

67. bel:ViboMoog

68. bel:Xtal 2 %

69. bel:PerKlavr

70. bel:Xylosyn

71. bel:Dreamy %

72. wrm:Monk Vox

73. wrm:Moogoid

74. wrm:Ancients

75. wrm:Pan Comp

76. wrm:Submerge

77. wrm:Tangerin

78. wrm:Alaska

79. wrm:Steam

80. bas:LowMoog%

81. bas:Garggle%

82. bas:MoogRip%

83. bas:WetMoog%

84. bas:MoogPerc

85. bas:MoogRez%

Buzzy
Synth

Resonant
Synth

Bells

Warm
Synth

Bass
Synth

Links

Bank 3

Organ

Airy
Synth

0. org:HmndGrit

1. org:ChrchLdy

2. org:KeyClick

3. org:AirSatz%

4. org:Cussive%

5. org:Chopper

6. org:EchoHall

7. org:Meddle

8. org:Vox Cont

9. org:Farfisa

10. org:Voxfisa

11. org:Jaguar 1

12. org:Jag Sub5

13. org:Jag Sub8

14. org:FarfClik

15. org:FarfPerc

16. epo:DryWurli

17. epo:Back Jak

18. epo:WurliChr

19. epo:Clavinet

20. epo:DblClav%

21. epo:Sweetbel

22. epo:Faux DX%

23. epo:Zircon %

24. epo:Pianet

25. epo:CP Wheel

26. epo:&MoogStr

27. epo:CPChorus

28. epo:CP/Tron

29. epo:PlusDXep

30. epo:SlapEcho

31. epo:Mono Pan

32. str:SmalHall

33. str:ThickSyn

34. str:ARPStrng

35. str:M12Strng

36. str:LargHall

37. str:Tron/M12

38. str:StopTron

39. str:Trn+Brs%

40. air:AngelVox

41. air:Fairlite

42. air:BeloVox

% Indicates that the preset contains a Layered Link to one or more presets.

Drums

86. bas:DeepBas9

87. bas:Taurus I

88. drm:JimerWhl

89. drm:BoomKick

90. drm:Lo Toms

91. drm:SnareTom

92. drm:ElCowBel

93. drm:El Snare

94. drm:El Stick

95. drm:BasicKit

96. lnk:1 4Split

97. lnk:2 4Split

98. lnk:3 4Split

99. lnk:4 4split

100. lnk:5 4Split

101. lnk:FullPan%

102. lnk:EpoBoost

103. lnk:Organ 1

104. lnk:Organ 2

105. lnk:Organ 3

106. lnk:Organ 4

107. lnk:Organ 5

108. lnk:Organ 6

109. lnk:Organ 7

110. lnk:Organ 8

111. lnk:Organ 9

112. lnk:Organ10%

113. lnk:Organ 11

114. lnk:Organ 12

115. lnk:Booster1

116. lnk:Booster2

117. lnk:Booster3

118. lnk:DXBoost1

119. lnk:DXBoost2

120. lnk:Organ 13

121. lnk:Organ 14

122. lnk:Organ 15

123. lnk:Sfrz 2

124. lnk:0>11

125. lnk:Clavlink

126. lnk:MeatBotm

127. – default –

REFERENCE SECTION

Classic
Instruments

SAMPLED SOUNDS

1. B3DistLwSlw ......................................Distorted B3 Organ, Low Drawbars, Slow Rotor

2. B3 Dist Fast .................................................................. Distorted B3 Organ, Fast Rotor

3. B3 Hi Slow.........................................................B3 Organ, High Drawbars, Slow Rotor

4. B3 Hi Fast ........................................................... B3 Organ, High Drawbars, Fast Rotor

5. B3 Full Slow ....................................................... B3 Organ, Full Drawbars, Slow Rotor

6. B3 Full Fast ......................................................... B3 Organ, Full Drawbars, Fast Rotor

7. B3 Perc 3rd............................................................B3 Organ 3rd Harmonic Percussion

8. Male Choir .................................................................................. Mellotron - Male Choir

9. Femme Choir ......................................................................... Mellotron - Female Choir

10. Males to Mix ...........................................Mellotron - Male Choir (to mix with Inst. 11)

11. Femmes to Mix...................................Mellotron - Female Choir (to mix with Inst. 10)

12. Violin Trio .........................................................................................Mellotron - Violins

13. Flute......................................................................................................Mellotron - Flute

14. Bari Sax............................................................................................Baritone Saxophone

15. Tenor Sax............................................................................................. Tenor Saxophone

16. Alto Sax................................................................................................... Alto Saxophone

17. Trumpet Sft .................................................................................... Soft-blown Trumpet

18. Trumpet Hrd .................................................................................Hard-blown Trumpet

19. Trombone ........................................................................................................Trombone

20. Trom/STpt .......................................................................Trombone/Soft Trumpet Split

21. Trom/HTpt .................................................................... Trombone/Hard Trumpet Split

22. Trom/Sax ......................................................................................... Trombone/Sax Split

23. Farfisa ........................................................................................................ Farfisa Organ

24. CP-70 ............................................................................................................CP-70 Piano

25. CP-70 Mellow ................................................................ CP-70 Piano with Mellow Tone

26. CP-70 Brite ..................................................................... CP-70 Piano with Bright Tone

27. Piano Bass ..................................................................... CP-70 Piano Bass - Transposed

28. Wurlitzer1 .............................................................................Wurlitzer Electric Piano 1

29. Wurlitzer2 .............................................................................Wurlitzer Electric Piano 2

30. Dyno Rhodes1 .......................................................... Dyno-My-Rhodes Electric Piano 1

31. Dyno Rhodes2 .......................................................... Dyno-My-Rhodes Electric Piano 2

32. FendrRhodes ................................................................... Fender Rhodes Electric Piano

33. Clavinet..................................................................................................Hohner Clavinet

34. Brite Clavinet ............................................................................ Bright Hohner Clavinet

35. Mini Moog 1 .....................................................................Mini Moog w/Low Resonance

36. Mini Moog 2 ....................................................................Mini Moog w/ Med Resonance

37. Mini Moog 3 ................................................................... Mini Moog w/High Resonance

38. Mini Moog 4 .........................................................................Mini Moog w/Lower Cutoff

39. Mini Moog 5 ..............................................................................Mini Moog Horn Sound

40. Mini Moog 6 ....................................................... Mini Moog w/Osc->Filter Modulation

41. Micro Moog ..................................................... Micro Moog w/ Osc->Filter Modulation

42. Taurus Pedal............................................................................ Moog Taurus Bass Pedal

REFERENCE SECTION

Classic
Instruments

43. Jaco Bass............................................................................................. DX-7 Bass Sound

44. M12 Lead 1 ...............................................................Oberheim Matrix-12 Sync Patch 1

45. M12 Lead 2 ................................................................................ Matrix-12 Sync Patch 2

46. ARP 2600 .................................................. ARP 2600 Synth w/ Osc->Filter Modulation

47. Rock DXman .................................................................DX-7 played through Rockman

48. P5 Sync Lead ................................................................................Prophet-5 Sync Patch

49. Moog 55 Rez .......................................................... Moog Model 55 w/ Filter Resonance

50. Memory Moog ....................................................................Memory Moog - Horn Patch

51. OBX Saws .................................................................. Oberheim OBX - Sawtooth Patch

52. P5 Guitar Pad ...................................................................Prophet-5 - Guitar-like Patch

53. Matrix Pad .............................................................................. Matrix-12 - Hollow Patch

54. P5 Piper ....................................................................Prophet-5 - Overblown Pipe Patch

55. P5 Strings ................................................................................ Prophet-5 - String Patch

56. M12 Strings ..............................................................................Matrix-12 - String Patch

57. ARP Strings .................................................................................. ARP String Ensemble

58. AHHHs....................................................................................................Fairlight Vocals

59. Picked Bass ........................................................................................Picked Bass Guitar

60. Finger Bass ............................................................................. Fingerpicked Bass Guitar

61. Finger Tre............................................................................... Fingerpicked Bass Guitar

62 Pickd 8 Top..................................................................................... 8-String Bass Guitar

63. Finger 8 Top ................................................................................... 8-String Bass Guitar

64. Finger 8 Tre.................................................................................... 8-String Bass Guitar

65. The Guitar ..................................................................................... Clean Electric Guitar

66. Twelve Top 1......................................................................................... 12-String Guitar

67. Twelve Top 2......................................................................................... 12-String Guitar

68. Twelve Top 3......................................................................................... 12-String Guitar

69. Drum Kit 1 .......................

70. Drum Kit 2 .......................

71. Drum Kit 3 .......................

72. Drum Kit 4 .......................

73. Drum Kit 5 .......................

74. Drum Kit 6 .......................

75. Drum Kit 7 .......................

76. Large Hall ..................................

77. Medium Room...........................

78. Tiled Room ................................

79. Gated Short ...............................

80. Gated Long 1 .............................

81. Gated Long 2 .............................

82. Lush Reverb...............................

83. Blush Reverb .............................

84. Full On Reverb ..........................

See the Percussion Instrument Location

Diagrams on pages 101-103.

Reverb Spaces to combine

with Drum Kits 1-7.
See the Reverb Space Diagram

on page 103.

* The names of the above-mentioned instruments may be trademarks of third parties. In order to create the
instrument sounds, E-mu records such sound from the respective instrument and the recording is converted into a
digital signal which is then modified as necessary to be stored in a read only memory (ROM) device.

REFERENCE SECTION

85. Dry Kick................................................... Dry Kick Drum over the full keyboard range

86. Kick Verb ........................................... Kick Drum Reverb over the full keyboard range

87. Dry Snare............................................... Dry Snare Drum over the full keyboard range

88. Snare Verb ........................................Snare Drum Reverb over the full keyboard range

89. Dry Tom..................................................... Dry Tom Tom over the full keyboard range

90. Wet Tom ............................................ Ambient Tom Tom over the full keyboard range

91. High Hat 1 ................................................. Closed Hi-Hat over the full keyboard range

92. High Hat 2 ......................................... Half Closed Hi-Hat over the full keyboard range

93. High Hat 3 ................................................... Open Hi-Hat over the full keyboard range

94. Ride Ping ............................................. Ride Cymbal Ping over the full keyboard range

95. Ride Bell ............................................... Ride Cymbal Bell over the full keyboard range

96. Crash.......................................................... Crash Cymbal over the full keyboard range

97. Cowbell ................................................................ Cowbell over the full keyboard range

98. Tambourine .................................................. Tambourine over the full keyboard range

99. Side Stick............................................... Snare Side Stick over the full keyboard range

100. Clave .......................................................Rosewood Clave over the full keyboard range

SYNTHESIZER & ORGAN WAVEFORMS

The single cycle waveforms are sampled waves from various synthesizers and organs.
The Moog, ARP & OB waves have been sampled with various filter settings characteris­tic of each unit.

The B3 waves are various harmonic drawbar settings designed to be used alone or
layered together with the multi-cycle organ samples (instruments 1-7). The various
drawbar settings were selected to produce an extremely wide degree of variation. See
the B3 Wave Drawbar Setting Diagrams on pages 98-100.

101. Square

102. Sawtooth

103. Triangle

104. Moog Saw 1

105. Moog Saw 2

106. Moog Saw 3

107. Moog Saw 4

108. Moog Square 1

109. Moog Square 2

110. Moog Square 3

111. Moog Square 4

112. Moog Square 5

113. Moog Square 6

114. Moog Rectangle 1

115. Moog Rectangle 2

116. Moog Rectangle 3

Waveforms

117. Moog Rectangle 4

118. Moog Rectangle 5

119. Moog Pulse 1

120. Moog Pulse 2

121. Moog Pulse 3

122. Moog Pulse 4

123. Moog Pulse 5

124. OB Wave 1

125. OB Wave 2

126. OB Wave 3

127. OB Wave 4

128. OB Wave 5

129. ARP 2600 1

130. ARP 2600 2

131. ARP 2600 3

REFERENCE SECTION

Waveforms

132. B3 Wave 1

133. B3 Wave 2

134. B3 Wave 3

135. B3 Wave 4

136. B3 Wave 5

137. B3 Wave 6

138. B3 Wave 7

139. B3 Wave 8

140. B3 Wave 9

141. B3 Wave 10

142. B3 Wave 11

143. B3 Wave 12

144. B3 Wave 13

145. B3 Wave 14

146. B3 Wave 15

147. B3 Wave 16

148. B3 Wave 17

149. B3 Wave 18

150. ARP Clarinet

151. ARP Bassoon

152. P5 No-Tone

153. Noise Non-X

HARMONIC WAVEFORMS

154. Oct 1 (Sine)

155. Oct 2 All

156. Oct 3 All

157. Oct 4 All

158. Oct 5 All

159. Oct 6 All

160. Oct 7 All

161. Oct 2 Odd

162. Oct 3 Odd

163. Oct 4 Odd

164. Oct 5 Odd

165. Oct 6 Odd

166. Oct 7 Odd

167. Oct 2 Even

168. Oct 3 Even

169. Oct 4 Even

170. Oct 5 Even

171. Oct 6 Even

172. Oct 7 Even

173. Low Odds

174. Low Evens

175. Four Octaves

As an example, this chart shows the harmonics present in the Octave 5 Odd waveform.

Starting from the first octave (fundamen­tal), the harmonic waveforms contain the
harmonics (odd, even, or all) present in
each octave. In each successive octave the
number of harmonics doubles.

By combining (pri/sec or link) the har­monic waveforms in various amounts
(volume), and transposing them (coarse/
fine tuning), a wide range of timbres may
be produced.

REFERENCE SECTION

SINGLE CYCLE WAVEFORMS

These single cycle waveforms were either
synthesized or taken from actual sampled
sounds. Each wave has a unique tonal
quality.

176. Synth Cycle 1

177. Synth Cycle 2

178. Synth Cycle 3

179. Synth Cycle 4

180. Fundamental Gone 1

181. Fundamental Gone 2

182. Bite Cycle

183. Buzzy Cycle

184. Metalphone 1

185. Metalphone 2

186. Metalphone 3

187. Metalphone 4

188. Duck Cycle 1

189. Duck Cycle 2

190. Duck Cycle 3

191. Wind Cycle 1

192. Wind Cycle 2

193. Wind Cycle 3

194. Wind Cycle 4

195. Organ Cycle 1

196. Organ Cycle 2

197. Violin Essence

198. Buzzoon

199. Brassy Wave

200. Reedy Buzz

201. Growl Wave

202. HarpsiWave

203. Fuzzy Gruzz

204. Power 5ths

205. Filter Saw

206. Ramp

207. Evens Only

208. Odds Gone

Waveforms

209. Ice Bell

210. Bronze Age

211. Iron Plate

212. Aluminum

213. Lead beam

214. Steel Xtract

215. Winter Glass

216. Town bell

217. Orch Bells

218. Tubular SE

219. Soft Bell

220. Swirly

221. Tack Attack

222. Shimmer Wave

223. Mild Tone

224. Ah Wave

225. Vocal Wave

226. Fuzzy Clav

227. Electrhode

228. Whine 1

MULTI-CYCLE WAVEFORMS

The multi-cycle waveforms are short
sections of sampled sounds.

229. Filter Bass

230. Harmonics

231. ElecPiano

232. Marimba Attack

233. Vibe Attack

234. Xposed Noise

REFERENCE SECTION

Waveforms

LOOPS AND PILES

Loops are single samples continuously
looped.

Piles are continuous loops containing
multiple samples.

Loops and Piles are useful for special
effects and can provide rhythmic
accompaniment when chords are played.
Extreme transpositions may also yield
unusual effects.

235. Marimba Loop

236. Vibes Loop

237. Stick Loop

238. Cowbell Loop

239. Clave Loop

240. Hi Hat Loop

241. Drum Pile

242. CP-70 Pile

243. Pick Bass Pile

244. Guitar Pile

245. Finger Bass Pile

246. Moog Loop

247. OB Loop

248. Frost Loop

249. Memory Loop

REFERENCE SECTION

Drawbar
Diagrams

Each drawbar controls the volume of its
associated harmonic or overtone. The 8"
drawbar is the fundamental pitch of the
sound. Note that instruments 1-7 are full
length samples, while waves 1-18 are
single cycle loops.