E-Mu Planet Phatt Operation Manual

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Fhlanett Phatt

OPERATION MANUAL

E-mu Systems, Inc.

Operation Manual

• FI542 Rev. B

E-mu World Headquarters

E-mu Systems, Inc. U.S.A. P.O. Box 660015 Scotts Valley, CA USA 95067–0015 Telephone: 408-438-1921 Fax: 408-438-8612

Important Notice:

In order to obtain warranty service on your Planet Phatt 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 your Planet Phatt, please contact E-mu Systems at once.

This product is covered under one or more of the following U.S. patents: 4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645; 5,111,727; 5,144,676; 5,170,367; 5,248,845; 5,303,309; 5,317,104; 5,342,990; 5,430,244 and foreign patents and/or pending patents. Planet Phatt is a registered trademark of E-mu Systems, Inc.

Europe, Africa, Middle East

E-mu Systems, Ltd. Suite 6, Adam Ferguson House Eskmills Industrial Park Musselburgh, East Lothian Scotland, EH21 7PQ Telephone: +44 (0) 131-653-6556 Fax: +44 (0) 131-665-0473

PRINTED AND MADE IN THE USA

WARNING: 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.

GROUNDING INSTRUCTIONS

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

DANGER

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

CAUTION

If the 9091, Planet Phatt is rack mounted, a standard 19-inch open frame rack must be used.

USER-MAINTENANCE INSTRUCTIONS

1. Planet Phatt 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 Planet Phatt.

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

3. Do not use Planet Phatt 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.

This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

This symbol is intended to alert the user to the presence of uninsulated dangerous voltage within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

SAVE THESE INSTRUCTIONS

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

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

6. Planet Phatt 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. Additionally, care must be taken when programming any of the filters contained herein using extreme operating parameters. This action could also produce signals which result in unacceptable high sound levels as noted previously. If you experience any hearing loss or ringing of the ears consult your physician.

8. Planet Phatt 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 Planet Phatt 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 Planet Phatt 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

INTRODUCTION & BASIC SETUP 1

CONTENTS

Introduction

Planet Phatt Architecture ........................................................... 4

Connection Instructions .............................................................. 5

BASIC OPERATION 9

Main Controls .......................................................................... 11

Selecting MIDI Channels ........................................................... 12

Selecting Presets ....................................................................... 12

Adjusting Volume & Pan Position ............................................. 12

Beats/Song Mode ..................................................................... 13

Multi-Timbral Operation ..........................................................17

About Planet Phatt ................................................................... 18

MASTER MENU 19

Enabling the Master Menu .......................................................21

Master Tune ............................................................................. 21

Transpose ................................................................................. 22

Global Bend .............................................................................. 22

Global Velocity Curve ............................................................... 22

Mix Output ............................................................................... 24

MIDI Mode ............................................................................... 24

MIDI Mode Change .................................................................. 25

MIDI Overflow ..........................................................................25

MIDI Enable ............................................................................. 25

MIDI Bank Select ...................................................................... 25

MIDI Program ➔ Preset ............................................................ 26

Preset Change .......................................................................... 27

MIDI Controller Assign ............................................................. 27

X Factor Control ....................................................................... 27

Tempo Control ......................................................................... 28

Retrigger ................................................................................... 28

Pitch Wheel -> Scratch ............................................................. 29

MIDI Footswitch Assign ............................................................29

Send MIDI Data........................................................................ 30

Beats MIDI Out ......................................................................... 31

User Key Tuning........................................................................ 31

Song Start/Stop ........................................................................ 31

Global Tempo ........................................................................... 32

............................................................................................... 3

CONTENTS

MASTER MENU (continued)

Beats Control ............................................................................ 32

Beats Mode ............................................................................... 33

Demo Sequence ........................................................................ 33

Viewing Angle .......................................................................... 34

PROGRAMMING BASICS 35

Modulation .............................................................................. 38

Modulation Sources ................................................................. 39

Envelope Generators ................................................................. 40

Low Frequency Oscillators ........................................................ 41

MIDI Patch ............................................................................... 42

Filter Modulation ...................................................................... 43

What is a Filter? ....................................................................... 43

Parametric Filters ..................................................................... 46

The Z-Plane Filter ..................................................................... 46

Planet Phatt Signal Flow .......................................................... 48

Keyboard & Velocity Modulation ............................................. 49

Key Number .............................................................................. 50

Velocity Curves ......................................................................... 50

Realtime Modulation ................................................................ 51

MIDI Realtime Controls ............................................................ 52

Stereo Mix Outputs ................................................................... 54

EDIT MENU 55

Enabling the Edit Menu ............................................................ 57

Preset Name ............................................................................. 58

Primary Instrument .................................................................. 59

Secondary Instrument............................................................... 59

Key Range................................................................................. 59

Primary Key Range ................................................................... 60

Secondary Key Range ............................................................... 60

Coarse Tuning .......................................................................... 61

Fine Tuning .............................................................................. 61

Volume ..................................................................................... 61

Pan ........................................................................................... 61

Alternate Envelope On/Off ........................................................ 62

Primary Alternate Envelope Parameters ................................... 62

Secondary Alternate Envelope Parameters ............................... 62

Delay ........................................................................................ 63

Sound Start .............................................................................. 63

EDIT MENU (continued)

Reverse Sound...........................................................................63

Solo Mode ................................................................................ 64

Portamento Rate ...................................................................... 64

Chorus ...................................................................................... 64

Crossfade Mode ........................................................................ 65

Crossfade Direction .................................................................. 66

Crossfade Balance .................................................................... 66

Crossfade Amount .................................................................... 67

Cross-switch Point .................................................................... 67

Primary Filter Type ................................................................... 67

Primary Filter Cutoff & Q.......................................................... 69

Secondary Filter Type ............................................................... 69

Secondary Filter Cutoff & Q ...................................................... 69

Auxiliary Envelope ....................................................................70

LFO 1 - Shape & Amount.......................................................... 71

LFO 1 - Rate, Delay & Variation ...............................................71

LFO 2 - Shape & Amount.......................................................... 72

LFO 2 - Rate, Delay & Variation ...............................................72

Keyboard & Velocity Modulation Control................................. 73

Realtime Modulation Control ................................................... 74

Footswitch Control ................................................................... 75

Pitch Bend Range ..................................................................... 75

Pressure Amount ....................................................................... 75

MIDI Controller Amount ........................................................... 75

Velocity Curve ........................................................................... 76

Keyboard Center ....................................................................... 77

Keyboard Tuning ...................................................................... 77

Mix Output Assign .................................................................... 78

Preset Links ............................................................................... 78

Save Preset ............................................................................... 79

CONTENTS

STEP-BY-STEP 81

Linking Presets .......................................................................... 83

Editing Presets ..........................................................................84

Changing the Tuning of an Instrument .................................... 84

Chorus ...................................................................................... 85

Reversing the Instrument .......................................................... 85

Alternate Volume Envelope ....................................................... 86

Working with the Filter ............................................................. 87

Using Planet Phatt with a Sequencer........................................92

CONTENTS

REFERENCE SECTION 95

Preset Listing ............................................................................ 96

Instrument Listing .................................................................. 101

Beat Maps .............................................................................. 106

Technical Specifications .......................................................... 109

MIDI Specifications ................................................................. 110

Warranty ................................................................................ 126

Index ...................................................................................... 127

INTRODUCTION & BASIC SETUP

1Chapter 1: Basic Setup

Planet Phatt Operation Manual2

PHONES

VOLUME

C01 Vol127 Pan=P

002 led:Romance

BEATS

HOME/ENTER

CURSOR

MIDI

POWER

DATA

EDITMASTER

PLANET PHATT - The Swing System

Planet Phatt is a professional tone module created specifically for HipHop, Rap, Acid Jazz and Trip-Hop musicians. Planet Phatt is 16 part multi-timbral, featuring 32 voices of polyphony and 640 presets (384 ROM, 256 RAM). It is a superb song writing tool and a perfect addition to the modern keyboard player's studio or live setup.

Planet Phatt is also equipped with our exclusive “BEATS” mode. 100 user-editable drum loops are stored in memory and can be synchronized to internal or external MIDI clock. The combination of beats, tempo, any preset and the powerful “X-Factor” control allow you to create literally millions of new groove ideas. Your custom Beats can also be linked into 28 user-programmable Songs with looping and programmable jumps. Beats and Songs can be easily modified to fit your style.

INTRODUCTION

There are 640 presets on Planet Phatt, created by talented E-mu programmers and other industry experts. Of course you can edit or modify any and all parameters to create a limitless number of entirely new sounds. Edit and tweak Planet Phatt’s sounds the way you like them by using its powerful filters, MIDI synced LFO’s, and MIDIpatch modulation system. Planet Phatt has plenty of real-time controls and destinations that allow users to create floor-slamming, heart-pounding masterpieces. Creating your own original sounds is easy, thanks to Planet Phatt's logical user interface.

Other features include 3 stereo outputs for externally processing sounds (also configurable as 6 polyphonic submixes with fully programmable dynamic panning), integral sends and returns to allow the addition of external effects units without the need for a separate mixer, user-definable alternate tuning, and of course, an extensive MIDI implementation.

In addition, when coupled with E-mu's Launchpad Performance Controller, Planet Phatt becomes a self-contained interactive groove machine for the stage or studio. Check it out…

3Chapter 1: Basic Setup

PLANET PHATT ARCHITECTURE

Planet Phatt is organized as shown in the diagram below.

INSTRUMENT

The Preset is a complete set of all program parameters for a complete Planet Phatt sound. The fully programmable user presets and the unalterable ROM presets are organized into five banks of 128 presets

• User Presets can be moved, erased or modified as desired.

• ROM Presets cannot be moved or altered unless they are first copied to a user location.

each.

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.

PRIMARY

PRESET

SECONDARY

BANKS 0 & 1 USER PRESETS

BANKS 2 - 4 ROM PRESETS

The primary and secondary layers are essentially two complete sounds, stacked or placed adjacent to each other, which 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 overlap each other for layered sounds or be adjacent to each other to create keyboard “splits”.

PRIMARY

SECONDARY

PRESET

PRIMARY

PRESET

SECONDARY

PRIMARY

PRESET

SECONDARY

PRIMARY

PRESET

SECONDARY

Planet Phatt Operation Manual4

100-250VAC 50/60 Hz ~

Aux. or Tape In

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

Control

Pedal

E-MU SYSTEMS, INC.

Scotts Valley, California U.S.A.

WARNING: TO REDUCE THE RISK OF FIRE

OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

Male RCA plug

Male Phono Plug

MIDI Out

MIDI

Main Outs

CONNECTION INSTRUCTIONS

SETUP #1 BASIC SETUP

The Headphone

Output is located

on the Front Panel

OUTPUTS

THRUOUTIN

R - SUB2 - L R - SUB1 - L R - MAIN - L

Mixer

Amp

MONO STEREO

Main Outs to Mixer In

▼ The headphone output

monitors the main outputs only.

The submix outputs do NOT feed into the headphone output.

• • • If Planet Phatt does not seem to be responding correctly, make sure that both Planet Phatt and your MIDI controller are set to the same MIDI channel.

Speakers

Home Stereo

System

Home Studio

System

MIDI In

Planet Phatt is controlled by MIDI messages received at the MIDI In connector. Connect the MIDI In of the Planet Phatt to the MIDI Out connector of a MIDI controller such as a MIDI keyboard or MIDI drum pads.

Outputs

Planet Phatt 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 keyboard amplifier or home stereo system. A stereo setup is highly desirable because of the added realism of stereophonic sound. Headphones can be used if an amplifier and speaker system is not available. Plug stereo headphones into the headphone jack located on the left side of the front panel. The Right Main output jack serves as a mono output when the Left Main plug is not plugged in.

5Chapter 1: Basic Setup

CONNECTION INSTRUCTIONS

SETUP #2 STUDIO SETUP

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

MIDI Out

Computer

MIDI

Out

MIDI

OutInIn

Additional

MIDI

Devices

MIDI In

100-250VAC 50/60 Hz ~

E-MU SYSTEMS, INC.

Scotts Valley, California U.S.A.

WARNING: TO REDUCE THE RISK OF FIRE

OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

MIDI Switcher

Out In

Out

MIDI

THRUOUTIN

R - SUB2 - L R - SUB1 - L R - MAIN - L

OUTPUTS

Sub 2 Outputs

Sub 1 Outputs

MONO STEREO

Main Outputs

MIDI In

In this setup, Planet Phatt 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 drum pads or a computer to be easily connected.

MIDI Out

The MIDI Out jack is normally used to transmit program data to a computer or other device.

Outputs

Planet Phatt has three sets of programmable stereo outputs; Main, Sub 1, and Sub 2. Specific Planet Phatt presets (or MIDI channels) can be routed to one of these stereo pairs in order to be further processed or mixed separately.

Planet Phatt Operation Manual6

SETUP #3 PERFORMANCE SETUP

MIDI Controller

(Launchpad, MIDI Keyboard, Sequencer)

CONTROLLERS

PITCH

LAUNCH PAD

PERFORMANCE CONTROLLER

EDIT PARAMETERS TRANSPOSE

PERFORMANCE SELECT

SONG BANK PRESET

MIDI CLOCK

TRIGGERS

TRANSPORT

MODULATION

13 6810

INC

SAVESELECT CONTROL

DEC

TRIGGERS/TRANSPORT

RTZMODE

MIDI Out

OFF

+OCT

-OCT

+2OCT

-2OCT

+3OCT

-3OCT

MIDI CHANNEL

PLAY

REC

STOPFFWDREW

11975421

Additional

MIDI

Devices

MIDI In

CONNECTION INSTRUCTIONS

E-MU SYSTEMS, INC.

Scotts Valley, California U.S.A.

WARNING: TO REDUCE THE RISK OF FIRE

100-250VAC 50/60 Hz ~

OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

Sub Output Return

(To Main Output)

Tip Ring

To Effect From Effect

SEND/RETURN CABLE

Signal is sent out on tip of plug and

returned to main outputs via ring of plug.

MIDI

THRUOUTIN

R - SUB2 - L R - SUB1 - L R - MAIN - L

OUTPUTS

MONO STEREO

Send

Send/Return

Effect Device

Main Outs to Mixer In

MIDI In

Planet Phatt is controlled by MIDI messages received at the MIDI In connector. Connect the MIDI In of Planet Phatt to the MIDI Out connector of a MIDI controller such as E-mu's Launchpad, a MIDI keyboard, MIDI drum pads or a MIDI sequencer.

MIDI Thru

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

Outputs

The Sub 1 and Sub 2 output jacks on Planet Phatt are stereo jacks. The tip of each jack (accessed when a standard phone plug is inserted) connects to the left or right output of that group.

7Chapter 1: Basic Setup

CONNECTIONS

If a stereo plug is inserted, the Ring of the stereo plug serves as a signal Return which sums into the Main outputs.

Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and returns in order to further process selected instruments and then return them to the main mix.

••• Inserting a standard mono phone plug halfway into the jack allows you to sum into the main outputs without a special cable.

The diagram shows the Sub 1 and Sub 2 jacks being used as send/returns in order to further process selected Planet Phatt presets without using the effects bus on the mixing board. In a pinch, the effect returns could also be used to sum additional instruments into the main outputs.

Output Section

L Bus

R Bus

Tip

Ring

Tip

Ring

SUB 2

Tip

Ring

SUB 1

MAINS

The Sub 1 and Sub 2 jacks can be used as effect returns to the Main Outputs.

POWER UP!

The power switch is located on the right side of the front panel. Planet Phatt and its MIDI controller may be turned on in any order. When power is applied, the liquid crystal display will light, indicating that Planet Phatt is operating. You may have noticed that there is no 110/220 Volt power selector switch on Planet Phatt.

PLANET PHATT AUTOMATICALLY SWITCHES ITSELF TO

THE PROPER LINE VOLTAGE.

Planet Phatt Operation Manual8

BASIC

OPERATION

Chapter 2: Basic Operation 9

BASIC OPERATION

Planet Phatt Operation Manual10

MAIN CONTROLS

BASIC OPERATION

VOLUME

CONTROL

VOLUME

PHONES

HEADPHONE

JACK

DISPLAY

C01 Vol127 Pan=P

002 led:Romance

MASTER MENU

SELECT

EDIT MENU

SELECT

EDITMASTER

HOME/ENTER

BEATS

HOME/ENTER

BUTTON

CURSOR

CONTROLS

CURSOR

MIDI

ACTIVITY

DATA

DATA ENTRY

CONTROL

Power Switch

Switches AC power to Planet Phatt 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. 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.

POWER

SWITCH

POWER

Home/Enter Button

The Home/Enter button is used to initiate a particular operation. The red LED to the left of the enter button flashes to let you know that Planet Phatt is waiting for your response.

Cursor Controls

These buttons move the cursor to the next parameter on the display. (The cursor is a little flashing line underneath one of the parameters in the display.) Press either cursor control repeatedly until the cursor is underneath the desired parameter. The cursor can also be moved bi-directionally using the data entry control while the right cursor select button is being held down (i.e. Press and hold the right cursor button and turn the data entry knob).

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 to full level.

Chapter 2: Basic Operation 11

BASIC OPERATION

• • • If Planet Phatt is not responding properly or plays the wrong preset, make sure that both Planet Phatt 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 52.

Bank Contents

128 RAM Presets

128 ROM Presets

MIDI CHANNEL SELECTION

Press the cursor key repeatedly untiil 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.

Volume

MIDI Channel

Program No.

C01 Vol127 Pan=P

000 Preset Name

Bank No.

Stereo Position

Program Name

PRESET SELECTION

Press the cursor key repeatedly until the cursor is underneath the program 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. Programs are arranged into banks of 128, as shown in the diagram at left. Banks can be selected independently of the of the program number by pressing the the Home/Enter button while turning the data entry knob.

••• Channel Pan should normally be set to “P” unless realtime control of panning is desired. This will allow the programmed pan setting for each preset to be used.

C01 Vol127 Pan=P

0 Preset Name

MIDI Channel Parameters

Preset Information

CHANNEL VOLUME

Press the cursor key repeatedly until the cursor is underneath the volume value. Rotate the data entry control to select volume 000-127. (This is the same parameter as MIDI volume control #7, and changes made over MIDI will be shown in the display.)

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.)

Planet Phatt Operation Manual12

BASIC OPERATION

BEATS MODE

Planet Phatt contains a “Beat Sequencer” which can play any of 100 pre-programmed drum sequences called Beats. Any of Planet Phatt's 640 presets can be used with any beat. The X-Factor␣ control further multiplies the number of possible beat combinations by changing which instrument is assigned to each individual drum hit.

Beats can be also linked together to form Songs. Each song can have up to 10 steps and each step can be programmed to loop up to 64 times or loop indefinitely. Each step of a song can select a certain beat pattern, jump to another step in the song, or jump to the beginning of another song. Because of this jumping capability, songs can be made as complex as you want. Planet Phatt holds a maximum of 28 songs which can be quickly and easily transferred to a MIDI sequencer for backup.

To Enter Beats or Song Mode

1. Press and hold both the Master button and the Edit button. The Beats menu shown below will appear and the Enter LED will be flashing.

2. Press the Enter button to Start the beat or song. The Enter LED will be solidly on and the Master and Edit LEDs will flash once each time the Beat pattern loops.

3. Press either cursor button and use the data entry control to select a new beat or song, change the tempo, transpose the sequence (X-Factor) or change the preset. Song numbers are located immediately after beat 99.

• • • The Beat number can be selected remotely by using a MIDI Song Select command. Beats mode can also be started and stopped via a MIDI Song Start and Stop command when the Beats screen is displayed.

• • • There are four different Beats modes:

Factory, 1:Constant Tempo, 2:Constant T,X,P 3:User Settings.

See page 33 for details.

4. Press the Enter button again to Stop the beat or song.

5. Press and hold both the Master button and the Edit button again to return to the main screen. The song or beat will continue playing unless you stopped it using the Enter button. The Master and Edit LEDs will continue to flash, indicating Beats mode is On.

• To Turn Beats Off - Return to the Beats menu and press Enter.

Beats mode plays the preset assigned to MIDI channel 16. If you are in Multi-mode, you can play along with beats mode on any of the MIDI channels.

Tempo

Beat/Song Select

Program No.

B:03 T:120 X:+00 492 bts:Danzin

Chapter 2: Basic Operation 13

X-Factor

▼ Warning: Beware of using

Omni mode on multiple channels while Beats are playing. Unpredictable results may occur.

BASIC OPERATION

• • • MIDI Song Numbers (0-127) can select either Beats (0-99) or Songs (100-127)

• Beats Mode Parameters

B: Selects the beat number. There are 100 different beats to choose

from. Unless the Master menu Beats mode is set to option 2:Constant T, X, P, the preset will change when you change the beat.

T: Sets the Tempo of the sequence. The tempo is variable from 1

beats-per-minute to 255 bpm. Turning the tempo all the way down selects External Clock mode (Ext). In external clock mode, the tempo is derived from incoming MIDI clock pulses.

X: Selects the “X Factor” or transposition interval. Rather than change

the pitch of the instruments, transposition shifts the keyboard position up and down. On “Beats” presets this has the effect of changing the instruments on each beat. By combining the various beats, presets and transpositions, you can create literally hundreds of thousands of different grooves. On presets where there is one sound stretched across the entire keyboard, transpose will transpose the pitch.

808 Kick

Snare

Chord

Scratch

1 324 1 324

Beat Same Beat

Lawn Mower

Synth Pad

Noise Burst

Deep Kick

Transpose +24

Transposing a “beats” preset shifts the keyboard and changes the sounds assigned to each beat.

SONG MODE

Song mode allows you to link beats together to form more complex and repeatable song structures. Planet Phatt can record up to 28 songs of up to 10 events each, numbered E0 through E9.

Tempo

Beat/Song Select

Event No.

S:03 T:120 X:+00 E1 do B23 [01]

X-Factor

No. of Times Played

Event Type

Planet Phatt Operation Manual14

• Song Mode Parameters

S: Selects the Song number from S00 to S27. Moving the data entry

control one increment past B99 selects the first Song (S00).

BASIC OPERATION

T & X: The Tempo and X-Factor can be edited for each event, but will

only be saved and recalled if the Beats Mode in the Master menu is set to 3:User Settings.

E: Selects the Event number. An Event can do one of the following

things:

• Play a particular Beat, a specified number of times.

S:00 T:120 X:+00 E1: do B:05 [10]

• GoTo a Previous Event, and play it a specified number of times.

➜ plays Beat 05 10 times

S:00 T:120 X:+00 E2: to E1 [04]

• GoTo a particular new Song.

➜ go back to event E1, play 4 times

S:00 T:120 X:+00 E2: to S05 [--]

• Stop the Song

➜ go to Song S05 NO REPEATS!

• • • See Beats Mode in the Master Menu for additional information.

▼ Warning: The first Event

in a Song is always a “Play Beat” Event.

• • • Song Beats do not have to begin at event 00. If you select Event 05 and press Enter, the Song will begin playing from event 5.

If the cursor is underneath the Song number, the Song will always begin at Event 0.

S:00 T:120 X:+00 E2: Stop [--]

[ ]: Number of times played from 1 to 64. Multiple plays are not

allowed on GoTo Song or Stop events. Moving the data entry control one increment past 64 selects Infinite Repeat [<>]

➜ end of Song NO REPEATS!

Chapter 2: Basic Operation 15

BASIC OPERATION

Beat 21

Play [01]

Beat 30

Play [01]

Beat 62

Play [01]

GoTo E0

Play [<>]

Infinite Repeat

S22

• Song Examples

Because of the Repeat and Jump functions, Songs can be made as complex as you like. Remember to set Beats mode (in the Master menu) to “3:User Settings” if you want the Song to play back your own Tempo, X-Factor and Preset settings.

The diagrams below show a few examples of how songs can be constructed.

S21

Beat 07

Play [01]

Beat 18

Play [01]

16 times

GoTo E1

Play [16]

Beat 48

Play [01]

Beat 23

Play [01]

Stop

Play [--]

In the above example, beat 7 plays once and then beat 18 plays once. At event E2, the song jumps back and repeats E0 and E1. When events E0 and E1 have looped 16 times, the song moves on to steps E3, E4, and E5, which stops the song.

In the above example, beats 21, 30 and 62 are simply repeated indefinitely until you turn off Beat/Song mode.

S23

Beat 02

Play [01]

Beat 51

Play [01]

Beat 40

Play [01]

GoTo S20

Play [--]

S20

Beat 7

Play [01]

etc.

Jump to Song 20

Instead of jumping to a previous step, song 23 jumps to song 20 in the example above. This technique might be used to add a “lead in” to a previously stored song.

Planet Phatt Operation Manual16

MULTI-TIMBRAL OPERATION

Multi-timbral operation means that Planet Phatt 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, using the MIDI mode function in the Master menu (page 24).

2. Decide which MIDI channels you wish the Planet Phatt to receive, and turn all other channels OFF using the MIDI Enable function in the Master menu (page 25). Up to 16 channels can be selected

simultaneously!

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

4. Planet Phatt will now respond multi-timbrally 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.

BASIC OPERATION

Channel 01

Channel 02

Channel 03

Channel 16

Each of the 16 MIDI channels can be assigned to play a specific Planet Phatt preset.

Volume

Pan

Volume

Pan

Volume

Pan

Volume

Pan

PRESET

Chapter 2: Basic Operation 17

BASIC OPERATION

ABOUT PLANET PHATT

Planet Phatt utilizes digital recordings of real instruments for the basis of its sound. This is similar to a tape recorder except that inside Planet Phatt, the sounds are permanently recorded on digital memory chips.

To perform this modern miracle, sounds and instrument waveforms are first digitally recordered or “sampled”. After the sounds and waveforms have been truncated, looped and processed, they are “masked” into the Planet Phatt 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 out of 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 Planet Phatt, we have left out the Analog/Digital converter stage since the sounds are already sampled for you.

Analog/Digital Converter

1011001

Basic Sampling System

Planet Phatt

Memory

10100101001 01010010100 10101010100 10101001010

Z-Plane Filter Amplifier

-3V

Digital/Analog Converter

1011001

-1V -2V3V-1V-2V3V1V

Planet Phatt Operation Manual18

MASTER

Chapter 3: Master Menu 19

MASTER MENU

Planet Phatt Operation Manual20

The Master menu contains functions that affect the overall operation of Planet Phatt. For example, changing the Master Tune will change the tuning of all the presets, not just the one currently displayed.

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 Planet Phatt. The cursor will appear underneath the first character of the screen heading on line one.

To select a new screen

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

other screen.

To modify a parameter

Press the either of the cursor keys repeatedly (or hold the right 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.

MASTER MENU

To return to Preset Select mode

Press the Master key, turning off the LED.

MASTER MENU FUNCTIONS

• Master Tune

Master Tune adjusts the overall tuning of all presets so that Planet

Phatt 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 Planet Phatt is perfectly tuned to concert

pitch (A=440 Hz).

MASTER TUNE +63

Chapter 3: Master Menu 21

MASTER MENU

• Transpose

This function transposes the key of Planet Phatt in half-step intervals by shifting the keyboard position relative to middle C. 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.

GLOBAL BEND +/- 12 semitones

• 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 eight global velocity curves or leave the velocity data unaltered (off). Global velocity curve only affects presets which have their individual velocity curve set to global.

GLOBAL VEL CURVE 8

Planet Phatt Operation Manual22

GLOBAL VELOCITY CURVES

MASTER MENU

120

100

Result Velocity

Curve 1

Played Velocity

120

100

Result Velocity

Played Velocity

100

Curve 3

100

120

100

Curve 2

Result Velocity

Played Velocity

120

100

Result Velocity

Played Velocity

100

Curve 4

100

120

100

Result Velocity

Played Velocity

120

100

Result Velocity

Played Velocity

Curve 5

100

Curve 7

100

120

100

Result Velocity

Played Velocity

120

100

Result Velocity

Played Velocity

Curve 6

100

Curve 8

100

120

Chapter 3: Master Menu 23

MASTER MENU

••• This function is useful when sequencing because it allows you route specific MIDI channels to the Submix outputs. From there they can be externally processed with reverb or other effects.

• Mix Output

This function allows you to override the output assignments made in each preset and instead assign the outputs according to MIDI channel. This also allows you to change the output assignment of the factory presets. For each of the 16 MIDI channels, you can select the Main, Sub 1, or Sub 2 outputs, or “P”. When “P” is selected, the output assignment selected in the preset is used. If no plugs are inserted into the sub outputs, the audio will be automatically directed to the main outputs.

MIX OUTPUT channel 01:P

• MIDI Mode

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

▼ Warning: To transfer

presets between two Planet Phatt units, the ID numbers of both units must match.

Omni mode

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

Poly mode

Planet Phatt 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

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

Mono mode

Planet Phatt 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 note is released, the envelopes will not be retriggered (legato).

ID number

This function allows a computer patch editor to distinguish between multiple Planet Phatt units. In the case of multiple Planet Phatt units, each unit should have a different ID number.

MIDI MODE ID Omni 00

Planet Phatt Operation Manual24

• 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 Planet Phatt has channels (32), the additional note data will be directed out the MIDI Out port to a second Planet Phatt, thus doubling the number of available channels. 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 the Planet Phatt to respond to the MIDI channels reserved for the other devices. MIDI Enable only operates in Multi Mode.

MIDI ENABLE channel 01: On

• MIDI Bank Select

The MIDI specification only allows for 128 presets per MIDI channel. This function selects which bank of 128 presets will be used for incoming MIDI program change commands. Banks can be set for each MIDI channel. This function allows you to access all 640 presets in Planet Phatt without using a MIDI bank select command.

MIDI BANK channel 01:

MIDI Preset Bank

MIDI Channel

Chapter 3: Master Menu 25

MASTER MENU

• MIDI Program ➔ Preset

Incoming MIDI program changes can be “remapped” to call a different numbered preset. This is a handy feature when you want a specific preset number sent from the master synth to be linked with a specific

preset on Planet Phatt. For example, the Program ➔ Preset Map could

be set to call up preset 12 whenever Planet Phatt receives program change number 26. Any of the presets in Planet Phatt can be mapped to any incoming MIDI program change number. This feature also allows you to select presets in banks 1-4, which are not normally accessible over MIDI without sending bank change commands.

Note: The MIDI Program->Preset Map only works when you are in Bank 0.

Selected

Program

MIDI PROG>PRESET 026 –> 012

0 1 2 3 4 5 6 7 8 9

0000000000

00 01 02 03 04 05 06 07 08 09

201000 0 0

44 91 50 01 15 88 99 78 32 88

10002000 02

34 73 106 55 43 75 120 121 100

0000000000

30 31 32 33 34 35 36 37 38 39

0000000000

40 41 42 43 44 45 46 47 48 49

0000000000

50 51 52 53 54 55 56 57 58 59

0000000000

60 61 62 63 64 65 66 67 68 69

0000000000

70 71 72 73 74 75 76 77 78 79

0000000000

80 81 82 83 84 85 86 87 88 89

0000000000

90 91 92 93 94 95 96 97 98 99

0000000000

100 101 102 103 104 105 106 107 108 109

100

110

120

0000000000

110 111 112 113 114 115 116 117 118 119

00000000

120 121 122 123 124 125 126 127

Mapped

Program

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.

Planet Phatt Operation Manual26

• Preset Change

This function lets the Planet Phatt utilize or ignore incoming MIDI preset change or Bank Select commands for each channel. Note that a MIDI program change command can only select presets in bank 0. The presets in banks 1-4 can be selected manually, by changing the MIDI bank, by using a MIDI bank select command, or by using the mapping

function “MIDI PROGRAM ➙ PRESET”.

PRESET CHANGE channel 01: On

• MIDI Controller Assign

Planet Phatt 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 Planet Phatt. What effect the controller will have is programmed separately for each preset. Planet Phatt MIDI controllers are each assigned a letter, A-D. Each controller letter can be assigned to a MIDI realtime controller from 00-31. Note: If controller numbers 7 or 10 are selected, they will override the standard MIDI volume and pan control routings.

MASTER MENU

••• A few of the standardized MIDI Controller numbers are listed below.

1 - Modulation Wheel

2 - Breath Controller

3 - Aftertouch

4 - Foot Pedal

5 - Portamento Time

6 - Data Entry

7 - Volume

8 - Balance

9 - Undefined

10 - Pan

11 - Expression

CONTROLLER# ABCD 01 02 03 04

• X Factor Control

This function allows any MIDI controller number from 0-31, mono pressure, or the pitch wheel to change the X Factor (transpose) of Beats mode. Two controllers can be assigned to move the X Factor both up and down from its initial position. With a wheel assigned to the up control, moving the wheel up adds a positive offset to the X Factor setting. Moving the wheel back down returns the X Factor to its

original setting. The maximum controller offset is ±36, which is added

to the initial setting. The pitch wheel (pwh) can be assigned to both up and down settings to allow bidirectional control. When “Off” is selected, external control of X Factor is disabled. This controller is only recognized on MIDI channel 16, unless Planet Phatt is in Omni mode, in which case all channels are accepted.

X FACTOR CONTROL up:14 down:15

••• For more information on controller assignments, see MIDI Realtime Controls in the Programming Basics section.

••• The X Factor, Tempo Control Retrigger and Scratch settings are sent and received with the Master Settings. See Send MIDI Data.

••• When X Factor Control is being used, the last setting of the MIDI controller remains in effect when a new Beat is selected.

Chapter 3: Master Menu 27

MASTER MENU

••• When Tempo Control is being used, the last setting of the MIDI controller remains in effect when a new Beat is selected.

▼ When the Global Tempo is

set to “External”␣ , the Tempo Control parameter will not have any effect.

••• When a MIDI controller is used to control Retrigger, the last setting of the MIDI controller remains in effect when a new Preset or Beat is selected.

• Tempo Control

This function allows MIDI controllers to change the Global Tempo which is used for Beats mode, Retrigger, and the synced LFOs. Any controller number from 0-31, mono pressure, or the pitch wheel can be assigned to change the Global Tempo. A different controller can be used to change the tempo up or down. The Pitch Wheel can be assigned to both the up and down parameters to vary the tempo up and down from a single controller. MIDI Controller values are added

to the Global Tempo with an offset range of ±64. When the controller

is set to zero (off) the tempo returns to its original setting. This controller is only recognized on MIDI channel 16, unless Planet Phatt is in Omni mode, in which case all channels are accepted. This control has no effect when External Clock is being used.

TEMPO CONTROL up:pwh down:pwh

• Retrigger

The Retrigger function creates a “stuttering” effect by resetting the sample start point and envelope generators to their starting point every time a trigger is received. The rate of retriggering is based on the Global Tempo which is divided down by the Retrigger Rate parameter. A MIDI continuous controller (0-31 or Mono Pressure) can also be assigned to control the Global Tempo divisor. Set the rate parameter to “Off”␣ to disable retriggering.

▼ When the Global Tempo is

set to “External”␣ , the 1/64th note divisor is not possible. 1/64 T will be substituted, even though the display reads 1/64.

RETRIGGER ch:01 rate:1/16

The following Retrigger divisors are available:

Dbl - Double Whole Notes Dbl T - Double Whole Note Triplets Whole - Whole Notes Whl T - Whole Note Triplets Half - Half Notes Half T - Half Note Triplets 1/4 - Quarter Notes 1/4 T - Quarter Note Triplets

Planet Phatt Operation Manual28

1/8 - Eighth Notes 1/8 T - Eighth Note Triplets 1/16 - Sixteenth Notes 1/16 T - Sixteenth Note Triplets 1/32 - Thirty-second Notes 1/32 T - Thirty-second Note Triplets 1/64 - Sixty-fourth Notes 1/64 T - Sixty-fourth Note Triplets

• Pitch Wheel -> Scratch

This function allows the pitch wheel to simulate record scratching. When this function is On, the speed that you move the pitch wheel back and forth determines the pitch of the keys being played. Therefore the faster you move the wheel back and forth, the faster the sound plays through. The amount of control the wheel has is adjustable from 1 to 100. Adjust the amount depending on the type of sound being scratched and to suit your personal preference. Scratch can be assigned to any MIDI channel from 1-16 or to “All” channels. Setting the channel to “None” turns scratch mode off.

PITCH WH->SCRATCH ch:01 amt:50

• 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

MASTER MENU

••• A few of the standardized MIDI switch numbers are listed below.

64 - Sustain Switch (on/off)

65 - Portamento (on/off)

66 - Sostenuto (on/off)

67 - Soft Pedal (on/off)

69 - Hold Pedal 2 (on/off)

Chapter 3: Master Menu 29

MASTER MENU

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

• Send MIDI Data

This function will send MIDI System Exclusive data to the MIDI Out port of Planet Phatt. The MIDI data can either be sent to a computer/ sequencer or to another Planet Phatt. Using the cursor key and the data entry control, select the type of MIDI data you wish to transmit.

User Beat Data

Transmits all User Beat data (tempos, X factor, preset) and all user Song Beat data (events, repeats, jumps).

Master Settings

Transmits all parameters in the Master menu except 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.

▼ Warning: When transfer-

ring SysEx data from one Planet Phatt to another, the ID numbers of both units must match.

Factory Presets

Transmits all the factory ROM presets.

User Presets

Transmits all the user presets.

Any Individual Preset

Transmits only the selected preset.

The Enter LED will be flashing. Press the Enter button to confirm the operation. To receive MIDI data, simply send the MIDI data into Planet Phatt from another Planet Phatt or your sequencer.

SEND MIDI DATA 000 sbs:1st Bass

To Record MIDI Data into a Sequencer:

1. Setup sequencer to receive system exclusive data.

2. Place sequencer into record mode, then Send Preset Data.

To Receive MIDI Data from a Sequencer:

1. Simply play back the sequence into Planet Phatt.

▼ Warning: Send data as you would a regular sequence. Sending data

in one huge chunk may clog Planet Phatt's MIDI input buffer.

Planet Phatt Operation Manual30

• Beats MIDI Out

This function allows Beat note and controller data to be sent out MIDI as the Beats are playing. Selecting “Transmit” sends the MIDI data as the beats play. Selecting “Transmit & Mute”␣ sends the data over MIDI data but does not play internal voices.

BEATS MIDI OUT Transmit

• User Key Tuning

In addition to standard twelve tone equal temperament, Planet Phatt 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. The pitch of every key can be individually tuned, facilitating the creation of alternate 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.

MASTER MENU

••• The Beats MIDI Out settings are sent and received with the Master Settings. See Send MIDI Data.

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

USER KEY TUNING

Key Name

Key:C1 036-00

Fine Tuning

Coarse Tuning

• Song Start/Stop

This function enables or disables MIDI Song Start/Stop for Beats mode. In some cases you may want to start Beats mode along with an external sequencer. In other cases you may want to start Beats mode independently. This control allows you either option. Song Select or MIDI clocks are not affected by this function. You can also use the Beats Control number (see the following page) to control Song Start/Stop even when this function is disabled.

SONG START/STOP Enabled

Chapter 3: Master Menu 31

MASTER MENU

▼ When the Global Tempo is

set to “External”␣ , the Tempo Control parameter will not have any effect.

• Global Tempo

This function sets the tempo for Beats mode, Synced LFOs and the Retrigger features. This tempo setting is the same as shown in Beats mode and any changes you make will be shown in either window. The global tempo is variable from 1 beats-per-minute (bpm) to 255 bpm. Turning the tempo down below 1 bpm sets the tempo to “External” mode. In external mode, the tempo is determined by incoming MIDI clocks and Beats mode will not start if there is no incoming MIDI clock to set the tempo.

GLOBAL TEMPO 120 bpm

• Beats Control

This function allows you to control Beats mode using standard MIDI Note-on messages. The selectable options are: “Mute Key”, “Start Key”, and “Stop Key”. The Mute Key, while pressed, silences the beat or song without stopping it and also silences MIDI transmission of beats. Any MIDI key number can be assigned to the three controls, but they must be received on MIDI channel 16 to be recognized unless Planet Phatt is in Omni mode, in which case all channels are accepted. These keys

only work when the beats screen is displayed.

BEATS CONTROL Mute Key: C6

Start Key

Stop Key

C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8

= Standard 5 Octave Keyboard Range

Control keys can be placed out of the way at the ends of the keyboard or anywhere you prefer.

Mute Key

Planet Phatt Operation Manual32

• Beats Mode

There are four options when in Beats mode: Factory Settings, Constant Tempo, Constant T, X, P and User Settings. These modes affect the way Planet Phatt responds to parameter changes in Beats Mode. The characteristics of each mode are detailed below.

Factory Settings ........ The Tempo, X Factor (transpose) and Preset are

preset at the factory. These can be changed, but any changes are lost when the beat number is changed.

1:Constant Tempo .... The Factory settings of Preset and X Factor will

be used whenever a new beat is selected, but the Tempo can be user-adjusted and will remain constant when new beats are selected.

2:Constant T, X, P..... Tempo, X Factor and Preset are user-adjustable

and will remain constant when new beats are selected.

MASTER MENU

3:User Settings ......... All Beat parameters (Tempo, X-Factor, Preset) are

user-adjustable and are immediately saved to non-volatile RAM. These user settings remain stored in RAM even if another Beats mode (such as factory settings) has been selected.

BEATS MODE Factory Settings

• Demo Sequence

Planet Phatt contains a play-only demo sequencer to give you an idea of what is possible using this Phantastic machine. Press either cursor key to move the cursor to the lower line of the display and press Enter. The Demo Select screen will appear and the first sequence will begin playing. All four sequences will play in sequential order. Use the cursor keys to select a particular sequence. Pressing the Enter button again will stop the sequence and return you to the first Demo screen.

DEMO SEQUENCE DEMO 1 2 3 4 Start ENTER=Stop >=Next

➔

Chapter 3: Master Menu 33

MASTER MENU

• 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

Planet Phatt Operation Manual34

PROGRAMMING

BASICS

Chapter 4: Programming Basics 35

PROGRAMMING BASICS

Planet Phatt Operation Manual36

PROGRAMMING BASICS

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

Your initial involvement with Planet Phatt 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, the filter cutoff or the attack time. You may also want to make your own custom presets using complex modulation routings. 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 assign an instrument to a specific range and then link it to other presets which fill in the empty keys. Using a combination of 4 linked presets and the primary and secondary instrument ranges, up to 8 keyboard splits can be produced. If linked presets overlap on the same keyboard range, the presets will be doubled or stacked.

LINK

Key Range

CREATING A SPLIT KEYBOARD

Key Range

Zone 1

Zone 2

Preset #1

Preset #2

LAYERING TWO PRESETS

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 instrument.

Chapter 4: Programming Basics 37

PROGRAMMING BASICS

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

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 destination. 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. The Planet Phatt is 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. Two main types of modulation sources on Planet Phatt 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.

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

Planet Phatt Operation Manual38

PROGRAMMING BASICS

MODULATION SOURCES

Planet Phatt uses three kinds of modulation sources.

• KEYBOARD AND 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.

Polyphonic Key Pressure

Pressure from a controller capable of generating polyphonic pressure data.

Low Frequency Oscillators (2)

Generate repeating waves.

Envelope Generators (3)

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

• FOOTSWITCH MODULATION

Changes a parameter when one of the three 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 Cross-Switch between the primary and secondary instruments.

Chapter 4: Programming Basics 39

PROGRAMMING BASICS

ENVELOPE GENERATORS

An envelope can be described as a “contour” which can be used to

Percussion

Organ

shape the sound in some way over time. Each channel of the Planet Phatt contains two envelope generators. One of the envelope generators, the Alternate Volume Envelope, controls the volume of the primary or secondary instrument over time 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 time of each stage can be adjusted to create myriad envelope shapes, which in turn shape the sound. The Envelope parameters can be described as follows:

String

Plucked

••• The generalized envelope shapes of a few types of sounds are shown above.

••• Long release times can increase the incidence of “channel ripoff”. If you are running out of voice channels, try reducing the volume envelope release time.

• 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.

level

Planet Phatt Operation Manual40

time

D e

a y

key down

Sustain

t a c k

D e

key

released

R e

l e a

level

PROGRAMMING BASICS

time

AHR

key down

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

key released

LOW FREQUENCY OSCILLATORS (LFOS)

A Low Frequency Oscillator is simply a wave which repeats at a slow rate. The Planet Phatt 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. Other LFO waves are “Synced” which means that their rates will follow the tempo as set in Beats mode.

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.

Triangle

Sine

Square

Sawtooth

Random

Chapter 4: Programming Basics 41

PROGRAMMING BASICS

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.

Negative Amount

Sawtooth

Inverted Sawtooth

The LFO can also be Synced the tempo programmed in the beats menu. When synced, the LFO rate will increase or decrease to follow the beats/global tempo.

MIDIPATCH

Connecting a modulation source to a destination is called a patch. Planet Phatt 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 42 destinations for each preset. Realtime modulation sources can be simultaneously patched to any 8 of the 33 destinations for each preset.

Amount +/-

Modulation

Source Destination

LFO 1

Sources

LFO 1 LFO 2

Aux Env

Wheel

Pressure

MIDI

etc.

Planet Phatt Operation Manual42

Primary

Volume

Destinations

Pitch

X-Fade

Volume

LFO Amt.

Filter Fc

Attack

etc.

PROGRAMMING BASICS

FILTER MODULATION

Planet Phatt contains a Z-plane filter for each of its 32 channels. The block diagram of a single channel is shown below.

Instrument

Sample

Pitch

Start

Tone

Morph Q

Aux.

DAHDSR

Z-Plane

Filter

Velocity

DCA

Volume

AHDSR

Pan

The Tone filter is a simple tone control and can be used to brighten or darken the tone of an instrument. Each of the 17 Z-plane filters is a powerful synthesizer filter which can dramatically alter the sound of an instrument.

WHAT IS A FILTER?

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

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

Amplitude

40 80 160 360 720 1440 2880

Frequency

Chapter 4: Programming Basics 43

PROGRAMMING BASICS

100

40 80 160 360 720 14402880

Frequency

...

Amplitude

Output of Filter

Cutoff Frequency

Most of the instruments on Planet Phatt are complex waves containing many sine waves of various amplitudes and frequencies. A filter is

a device which allows us to remove certain components of a sound depending on its frequency. For example, a Low Pass Filter, one of

the Z-plane filter types in Planet Phatt, lets the low frequencies pass and removes only the high frequencies.

••• The initial filter Fc and all Fc modulators ADD algebraically to determine the actual Fc. If you are not getting sound, adjust the initial Fc or reduce the amount of modulation. Careful adjustment of all the filter parameters is the secret to getting great sounds.

The point at which the frequencies begin to be cut is called the Cutoff Frequency (or Fc for short). A filter that let only the high frequencies

pass would be called a High Pass filter. Using a filter, we now have a way to control the harmonic content of a sampled sound. As it turns out, a low pass filter can simulate the response of many natural sounds.

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

The auxiliary envelope generator is commonly used to control the cutoff frequency of the Z-plane filter. This allows the frequency content to be varied dynamically over the course of the note. Dynamic filtering coupled with all the different instruments available, makes for almost endless possibilities in the final sound. Any modulation source can be used to modulate the filter.

Planet Phatt Operation Manual44

PROGRAMMING BASICS

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

Low Q Med Q High Q

Amplitude

Frequency

Turning up the “Q” will emphasize the frequencies around the cutoff point.

Another important feature of a filter is the number of poles it contains. The lowpass filters on Planet Phatt can be either 2-pole, 4-pole or 6-pole filters. The highpass and bandpass filters can be either 2nd or 4th order filters another way to describe the number of filter sections they contain. The number of poles in a filter describes the steepness of its slope and the more poles the steeper the slope, which in turn affects the sound. In general, the 2-pole filter will have a buzzier sound and the 4-pole filter has the classic low pass resonant filter sound. Planet Phatt's 6-pole low pass filters create a tight, modern sound.

Amplitude

4-pole

2-pole6-pole

Frequency

Chapter 4: Programming Basics 45

PROGRAMMING BASICS

PARAMETRIC FILTERS

A more complex type of filter is called a parametric filter or Swept EQ. A parametric filter allows control over three basic parameters of the filter. The three parameters are: Frequency, Bandwidth, and Boost/Cut. The Frequency parameter (Fc on Planet Phatt filters) allows you to select a range of frequencies to be boosted or cut, the Bandwidth parameter allows you to select the width of the range, and the Boost/ Cut parameter (Q on Planet Phatt filters) either boosts or cuts the frequencies within the selected band by a specified amount. Frequencies not included in the selected band are left unaltered. This is different from a band pass filter which attenuates (reduces) frequencies outside the selected band.

The parametric filter is quite flexible. Any range of frequencies can be either amplified or attenuated. Often times, several parametric sections are cascaded (placed one after another) in order to create complex filter response curves.

THE Z-PLANE FILTER

The Z-plane filter can change its function over time. In a simple Z-plane filter, we start with two complex filter types and interpolate between them using a single parameter. Refer to the diagram below.

Filters A and B represent two different complex filters. By changing a single parameter, the Morph, many complex filter parameters can now be changed simultaneously. Following along the Morph axis you can see that the filter response smoothly interpolates between the two filters.

Morph

B Filter

Amplitude

A Filter

Frequency

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

Planet Phatt Operation Manual46

Morph

PROGRAMMING BASICS

This is the essence of the Z-plane filter. Through the use of interpolation, many complex parameters are condensed down into one manageable entity.

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

Filter morphing can be controlled by an envelope generator, an LFO, modulation wheels or pedals, keyboard velocity, key pressure, etc. The filter Fc parameter controls morphing on certain Planet Phatt filters. The Q parameter on the Planet Phatt filters can only be changed at note-on time but can control various parameters such as boost/cut and mouth cavity size and of course, resonance or Q.

Chapter 4: Programming Basics 47

PROGRAMMING BASICS

PLANET PHATT SIGNAL FLOW

Going back to the block diagram for a single channel we can re-examine the complete signal path.

Aux.

Z-Plane

Filter

Morph Q

Velocity

DCA

Volume

AHDSR

Pan

Instrument

Sample

Pitch

Start

Tone

DAHDSR

Instrument

This is the sampled sound wave. The pitch of the instrument can be modulated by any modulation source. The sample start point can only be modulated by a velocity or key source (see the next

page).

Tone

Tone is a simple tone control which can be used to brighten or mute the sound. Tone can only be modulated by a velocity or key source (see the next page). Key velocity is commonly used to modulate the tone so that the harder you play, the brighter the sound

becomes.

Morphing Filter

The Morphing Filter is used to shape the harmonic content of an instrument. The Fc can be modulated by any source. The auxiliary envelope is commonly used to dynamically shape the harmonic content over time. The Q parameter can only be modulated by a velocity or key source. There are 17 types of filters available. See

page 67 for complete descriptions of each filter type.

DCA

Digitally Controlled Amplifier. Together with the Volume AHDSR, the DCA is used to shape the volume contour of a sound. The DCA can be controlled by any modulation source. Key Velocity is often used as a modulation source for the DCA so that

the harder you play, the louder the sound becomes.

Pan

Adjusts the balance of sound to the left and right channels. Pan can be modulated by any realtime or note-on modulation source.

Planet Phatt Operation Manual48

LFO 1

Amount Rate

LFO 2

Amount Rate

Auxiliary

DAHDSR

AmtAtk Dec Rel

Primary

Instrument

Sample

Pitch

Portamento

Rate

Secondary

Instrument

Sample

Pitch

KEY NUMBER

Start

KEYBOARD

CENTER

Tone

Z-Plane

Filter

QFc

Z-Plane

Filter

QFc

VELOCITY

CURVE

VELOCITY

Volume

AHDSR

Atk Dec Rel

Volume

AHDSR

Atk Dec Rel

Keyboard and Velocity Modulation Sources

DCA

Volume

DCA

Volume

X-Fade

PROGRAMMING BASICS

Keyboard Modulation Sources

Key Number, Key Velocity

Pan

Destinations

Off, 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, Auxiliary Envelope Amount, Auxiliary Envelope Attack, Auxiliary Envelope Decay, Auxiliary Envelope Release, Portamento Rate, Primary Portamento Rate, Secondary Portamento Rate, Filter Fc, Primary Filter Fc, Secondary Filter Fc, Filter Q, Primary Filter Q, Secondary Filter Q, Sample Start, Primary Sample Start, Secondary Sample Start, Pan, Primary Pan, Secondary Pan, Tone, Primary Tone, Secondary Tone

KEYBOARD AND VELOCITY MODULATION

The Keyboard and Velocity Modulation diagram shows the possible routing of 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. Up to six key and velocity modulation routings can be programmed for each preset. Keyboard and velocity modulation routings are completely flexible as shown in the example above.

Chapter 4: Programming Basics 49

PROGRAMMING BASICS

Curve 1

100

120

100

Played Velocity

120

Resulting Velocity

Curve 2

100

120

100

Played Velocity

120

Resulting Velocity

Curve 3

100

120

100

Played Velocity

120

Resulting Velocity

100

120

100

Played Velocity

120

Resulting Velocity

Curve 4

KEY NUMBER

The Key Number is affected by the Keyboard Center parameter which can be set to any key from A-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.

KEY CENTER

VELOCITY CURVES

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

Planet Phatt Operation Manual50

LFO 1

Amount Rate

LFO 2

Amount Rate

Auxiliary

DAHDSR

AmtAtk Dec Rel

MIDI

CONTROLLER

A/B/C/D

Primary

Instrument

Pitch

Portamento

Rate

Secondary

Instrument

Pitch

MONO

PRESSURE

Tone

PRESSURE

POLY

Z-Plane

Filter

Z-Plane

Filter

LFO 1PITCH WHEEL

DCA

Volume

AHDSR

Atk Dec Rel

DCA

Volume

AHDSR

Atk Dec Rel

Realtime Modulation Sources

Volume

LFO 2

X-Fade

PROGRAMMING BASICS

Realtime Modulation Sources

Pitch Wheel,

Pan

AUXILIARY

ENVELOPE

MIDI Control A, MIDI Control B, MIDI Control C,

MIDI Control D, Mono Pressure, Polyphonic Pressure, LFO 1, LFO 2, Auxiliary Envelope

Destinations

Off,

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, Auxiliary Envelope Amount, Auxiliary Envelope Attack, Auxiliary Envelope Decay, Auxiliary Envelope Release, Portamento Rate, Primary Portamento Rate, Secondary Portamento Rate, Filter Fc, Primary Filter Fc, Secondary Filter Fc, Pan, Primary Pan, Secondary Pan

REALTIME MODULATION

In addition to keyboard and velocity modulation, Planet Phatt has multiple realtime modulation sources. Realtime modulation sources are parameters which can be continuously varied 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, Q, and tone, as indicated by the small arrows. Up to eight modulation routings can be programmed for each preset. The realtime modulation routings are completely flexible as shown in the example above.

Chapter 4: Programming Basics 51

PROGRAMMING BASICS

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 Planet Phatt 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,

••• 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.

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 continuous controllers. There is a set of 32 continuous controllers for each of the 16 MIDI channels. Some of the controllers, such as pitch wheel, volume, and pan have been standardized. For example, volume is usually sent on continuous controller #7.

MIDI

Channel 1

Note

On/Off

Program

Change

Continuous

Controllers

MIDI

Channel 2

Note

On/Off

Program

Change

Continuous Controllers

MIDI

Channel 3

Note

On/Off

Program

Change

Continuous

Controllers

MIDI

Channel 16

Note

On/Off

Program

Change

Continuous Controllers

Common realtime controllers such as the modulation wheel (or mod 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 Planet Phatt.

Planet Phatt is equipped with a 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.

Planet Phatt Operation Manual52

PROGRAMMING BASICS

Let's say for example, that you are using a Yamaha DX7 as your master keyboard. The DX7 has pitch and mod 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.

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

Control Destinations

Pitch Primary Pitch only Secondary Pitch only Volume Primary Volume only Secondary Volume only Attack Primary Attack only Secondary Attack only Decay Primary Decay only Secondary Decay only Release Primary Release only Secondary Release only Crossfade LFO 1 Rate LFO 1 Amount LFO 2 Rate LFO 2 Amount Auxiliary Envelope Amount Auxiliary Envelope Attack Auxiliary Envelope Decay Auxiliary Envelope Release Portamento Rate Primary Portamento Rate Secondary Portamento Rate Filter Morph Primary Filter Morph Secondary Filter Morph Pan Primary Pan Secondary Pan

MIDI

Master Menu

0 1

MIDI

2 3

Controller A

0 1

MIDI

2 3

Controller B

0 1

MIDI

2 3

Controller C

0 1

MIDI

2 3

Controller D

Edit Menu

Amount

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

Chapter 4: Programming Basics 53

PROGRAMMING BASICS

STEREO MIX OUTPUTS

Planet Phatt has three sets of polyphonic stereo outputs (Main, Sub 1, Sub 2). The channels used by a particular preset may be directed to appear at any one of these three stereo outputs. This feature is useful for signal processing (EQ, reverb, etc.) of individual sounds prior to final mixdown. By panning a preset completely left or right, it can be routed to a single output jack.

Note: All presets will be automatically routed to the Main outputs unless plugs are inserted into the Sub 1 or Sub 2 outputs.

MIX

OUTPUT

Preset

127

Preset

120

etc.

Each preset can be routed to one (and only one) set of stereo outputs.

Main

Sub 1

Sub 2

Planet Phatt Operation Manual54

EDIT MENU

Chapter 5: Edit Menu 55

EDIT MENU

Planet Phatt Operation Manual56

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 & 1).

WARNING

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

79) before changing the preset.

EDIT MENU

To enable the Edit menu

Press the Edit key, 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 either cursor key repeatedly (or hold the right cursor key while turning the data entry control) until the cursor is underneath the parameter name. Rotate the data entry control to select the screen.

To modify a parameter

Press either cursor key repeatedly (or hold the right 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 Edit button, turning off the LED.

••• 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.

Chapter 5: Edit Menu 57

EDIT MENU

EDIT MENU FUNCTIONS

• 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 charts below show the keyboard character assignment.

PRESET NAME 000 Untitled

(

)

;=@

GIL

SUX

]

[

_ad

kmp

wy|

}

{

C C# D D# E F F# G G# A A# B Pitch

-2

-1

'()*+,-./012

3456789 : ; < >=

?@ABCDEFGHI J

K LMNOPQR S TUV

blank

"!#$%&

WXYZ[¥]^_`ab

cdefghijklmn

opqrs tuvwxyz

{|}

Octave No.

Planet Phatt Operation Manual58

• 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 I002 SE Sub 2

• 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 I013 Bass Slap 1

EDIT MENU

••• Simply changing the instrument creates a new sound while retaining all other parameters of the preset.

• 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

Planet Phatt Keyboard Range

MIDI Key #

Key

Name

0 12 24 36 48 60 72 84 96 108 120 127

C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8

= Standard 5 Octave Keyboard Range

Chapter 5: Edit Menu 59

EDIT MENU

Primary Instrument

Key Range

SPLIT KEYBOARD

Secondary Instrument

• 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.

KEY RANGE pri C-2 -> G4

• 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 G#4 -> G8

••• Entire presets can also be Linked to form split or layered keyboards.

This diagram shows how a “split” keyboard can be programmed using the primary and secondary instruments.

LAYERING TWO INSTRUMENTS

This diagram shows how instruments can be layered or “stacked” using the primary and secondary instruments.

Planet Phatt Operation Manual60

Key Range

Pri Instr.

Sec Instr.

• 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.

EDIT MENU

TUNING fine pri:+00 sec:+00

• 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.

PAN pri:-7 sec:+7

Chapter 5: Edit Menu 61

EDIT MENU

• Alternate Volume Envelope On/Off

Each instrument has its own factory preset AHDSR volume envelope which is normally employed. If a programmable volume envelope is

desired, the alternate envelope is used.

ALT VOL ENVELOPE pri:Off sec:On

DCA

Normal

Envelope

Atk Dec Rel

Alternate

Envelope

Atk Dec Rel

• Primary Alternate Envelope Parameters

This function allows you to adjust the alternate volume envelope parameters for the primary instrument. The parameters are Attack time, Hold time, Decay time, Sustain level, and Release time and are

adjustable from 00 to 99.

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

• Secondary Alternate Envelope Parameters

This function allows you to adjust the alternate volume envelope parameters for the secondary instrument. The parameters are Attack time, Hold time, Decay time, Sustain level, and Release time and are

adjustable from 00 to 99.

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

Planet Phatt Operation Manual62

• Delay

Delay varies the time between when a MIDI Note On message is received and the onset of a note. The delay time is adjustable from 0 to

13 seconds (000-127).

DELAY pri:000 sec:000

• 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.

EDIT MENU

SOUND START pri:000 sec:000

Sound

Start

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.

• 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 indefi-

nitely.

REVERSE SOUND pri:Off sec:On

Chapter 5: Edit Menu 63

EDIT MENU

• Solo Mode

Solo mode provides the playing action of a monophonic instrument. This mode does not allow you to play a chord. Two types of solo mode are provided: wind controller mode and synth mode. Both modes have single triggering and last-note priority. In either solo mode, if a new note is played while another is being held, the envelope generators will not retrigger. This allows a legato playing technique to be used. Wind controller mode, as its name suggests, provides more realistic effects when working with wind controllers.

Wind mode

The envelope generator attack always begins at the start of the attack phase.

Synth mode

The envelope generator attack begins at whatever point the envelope is in when a new key is pressed.

SOLO MODE pri Off

• Portamento Rate

Portamento is a smooth gliding between notes instead of the normal instantaneous change in pitch when a new key is pressed. The portamento rate is the time it takes to glide to the new pitch. The larger the value, the slower the glide rate. The rate is adjustable from 1-127 or it can be turned Off. Portamento glides at a linear rate between notes and can be set separately for the primary and secondary layers. Portamento works both in and out of Solo Mode.

PORTAMENTO RATE pri:127 sec:Off

• Chorus

Chorus “thickens” the sound by doubling the sound and then detuning it. The chorus amount is variable over a range of 1 to 15. When Chorus is on, the number of channels used by an instrument

will be doubled.

CHORUS pri:Off sec:07

Planet Phatt Operation Manual64

• 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 “Xfade” is selected, a control input is used to fade between the primary and secondary. Any modulation source may be used as an input (velocity, wheel, etc.).

Cross-switch

When “Xswitch” 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.

EDIT MENU

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 CrossSwitch Point on page 67.

XFADE MODE Off

Primary

Instrument

Key Range

Secondary

Instrument

Key Range

••• To use the keyboard for crossfade, set the Crossfade Balance to 64 and the Key Center to the split point.

Crossfade Range

By overlapping the primary and secondary instruments, you can crossfade or crossswitch between the layers.

Chapter 5: Edit Menu 65

EDIT MENU

• 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

••• 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.

• Crossfade Balance

The crossfade balance parameter determines the initial balance between the primary and secondary layers. Higher values shift the balance to the secondary instrument. When the Crossfade Direction is Pri->Sec, modulation subtracts from the primary volume and adds to the secondary volume. When crossfade modulation and balance equal

64, the two instruments are at equal volume.

XFADE BALANCE 064

0 255

Pri Sec

Balance + Mod

0 255

Large Crossfade Amount

▼ Crossfade must be

assigned to a modulation source in the Realtime or Key/Velocity modulation screens.

Pri Sec Medium Crossfade Amount

Balance + Mod

0 255

Pri Sec

Balance + Mod

Modulation and Crossfade Balance are added together to determine the mixture of primary and secondary instruments. Higher values increase the secondary volume.

Planet Phatt Operation Manual66

Small Crossfade Amount

• 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

• Cross-switch Point

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

SWITCH POINT

Velocity

064 (E3)

Key

EDIT MENU

▼ To enable the cross-switch

function, you must assign Crossfade to a modulation source in the Realtime or Key/Velocity Modulation screen.

• Primary Filter Type

This function selects the type of filter for the primary layer. 17 different filter types are provided. If no filtering is desired, you can bypass

the filter by turning it Off.

FILTER TYPE pri 2 Pole Lowpass

FILTER TYPES

2-pole Lowpass

Lowpass filter with 12dB/octave rolloff and Q control.

4-pole Lowpass

Lowpass filter with 24dB/octave rolloff and Q control.

6-pole Lowpass

Lowpass filter with 36dB/octave rolloff and Q control.

2nd Order Highpass

Highpass filter with 12dB/octave rolloff and Q control.

4th Order Highpass

Highpass filter with 24dB/octave rolloff and Q control.

Chapter 5: Edit Menu 67

EDIT MENU

2nd Order Bandpass

Bandpass filter with 6dB/octave rolloff on either side of the passband and Q control.

4th Order Bandpass

Bandpass filter with 12dB/octave rolloff on either side of the passband and Q control.

Swept EQ, 1-octave

Parametric filter with 24 dB of boost or cut and a one octave bandwidth. Fc controls center frequency and Q controls boost or cut.

Swept EQ, 2->1-octave

Parametric filter with 24 dB of boost or cut. The bandwidth of the filter is two octaves wide at the low end of the audio spectrum, gradually changing to one octave wide at the upper end of the spectrum. Fc controls center frequency and Q controls boost or cut.

Swept EQ, 3->1-octave

Parametric filter with 24 dB of boost or cut. The bandwidth of the filter is three octaves wide at the low end of the audio spectrum, gradually changing to one octave wide at the upper end of the spectrum. Fc controls center frequency and Q controls boost or cut.

Phaser 1

Creates a comb filter effect, typical of phase shifters. Filter Fc moves the position of the notches. Q varies the depth of the notches.

Phaser 2

Comb filter with slightly different notch spacing than Phaser 1. Filter Fc moves the position of the notches. Q varies the depth of the notches.

Bat-Phaser

Phase shifter with peaks as well as notches.

Flanger Lite

Contains three notches. Filter Fc moves frequency and spacing of the notches. Q increases flanging depth.

Vocal Ah-Ay-Ee

Vowel formant filter which sweeps from the “Ah”␣ sound, through “Ay” sound to “Ee” sound at maximum Fc. Q varies the apparent size of the mouth cavity.

Planet Phatt Operation Manual68

Vocal Oo-Ah

Vowel formant filter which sweeps from the “Oo”␣ sound, through “Oh” sound to “Ah” sound at maximum Fc. Q varies the apparent size of the mouth cavity.

Bottom Feeder

This is a specialized distortion filter, useful for adding punch and drive to low frequency sounds such as bass and drums. Set the Fc low (less than 45) for best effect. Q has no effect on this filter.

• Primary Filter Cutoff & Q

This function allows you to set the cutoff frequency (the frequency at which filtering begins) and the Q or resonance for the lowpass and highpass filters. On a lowpass or highpass filter, turning up the Q causes the frequencies near the cutoff to be emphasized. On the other filter types, Fc and Q control various other parameters. See the filter descriptions of these functions.

EDIT MENU

FILTER pri Fc:255 Q:05

• Secondary Filter Type

Selects the filter type for the secondary instrument or the filter can be turned Off. See Primary Filter Type.

FILTER TYPE sec Vocal Ah-Ay-Ee

• Secondary Filter Cutoff & Q

This is the same as the Primary Cutoff and Q for the secondary filter.

FILTER sec Fc:255 Q:05

Chapter 5: Edit Menu 69

EDIT MENU

• Auxiliary Envelope

This is a supplementary, utility envelope that can be routed to any realtime control destination including the filter. 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

level

time

Planet Phatt Operation Manual70

Sustain

l a y

key down

This diagram shows the six stages of the Auxiliary Envelope Generator.

t t

c k

c a y

key

released

R e

l e a s e

• LFO 1 - Shape & 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.

LFO1 SHAPE AMT SynSaw +127

EDIT MENU

Triangle

Sine

Square

Sawtooth

Random

The Triangle, Sine, Sawtooth and Square LFO shapes can also be Synced to the Beats tempo or to external MIDI clock. The LFO waveforms preceded by “Syn”␣ are synced LFO's. With the LFO synced to the beats tempo, the LFO rate will follow any changes in the beats tempo.

• LFO 1 - Rate, Delay & Variation

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

LFO Rate

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

• Certain LFO rates are marked on Synced LFOs to show you that they correspond to various note values when synced to the Beats tempo.

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 Rates to Beats:

004 ..... Double Whole Note

006 ..... Double Whole Trip.

013 ..... Whole Note Triplet

017 ..... Half Note

024 ..... Half Note Triplet

030 ..... Quarter Note

042 ..... Quarter Note Triplet

051 ..... Eighth Note

066 ..... Eighth Note Triplet

077 ..... 16th Note

095 ..... 16th Note Triplet

109 ..... 32nd Note

Chapter 5: Edit Menu 71

EDIT MENU

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 RT DLY VAR 000 000 000

time

Delay

key down

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

• LFO 2 - Shape & Amount

LFO 2 is functionally identical to LFO 1.

• LFO 2 - Rate, Delay & Variation

LFO 2 is functionally identical to LFO 1.

Planet Phatt Operation Manual72

• Keyboard & Velocity Modulation Control

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

KEY/VELOCITY CTL 1 V>Attack -064

Source

Modulation

Destination

Tone

Modulation

Amount

Z-Plane

Filter

QFc

Z-Plane

Filter

QFc

DCA

Volume

AHDSR

Atk Dec Rel

DCA

Volume

AHDSR

Atk Dec Rel

Pan

X-Fade

Pan

Volume

Patch

Number

Modulation

Primary

LFO 1

Amount Rate

LFO 2

Amount Rate

Auxiliary

DAHDSR

AmtAtk Dec Rel

Instrument

Sample

Pitch

Portamento

Rate

Secondary

Instrument

Sample

Pitch

Start

Modulation Destinations

EDIT MENU

Keyboard Modulation Sources

Key Number, Key Velocity

Destinations

Auxiliary Envelope Attack, Auxiliary Envelope Decay, Auxiliary Envelope Release, Portamento Rate, Primary Portamento Rate, Secondary Portamento Rate, Filter Fc, Primary Filter Fc, Secondary Filter Fc, Filter Q, Primary Filter Q, Secondary Filter Q, Sample Start, Primary Sample Start, Secondary Sample Start, Pan, Primary Pan, Secondary Pan, Tone, Primary Tone, Secondary Tone

KEYBOARD

CENTER

KEY NUMBER

VELOCITY

CURVE

VELOCITY

Keyboard and Velocity Modulation Sources

Chapter 5: Edit Menu 73

When Modulating Envelope Attack, Decay or Release Times:

Positive amounts of modulation increase the time.

Negative amounts of modulation decrease the time.

EDIT MENU

Realtime 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

Off, 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, Auxiliary Envelope Amount, Auxiliary Envelope Attack, Auxiliary Envelope Decay, Auxiliary Envelope Release, Portamento Rate, Primary Portamento Rate, Secondary Portamento Rate, Filter Fc, Primary Filter Fc, Secondary Filter Fc, Pan, Primary Pan, Secondary Pan

• Realtime Modulation Control

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

affects both.

REALTIME CTL 1 LFO1 ->Pitch

Tone

Modulation Destination

Z-Plane

Filter

Z-Plane

Filter

Volume

AHDSR

Atk Dec Rel

Volume

AHDSR

Atk Dec Rel

DCA

Volume

DCA

Volume

Pan

X-Fade

Pan

Patch

Number

Modulation

Source

LFO 1

Amount Rate

LFO 2

Amount Rate

Auxiliary

DAHDSR

AmtAtk Dec Rel

Primary

Instrument

Pitch

Portamento

Rate

Secondary

Instrument

Pitch

Modulation Destinations

MIDI

CONTROLLER

A/B/C/D

MONO

PRESSURE

POLY

PRESSURE

LFO 1PITCH WHEEL

LFO 2

AUXILIARY ENVELOPE

Realtime Modulation Sources

Planet Phatt Operation Manual74

• Footswitch Control

This function allows you route the 3 footswitch controllers (1, 2 or 3) 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.

EDIT MENU

PITCH BEND RANGE +/- 12 semitones

• Pressure Amount

This function allows you to specify an amount parameter for mono or poly keyboard pressure data. The pressure amount is variable from

-128 to +127.

PRESSURE AMOUNT +127

• 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 CONTROLLER AMT A:+127 B:-090 C:+030 D:+060

Chapter 5: Edit Menu 75

EDIT MENU

• 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

120

100

Curve 1

Resulting Velocity

Played Velocity

120

100

Resulting Velocity

120

100

Curve 3

120

100

120

100

Curve 2

Resulting Velocity

Played Velocity

120

100

Resulting Velocity

100

Curve 4

100

120

Played Velocity

Planet Phatt Operation Manual76

• 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

KEY CENTER

EDIT MENU

• Keyboard Tuning

In addition to the standard equally divided octave tuning, Planet Phatt contains three other types of scale tuning and one user-definable tuning. This function selects which tuning will be used in the current preset. The choices of keyboard 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 (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.

Chapter 5: Edit Menu 77

EDIT MENU

Key Range

CREATING A SPLIT KEYBOARD

LINK

••• Presets assigned to the Sub 1 or Sub 2 outputs will appear at the Main outputs if plugs are not inserted into the Sub 1 or Sub 2 jacks.

• Mix Output

This function allows you to direct the channels used by a particular preset to appear at one of these three stereo outputs (Main, Sub 1, Sub 2).

MIX OUTPUT Main

• 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 and Mix Output assignments specified in each preset remain in effect for each preset in the link.

Zone 1

LINK 1 C#1->F#4 LINK 2 C#1->F#4 000 Preset Name 122 Preset Name

LINK 3 C-2 ->G8 Off

Key Range

Preset #1

Zone 2

Planet Phatt Operation Manual78

Preset #2

LAYERING TWO PRESETS

• 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 & 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.

EDIT MENU

SAVE PRESET to

064 Preset Name

To Save a Preset

1. Select the new location.

2. Press Enter.

Chapter 5: Edit Menu 79

EDIT MENU

Planet Phatt Operation Manual80

STEP-BY-STEP

Chapter 6: Step-By-Step 81

STEP-BY-STEP

Planet Phatt Operation Manual82

This section contains step-by-step instructions on how to get started in programming your own custom sounds. It is recommended that you actually try each example on Planet Phatt unit, rather than just reading through. The best way to learn something is by actually doing it.

STEP-BY-STEP

LINKING PRESETS

Linking presets is a quick and easy way to create new sounds by “layering” presets and also to “split” a 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”. Otherwise, simply change the preset to erase your work.

• Create a Split Keyboard Using Links

1) Follow steps 1 through 4 above.

••• To get the most out of this section, please read Chapter 4, Programming Basics first.

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

3) Save the preset.

4) Now go back to the first preset, press the Edit button and use the data entry control to move through the screens to KEY RANGE.

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

6) Save the preset.

LINK

Key Range

CREATING A SPLIT KEYBOARD

Chapter 6: Step-By-Step 83

STEP-BY-STEP

EDITING PRESETS

The easiest way to make a new preset is to edit an existing preset. This is also an excellent way of becoming familiar with Planet Phatt. If you don’t like what you hear, simply change the preset and Planet Phatt 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: Instrument Select, Coarse Tuning, Chorus and Reverse Sound. First, choose any cool preset and press the Edit button.

• Changing the Instrument

This is probably the easiest and most dramatic way to modify an existing preset. 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

Planet Phatt Operation Manual84

If the numbers are “00” as in the previous screen, 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.

Tuning an instrument far out of its normal range will completely change the character of the sound. For example, if you tune a bass guitar up 2 octaves, it's going to sound rather petite. On the other hand, if you tune it down 2 octaves, you can probably rattle plaster off the walls! Experiment with radical pitch shifting. You'll be surprised at the results.

CHORUS

This is an easy one. With the cursor on the top line of the display, turn the data control until you find CHORUS. Various amounts of chorusing can be selected for each of the primary and secondary instruments. Chorus works by doubling the instruments, detuning and panning them slightly. The larger the number, the more detuning will occur. Warning: Since it works by doubling the instruments, chorus halves the number of notes you can play on Planet Phatt. Chorus is useful when you want to “fatten up” a part quickly and easily. Just turn chorus on!

STEP-BY-STEP

CHORUS pri:07 sec:Off

REVERSING THE INSTRUMENT

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

Chapter 6: Step-By-Step 85

STEP-BY-STEP

Percussion

Organ

String

ALTERNATE VOLUME ENVELOPE

Every sound you hear, be it a piano note, a drum, a bell or whatever, has a characteristic volume curve or envelope, which grows louder or softer in various ways during the course of the sound. The volume envelope of a sound is one of the clues that our brain uses to determine what type of sound is being produced.

Each instrument has it's own volume envelope which is used when the Alternate Envelope parameter is turned Off. By turning the Alternate Envelope On, we can re-shape the instrument's natural volume envelope any way we want. By reshaping the volume envelope of a instrument, you can dramatically change the way the sound is perceived. For example, by adjusting the envelope parameters, you can make “bowed” pianos or backwards gongs. The diagrams at the left show the volume envelopes of a few common sounds.

In preparation for this experiment choose a fairly “normal” preset (like an organ or synth) which continues to sustain when the key is held down. Go to the Secondary Instrument screen and set it to “None”.

Plucked

••• The generalized volume envelope shapes of a few types of sounds are shown above.

Next go to the Alt. Volume Envelope screen and turn the Primary Volume Envelope On.

ALT VOL ENVELOPE pri:On sec:Off

Now move on to the next screen:

P: A H D S R 00 00 10 99 10

Increase the Attack time and play a note. The attack controls the time it takes for the sound to reach full volume when a key is pressed and held.

Now increase the Release time and note the effect as you release the note. The Release time controls the time it takes for the sound to die away when a note is released.

• Anatomy of an Envelope

When a key is pressed, the envelope generator starts increasing at the

Attack rate. When it reaches full level, it Holds at that level for the Hold time. After the Hold time has elapsed, the envelope begins to Decay back down at the specified Decay rate until it reaches the Sustain Level. Note that all the other parameters are Times, but the

Sustain is a Level.

Planet Phatt Operation Manual86

The envelope will stay at the Sustain level for as long as the key is held. When the key is released, the envelope falls back down to zero at the Release rate.

STEP-BY-STEP

level

time

key down

key released

WORKING WITH THE FILTER

The low pass filter makes it possible to remove certain components of the sound. A low pass filter removes the high frequency components or put another way, it “lets the lows pass”. In preparation for this experiment choose a fairly “normal” preset (like an organ or synth). Go to the Secondary Instrument screen and set it to “None”, then set the Primary Instrument to one which is rich in harmonics, such as Instrument I074 Clavinet. (Since filters work by removing or accentuating certain frequencies, we want to make sure that we have a lot of frequencies to start with.) Set the parameters as listed in the chart below in order to “clean the slate” for your filter investigation.

Instrument: 074 Clavinet

Primary

Go to the primary filter cutoff and Q screen shown on the following page and position the cursor below the Fc value.

FILTER pri

255 Q:00

Fc:

Tuning course: +00

Volume: +127

Alt. Vol. Envelope: Off

Realtime CTL: 1-8 -> All Off

Filter Type Pri: 4 Pole Lowpass

Filter Fc: 255

Filter Q: 00

Aux Envelope Amt: +100

Aux Env: A H D S R

28 00 33 00 16

Chapter 6: Step-By-Step 87

STEP-BY-STEP

Playing the keyboard now, you should hear the raw Clavinet sound. Slowly decrease the filter Fc as you play the keyboard. The sound will get duller and duller as more and more high frequencies are filtered out until at some point the sound will completely disappear. (You have filtered out everything.) The chart below illustrates what you just did. You moved the cutoff frequency down.

100

Amplitude

Output of Filter

40 80 160 360 720 14402880

Cutoff Frequency

...

Frequency

Open the filter back up to 255, then move the cursor underneath the Q. Set the Q to 10, then move the cursor back under the Fc. As you change the Fc, notice that the sound now has a sharp, nasal quality. With a high Q, frequencies at the cutoff frequency (Fc) are being boosted or amplified.

Now let's modulate the filter Fc with the Auxiliary envelope generator. The envelope generator is a device that can automatically change the filter Fc during the course of the note. Set the Fc way down until you can just hear the sound (about 60), then press Enter and go to the REALTIME CTL screen.

REALTIME CTL

PWhl -> Off

Move the cursor down underneath the source and set it to Aux (for Auxiliary Envelope). Next move the cursor underneath the destination and set it to Filter Fc. The screen should look like this:

REALTIME CTL 1 Aux -> FiltFc

Planet Phatt Operation Manual88

You have just connected the Auxiliary Envelope Generator to the Filter Cutoff as shown in the diagram below.

STEP-BY-STEP

Instrument

Tone

Filter

Fc Q

Aux. AHDSR

DCA

Pan

Now go back to the Aux Envelope screen.

AUX ENV AMT DLY +

Move the cursor underneath the envelope amount and change the value to about +100. Now when you press a key the filter will slowly sweep up. Because the filter Q is set high, you can hear the different harmonics of the sound being accentuated as the filter cutoff sweeps past.

100 000

Now, scroll back to the Auxiliary Envelope parameter screen.

A: A H D S R 15 00 00 99 50

Change the attack rate and note the change in the sound. The diagram below shows approximately how the envelope looks when the parameters are set as shown above.

Release Time

Sustain Level

Attack Time

time

••• Note that all the envelope parameters are Rates except for Sustain, which is a Level.

Chapter 6: Step-By-Step 89

STEP-BY-STEP

Because the Sustain level is set to maximum, the decay parameter has no effect. Set the parameters as shown below.

A: A H D S R 03 06 24 36 12

Now the filter sweeps up, Holds there for a bit, then Decays back down to the Sustain Level until you release the key. Then it sweeps down at the Release rate. Play with the envelope parameters for awhile to get a feel for their function. (If you're having trouble understanding the Envelope Generators, please refer to the Programming Basics section in this manual.)

Hold Time

Decay Time

Release

Attack Time

time

Go back to the Primary Filter Type screen shown below and move the cursor down the lower line of the display. Change the filter type while playing the keyboard.

Sustain

Level

FILTER TYPE pri 2nd Ord Hipass

These filters are extremely powerful and have been carefully crafted to offer maximum flexibility and musical control. You may want to change the Envelope Amount, Q and/or the Filter Cutoff to get the right sound for each filter and instrument. These three controls, coupled with the Aux. Envelope, are perhaps the most important controls on Planet Phatt. Take the time to learn how they interact with each other and you will be able to create just about any type of sound you want.

Planet Phatt Operation Manual90

• Troubleshooting

A common source of confusion when working with the filter envelope is that the Attack or Release parameter might not seem to be working correctly. Referring to the diagram below which shows the Planet Phatt signal flow, you will notice that the DCA comes after the Filter. The DCA controls the final volume of the sound, so if the filter's release is longer than the release for the DCA, you won't hear it, because the DCA has already shut off the sound.

Instrument

This is just an example of why troubleshooting is important. If you are not getting the expected result, try to analyze the situation. There will be many times when you will have to stop for a minute and think, “What am I trying to do and why isn't it working?” When this happens (and it will), don't panic. Troubleshooting is a normal part of the synthesis process. Simply examine the various parameters and try to be as analytical as possible as you solve the problem. Usually the solution will be simple. (The filter is already wide open and can't open any more.) Learning to play an instrument takes… Practice.

Tone

Z-Plane

Filter

DCA

Pan

STEP-BY-STEP

You’re probably getting the general 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.

Practice Modulating

• Try modulating the pitch with the Aux. Envelope generator

• Use velocity to modulate the Aux Envelope Amount or the filter Fc. (Key/Vel. screen). This will brighten the sound as you play harder.

• Program the LFO to modulate filter Fc and volume (Realtime modulation screen).

• Modulate the LFO with the other LFO, with velocity, and with the modulation wheel.

• Think of ten different modulation routings, then try them out. The key to learning about Planet Phatt is to experiment.

••• Presets can be stored in any of the non-volatile RAM locations (Banks 0 & 1).

Chapter 6: Step-By-Step 91

STEP-BY-STEP

USING PLANET PHATT WITH A SEQUENCER

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

C01 Vol127 Pan=P

0 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=P 000 Preset Name

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, Planet Phatt 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. Planet Phatt will now respond to multiple MIDI channels.

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 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.

Planet Phatt Operation Manual92

E-Mu Planet Phatt Operation Manual

Specifications and Main Features

Frequently Asked Questions

User Manual