E-MU Systems Audity 2000 User Manual

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Introduction ..............................................................................1

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

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

Important Safety Instructions ..................................................3

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

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

Foreign Language Warnings- German .....................................6

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

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

Unterhaltsinstruktionen für anwender.........................................................7

Foreign Language Warnings- French .......................................9

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

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

Instructions de Maintenance.........................................................................9

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

Setup .......................................................................................13

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

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

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

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

Performance Setup ................................................................................16

Power Up! .............................................................................................17

Instant Gratiﬁcation....................................................................................18

Playing the Demo Sequences ...............................................................18

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

Exploring the Master Arpeggiator ........................................................19

Multi-Channel Arpeggiator ..................................................................21

Audity 2000 Operations Manual

Contents

Operations ............................................................................. 23

Front Panel...................................................................................................23

Volume Control ....................................................................................23

Master Button .......................................................................................23

Edit Button ............................................................................................23

Arpeggiator Button ...............................................................................23

Left/Right Cursor Buttons .....................................................................24

Clock Button .........................................................................................24

Save/Copy Button .................................................................................24

Home/Enter Button ..............................................................................24

Data Entry Control ...............................................................................24

Control Button .....................................................................................25

Controller Knobs ..................................................................................25

Front Panel Controller Modes .....................................................................25

Real-time Control .................................................................................25

Quick Edit .............................................................................................26

Deep Edit ...............................................................................................26

Main Screen..................................................................................................28

MIDI Channel Selection .......................................................................28

Preset Selection .....................................................................................28

Channel Volume ..................................................................................29

Channel Pan .........................................................................................29

Channel Arpeggiator ............................................................................29

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

Arpeggiator Menu ................................................................. 31

Master Arpeggiator.......................................................................................32

Status ..................................................................................................... 32

Mode .....................................................................................................32

Note Value ............................................................................................33

Arpeggiator Pattern Speed ....................................................................34

Pattern ................................................................................................... 34

Velocity ................................................................................................. 34

Gate Time ..............................................................................................35

Extension Count ...................................................................................36

Extension Interval .................................................................................36

Sync ....................................................................................................... 37

Delay .....................................................................................................37

Duration ................................................................................................ 38

Recycle ..................................................................................................38

Keyboard Thru ......................................................................................38

Latch .....................................................................................................39

Key Range .............................................................................................39

Arpeggiator MIDI Out..................................................................................40

MIDI Song Start............................................................................................40

Send MIDI System Exclusive Data...............................................................40

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Contents

Editing a User Arpeggiator Pattern..............................................................41

Pattern Step Number ............................................................................41

Key ........................................................................................................ 41

Velocity .................................................................................................43

Duration ...............................................................................................43

Repeat ................................................................................................... 43

User Pattern Name.......................................................................................44

Multi-Channel Arpeggiating........................................................................45

Using a MIDI Interface to Channelize Data................................................46

Master Menu ...........................................................................47

Deﬁning Master Parameters.........................................................................48

Transpose/Tune .................................................................................... 48

Bend Range ...........................................................................................48

Velocity Curve ......................................................................................49

Mix Output ...........................................................................................50

Master Effects...............................................................................................51

Effects Mode .........................................................................................51

Effects Multi Mode Control ..................................................................51

Master FXA Algorithm ..........................................................................52

FXA Parameters: Decay/HF Damping FxB -> FxA ................................53

FXA Submix Routing ............................................................................53

Master FXB Algorithm ..........................................................................53

FXB Parameters: Feedback/LFO Rate Delay Time ................................54

FXB Submix Routing ............................................................................54

MIDI Parameters..........................................................................................55

MIDI Mode ...........................................................................................55

MIDI SysEx ID ......................................................................................55

MIDI Enable ..........................................................................................56

MIDI Bank ............................................................................................56

MIDI Program -> Preset ........................................................................57

Receive Program Change ......................................................................58

Real-time Controller Assignment .........................................................58

Arpeggiator Controller Assign ..............................................................59

MIDI Footswitch Assign .......................................................................59

Tempo Controller .................................................................................59

Knob Preset Quick-Edit .........................................................................60

Knobs Deep Edit ...................................................................................60

Knobs MIDI Out ...................................................................................61

Front Panel Knob Calibration ..............................................................61

MIDI SysEx Packet Delay ......................................................................62

Send MIDI System Exclusive Data ........................................................62

User Key Tuning ...................................................................................64

Output Format ......................................................................................64

Playing Demo Sequences ......................................................................65

Screen Viewing Angle ...........................................................................65

Clock Menu .................................................................................................66

Master Tempo .......................................................................................66

Audity 2000 Operation Manual

iii

Contents

Programming Basics .............................................................. 67

Modulation ..................................................................................................68

Modulation Sources .....................................................................................69

Random Sources ...................................................................................70

Modulation PatchCords...............................................................................70

Envelope Generators....................................................................................71

Low Frequency Oscillators (LFOs) ...............................................................72

Clock Modulation........................................................................................73

Modulation Destinations.............................................................................75

Modulation Processors.................................................................................76

Using the Modulation Processors .........................................................78

More Examples .....................................................................................79

Dynamic Filters............................................................................................82

What is a Filter? ....................................................................................83

Parametric Filters ..................................................................................86

The Audity 2000 Filter ..........................................................................87

The Z-Plane Filter ..................................................................................87

Signal Flow...................................................................................................89

MIDI Channels and Real-time Controls......................................................90

Stereo Mix Outputs ...............................................................................92

Edit Menu ............................................................................... 93

Four Layer Architecture................................................................................94

Deﬁning Layer Parameters...........................................................................95

Selecting an Instrument .......................................................................95

Defining Key Range ..............................................................................95

Defining the Velocity Crossfade Range ................................................98

Defining the Real-time Crossfade Range ............................................100

Transposing the Instrument ...............................................................103

Tuning ................................................................................................. 104

Amplifier .............................................................................................104

Volume Envelope ................................................................................105

Chorusing the Layer ...........................................................................107

Sound Start Offset and Delay .............................................................107

Non-Transpose Mode ..........................................................................108

Solo Mode ...........................................................................................109

Assign Group ......................................................................................110

Glide .................................................................................................... 110

Z-Plane Filters .....................................................................................111

Audity 2000 Filter Types .....................................................................112

Filter Envelope ....................................................................................115

Auxiliary Envelope ..............................................................................116

Low Frequency Oscillators (LFOs) ......................................................116

PatchCords .......................................................................................... 121

Pitch Bend Range ................................................................................124

Mix Output .........................................................................................124

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Contents

Common Preset Parameters.......................................................................125

Preset Effects .......................................................................................125

Initial Controller Amount ..................................................................126

Keyboard Tuning ................................................................................127

Preset Links .........................................................................................128

Arpeggiator ......................................................................................... 128

Programming Tutorial ..........................................................131

Editing Presets............................................................................................131

Changing the Instrument ..................................................................131

Changing the Tuning of an Instrument ............................................132

Chorus ................................................................................................ 133

Volume Envelope ...............................................................................133

Working with Filters ...........................................................................135

Practice Modulating ...........................................................................139

Troubleshooting ................................................................................. 139

Linking Presets...........................................................................................140

Multitimbral Sequencing...........................................................................141

Using the 32 Channels .......................................................................141

Channel Ripoff ...................................................................................142

Using External Processing ..................................................................142

Advanced Sequencing...............................................................................143

Pre-Sequence Setup .............................................................................143

Effects ....................................................................................145

Effects Overview ........................................................................................145

The Effects Sends ................................................................................145

Effect Types................................................................................................147

Effect Parameters ................................................................................147

Effects Programmed in the Preset..............................................................149

Master Effects.............................................................................................150

Effects Mode .......................................................................................152

Effects Multi Mode Control ................................................................152

Effect B Into Effect A ..........................................................................154

General Effect Descriptions .......................................................................156

Reverb ................................................................................................. 156

Chorus ................................................................................................ 157

Doubling .............................................................................................157

Slapback .............................................................................................. 157

Stereo Flanger .....................................................................................157

Delay ................................................................................................... 158

Stereo Delay ........................................................................................158

Panning Delay ....................................................................................158

Dual Tap .............................................................................................158

Vibrato ................................................................................................ 158

Distortion ...........................................................................................158

Audity 2000 Operation Manual v

Contents

Save/Copy Menu .................................................................. 159

Saving a Preset............................................................................................159

Copying Information.................................................................................160

Copy Preset .........................................................................................160

Copy Layer ..........................................................................................160

Copy PatchCords ................................................................................161

Copy Arpeggiator Settings ..................................................................162

Copy Arpeggiator Pattern ...................................................................163

Appendix .............................................................................. 165

Velocity Curves..........................................................................................166

PatchCord Setup ........................................................................................168

MIDI...........................................................................................................169

Received Channel Commands ...........................................................170

SysEx Specification .............................................................................170

Percussion Maps.........................................................................................171

Presets.........................................................................................................174

Audity 2000 Preset Categories ............................................................174

Audity 2000 Preset List .......................................................................175

Instrument List...........................................................................................180

Factory Arpeggiator Pattern List .........................................................183

Technical Speciﬁcations.............................................................................185

Warranty ....................................................................................................186

Credits........................................................................................................187

Outside Developer Acknowledgments ...............................................187

vi E-mu Systems, Inc.

Index .................................................................................... 189

Introduction

Aloha! And congratulations on your purchase of the E-mu Audity 2000. Audity 2000 is a new synthesizer/sound module with an array of new dynamic and rhythmic features not found in any other instrument. Audity 2000 was designed for live performance , so make sure to try out all the controller knobs on each preset. And as you’ll soon discover, Audity 2000 is a total kick to play.

Product Description

Audity 2000’s sound set consists primarily of analog, noise and modern synthesizer waveforms. These sounds are rich in harmonic texture and are perfectly matched to Audity’s powerful ﬁlters.

Audity 2000 contains 640 ROM presets, 256 user presets and gives you the power to synthesize an almost inﬁnite number of your own sounds. Audity’s ﬂexible yet straightforward 4-layer synthesizer voices create sounds of amazing depth and power. Layers can be switched or crossfaded using key position, velocity, real-time controllers or any modulation source. Audity 2000 also contains 50 different, 12th order resonant & modeling ﬁlters which are used to shape and modify over 200 waveforms contained in 16 megabytes (MB) of ROM. Another 16MB of ROM sounds can be added by simply plugging in a second internal SIMM card.

64 modulation sources include three multistage envelopes and two LFOs per layer, as well as full MIDI control over virtually every parameter. The digital patch bay, with 24 cords per layer, lets you connect modulation sources to 64 destinations in any imaginable way. The patch bay also contains a set of arithmetic modiﬁers, letting you create complex synthesis models.

Audity’s revolutionary Rhythmic Pattern Generator/Arpeggiator can play up to 16 synchronized arpeggiator patterns at once using a different sound for each! Patterns can be edited using pattern ﬂow commands such as: delay for 2 bars, play for 4 bars, hold for 2 beats and repeat. You can program or download 100 user patterns in addition to the 200 factory patterns.

Audity 2000 Operations Manual 1

Introduction Overview

Unique to Audity is its ability to control synth parameters as well as arpeggiator tempos from its internal clock (or an external MIDI clock). Up to 8 LFOs and 12 envelopes can be perfectly synchronized at different rates!

Four front panel real-time controllers give you control over 8 user-selectable parameters as well as four arpeggiator functions. The real-time knobs can adjust multiple synthesizer functions at once allowing complex levels of control. Virtually every synth parameter in the Audity 2000 is controllable using the real-time knobs or by any internal or external control source.

Six 18-bit analog outputs let you process separate sounds and integral effect sends externally. Returns allow the addition of external effects units without the need for a separate mixer.

Once you have created your preset, you can add richness to your sound using Audity 2000’s 24-bit stereo effects. You can choose a different effects setup for each preset from over 60 algorithms. Audity’s effects section is actually two separate effects processors with control over each wet/dry mix level. Effects Processor “A” contains primarily ambiance algorithms like reverb and delays, while effects processor “B” contains primarily spectral algorithms such as chorus, ﬂange, phase, distortion, and delay. Effects can be linked to each preset or used globally to further enhance your sound. The S/PDIF digital stereo output lets you connect to other digital equipment, such as digital mixers or external effects devices.

Overview

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

This is the Operations Manual for setting up and playing Audity 2000. The ﬁrst part of the manual describes how to unpack and setup the hardware.

The next chapters provide step-by-step instructions for the most common and widely used features of Audity 2000. This section also deﬁnes each of the parameters (by menu) and provides information on how to use them.

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

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Important Safety Instructions

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

Grounding Instructions

Danger!

Caution!

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

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

If your Audity 2000 is rack mounted, you must use a standard 19 inch open frame rack. Screw-on rack mount ears are provided for this purpose.

Audity 2000 Operations Manual 3

Important Safety Instructions User Maintenance Instructions

User Maintenance Instructions

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

There are no user lubrication or adjustment requirements.

Caution -.

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

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

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

tions should always be adhered to, including the following:

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

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

Read all instructions before using Audity 2000.

To reduce the risk of injury, close supervision is necessary when using

Audity 2000 near children. Do not use Audity 2000 near water — for example near a bathtub,

washbowl, kitchen sink, in a wet basement, on a wet bar, or near or in a swimming pool. Do not expose the unit to drips or splashes.

The Audity 2000 should be situated so that its location or position does

not interfere with its proper ventilation. The Audity 2000 should be located away from heat sources such as

radiators, heat registers, ﬁreplaces, stoves, or ovens. The Audity 2000 should be connected only to a power supply of the

type described in the operating instructions and marked on the product.

Care should be taken so that objects do not fall and liquids are not

spilled into the enclosure of Audity 2000 through openings. This Audity 2000 may be equipped with a polarized line plug (one

blade wider that the other). This is a safety feature. If you are unable to insert this plug into the outlet, do not defeat the safety purpose of the plug. Contact an electrician to replace your obsolete outlet.

Protect the power cord from being walked on or pinched, particularly at

plugs, convenience receptacles, and the point where they exit from the unit.

Unplug the Audity 2000 from the power outlet during lightning storms

10.

or when left unused for a long period of time. This product, in combination with an ampliﬁer and headphones and

11.

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

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

12.

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•

Important Safety Instructions

Radio and Television Interference

The Audity 2000 should be serviced by qualiﬁed service personnel

13.

when: A. The power supply cord has been damaged; or B. Objects have fallen, or liquid has been spilled into the unit; or C. The unit has been exposed to rain; or D. The unit has been dropped or the enclosure damaged; or E. The Audity 2000 does not operate normally or exhibits a marked

change in performance.

All servicing should be referred to qualiﬁed service personnel.

14.

Caution!

Radio and Television Interference

Danger of explosion if the battery is incorrectly replaced. Replace only with the same or equivalent type recommended by E-mu. Discard used batteries according to the manufacturer’s instructions.

Save These Instructions.

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

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

If Audity 2000 does cause interference to radio or television reception, you can try to correct the interference by using one or more of the following measures:

Turn the television or radio antenna until the interference stops. Move Audity 2000 to one side or the other of the television or radio. Move Audity 2000 farther away from the television or radio. Plug Audity 2000 into an outlet on a different circuit than the television

or radio. Consider installing a rooftop antenna with a coaxial lead-in between the

antenna and television set.

Audity 2000 Operations Manual 5

Foreign Language Warnings - German Wichtige Sicherheitsvorschriften

Foreign Language W arnings

- German

Wichtige Sicherheitsvorschriften

Erdungsinstruktionen

Gefahr

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

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

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

Vorsicht

E-mu Systems, Inc.

Wird der Audity 2000 (Modell Nummer 9093) in einem Rackgestell montiert, muss ein offener 19-Zollrahmen verwendet werden.

Unterhaltsinstruktionen für anwender

Foreign Language Warnings - German

Unterhaltsinstruktionen für anwender

Audity 2000 soll sauber und staubfrei gehalten werden. Das Gerät mit einem sauberen und säurefreien Tuch periodisch abreiben. Keine Lösungs- oder Reinigungsmittel anwenden.

Schmieren und Justieren sind nicht notwendig.

Bei weiteren Servicefragen wende man sich an eine qualiﬁzierte Servicestelle.

Vorsicht

Dieses Symbol weist den Anwender auf wichtige Gebrauchs- und ServiceVorschriften in den beiliegenden Drucksachen.

Dieses Symbol verweist auf nicht-isolierte Stromspannungen im Geräte-Innern, welche zu einem elektrischen Schlag führen könnten.

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

INSTRUKTIONEN BETR. FEUERRISIKO, ELEKTROSCHOCK ODER VERLETZUNG VON PERSONEN

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

Lesen Sie vor dem Einschalten des Audity 2000 alle Instruktionen.

Zur Vermeidung von Verletzungsrisiken müssen Kinder bei eingeschaltetem Audity 2000 sorgfältig überwacht werden.

Audity 2000 nicht in der Nähe von Wasser in Betrieb nehmen -- z.B. in der Nähe von Badewannen, W aschschüsseln, auf nassen Gestellen oder am Swimmingpool.

Audity 2000 stets so aufstellen, dass seine Belüftung nicht beeinträchtigt wird.

Audity 2000 nicht in der Nähe von Hitze aufstellen, wie Heizkörper, offenem Feuer, Öfen oder von Backöfen.

Audity 2000 ausschliesslich mit einem Netzgerät gemäss Bedienungsanleitung und Gerätemarkierung verwenden.

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

Audity 2000 kann mit einem polarisierten Kabelstecker (mit ungleichen Stiften) ausgerüstet sein. Das geschieht für Ihre Sicherheit. Können Sie den Stecker nicht in die Steckdose einführen, ändern Sie nicht den Stecker ab, sondern wenden Sie sich an einen Elektriker.

Das Netzkabel des Audity 2000 bei längerem Nichtgebrauch aus der Steckdose ziehen.

Audity 2000 Operations Manual 7

Foreign Language Warnings - German

10.

11.

12.

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

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

Servicearbeiten sollten nur qualiﬁzierten Fachleuten anvertraut werden.

VORSICHT

Unvorschriftsgemässer einbau der Batterie kann zum Risiko einer Explosion führen. Ersetzen Sie die Batterie nur mit der gleichen oder einer von E-mu empfohlene Sorte. Werfen Sie die alten Batterien weg, wie es der Hersteller anweist.

DIESE INSTRUKTIONEN AUFBEWAHREN

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Foreign Language Warnings - French

Instructions de Sécurité Importantes

Foreign Language W arnings

- French

Instructions de Sécurité Importantes

Instructions de Mise à la Terre

Danger

Attention

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

Cet appareil doit être relié à la terre. Dans le cas d’une malfonction éventuelle, la terre fournit un passage de moindre résistance pour le courant électrique, réduisant ainsi les risques d’électrocution. L ’Audity 2000 est équipé d’un cordon muni d’un conducteur et d’une ﬁche devant être branchée dans une prise appropriée et reliée à la terre en conformité avec les normes locales.

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

Si l’Audity 2000 est installé dans un rack, utilisez un rack standard ouvert de 48.25cm.

Instructions de Maintenance

L’Audity 2000 doit être maintenu propre et sans poussière. Nettoyez-le

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

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

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

Audity 2000 Operations Manual 9

Foreign Language Warnings - French Instructions de Maintenance

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

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

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

Lisez bien toutes les instructions avant d’utiliser l’Audity 2000.

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

nécessaire en la présence d’enfants en bas âge. N’utilisez pas l’Audity 2000 dans ou près d’endroits humides - par

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

L’Audity 2000 doit être placé de façon à ce que sa position n’interfére

e symbole vous alerte de la présence d’instructions importantes d’opération et

e maintenance dans la notice accompagnant l’appareil.

Ce symbole vous alerte de la présence d’un voltage non-isolé dangereux à l’intérieur de l’appareil, pouvant être d’une magnitude sufﬁsante pour constituer un risque d’électrocution.

pas avec sa propre ventilation. L’Audity 2000 doit être placé loin de sources de chaleur telles que des

radiateurs, cheminées, fours, ou groupies en chaleur. L’Audity 2000 doit uniquement être connecté à une alimentation du

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

Une attention particulière doit être observée quant aux objets pouvant

tomber et aux liquides pouvant être versés sur et à l’intérieur de l’Audity

2000. L’Audity 2000 peut être équipé d’une ﬁche secteur polarisée (avec une

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

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

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

Le cordon d’alimentation de l’Audity 2000 doit être débranché lorsque

10.

ce dernier n’est pas utilisé pendant une longue période. Cet appareil, combiné avec un ampliﬁcateur, des haut-parleurs, et/ou

11.

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

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

12.

10 E-mu Systems, Inc.

Foreign Language Warnings - French

Interférences Radio et Télévision

Cet appareil doit être examiné par un personnel qualiﬁé lorsque:

13.

A. Le cordon d’alimentation a été endommagé, ou B. Des objets sont tombés, ou du liquide a été versé sur/à l’intérieur

de l’appareil, ou C. L’Audity 2000 a été exposé à la pluie, ou D. L’Audity 2000 est tombé, ou E. L’Audity 2000 ne fonctionne pas normalement, ou afﬁche un

changement radical de performance.

Tout service doit être effectué par un personnel qualiﬁé.

14.

Attention

Interférences Radio et Télévision

Danger d’explosion si la etterie n’est pas correctement remplacée. Pour remplacer la batterie, utilisez une batterie de meme type, ou d’un type ‘equivalent recommand’e par E-mu. Suivez les instructions du faricant pour vous d’earrasser de la etterie usée.

SAUVEGARDEZ CES INSTRUCTIONS

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

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

Si l’Audity 2000 occasionne des interférences , vous pouvez essayer de les corriger en utilisant une ou plusieurs des mesures suivantes:

•

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

•

Déplacez l’Audity 2000 d’un côté ou de l’autre de la télé ou de la radio.

•

Eloignez l’Audity 2000 de la télé ou de la radio.

•

Branchez l’Audity 2000 sur une prise différente que la télé ou la radio.

•

Installez une antenne sur le toit munie d’une connexion coaxiale entre elle et le poste de télévision.

Audity 2000 Operations Manual

Foreign Language Warnings - French Interférences Radio et Télévision

E-mu Systems, Inc.

Setup

This section thoroughly describes how to set up your new Audity 2000 for use. Setup includes unpacking instructions and how to connect the Audity 2000 cables.

Unpacking Carefully remove Audity 2000 from the packaging material. Take care to

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

Your Audity 2000 should include the following components:

• Audity 2000 unit

• Power cable

• 10 ft. MIDI cable

• Rack mounting ears

• This Operations Manual

Audity 2000 Operations Manual 13

Setup Connection Instructions

Connection Instructions

Basic Setup



The headphone output

monitors the main outputs only.

The submix outputs do NOT feed into the headphone output.



If Audity 2000 does not seem to be responding correctly, make sure that both Audity 2000 and your MIDI controller are set to the same MIDI channel.

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

Control Pedal

Male RCA plug

Male Phono Plug

Aux. or Tape In

MIDI Out

Main Outs

Amp

The Headphone

Output is located

on the Front Panel

Main Outs to Mixer In

Mixer

Speakers

Home Stereo

System

Home Studio

System

MIDI In

Audity 2000 is controlled by MIDI messages received at the MIDI In connector. Connect the MIDI In of the Audity 2000 to the MIDI Out connector of a controller such as a MIDI keyboard, MIDI wind controller or MIDI guitar controller.

Outputs

Audity 2000 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. The S/PDIF output duplicates the function of the main output.

14 E-mu Systems, Inc.

Studio Setup

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

MIDI Out

Computer

MIDI

Interface

Out In

Computer

Out

Connection Instructions

Additional

MIDI

Devices

MIDI In

Setup

Mixer

Amp

MIDI In

In this setup, Audity 2000 is controlled by MIDI messages, received at the MIDI In connector, which are routed by the MIDI interface. The MIDI interface allows any MIDI controller, such as a MIDI keyboard, MIDI wind controller or a computer to be connected to the module easily.

MIDI Out

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

Outputs

Three sets of programmable stereo outputs (Main, Sub 1, and Sub 2) are provided. The internal effects are available only on the Main outputs. Speciﬁc presets (or MIDI channels) can be routed to one of these stereo pairs in order to be processed further or mixed separately. The S/PDIF output duplicates the function of the main output.

Audity 2000 Operations Manual 15

Setup Connection Instructions

Performance Setup

MIDI Controller

(Launchpad, MIDI Keyboard, Sequencer)

CONTROLLERS

EDIT PARAMETERS TRANSPOSE

OFF

+OCT

-OCT

INC

SAVESELECT CONTROL

+2OCT

-2OCT

D D#

+3OCT

-3OCT

DEC

PITCH

LAUNCH PAD

PERFORMANCE CONTROLLER

PERFORMANCE SELECT

SONG BANK PRESET

MIDI CLOCK

TRIGGERS

TRANSPORT

MODULATION

13 6810

TRIGGERS/TRANSPORT

RTZMODE

MIDI CHANNEL

4 5

6 12 11

PLAY

REC

STOPFFWDREW

11975421

MIDI Out

Sub Output Return

(To Main Output)

Additional

MIDI

Device

MIDI In

Digital Effect Device

Volume Mix Data Entry Control 1 Control 2 Control 3 Control 4

Effect: Swirling Reverb Parameter Edit

Send

Send/Return

Effect Device

Main Outs to Mixer In

S/PDIF In

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 In

Audity 2000 is controlled by MIDI messages received at the MIDI In connector . Connect the MIDI In of Audity 2000 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 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. The S/PDIF output duplicates the function of the main output.

16 E-mu Systems, Inc.

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

Setup

Connection Instructions

If you insert a stereo plug, the ring of the 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.

You can use the Sub 1 and Sub 2 jacks as send/returns in order to further process selected Audity 2000 presets without using the effects bus on the mixing board. In a pinch, the effect returns can be used to sum additional instruments into the main outputs. It’s like having an extra line mixer when you need just one more input.

Output Section

Effects

Processors

L Bus

R Bus

Tip

You can use the Sub 1 and Sub 2 jacks as effect returns to the Main Outputs.

Tip

Ring

SUB 2

Note that the Effects Processors are only routed to the Main Outputs.

Ring

Tip

Ring

SUB 1

Ring

MAINS

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

turn on the Audity 2000 and its MIDI controller in any order . When power is applied, the liquid crystal display will light, indicating that Audity 2000 is operating. You may have noticed that there is no 110/220 Volt power selector switch on Audity 2000.

Audity 2000 automatically switches itself to the proper line voltage.

Audity 2000 Operations Manual 17

Setup Instant Gratiﬁcation

Instant Gratiﬁcation

Playing the Demo Sequences

The demos play continuously in sequential order until you press the Enter button to stop the Demo Sequence.

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

Audity 2000 has four factory demo sequences that let you hear what Audity can do. You can play any of these demo sequences using the Demo Sequence page of the Master menu.

DEMO SEQUENCE 1 2 3 4

Enter = Start -> = Next

v To Play a Demo Sequence

1. Press the Master menu button on the front panel.

2. Use the Data Entry Control to scroll to the Demo Sequence screen.

3. Advance the cursor to the Sequence Number ﬁeld and select a sequence

number (from 1 to 4).

4. Press the Enter button to start playing the sequence.

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

6. Press the right cursor key to advance to the next sequence.

7. Repeat steps 2, 3 and 4 to listen to all of the Demo Sequences.

Selecting and Quick Editing Presets

18 E-mu Systems, Inc.

The most fundamental operation with the Audity 2000 is to select and play the factory provided presets. Audity 2000 comes with 896 presets (you can create and save your own, but that comes later). Because of the standard MIDI speciﬁcation which allows only 128 presets, Audity 2000 presets are organized into seven banks containing 128 presets each. The preset is identiﬁed in the bottom line of the main screen (the screen that appears when you ﬁrst power up the unit). The preset number is three digits long and ﬁrst in the line. The bank containing the preset is identiﬁed by a superscript number right after the preset number followed by the preset name as shown in the following illustration.



Preset Banks 0 and 1 are copies of Banks 5 and 6 so you can make changes to the presets in the ﬁrst two banks without worrying about wrecking the factory presets.

Arpeggiator

Setting

Channel

Number

Initial Volume Setting

Initial

Pan

Setting

C01 Vol127 Pan00 Arp:P

000 - default preset -

Setup

Instant Gratiﬁcation

Exploring the Master Arpeggiator

Blinking

Cursor

Preset

Number

Bank

Number

Preset Name

v To Change the Preset

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

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

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

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

3. Play the keyboard and listen to the sounds made by your Audity 2000!

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

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

Audity’s multi-channel Pattern Generator/Arpeggiator is one of the greatest features ever put in a synthesizer. Let’s start by exploring the Master Arpeggiator.

v To Arpeggiate a Single Preset:

1. Select a preset. Note that the factory presets all have preﬁxes which

describe the type of sound. For this investigation it might be best to choose a preset with the preﬁx “arp,” for arpeggiator. These presets are optimized for use with the arpeggiator.

2. Set the Arp parameter in the main screen to “M” for Master

Arpeggiator.

Audity 2000 Operations Manual 19

Setup Instant Gratiﬁcation

Try using the control knobs to change the arpeggiator parameters. The control knobs can be used to edit parameters in the Master, Arp and Edit menus.

C01 Vol127 Pan00 Arp:M

1234 arp:Breeder Dink

Press the ARP menu button on the front panel to access the master Arpeggiator menu. The following screen appears.

MASTER ARPEGGIATOR

tatus on

4. Make sure the arpeggiator Status is “on.” Play the keyboard to start

arpeggiating.

5. Press either cursor key repeatedly to move the cursor below the Status

ﬁeld.

6. Turn the Data Entry Control clockwise one click. The Mode screen

appears.

MASTER ARPEGGIATOR

Mode u

7. Use the cursor keys to move the cursor to the Mode ﬁeld (up, down, up/

down, forw asgn, backw asgn, forw/backw, random, pattern). Try out the different modes as you play the keyboard.

8. Move the cursor back to the lower left position and explore the other

parameters. The Note Value parameter changes the rate of the arpeggios. By the way, note value is a divisor based on the Master Tempo (which has its own front panel button). Try changing the tempo, but come right back.

9. Let’s check out the pattern generator. Go back to the Mode screen and

set the mode to “Pattern”.

10. Now advance to the Pattern screen (shown below) and move the cursor

to the Pattern Number ﬁeld (the second ﬁeld from the left).

MASTER ARPEGGIATOR

Pattern 3

80 Inversions

20 E-mu Systems, Inc.

See the Arpeggiator Chapter for detailed information on creating Patterns.

Setup

Instant Gratiﬁcation

11. Try the various patterns. There are 200 permanent factory patterns and

100 user locations to store the patterns you create. Each pattern can have up to 32 notes.

Multi-Channel Arpeggiator

Audity 2000 is totally unique in its ability to run up to 16 arpeggiators at once! Even two or three patterns at once can create very complex sequences and dynamic landscapes of sound.

Here’s one way to access this ultra-powerful feature. There is one arpeggiator for each MIDI channel. In order to arpeggiate on multiple channels, you’ll need a controller that can output multiple MIDI channels at once.

Arp on Chan 1

Arp on

Chan 2

Arp on

Chan 3

MIDI In

MIDI Out

REAL TIME CONTROLLERS

ASSIGNABLE KEYS

PRESET

SAMPLE

SEQUENCER

EMULATOR

EXIT

PRESET SELECT

LEVEL

ENTER

PAGE

RETURN

0.987654321

Master Keyboard transmitting on

MIDI channels 1, 2, 3

Connect a multi-channel controller to Audity to unleash its true potential!

1. Set up your MIDI keyboard so that it outputs the entire keyboard range

on MIDI channels 1, 2, and 3. This procedure varies with the type of keyboard you own.

2. Put Audity 2000 into Multi mode. This is located on the MIDI Mode

page in the Master menu.

Audity 2000 Operations Manual 21

Setup Instant Gratiﬁcation

Don’t forget that you can adjust the volume and pan position for each channel. Sometimes a simple volume change will bring out hidden rhythms and patterns.

From the main screen, turn the arpeggiator “on” for MIDI channels 1 and 2. (We’re only using two for now to keep it simple.) Select a different preset for each MIDI channel while you’re at it.

C01 Vol127 Pan00 Arp:on

123

4. Start playing. You should be hearing two arpeggiators playing at once.

5. Change presets on one or both of the MIDI channels you are using

(1 & 2). Since each factory preset has differently programmed arpeggiator settings, changing the preset not only changes the sound, but the arpeggiator as well.

6. Press the Control Select button on the front panel so that the “ARP”

LED is illuminated. Adjust the front panel control knobs. Remember that the knobs are controlling the arpeggiator on the channel displayed in the main screen.

7. Try changing one of the channel’s arpeggiator setting to “M” instead of

“on.” Now press the Arpeggiator menu button on the front panel and adjust the arpeggiator parameters in real-time.

8. From the Master Arpeggiator menu, set the Mode to “Pattern” then

explore the different patterns. There are 200 patterns available!

wav:Super Saw

22 E-mu Systems, Inc.

MASTER ARPEGGIATOR

Pattern 99

You’re starting to get the picture of how versatile and easy to use the Audity 2000 really is.

Pattern Name

Operations

Control

Button

Headphone

Jack

Volume Control

Realtime/Arpeg.

Control Knobs

Display

Clock

Master

Arpeg.

Edit

Save/

Copy

Cursor

Controls

Home/

Enter

Power

Switch

Data

Entry

Front Panel The Audity 2000 front panel contains an LCD screen, nine buttons and

four real-time controllers. Functions are grouped logically and the controls are arranged for ease of use. Precisely because Audity is so simple to use, you might be tempted to skip this section. If you just can’t help yourself, at least read the Real-time Controller inforamtion begining page 25. There are several “power user” features in the interface which make programming even easier and we wouldn’t want you to miss them.

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

Control does not affect any editing or user interface operations.

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

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

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

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

Arpeggiator Button The Arpeggiator menu contains parameters that affect the master

arpeggiator. It also contains the User Pattern programming functions. An illuminated LED to the right of the button indicates that you are in the Arpeggiator menu.

Audity 2000 Operations Manual 23

Operations Front Panel

Left/Right Cursor Buttons

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

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

Clock Button The Clock button allows you to change the Master Tempo of the unit.

Rotate the Data Entry Control to change the Master Tempo. The ﬂashing LED to the right of the button pulses steadily to indicate that you are in the Clock menu. At all other times, the LED displays the current clock tempo by ﬂashing on every beat.

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

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

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

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

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

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

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

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

24 E-mu Systems, Inc.

Operations

Front Panel Controller Modes

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

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

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

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

Front Panel Controller Modes

The Real-time Controller Knobs serve three purposes.

1. Real-time control of synthesizer parameters

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

3. “Deep Editing” the parameters

This section describes each of the three uses.

Real-time Control The Controller knobs provide direct control of the Audity 2000’s synthe-

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

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

The ﬁrst two Control Rows generate MIDI A-H messages that can control the preset on the current MIDI channel (the channel showing on the Preset and main screen. The destination names (for example Filter Cutoff, Filter Attack) printed on these rows are only a template to show how the factory ROM presets are programmed to respond. You can chang the way a preset responds to MIDI A-H messages from the Edit menu (PatchCords).

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

If the “Knobs MIDI Out” parameter in the Master menu (see “Knobs MIDI Out” on page 61) is set to “transmit,” the system sends a MIDI controller message when you turn off the Control knob. The MIDI controller message is sent on the current MIDI channel (also called the basic channel) using the controller number assigned in the Master menu (see “Real-time Controller Assignment” on page 58).

Audity 2000 Operations Manual 25

Operations Front Panel Controller Modes

The third Control Row generates messages that control the Arpeggiator. Since the Arpeggiator is multi-channel, the knobs control the Arpeggiator on the current MIDI channel. If “Knobs transmit MIDI” in the Master menu is set to “transmit,” a MIDI controller message is sent when you turn the Control knob.

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

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

preset without having to enter the Preset Edit menu. This mode is only active when on the Preset Select screen and when “Quick-Edit” is enabled in the Master menu (see “Knob Preset Quick-Edit” on page 60).



If Quick Edit is enabled, the Arpeggiator knobs will quick edit the preset.

The Master Arpeggiator cannot be quick edited.

Initial controller values can be stored in every preset. When you move a knob with Quick-Edit enabled, the Initial Controller Value is updated with the knob’s new value. The knob’ s LED lights indicating that the preset value has been changed. The ﬁrst two Control Rows’ MIDI A-H values are stored in the corresponding Initial Controller Amount parameter in the Edit menu (see “Initial Controller Amount” on page 126). The Save/Copy button LED illuminates to remind you that the preset has been edited. “Quick-Edits” made to a preset are lost if you select another preset before saving them.

v To Quick-Edit a Preset

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

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

desired.

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

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

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

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

5. Press the Enter button to save the preset.

Deep Edit When in the Master, Edit, or Arpeggiator menus, you can use the Controller

Knobs to edit parameters. This is called “Deep Edit” mode. Using the Controller Knobs is a faster method for entering data, but the Data Entry Control offers ﬁner precision.

v To Enable the Deep Edit Mode:

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

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

KNOBS DEEP EDIT

26 E-mu Systems, Inc.

disabled

Operations

A/E

B/F

C/G

D/H

Front Panel Controller Modes

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

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

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

When you enter any of the Edit menus:

1. The four Controller Knobs are used for editing.

2. All the Controller LEDs are off.

3. All the Control Row LEDS are off.

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

KEY: LO FADE HIGH FADE

C-2 000 G8 000

A/E

B/F

C/G

D/H

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

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

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

Audity 2000 Operations Manual 27

Operations Main Screen

Main Screen The Preset Select screen is Audity 2000’s default screen (sometimes called

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

C01 Vol127 Pan=00 Arp:off

036

pad: 2ManyDolphins

MIDI Channel Selection



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

v To Change the MIDI Channel

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

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

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

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

Preset Selection v To Change the Preset

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

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

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

are arranged into 7 banks of 128, as shown in the diagram at left.

• Select banks independently of the of the preset number by pressing the

Bank Contents

128 RAM Presets

128 ROM Presets

Home/Enter button while turning the Data Entry Control.

C01 Vol127 Pan=00 Arp:off

000

Preset Name

28 E-mu Systems, Inc.

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

Operations

Main Screen

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

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

v To Change the Channel Volume

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

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

Volume range is 000-127.

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

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

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

v To Change the Channel Pan

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

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

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

Channel Arpeggiator This function controls the arpeggiator for each MIDI channel. When the

channel arpeggiator mode is set to Off, then there is no arpeggiation on that channel, regardless of what is setup in the master Arpeggiator menu or preset. If the channel arpeggiator is On, the preset’s arpeggiator is used, regardless of whether or not it is turned on in the Edit menu. This lets you turn on arpeggiation from the main screen.

If the mode is set to “P” (for preset), the preset’s arpeggiator settings and on/off status is used. If the mode is set to “M” (for master), the master arpeggiator settings and on/off status (located in the Arpeggiator menu) are used.

v To Change the Channel Arpeggiator Status

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

arpeggiator ﬁeld.

2. Rotate the Data Entry Control to select arpeggiator status values “Off,

On, P or M.”

Audity 2000 Operations Manual 29

Operations Multitimbral Operation

Multitimbral Operation

Multitimbral operation means that Audity 2000 can play more than one sound at the same time. Follow these instructions to access multiple presets on different MIDI channels simultaneously.

v To Set Up Multitimbral Operation

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

the Master menu.

2. Decide which MIDI channels you want the Audity 2000 to receive (you

can select and play up to 16 channels simultaneously). Turn all other channels OFF using the MIDI Enable function in the Master menu.

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

Audity 2000 to receive using the MIDI Channel/Preset selection screen (see previous instructions).

4. Audity 2000 now responds multitimbrally on each of the MIDI

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

Volume

Channel 01

Pan Arp

PRESET

Volume

Channel 02

Channel 03

Channel 16

Each of the 16 MIDI channels can be assigned to play a speciﬁc Audity 2000 preset.

Pan Arp

Volume

Pan Arp

Volume

Pan Arp

PRESET

30 E-mu Systems, Inc.

Arpeggiator Menu

An arpeggiator moves a pattern of notes sequentially over a range of the keyboard. Audity 2000 has the unique ability to play a different arpeggiator on each MIDI channel!

Arpeggiator settings can be deﬁned as part of the preset (using the Arp parameters in the Edit menu), or globally in the Arpeggiator menu. The preset and master arpeggiators have the same parameters which we deﬁne in this chapter.

The Arp ﬁeld in the main screen deﬁnes which arpeggiator settings will be used. “M” uses the master Arpeggiator settings and on/off status (as deﬁned in the Arpeggiator menu). “P” uses the preset’s arpeggiator settings and on/ off status (as deﬁned in the Edit menu). Choosing “On” uses the preset’s arpeggiator settings regardless of whether or not it is turned on in the Edit menu and Off turns off the arpeggiator for that channel regardless of the settings and status speciﬁed in either menu.

C01 Vol127 Pan00 Arp:on

003

All arpeggiators share Audity 2000’s master clock and its current setting. The master clock can be Audity 2000’s internal clock or an external MIDI clock. Although the arpeggiators use the master clock setting, the tempo divisor can be unique for each arpeggiator setup.

Arpeggiator modes include up, up/down, forward assign, backward assign, forward/backward assign and random as well as play Patterns. Patterns are pre-recorded sequences of notes and rests. All key-on notes play the pattern. For example, if you play a chord, all the notes in the chord play the pattern in harmony. Audity 2000 contains 200 factory patterns and 100 user deﬁnable patterns.

nse:Modular Ring

Audity 2000 Operations Manual 31

Arpeggiator Menu Master Arpeggiator

Master Arpeggiator

v To Access the Master Arpeggiator Parameters

1. Press the Arpeggiator menu button lighting the LED. The Arpeggiator

menu screen displays the menu page most recently selected since powering up Audity 2000. The cursor appears below the ﬁrst character of the screen heading on line one.

2. Use the right cursor button to advance the cursor to the ﬁrst ﬁeld in the

bottom line of the screen.

3. Now, use the Data Entry Control to access the various master

Arpeggiator parameters.

Status The Status parameter turns the Master Arpeggiator on and off. The Channel

Arpeggiator setting in the main screen overrides this setting. For example, if you set the Arpeggiator in the main screen to “off,” and turn it “on” here, it still will not play.

MASTER ARPEGGIATOR

Status off

Mode The Mode parameter determines the direction or pattern mode of the

arpeggiated notes.

MASTER ARPEGGIATOR

Mode up

The eight arpeggiator modes are:

• Up Held notes arpeggiate continuously from lowest to highest pitch.

• Down Held notes arpeggiate continuously from highest to lowest pitch.

• Up/Down Held notes arpeggiate continuously from lowest to highest pitch, then from highest to lowest, then repeat this cycle.

• Fwd Assign Held notes arpeggiate continuously in the order in which the keys were pressed.

32 E-mu Systems, Inc.

Arpeggiator Menu

Master Arpeggiator

• Bkwd Assign Held notes arpeggiate continuously in the reverse order in which the keys were pressed.

• Fwd/Bkwd Held notes arpeggiate continuously in the order in which the keys were pressed, then arpeggiate in the reverse order that they were pressed. The cycle is then repeated.

• Random Held notes arpeggiate continuously in a random fashion.

• Pattern Held notes play the selected pattern (see “Pattern” on page 34 for details).

Note Value The Note Value determines the duration of each note played. This

parameter is used in non-pattern mode only.



Note value has no effect when the mode is set to “pattern.”

MASTER ARPEGGIATOR

Note Value 1/8 dot

Following is a list of possible Note Values and the relative number of clocks used for each.

Note Value MIDI Clock

Double Whole Note . . . . . . . . . . 192

Dotted Whole Note . . . . . . . . . . . 144

Double Note Triplet. . . . . . . . . . . 128

Whole Note. . . . . . . . . . . . . . . . . 96

Dotted Half Note . . . . . . . . . . . . 72

Whole Note Triplet . . . . . . . . . . . 64

Half Note . . . . . . . . . . . . . . . . . . 48

Dotted Quarter Note . . . . . . . . . . 36

Half Note Triplet . . . . . . . . . . . . 32

Quarter Note. . . . . . . . . . . . . . . . 24

Dotted Eighth Note . . . . . . . . . . . 18

Quarter Note Triplet. . . . . . . . . . . 16

8th Note . . . . . . . . . . . . . . . . . . . 12

Dotted 16th Note . . . . . . . . . . . . 9

8th Note Triplet . . . . . . . . . . . . . 8

16th Note . . . . . . . . . . . . . . . . . . 6

Dotted 32nd Note . . . . . . . . . . . . 4.5

16th Note Triplet . . . . . . . . . . . . 4

32nd Note. . . . . . . . . . . . . . . . . . 3

Audity 2000 Operations Manual 33

Arpeggiator Menu

A/E

A-D

E-H

ARP

B/F

C/G

D/H

Master Arpeggiator

Arpeggiator Pattern Speed

The Front Panel knobs control the Arpeggiator on the Basic Channel.

The Arpeggiator Pattern Speed parameter lets you change the playback rate of Patterns by 1/4x, 1/2x, 1x (normal), 2x or 4x normal speed. In addition, you can change the pattern speed from the front panel using the Arp A/E knob. This knob changes the note value when in Arpeggiator mode or the Pattern Speed when in Pattern mode. The Arpeggiator control knob functions are shown in the following diagram.

A-D

E-H

ARP

A/E

Note Value/

Pattern Speed

B/F

Extension Velocity Gate

C/G

D/H

MASTER ARPEGGIATOR Pattern Speed 2x

Pattern This ﬁeld lets you choose the pattern used when the arpeggiator Mode is set

to “Pattern.” There are 200 factory programmed patterns and you can create an additional 100 user deﬁnable patterns (see “Editing a User Arpeggiator Pattern” on page 41).

MASTER ARPEGGIATOR

Pattern 99

Pattern Name

Velocity The Velocity parameter determines the velocity at which each note arpeg-

giates. Velocity can be deﬁned by the velocity value speciﬁed (from 1 through 127), or by the actual velocity of the played note (played). Bear in mind that velocity values do not have an effect on the sound unless the preset is programmed to respond to velocity.

MASTER ARPEGGIATOR

Velocity played

34 E-mu Systems, Inc.

Arpeggiator Menu

Master Arpeggiator

Gate Time The Gate Time parameter works together with the Note Value parameter.

Just as Note Value deﬁnes the length of a note, the Gate Time sets the percentage of the Note Value time played. This can have a dramatic effect on the sound depending on how the envelope generators are programmed.

MASTER ARPEGGIATOR

Gate 100%

With a Gate Time setting of 100% the note is held on until the next note starts. The envelope generators never advance to the Release stages. With a Gate Time setting of 50%, the note is released halfway through the note cycle and the envelope generators proceed to their release stages until the next note occurs. Refer to the following illustration.

Selected Note Value (8th notes, 16th notes, etc.)

Gate Time

100%

75%

50%

25%

The note-on time is used for the start-of-time when calculating note durations. See “Duration” on page 38.

key-on

time

key-on

time

key-on

time

Audity 2000 Operations Manual 35

Arpeggiator Menu Master Arpeggiator

Extension Count The Extension Count parameter speciﬁes how many times the Extension

Interval is carried out. With an Extension Count of 0, the arpeggio plays only the notes pressed. With an Extension Count of 1, the arpeggio plays the notes pressed, then plays the same notes (in the same order), transposed by the Extension Interval amount. The cycle is then repeated.

MASTER ARPEGGIATOR

Extension Count 4

For example, with the Extension Interval set to 12 (an octave) and an Extension Count of 2, and with the Arpeggiator Mode set to Fwd Assign, if you played E2, then C2, then G2, the arpeggiated sequence would consist of: E2, C2, G2, then E3, C3, G3, and then E4, C4, G4. The Extension Count values range from 0 through 15. Refer to the following illustration.

Back

123 456 789

Extend 1

Played

Extend 2

Extension Interval The Extension Interval speciﬁes the additional intervals played when you

press a key. For example, suppose you played C2 with an Interval of 7 (a Major 5th), Up mode, and an Extension Count of 2. The arpeggio alternates between C2 and G2.

The Extension Interval values range from 1 through 16.

MASTER ARPEGGIATOR

Extension Interval 7

36 E-mu Systems, Inc.

Arpeggiator Menu

Master Arpeggiator

Sync The Sync parameter deﬁnes when a note is played in relation to when the

key is pressed. When set to “Key Sync”, the note sounds the instant a key is pressed. When set to “Quantized”, the note does not sound until the next occurrence of the selected note value.

MASTER ARPEGGIATOR

Sync key sync

The following diagram illustrates how Key Sync and Quantize work.

Key

Pressed

Note Sounds

Immediately

Key Sync

Quarter Notes

Note Doesn't Sound until

the Next Quarter Note

Quantize

Quarter Notes

Delay The Delay value determines how long the arpeggiator is delayed before

becoming active after the ﬁrst “note-on.” During the delay period, notes are played normally (as if the arpeggiator was off). After the delay period has elapsed, the arpeggiator kicks in. Once you release all the keys on the controller, the delay starts over with the next note-on. In combination with the Duration parameter, Delay lets you change preprogrammed or played arpeggio patterns to create many more variations.

MASTER ARPEGGIATOR

Delay off

Audity 2000 Operations Manual 37

Arpeggiator Menu Master Arpeggiator

Duration This parameter deﬁnes how long the arpeggiator plays before stopping. The

Duration is speciﬁed in note values. Therefore if an arpeggio were running at a 16th Note Value and the Duration were set to a whole note, the arpeg- giator would play 16 steps before stopping. After the duration has elapsed, the arpeggiator remains inactive until the key is released.

MASTER ARPEGGIATOR

Duration 1 / 1d

Duration can be used to modify the patterns and increase the possible pattern combinations and variations. Because this parameter limits the length of arpeggiator play time, it can change the arpeggio pattern when the Duration is less than the length of the arpeggio. You can set the arpeggio to repeat continuously using the Recycle function described below .

Recycle This parameter works together with the Duration and Delay parameters.

When these are enabled without the Recycle parameter turned on, the pattern or arpeggio normally stops. The Recycle function instantly resets the pattern to the beginning after the duration value has elapsed and repeats the pattern or arpeggio.

MASTER ARPEGGIATOR

Recycle off

Keyboard Thru When enabled, Keyboard Thru merges the notes not arpeggiated with the

arpeggiated notes. This gives the effect of two parts playing at once.

MASTER ARPEGGIATOR

Keyboard Thru off

38 E-mu Systems, Inc.

Arpeggiator Menu

Master Arpeggiator

Latch With Latch mode On, any notes you play remain on until you press them

again. Latched notes can be halted by turning Latch off in this screen, or by turning off the Arpeggiator for the channel in the main screen.

MASTER ARPEGGIATOR

Latch on

Key Range Use the Key Range parameter to set the keyboard range for the arpeggiator.

Notes inside the range will arpeggiate while notes outside the speciﬁed range will not arpeggiate. Use the Extensions parameters to exceed the upper boundary of the Key Range (see the information about Extensions beginning on page 36).

MASTER ARPEGGIATOR

Key Range C-2->G8

Move the cursor under the ﬁrst key and use the Data Entry Control to deﬁne the lowest key to be arpeggiated. Move the cursor under the second key value and use the Data Entry Control to deﬁne the highest key to be arpeggiated.

Audity 2000 Operations Manual 39

Arpeggiator Menu Arpeggiator MIDI Out

Arpeggiator MIDI Out

MIDI Song Start

This parameter selects whether or not the Arpeggiator note data is sent to the MIDI out port. The MIDI Out feature lets you use the Audity 2000 as an arpeggiator for your other MIDI instruments. It also lets you record the arpeggios into a MIDI sequencer.

ARP MIDI OUT

don’t transmit

This function enables or disables MIDI Song Start for the arpeggiator. The MIDI Song Start option restarts the arpeggiator or pattern to the beginning when a MIDI Song Start command is received. This feature is useful for synchronizing arpeggios and pattern when recording into, or playing along with a sequencer.

MIDI SONG START

Send MIDI System Exclusive Data



Send data as you would a regular sequence. Sending data in one huge chunk may clog the MIDI input buffer on Audity 2000.

enabled

Transmits the Arpeggiator Patterns via the MIDI out port as MIDI System Exclusive data to another Audity 2000 or to a computer/sequencer for backup. Using the cursor key and the Data Entry Control, select the MIDI data you want to transmit. See Send MIDI System Exclusive Data in the Master chapter for additional details about recording SysEx.

User Patterns

Transmits all the User patterns.

000 to 990

Transmits only the individual pattern you have selected.

SEND MIDI SYSEX DATA

ll User Arp Patterns

40 E-mu Systems, Inc.

Arpeggiator Menu

Editing a User Arpeggiator Pattern

Bank 0 = User Patterns Bank 1 = Factory Patterns Bank 2 = Factory Patterns

Before editing a Pattern, select Master Arpeggiator (M) in the main screen and set the Arpeggiator to the Pattern you are editing. This lets you hear the Pattern as you edit it.

Audity 2000 lets you create and edit your own arpeggiator patterns. Using the Edit User Pattern menu, you can create up to 100 user patterns and each pattern can be up to 32 steps in length.

When you edit a pattern, you are writing directly into memory—no Save command is required. This is different from the Edit menu where you must Save a preset before it will be overwritten. If you want to modify an existing pattern and keep the original, you must ﬁrst COPY the pattern you want to edit to another location using the function in the Copy menu (see “Copy Arpeggiator Settings” on page 162). Refer to the instructions below and the following parameter descriptions to create your own patterns.

EDIT USER PATTERN

Mod Spinach

v To Select the Pattern to Edit

1. From the Edit User Pattern screen shown above, move the cursor to the

bottom line and select the pattern you want to edit. The Enter LED begins ﬂashing.

2. Press the Enter button to conﬁrm that you want to edit the selected

pattern. The “User Pattern Edit” page appears.

PTRN KEY VEL DUR RPT

S01 +0 ply 1/8 2

Pattern Step Number

Pattern Step

number

You can setup up to 32 steps for each arpeggiator pattern. This ﬁeld selects which step you will be editing from 1 to 32.

Key offset Velocity Duration Repeat

Key This parameter deﬁnes what happens during the current step. The Key

parameter can do one of ﬁve different operations. Following is a description of each of the key functions and how to use them.

Audity 2000 Operations Manual 41

Arpeggiator Menu Editing a User Arpeggiator Pattern

Key Offset

This parameter deﬁnes not the actual note of the arpeggiator playback, but instead speciﬁes the amount of offset, in semitones, from the original note played. You can set a Key Offset from -48 to +48 for each step. For example, if you play a “C” on the keyboard with the Key Offset amount for the ﬁrst step set to “+1,” the ﬁrst step in the pattern will be “C#.”

+12-12 0 +24-24 +36-36-48 +48

IMPORTANT: The Gate function in the arpeggiator MUST be set to 100% when using the tie function, otherwise the tied note is retriggered instead of extended.

Played

Note

Tie

This function extends the duration of notes beyond the values given in the duration ﬁeld by “tying” notes together. You can tie together any number of consecutive steps.

Step 1

Rest

Instead of playing a note, you can deﬁne the step as a Rest. The Duration parameter speciﬁes the length of the rest. Rests can be tied together to form longer rests.

tie

Step 2

+ OffsetOffset

-5

Step 3

42 E-mu Systems, Inc.

Skip

This command simply removes the step from the pattern. The Skip feature makes it easy to remove an unwanted step without rearranging the entire pattern. You’ll be happy to know that the velocity, duration and repeat parameters are remembered if you decide to put the step back later.

End

This command signals the end of the pattern. Any steps programmed after the step containing the End command are ignored.

Arpeggiator Menu

Editing a User Arpeggiator Pattern

Velocity Each note in the pattern plays using either a preset velocity value (from

1 through 127), or using the actual velocity of the played note (ply). Note: Velocity values will not have an effect on the sound unless velocity is

programmed to do something in the preset.

Duration This parameter sets the length of time for the current step, deﬁned as a note

value, based on the Master Tempo. The selectable note durations are described below.

1/32 32nd Note 1/16t 16th Note Triplet 1/32d Dotted 32nd Note 1/16 16th Note 1/8t 8th Note Triplet 1/16d Dotted 16th Note 1/8 8th Note 1/4t Quarter Note Triplet 1/8d Dotted Eighth Note 1/4 Quarter Note

1/2t Half Note Triplet 1/4d Dotted Quarter Note 1/2 Half Note 1/1d Dotted Whole Note 1/1t Whole Note Triplet 1/2d Dotted Half Note 1/1 Whole Note 2/1t Double Whole Note

Triplet

2/1 Double Whole Note

Repeat Each step can be played from 1 to 32 times. A repeat setting of “1” indicates

the step will be played one time (not repeated one time or played twice).

v To Edit a User Pattern

1. The ﬁrst ﬁeld in the Edit User Pattern ﬁeld deﬁnes the pattern’s step

number. Start with the pattern Step 01.

2. Deﬁne the Key Offset, Velocity, Duration and Repeat values.

3. Repeat steps 1 and 2 until you have setup the desired number of steps

in the pattern.

4. Set the Key Offset to “End” on the last step in the pattern.

Audity 2000 Operations Manual 43

Arpeggiator Menu User Pattern Name

User Pattern Name

The User Pattern Name page lets you enter a name for any User Arpeggiator Pattern.

PTRN KEY VEL DUR RPT

S01 +0 ply 1/8 2

v To Name a User Pattern

1. From the Pattern Edit screen shown above, position the cursor under

the PTRN ﬁeld.

2. Turn the Data Entry Control clockwise. The following screen appears.

USER PATTERN NAME

Mod Spinach

3. Move the cursor to the bottom line and edit the Pattern name using the

Data Entry Control and Cursor keys.

4. Move the cursor to the “Home” position (shown above) by pressing the

Home/Enter button, then turn the Data Entry Control counterclockwise one click to return to the Pattern Edit screen.

5. Turn the Data Entry Control counterclockwise multiple clicks to jump

back to the main Arpeggiator menu screen.

44 E-mu Systems, Inc.

Arpeggiator Menu

Multi-Channel Arpeggiating

One of the coolest features in Audity 2000 is its ability to run multiple arpeggiators at the same time. The interactions of multiple note sequences can be complex and fascinating. Audity 2000 lets you run up to sixteen arpeggiator patterns at once! Even two or three patterns at once can create very complex sequences and dynamic landscapes of sound.

Arp on Chan 1

REAL TIME CONTROLLERS

ASSIGNABLE KEYS

SEQUENCER

Arp on Chan 2

MIDI Out

PRESET

SAMPLE

EMULATOR

Arp on

Chan 3

MIDI In

LEVEL

EXIT

ENTER

PAGE

PRESET SELECT

0.987654321

RETURN

Master Keyboard transmitting on

MIDI channels 1, 2, 3

Here’s one way to use this ultra-powerful feature. There is one arpeggiator for each MIDI channel. In order to arpeggiate on multiple channels, you need a controller that can output multiple MIDI channels at once.

1. Set up your MIDI keyboard so that it outputs the entire keyboard on

MIDI channels 1 and 2. This procedure varies with the type of keyboard you own. Refer to the owner’s manual that came with your keyboard for instructions.

2. Put Audity 2000 into Multi mode. This is located in the Master menu,

MIDI Mode page.

3. On the main screen, turn the arpeggiator “on” for MIDI channels 1 and

2. (We’re only using two channels for now to keep it simple.) Select a different preset for each MIDI channel while you’re at it.

C01 Vol127 Pan00 Arp:on

123

4. Start playing. You should be hearing two arpeggiators playing at once.

wav:Super Saw

Audity 2000 Operations Manual 45

Arpeggiator Menu Using a MIDI Interface to Channelize Data

Try experimenting with presets and settings. For example:

• Change presets on one or both of the MIDI channels you are using (1 & 2). Since each factory preset has differently programmed arpeggiator settings, changing the preset not only changes the sound, but the arpeggiator settings as well.

• Press the Control button on the front panel to select the “ARP” Control Mode (the LED in the third row is illuminated). Adjust the front panel control knobs. These knobs control the arpeggiator on the channel displayed in the main screen.

• Try changing one of the channel’s arpeggiator setting to “M” instead of “on.” Now press the Arpeggiator Menu button and adjust the arpeggiator parameters in real time.

• From the Master Arpeggiator menu, set the Mode to “Pattern” then explore the different patterns. There are 200 patterns available!

MASTER ARPEGGIATOR

Pattern 99

Pattern Name

Using a MIDI Interface to Channelize Data

Now you’re getting the picture. This machine is beyond awesome!

Not all keyboards or controllers can transmit on multiple MIDI channels at once. If your MIDI controller only transmits on a single MIDI channel, there are other ways to use the Multi-Channel Arpeggiators. A MIDI interface such as Mark of the Unicorn’s MIDI T ime Piece®, or a MIDI switch box will convert data on one channel to any other channel or channels.

MIDI

MIDI In

INTER

FACE

Data on Channels 1, 2, 3

MIDI Out

MIDI OUTMIDI IN

MIDI In

MIDI Out

Older Keyboard which only

transmits on MIDI Channel 1.

MIDI Interface

46 E-mu Systems, Inc.

Your MIDI Interface may be able to output MIDI data on multiple channels at once.

Master Menu

The Master menu contains functions that affect the overall operation of Audity 2000. For example, changing the Master Tune parameter changes the tuning of all the presets, not just the one currently displayed.

v To enable the Master menu

Press the Master button, lighting the LED. The Master Menu screen displays the menu page most recently selected since powering up Audity 2000. The cursor appears below the ﬁrst character of the screen heading on line one.

v To select a new screen

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

v To modify a parameter

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

v To return to the main screen

Press the Master button, turning off the LED.

Audity 2000 Operations Manual 47

Master Menu Deﬁning Master Parameters

Deﬁning Master

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

Parameters

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

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

Audity 2000 to other instruments. The master tuning range is ± 1 semitone in 1/64th semitone increments (1.56 cents). A master tune setting of “+00” indicates that Audity 2000 is perfectly tuned to concert pitch (A=440 Hz).

MASTER TRANSPOSE TUNE

+00 semitones +00

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

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

48 E-mu Systems, Inc.

MASTER BEND RANGE

+/- 7 semitones

Master Menu

Deﬁning Master Parameters

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

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

MASTER VELOCITY CURVE

120 100

60 40

Result Velocity

Linear

Played Velocity

120 100

Curve 9

60 40

Result Velocity

Played Velocity

120 100

Curve 2

60 40

Result Velocity

100

120

100

120

Played Velocity

120 100

60 40

Result Velocity

100

120

Curve 13

100

120

Played Velocity

For a complete list of all available velocity curves, see “Velocity Curves” on page 166 of the Appendix.

Audity 2000 Operations Manual 49

Master Menu Deﬁning Master Parameters

Mix Output The Mix Output parameter assigns the outputs according to MIDI channel

instead of using the output assignments made in each preset. Y ou can select the Main, Sub1 or Sub2 outputs, or Preset. When Preset is selected, the output assignment deﬁned in the Preset Edit menu is used.

The Mix Output function is very useful when sequencing because it lets you route speciﬁc MIDI channels to speciﬁc Submix outputs. From there they can be processed externally with EQ or other outboard effects.

MIX OUTPUT

channel 01 : use preset

MIX

MIDI Ch. 1

MIDI Ch. 2

MIDI Ch. 3

MIDI

Ch. 16

OUTPUT

Main

Sub 1

Sub 2

50 E-mu Systems, Inc.

Master Menu

Master Effects

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

the Edit menu) or in the Master menu to affect all presets. Since there are only two effect processors, you cannot assign a different effect to each preset when in Multi mode.

The Master Effects settings assign the effect processors “globally” for all presets. They provide a way to use the effects in Multi mode or let you use the built-in effects as you would an external effects device.

You might want to program the effects on a global basis when in Omni or Poly modes. For example, you can choose your favorite reverb and have it apply to every preset you select. Detailed information is presented in the Effects chapter (see Effects on page 145).

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

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

Effects Multi Mode Control

FX MODE

enabled

There are two effects engines in the Audity 2000 which provide a lot of versatility. When in multi mode, you can “use master settings” which applies the Master menu effects settings to all 16 channels.

FX multi mode CONTROL

use master settings

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

FX multi mode CONTROL

preset on channel 1

Audity 2000 Operations Manual 51

Master Menu Master Effects

Master FXA Algorithm

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

MASTER FXA ALGORITHM

Room 1

A Effect Types

1. Room 1

2. Room 2

3. Room 3

4. Hall 1

5. Hall 2

6. Plate

7. Delay

8. Panning Delay

9. Multitap 1

10. Multitap Pan

11. 3 Tap

12. 3 Tap Pan

13. Soft Room

14. Warm Room

15. Perfect Room

16. Tiled Room

17. Hard Plate

18. Warm Hall

19. Spacious Hall

20. Bright Hall

21. Bright Hall Pan

22. Bright Plate

23. BBall Court

24. Gymnasium

25. Cavern

26. Concert 9

27. Concert 10 Pan

28. Reverse Gate

29. Gate 2

30. Gate Pan

31. Concert 11

32. Medium Concert

33. Large Concert

34. Large Concert Pan

35. Canyon

36. DelayVerb 1

37. DelayVerb 2

38. DelayVerb 3

39. DelayVerb 4 Pan

40. DelayVerb 5 Pan

41. DelayVerb 6

42. DelayVerb 7

43. DelayVerb 8

44. DelayVerb 9

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Master Menu

Master Effects

FXA Parameters: Decay/HF Damping FxB -> FxA

This page lets you deﬁne the parameters of the selected Effects algorithm. Use this page to setup the effect decay, high frequency damping amount and to route “B” effects through the “A” effects. See “Effect Parameters” on page 147 for more details.

FXA DECAY HFDAMP FxB>FxA

040 096 001

FXA Submix Routing These parameters set the effects amounts for each of the three stereo effects

busses. See “Master Effects” on page 150 for detailed information.

FXA Main : 10%

Sub1 : 20% Sub2 : 30%

Master FXB Algorithm

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

MASTER FXB ALGORITHM

Chorus 1

Audity 2000 Operations Manual 53

Master Menu Master Effects

B Effect Types

FXB Parameters: Feedback/LFO Rate Delay Time

1. Chorus 1

2. Chorus 2

3. Chorus 3

4. Chorus 4

5. Chorus 5

6. Doubling

7. Slapback

8. Flange 1

9. Flange 2

10. Flange 3

11. Flange 4

12. Flange 5

13. Flange 6

14. Flange 7

15. Big Chorus

16. Symphonic

17. Ensemble

18. Delay

19. Delay Stereo

20. Delay Stereo 2

21. Panning Delay

22. Delay Chorus

23. Pan Delay Chorus 1

24. Pan Delay Chorus 2

25. Dual Tap 1/3

26. Dual Tap 1/4

27. Vibrato

28. Distortion 1

29. Distortion 2

30. Distorted Flange

31. Distorted Chorus

32. Distorted Double

The FXB parameters setup the characteristics of the effect. Use this page to deﬁne the feedback amount, the LFO rate and delay amount for the selected type “B” effect. See “Effect Parameters” on page 147 for details.

FXB FEEDBK LFORATE DELAY

000 003 0

FXB Submix Routing These parameters set the effects amounts for each of the three stereo effects

busses. See the Effects chapter for detailed information.

FXB Main : 10%

Sub1 : 20% Sub2 : 30%

54 E-mu Systems, Inc.

Master Menu

MIDI Parameters

MIDI parameters control how the Audity 2000 sends and receives MIDI data.

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

mode.

MIDI MODE CHANGE

omni ignored

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

The MIDI modes are as follows:

Omni

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

Poly

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

Multi

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

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

SysEx ID lets an external programming unit to distinguish between multiple Audity 2000 units connected to the same preset editor . In this case each unit must have a unique SysEx ID number.

WARNING: When transferring SysEx data from one Audity 2000 to another, the ID numbers of both units must be the same.

MIDI SYSEX ID

000

Audity 2000 Operations Manual 55

Master Menu MIDI Parameters

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

when in Multi mode. This feature is helpful when you have other devices connected to the same MIDI line and do not want the Audity 2000 unit to respond to the MIDI channels reserved for the other devices.

MIDI ENABLE

channel 01 : On

Because the MIDI Enable function only makes sense in you are in Multi mode, Audity 2000 disables this feature when in Omni or Poly mode.

In Multi

Mode

In Omni

Mode

MIDI ENABLE channel 01 : on

MIDI ENABLE (using Omni mode)

MIDI Bank Audity has seven banks of 128 presets each. The MIDI speciﬁcation allows

for 128 presets (without using a MIDI Bank Select command). This function lets you select which bank of 128 presets is used for incoming MIDI Program Change commands. Each MIDI channel can be set to any one of Audity 2000’s 7 preset banks. Audity 2000’s MIDI Bank parameter lets you access all 896 presets without having to send a “MIDI Bank Select” command from an external MIDI source such as your controller or sequencer.



The MIDI Bank Select command (See MIDI Specs in the Appendix) is recognized by Audity 2000 and can also be used to change banks.

MIDI BANK

channel 01 : 4

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Master Menu

MIDI Parameters

MIDI Program -> Preset



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

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

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

For example, you could set up the Program -> Preset map to call up preset #12 whenever Audity 2000 receives MIDI program change #26.

MIDI PROG CHNG -> PRESET

Mapped

Program

Selected Program

000 000

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

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

Audity 2000 Operations Manual 57

Master Menu

2 3 4 5

MIDI Parameters

Receive Program Change

Real-time Controller Assignment

Use this function to instruct the Audity 2000 to utilize or ignore incoming MIDI preset changes or Bank Select commands for each channel. Use the cursor buttons to select the channel number ﬁeld, then use the Data Entry Control to select a channel number. Use the cursor button again to select the On/Off ﬁeld and the Data Entry Control to change the value.

RECEIVE PROGRAM CHANGE

channel 01 : On

Use these two pages to assign eight real-time control sources. Each MIDI Controller is assigned a letter (A - H). The front panel Controller Knobs and eight MIDI controller numbers share the A-H controller routings. MIDI realtime controllers are numbered from 1 to 31. In this screen you set up which controllers will be received over MIDI. The Real-time Controller assignment also speciﬁes which controller numbers are transmitted when the “Knobs MIDI Out” is enabled (see “Knobs MIDI Out” on page 61). The PatchCord parameters in the Edit menu deﬁne the effect the controller has on each preset.

REALTIME CONTROLLER #

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

REALTIME CONTROLLER #

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

Note: Controllers 7 and 10 are already assigned to Volume and Pan for each MIDI channel.

Following are a few of the standardized MIDI Controller numbers.

1 - Modulation Wheel

- Breath Controller

- Aftertouch

- Foot Pedal

- Portamento Time

6 - Data Entry

7 - Volume 8 - Balance 9 - Undeﬁned 10 - Pan 11 - Expression

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Master Menu

MIDI Parameters

Arpeggiator Controller Assign

MIDI Footswitch Assign

Use this page to assign four MIDI real-time control sources to the four front panel arpeggiator functions. The arpeggiator controllers use the “single byte” MIDI real-time controller message format and use controllers numbered from 70 to 95. In this screen you set up which controller

numbers will be received over MIDI and which controller numbers will be transmitted if the arpeggiator controls are turned. The “Knobs MIDI

Out” feature must be enabled in order to transmit the Arp controllers (see “Knobs Deep Edit” on page 60).

ARP CONTROLLER# 1: 95 2: 81 3: 82 4: 83

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

FOOTSWITCH CONTROLLER #

1: 64 2: 65 3: 66

Following are a few of the standardized MIDI Switch numbers.

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

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

Tempo Controller This function lets a MIDI controller change the Global Tempo. The Global

Tempo is used for the arpeggiators, tempo-based envelopes, clock divisors and synced LFOs. You can assign any controller number from 0-31, mono key pressure, or the pitch wheel to change the Global Tempo. A different controller can be used to change the tempo up or down. The Pitch Wheel can be assigned to both the up and down parameters to vary the tempo up and down from a single controller. If any other controller is assigned to both the up and down parameters, Audity 2000 redeﬁnes the center of the controller’s range as zero.

Audity 2000 Operations Manual 59

Master Menu MIDI Parameters

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

TEMPO CONTROLLER# CHAN

Up: 03 Down: 09 16

Knob Preset Quick-Edit



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

Knobs Deep Edit

Knobs Deep Edit “disabled” is included in the Master Settings SysEx data dump.

“Quick-Edit” changes the initial controller setting in the preset whenever you move a Control Knob. This parameter selects whether or not the front panel Controller Knobs are used to Quick-Edit the currently selected preset. See “Controller Knobs” on page 25 in the Operations chapter for more details.

KNOBS PRESET QUICK-EDIT

disabled

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

KNOBS DEEP EDIT disabled

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Master Menu

MIDI Parameters

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

transmitted when you turn the front panel Controller knobs. The knobs transmit on the controller numbers deﬁned by the Real-time Controller Assign parameter (see page 58) or the Arpeggiator Controller Assign parameter on page 59 if using the knobs as Arpeggiator Controllers.



Knobs MIDI Out does not work while in any of the editing menus (Master, Edit, Clock, Save/Copy).

KNOBS MIDI OUT

don’t transmit

Front Panel Knob Calibration

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

v To Calibrate the Front Panel Control Knobs

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

CALIBRATE KNOBS

Press Enter to Begin Calibration

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

screen appears.

Turn all knobs to MIN

Press Enter when ready

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

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

Audity 2000 Operations Manual 61

Master Menu MIDI Parameters

Turn all knobs to MAX

Press Enter when ready

Turn all knobs to their maximum value (pegged in the clockwise position), then press the Enter button. The display shows, “Reading Values… Done.” Calibration is complete.

MIDI SysEx Packet Delay

Send MIDI System Exclusive Data

Sometimes errors occur if the computer or sequencer to which you are sending MIDI SysEx data is faster or slower than the Audity 2000. The MIDI SysEx Packet Delay command lets you specify the amount of delay between MIDI SysEx packets so the input buffer of your computer does not overﬂow causing an error. The value range is from 0 through 8000 milliseconds. A Delay value of zero allows full speed MIDI transfer. If you are experiencing data transmission errors, try increasing the delay value until the problem disappears.

MIDI SYSEX PACKET DELAY

300 milliseconds

This command transmits MIDI System Exclusive (SysEx) data to the MIDI Out port of Audity 2000. The MIDI data can be sent to a computer, sequencer or to another Audity 2000. When transferring data between two Audity 2000s be sure both units have the same SysEx ID number! See “MIDI SysEx ID” on page 55 to learn how to change the SysEx ID.

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

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Master Settings

Transmits all parameters in the Master menu except Tuning Table, Program/Preset Map, Multi mode Map settings (see below), and Viewing Angle.

Program /Preset Map

Transmits the MIDI Program -> Preset Map.

Tuning Table

Transmits only the User Tuning Table.

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

WARNING: When transferring SysEx data from one Audity 2000 to another, the ID numbers of both units must match.

Master Menu

MIDI Parameters

Multi Mode Map

Transmits the following parameters:

• Multi Mode Basic Channel

• Multi Mode Effects Control Channel

• Multi Mode Tempo Control Channel

and for each MIDI Channel…

• Preset, Volume, & Pan

• Mix Output

• Multi Mode Channel Enable

• Multi Mode Bank Map

• Multi Mode Receive Program Change

Bank 0 User Presets

Transmits all the user deﬁned presets in Bank 0.

Bank 1 User Presets

Transmits all the user deﬁned presets in Bank 1.

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 Audity 2000 from another Audity or from a computer/sequencer.

SEND MIDI SYSEX DATA

bank 1 user presets

v To Record MIDI SysEx Data into a Sequencer:

1. Setup the sequencer to receive system exclusive data.

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

v To Receive MIDI SysEx Data from a Sequencer:

Simply play back the sequence into Audity 2000.

Audity 2000 Operations Manual 63

Master Menu MIDI Parameters

User Key Tuning User Key Tuning lets you modify the user deﬁnable tuning table. The initial

frequency of every key can be individually tuned, facilitating the creation of alternate or microtonal scales. Using the cursor key and the Data Entry Control, select the key name, the coarse tuning and the ﬁne tuning. The key name is variable from C-2 to G8. Coarse Tuning is variable from 0 to 127 semitones. The ﬁne tuning is variable from 00 to 63 in increments of 1/64 of a semitone (approx. 1.56 cents). For each preset, the speciﬁc tuning table (Equal, Just C, Vallotti, 19-Tone, Gamelan or User) is selected in the Edit menu.

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

USER KEY TUNING

Key: C1 Crs: 036 Fine: 00

Output Format The Output Format parameter sets the audio output format and optimizes

the audio output to whichever format is selected. The three available formats are analog, S/PDIF, and AES pro. Choose analog if you primarily use the analog audio outputs. If you are using the digital output, choose either S/PDIF or AES pro to match the format of the receiving device.

OUTPUT FORMAT

analog

The Audity 2000 contains a S/PDIF digital output. The diagram below shows how an adapter cable for AES pro should be wired.

To AES

Audity 2000

Digital OUT

Device

N.C.

If you use an adapter cable to connect the S/PDIF digital audio output to AES gear, make sure to use high quality, low capacitance cable.

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Master Menu

MIDI Parameters

Playing Demo Sequences

Audity 2000 has four factory demonstration sequences that let you hear what this incredible machine can do. You can play these demo sequences by accessing the Demo Sequence page.

DEMO SEQUENCE 1 2 3 4

Enter = Start -> = Next

v To Play a Demo Sequence

1. Advance the cursor to the Sequence Number ﬁeld and select a sequence

number (from 1 to 4).

2. Press the Enter button to start playing the sequence.

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

4. Press the right cursor key to advance to the next sequence.

5. Repeat steps 2, 3 and 4 to listen to all of the Demo Sequences.

6. Press the Enter button to stop playing the sequence. Press the Master

menu button to return to the main screen.

Screen Viewing Angle

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

VIEWING ANGLE

Audity 2000 Operations Manual 65

Master Menu Clock Menu

Clock Menu Although the Clock has its own button on the front panel, we have

included its instructions here in the Master Menu chapter because it is a global control.

v To Enable the Clock menu

Press the Clock button, lighting the LED. Change the tempo using the Data Entry Control.

v To Return to the Main Screen

Press the Clock button, turning off the LED.

Master Tempo The Master Tempo controls the speed of Audity’s master clock. The master

clock controls all the arpeggiators, the synced LFOs, and the Envelope Generators when they are in Tempo-based Mode. The master clock is also available as a modulation source in the PatchCord section in the Edit Menu chapter. Rotate the Data Entry Control to change the Master Tempo. The LED to the right of the button blinks at the current tempo.

MASTER TEMPO

20 bpm

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

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Programming Basics

This chapter explains how Audity 2000 sounds are constructed and contains important background information on how to create your own custom presets.

Your initial involvement with Audity 2000 will most likely be using the existing presets and selecting MIDI channels. While the factory presets are very good, there are some things you will probably want to change eventually, perhaps the LFO speed, the ﬁlter frequency or the attack time. 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.

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

Audity 2000 has an extensive modulation implementation using two multiwave LFO’s (Low Frequency Oscillators), three multi-stage envelope generators and the ability to respond to multiple MIDI controllers. You can simultaneously route any combination of these control sources to multiple destinations.

Audity 2000 Operations Manual 67

Programming Basics Modulation

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

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

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

Audity 2000 is designed so that each of the variable parameters, such as the volume, has an initial setting which is changed by a modulation source. Therefore in the case of volume, we have an initial volume that we can change or modulate with a modulation source. Positive modulation adds to the initial amount. Negative modulation subtracts from the initial amount.

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Programming Basics

Modulation Sources

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

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

could be routed to automatically turn the volume control as programmed by the envelope, or, a low frequency oscillator could be routed to turn the volume control up and down in a repeating fashion. The following is a list of the modulation sources used in Audity 2000.

Keyboard Key

Which key is pressed.

Key Velocity

How fast the key is pressed.

Release Velocity

How fast the key is released.

Gate

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

Key Glide

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

Pitch and Mod Wheels

Synthesizer pitch bend and modulation wheels.

Keyboard Pressure (mono aftertouch)

Key Pressure applied after the key is initially pressed.

Pedal

A continuously variable pedal controller.

Miscellaneous Controllers A -H

Any type of MIDI continuous controller data.

Low Frequency Oscillators (2 per layer)

Generate repeating waves.

Envelope Generators (3 per layer)

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

Noise & Random Generators

Generate spectrums of noise and random signals.

Footswitches

Change a parameter when the switch is pressed.

Clock Divisor

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

Audity 2000 Operations Manual 69

Programming Basics Modulation PatchCords

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

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

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

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

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

Modulation PatchCords



The controller Knobs assignments printed on the front panel are the system defaults. You can change any of these assignments using the Real-time Controller Assignment page in the Master menu (see page 58 for details).

When setting up modulation with the Audity 2000, you deﬁne a modulation source and a modulation destination. Then, you connect the source to the destination using “PatchCords.” Audity 2000’ s PatchCords are connected in the software. Audity 2000 has 24 general purpose PatchCords for each layer.

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

Modulation

Source

LFO 1

Modulation

Source

Amount +/-

- +

Destination

Amp

Volume

Destination

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LFO 1 LFO 2

Amp Env

Filt Env

Aux Env

Wheel

Pressure

etc.

Amp Vol

Pitch

Pan

LFO Rate

Aux Env

Env Atk

Glide

etc.

Programming Basics

Envelope Generators

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

This is how the rate/level envelopes work: When a key is pressed, envelope starts from zero and moves toward the Attack 1 Level at the Attack 1 Rate. As soon as it reaches this ﬁrst level, it immediately begins the next phase and moves toward the Attack 2 level at the Attack 2 rate. As long as the key is held down, the envelope continues on through the Decay 1 and Decay 2 stages. If the key is still held when the envelope reaches the end of Decay 2, it simply waits there for you to release the key. When you release the key, the envelope continues into the Release 1 and Release 2 stages, stopping at the end of the Release 2 stage. Audity 2000’s envelope generators provide great ﬂexibility for programming both complex and simple envelopes.

Atk2

Atk1

level

Dcy1

Dcy2

Rls1

Rls2

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

time

Sustain

Key

Down

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

• Volume envelopes contour the way the volume of a sound changes over time determining how we perceive that sound. For example, a bell struck with a hammer is instantly at full volume, then slowly dies away. A bowed violin sound fades in more slowly and dies away slowly. Using Audity 2000’s Volume Envelope, you can simulate the different types of natural instrument volume envelopes by programming them appropriately.

Key

Released

Audity 2000 Operations Manual 71

Programming Basics Low Frequency Oscillators (LFOs)

Low Frequency Oscillators (LFOs)

A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The Audity 2000 has two multi-wave LFOs for each channel. The LFO waveforms are shown in the following illustration.

Triangle

Sawtooth

SquareSine

25% Pulse33% Pulse

12% Pulse16% Pulse

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

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

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

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Programming Basics

Clock Modulation

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

Negative Amount

Clock Modulation



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

Sawtooth

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

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

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

Inverted Sawtooth

Triggered LFO

LFO Wave

Clock

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

Audity 2000 Operations Manual 73

Programming Basics Clock Modulation

LFO Synced to 1/4 Note Clock

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

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

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

• Switch between Auxiliary and Filter Envelope retriggering using a

slider or footswitch.

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

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

• Route multiple clocks with different divisors to the same destination

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

Eighth

Note

Quarter

Note

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

16th Note

8th

Note

Quarter

Note

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Adding multiple clocks with unequal amounts produces complex repeating patterns.

Programming Basics

Modulation Destinations

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

PATCHCORD #01

ModWhl -> RTXfade +036

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

Layer

Instrument

Z-Plane

Filter

Freq. Gain

Vol

Amp

Pan

Glide

Pitch

Mod

Wheel

Chorus

Envelope

Gen.

Envelope

Gen.

MIDI

Controls

Envelope

Key #

Velocity

Gate

Gen.

Mod. Proc.

Start Offset

LFOs

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

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

Audity 2000 Operations Manual 75

Programming Basics Modulation Processors

Modulation Processors

Modulation processors are devices which can modify modulation sources such as LFOs and envelope generators before they are applied to a destination. Modulation processors let you create patches and do tricks which would not be possible otherwise. Audity 2000 implements the following modulation processors:

Switch

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

Switch

(above zero)

Summing Amp

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

Sum

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Lag Processors

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

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

Lag

Processor

Absolute Value

This function inverts negative input values and outputs only positive values.

Absolute

Value



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

Programming Basics

Modulation Processors

Diode

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

Diode

Flip-Flop

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

Flip-Flop

Quantizer

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

# of

Steps

Size of

Steps

Quantizer

4x Gain

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

Gain

Lag Inputs

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

Sum Node

Lag

Lag 0

Lag 0 sum

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Programming Basics Modulation Processors

Using the Modulation Processors

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

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

Velocity

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

Cord Cord

PATCHCORD #01

Switch

Switch On when

Velocity > 0

Switch value is Scaled by

Cord Amount

Pitch

Vel+- -> Switch +100

PATCHCORD #02

Switch -> Pitch +022

This particular modulation shifts the overall pitch up a ﬁfth when the key velocity exceeds 64. Velocities below 64 play at normal pitch. Velocities of 64 and above are raised a perfect ﬁfth. The Velocity “~” source scales the played velocity around zero. In other words, low velocities (below 64) will have negative values and high velocities (64 and above) will be positive. A velocity of 64 would be zero. The Switch module only outputs a “1” if the input value is greater than zero. This digital “1” value can be scaled through the attenuator on the PatchCord to raise or lower the pitch by any amount. In this case, a scaling value of +22 raises the pitch by a perfect ﬁfth. The amount of the PatchCord on the input to the switch is unimportant because ANY velocity value equal or greater than 64 will ﬂip the switch. If the input PatchCord amount were a negative value however, the action of the velocity would be reversed and velocities less than 64 would raise the pitch and velocities equal or greater than 64 would play the original pitch.

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Programming Basics

Modulation Processors

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

Velocity ~

Cord

Switch

Switch On when

Velocity > 0

Cord

Switch value is Scaled by

Cord Amount

Pitch

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

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

PATCHCORD #01

Vel+- -> Switch +100

PATCHCORD #02

DC -> Switch -021

PATCHCORD #03

Switch -> Pitch +022

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

generator through one of the Lag Processors. A smooth random wave is useful in small amounts to add a degree of natural variation to timbre when routed to ﬁlter cutoff. Normal pink noise is low pass ﬁltered audio frequency noise with a 3 dB/octave slope to give equal energy per octave.

Audity 2000 Operations Manual 79

Programming Basics Modulation Processors

Audity pink noise is actually more like very low frequency ﬁltered noise, but it is perfect for use as a random control source.

Pink

Noise

Cord Cord

Lag

Processor

Lag Smooths

Pink Noise

Filter

Cutoff

Smooth

Random Function

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

Number

Steps

Quantizer

Cord Cord

Size

Steps

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

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

LFO1 SHAPE SYNC

sawtooth key sync

LFO1 RATE DELAY VAR

0.35Hz 000 000

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

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

Programming Basics

Modulation Processors

L1 PatchCord #01

LFO1+ -> Quantize +030

L1 PatchCord #02

Quantize -> Pitch +100

L1 PatchCord #03

DC -> Pitch -050

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

LFO+

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

Now, using what you’ve learned about modulating processors, see if you can make the Filter Envelope automatically loop.

Number

100%

Quantizer

Cord Cord

Cord

-50%

Size

100%

Pitch

Audity 2000 Operations Manual 81

Programming Basics

Dynamic Filters

The block diagram of the Audity 2000’s signal path is shown below.

Instrument

Pitch

Glide

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

Glide

Retrigger

Start Offset

Filter

Freq. VolQ

Z-Plane

Amp

Pan

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

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

100

Amplitude

40 80 160 360 720 1440 2880

Frequency

...

Programming Basics

Dynamic Filters

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

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

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

100

Output of Filter

Cutoff Frequency

Low Pass

Filter

Amplitude

40 80 160 360 720 1440 2880

...

Frequency

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

100

Initial Frequency

Filter Output

High Pass

Filter

Amplitude

40 80 160 360 720 1440 2880

Frequency

Audity 2000 Operations Manual 83

...

Programming Basics Dynamic Filters

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

100

Center Frequency

Filter

Output

Band Pass

Filter

Amplitude

40 80 160 360 720 1440 2880

Frequency

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

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

...

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Low Q Med Q High Q

Amplitude

Frequency

Programming Basics

Dynamic Filters

Another characteristic of a ﬁlter is the number of poles it contains. Traditional synthesizer ﬁlters were usually either 2-pole or 4-pole ﬁlters. The Audity 2000 has selectable 2, 4, 6, and even 12-pole low-pass ﬁlters. The number of poles in a ﬁlter describes the steepness of its slope. The more poles, the steeper the ﬁlter's slope and the stronger the ﬁltering action. The tone controls on your home stereo are probably one-pole or two-pole ﬁlters. Parametric equalizers are usually either two-pole or three-pole ﬁlters.

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

Amplitude

6-pole Lowpass

4-pole Lowpass

2-pole Lowpass

Frequency

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

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

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

Audity 2000 Operations Manual 85

Programming Basics Dynamic Filters

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

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

+18 dB

Boost

Freq.

Parametric

Filter

0 dB

Amplitude

Cut

-18 dB

Bandwidth

Frequency

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

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

4 Parametric Equalizers

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dB Magnitude

-5 500 10,000 15,000

Linear Frequency - Hertz

20,000

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

Programming Basics

Dynamic Filters

The Audity 2000 Filter

The ﬁlter in Audity 2000 is actually much more complex than the four parametric sections described in the last section. As an example of its power, the diagram below shows one of the various ways that the ﬁlter can be conﬁgured. This amount of ﬁltering is unprecedented in all of electronic music history. (Especially when you consider that we are talking about only one of the 32 channels.)

6 Parametric Equalizer Sections1 Low Pass

Section

In Out

Fc Q Fc

Gain

Right away you can see that we now have 20 different parameters to control. Ah, there's the catch. How can all these parameters be controlled effectively? 20 envelope generators? We don't think so.

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

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

Morph

B Filter

Amplitude

A Filter

Morph

Frequency

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

Filters A and B represent two different complex ﬁlters or “frames.” Changing a single parameter, the Morph, changes many complex ﬁlter parameters simultaneously. Following along the Morph axis you can see

Audity 2000 Operations Manual 87

Programming Basics Dynamic Filters

that the ﬁlter response smoothly interpolates between the two ﬁlters. This is the essence of the Z-plane ﬁlter. Through the use of interpolation, many complex parameters are condensed into one manageable entity.

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

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

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

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Programming Basics

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

reexamine the complete signal path.

Signal Flow

Instrument

Sample

Pitch

Start

Filter

Envelope

Z-Plane

Filter

Freq Q

Velocity

DCA

Volume

Envelope

Pan

Instrument

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

Z-Plane Filter

The Z-Plane Filter is used to shape the harmonic content of an instrument. The ﬁlter envelope is commonly used to shape the harmonic content dynamically over time but the ﬁlter frequency can be modulated by any source. The Q parameter can be modulated only at note-on time. There are 50 types of ﬁlters available. See “Filter Types” on page 111 for a complete list of the ﬁlters.

Digitally Controlled Ampliﬁer (DCA)

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

Pan

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

Audity 2000 Operations Manual 89

Programming Basics MIDI Channels and Real-time Controls

MIDI Channels and Real-time Controls



controls are automatically routed in Audity 2000:

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

The following MIDI

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

Your MIDI keyboard sends out real-time controller information on separate continuous controller numbers. There is a set of 32 continuous controller numbers for each of the 16 MIDI channels. Some of the controllers, such as the modulation wheel, volume, and pan have standardized numbers. For example, volume is usually sent on continuous controller #7. Your keyboard may have other real-time controls such as a control pedal or data sliders which can also be programmed to control the Audity 2000.

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

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Any MIDI controller can be routed to any modulation destination. First, you have to know which controller numbers your keyboard transmits. Most modern MIDI keyboards let you select a controller number for each control on the keyboard. For example, it may let you select a number from 0-31 for the data slider. The realtime controller numbers that the keyboard transmits must match the numbers Audity 2000 is receiving, otherwise nothing will happen when you move the controls.

Suppose you wanted to send the four data sliders on your master keyboard. Audity can handle 8 MIDI controllers (A-H) of your choosing. “MIDI A-H” are simply names for the internal connections that link external MIDI continuous controllers to the PatchCord section of Audity. There are two parts to the connection. First, MIDI controller numbers are assigned to the letters A-H in the Master menu. Next, the letters A-H are connected to synthesizer control parameters in the PatchCord section of the Edit menu. The PatchCord Amount scales the amount of each controller by a positive or negative value.

Programming Basics

MIDI Channels and Real-time Controls

The factory presets have the MIDI A-H controls connected to standard synthesizer functions (marked on the front panel of Audity 2000). By choosing any four of the eight standard functions, your four sliders will work the same on every preset. The chart below shows how this might work if your keyboard transmitted the slider settings on MIDI controllers 12-15.

Control MIDI Controller # Routing Audity Standard Function

Slider 1 12 A Controls Filter Frequency Slider 2 13 B Controls Filter Resonance Slider 3 14 G Controls Volume Attack Slider 4 15 H Controls Volume Decay/Rel.

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 H

Control

Knobs

A/E

B/F

C/G

D/H

Edit Menu

Amount

Patchcord Destinations

Key Sustain Fine Pitch Pitch Glide

Cord

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

Cord

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

Cord

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

Cord

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

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

The four controller knobs on the Audity 2000 front panel work just like MIDI real-time controllers. The four controller knobs are permanently assigned to controllers A-H. Pressing the control button adjacent to the row of knobs selects A-D, E-H or Arpeggiator functions for the knobs. The front panel knob (A-H) and the MIDI controller number assigned to that letter, both control the same parameter that you select in the PatchCord screen.

Audity 2000 Operations Manual 91

Programming Basics MIDI Channels and Real-time Controls

Stereo Mix Outputs Audity 2000 has three sets of polyphonic stereo outputs (Main, Sub 1 and

Sub 2). The channels used by a particular preset or a particular MIDI channel can be directed to appear at any one of these three stereo outputs. This feature is useful for adding 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.

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

MIX

OUTPUT

Preset

000

Preset

022

Preset

012

Preset

127

Preset

018

Preset

120

etc.

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

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

While the Edit menu is activated, all incoming MIDI preset changes on the selected channel are ignored.

Edit Menu

The Edit Menu contains four layers of preset parameters that you can modify and then save as preset information in one of the user preset locations.

There are four instrument layers in the Edit menu. See the illustration on the next page for a description of the Preset Layer model.

v To Access the Edit Menu

Press the Edit button, lighting the LED. The Edit Menu screen displays the menu page most recently selected since powering up Audity 2000. The cursor appears below the ﬁrst character of the screen heading on line one.

v To Scroll through Layers

Place the cursor below the layer ﬁeld. Rotate the Data Entry Control to scroll through the layers.

v To Scroll through Pages

Place the cursor below the page title ﬁeld. This will automatically be done when you press the Home/Enter button. Rotate the Data Entry Control to scroll through the pages.

v To Change a Parameter

Place the cursor below the parameter ﬁeld. Rotate the Data Entry Control to change the parameter value.

Audity 2000 Operations Manual 93

Edit Menu Four Layer Architecture

Four Layer Architecture

Audity 2000 provides a 4 layer instrument structure. Each layer is a complete synthesizer voice with 50 types of ﬁlters, over 64 modulation sources, more than 64 modulation destinations and 24 patchcords to connect everything together. In addition, the four layers can be crossfaded or switched by key position, velocity or any real-time modulation source.

Instrument

Layer 1

Z-Plane Filter

DCA

Pan

Instrument

Layer 2

Z-Plane Filter

DCA

Pan

Instrument

Layer 3

Z-Plane Filter

DCA

Pan

Layer 4

Instrument

Z-Plane Filter

DCA

Pan

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E-MU Systems Audity 2000 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Introduction

Product Description

Overview

Important Safety Instructions

Grounding Instructions

Danger!

Caution!

User Maintenance Instructions

Radio and Television Interference

Caution!

Gefahr

Vorsicht

Unterhaltsinstruktionen für anwender

Vorsicht

Foreign Language Warnings - French

Instructions de Sécurité Importantes

Instructions de Mise à la Terre

Danger

Attention

Interférences Radio et Télévision

Attention

Setup

Unpacking Carefully remove Audity 2000 from the packaging material. Take care to

Connection Instructions

Basic Setup

MIDI In

Outputs

Studio Setup

MIDI Out

MIDI In

Outputs

Performance Setup

MIDI In

MIDI Thru

Outputs

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

Audity 2000 automatically switches itself to the proper line voltage.

Playing the Demo Sequences

Selecting and Quick Editing Presets

Exploring the Master Arpeggiator

Multi-Channel Arpeggiator

Operations

Volume Control

Front Panel The Audity 2000 front panel contains an LCD screen, nine buttons and

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

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

Arpeggiator Button The Arpeggiator menu contains parameters that affect the master

Left/Right Cursor Buttons

Clock Button The Clock button allows you to change the Master Tempo of the unit.

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

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

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

Front Panel Controller Modes

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

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

Real-time Control The Controller knobs provide direct control of the Audity 2000’s synthe-

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

Deep Edit When in the Master, Edit, or Arpeggiator menus, you can use the Controller

Main Screen The Preset Select screen is Audity 2000’s default screen (sometimes called

MIDI Channel Selection

Preset Selection v To Change the Preset

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

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

Channel Arpeggiator This function controls the arpeggiator for each MIDI channel. When the

Multitimbral Operation

Arpeggiator Menu

Master Arpeggiator

Status The Status parameter turns the Master Arpeggiator on and off. The Channel

Mode The Mode parameter determines the direction or pattern mode of the

Note Value The Note Value determines the duration of each note played. This

Arpeggiator Pattern Speed

Pattern This ﬁeld lets you choose the pattern used when the arpeggiator Mode is set

Velocity The Velocity parameter determines the velocity at which each note arpeg-

Gate Time

Extension Count The Extension Count parameter speciﬁes how many times the Extension