Ensoniq SD-1 User Manual

Music

PRODUCTION SYNTH

READ THIS FIRST!

Grounder

This product must be grounded. If it should malfunction or break down, grounding provides a path of feast resistance for electric current to reduce 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 that is properly installed and grounded in accordance with all local codes and ordi- nances.

DANGER: Improper connection of the equipment-grounding conductor can result in the risk of electric shock. Check with a qualified electrician or service personnel if you are in doubt as to whether the

product is properly grounded. Do not modify the plug provided with this product — if it will not fit the

outlet, have a proper outlet installed by a qualified electrician.

InstructionsInstructions

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION TO REDUCE THE DANGER OF ELECTRIC SHOCK

DO NOT REMOVE COVER (OR BACK)

NO USER SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL

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

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

SEE IMPORTANT SAFETY INSTRUCTIONS ON BACK COVER!

lensonia

SD 1

Music Production Synthesizer

Musician's Manual

Version 1.0

SD-1 Musician's Manual:

Written, Designed, and Illustrated by:

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If you have any questions concerning the use of this unit, please contact your authorized ENSONIQ dealer. For additional technical support, or to find the name of the nearest authorized ENSONIQ Repair Station, call ENSONIQ Customer Service at (215) 647-3930 Monday through Friday 9:30 a.m. to 12:00 noon and 1:15 p.m. to 6:30 p.m. Eastern Standard Time. It would be helpful to have the Serial Number of your unit (located on the back panel) ready when calling.

This Manual is copyrighted and all rights are reserved by ENSONIQ Corp. This document may not, in whole or in part, be copied, photocopied, reproduced, translated or reduced to any electronic medium or machine readable form without prior written consent from ENSONIQ Corp. The SD-1 software/firmware is copyrighted and all rights are reserved by ENSONIQ Corp.

Although every effort has been made to ensure the accuracy of the text and illustrations in this Manual, no guarantee is made or implied in this regard.

Tom Tracy, John 0. Senior, Suzanne Kuldell,

and Bill Mcattcheon

IMPORTANT:

"This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause interference to radio and television reception. It has been designed to comply with the limits for a Class R computing device in accordance with the specifications in Subpart I of Part 15 of FCC rules, which are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures,"

* reorient the receiving antenna *

relocate the instrument with respect to the receiver

move the instrument away from the receiver

plug the instrument into a different outlet so that the instrument and receiver are on different branch circuits

"If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful: 'How to Identify

and Resolve Radio-TV Interference Problems.' This booklet is available from the U.S. Government Printing Office, Washington, D.C. 20402. Stock No. 004-000-00345-4."

CAUTION! Danger same or equivalent type recommended by the manufacturer. Discard used batteries according

to manufacturer's instructions. In order to fulfill warranty requirements, the SD—i should be serviced only by an

ENSONIQ

or the ENSONIQ warranty is void. *ENSONIQ, SD-1, VFX, VFXsp, Dynamic Component Synthesis, TransWave, and Poly-Key

trademarks of ENSONIQ Corp.

Repair Station. The ENSONIQ serial number label must appear on the

explosion if battery is incorrectly replaced. Replace only with the

this equipment does cause interference to

authorized

outside of

the

are

Unit

Part # 9310 010001 - B

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Model # MM-70

SD-1 Musician's Manual

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Section 1 — Getting Started

Power Power — Grounding Information AC Line Conditioning Temperature Guidelines Amplification

•

Running Your SD-1 Through a Home Stereo System Powering Up Your SD-1 In a MIDI Configuration Rear Panel Connections Data Entry — Communicating with the SD-1

Soft Buttons Parametric Programming Pages Sub-pages Changing a Parameter Performance Controllers Pressure Cartridge Insertion and Removal Reinitializing the SD-1 Low Battery Voltage — When to Replace the Battery Available Options

Need More Help?

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Section 2 — Playing Sounds and Presets

Program Memory

Bank Buttons Selecting a Sound Choosing Internal, ROM 0, ROM 1 and Cartridge Sounds

Layering (Stacking) a Sound with the Selected Sound

Primary Sound vs. Layered Sounds

About Tracks

Preset Mode vs. Sequencer Mode

About Presets

Preset Memory Selecting Presets

Editing a Preset

Saving a Preset

Avoiding Confusion when using Presets

Replace Program Replacing a Program in a Preset

Replacing a Program and the Effect in a Preset

Performance Tip — Creating Keyboard Splits

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Section 3

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Performance Parameters

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About Performance Parameters Volume Page Pan and Timbre Pages

Key Zone Page

Transpose Page

Release Page and Track Control Patch Select Page Pressure Page

Sustain Page

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Table of Contents

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MIDI Status Page MIDI Channel Page MIDI Program Page

Section 4 — Effects

Understanding SD-1 Effects Program, Preset and Sequencer Effects Selecting Effects Modulators which can be applied to the Effects When are New Effects loaded into the ESP Chip? Performance Control Controllers Routed to Effects Programming Effects The Effect Busses Effect Mixing Effects Parameters

Section 5 — Sequencer Basics

SD-1 Musician's Manual

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Introduction The MIDI Connection Digital Sequencing Loading the Sequencer Operating System from Disk What is a Sequence What is a Song? Sequencer "Transport Controls" Sequencer Status Sequencer Banks Selecting a Sequence or Song Playing Sequences and Songs Sequencer Tracks

Replacing the Program on a Track Layering Programs on The Tracks Pages

Sequencer Tracks and the Performance Parameters

Copying a Preset into 3 Sequencer Tracks Creating a New Sequence or Song Erasing All Sequencer Memory Click Page

Seq Control Page

Using Multi-Track Record

STEP ENTRY

About the SAVE CHANGES... Page Using Sequencer Data Created on a VFXSD Locate Page Edit Times — Using the Autopunch Feature

Edit Times in Song Mode

Setting the Edit Times in Real Time Recording a Sequence Playing Tracks in Audition Mode

"Punching In" on a Track

Playing Along with a Sequence/Auditioning New Sounds MIDI Sequencing on the SD--1— MIDI Connections

MIDI Mode and Channel — Destination Instruments .

MIDI Track Configuration

Recording MIDI Tracks

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Table

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SD-1 Musician's Manual

Additional Sequencer Functions

Song Mode•

Section 6

System Control

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—

Master Page MIDI Control Page

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Recording Controllers into Sequencer Tracks Recording Program Changes Assigning a Track to the Aux. Outputs Using the Aux. Outputs as Separate Mono Outs Track Volume Functions — Mixing, Muting, Soloing Tracks 5 - 36

 Switching Effects in Song Mode Song Tracks Viewing Sequence Tracks in Song Mode Mixing Down Sequence and Song Tracks in Song Mode Notes about Mixdown Mode

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Section 7 — Programming the SD-1

What is a Program?

Voices and Polyphony

Patch Select Buttons

Compare — Using the Compare Button/LED Edit Buffer Abandoning Your Edits Select Voice Page

Group Edit Mode

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Programming

Program Control Page Write Page — Saving a New Program into Memory . .

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the Patch Selects

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Table of Contents

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Section 8

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Voice Programming

SD-1 Voice Configuration

Modulators

About Modulation Selecting a Modulator Modulation Amount Modulation Sources

Wave Page

Wave Class Wave List General Wave Parameters (All Wave Classes)

Type-Specific Wave Parameters SD-1 Exclusive Sounds MULTI-DRUM Wave layouts Pitch Page Pitch Mod Page Filters Page

Filter Configurations Output Page LFO Page

ENV 1, ENV 2, ENV 3 — SD—I Envelopes

Mod Mixer Page

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Table of Contents - 3

Table of Contents

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SD—I Musician's Manual

Section 9

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Pitch

—

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About Pitch-Tables How to Create a Custom Pitch-Table

Editing a Custom Pitch-Table Removing a Custom Pitch-Table Creating and Extrapolating a Custom Pitch Table Creating and Interpolating a Custom Pitch-Table Alternate Tunings for the System Pitch-Table Pitch Table Cartridges About Drum-Maps How to Create a Custom Drum-Map Removing a Drum-Map Editing a Custom Drum-Map Using the Copy page with Drum Maps

-Tables

and Drum-Maps

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Section 10 — Using the Copy Functions

About the Copy Functions MAKE COPY RECALL Special Recall Functions Special Copy Operations

DEFAULT SYSTEM

Useful Applications of the Copy Functions

Copying an effect from one program to another Copying all parameters from one voice to another Copying a complete program to a new location Making a copy of the compare buffer Collecting parts from several sources into the copy buffer

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Section 11

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Storage Functions

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Disk Storage — Using the Disk Drive to Save and Load Data SD-1 Disk File Types Disk Capacity — Bytes, Blocks and Files File Banks SD-1 Disk Functions

Format

Copy Save

Load

Delete

MIDI Sys-Ex

Sending Programs Sending Presets, Sequencer Data, and All Data

Cartridge

Copying Programs from Internal to Cartridge Copying Programs from Cartridge to Internal Copying Presets from Cartridge to Internal Copying Presets from Internal to Cartridge Copying Both from Internal to Cartridge Copying Both from Cartridge to Internal

MIDI System Exclusive Recorder

Saving Sys-Ex Data from an External Device

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Table of Contents - 4

SD—I Musician's Manual

Table of Contents

Loading Sys-Ex Data from Disk to an External Device . . Additional Sys-Ex Recorder Notes

Section 12

Section 13

SD-1 Disk Messages

Sequencer Edit Functions

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Edit Song Page — Song Edit Functions Editing Song Steps — Using the Song Step Editor

Edit Seq Page Edit Track Page — Track Edit Functions Edit Track Range Page Setting the Time and Key Range .

Track

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Using the SD-1 with a Drum Machine Song Position Pointers MIDI Song Selects MIDI Controller Tricks — Creating Template Sequences

Using the SD-1 with an External MIDI Sequencer

Edit Functions

Sequencer Applications

MULTI Mode — Receiving on up to 12

A Few Important Points About Multi Mode

Using The SD-1

Sequence Edit Functions

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with

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a MIDI

Guitar

Controller

Appendix B — MIDI Implementation Chart Index

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MIDI

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channels

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13 13 13

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Table of Contents - 5

Table of Contents

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SD-1 Musician's Manual

Table of Contents - 6

SD—I Musician's Manual

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Section 1 - Getting Started

Section

Power

1 — Getting Started

Power Power — Grounding Information

AC Line Conditioning

Temperature Guidelines

Amplification Running Your SD-1 Through a Home Stereo System Powering Up Your SD-1 In a MIDI Configuration Rear Panel Connections Data Entry — Communicating with the SD-1

Soft Buttons Parametric Programming Pages

Sub-pages

Changing a Parameter

Performance Controllers

Pressure

Cartridge Insertion and Removal

Reinitializing the SD-1

Low Battery Voltage — When to Replace the Battery

Available Options

Need More Help'?

Insert the line cord into the line receptacle on the back of the SD-1, next to the

power switch. Plug the other end of the cable into a grounded AC outlet. (The

proper voltage for your SD—I is listed on the Serial Number label on the rear

panel.) Turn the SD-1 power on and make sure the display lights up. If not,

check your connections and power source. The first thing the SD-1 does when it

starts up is calibrate the keyboard. Be sure not to touch the keyboard while the

display reads:

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CALIBRATING KEYBOARD - DO NOT TOUCH

Power — Grounding Information

Like many modern electrical devices, your ENSONIQ product has a three-prong

power cord with earth ground to ensure safe operation. Some products have

power cords with only two prongs and no earth ground. To ensure safe

operation, modern products with two-prong power cords have polarized plugs which can only be inserted into an outlet the proper way.

Some products, such as older guitar amplifiers, do not have polarized plugs and

can be connected to an outlet incorrectly. This may result in dangerous high voltages on the audio connections that could cause you physical harm or damage any properly grounded equipment to which they are connected, such as your ENSONIQ product.

To avoid shock hazards or equipment damage, we recommend the following precautions:

•

If you own equipment with two pronged power cords, check to see if they are

polarized or non-polarized. You might consider having an authorized repair

station change any non-polarized plugs on your equipment to polarized plugs to avoid future problems.

Power

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1 -

Section 1 - Getting Started

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SD-1 Musician's Manual

Exercise caution when using extension cords or plug adapters. Proper

• polarization should always be maintained from the outlet to the plug. The use of polarized extension cords and adapters is the easiest way to maintain proper polarity. Whenever possible, connect all products with grounded power cords to the

• same outlet ground. This will ensure a common ground level to prevent equipment damage and minimize hum in the audio output.

AC outlet testers are available from many electronic supply and hardware stores. These can be used to check for proper polarity of outlets and cords.

AC Line Conditioning

As is the case with any computer device, the SD-1 is sensitive to sharp peaks and drops in the AC line voltage. Lightning strikes, power drops or sudden and erratic surges in the AC line voltage can scramble the internal memory and, in

some cases, damage the unit's hardware. Here are a few suggestions to help guard against such occurrences:

A Surge/Spike Suppressor. The cheaper of the options, a surge/spike

• suppressor absorbs surges and protects your gear from all but the most severe over-voltage conditions. You can get multi-outlet power strips with built-in surge/spike suppressors for little more than the cost of unprotected power strips, so using one is a good investment for all your electronic equipment.

Polarized

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Non—polarized

Far

•

A Line Conditioner. This is the best, but by far the more expensive, way to protect your gear. In addition to protecting against surges and spikes, a line conditioner guards the equipment against excessively high or low line voltages. If you use the SD-1 in lots of different locations with varying or unknown AC line conditions, you might consider investing in a line conditioner.

Temperature Guidelines

The inner workings of the SD-1 contain a substantial amount of computerized

and electronic circuitry that can be susceptible to damage when exposed to extreme temperature changes. When the SD-1 is brought inside after sitting in a cold climate (i.e. the back seat of your car), condensation builds up on the internal circuitry in much the same way a pair of glasses fogs up when when you come inside on a cold day. If the unit is powered up as this condensation occurs, components can short out or be damaged. Excessively high temperatures also pose a threat to the unit, stressing both the internal circuits as well as the case.

With this in mind, it is highly advisable to follow these precautions when storing and setting up your SD-1:

•

Avoid leaving the SD--I in temperatures of less than

more than 100

I - 2

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50 degrees Fahrenheit or

degrees Fahrenheit.

Power

SD—I Musician's Manual

•

When bringing the SD-1 indoors after travel, allow the unit at least twenty minutes to reach room temperature before powering up. In the case of excessive outdoor temperatures (below 50 degrees Fahrenheit or above 10(l degrees Fahrenheit), allow an hour or more before power up.

•

Avoid leaving the SD—I inside a vehicle exposed to direct sunlight.

Amplification

Connect the Main Audio Outputs of the SD-1 to the line level inputs of a mixer, instrument amplifier, stereo, or any other sound system, using 1/4 inch audio cables. For an additional set of dry outputs, connect the Aux. Outputs to two more mixer channels. If your system is stereo, connect the Left and Right Outputs to two channels of your mixer, stereo, etc. If it's mono, use either of the

Audio Outputs, but make sure nothing is plugged into the other output. For listening through headphones, plug the phones into the rear-panel jack marked

Phones.

the Left input fully left, and the Right input fully right.

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Section 1 - Getting Started

If you're running the SD-1 through a mixer, in stereo, be sure to pan

Warning:

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Phones

It is a good idea to make sure your audio system is turned off (or down) when

making connections, to avoid damaging speakers or other components.

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The SD-1 outputs are line-level, and are intended to be connected only to line- level inputs, such as those on a mixer, stereo pre-amp, keyboard amp, etc. Connecting the SD-1 audio outputs to a mic-level input, such as a guitar amp or the microphone jacks on a tape deck, is not recommended, and might result in damage to the device input.

Move the volume fader

all the way up.

As with any digital musical instrument, the SD-1 will give the best results if you keep the volume slider full on, and use the volume control on your mixer or amp to adjust its level.

Amplification

Switch the audio system on, and adjust the amplifier volume for normal listening levels. If you hear no sound while playing the keyboard, switch the audio system off and check your connections.

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Section 1 - Getting Started

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Running Your SD-1 Through a Home Stereo System

If you are thinking about amplifying your SD-I through your home stereo, a word of caution. A home stereo is great for playing CD's, albums, tapes — the dynamic range of these media is limited, and your speakers aren't usually subjected to extreme volume changes and frequency transients. While the dynamic range of CD's is significantly greater than LP's or tapes, the output of a CD player is still conservative compared to the uncompressed, unlimited line-level output of a pro-level keyboard. Running your SD-1, or any pro-level keyboard through a home stereo at high volume levels can damage your speakers, not to mention the impedance mis-match this can create. If your only means of amplification is your home stereo, then try to keep your levels on the conservative side.

Powering Up Your SD-1 In a MIDI Configuration

Just as you would power up the individual components before turning on the amplifier in your home stereo system, you should first turn on the MIDI data transmiting source (keyboards, modules, etc.) before you power up the receiving MIDI source. This will prevent any unwanted MIDI information from being "spit" out of the transmitting source during power up, which could confuse the

MIDI recievers, thereby disabling them. If this should occur, turn off the

receiving module, and then turn it back on.

SD-1 Musician's Manual

Rear Panel Connections

Mai

n Out

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Phones

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Right Left ROM Left

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Mono

Phones

To listen to the SD-1 in stereo through headphones, plug the phones into this jack. The Phones output contains a mix of the signal from the main outputs and the aux. outputs. Headphone volume is controlled by the volume slider on the front panel. (Note that plugging headphones into this jack audio in the regular left and right outputs.)

Main Out Right/Mono

To operate the SD-1 in stereo, connect this output to a channel of your mixer and pan that channel right. Note that mono output. If you want to use this jack to listen to the main outputs in mono, make sure that nothing is connected to the Main Out Left/Mono jack.

Aux Out

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Rear Panel Connections

SD-1 Musician's Manual

Main Out Left/Mono

When operating the SD-1 in stereo, connect this output to a channel of your mixer and pan that channel left. To use this jack to listen to the main outputs in mono, make sure that nothing is connected to the Main Out Right/Mono jack.

Aux.

61 Pedal/CV

Out Right/Mono

The Aux. Outputs provide an additional stereo output for use in mixing down sequences, etc. The Aux. Output contains the dry (no effects) signal only, allowing you to process and mix certain sounds separately. SD-1 sounds can be routed to the Aux. Outputs from the Performance Effects page, or individual

voices can be set to the Aux. Output from the Output page. When using the Aux. Outputs in stereo, connect this output to a channel of your mixer and pan that channel right. To use this jack as a mono output, make sure that nothing is connected to the Aux. Out Left/Mono jack.

Aux. Out Left/Mono

Contains the left channel of the Aux. Outputs. When using the Aux. Outputs in

stereo, connect this output to a channel of your mixer and pan that channel left.

To use this jack as a mono output, make sure that nothing is connected to the

Aux. Out Right/Mono jack.

This jack is for connecting an optional ENSONIQ Model CVP-1 Control Voltage

Foot Pedal, which is assignable as a modulator to various parameters within the

SD-1. The pedal gives you a handy alternative modulation source when, for

example, you would want to use the mod wheel but both hands are busy.

A CV pedal plugged into this jack can also act a volume pedal, controlling the overall volume level of the SD-1. A parameter on the Master page (press

Master,

will act as a modulator or as a volume pedal. Set to PEDAL=VOL to use the CV pedal to control the volume of the SD-1.

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then underline PEDAL=MODNOL), determines whether the CV pedal

Section 1 - Getting Started

Pedal/CV Specs: 3-conductor (Tip control voltage input, Ring=2 KOhm resistor to +12 Volts, Sleeve= ground). 68 KOhm input impedance, DC coupled. Input voltage range=O to 10 volts DC. Scan rate=32mS (maximum recommended modulation input= 15 Hz). For use with an external control voltage, use a 2- conductor cable with the voltage on the tip and the sleeve grounded.

7) Foot

Rear Panel Connections

Switch Input

This jack supports either one or two Foot Switches depending on what is plugged into it:

•

If you plug the ENSONIQ Model SW-1 Foot Switch (which came with your SD-1) into this jack, it will act as a sustain pedal. Holding it down will cause notes to continue to sustain after the key has been released. It can also assigned to act as the right Patch Select button.

Or you can connect the optional ENSONIQ Model SW-5 Dual Foot Switch

•

here. The SW-5 is a dual (piano-type) foot switch with two separate pedals.

When the SW-5 is connected, the right-hand pedal will act as a sustain pedal

and the left-hand pedal will act as an Auxiliary Foot Switch.

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Section 1 - Getting Started

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SD-1 Musician's Manual

When the SW-1 is connected

to the FootSwitch jack:

It acts as the Sustain

Foot Switch.

There are two parameters on the Master page which let you reassign the

footswitches to a variety of functions, including reproducing the actions of the Patch Select buttons and starting and stopping the sequencer. See Master page, Section 6 for more.

MIDI In

This jack receives MIDI (Musical Instrument Digital Interface) information f other MIDI

MIDI Out

Sends out MIDI information

When the SW-5 is connected to

instruments or computers.

to other instruments and computers.

the FootSwitch jack:

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• •

The right pedal acts as the

Sustain Foot Switch.

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MIDI Thru

10)

"Passes on" all MIDI information received by SD—I to other devices.

Information generated by the SD-1 itself does not go to this jack — the Thru jack

merely echoes what comes in at the MIDI hi jack.

Data Entry — Communicating with the SD-1

Almost everything you do on the

that sound, adjusting the tuning, etc., is controlled from the front panel using the

following controls:

■

The 80 character fluorescent display,

•

The six "soft" buttons directly above and below the display,

•

The data entry slider to the left of the display, and

•

The up and down arrow buttons to the left of the data entry slider.

The display and the data entry controls are primarily used to things programs, parameters, keyboard touch, MIDI Control functions, etc. — all depending on which front panel button you press. Try pressing a few of the other buttons —

Master, MIDI, LFO,

watch the display. Notice that for each button you press, the display changes to show you information related to that function. Each of these different display configurations is called a

Page.

SD-1, whether it's selecting a

select

Fillers,

for example — and

sound, editing

and

modify

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Data Entry

SD-1 Musician's Manual

Soft Buttons

The six buttons above and below the display have a new function each time you select a new page — that is, each time you press one of the buttons outside the data entry section. Each of these six buttons is used to select whatever is directly

above or below it on the display. Because their function varies depending on what is displayed, we refer to these buttons as from buttons which have fixed, "hard," functions, such as the Page buttons.

CZ3

Parametric Programming

The method used to modify or edit programs, presets and system parameters is called

Page-driven Parametric Programming,

don't worry. Once you've grasped a few basic concepts you'll find that operating

the SD-1 is quite simple, given its many capabilities.

Section 1 - Getting Started

Soft Buttons,

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to distinguish them

Soft Buttons I

Display

which sounds like a mouthful, but

Pages

Sub-pages

It is likely that you have already encountered some form of parametric programming on other synthesizers. What this means is that instead of having a separate knob or slider for each function, you have one master

Data Entry Slider,

and two arrow buttons, which adjust the value of whichever parameter you select. This approach has many advantages, the most obvious of which is that it greatly reduces the amount of hardware — knobs, switches, faders, etc. — needed to control a wide variety of functions. (If the SD-I had a separate control for each function, it would literally have hundreds of knobs.)

The SD-I 80-character fluorescent display makes it possible to display

information in

Pages.

Each time you press one of the front panel buttons, you are in effect "turning to" that function's page. Once you have turned to the page you want, the display shows you which parameters are controlled from that page.

Some of the SD-1 pages contain more that one screen full of information. Where a page consists of multiple sub-pages, this is indicated on the front panel by a "multi-page" symbol above the name:

..wrg



ary

LF0 Env

Pitch

Pitch Mod FiltatiOutp

l f' Env 2 f'Env3

The

symbol over the button name indicates that these pages contain more than one sub-page of information. Press the button again to display the next sub-page.

Mod Program

Wave Mixer Control Effec0

Pages

Continuing to press the page button will cycle through the sub-pages.



1 - 7

Section 1 - Getting Started

Changing a Parameter

Suppose you want button labeled look like this:

MASTER TUNIE=+00 TOUCH=MED-2 BENDRINIG=e2



SD-1

to adjust the master tuning of the SD-I. Press the front panel

Master.

The display now shows the Master page. It should

Musician's Manual

FOOTS1.111TH F1=UNUSED

EM3

In the top left-hand corner of the display you will always find the page, which corresponds to that of the button you pressed. To the right of that are the various parameters which can be selected and modified from this page.

To raise or lower the tuning of the SD-1, press the button directly above where it

says TUNE=+00. This segment of the display will now be underlined, telling

you that it has been

The currently selected parameter on a page is always underlined.

Once you have selected a parameter to be modified, use the data entry slider and

the up and down arrow buttons to the left of the display to adjust its value:

•

Moving the slider will scroll the entire range of available values. If you move the slider slowly it will change the parameter relative to the current value. Moving it quickly will cause the parameter to jump to the absolute value which corresponds to the position of the slider.

•

Pressing the up and down arrow buttons will increase or decrease the value

step at a time. Continuing to hold down either button will cause it and run quickly through the values.

selected,

and can be modified.



F2.SUSTri I N

name

of the

to accelerate

one

Hint:

- 8

There is a quick way to center or "zero out" the value of any parameter which has a center value, as the TUNE parameter does. Press the down arrow button, and

while holding it down,

buttons. This automatically sets the parameter value to 4-00.

To select and modify another parameter on the same page, press the soft button

above or below its name. That parameter will now be underlined, and its value can be adjusted as before, with the data entry slider and the up and down arrow buttons.

If you select another page, change some parameter on that page, and then return

to the Master page, the parameter you had last selected will still be underlined. The SD-1 always "remembers" which parameter was last selected on a given page (including each sub-page where there are more than one).

Be sure that the parameter you want to edit is selected before moving the data entry slider and/or the up and down arrow buttons. There is selected on any given programming page.



press the up arrow button, then quickly release both

always

Changing a Parameter

a parameter

SD—I Musician's Manual

Performance Controllers

The SD-1 features a number of real-time performance

to modify sounds as you play for maximum expressiveness. Three of the most important controllers are located to the left of the keyboard:



Section 1 - Getting Started

controllers

Modulation I

Wheel

which are used

•

PATCH SELECT BUTTONS — These two buttons are used to select alternate groups of voices within a sound. The SD-1 can be programmed so that the sound changes (sometimes in subtle ways, sometimes radically) when you play notes with one or both Patch Select buttons held down As you try the programs in the SD-1, make sure you explore what these buttons do to each sound.

•

PITCH BEND WHEEL — This wheel bends the pitch of a note up or down. The wheel is normally centered, where it has no effect on the pitch— moving the wheel up or down will bend the note by the amount specified in the Bend Range parameters contained on the Master page (for global bend range) and on

the Program Control page (for setting an individual program's bend range

separately).

MODULATION WHEEL — Perhaps the most common use of the Mod Wheel

• is to add vibrato, but it can also be assigned as a modulator anywhere within the SD-1 voice architecture to alter the pitch, brightness, volume and a great many

other aspects of the sound.

Among the other controllers which are available to modify a sound are the optional CVP-1 foot pedal and key pressure (see below).

Pressure (After-touch)

Another important controller is modulator which allows you to change the sound in various ways by pressing down harder on a key or keys after the initial keystrike.The SD-1 keyboard is capable of generating two types of pressure —

Channel Pressure.

Pressure.

Pressure (often called after-touch) is a

Poly-Key

Pressure

and

Like the mod wheel or foot pedal, pressure is a modulator, and can be chosen wherever a modulator is selected in the Programming section of the SD-1. Pressure can be assigned to alter the pitch or volume of voices, the filter cutoff frequency, LFO depth, pan location, etc.

Performance Controllers



1 -

Section 1 - Getting Started

There are two types of Pressure:

Channel Pressure, also called Mono pressure, affects all notes that are playing

• when you exert pressure on any of the keys. If, for example, you play a three-

note chord, pressing down harder on any of the three notes of the chord will modulate types.

Most MIDI instruments which currently implement pressure send and receive only channel pressure. If you are playing such an instrument from the SD-1, you should set the SD-1 to send channel pressure. (Note that some devices, including

•

Poly-Key Pressure, also referred to as Polyphonic pressure, is a more sophisticated and expressive type of pressure. Poly-Key pressure affects each key independently. If, for example, you play a three-note chord, pressing down harder on any of the three notes of the chord will modulate

The other two notes will remain unaffected.

note.

Each preset or sequencer track can be programmed to generate Poly-Key

pressure, channel pressure or none at all. If you wish to change the pressure

type for a given track, you can do so on the second sub-page of the Patch Select page in the Performance section of the SD-1. See Section 3 for more details.



all three notes.

ENSONIQ products respond to both types of pressure.)

all

This type of pressure is the more common of the two

SD-1 Musician's Manual

only that

Note that Poly-Key pressure generates a tremendous amount of data, and will consume sequencer memory much faster than other types of events, such as notes

and program changes. You should turn pressure off when sequencing

instruments which do not respond to pressure, such as piano and drum sounds.

Cartridge Insertion and Removal

Before you can play sounds and presets from a cartridge, you must first insert into the Cartridge slot an ENSONIQ VPC-100 series ROM cartridge, a Stor-Cart

PROM cartridge, or other VFX-compatible program cartridge, as shown

32 E

2 below with the label facing towards you. Take care to insert the cartridge straight into the slot in a continuous fashion.

1 - 10

Program cartridges can be inserted or removed at any time (except while you're

writing programs to them), even when the power is on, without doing any harm to the SD—I or the cartridge.



Cartridge Insertion and Removal

SD—I Musician's Manual

Reinitializing the SD-1

The great power and flexibility of the SD-1 lies in the fact that it is really a

computer disguised as a keyboard instrument, but a computer nonetheless. The software that operates the SD-1 is very sophisticated. In fact, there is a 128k computer program that runs inside the SD-1 (the Operating System code). That's more than many personal computers. If you have ever used a computer, you

should be familiar with the need to occasionally re-boot your system when you get an error message, etc. Reinitializing the SD-1 is the equivalent of re-booting your computer.

There are a number of things that can happen to the SD-1 (or any computer system) which might scramble the system software — voltage surges, power failures, static electricity, etc. As with any computer, very infrequently some unforeseeable event or combination of events can cause the software to become confused, with strange and unpredictable results. Sometimes, computers which appear to be broken have no hardware problem, just corrupted data in the internal RAM (Random Access Memory). In some cases, simply turning the SD-1 power off and then on again will cure the problem. If that doesn't work, perhaps

what is needed is to reinitialize the unit.

When to Reinitialize

If your SD-1 begins to behave in peculiar ways; if the display shows words or lines that shouldn't be there; if you start getting unexplained System Error messages; if the sequencer and edit functions start doing unpredictable things; try reinitializing the SD—I before you seek factory service.



Section 1 - Getting Started

Warning:



When you reinitialize your SD-1 all your current internal sounds, presets, and sequences will be lost. (The 120 ROM (Read Only Memory) sounds are automatically loaded back into the internal memory after reinitializing.) Therefore good backup habits should be an important part of your routine. Save any important data to disk or to a cartridge before reinitializing the SD-1.

To Reinitialize the SD-1:

•

While holding down the

corner above the fluorescent display.

•

The following message appears on the display: "ERASE MEMORY AND REINITIALIZE"

•

Select *YES*. After selecting *YES*, the SD-1 erases its internal memory and then starts up just as it does when you turn the power on, and initialization is complete. When you reinitialize the SD-1, the ROM Programs are

automatically placed in the Internal Memory.

•

After reinitializing, you will need to reload the Sequencer Operating System from your master SD-1 disk. (See Loading Data from Disk in Section 11.)

If reinitializing your SD-1 does not correct the problem, then contact an authorized ENSONIQ Repair Station.

Presets

button, press the "soft" button in the top left

Re-initializing the SD-1



1 - 11

Section 1 - Getting Started



Low Battery Voltage — When to Replace the Battery

The reason that the SD-1 "remembers" programs, presets and other parameters,

even when the power is off, is that all of its internal RAM is "battery-backed-up." The battery that keeps the SD-I memory intact is located inside the SD-1, and when it becomes discharged, it must be replaced by an authorized ENSONIQ

Repair Station.

SD-1 Musician's Manual

ailable

The battery that came in your SD-1 is good for up to five

of life. You will

years

know when it needs replacing, because the SD-1 will tell you so. One day you

will switch the power on, and instead of its usual wake-up message, the display

will read:

WARNING -- LOW BA I I ERY VOLTAGE

SAVE DATA - SEE USER MANUAL *CONTINUE*

Press *CONTINUE* (or any button) to commence normal operation. Then, make sure that all sequences,programs and presets are saved to disk or cartridge, and take the SD-1 to an authorized ENSONIQ Repair Station as soon as possible to have the battery replaced.

Options

These

•

optional accessories are available from your

ENSONIQ Model SW-5 Foot Switch —

ENSONIQ

For voice sustain, sostenuto,

dealer:

patch select, preset advance or starting and stopping a remote sequencer.

•

Model CVP-1 CV Pedal — A

Control Voltage Foot Pedal

assigned as a modulator within the voice section of the SD-1 or used as a volume pedal.

•

Star-Cart 32 E

PROM Storage Cartridge —

For storing the programs and presets you create or edit. Programs and presets can be saved to the Stor- Cart 32 just like the internal memory. The 60 programs and 20 presets in the program cartridge, combined with the internal RAM and ROM, give you 240 programs and 80 presets instantly available for performance.

•

VPC-100 Series ROM Cartridges — Containing

60 factory-programmed

sounds and 20 presets. Unlike the S tor-Cart 32, the programs and presets in

the VPC cartridges are stored permanently there and cannot be replaced.

•

1PC Series ROM Cartridges —

The "International Sound Collection" containing 60 programs and 20 presets. The programs and presets in the IPC cartridges are stored permanently there and cannot be replaced.

•

ISD Series Program Disks —

The "International Sound Collection"

containing 60 sound programs and 20 presets.

•

VSD-1000 Program Disks — Multi-bank sound program and

preset collection.

•

SQX-70 — Sequencer Expander (expands the memory to over 75,000 notes.)

which can be

performance

Need More Help?

1 - 12



Whether you're an aspiring programmer looking for additional information about basic synthesizer and MIDI theory, or a professional sound designer working with advanced applications, you may want more detailed information that is beyond the scope of this manual. The following books can help enhance your understanding of synthesis, MIDI. and related topics. These, in addition to the numerous monthly magazines, provide a wealth of information. While we don't

endorse any one of these publications, we offer this partial list as a resource for

you to draw on.

Low Battery Voltage

SD—I Musician's Manual

The Mix Bookshelf For prices and more information call: 1-800-233-9604

MIDI

MIDI FOR MUSICIANS, MUSIC THROUGH MIDI, THE MIDI HOME STUDIO, THE MIDI BOOK,

MIDI RESOURCE, MIDI IMPLEMENTATION BOOK, MIDI SYSTEMS & CONTROL, USING MIDI, MIDI, THE INS, OUTS AND THRUS, MIDI: A COMPREHENSIVE STUDY,

SAMPLING

THE SAMPLING BOOK,

SYNTHESIZERS

GUITAR SYNTH & MIDI,

SECRETS OF ANALOG AND DIGITAL SYNTHESIS,

SYNTHESIZER PERFORMANCE & REAL TIME TECHNIQUES,

Pressing

SYNTHESIZER BASICS, MUSIC & TECHNOLOGY, A SYNTHESIST'S GUIDE TO ACOUSTIC INSTRUMENTS,

Massey



Section 1 - Getting Started

Craig Anderton

Michael Boom

Howard Massey

Steve De Furia, Joe Scacciaferro

Francis Rumsey

Helen Casabona, David Frederick

Jeff Rona

Joseph Rothstein

Steve De Furia, Joe Scacciaferro

Guitar Player Magazine

Steve De Furia

Jeff

Dean Friedman

H.P. Newquist

Howard

Alexander Publishing

For prices and additional information call: 1-800-633-1123

MIDI

1991—HOW MIDI WORKS, MURPHY'S LAW MIDI BOOK,

Dan Walker

Jeff Burger

SAMPLING

SAMPLING BASICS, EPS SAMPLING BOOK,

Bobby Maestas

SEQUENCING

SEQUENCING AND ARRANGING Vol's 1-4,

Joseph Wagner

SYNTHESIZERS

RECORDING, SYNCING & SYNTHS, VFX1VFX-SD,

Dan Walker

Paul Goldfield

Alfred Publishing Company

For prices and more information call 1-818-891-5999

MIDI

ADVANCED MIDI APPLICATIONS, BASIC MIDI APPLICATIONS, WHAT IS MIDI?,

GPI

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BEGINNING SYNTHESIZER, GPI PLAYING SYNTHESIZERS,

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Need More Help?

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For prices and more information call 1-414-774-3630

MIND OVER MIDI,

SYNTHESIZER TECHNIQUE



GPI

(REVISED), GPI

1 -

SD-1 Musician's Manual



Section 2 — Playing Sounds and Presets

Section 2 - Playing Sounds and Presets

Program Memory Bank Buttons Selecting a Sound Choosing Internal, ROM 0, ROM 1 and Cartridge Sounds Layering (Stacking) a Sound with the Selected Sound Primary Sound vs. Layered Sounds About Tracks Preset Mode vs. Sequencer Mode About Presets Preset Memory Selecting Presets Editing a Preset Saving a Preset

Avoiding Confusion when using Presets Replace Program Replacing a Program in a Preset Replacing a Program and the Effect in a Preset Performance Tip — Creating Keyboard Splits

Program Memory

Each SD-1 sound is a complex structure consisting of up to six voices per key and a programmable effects setup. We refer to these sounds as

this manual we will use the words

describe SD-1 programs. The SD-1 gives you access to up to 240 different

sounds at any time:

•



  



 

program

INT — 60 sounds are stored in the SD-1

ROM (Read Only Memory)— Another 120 sounds are permanently stored in its

ROM Memory.

within the SD-1; but unlike the WI' sounds they cannot be modified or replaced. CART — 60 naditional sounds and 20 additional Performance Presets can be stored in a cartridge plugged into the cartridge port.

Like the INT sounds, the RMO and RM1 sounds are contained

and

sound

Internal Memory

interchangeably to



(RAM).

2 - 2 - 2 2 - 2

2 - 3 2' - 4 2 - 4 2 - 5 2 - 6 2 - 6 2 - 7 2 - 8 2 - 8 2 - 9 2 - 9 2 - 10 2 - 10

Programs.

2 - 2 2 - 3

Sounds and Presets stored in Internal RAM Memory can be played, edited and replaced with other sounds or presets.

Program Memory

ROM 0 .1:1011il

60 Programs Each

Presets

Sounds and Presets stored in the ROM Memory locations can be played and edited, but cannot be erased. Edited versions can be stored in Internal Memory or on an E2PROM cartridge.

Each

Sounds and Presets stored

in the cartridge can be

played and edited. You can

save edited sounds and

presets to Internal RAM memory or on an E2PROM cartridge.

2 -

Section 2 - Playing Sounds and Presets

Bank Buttons

When the

located beneath the display, are used to call up the programs in memory, six at a

time, allowing you to then select the one you want to play. We call these groups

of six programs

Sounds



LED is lit, the ten Bank buttons, labeled 0 through 9 and

Program Bank pages.

SD-1 Musician's Manual

MEE:61ED

SinilSo Sounds Pfsests S•0

Selecting a Sound

Choosing Internal, ROM 0, ROM 1 and Cartridge Sounds



The Bank buttons also select presets when the presets later). If you press the Bank buttons select sequencer banks.

To select an SD-1 program:

•

Press

•

Press one of the 10 Bank buttons below the display (numbered 0-9) to select a

bank of six programs. The display shows you the names of the six programs in each bank.

•

Press the button above or below any of the six program names to select that program as the current sound. Try selecting and playing a few different sounds. Notice that when you select a program, its name is underlined. The currently selected program is always underlined.

The

BankSet

cartridge sounds. The status of the flashing), along with the display, tells you where you are at any given time. Press

•

To select internal sounds, the

or flashing, press by the bank # in the upper left corner.

•

To select ROM 0 sounds, press the

LED flashes,

upper left corner. This is the first 60 banks of ROM sounds.

•

To select ROM 1 sounds, press the LED should still # in the upper left corner. This is the second 60 banks of ROM sounds.

•

To select cartridge sounds, press the

BankSet

the upper left corner. (Note that a VPC-100 series or other cartridge must be inserted before cartridge sounds can be selected and played.)



2 3



Seq

button, none of the LEDs are lit and the ten

Sounds.

button is used to choose between internal, ROM 0, ROM 1 and

BankSet

Sounds.

Then:

BankSet

and the display indicates RMO followed by the bank # in the

be flashing.

LED lights, and the display indicates CRT followed by the bank # in

until it is off. The display indicates INT followed

The display indicates RM1 followed by the bank

Bank buttons I

Presets

LED (whether it is off, on, or

LED should be off (unlit). If it is on

BankSet

button again. The

BankSet

LED is lit (more about

BankSet

button one more time. The

Hint:

2 - 2

There is a quick way to "direct-dial" between the internal, ROM 0, ROM 1 and

cartridge sounds. Simply press the

press any one of the first four Bank buttons. Bank buttons 0 through 3 coincide

with the internal, ROM 0, ROM 1 and cartridge sounds respectively. This

enables you to "call up" the sound banks in any order rapidly.



BankSet

button and while holding it down,

Selecting Sounds

SD-1 Musician's Manual



Section 2 - Playing Sounds and Presets

Hint:

Because you can use the

around" in various banks before selecting a sound, it is possible to lose track of

where the currently selected sound (the one you are hearing) is located. There is a

shortcut for getting to the bank that contains the selected sound:

Rapidly double-click the

contains the currently selected sound.

t tiT4 STRUM-rIE

DEPUNCH

SOUndi

Presets Sins

When the Sounds LED is and the BankSet LED is the SD-1 is playing programs from its internal RAM memory. The upper left corner of the display shows INT plus the bank number (0-9).

off,

BankSet

Sounds

button and the ten Bank buttons to "shop

button to instantly go to the bank which

Rfl 1 4 SURPASS

FLUGEL-STAG

Bersidet

When the Sounds LED is

and the BankSet LED is

flashing,

the SD-1 is playing programs from its internal ROM 0 or ROM 1 memory locations. The upper left corner of the

display shows RMO or RM1

plus the bank number (0-9).

CRT4 STLDRri+SURF

WRY-2-COOL

feAftw.

BsnICSsit Sounds Proses sus

When the Sounds and the BankSet

LED is

(but not flashing) the SD-1 is playing programs from the cartridge. The upper left corner of the display shows CRT plus the bank number (0-9).

Once you have selected INT, RMO, RMI, or CRT, select a sound using the ten

bank buttons and the six soft buttons above and below the display as shown previously.

Layering (Stacking) a Sound with the Selected Sound

To layer (or stack) any program with the currently selected program,

click

the soft button corresponding to the sound name on the display. The

underline beneath the name of the layered sound will

sounds playing together.

Up to three programs (one selected and two layered with it) can be active at once. To deselect a layered sound, press its button again and the flashing underline will disappear. If you already have two programs layered with the primary program, and you double-click on a fourth sound, that sound will replace the most recently

layered sound in the stack.

You can layer any combination of Internal, ROM 0, ROM 1 or Cartridge sounds.

Also, the sounds which are layered do not have to be in the same bank.

Primary Sound vs. Layered Sounds

We refer to the sound which is currently selected — solidly underlined on the display — as the are considered to be

selected

at a time. Whenever you select a new sound

primary

layered

sound. Any other sounds on which you double-click

with the primary sound. Only one sound is ever

sound.

double-

flash

and you will hear both

becomes the primary

Layering Sounds



2 - 3

Section 2 - Playing Sounds and Presets

This is an important concept because the primary sound determines which Effects

set-up will be used for layers and presets. Whenever you select a new primary sound, a new effects algorithm is loaded along with it (unless the new sound has

the same effect as the previous one). Layering a sound or selecting a different

sound within a preset does not change the current effects set-up.

About Tracks

There are two main performance modes in the SD-1;

tracks, and

Sequencer mode,

refers to a "channel" which contains a program and a complete set of performance parameters, including volume, pan, controller settings, MIDI channel, keyboard zone, and others. The 3 tracks in a preset, and 12 in a sequence, give you access to 15 internal tracks, each one independent of the others. Song mode offers 24 tracks (combined with the presets mode, you can have a total of 27 tracks). The difference between sequence and preset tracks is that you can record data on sequencer tracks, and not on preset tracks.

Multi-channel audio tape recorders have numerous physical tape tracks onto which you can magnetically record complex polyphonic information. Sequencers

simulate this by recording events which describe a performance onto similar

tracks in computer memory. When these sequence tracks are played back, the

recorded information can play local sounds or can be sent to remotely controlled

sound generators to recreate the performance. Multi-tit-Oral instruments can respond to inbound information from such sequencers on multiple channels, with each channel responding to a track from the sequencer.



which has 12 tracks. In the SD-1, the term

SD-I Musician's Manual

Preset mode,

which has 3

track

When the SD-1 is used as a multi-timbral sound generator, played from its own sequencer, the various tracks of the sequencer control the sounds played by the SD-1. Similarly, the sequencer or the keyboard of the SD-1 can be used to send on MIDI channels to which external devices are connected.

When the SD-1 is controlled from an external MIDI sequencer, the various tracks of the sequencer can be assigned to different MIDI channels, which in turn control the programs played by the SD-1. Each MIDI channel to which the SD-1 responds can be thought of as an extension of the sequencer's track.

Whether it is playing locally, sending MIDI to a remote device, or receiving

from an external sequencer, we describe this logical construct, comprised of a

MIDI channel and a program and various performance parameters, as a track.

Preset Mode vs. Sequencer Mode

preset is

a set of three tracks, which can be layered or not, each of which has a

program and a set of performance parameters associated with it. The most common context for the SD-1 to be in is Preset mode.

SD-1 is in sequencer mode (that is, if either the

lit), you may assume that you are in a preset. Aside from the presets that are saved, there is a

Whenever you select. layer or edit a program. you are working within this preset

buffer. The information in the preset buffer is temporary until you save it into

one of the internal or cartridge preset locations, and then it becomes more

permanent (it can be recalled). The performance parameters of the preset,

preset buffer

that is always active.

Sounds

or the

Unless the

Preset

LED is

MIDI

2 4



About

Tracks

SD—I Musician's Manual

including volume, pan, transpose, etc. are always active and you should make sure that their settings are correct if you think that your programs are behaving strangely. Whenever you select a new sound from the Program Bank pages, the

performance parameters are reset to their standard default settings. If you wish to change a program without resetting these parameters, use the Replace Program feature described later in this section.

There are three tracks in a "normal" preset and twelve in a sequence or song. A sequence, in addition to its ability to record data on its tracks, can be thought of as

a giant twelve track preset. However, this giant preset is not available simultaneously with normal three track presets. The twelve tracks of a song sequence are available from the keyboard only while in Sequencer mode,

indicated by the LED in either the on, or from MIDI while the MIDI mode is set to MULTI. Use of the sequencer is described in more detail later in this manual.

About Presets

Preset

instantly recalled for use in performance. Presets are handy "performance

memories" which allow you to create and save sound combinations, splits,

layers, patch select variations, etc.



Section 2 - Playing Sounds and Presets

Tracks 1-6

Tracks 7-12

button being

is a combination of three sounds and an effects set-up which can be

The three sounds in a preset reside on three

tracks, the SD-1 remembers:

•

• A preset also has one Effects program which is common to all three tracks.

Press

in Preset mode. Across the top line, the display shows the names of the three

sounds that are on the three tracks. On the lower line you see "context"

information about the current preset. The illustration below shows the

relationship of the preset and its three tracks to what you see on the display:

Track 1

•

Program (sound)

•

Performance

parameters

PSET

MEGRSTRINGS

Tracks.

For

each

Which sound is assigned to the track, Whether the sound is selected, layered or neither, and The values of all the Performance parameters for that track.

Presets.

The LED in the

Presets

button lights, indicating that you are

Prpset

•

Effects Program and parameters

IEDITEDI

Track 2

•

Program (sound)

•

Performance

parameters

GRAND-PIRNOTENOR-SAX

PRESET

INT



Track 3

•

Program (sound)

•

Performance

parameters

•

13 FINK -R

esga

of these three

Performance

Parameters:

Volume

Pan

Timbre' Key Zone Transpose

Release'

Track Control:

Patch Selects

Pressure mode' Sustain

MIDI:

Status Channel Program

Effects Routing

Indicates that you are hearing

an edited (unsaved) preset.

About Presets

Current Preset

Bank

Press to toggle between

Bank A and Bank B

(' indicates saved

with program)

2 • 5

Section 2 -

Playing Sounds and Presets



SD-I Musician's Manual

Preset Memory

Selecting Presets

Whenever the

Presets

LED is lit, this indicates that the SD-1 is in Preset mode, and the 10 Bank buttons beneath the display will now select presets (rather than selecting Program Bank pages, as they do when the

Sounds

LED is lit).

Presets can be located in one of four places within the SD-1 memory:

INT — 20 presets in the Internal memory, 10 in Bank A and 10 in Bank B.

• RMO — 20 presets in ROM 0 Memory, 10 in Bank A and 10 in Bank B.

•

RM1 — 20 presets in ROM 1 Memory, 10 in Bank A and 10 in Bank B.

• CRT — 20 presets in each cartridge, 10 in Bank A and 10 in Bank B.

•

Once you have pressed the

Presets

button to enter Preset mode, presets are

selected by pressing the 10 bank buttons beneath the display. The status of the

LED in the

BankSet

button determines whether the 10 bank buttons select

Internal, Cartridge, ROM 0 or ROM 1 presets.

The Bank Indicator in the lower right corner of the the display tells you whether

you are selecting presets from Bank A or Bank B. Pressing the soft button beneath the bank indicator (or double-clicking the

Presets

button) toggles

between Bank A and Bank B.

•

To select internal presets, the flashing, press

BankSet

until it is off. The display indicates INT + BANK A

LED should be off. If it is on or

or B.

•

To select ROM 0 presets, press

the BankSet

button. The

BankSet

LED

flashes, and the display indicates RMO + BANK A or B.

•

To select ROM 1 presets, press the

BankSet

button. The

BankSet

LED

flashes, and the display indicates RMI + BANK A or B.

•

To select cartridge presets, press the

BankSet

LED lights, and the display indicates CRT + BANK A or B.

BankSet

button once again. The

Once you have selected Internal, ROM 0 or l, or Cartridge, simply press one of the 10 bank buttons to select a preset. The LED in the bank button lights to indicate which preset is selected.

BankSet Sounds Presets S•q

When the Preset LED is

and the BankSet LED

off,

pressing any of the 10 bank buttons will select a preset from the SD-1's Internal (RAM) memory. The display shows INT and BANK-A (or B) in the lower right corner:

INT BANK-A

8•nkSa1 Soundt Pr•tots Ssci

When the Preset LED is

and the BankSet LED is

flashing,

pressing any of the

10 bank buttons will select a preset from the SD-1's permanent ROM memory. The display shows RMO, or

RM1 and BANK-A (or B) in the lower right corner:

ANO or Rill BANK-A

PresS to toggle between

Bank A and Bank B

RonkSel Sound. Pr•asts S•q

When the Preset LED is

and the BankSet LED

lit but not flashing

pressing any of the 10 bank buttons will select a preset from the cartridge. The display shows CRT

and BANK-A (or B) in the lower right corner:

CRT BANK-A

2 - 6

Selecting Presets

SD-I Musician's Manual

Editing a Preset

In addition to the presets stored in memory, there is one more preset which you are using most of the time whether you know it or not. Whenever you are selecting or layering sounds in Sounds mode, you are also creating a preset. The SD-1 automatically "remembers" the last three sounds you selected and stores them in a special memory buffer called the

•

Press

•

Layer another sound with the first by double-clicking its soft button.

•

Layer a third sound by double-clicking on it.

You now have three sounds playing simultaneously. Suppose you wanted to adjust their relative volumes, or shorten the release time, or change the pan

location of one of the sounds without losing the combination. In fact, you can do

these things and a lot more with presets. As we have already discussed, a preset consists of three tracks, each of which has

a program and a set of performance parameters. The performance parameters are found in the Performance section of the front panel. Presets can be saved, so that you can call them up at any time, or you can use the Edit Preset in real-time as a

powerful performance tool.



Sounds

Section 2 - Playing Sounds and Presets

Edit Preset.

and select a program by pressing its soft button.

Try this:

While you still have three programs layered, press Performance section. The display shows:

the Volume

button in

the

U21

VOL

•

Across the top line you see the three programs you selected, one with a solid

underline and the other two with a flashing underline, just as they appeared on

the program bank pages.

•

On the lower line you see the volume levels for each sound. You can select

which one you want to adjust by pressing the button beneath the value.

•

Note that you can select a track for editing (using the lower three buttons) independent of what is selected or layered on the upper line of the display. This means, for example, that you can adjust the volume of any of the three sounds in the stack without having to un-layer them.

On this and all Performance parameter pages, selecting or layering things from the upper line determines what sound(s) you lower line determines which track will be modified if you move the data entry slider or the up/down arrow buttons. Try pressing some of the other Performance page buttons; Performance parameters on those pages. You will soon see that within a preset it's easy to create splits and layers, transpose a sound, change the pan and many other useful things. You can even assign one or more tracks in a preset to play

only

as well as SD-1 sounds.

MEGASTRINGS GRAND-P[1'1ND TENOR-SAX

99 99

hear,

Pan, Timbre, Key Zone,

over MIDI, making presets a great for controlling remote MIDI instruments

and selecting things from the

etc., and adjusting the

About Presets

Section 3 - Performance Parameters



covers these functions in more detail.

2 - 7

Section 2 - Playing Sounds and Presets

Saving a Preset

Once you have created a preset you like, you can save it to one of the 20 Preset

locations in the internal memoir), or to a cartridge. (Note that you cannot save presets or sounds to the ROM memory — it is internal or cartridge location will

To save a preset, decide where you want to save it, then:

•

Press

•

Select Internal (INT) or Cartridge (CRT) using the Select Preset Bank A or B by pressing the soft button beneath the Bank

•

Presets.

indicator in the lower right corner of the display. Press and hold down the

• word SAVE flashes in the lower left corner of the display.



read only.)

the one that is there, so be careful.

erase

Presets

button. The

SD-1 Musician's Manual

Saving a preset to an

BankSet

Presets

button.

LED flashes, and the

IM1

BankSei Sounds

While holding down

the

Preset

PSET

•

SAVE.

While holding down

•

rIEGFISTR INGS



'EDITED'

GRAND-PIANO TENOR-SAX

Presets,

PRESET INT

press one of the ten bank buttons. The Edit

BANK-A

Preset is saved into that location:

:•74



Pr 5514

S•ci



button...

.ns,

•



ALA%

A 0

Press any of the 10 bank buttons.

If you need to listen to a few presets in order to decide which one to replace, simply press

Presets

and then select presets just as you normally would, by pressing the bank buttons, The word *EDITED* disappears from the screen, meaning that you are listening to saved presets_ Your new preset is safe in its own edit memory. But make sure you don't change

anything,

including

selecting or layering sounds, in any of the presets you audition, or this will

new Edit Preset, erasing the one you created.

create

When you are ready to save the new preset, press the bank button of the currently selected preset. It's LED turns off, and you are returned to the Edit Preset (the word *EDITED* should return on the display). Now you can save the preset as described above.

Avoiding Confusion when using Presets

Whenever you create and save a preset, the SD--I only "remembers" the

of the three sounds in internal or cartridge memory — not the actual programs themselves. If you move a program, put another in its place, or transfer an entire

bank of sounds, the preset might still be "pointing to" a location that no longer

contains the sound you had in mind.

2 - S



location

Saving a Preset

-1 Musician's Manual

For example, if you create and save a preset containing a brass sound, a string sound and a piano sound, and you then write over the piano program (or insert a different cartridge, in the case of presets containing cartridge programs), a different sound will now appear in place of the piano sound — whatever is now

Replace Program



in the location originally occupied by the piano sound. If one or more of the sounds in a preset is a cartridge program and you remove

the cartridge, the words CART-SND-## will appear instead of the program name, and the sound that plays will be the internal program with the same relative memory location (until you replace the cartridge).

This leads us to one very important piece of advice:

•

You should use only internal and ROM sounds

memory, and use only cartridge and ROM sounds in presets saved to a cartridge.

is possible,.of course, to mix internal and cartridge sounds in a single preset,

but we recommend that you avoid doing so, as it will definitely lead to confusion

when the cartridge is changed or new sounds are loaded into the internal memory.

The Replace Program function is primarily used for:

•

Assigning programs parameters.

•

Determining the exact placement of programs in a preset.

tracks without changing the effects

Section 2 - Playing Sounds and Presets

presets saved to internal

other performance

Normally, when programs are selected from the program bank pages. they are transferred to a track in the current preset and many of the performance parameters for that track are reset to standard default settings. However, you may wish to change which program is assigned to a track in a preset (or in a sequence) without changing any of the other settings for that track. This is done using the

Replace Program feature. The

Tracks 1-6

Replacing a Program in a Preset

•

Press one of the Performance parameter buttons, such as

the current preset, and make sure that the correct track is selected. The track whose program will be replaced is indicated by the underlined parameter on the lower line of the display. It does not matter which type of parameter is displayed. Use the three soft buttons below the display to select the correct track.

•

Press the

will be displayed and the LED in the indicating that you are in Replace Program mode.

•

Locate the program that you wish to install into the track and press the soft

button nearest to it. This program is now installed on the track, and will acquire the status may change banks and/or continue to select replacement programs until you are satisfied that you have found the right one. If you select a program for a track which is not currently selected or layered in the preset, you will be immediately returned to the preset page you were on.

and

Replace Program

7-12

buttons on the bottom row in the Performance section.

button. The last selected program bank page

Sounds

the program that was replaced if it was selected or layered. You

button is located next to the

Volume,

button will start to blink,

to display

Replace Program



2 - 9

Section 2 - Playing Sounds and Presets



SD—I Musician's Manual

•

Press

Replace Program

the preset page to verify that your change was correct. Pressing

any other page button will also exit Replace Program mode.

The method described above is also used for changing the program assigned to a track in the current sequence or song.

Replacing a Program and the Effect in a Preset

You can replace the program on a track effect by adding one step to the Replace Program procedure:

Select a preset and select the track whose program you want to replace.

•

Press and hold

•

While holding down button.

Use the Bank buttons and the soft buttons to pick a sound as before; but now

• each time you pick a new sound its effect will become the preset effect.

•

Press

Replace Program

the preset page to verify that your change was correct.

Performance Tip — Creating Keyboard Splits

One of the most common usages of presets is a keyboard split, in which your left

hand plays an "accompaniment" sound and your right hand plays a "solo" sound. This is easy to set up on the SD—I by layering the two sounds and assigning them different key zoiies. You can save this arrangement as a preset so that any time you select that preset, you'll recall the keyboard split.

Replace Program.

again

Replace Program,

again to exit Replace Program mode and return to

to exit Replace Program mode and return to

and make

its effect become the preset's

press the Performance

Sounds

Effects

Since presets can hold three sounds, you can add another "solo" by layering it

(double-click) and then setting its key zone. Once you have a preset with a split and two different "solo" sounds, it's possible to switch back and forth between "solo" sounds with one button press. First, select (single-click) one of the "solo"

sounds. Then, layer (double-click) the "accompaniment" sound. Now, you

switch between "solo" sounds by selecting the unused solo sound. The layered

sound will not be turned off, since it's not "covered up" by either of the selected

sounds.

Since each track in the keyboard split has its own Transpose value, you are not

limited to bass notes on the piano just because it's on the bottom of the keyboard.

Just set the key zone to the keys you want to play and then transpose the sound

up or down until it's playing in the range you want.

Once you have a keyboard split, you can change any of the sounds without

affecting the split points by using the Program," above).

Replace

Program

button (see "Replace

can

2 - 10



Keyboard Splits

SD—I Musician's Manual



Section 3 - Performance Parameters

Section 3 — Performance Parameters

provide easy access and control for track and sound attributes

• are used in mixing/manipulating sequencer tracks and in creating presets

•

About Performance Parameters Volume Page Pan and Timbre Pages Key Zone Page Transpose Page Release Page and Track Control Patch Select Page

Pressure Page Sustain Page MIDI Status Page

MIDI Channel Page

MIDI Program Page

About Performance Parameters

A group of Performance Parameters is associated with each preset and sequencer

track. These parameters control various aspects of the track, including some

important and useful sound controls which may be easily adjusted during

performance, or recorded into the sequencer. The settings of these parameters are saved with every preset. These instantly recallable presets include an effect setup and three programs on three tracks with a full set of programmable performance

parameters, including key zones, transpositions, release times, timbral variations and others. The settings of all performance parameters on sequencer tracks are saved for each track while the power to the SD-1 is off, and are always available.

The buttons which control the pages containing these parameters are found in the Performance section of the front panel.

- 1



 

- 2

- 3

3— 4

- 5

- 6

- 7

- 8

- 9

- 10

3 - 

- 12

The Performance/Track Parameters are:

VOLUME

PAN TIMBRE

KEY ZONE

TRANSPOSE

RELEASE time

Track Control

MIDI

EFFECT

About Performance Parameters

PATCH SELECT PRESSURE type SUSTAIN enable STATUS CHANNEL

PROGRAM FX

Select and Mix

Parameter 1 Parameter 2

overall volume adjust

stereo panning control for track program programmable sound variation control set key zone ranges key number transposition program release time adjust default setting of Patch Select control selects type of pressure used enables or disables the sustain pedal

enable or defeat MIDI function MIDI channel number MIDI program number controls routing of track to effect effect control for presets or sequences effect parameter page 1 effect parameter page 2

3 - 1

Section 3 - Performance Parameters

To view or adjust the setting of a particular type of performance parameter, press

the appropriate button in the Performance section. The selected parameter type is indicated in the tog-left corner of the display.

On the Preset pages, the top line of the display will show the names of three programs and their current layering status. The name of the parameter type is abbreviated to four characters in order to make room for the program names, and is shown in the top left corner of the display. The bottom line of the display shows the current values of the selected parameter for the three tracks of the

preset.

In Sequencer mode the current values of parameters for the six tracks (Tracks 1-6 or 7-12) will be displayed. Except in the cases of performance parameter buttons with sub-pages, you can press the parameter page button again to toggle back and forth between the TRAX page which shows the names of the programs on the tracks and the parameter page which shows parameter values. The Tracks 1-6

and 7-12 buttons will also perform this toggling function_ The currently selected track parameter will be underlined. This is the active

parameter which can be modified. You may select a parameter for a different

track by using the soft buttons. When programming performance presets, the lower row of soft buttons is used to select tracks. For sequencer or song tracks. both upper and lower row of soft buttons are used.



SD-I Musician's Manual

Volume Page

Remember that you can edit parameters on tracks that you are not hearing. The tracks that you can hear are indicated with solid or flashing underlines on their names.

Unless otherwise noted in the detailed descriptions which follow, use the up/down arrow buttons or the data entry slider to adjust the value of the

parameter.

tED

UOL BED 0 BELLS



The Volume Page enables you to make volume changes to the individual tracks,

allowing you to balance the SD-1 sounds and/or control the volume of external MIDI devices. In sequencer mode, the Volume page has a special function which allows you to click or double-click on specific tracks to mute or solo them during playback of sequences or songs (see Section S for more).

PRECIOUS



1 NOTE PLE2



3 - 2

Range: 0 to 99

All tracks whose MIDI Status is set to MIDI or BOTH will send a MIDI Volume

Change message (controller 7) with the indicated value whenever this parameter is

edited. Sequencer and preset tracks will also send the current volume for each

track when a sequence or preset is selected.



Volume Page

SD-1 Musician's Manual

Pan Page

Section 3 - PerfOrmance Parameters

Timbre Page

PAN BED 0 BELLS

U01



The Pan Page gives you control over the placement of the track's sound in a

stereo field. When a track is set to VOI, which is an abbreviation of VOICE, the voices of a

program are panned according to the settings originally programmed on the

Output page for each voice. Setting this parameter to any other pan value will

override the original settings and will force ALL of the voices of the program to be panned to that location.

Range: +00 (hard pan left) to +99 (hard pan right). A setting of +50 places the

sound in the center of the stereo field. The minimum setting is VOI which indicates that the individual voice's pan settings will be used.

TIMB BED 0 BELLS PRECIOUS 1 NOTE PLE?



PRECIOUS

+99



1 NOTE PLEZ



+45



The Timbre parameter provides an easy way to make useful changes to the

character of a sound without getting into more complex programming. This performance parameter uses the data entry slider or up/down arrow buttons to control various aspects of the sound, depending on what the programmer has decided would be useful.

As one of the voice modulation sources, TIMBRE can be assigned to anything that can be modulated in a program or effect. The Timbre control can be connected to parameters such as filter cutoff, waveform modulation, LFO rate, and others. It is a good idea to experiment with the Timbre setting to hear what it has been programmed to do in each program.

Range: 00 to 99 All tracks whose MIDI Status is set to MIDI•or BOTH will send a MIDI

Continuous Controller message (controller 71) with the indicated value whenever this parameter is edited. Preset tracks will also send this controller message when a preset is selected.

The current value of TIMBRE is saved with the program whenever a program is

written, and is restored whenever the program is selected or placed on a track.



Pan and Timbre Pages



3 - 3

Section 3 - Performance Parameters



Key Zone Page

SD-1 Musician's Manual

C:3

ZONE CELLOS

C2 -03

Each track has its own independent Key Zone within which the track will play.

Key Zones can be used to create simple two-program splits, or to create more

complex keyboard layouts. Key Zones control which keys will be sent out via

MIDI as well as which keys will play on the local voices of the SD-1. You can divide the keyboard into as many as twelve different key zones by using

the twelve sequencer tracks. In addition, you can set the key zone so that each

zone overlaps the next, producing "layered" zones in which you would hear the

sounds from more than one track. Range: AO..C8 The illustration below shows an example of three tracks with overlapping key

zones. The Piano is layered with, and partially overlaps, the Cellos on the lower end and the Flute on the upper end. The Key Zone settings for this example are

shown in the sample display above.

PIANO

02 -134

CZ)



FLUTE

04 -07

CZ]

Cellos

Setting the Key Zone



Unlike other performance parameter pages, the normal state of this page is to have

no parameter fields underlined. In order to seta Key Zone:

•

Select the track by pressing the soft button nearest the zone you wish to set. This will result in the Low Key of the zone (the left key number) becoming underlined.

•

Play the key on the keyboard which you want to be the The underline will automatically move to the right for the High Key of the zone.

•

Play the key for the be displayed and the underline will disappear.

•

If you wish to change the zone, simply repeat the process.

The key zone is automatically reset to full range whenever you select a program

from one of the Program Bank pages. When you select a program using the Replace Program feature, the key zone setting is left unchanged.

Changing the key zone will does affect what is recorded). Sequencer tracks will play all keys that were

recorded, regardless of the key zone at the time of playback. To eliminate a key range from a track, use the Erase function on the Edit Track page (Section 12).

Piano

highest

not

Flute

lowest

key of the zone. The new values for the zone will

affect the playback of sequencer tracks (though it

key of the zone.

3 - 4 

Key Zone Page

SD-1 Musician's Manual



Section 3 - Performance Parameters

Warning:



If the key zone is accidentally set to a range where the High Key is actually

below

can re-program the zone manually or you can reselect the program from the program bank page, which will automatically reset the key zone to full range.

Transpose Page

Each track can have its pitch transposed (raised or lowered) by octaves and semitones within an eight octave range. The transpose setting affects both the pitch played by local SD-1 voices and the key number transmitted via MIDI (if the MIDI Transpose enable parameter in ON on the MIDI Control page).

Pressing the soft button for an already selected track will toggle the underline (showing the active field) from octave to semitone and back.

the Low Key, then the track will not play. To correct this situation, you

XPOS BED 0 BELLS PRECIOUS 1 NOTE PLEZ

-1 +00



Octave Transposition I

+00

+3 +00

Semitone Transposition

Ranges: Octave parameter

Semitone parameter



-4 to +4 octaves

-11 to +11 semitones*

* It is possible to extend the transposition outside of the normal range by using the up and down arrow buttons to edit the semitone value to a maximum of + or - 8 octaves and 11 semitones, although this may cause unexpected results.

In Sequencer mode, the Transpose function provides a way to transpose tracks in real time without changing the data in the track. However, you should take care

never to transpose a track whose status is MIDI or

BOTH

while holding keys

down or while the sequencer is running. This could cause the key-up events to

be missed by the receiving device, causing notes to "hang."

Transpose Page



3 - 5

Section 3 - Performance Parameters

Release Page

RELS BED 0 BELLS

-28

The Release Page enables you to increase or decrease the release time of the

program on a selected track. (Release time is the time it takes for the sound to fade away when the key is released.) This is useful when you need to adjust the release characteristics of a sound for a particular application without getting more deeply into programming.

In order to be controlled by this performance parameter, one or more of the envelopes in the program must be programmed with the Envelope Release Time parameter set to a value with a star ( * ) suffix. For example, if ENV3 - TIMES -

RELEASE=50* instead of simply 50, then the release time of Envelope 3 can be

adjusted from the Performance Release parameter. It is typical to have at least

Envelope 3 controlled by the parameters on this page.



PRECIOUS 1 MOTE PLEZ



+50

SD—I Musician's Manual

+00

Range: -64 to +64

All tracks whose MIDI Status is set to MIDI or BOTH will send a MIDI Continuous Controller message (controller 72) with the indicated value whenever this parameter is edited. Preset tracks will also send this controller message when a preset is selected.

The current value of RELEASE is saved with the program whenever a program is written, and is restored whenever the program is selected or placed on a track.

Track Control Parameters

The three parameters grouped together under the

several performance aspects of the track:

PATCH SELECT PRESSURE SUSTAIN

The button name is Patch Select setting, and this is an important feature of the SD—l. The following two sub-pages contain the Pressure mode and the Sustain enable switch. These sub-pages are accessed by repeated presses of the



Patch Select

Higher values lengthen release time. Lower values shorten release time.

Patch Select

because the top page contains the default

Patch Select

button control

button.

3 - 6 

Release Page

5D-1 Musician's Manual

Patch Select Page



Section 3 - Performance Parameters

current

Patch Select

button state

PSEL BED 0 BELLS PRECIOUS 1 NOTE PLEZ



This Page gives you control over the Patch Select buttons assignments for each

track.

Setting

LIVE

0*-

*0-

_**_

HOLD

The HOLD setting is special because it lets you easily hold a patch select variation by playing a key on the keyboard while touching the patch select button(s). The first key you play after touching the patch select buttons will hold that patch select variation as the current patch for the track. You may then continue to play without having to touch the patch select buttons, which makes two-handed playing easier. If you wish to return to the 00 patch, touch either of the patch select buttons and release it patch.



 



-0*-



Patch used by track uses the current state of the buttons to select a patch always uses the 00 patch (no buttons down) always uses the 0* patch (right button down) always uses the *0 patch (left button down) always uses the ** patch (both buttons down) uses the patch set by the first key hit while touching the patch buttons

before

HOLD

you play the next note. This will hold the 00

LIME

When programming patch variations, you can set the mute status of the various

voices in different patches without leaving the Select Voice page by using the

HOLD feature.

Latching Patch Selects

Latching is more permanent than holding because once latched, the patch will

remain assigned to the track even if the patch select buttons are touched again

later. While the Patch Select page is being displayed in either Preset or Sequencer

modes, it is possible to instantly "latch" the current state of the patch select buttons into a track by pressing the soft button for the currently selected track. If neither of the patch select buttons are being held down when this function is performed, the parameter setting will revert to LIVE status. If you wish to set the status to 00, then use the up/down arrow buttons to change the fixed setting. To latch the patch select setting for a different track, first press the soft button to select the track, then press it again while holding one or both patch select buttons to latch the setting.

For more information on programming uses of the Patch Selects refer to the Programming Section of this manual

Pa:ch Select Page



3 - 7

Section 3 - Performance Parameters



Pressure Page

PRES BED OF BELLS TIMBRE ORG 1 NOTE PLEZ

NONE

The Pressure sub-page enables you to assign one of three pressure modes to each

Track.

NONE—Pressure information will not be sent over MIDI or recorded by the

• sequencer, nor will the program on the track respond to pressure locally. KEY—This setting enables the track to send and receive via MIDI the most

• expressive kind of pressure—Poly-Key pressure. ENSONIQ's exclusive

Poly-Key pressure lets you add pressure modulation to each note independently. If you press down on any particular key within a chord, only that note will be affected by pressure—all others remain unaffected. When a sequencer track is set to KEY, Poly-Key pressure will be recorded into the track, even if the sound is not programmed to respond to it. See the warning

below about conserving sequencer memory.

CHAN—This enables the track to send and receive via MIDI the most common

• type of pressure—channel pressure. With channel pressure, after a note is

played, pressing down harder on a key modulates

Like a mod wheel, channel pressure is "global," it affects the entire keyboard

when activated. When a sequencer track is set to CHAN, Channel pressure will be recorded into the track.

SD-1 Musician's Manual

KEY



CHAN

VIM

every

note currently playing.

WARNING

You should consult the MIDI implementation chart of the MIDI device you will be using in conjunction with the SD-1 to see which (if any) type of pressure it responds to and transmits. For best results, set the SD-1 Pressure parameter to match the type of pressure supported by the external MIDI device which will send to or receive from the track you are setting.

The current PRESSURE setting is saved with the program whenever a program is

written, and is restored whenever the program is selected or placed on a track.

If a sequencer track is set to KEY or CHAN, the sequencer will always record

pressure into the track. Pressure (especially Poly-Key pressure) is recorded by the sequencer as a steady stream of numbers, and you will use up the sequencer memory at an alarming rate if pressure is enabled. For this reason, you should always be aware of the setting on this page when you go to record or overdub a track. If the track doesn't call for pressure, set this control to NONE. This will avoid wasting valuable sequencer memory and also avoid clogging up the MIDI

"airwaves" with a lot of unnecessary pressure information. Existing pressure

information can also be removed from a track using the Filter command on the Edit Track page.

3 - S 

Pressure Page

D-1 Musician's Manual

Sustain Page

SUST SYNTH BASS PRECIOUS I NOTE PLEZ



Section 3 - Performance Parameters

OFF

The Sustain sub-page allows you to determine whether each of the individual tracks will respond to sustain controller events. The effect of all sustain events, whether from the SD-1 sustain pedal (FTSW 2=SUSTAIN on the Master page) or sustain commands received from MIDI, is controlled by this switch. There are two setting for this switch, ON and OFF.

•

ON sustain events will affect all notes played within the active key zone for

this track.

OFF sustain events will have no effect on the notes played on this track.

• For example, as shown in the screen above, it may be useful to turn offzustain

events on a track set up as a bass sound in a split keyboard configuration. This allows you to play staccato bass lines on the lower part of the keyboard while playing chords on the upper part of the keyboard and using the sustain pedal. The bass notes will not be affected by the sustain pedal because the track is set to OFF, but the chords will sustain.

Using Effects With Performance Presets

All three tracks in a preset, and all the tracks in a given sequence or song, share the same effects program. The effects program for the preset is inherited from the primary (non-layered) selected program and any layered programs in the preset will use that same effect. The effects program for the sequence or song is inherited from the current sequencer effect at the time the sequence or song was

created. If this effect is incompatible with other programs in the preset sequence

or song, there are several options:

OFF

CE3

Patch Select Page

set the effects routing to DRY for any of the programs which are incompatible;

• set the routing to AUX for programs which you want to process separately by

• sending them to the Aux. Outputs; and/or change the preset/sequencer effect to be something more suitable.

•

When you press the Performance the first page that appears is the Track Effects Control page. On this page you can override the normal effects routing of the program for each track. Subsequent

sub-pages let you redefine the effect for use in the Preset, sequence or song, and are identical to the effects programming pages in the Programming section (see the Effects section for more information on effect selection and programming).



Effect

button from preset or sequencer mode.

3 -

Section 3 - Performance Parameters



Performance MIDI Parameters Page

The parameters on the Performance MIDI page control the MIDI attributes of each track. On this page, you can determine:

The MIDI STATUS of the track (i.e. whether it will play locally, only over

• MIDI, or both); The MIDI CHANNEL on which the track will transmit and receive; and

• The MIDI PROGRAM NUMBER which the track will transmit when selected.

•

The Performance MIDI page consists of three separate sub-pages. Each time you press the displayed. On Preset pages, the parameter name will be abbreviated as follows:

MIDI

STAT CHAN MIDI Channel PROG MIDI Program number

button in the Performance section, the next sub-page will be



MIDI Status

SD-1 Musician's Manual

MIDI STATUS

Press

MIDI

STAT BED 0 BELLS TIMBRE ORG MIDI-CHAN-3

to show the first sub-page:

BOTH



LOCAL



MIDI

ara

This page determines the MIDI Status of a track. The four possible settings are:

and

BOTH Keys, controllers, etc., will play locally

• over a selected MIDI channel. Incoming MIDI will play internal

voices.

•

LOCAL The track will only play internal voices, and will not send any data out

MIDI. Incoming MIDI will play internal voices.

•

MIDI 

•

*EXT* Same as MIDI status except that incoming MIDI

Keys, controllers, etc., will be be sent out via MIDI when the track is played from the keyboard. However, keys played or recorded on the track will not play SD-1 voices at all. Incoming MIDI internal voices. This is comparable to Local Off on some keyboards. Use this status when you want to create MIDI-only tracks for sequencing or playing remote MIDI devices, When MIDI status has been selected for a track, instead of showing the program name, the display will show *MIDI-CHAN--#, indicating its status and what

MIDI channel it is sending on (assuming the MIDI-TRK-NAMES

switch on the MIDI Control page is OFF; see Section 6).

voices. This is useful when using the SD-1 as a controller with an external sequencer and a number of other MIDI sound modules. It is also good for turning off certain tracks when using the SD-1 as a multi-timbral receiver in MULTI Mode, thereby limiting the number of channels to which the SD-1 will respond. See Section 13 for more on

both of these applications.

will be sent via MIDI

will

play

will not

play internal

3 -



MIDI Status Page

SD—I Musician's Manual

This chart details the behavior of sequencer tracks for each status:



Section 3 - Performance Parameters

Playing the keyboard plays local voices Playing the keyboard sends out MIDI Playing the sequencer track (pressing Play)

plays local voices Playing the sequencer track (pressing Play)

sends out MIDI Incoming MIDI data plays local voices

Press

MIDI CHANNEL

Use this sub-page to determine which MIDI channel a track will use to transmit and receive data. The differences in how this parameter controls the track for transmitting and receiving are important to understand and are described below.

You may also wish to refer to the sections covering the MIDI Control page, and

the Sequencer Applications section.

Track Status =

MIDI

CHAN BED 0 BELLS TIMBRE ORG 1 NOTE PLEZ

to show the second sub-page.

BOTH

Yes Yes

Yes

LOCAL



Yes

MIDI

Yes

No No

Yes

*Exr

Yes

Transmit Controls which channel the the three tracks of a preset will

data on only if SEND-CHAN=TRACK is selected on

send

the MIDI Control Page. Otherwise, in Preset mode, the SD-1

keyboard will send only on the base MIDI channel no matter

which preset track is selected. Sequencer tracks which have

MIDI, BOTH or *EXT* Status will

always

send only on the

MIDI channel defined on this page.

Receive Controls which channel an individual sequencer track will

receive data on if MIDI MODE=MULTI or MONO B mode is selected on the MIDI Control Page. In POLY or MONO A modes the SD-1 will receive only on the base MIDI channel no matter which track, program or preset is selected.

receive on different MIDI

Individual

preset tracks will

not

channels; for presets this is a send-only function.

Range: MIDI channels 1 through 16.

MIDI Channel Page



3 - 11

Section 3 - Performance Parameters



SD-1 Musician's Manual

MIDI

Press

MIDI PROGRAM Number

PROG BED 0 BELLS TIMBRE ORG 1 NOTE PLEZ



Range: 001 through 128 (MIDI program numbers 0 to 127)

This sub-page lets you choose which MIDI Program Change number will be sent

via MIDI when the track is selected. If the track MIDI status has been set to LOCAL, the track will not send program changes.

The number which appears is usually the number of the internal SD-1 program

assigned to the track. This number is automatically set whenever a program is selected from the Program Bank pages. Assigning a new program to a Preset track from Replace Program mode does automatically, but sequencer tracks will acquire the new program's number.

to show the third sub-page:

007

002



001

change the program number

not

You can set this number to any other legal program number if you wish to

override the default value. This can be useful in presets and sequencer tracks,

which will transmit a program change for every MIDI-enabled track when selected.

Entering Program Change Numbers Directly

While this page is displayed (or from the Tracks 1-6 and 7-12 pages in sequencer

mode), it is possible to send MIDI program change messages by holding the soft button nearest the track program name and then entering the MIDI program change number using the numbered bank buttons. When you release the soft

button the program change will be sent, and the program number will be updated in the display. The range of acceptable numbers is 1 to 128. You do not have to enter leading zeroes (for example, to send 003, simply press 3 and release the soft button). The actual numbers transmitted (000 to 127) are one less than the

number displayed, in compliance with the MIDI standard.

Program Changes in the SD-1

When programs are assigned to a track from a program bank page, their program

number is automatically set according to the following scheme:

•

Internal RAM programs (INT banks) are numbered from 001 to 060.

•

Cartridge programs (CRT banks) are numbered from 061 to 120.

•

ROM 0 and ROM

001 to 060.

programs (RMO and RM1 banks) are also numbered from

3 -

Refer to the System Control section description of the MIDI Control page for

more information on how the SD-1 receives program changes.



MIDI Program Page

SD-1 Musician's Manual

Section 4 — Effects

Understanding SD-1 Effects

Program, Preset and Sequencer Effects Selecting Effects Modulators which can be applied to the Effects When are New Effects loaded into the ESP Chip? Performance Control Controllers Routed to Effects

Programming Effects The Effect Busses Effect Mixing Effects Parameters

Understanding SD-1 Effects

The SD-1 has a powerful built in signal processor which can produce a variety of

effects. More importantly, its functions are integrated into, rather than added

onto, the rest of the synthesizer. The flexible bus routing scheme and the

extensive real-time control give the SD-1 its unprecedented capability.

The SD-1 is equipped with an advanced digital signal processing system based on the ENSONIQ Signal Processor (ESP) chip. The ESP is designed specifically for digital audio signal processing and in the SD-1 it has been integrated with a

third generation version of the Digital Oscillator Chip (DOC III) and an external

16-bit digital-to-analog converter to provide a very high-quality output signal.



Section 4 - Effects



dynamic

 



- I

- 2

- 3

- 4

- 5

- 6

- 7

- 8

effects

The digital effects processing has been designed to complement the advanced performance features of the SD-1, and many of the effects can have specific parameters modulated by various performance controls such as the mod wheel, Poly-Key pressure, and the patch select buttons.

The effects are fully programmable, and may be customized for particular applications. Effects are most often stored as part of a program, although each preset may also have its own by the programs included in the has an independent effect. Each of these types of effect is treated a little

differently, and will be described individually later in this section.

override

effect, independent of the effects contained

preset.

Each individual sequence and song also

Understanding SD-1 Effects



4 - 1

Section 4 - Effects

Program Effects



Each program in the SD-1 contains an effect and a complete set of parameter

values which determine how that effect will sound. The effect is present even if none of the voices in the program are routed through the effect (e.g. all voices are sent to the DRY destination bus - see the Output page section). Whenever you save or write a program, the effect settings are also saved with the program.

SID-1 Musician's Manual

Preset Effects

The program effect is displayed and edited by pressing the

Programming

parameters, which are common to all of the effect types. These pages are described in the Effect Parameters part of this section.

If the effect that is currently loaded and being heard is different than the program effect that is being shown, then a flashing MUTE will appear in the lower left corner of the display.

Each preset in the SD-1 also contains an effect and a complete set of effect parameter values. The effect is present even if none of the tracks in the preset are routed through the effect (e.g. all tracks are sent to the DRY destination bus - see

the Performance Effects page section). Whenever you save or write a preset, the

effect settings are also saved with the preset.

The preset effect is often the same as the effect contained in the primary selected program in the preset, but can easily be changed to suit the needs of the preset more closely. This effect applies to all preset tracks (or their program voices)

which are routed to either FX destination bus.

The preset effect is displayed and edited by pressing

Performance

There are four pages in total. The top level page controls the routing of the effect

and is described in the Performance Control part of this section. The next three pages contain the effect parameters, which are common to all of the effect types. These pages are described in the Effect Parameters part of this section,

section of the front panel. There are three pages of effect

section of the front panel.

the

Effect

button in the

Sequencer Effect

4 - 2



Like each of the presets in the SD--1, each sequence and song contains an effect and a complete set of effect parameter values. The effect is present even if none of the tracks in the sequence are routed through the effect (e.g. all tracks are sent to the DRY or AUX destination bus - see the Performance Effects page section). This effect applies to all sequencer tracks (or their program voices) which are routed to either FX destination bus.

The effect is saved with each sequence or song. It will remain unaffected until a

new song or sequence is selected, unless it is specifically edited. A special program change message may be used to load new effects into a sequence from MIDI in Multi mode (see the MIDI Control page description of special program changes in the System Control section). The Copy function and a special mode of Copy Preset to Sequence can be used to replace the Sequence effect.

The sequencer effect is displayed and edited by pressing the

Performance

section of the front panel, when the SD-1

Understanding SD-1 Effects

Effect

sequencer

button in the

mode.

SD-1 Musician's Manual

Selecting Effects

The first parameter of the Effects page is the effects selector. Changing this

parameter causes a new effect to be selected, which in turn changes the type of parameters which will be available on the rest of the pages. Selecting a new effect preset will automatically set all of the effect parameters to their default values for the new effect. The available Effects on the SD-1 are;



Section 4 - Effects

LARGE.HALL.REV SMALL.HALL.REV CONCERT REVERB

ROOM.REVERB.1 ROOM.REVERB.2 WARM CHAMBER DYNAMIC.REVERB DYNAMIC.HALL

GA l'ED+ROOM VERBS

WARM.HALL.REVERB PLATE.REVERB 8-VOICE.CHORUS.1 8-VOICE.CHORUS.2 CHORUS+REVERB.1 CHORUS+REVERB.2 FLANGER+REVERB. 1 FLANGER+REVERB.2 DELAY+REVERB.1 DELAY+REVERB.2 FLANGE+DLY+REV.1 FLANGE+DLY+REV.2 DLY+FLANGE+REV.3 ROTO-SPKR+DELAY DIRTY-ROTO+DELAY

DIST+CHORUS+REVB LPF+DIST+CHO+REV

PHASER+REVERB

Large Hall, high density Reverb Small Hall, high density Reverb Concert Hall Reverb

Medium Room Reverb with more early reflections Small Room Reverb with more early reflections Chamber Reverb with lots of early reflections Large Hall Reverb with modulatable decay time Concert Reverb with modulatable decay time Separate Gated Reverb and Room Reverb Warm Hall Reverb with modulatable decay time Plate Reverb with modulatable decay time Eight Voice Chorus with complex modulation Alternate Chorus algorithm with complex modulation Chorus combined with Reverb (variation) Hanger combined with Reverb (variation) Delay Line combined with Reverb (variation) Hanger with Delay combined with Reverb (variation) Delay into Flanger combined with Reverb

Rotating Speaker Simulator with Delay Rotating Speaker Simulator with Overdrive plus Delay Chorus and Reverb with Distortion added Low-Pass Filter, Distortion, Chorus and Reverb Phase Shifter with Reverb

Understanding SD—I Effects

4 - 3

Section 4 - Effects

Modulators which can be applied to the Effects



The following modulation sources are available to alter the effects in performance:

SD—I Musician's Manual

Mod Source

KEY-GATE

KEYBOARD VELOCITY PRESSURE PITCHWH1.,

MODWHEEL

MODPEDAL

XCONTROL

SUS-PEDAL TIMBRE

PATCHSEL *OFF*

Programs and Presets

The complete effects setup, including the values of all effect parameters, is saved

when you save a program. It is SD-1 tries to be smart about switching effects, since all sound must stop for an

instant when it changes effects.

When are New Effects loaded into the ESP Chip?

•

When you select a program from one of the Program Bank pages, the effect

saved in that program will be loaded into the ESP, and you will hear the program with its effect. If you layer a program by double-clicking, its effect

will

•

When you select or layer programs/tracks from a preset or performance parameter page, the effect is

•

When you change the program on a track from Replace Program mode (e.g.

with the

•

When you select a preset, the override effect saved in that preset will be loaded

into the ESP.

•

When you select song or sequence, the effect saved in that song or sequence

will be loaded into the ESP.



not

be loaded.

Sounds



 



LED blinking), the effect will

Modulation effect derived from

on when any keys are pressed; off otherwise

the number of the last key played the average velocity of all keys played the channel pressure value for track the value of the pitch wheel

the value of the mod wheel

the value of the CV/Pedal input

uses the value of the assignable external MIDI controller, such as a breath controller on when held down; otherwise off the value of the TIMBRE parameter for the track, if

the track is set to CONTROL

four values (0,32,64,127) for the four button states

no modulation

also

not

saved with the performance presets. The

changed.

not

be changed.

4 - 4

Whenever a new effect is loaded into the ESP, the audio output will pause briefly, allowing the instructions which create the new effect to be loaded into the ESP. If an effect differs only by variation in parameter values, then this pause may not occur.

These are the rules that the SD-1 follows in deciding when to change effect programs:

I . When you select a new primary sound it changes to that sound's effect.

When you layer a sound by double clicking, the effect is not changed.

When you select a performance preset, it changes to that preset's effect.

When you select a new song or sequence, it changes to that song or

sequence's effect



Understanding SD—I Effects

SD—I Musician's Manual

Performance Control of Effects in Preset or Sequencer mode

When the SD-1 is in Preset

preset, song or sequence is edited by pressing the Performance section of the front panel.

The Programming Effect button. The first time it is pressed it shows the

Override

of the 12 tracks of the current song or sequence in Sequencer mode). Subsequent

presses reveal the effects programming parameters, which are identical to those

found in the Programming section.



Whenever you go from Sounds mode to Sequence mode (by pressing

the sequence effect is loaded. The same is true when going from Sequence mode to Sounds mode (by pressing When you bring a sound into an existing preset or sequencer track using

Replace Program

Saving either the the sound or the preset will save the Should you start editing a sound while an effect a warning will appear, reminding you that you are not hearing the effect

whose parameters you are seeing or editing. This warning appears as MUTE flashing in the lower left corner of the display. When a special MIDI program change message (#125) is received in MULTI

mode, the next program change received will cause the sequence effect to be

loaded with the one in the program.

Effects

button in the Performance section has one more level than the

parameter for each of the three tracks in a performance preset (or for 6

it will not change the effect.

mode or Sequencer mode, the effect for the current

Sounds).

Section 4 - Effects

current

other than its own

Effects

effect.

button in the

Seq)

active,

Bus

Normally, different voices in a program are assigned to the four different busses, as set on the Output page. The routing of the voices without editing the sound itself. This may be useful when two sounds are split or layered in a performance preset, and the effect is not appropriate for both. Also, this is used to assign a track to the Aux Outputs for separate processing or mixing.

The available settings are:

-DRY-

■

-FX1-

•

-FX2-

•

VOICE

•

CNTRL

-AUX-

Controllers Routed to Effects

In effects

tracks

using multiple MIDI input channels from a sequencer. If more than one track is

set to CNTRL, "controller fights" can occur. If set to VOICE, a track will remain

routed to the effects, but its controllers (such as the TIMBRE control, MODWHEEL, etc.) will not affect the effect.

  



which allow real-time control, it is sometimes desirable to limit

send controller information to the effect_ This is particularly true when

FX Bus Override

forces all voices to the dry bus forces FX2 voices to FX1; FX1 and DRY are unaffected forces FX1 voices to FX2: FX2 and DRY are unaffected uses normal voice routing uses normal voice routing and also routes controller information

to the effect. This is the default setting in the track after selecting a primary program. forces all voices to the Aux. outputs, bypassing the effects

parameter provides for the re-

which

Understanding SD—I Effects



4 - 5

Section 4 - Effects



Programming Effects

The SD-1 effects are fully programmable. There are three sub-pages of effect

parameters for every effect type. The first sub-page contains the effect selector. The effect selector is a little different than all of the other parameters. It controls how all of the other effect pages will be configured and displayed. When this

parameter is changed, a new effect preset is selected which causes several

important things to occur.

When a new effect is selected:

a new effect is loaded, causing a brief pause in the audio output.

• the effect parameter pages are redefined for the particular effect selected.

•

the effect parameter values are reset to their default settings for the effect.

•

SD-I Musician's Manual

Hint:

When editing the effect selector, it is possible to change the new effect type quickly and avoid the brief delay caused by the actions described above. Pass rapidly over the types between the old type and the new type, and then pause. The new effect preset will be recalled only after you stop changing the type.

The Effects Busses

The output of every voice in the SD-I is assigned to a stereo bus. A bus, like the bus of a mixing board, mixes together all the voices assigned to that bus into a single stereo pair. Of the four busses on the SD-I, two are inputs into the signal processor (FX1 and FX2), another is a direct path to the Main outputs which bypasses all effect processing (DRY), and the fourth is a direct path to the Aux. outputs which also bypasses all effect processing (AUX). The Destination Bus assignment for each voice is set on the Output page. The voice settings in the

program can be over-ridden for each preset and sequencer track on the top-level

of the Performance Effects page.

Single Function Effect

Voice Output

Mixer

AUX

0 

DRY

0 

FX1

0 

FX2

0 

Destination

Bus

Mix2

Effect I



▪

> Outputs



Aux



Outputs

Main

4 - 6

The above illustration shows the effects busses and the output mixing. Every

voice is assigned to one of the four stereo busses, which go around or through the effects processing. The heavy lines are stereo paths.

Understanding SD-1 Effects

SD-I Musician's Manual



Effects Mixing

All effects have separate mixing controls for the FX1 and FX2 busses.

When an effect with a single processing function (such as reverb only) is selected, both busses FX1 and FX2 are routed to it. Mixl controls the amount sent to the effect or sent around it. In this case bus FX2 can be used in two modes.

•

NORMAL .STEREO .SEND—in this case FX2 functions exactly like FX1, but provides a separate effects mix amount. This can be useful for setting up one

bus with more effect processing than the other. Voices can then be routed to the most appropriate bus, depending on how much effect is desired.

•

LEFT .WET/RIGHT .DRY—in this configuration a voice's pan position

determines its (individual) effects mix. Pan can be modulated in real-time with

modulators such as Poly-Key pressure, and when pan is treated as wet/dry mix, it allows real-time modulation of effect mix. This is one of the unique effects which the SD-1 offers. In this mode, pan affects only the wet/dry mix and does not affect stereo image panning from left to right.

Multiple Function Effect Mixer

AUX

Section 4 - Effects

dynamic



Voice Output

Aux Outputs

FX1

Effect 1

Effect 2



> Outputs

Main

FX2

0 

Destination

Bus

When the selected effect is a

combined effect

Mix2

that has more than one signal processing function (such as chorus and reverb), the FX1 bus feeds Effect I, and the FX2 bus feeds Effect 2. The FX2 Mix control sets the amount of Effect 2 (usually reverb) for voices assigned to that bus. FX1 Mix controls the amount of the output from Effect 1 sent to Effect 2 rather than directly to the output. By setting this control to its extremes, you can arrange the two effects to be either in series or in parallel.

One exception to this rule is the GATED+ROOM VERBS effect which contains two entirely separate reverb algorithms. In the case of this effect, the two different effects busses are always in parallel:

Voices sent to the FX1 bus will go to the gated reverb; the FX1 Mix determines

•

the wet/dry mix of those voices.

•

Voices sent to the FX2 bus will go to the regular room reverb; the FX2 Mix determines the wet/dry mix of those voices.

Also, in the triple effect such as, FLANGE+DLY+REV, the flanger and delay together are treated as Effect I, with the reverb treated as Effect 2.

nderstanding SD-I Effects



4 - 7

Section 4 - Effects



Effect Parameters

Each of the effect types has three sub-pages containing a particular set of parameters associated with the effect. Some of the parameters are common to many effects and some are specific to certain effects. The first page of parameters is very similar for all of the effects. The second and third sub-pages are more variable, and contain the specific parameters.

In some cases, several presets of the same type will have an identical set of

parameters. In these cases, the parameters will only be described once, but the effect presets which share those parameters will be listed at the beginning of the description.

Each effect has an FXI Mix and an FX2 Mix, plus a set of parameters which is relevant to the effect. All of these parameters are programmable, and provide

much flexibility for customizing the effects.

LARGE.HALL.REVERB; SMALL.HALL.REVERB; CONCERT REVERB; ROOM.REVERB.1 & 2; WARM CHAMBER; DYNAMIC.REVERB; and DYNAMIC.HALL

These effects algorithms provide a highly optimized stereo effect, such as studio quality reverb or complex chorusing. The FXI and FX2 busses can be routed

into the effect with different wet/dry mixes. LARGE_HALL.REVER_B offers a

large acoustic space, high density reverb. SMALL.HALL.REVERB is a small

concert hall, high density reverb. CONCERT REVERB is a concert hall reverb.

ROOM.REVERB.1 & 2 are smaller room reverbs with more early reflections.

WARM CHAMBER features a chamber reverb. DYNAMIC.REVERB is based on the Large Hall Reverb algorithm, and provides a number of interesting effects

by allowing decay time to be modulated. DYNAMIC.HALL is based on Concert Reverb algorithm, and also allows decay time to be modulated.

SD-I Musician's Manual

The parameters available in these eight effects algorithms are:

EFFECT DYNAMIC.REUERB DECRY-TIME=080

REUERB MIX -

DECAY-TIME

Range: 0 to 100 Controls the amount of time it takes for the reverberation to decay away to a very low level (-60 dB) after the input signal stops.

F X 1 FX2

The FX1 and FX2 busses can be routed into the effect with different wet/dry

mixes.



FXI=50



FX2=50

4 - 8



Effect Parameters

SD-1 Musician's Manual

Section 4 - Effects

REUERB



PRE-DELAY=100

EARLY-REFLLEUEL=99

CZEI

PRE-DELAY

Range: 0 to 250 milliseconds This parameter controls the length of a short delay which occurs before the

reverb. Pre-delay is the amount of time it takes for the reverberation to begin after the input signal is present.

EARLY-REFL.LEVEL — Early Reflections Level

Range: 0 to 99 This parameter controls the amount of early reflections mixed into the

reverberation. Early reflections are the very short delays which occur at the very beginning of the reverb, and are caused by sound waves being reflected back from the surfaces of the hall or room.

C:=3

1=1

REUER8



FX2-MODE=LEFTAJET/RIGHT.DRY

REUERB HF-DAMPING=75

41M

W6M

FX2-MODE

•

NORMAL.STEREO.SEND—in this mode, each voice's pan acts normally and balances left to right ratio of the stereo input to the effect

•

LEFT.WET/RIGHT.DRY—in this mode, pan is used to control the wet-to-dry mix ratio instead of the stereo balance. Panning to the left will increase the amount of signal sent to the effect, and panning to the right will decrease the effect level and increase the dry or bypass level. The left channel of FX2 is sent directly to the effect without mixing. The right channel of FX2 is routed around the effect and appears in the center of the main stereo output. Since panning can be dynamically controlled on each individual voice, this mode allows each voice to have a separate dynamic effect mix.

HF-DAMPING

Range: 0 to 99 The High Frequency Damping parameter controls the amount of attenuation of high frequencies in the decay of the reverberation. As natural reverb decays, some high frequencies tend to get absorbed by the environment. Increasing the value of this parameter will filter out increasing amounts of high frequency

energy.

Effect Parameters



4 - 9

Section 4 - Effects



SD-1 Musician's Manual

REUERB DECRY-M00=+99



PRE-DELRY=100

MODSRC=MODWHEEL ERRLY-REELLEUEL=99

1=1

DECAY-MOD (Dynamic.Reverb & Dynamic.Hall only) Range: -99 to +99 This parameter controls the amount of modulation from the selected modulation source which will be applied to the decay time of the revert.

MODSRC — MODULATION SOURCE (Dynamic.Reverb & Dynamic.Hall only) This parameter selects the modulation source to be used. Any one of the effect modulators can be selected.

Uni

REUERB

DIFFUSION (Concert Reverb and Warm Chamber only)

Range: 00 to 99 This parameter determines whether the early reflections will appear as a series of discrete echoes (lower values) or will be more diffused (higher values).



DIFFUSION=S8



PRE-DELRY=100

ERRLY-REFL.LEVEL=25 TIME=038

TIME — Early Reflection Time

(Concert Reverb and Warm Chamber only)

Range: 00 to 200 milliseconds

Controls the time it takes for the early reflections to reach the listener. LF-DECAY — Low Frequency Decay

(Concert Reverb and Warm Chamber only) Range: -99 to +99 This parameter, on the third sub-page of the CONCERT REVERB and WARM CHAMBER effects, controls the amount of low frequency content in the decay.

4 - 10



Effect Parameters

SD-I Musician's Manual



GATED+ROOM. VERBS

This effect combines a contemporary gated reverb on the FX1 bus with a standard

room reverb on FX2. This algorithm gives you two different reverts at once and is thus good for use when sequencing. Drums can be assigned to the gated reverb and other voices to the room reverb. Assign a voice to FX1 to get gated reverb only, or use FX2 for room reverb only.

Section 4 - Effects

EFFECT

GATED+ROOM.UEROS

REUERB MIX -



DECAY-TIME=65

FX1=50



FX2=50

CE1

Decay-Time (For the Room Reverb)

See the description in the LARGE.HALL.REVERB section.

— Reverb After Gate

The FX1 level controls the wet/dry mix of the gated reverb into the room reverb.

FX2



Reverb Mix

FX2

Mix level controls the wet/dry mix of the room reverb only.

The second sub-page contains parameters which control the gated reverb. The gated reverb algorithm simulates the sound of a reverb passed through a noise gate.

anOt.s:

GATE TIME=025 SLOPE=090 THRESHOLO=05

PRE-DELAY=008 RELEASE-TiME=025

Mr%

C=3

Effect Parameters

TIME (Gated Reverb Parameter)

Range: 00 to 200 This parameter controls the amount of time the noise gate stays open after the input level (the dry signal) crosses the gate threshold.

SLOPE (Gated Reverb Parameter)

Range: 00 to 100 This parameter controls the linearity of the reverb within the algorithm. At low values the reverb will decay away quickly; at high values the reverb level will

decay away much more slowly, creating a nonlinear effect.

THRESHOLD (Gated Reverb Parameter)

Range: 00 to 99 This controls the input signal level at which the gate will open and close.



4 - 11

Section 4 - Effects

PRE-DELAY (Gated Reverb Parameter)



Range: 00 to 200 This parameter controls the length a short delay which occurs before the gated

reverb. Pre-delay is the amount of time it takes for the the input threshold is crossed.

RELEASE-TIME (Gated Reverb Parameter)

Range: 00 to 200 The Release Time parameter controls the rate at which the reverb level will fall to

zero after the input signal falls below the threshold.

SD-I Musician's Manual

TeVtIbeTatiOn to 134_11

after

REUERB

PRE-DELAY (Room Reverb Parameter) HF DAMPING (Room Reverb Parameter)

See the descriptions in the LARGE.HALL.REVERB section for details.



WARM.HALL.REVERB

WARM.HALL.REVERB is based on the hall reverb algorithms, and offers different effects by allowing decay time to be modulated. The FX1 and FX2

busses can be routed into the effect with different wet/dry mixes.

EFFECT WARM.HRLI—REUERB DECRY-TIME=80

DECAY-TIME

See the description in the LARGE.HALL.REVERB section.

PRE-DELRY=008

REUERB HF-DA111) 1116=48

REUERB MIX - FX1=50



FX2=50

4 - 12

F X 1 FX2

The FXI and FX2 busses can be routed into the effect with different wet/dry

mixes.



Effect Parameters

SD-.I Musician's Manual



Section 4 - Effects

REUERB D I FFUS I 011=97

DIFFUSION PRE-DELAY

See the description in the LARGE.HALL.REVERB section.

REUERB



LF-DECRY=+99 HF-BRNOW I DTH=59 HF -DAMP I hiG=75



PRE-DELAY=250

DETUNE WIT =99

OZ3

LF-DECAY — Low Frequency Decay

See the description in the LARGE.HALL.REVERB section.

DETUNE AMT — Detune Amount Range: 00 to 99 This parameter change. Low values yield a metallic sound. Some voices may require very low values.

controls the depth of the detuning, that is, how

much the pitch will

HF-BANDWIDTH — High Frequency Bandwidth Range: 00 to

The High Frequency Bandwidth parameter acts as a low pass filter on the signal going into the reverb, controlling the amount of high frequencies that will pass into the effect. The higher the setting, the more high frequencies are allowed to pass.

HF-DAMPING — High Frequency Damping

Range: 0 to 99 The High Frequency Damping parameter controls the amount of attenuation of

high frequencies in the decay of the reverberation. As natural reverb decays,

some high frequencies tend to get absorbed by the environment. Increasing the

value of this parameter will filter out increasing amounts of high frequency

energy.

Effect Parameters



4 - 13

Section 4 - Effects



PLATEREVERB

PLATE.REVERB is based on the WARM.HALL.REVERB algorithm, but

provides a plate reverb variation. The FX1 and FX2 busses can be routed into

the effect with different wet/dry mixes.

SD-1 Musician's Manual

12211

EFFECT PLATE.REUERB

REUERB MIX - FX1=50

DECAY-TIME

F X 1

FX2

See the descriptions under the Warm.Hall.Reverb section.

REUERB DIFFUSION=97

DIFFUSION

See the description in the LARGE.HALL.REVERB section.

PRE-DELAY

See the description under the Warm.Hall.Reverb section.



DECRY-TIME=80



FX2=50

PAE-DELAY=250

4 14

I=1

REUERB

HF-BFINDLI I EITH=69



HF-DFIMP 11.16-75

813

HF-BANDWIDTH — High Frequency Bandwidth

HF-DAMPING — High Frequency Damping

See the descriptions under the Warm.Hall.Reverb section.



Effect Parameters

SD-1 Musician's Manual



8-VOICE.CHORU,S.1 and 8-VOICE.CHORUS.2

These are complex choruses with eight different voices and separately randomized LFO's. These two algorithms do not incorporate any reverb, and the first sub-

page does not include the DECAY-TIME parameter.

EFFECT 8-UOICE.CHORUS.1

EFFECT MIX -



FX1=50

M13

F X1

FX2

FX1 and FX2 busses can be routed into the effect with different wet/dry mixes.

Section 4 - Effects



FX2=50

CHORUS RRTE=25



DEP TH=99 DELAY=100

FEEDBRCK=+99

RATE

Range: 00 to 99 This parameter controls the rate of modulation of the delay time of the chorus.

DEPTH

Range: 00 to 99

This controls the amount of modulation applied to the delay time of the chorus.

DELAY

Range: 00 to 2S0 milliseconds This parameter controls the delay time of the chorus.

FEEDBACK

Range: -99 to +99 This controls the amount of positive or negative feedback applied to the chorus.

CHORUS



FX2-MODE=LEFT.WET/RIONT.DRY

FX2-MODE

•

Effect Parameters

NORMAL.STEREO.SEND—In this mode, pan acts normally and balances left to right ratio of the stereo input to the effect.

LEFT.WET/RIGHT.DRY—In this mode, pan is used to control the wet-to-dry

mix ratio instead of the stereo balance. Panning to the left will increase the

amount of signal sent to the effect, and panning to the right will decrease the

effect level and increase the dry or bypass level.



4 - 15



Section 4 - Effects



CHORUS+REVERB.1 & 2

This effect combines a simple chorus with the standard reverb. The chorus has

an LFO which modulates a variable length delay line. Assign a voice to FX1 to get both chorus and reverb, or use FX2 for reverb only.

EFFECT

REUERB MIX -

Decay-Time See the description in the LARGE.HALL.REVERB section.

FX1 —

The mix level controls how much of the chorus output signal is sent to the reverb.

FX2 — This parameter controls the amount of the FX2 bus signal sent to the reverb only.

Reverb After Chorus

Reverb Mix

CHORUS+REUERB



FX1=50

DECRY-TIME=65



FX2=50

SD-I Musician's Manual

CHORUS RATE=25

MOD=+99



DEPTH=99 DELAY-030

MOD=-99



M I X=85

RATE

Range: 00 to 99

This parameter controls the rate of modulation of the delay time of the chorus. DEPTH

Range: 00 to 99 This parameter controls the amount of modulation applied to the delay time of the chorus.

DELAY

Range: 00 to 250 milliseconds This parameter controls the delay time of the chorus.

Rate MOD

Range: -99 to +99 This parameter controls the amount of modulation applied to the chorus rate.

Depth MOD

Range: -99 to +99 This controls the amount of modulation applied to the chorus depth parameter.



4 - 16

MIX

Range: 00 to 99

This parameter controls the mix level or amount of the chorus effect.



Effect Parameters

SD-1 Musician's Manual

CHORUS WRUESHRPE=S I H

WAVESHAPE

This parameter determines the shape of the waveform used to modulate the chorus parameters.

•

SIN—the modulation waveform is a sine wave.

•

TRI—the modulation waveform is a triangle wave.



Section 4 - Effects



MODSRC=PRESSURE

REUERB HF-CUT=OFF

REVERS HF-CUT

This switch controls the amount of attenuation of high frequencies in the

reverberation.

ON—higher frequencies are attenuated (rolled-off) in the reverberation signal.

• OFF—higher frequencies are unaffected.

•

FLANGER+REVERB.1 & 2

The flanger algorithm is similar to the chorus but with different controls. The LFO changes the length of the delay line within the limits of MIN and MAX, and

the flanger mix is variable. Assign a voice to FX1 to get both flanger and reverb, or use FX2 for reverb only.

EFFECT FLRHGER+REUERB

REUERB MIX -

Decay-Time

See the description in the LARGE.HALL.REVERB section.

FX1 — Reverb After Hanger

The mix level controls how much of the flanger output signal is sent to the reverb.



Reverb High Frequency Cutoff



FX1 =50

DECRY-TI ME=65



FX2=50

FX2 — Reverb Mix

This parameter controls the amount of the FX2 bus signal sent to the reverb only.

Effira Parameters

4 - 17

Section 4 - Effects



SD-1 Musician's Manual

FLANGER RATE=40

MODSFIC=1100IJNEEL 1100=-99 1101:1=+99



11111=040

rmx=oso

lan

RATE

Range: 00 to 99 This parameter controls the rate at which the notch frequency of the Hanger is modulated from MIN to MAX. If set to 00, then the notch will be fixed at some

point in the sweep range, though this point is unpredictable.

MIN — Minimum Notch Frequency

Range: 0 to 127 This parameter sets the minimum notch frequency of the flanger. The units are semitones, so if you wish to decrease the notch frequency by an octave, subtract

12.

MAX — Range: 0 to 127

This parameter sets the maximum notch frequency of the flanger. The units are semitones, so if you wish to increase the notch frequency by an octave, add 12.

MODSRC — Modulation Source

This parameter selects the external modulation source to be used to modulate the

flanger MIN and MAX parameters. Any one of the effect modulators can be

selected.

Maximum Notch Frequency

Min MOD — Minimum External Modulation

Range: -99 to +99

This parameter controls the amount of external modulation applied to the MIN parameter.

Max MOD — Maximum External Modulation

Range: -99 to +99 This parameter controls the amount of external modulation applied to the MAX parameter.

4 - 18



Effect Parameters

SD-1 Musician's Manual



12800 —

Modulation of flanger notch frequency

over a

four

octave range

Section 4 - Effects

frequency

of flanger

comb filter

in Hz

6400 — 3200 1600 —

800 — 400 — 200 100 —

Time

MAX

4 octaves

MIN

These illustrations show how the relationship between the MIN and MAX

settings will determine the frequency range and

apparent

rate of the flanger

sweep. The actual rate at which the sweep changes from MIN to MAX is

constant, so if the range is narrow, the apparent or perceived rate will be faster.

Modulation of flanger notch frequency

over a two octave range

MAX

2 octaves

MIN

frequency of flanger

comb filter

in Hz

12800 —

6400 — 3200 — 1600

800 —

400

200

Effect Parameters

100 —1

0 •-'"

If the settings are modulated, then both the fixed frequency of the notch and/or

range of frequencies in the sweep can be affected. Modulated sweeps can be implemented by setting MIN and MAX to the same value (or close together) and modulating them by the same amount. Manual

sweeps

can be implemented by

selecting a modulation source such as the mod wheel.



4 - 19

Section 4 - Effects



SD-I Musician's Manual

FLRHGER M X-LEUEL-80

MIX-LEVEL Range: 0 to 99 (16 values) This parameter controls the mix level or amount of the flanger effect.

FEEDBACK Range: -99 to +99 This parameter controls the amount of feedback applied to the flanger. The sign of the value determines the polarity of the feedback.

REVERB.HF-CUT See the description under Chorus+Reverb.1&2.

DELAY+REVERB.1 & 2

A digital delay with 500 msec maximum delay, and a standard reverb. Assign a

voice to FX1 to get both delay and reverb, or use FX2 for reverb only.

EFFECT DELAY+REUERB

REUERB MIK -



FEEDBRCK=+50

REUERB HF-CUT=OFF



FX1=50

DECRY-T I 11E=45



FX2=50

1=1

Decay-Time

See the description in the LARGE.HALL.REVERB section.

FX1 — Reverb After Delay

The mix level controls how much of the delay output signal is sent to the reverb.

FX2



Reverb Mix

This parameter controls the amount of the FX2 bus signal sent to the reverb only.

4 - 20



Effect Parameters



SD-1 Musician's Manual

DELAY T I ME=500

TIME

Range: 0 to

This parameter controls the delay time of the FX1 bus delay line. REGEN

Range: -99

This parameter sets the amount of regeneration applied to the delay. Regeneration is analogous to feedback, and with more regeneration, there will be more delayed repeats.

Time MOD — Time Modulation

Range: -99 to

This parameter controls the amount of modulation applied to the TIME parameter.



MOD=+50

500 milliseconds (by 2)

Regeneration

to +99

+99

Section 4 - Effects

1=1



REGE11=+25



MOD=-25



MIX=99

Regen MOD — Regeneration Modulation Range: -99 to +99 This parameter

parameter.

MIX

Range: 00 to 99 This parameter sets the level of the delayed signal.

DELAY

MODSRC — Modulation Source

This parameter selects the modulation source to be used to modulate the delay TIME and REGEN parameters. Any one of the effect modulators can be selected.

HF-DAMPING — High Frequency Damping See the

description in the LARGE.HALL.REVERB section.

controls the amount of modulation applied to the REGEN



REUERB HF-DF1MP I FIG=45

0121

MODSRC=PRESSURE

elli

Effect Parameters



4 - 21

Section 4 - Effects



FLANGE+DLY+REV.1 & 2; DLY+FLANGE+REV.3

These Effects combine the flanger with a delay and the standard reverb. The difference is that the first two place the delay places the delay before the flanger. The functions of the parameters are closely related to those in the individual effects. Assign a voice to FXI to get both

flanger and delay with reverb, or use FX2 for reverb only.

SD-1 Musician's Manual

after

the flanger, while the third

EFFECT

Decay-Time

See the description in the LARGE.HALL.REVERB section.

FX1 — Reverb After Flanger + Delay

The mix level controls how much of the hanger and delay output signal is sent to

the reverb. FX2 — Reverb Mix

This parameter controls the amount of the FX2 bus signal sent to the reverb only.

FLRHGER RATE=25

RATE MIN

MAX FEEDBACK See the descriptions under FLANGER+REVERB.1&2.

FLANGE+DLY+REU

REUERB MIX -



FEEDBACK=-30



FX1 =50

ri ti=o15

DECRY-T 1 riE=3o



FX2=50

MAX=045

4 - 22

DELAY T I rIE=.100 REGEH=+40

REUERB HF-CUT=OFF

TIME REGEN MIX REVERB HF-CUT

See the descriptions under



DELAY+REVERB.1&2.



MIX=99

Effect Parameters

SD-1 Musician's Manual



ROTO.SPKR+DELAY; DIRTY-ROTO+DELAY

ROTO-SPKR+delay is a rotating speaker simulator with delay. DIRTY- ROTO+DELAY is a rotating speaker simulator with overdrive along with a delay.

Section 4 - Effects

EFFECT

ROTO.SPKR+DELAY

DELAY MIX - FX1=50



DELAY=65



FX2=50

1=1

DELAY Range: 0 to 400 milliseconds (by 2) This parameter determines the length or delay time of the FX2 delay.

FX1 — Delay After Rotating Speaker

The mix level controls how much of the rotating speaker signal is sent to the delay.

FX2 — Delay Mix

This parameter controls the amount of the FX2 bus signal sent to the delay only.

HI-ROTOR SLOI.1=20 FAST=60

MODSRC=PATCHSEL



LO-ROTOR=OFF

rioDE=su ITCH

HI-Rotor SLOW Speed and FAST Speed

Range: 0 to 99 These parameters set the minimum and maximum speeds of the upper rotor of the rotating speaker.

LO-ROTOR switch — (ROTO.SPICR+DEL AY only)

Range: On or Off This switch turns the lower rotor on and off, affecting the low frequency

OVERDRIVE — (DIRTY-ROTO+DELAY only)

Range: 0 to 99 This parameter determines how much overdrive is applied to the speaker sound to simulate the characteristic distortion often associated with this effect.

MODSRC — Modulation Source

This parameter selects the modulation source to be used to control the speed of the

rotating speaker. Any one of the effect modulators can be selected. Note that the MODE parameter also affects speed control.

sound.

Effect Parameters



4 - 23



Section 4 - Effects



MODE

This parameter determines how the speed of the rotating speaker is controlled.

CONTIN — continuously variable speed control tracking the values of the

• modulation source (for example, the CV-PEDAL input can be used to vary the

speed).

•

SWITCH — the rate is switched between two fixed speeds using the two states

of the controller, and the speed change is gradual. TOGGLE — the rate toggles or alternates between two speeds whenever the

•

controller is used.

LAG=100

FEEDBACK

Feedback - LAG Range: 0 to 100 milliseconds

This parameter determines how much time elapses before the simulated

resonance or feedback begins



ATIOUNT=+30



to occur.

REPEAT5=+25

STEREO-411DTH=40

SD—I Musician's Manual

speaker

Feedback - AMOUNT Range: -99

The Feedback Amount parameter controls the amount and polarity of the

resonance or feedback to the speaker simulator.

REPEATS

Range: -99 to +99 This parameter acts like Delay Regeneration, and controls the number of repeats of the FX2 delay.

STEREO-WIDTH — (ROTO.SPKR+DELAY only)

Range: 0 to 99 This parameter controls the apparent width of the stereo image created by the rotating speaker effect.

LO-ROTOR VOL — (DIRTY-ROTO+DELAY only)

Range: 0 to 99

This parameter controls the volume of the low rotor. The low rotor volume is

also affected by the overdrive parameter, so if you set the overdrive to a very high level, you should turn this parameter down a bit to compensate.

to +99

4 - 24



Effect Parameters



SD-I Musician's Manual

DIST+CHORUS+REVB

This effect combines the familiar Chorus and Reverb effect with Distortion. On

the third parameter page of this effect, the WAVESHAPE parameter has been

replaced by the OVERDRIVE parameter. The chorus modulation waveshape for

this effect is permanently set to SIN. The chorus has an LFO which modulates a variable length delay line. Assign a voice to FX1 to get distortion, chorus, and reverb, or use FX2 for reverb only.

EFFECT

Decay-Time

See the description in the LARGE.HALL.REVERE section.

FX1 — Reverb After Distortion+Chorus The

mix level controls how much of the distortion+chorus output signal is sent to

the reverb.



D I ST+CHORUS+REUB

REUERB MIX -



IM1

DECRY-T I ME=60

FX1=50



EMI

Section 4 - Effects

IMEI

FX2=50

FX2 — This parameter controls the amount of the FX2 bus signal sent to the reverb only.

CHORUS RRTE=25

RATE DEPTH DELAY Rate MOD Depth MOD MIX

See the descriptions under Chorus+Reverb.1 & 2

Reverb Mix

I100=+99

IMI



DEPTH=99 DELAY=030

MOD=-99



MIX=85

Effect Parameters



4 - 25

Section 4 - Effects



SD-1 Musician's Manual

fa,

CHORUS



MODSRC=MODWHEEL

OVERDRIVE UOL=80 REUERB HF-CUT=OFF

MODSRC — Modulation Source

See the description in the LARGE.HALL.REVERB section.

OVERDRIVE VOL — distortion output level

Range: 0 to 99 (16 values) The Overdrive parameter controls the

the Chorus.

Input level

to the distortion effect is controlled by the Left input

output level

from the distortion effect into

level to FX1. Panning full Left (value 00) on the Output page will result in

maximum distortion, and panning full Right (99) will minimize distortion input drive. Modulation of Pan on the Output page can affect the amount of distortion,

FX1

Left

Input

FX1 Right

Input

Distortion

effect

O:Wv."

Overdrive levet



,POVIRe.

Chorus

effect

Left

Right

Mix 1

REVERS HF-CUT

Effect 1



Reverb High Frequency Cut

This switch controls the amount of attenuation of high frequencies in the

reverberation.

ON—higher frequencies are attenuated (rolled-off) in the reverberation signal.

•

OFF—higher frequencies are unaffected.

4 -



Effect Parameters

SD-1 Musician's Manual



LPF+DIST+CHO+REV

This effect combines the familiar Chorus and Reverb effect with a Low-Pass

Filter and Distortion. The chorus modulation waveshape for this effect is permanently set to SIN. Assign a voice to FX1 to get low-pass filtering, distortion, chorus, and reverb, or use FX2 for reverb only.

EFFECT LPF+0 I ST+CI-10+REU DECRY-T ME=60

Decay-Time

See the description in the

FX1 — Reverb After Low-Pass Filter+Distortion+Chorus

The

mix level controls how much of the low-pass filter, distortion, and chorus

output signal is sent to the reverb.

REUERB



1=1

FX1=50



FX2=50

Y41

•:

•

?.*;

LARGE.HALL,REVERB section.

Section 4 - Effects

FX2 — Reverb Mix

This parameter controls the amount of the FX2 bus signal sent to the reverb only.

FILTER RESONFINCE=45



01ST UOL=60

CUTOFF=99 MODSRC=MODWHEEL MOD=+50

:•554:04

RESONANCE

Range: 00 to 99 (16 values) This parameter controls the amount of resonance at the cutoff frequency.

DIST VOL

Range: 00 to 99 This parameter controls the amount of distortion volume output.

CUTOFF

Range: 00 to 99 This determines the filter cutoff frequency (brightness) of the distortion.

MODSRC — Modulation Source

This parameter selects the modulation source to be used for modulating the filter

cutoff frequency. Any one of the effect modulators can be selected.

Effect Parameters

MOD — Modulation Amount

Range: -99 to +99 This parameter determines the amount of modulation to be applied to the filter cutoff frequency.



4 - 27



Section 4 - Effects



CHORUS RATE=50

DEPTH=99

RATE

Range: 00 to 99 (16 values) This parameter controls the rate of modulation of the delay time of the chorus.

DEPTH

See the description in the Chorus+Reverb.1 & 2 section.

DISTORTION TO CHORUS MIX

Range: 00 to 99 This parameter controls the

Chorus.

FX1. Panning full Left (value 00) on the Output page will result in maximum

distortion, and panning full Right (99) will minimize distortion input drive.

Modulation of Pan on the Output page can also affect the amount of distortion.

Input level

 

to the distortion effect is controlled by the Left input level to

DIST TO CHORUS MIX=99

REUERB HP-BANN IDTH=50

output level

from the distortion effect into the

SD-I Musician's Manual

FX 1

Left

Input



FX1 Right

Input

REVERB.HF-BANDWIDTH — Reverb High Frequency Bandwidth

Range: 00 to 99 (16 values) The high frequency bandwidth parameter acts as a low pass filter on the signal going into the reverb,controlling the amount of high frequencies that will pass into the effect. The higher the setting, the more high frequencies are allowed to pass.

10•-

,trAK5,5

Low Pass

Filter

Distortion

effect

:KW:::KOr••

AMMON?"'

Dist. to Cho. Mix

110

Effect 1

NIMM=02.

Chorus

effect

Dry to Center of Mix 1

Lett

Right

Mix 1

- 28



Effect Parameters

SD-I Musician's Manual

PHASER+REVERB

A 12-pole phase shifter with reverb. Assign a voice to FX1 to get both phaser and reverb, or use FX2 for reverb only.



Section 4 - Effects

EFFECT

Decay-Time See the description in the LARGE.HALL.REVERB section.

FX1 — Reverb After Phaser

The mix level controls how much of the phaser output signal is sent to the reverb.

FX2

This parameter controls the amount of the FX2 bus signal sent to the reverb only.

PHASER RATE=40 DEPTH=40 CEHTER=80

RATE Range: 00 to 99 This parameter controls the rate of modulation of the phaser poles.



Reverb Mix



PHASER+REUERB

REUERB MIX -



FX1=50

DECAY-T I ME=65



FEEDBACK=+99

FX2=50

Effect Parameters

DEPTH Range: 00 to 99 This parameter controls the depth of the notches created by the phasing.

CENTER Range: 00 to 99 This parameter controls the center of the phaser width.

FEEDBACK Range: 00 to 99 This parameter controls the amount of feedback applied to the phaser. The sign of the value determines the polarity of the feedback.



4 - 29

Section 4 - Effects



SD-1 Musician's Manual

REUERES



HF-BFINIEW I DTH=99 HF-DAMP I FIG=45

DETUNE AMT — Detune Amount Range: 00 to 99 This parameter controls the depth of the detuning, that is, how much the pitch will change. Low values yield a metallic sound. Some voices may require very low

values.

HF-BANDWIDTH — High Frequency Bandwidth

Range: 00 to 99 The High Frequency Bandwidth parameter acts as a low pass filter on the signal

going into the reverb, controlling the amount of high frequencies that will pass into the effect. The higher the setting, the more high frequencies are allowed to pass.

HF-DAMPING — High Frequency Damping

Range: 0 to 99 The High Frequency Damping parameter controls the amount of attenuation of high frequencies in the decay of the reverberation. As natural reverb decays,

some high frequencies tend to get absorbed by the environment. Increasing the

value of this parameter will filter out increasing amounts of high frequency

energy.

DETUME-FIMT-50

4 - 30



Effect Parameters

SD—I Musician's Manual



Section 5 - Sequencer Basics

Section 5 — Sequencer Basics

•

This section contains an introduction to the SD-1 sequencer and all the information youll need to

get started sequencing. More advanced functions are covered in Section 12 - Sequencer Editing

Functions and Section 13 - Sequencer Applications.

Introduction The MIDI Connection Digital Sequencing Loading the Sequencer Operating System front Disk What is a Sequence? What is a Song? Sequencer "Transport Controls" Sequencer Status Sequencer Banks Selecting a Sequence or Song Playing Sequences and Songs Sequencer Tracks Replacing the Program on a Track Layering Programs on The Tracks Pages

Sequencer Tracks and the Performance Parameters Copying a Preset into 3 Sequencer Tracks Creating a New Sequence or Song Erasing All Sequencer Memory Click Page

Seq Control Page

Using Multi-Track Record

STEP ENTRY

About the SAVE CHANGES... Page

Using Sequencer Data Created on a VFXsp

Locate Page

Edit Times — Using the Autopunch Feature

Edit Times in Song Mode

Setting the Edit Times in Real Time Recording a Sequence Playing Tracks in Audition Mode

"Punching In" on a Track

Playing Along with a Sequence/Auditioning New Sounds

MIDI Sequencing on the SD-1 — MIDI Connections . . .

MIDI Mode and Channel — Destination Instruments .

MIDI Track Configuration

Recording MIDI Tracks

Additional Sequencer Functions•

Recording Controllers into Sequencer Tracks

Recording Program Changes

Assigning a Track to the Aux. Outputs

Using the Aux. Outputs as Separate Mono Outs

Track Volume Functions — Mixing, Muting, Soloing Tracks

Song Mode:

Switching Effects in Song Mode

Song Tracks

Viewing Sequence Tracks in Song Mode

Mixing Down Sequence and Song Tracks in Song Mode

Notes about Mixdown Mode



. . .

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Sequencer Basics



5 - 1

Section 5 - Sequencer Basics

Introduction

With the ESQ-1 in 1986, ENSONIQ became the first company to build a

powerful multi-track sequencer into a keyboard instrument. The SD-1 with its 24-track sequencer represents the continuation of ENSONTQ's leadership in this area. The SD-1 sequencer incorporates a range of features and capabilities you would expect to find in stand-alone or computer sequencers, yet with the advantage of an integrated system.

As the first true Music Production Synthesizer, the SD-1 is both powerful and easy to use — having your synthesizer, sequencer and master keyboard controller right at your fingertips in one unit is what makes the ENSONIQ approach to digital sequencing so intuitive and efficient.

If you can't wait to start sequencing, you can turn right to "Recording a Sequence" later in this section. We recommend, however, that you come back and familiarize yourself with the many other sequencer controls and functions described in this section. This is the only way to truly take advantage of the power of the SD-1 sequencer.

The MIDI Connection

Almost everyone is familiar by now with MIDI — that magical connection that

lets you play one instrument (or a whole roomful of them) from another. MIDI

— Musical Instrument Digital Interface — is a standard that has been agreed upon

by manufacturers for translating musical events into specific numbers which are transmitted and received by MIDI instruments.



SD—I Musician's Manual

When you play middle C on the SD--1, for instance, it instantly sends to its MIDI

Out jack a series of numbers representing a

location of the note on the keyboard and how hard the key was struck. When you release the key the SD-1 sends a number meaning connected to the SD-1 can receive and translate those numbers, and will play the middle C itself. The same thing happens whenever you move a controller, such as the pitch or MOD wheel, or when you select a new sound — each of these events is translated into a series of numbers which are transmitted by the MIDI Out jack.

Digital Sequencing

Now imagine a recorder which, instead of recording the sounds of an instrument, records the same kind of digital information that is sent and received over MIDI — key down, key up, key number and velocity, pitch bend, mod wheel, program changes and so on — and you have imagined a

A sequencer records and plays back the "control information" rather than the actual notes. This means that there is no degradation of the sound in the recording process no matter how many times you overdub or re-record a part. A sequencer is sort of like an electronic player piano.

Sequencer memory is used up on the basis of etc.), while a tape recorder's memory (the tape) is always used up by the same amount over a fixed period of time.

Key Down

digital sequencer.

It is important to bear in mind that a sequencer only records what you play.

Events

event, along with the

Key Up.

(keys struck, controllers,

A MIDI instrument

5 - 2

This means that a sequencer will use virtually the same amount of memory to record 100 notes, whether you play those notes over ten seconds or ten minutes.



Introduction

Musician's Manua

SD-1



Section 5 - Sequencer Basics

When you strike a key, the sequencer records a the

clock

pulses until you release the key, when it records a amount of time between the key down and the key up doesn't really affect the amount of memory required to record the note. Compare this to an audio tape recorder. With tape,

time is

the thing. A tape recorder will use the same amount of tape to record a minute of music, whether the signal contains one note or one hundred.

You might say that tape is sequencer memory is

linear — it

dynamic —

it is used only as needed. Understanding the difference will help you to manage the SD-1 sequencer memory. For example, while key events (the notes you play) use up relatively little memory each, controllers such as pressure, mod wheel, pitch bend, etc., are recorded as a flood of numbers which can fill up the memory in a hurry. Thus if you're trying to squeeze one more track into a sequence when there is not much memory left, you

know to go easy on the controllers.

Loading the Sequencer Operating System from Disk

The SD-1 Sequencer Operating System (or 0.S.) is the computer program which

controls the operation of the sequencer. Because it is contained in RAM and can be loaded from a disk, the SD-I sequencer can be upgraded, its functions

enhanced and new features added, as easily as loading a new sequence.

There are two times when you will need to load the Sequencer Operating System:

•

When an updated version is released. New Sequencer Q.S. disks can be

obtained from your authorized ENSONIQ dealer as they become available.

•

If some unforeseen event or system error should corrupt the sequencer

memory, the SD-1 will flash SEQUENCER MUST BE LOADED whenever

you press any of the buttons in the Sequencer section of the front panel.

Key Down

event. It then counts

Key Up

event. The

is spent at a fixed rate — while digital

To Load the Sequencer D.S. from disk:

•

Insert the disk containing the most current Sequencer Q.S. into the disk drive.

•

Press

•

Press LOAD. The display shows the Disk Load page, with the File Type

Storage,

then select DISK.

selected.

•

Move the data entry slider all the way up to select TYPE=SEQUENCER OS.

The display should show:

RIO

LOAD FILE=UERSIOM-3,0 SIZE=63 *YES*

TYPE=SEQUENCER-OS

The version number of the operating system on the disk is shown in the File

Name. You should always use the most current Sequencer Q.S. version.

•

Press *YES*.

•

The display warns SEQUENCER DATA WILL BE ERASED. If you have any

valuable sequencer data in memory that needs to be saved, press *NO* at this

point and save it before proceeding. Otherwise,

•

Press *YES*. The Display reads LOADING VERSION

##,

then returns to the

Disk Load page where you can load any other files you wish. Press *NO* or

any other front panel button to exit.

Loading the Sequencer Q.S.

5 - 3

Section 5 - Sequencer Basics

What is a Sequence?

A Sequence on the SD-1 is a collection of 12 independent tracks and an effects program. Each track has its own sound program and complete set of track parameters (volume, pan, timbre and all the other performance parameters, including MIDI channel, status, etc.) all of which are remembered with the sequence.

A sequence has a fixed length (though you can change it at any time) which is set by the length of the first track you record. A given sequence can be as short or as long as you like (within the limitations of memory).

Each sequence has an eleven-character name which you assign to it at the time of

its creation. The name can be changed at any time from the Info sub-page of the

Edit Sequence page.

When you select a new sequence, each track used within a sequence will send out a MIDI program change and MIDI volume instructions on its designated MIDI channel, unless the track has been assigned LOCAL only status — in which case you can have the new track play a new internal program.

What is a Song?

In Song Mode, sequences are assigned to play consecutively in any order, with up to 99

Steps,

individual tracks within the sequence can be muted or transposed.



and up to 99

Repetitions

SD--1 Musician's Manual

of each Step. Within each Song Step,

But a Song on the SD-1 is much more than just as collection of sequences playing in order. This is because each song has an additional set of 12 tracks

which are completely independent of the tracks in its component sequences.

Each

Song Track

parameters, just like a sequence track. The length of the song tracks is defined by the combined length of the steps and repetitions which make up the song. Song tracks are selected from the selected.

This means that after you have completed a number of sequences and linked them together to form a song, you have 12 more linear tracks which run the entire

length of the song. This gives you 24 tracks to work with.

Sequencer "Transport Controls"

The three buttons at the bottom of the Sequencer section serve to start, stop and

continue the sequencer, and to put it into Record and Overdub modes. In addition to these three buttons, the Aux. Foot Switch (available only when an optional

SW-5 dual-pedal Foot Switch is connected to the SD-1) can be used to start and stop the sequencer when both hands are busy.

Stop

Record /Cant Play

Sequencer

has its own sound program and a full set of track/performance

Tracks 1-6

and

7-12

pages when a song is

5 - 4 

Aux. Foot Switch

Sequences and Songs

SD-1 Musician's Manual

Assuming the Autopunch function is off:

•

Pressing playing from the beginning.

•

Pressing will play the current sequence or song from wherever it was last stopped (if

pressed while the sequencer is stopped).

•

The Aux. Foot Switch will duplicate the behavior of the

■

Pressing on the current track from the beginning of the sequence or song.

■

Pressing

recording on the current track from wherever it was last stopped.

•

Pressing

"Punch in" mode. It will wait for you to start playing before going into Record

on the current track.

When the Autopunch function is on, the sequencer will only enter and exit Record mode at the points specified by the Edit Times on the Locate page.

Sequencer Status

On most sequencer pages the lower-left-hand corner of the display indicates the

Sequencer Status.



Play

StoplCont

Play

StoplCont

Record

Section 5 - Sequencer Basics

will start the current sequence or song (whichever is selected)

will stop the sequencer (if pressed while it is running); or

StoplCont

while holding down

while the sequencer is playing will put the sequencer into

The sequencer is always in one of the following states:

Record

will start the sequencer recording

Record

will start the sequencer

button.

•

STOP — Sequencer at rest

•

PLAY — Playing current sequence (sequence selected)

•

SNGS — Song Stop: sequencer at rest with a song selected

•

SNGP — Song Play: playing current song

•

REC — Recording on current track, first pass

•

ODUB — Overdub: re-recording current track

•

PLAY (flashing) Countoff playing prior to going into Play, Record Overdub

•

REC (flashing) Record Standby: waiting for you to play before going into Record (first track only)

•

ODUB (flashing) — "Punch-in" Standby: waiting for you to play before going into Overdub

•

MREC (flashing) — MIDI sync Record Standby: same as Record Standby

except that the sequencer is synced to external MIDI clocks (CLOCK-MIDI on

the Seq Control page) and is waiting for MIDI clocks as well as notes before going into Record.

•

ALTDP — Audition Play. This State is entered automatically from Record when the end of the sequence is reached (assuming LOOP ON). After leaving Record and entering Audition Play, the sequence will continue to play in this state, with the newly recorded track, until you press the Pressing (see below).

•

AUDS — Audition Stop is entered when you stop the sequencer from the Audition Play state. To exit Audition Stop and return to the normal stop state, you must first instruct the SD-1 to KEEP either the new or the original track (see PLAY/ICEEP Page later in this section).

StoplCont

from this state will put you on the PLAYIKEEP Page

StoplCont

button.

Sequencer States



5 - 5

Section 5 - Sequencer Basics

Sequencer Banks

Pressing the

sequencer mode. The ten Bank buttons (labeled 0-9) will now select Sequencer Banks. Each bank contains six sequencer locations, any of which can contain a sequence or a song, or may be blank.



Seq

button located beneath the display puts the SD-1 into

SD-1 Musician's Manual

Current Sequencer Bank

A Dot by the location means the

song or sequence contains

Song names always have a dollar sign ($) as the first character, so that you can tell at a glance which locations contain sequences and which are songs.

The names of sequences and songs which contain actual recorded track data are preceded by a dot (.) on sequencer bank pages. Locations which have not yet

been defined as a song or sequence show "-BLANK-". Selecting an undefined (-BLANK-) field will initiate the Create New Sequence or

Song function (see Creating New Sequence or Song, later in this section).

Selecting a Sequence or Song

■

Press

Seq,

Bank pages.

•

Pressing the soft button next to any of the six locations on a page selects that as the current song or sequence.

Song names are atways

preceded by a "$"

IZZ5

SEQI $MY-HIT-SFIG .FIRST-UERSE .211D-UERSE

CHORUS



.BIG-FINISH



-BLANK-

)73

Select a -BLANK- location to I

recorded data.

then press the Bank buttons labeled 0-9 to see the ten Sequence

create a new sequence or song.

When you select a song or sequence it becomes underlined. The currently selected song or sequence is always underlined.

Playing Sequences and Songs

Try

selecting a sequence, and pressing the

to the right of the display. The selected sequence will begin to play. While one sequence is playing you can select another one. An underline will

begin to flash beneath the new sequence, but the original one will continue to play. When the first sequence is finished, the underline will switch to the new sequence, and it will play. In this fashion you can string sequences together in real time, as they play. The display always tells you which is playing (underline) and which is selected to play next (flashing underline).

Note that if the new sequence uses a different effect than the previous one, the audio output will be muted temporarily while the new algorithm is loaded.

5 - 6

Press the



Slap/Con!

Button or the

Play

button in the Sequencer section,

Aux. Foot Switch

to stop the sequence.

Sequencer Banks

SD-I Musician's Manual

Sequencer Tracks

Each SD-1 sequence and song has twelve independent polyphonic

which you can record notes, controllers and program changes using local SD-I sounds, remote MIDI instruments or both. These tracks are selected from the two Tracks pages, labeled

Let's take a look at the Tracks Pages:

Press

Repl

ace

— Tracks—



1 -

6 7. 12

Program



Tracks 1-6.

TRAX,DRUM-KIT-06 SMAK-BASS . ALTO-SAX

Section 5 - Sequencer Basics

Tracks

Tracks 1-6

and

Tracks 7-12.

This takes you to the first of the two Tracks pages.

MMM

Performance

The LED in the

the programs on the six tracks of the current song or sequence. Press the soft

button next to a track to select that track.

Press

Repiace

- Tracks



Program

1 - 6 7 - 12

MMM

Performance

The LED in the

the programs on the remaining 6 sequence tracks, Tracks which show

-UNDEFINED- instead of a program name have not yet been defined (to define an undefined track you just select it).

Tracks 1-6

Tracks 7-12.

TRAX SHIMMERY CHIFFLUTE HARPSICHORD

Tracks 7-12

,SYNTH-HORNS .LUSH-STRNGS ,UIDEPUMCH

button lights, and the display shows the names of

This takes you to the second of the two Tracks pages.

MIRROR-BELL -UNDEFINED- -UNDEFINED-

Track 11

button lights, and the display shows the names of

Sequencer Tracks

Dot

to the left of the track location indicates that there is recorded data on the

track. On these two pages you can select and layer the tracks of a sequence (by clicking

or double-clicking) just as you would on regular program bank pages. You can go back and forth between

Tracks 1-6

and

Tracks 7-12

without losing what was selected or layered in the other half. The LEDs in the two Tracks buttons tell you where you are.



5 - 7

Section 5 - Sequencer Basics

Replacing the Program on a Track

To replace the SD-1 program on a given track with a program of you choice:

While on either of the Tracks pages select one of the six tracks.

•

Press the

pages, but the Program mode. Use the

• you would when selecting sounds normally. Use the Bank buttons to locate the bank containing the sound you want.

• Underline the program you want to put on the track.

•

Press program on the track. Note that all the performance parameters of the track (except for Timbre, Release and Pressure mode) are left just as they were previously. The values of those three Performance parameters are brought into

the track with the sound, the other Performance parameters for a sequencer track are never altered unless you edit them intentionally.



Replace Program

Sounds

BankSet

Tracks 1-6

SD—I Musician's Manual

button. The display will show program bank

LED

will blink, indicating that you are in Replace

button to choose between Internal, ROM or Cart sounds, as

Tracks 7-12

to return to the Tracks page with the new

Layering

Sequencer

To copy a program sequence effect with the one in the program), you follow the same procedure as above, with the addition of pressing the Performance holding down

•

Press

Tracks 1-6

•

Press and hold

•

While holding down Use the Bank buttons and the soft buttons to pick a sound as before; but now

• each time you pick a new sound its effect will become the sequence effect

•

Press

Replace Program

the Tracks page to verify that your change was correct.

Programs on The Tracks Pages

In a preset a maximum of two programs may be layered with the selected

program. Within a sequence, you can layer as many as 11 programs with the selected program. You can have up to 12 tracks layered (stacked) on one key, or up to 12 different tracks split across the keyboard by using the Key Zone function

described in Section 3.

Layering programs is the same as in a normal Program Select page:

Select a primary program on either of the Tracks pages.

•

Double-click the soft button for the track you wish to layer. Layered tracks are

identified by a blinking underline. If a track is layered, it can be un-layered by pressing its soft button.

Tracks and the Performance Parameters

Every sequencer track has a full set of Performance parameters which are saved

with the sequence or song. The values of the following are remembered for each track:

•

VOLUME

•

PAN

•

TIMBRE

•

KEY ZONE

•

I RANSPOSE

•

RELEASE time

•

EFFECT - FX Bus override



along with

Replace Program

Tracks 7-12

Replace Program.



its effect into the sequence (replacing the current

in the first step.

and select the track.

Replace Program,

again

to exit Replace Program mode and return to

Track Control

• PATCH SELECT

• PRESSURE type

• SUSTAIN enable MIDI

• STATUS

•



• PROGRAM

Effects

press Performance

CHANNEL

button while

Effects.

5 8



Sequencer Tracks



SD—I Musician's Manual

You should refer to Section 3 for a full discussion of the performance/track parameters and their functions.

As described in Section 2, whenever you go from Sounds or Preset mode to the Performance parameter pages, the SD-1 displays the names of the three most recently selected programs (on the top line) and their parameter values (on the

bottom line). Sequencer Tracks are similar, except that the names of the programs and their

corresponding Performance parameters are shown on different pages. When you

press

Tracks 1-6

programs on those six tracks:

TRAX



Tracks 7-12,

the SD-1 displays the names of the six

Section 5 - Sequencer Basics

Program Name

SMRK-EIRSS RLTO-SRX

DRUTI-K I T-96

SYNTH-HORNS LUSH-STRNGS LI I DEPUNCH



Program Name



When you then select any of the Performance parameter pages, the display will show only the parameter values for the six tracks, and not the names of the programs:

Parameter Value

IMBRE 99

Parameter Value

99 65

Let's look at a Sequencer Track Performance parameter, and you'll get a better

idea how the works. Using the Volume page as an example:

•

Press

Tracks 1-6

Tracks 7-12.

The display shows one the Tracks

pages with the names of the programs on those six tracks.

•

Press the

Timbre

button. This takes you to the TIMBRE Page.

Sequencer Tracks

TIMBRE 99



 

50 92



5 - 9

Section 5 - Sequencer Basics

Each of the six parameter values corresponds to one of the 12 track locations (the

LED in the half you are in). You can verify this by pressing the enables you to toggle back and forth between the Performance parameter page and

the TRAX page. Repeatedly pressing either the button will also toggle you between the TRAX Page and the last-selected

Performance parameter. This will help you keep track of what you're editing. Other than that, Performance parameter editing for a sequencer track is the same

as for presets. All Performance parameter values are remembered for each track

of each sequence and song.



Tracks 1-6

Tracks 7-12

SD—i Musician's Manual

button will be lit to tell you which

Timbre

Tracks 1-6

button again. This

Tracks 7-12

Important:

Copying



In Sequencer mode, selecting and editing a track from a Performance parameter page does pages — i.e. it does not affect what you hear when you play the keyboard. This

means that you can edit a track parameter value for one (or more) of the tracks

within a group of layered sounds without changing layer.

You can adjust volume, pan, timbre, etc. for tracks other than the selected track

while playing back a sequence. However, this also means that you could edit a performance value for a track that you are not currently hearing from the

keyboard, so be careful that you know what track(s) you are listening to in

relation to what is selected on the Performance parameter pages.

The track that is selected on the Tracks 1-6 or 7-12 pages is the one that will be recorded if you go into record.

You should get in the habit of always selecting a track from the

Tracks 1-6 or Tracks 7.12 page before going into record.

Preset

into

You can copy the three tracks of a preset, with all Performance parameter settings preserved, into three tracks of the current song or sequence. The preset will be copied whole into the three tracks on the upper or lower line of either the Tracks 1-6 or the Tracks 7-12 page:

•

Press

(upper or lower) to which you want to copy the preset.

•

Press

•

Press and hold

same Tracks button (1-6 or 7-12) as you did in the first step. The preset tracks are copied into the upper or lower line of that half of the TRAX page.

change what is selected or layered on the Tracks 1-6 and 7-12

not

3 Sequencer Tracks

Tracks 1-7

Preset

Tracks 7-12

and use the Bank buttons to select the preset you want to copy.

Preset.

While holding the

and select any of the tracks on the line

Preset

button down, press the

5 - 10

When you copy a preset into a sequence, the values of all the Performance parameters are copied. However, the selected and layered status of the tracks in the preset layered when the preset is copied will remain so after it is copied. This also does not affect the track data in the sequence.

To copy a preset

sequence effect with the one in the preset), you follow the same procedure as above, with the addition of pressing the Performance pressing

•

While holding the button, then press three tracks of the sequence and its effect becomes the sequence effect.



is not

copied. Whichever tracks in the sequence are selected or

along with its

Tracks 1-7

Tracks 7-12

Preset

Tracks 1-7

button down, first press the Performance

effect into the sequence (replacing the current

in the last step.

Tracks 7-12.

Effects

The Preset is copied to

button before

Effects

Sequencer Tracks



SD-1 Musician's Manual

Creating

a New Sequence or Song

Creating a new sequence or song is easy:

•

On any of the Sequencer Bank pages, press the soft button (BLANK) location will display the following prompt:

CREATE NEW

To Create a new sequence:

•

Press the

CREATE SEQ HAME=SEQUENCE-20



*SONG* -OR- *SEQUENCE*



Section 5 - Sequencer Basics

*HO *

Om&

soft button above *SEQUENCE*. The display shows:

IM1



*YES*

nearest an undefined

LEFT -CURSOR- RIGHT



*NO *

I=1

•

Name the new sequence (or press *YES* to accept the default name). Under the first character is a cursor (underline). Use the data entry controls to edit the character, then use the cursor buttons beneath beneath the words LEFT and RIGHT to move the underline to another character and edit that. Continue this until the display shows the name you want. (Or you can use the keyboard to enter the name data if the Keyboard Naming function is enabled on the Master page.) Press *YES*. The display shows:

CREATE NEW SEQ SEQUENCE-02 WITH TIME SIGNATURE 4/4

•

Set the Time Signature. The time signature is set at the creation of a new sequence and cannot be changed later. Use the data entry controls to adjust the top half of the fraction, then press the soft button beneath beneath the time signature to move the underline to bottom half, and adjust that.

•

Press *YES*. The SD-1 returns to the current Sequencer Bank page with the new sequence selected.

*YES* *NO *

is.

Creating a New Sequence



S - 11

Section 5 - Sequencer Basics

To Create a new song:

•

On any Sequencer Bank page, select a -BLANK- sequencer location, as described above. The display will show the CREATE NEW SONG/SEQUENCE screen.

Press the soft button

•

CREATE SONG NAllE.SONG-01

Song names are always preceded by "$" to indicate their special nature. Note that you cannot change this $ character. The other ten characters can be edited. Name the new song (or press *YES* to accept the default name, which is

• $SONG-##). Use the data entry controls and the soft buttons labeled LEFT and RIGHT to edit the song name to create the name you desire. Press *YES*. The SD-1 returns to the current Sequencer Bank page with the

- new song selected.



above *SONG*.

LEFT -CURSOR- RIGHT

SD—I Musician's Manual

The display shows:

1=1



*YES*



*NO *

Erasing All Sequencer Memory

When you want to erase all sequences and songs in the SD-1 sequencer memory, first make sure you have saved any important data to disk, then:

Press and hold the While holding down the

•

buttons in the top row above the fluorescent display.

•

The SD-1 asks: "ERASE ALL SEQUENCER MEMORY"

•

Press *YES*. The SD-1 erases all sequences and songs from memory. After the memory is erased there will be one blank song and one blank sequence in locations 00 and 01. (There is always one song and one sequence in memory.)

Presets

button.

button, press the

middle

of the three soft

5 - 12



Creating a New Song

SD-1 Musician's Manual

Click Page

Pressing the Sequencer

which control the metronome functions of the sequencer.

CLICK=REC TIME-1/4 COUNTOFF=REC STOP TEMPO=120 UOLUME=99 PAM=DRY-C

CLICK

Controls whether or not the click will be heard.

OFF the click will not be heard in Play or Record modes.

•

ON — the click will be heard whenever the sequencer is running.

•

REC — the click will be heard only when the sequencer is in record mode, not

when in Play.

TIME

Sets the note value of the metronome click (range is 1/2 to 1/32T notes).



Click

button displays a page containing parameters

Section - Sequencer Basics

COUNTOFF

VOLUME

PAN

TEMPO

This determines whether playing and/or recording sequences and songs will be

preceded by a 1-bar countoff.

OFF — no countoff will occur in Play or Record modes. The song or sequence

• will begin as soon as

•

ON — a one bar countoff plays before the sequence or song begins to play.

•

REC — a one bar countoff will occur in Record mode only.

•

QUIET — the countoff will occur in Play or Record modes without the click.

Controls how loud the click will be. Range: 00 to 99

Controls the stereo position of the click, and allows it to be sent out of the Main or Aux. outputs.

•

DRY-L, DRY-R and DRY-C will send the click (without effects) to the Main outputs, to the left only, right only or center respectively.

•

AUX-L, AUX-R and AUX-C will send the click directly to the Aux. outputs, to the left only, right only or center respectively.

Sets the tempo of the current sequence.

Range: 25 to 250 BPM (beats per minute).

Play

Record/Play)

(or

is pressed.

Tap Tempo

Click Page



On any of the three pages where tempo appears

Locate),

tempo. If the field is already selected, tapping on the soft button at the correct rate for the desired tempo (based on the metronome settings on the click page) will update the tempo to the new value.

the soft button below the TEMPO field can be used to "tap" in the

(Click, Seq Control

and

5 -

Section 5 - Sequencer Basics

Seq Control Page

The

Seq Control

operation of the sequencer. This page contains consists of three sub-pages.



page displays contains parameters which control the basic

SD-1 Musician's Manual

Press

CONTROL CLOCK= I HT STOP TEMPI:1=12H AUTOPUMCH=OFF LOOP=ON

CLOCK — Sequencer Clock Source

This parameter selects the clock source for the sequencer.

•

RECORD-MODE

Selects between the three recording modes for the sequencer.

•

LOOPED As with ADD mode, new data recorded

Seq Control.

NT — Selects the SD-1's own internal clock to run the sequencer. The SD-1 features 96 ppq (pulses per quarter-note) resolution for extremely accurate recording. MIDI— Selects external MIDI clocks as the sequencer clock source. Use this

setting if you want to use another device (such as a computer sequencer or drum machine) as the master clock source and sync the SD-1 to it. Whenever CLOCK=MIDI, the tempo display will read TEMPO=EXT to indicate that the

SD-1 is syncing to an external clock source.

REPLACE — Anything recorded into an existing track will replace the data that

was in the track previously. The sequencer will stop recording after one time

through the sequence or song and will enter Audition/Play mode.

ADD — New data recorded into an existing track will be added to (or merged with) data already in the track — the existing data will be left intact. Again, the sequencer will exit record after one time through the sequence or song and enter Audition/Play.

be added to (or merged with) data already in the track. However, when

RECORD-MODE=LOOPED, the sequencer will remain in Record for as many

times as you play the song or sequence through (rather than dropping out of Record after one time through). Think of this as "drum machine mode" as

long as the sequence or song keeps playing you can keep adding parts each time

around.

The display shows:

RECORD-MODE=REPLACE



into

existing track

will

5 - 14

There is a fourth Record Mode which is available only when a song is selected:

•

MIXDOWN — When a song is selected on the SD-I, you can set the Record

Mode to MIXDOWN, which is used to record dynamic Volume and Pan changes into sequence and song tracks. When RECORD-MODE=M1XDOWN

the SD-1 will record

Performance section. Notes, controllers, program changes, etc. will

recorded in this mode.

Depending on the setting of the EDIT TRACKS parameter on the next sub-page

(see below) you can mix down either the song tracks or sequence tracks over

the length of the song.



changes made on the Volume and Pan pages in the

only

Seq Control Page

not

SD-1 Musician's Manual

TEMPO

Sets the tempo of the current sequence. When the sequencer is running you can

tap on the soft button beneath this parameter at the tempo you want to install as the current tempo. When CLOCK=MIDI, this display reads TEMPO-EXT. Range: 25 to 250 BPM (beats per minute) or EXT

AUTOPUNCH

This parameter controls an extremely powerful feature of the SD-1, the

Autopunch function. Autopunch means that when overdubbing a track, the SD-I will automatically enter and exit record mode at predetermined times which you specify. You can play along with the track and have the SD-1 "punch" in and out for you like an invisible engineer. We refer to the points at which recording will begin and end as the Locate Page.

•

ON — the SD-1 uses the Edit Times specified on the Locate sub-page for

entering and exiting record state.

•

OFF — normal recording without using Edit Times.

LOOP

This parameter controls whether or not the sequence or song will loop. The setting of this control is remembered for each sequence and song.

•

ON — the sequence or song will play continuously, looping back to the

beginning when it reaches the end. OFF — the song or sequence will not loop, it will play once and stop.

•



Edit Times

and they are set on the second sub-page of the

Section 5 - Sequencer Basics

•

Press

Seq Control

CONTROL STOP REC-SOURCE=BOTH

SONG STEP EFFECT

This controls which effect(s) will be used while a song is playing — those from each individual sequence or a single "override" effect saved with the song. A song contains a series of sequences which will play in order. Each sequence has its own effect. When switching from one sequence to another in the course of a song, there can be a momentary "glitch" of the sound as the effect for the new sequence is loaded. This can be avoided by setting this parameter to SONG

STEP EFFECT=SONG so that the entire song will use the same effect.

•

SEQ — the individual sequence effects will be selected as the sequences are played.

•

SONG — the song effect will override the individual sequence effects.

AEC-SOURCE — Record Source

This parameter detertnines what will be recorded when the MIDI mode is MULTI

— data from the keyboard, from incoming MIDI, or both. Setting this parameter

to MIDI is useful if you want to send data from the SD-1 to a MIDI processor, then record only the incoming data coming back from the processor. This parameter only has an effect in MULTI mode; in POLY or OMNI modes the

sequencer always records both.

•

BOTH — The sequencer will record data received either from the keyboard or from MIDI on the track's MIDI channel.



again to display the second sub-page.

SONG STEP EFFECT=SONG



EDIT TRACKS=SONG

Seq Control Page



5 - 15

Section 5 - Sequencer Basics

KYBD — The sequencer will record data only from the keyboard.

• MIDI — The sequencer will record only data received from the MIDI on the

• track's MIDI channel.

•

MULTI — this setting allows you to record data onto multiple SD-1 tracks

simultaneously, but only from MIDL This is most useful for recording tracks sent from external sequencers or played from guitar controllers.



SD—I Musician's Manual

Note:



Using Multi-Track Record

The SD-1 must be•set to receive data from MIDI in Multi mode (MODE=MULTI

on the MIDI control page) in order for this feature to work correctly. It is possible to record multi-track sequences from the keyboard, but only if you

set track status to MIDI for each of the active (primary and layered) tracks and

then set tip a MIDI loop (by connecting MIDI Out to MIDI In). This procedure is

a bit tricky, and should only be attempted if you have a good understanding of the system.

Tracks do not have to be selected in order to have data recorded on them, but they

must be defined. Each channel of incoming MIDI data will be recorded on the

lowest-numbered

number. For example, if both track 1 and track 2 are set to MIDI channel I, only track 1 will receive and record any data because it is the lowest-numbered track set to MIDI channel I. It is suggested that you set each track to a different MIDI channel to avoid confusion.

A newly created sequence (or song) will have MIDI channels 1 to 12 automatically assigned to the 12 tracks in ascending order, but all of the tracks except track 1 are initially UNDEFINED. Selecting undefined tracks while on the Track Select page (TRAX) will cause all the settings from the previously selected track to be copied to the new track, including the MIDI channel number. You will have to make sure that the channel assignments and other settings are correct

you have defined the appropriate number of tracks to record on.

after

SD-1 track which has the corresponding MIDI channel

Suggestion for Advanced Users:

If you wish to define a new track but leave its settings alone, you can use Replace

Program after underlining one of the new track's performance parameters (i.e.

MIDI Channel). Underlining this parameter sets up the new track to have its

program replaced without actually "selecting" the track. This method allows you

to define the track without changing most of the settings (except for MIDI Program number, Timbre, Release, and Pressure mode).

technique can cause problems if a MIDI loop is present.

Note:

Hint:



MIDI Program Changes will define the tracks on which they are received. If your external sequencer sends program changes on each track before any other event

data, then the tracks will be automatically defined, and the MIDI channel settings

will not be altered. You can see if this happens by creating a new sequence on the SD-1, playing your external sequence, and checking which tracks became

defined.

If you will be doing a lot of Multi-Track recording, you may find it useful to create a template sequence which has no track data recorded on it to use as a starting point for each recording. Give it an easily recognizable name like

"MULTI-TRACK", and simply copy this template sequence to an unused location

before starting each new recording. You can then edit the copy to suit the particular needs of the current multi-track recording.

Beware - this

5 - 16



Seq Control Page

SD-1 Musician's Manual

There is no Audition when using Multi-Track Record. All new tracks that received data are kept automatically after recording ends. The "EDITING DATA..." message is displayed while the sequencer is processing the data you

have recorded. The time required for processing depends on how much data and how many tracks were recorded, and it can take several minutes. After the processing is complete, the Locate page is displayed. You can either re-record or erase the tracks (or the entire sequence or song) if you do not wish to keep the results after recording. Multi-Track Record always operates in Replace mode, regardless of the setting of the REC-MODE switch on the Seq Control page.



Section - Sequencer Basics

Data is not recorded on tracks whose status is set to *EXT*, but

tracks

not have any actual track events on them.

If external sync is being used (CLOCK.M1DI), recording begins with the first

clock received after the MIDI Start command. If internal sync is selected

(CLOCK=INT),

Basic Recording from an External Sequencer

The following procedure is the basic method for recording a multi-track sequence from an external sequencer into the SD—I.

•

will have "dots" next to the program name after recording, even if they do

then recording begins when the first note is received.

Set MODE=MULTI on MIDI Control page. Set CLOCK=MIDI and REC-SOURCE=MULTI on the Seq Control page(s). Disable count-off on Disable sequence looping on the external sequencer (LOOP OFF). Create a new sequence with the correct time signature. Make sure that the external sequencer will send its track data on MIDI channels that the SD—I is set up to receive (track MIDI channels 1..12 by default). Make sure that the external sequencer will send program changes at the start of each track to automatically define the necessary tracks on the SD-1, or define them yourself on the SD-1 manually. Press

Rec

to enter MIDI Record mode (MREC will be flashing indicating that the SD-1 is waiting for MIDI Start and Clock messages). Start your external sequencer playing its sequence. When the external sequence stops, or when you press DATA..." for a time and then display the Locate page. Set CLOCK=INT on the Seq Control page and press have recorded. You may then decide that the results are satisfactory, or if not, you can try again or erase the sequence.

both

all defined

systems to avoid problems.

Stop

on the SD-1, the SD-1 will show "EDITING

Play

to hear what you

EDIT TRACKS

Seq Control Page

This determines which set of tracks will be displayed on the track parameter pages

(Tracks 1-6 and 7-12, and the nine Performance/Track pages) when a song is

selected. It also determines whether song or sequence tracks will be affected by volume or pan changes when you select Mixdown mode (see above). The default setting after a song is selected is SONG.

•

SEQ — the sequence tracks from the current song step will be displayed. When EDIT TRACKS=SEQ and you press

the Tracks button will flash to remind you that you are looking at the tracks from the sequence currently playing and not at the song tracks.

•

SONG — the song tracks will be displayed when a song is selected.



Tracks 1-6

7-12,

the LED in

5 - 17

Section 5 - Sequencer Basics



SD-1 Musician's Manual

Note:

When you are working with a song, you may want to switch back and forth

between the Song and Sequence tracks without having to go to the Seq Control page. There is a shortcut for toggling this parameter between EDIT I'RACKS= SEQ and EDIT TRACKS=SONG:

> While on either of the Tracks pages,

Tracks 7-12

sequence tracks, just as if you had changed the setting of the EDIT TRACKS

parameter. The LED in the tracks button flashes when you are looking at sequence tracks; it remains solidly lit when the song tracks are displayed.

•

Press

Seq Control

button. This switches between the song tracks and the

a third time to display the third sub-page.

CONTROL FREE=25000

STOP



SEQ-OS U 2.00

FREE — Free Sequencer Memory (display only)

SAVE CHANGES

This shows the number of

is informational only and cannot be selected or changed.

This parameter switches the SD-1 between sequencing mode, in which it

assumes that you might want to save changes you make to the sequencer track parameters, and performance mode, in which you can change track parameters and then select a new sequence or song without the changes being saved.

•

OFF — when SAVE

parameters, replace the program on a track, etc. and the changes will be

"forgotten" as soon as you select a new sequence. Recording any new track

data, however, will automatically reset this parameter to ON.

•

ON — when SAVE GIANGES=ON, if you edit any of the Track parameters, replace the program on a track, etc. and then select a different sequence or song,

you will be asked if you want to save those changes.

events

CHANGES=OFF, you can

rapidly



SRUE-CHANGES=ON



of available sequencer memory. This readout

double-click the

STEP-ENTRY=ON

edit any of the Track

Tracks 1-6

SEQ-OS — Sequencer Operating System Version

This shows the version number of the current Sequencer Operating System. This

readout is informational only and cannot be

STEP-ENTRY

This switch determines whether Step Entry mode will be used when the

sequencer is put into record.

•

ON — Whenever you go into Record with this switch set to ON, the SD-I will

automatically display the Step Entry page after the countoff has elapsed.

5 - 18

is no countoff, then it will

•

OFF — With

system will behave normally.



this switch set to OFF, Step Entry Recording is disabled and the

be immediately displayed.

selected or changed.

there

Step Entry Page

SD-1 Musician's Manual

The Step Entry page looks something like this (depending on settings):

TRK-11 AUTOSTEP=ON GATE-TIME=1/8 TIME=02.03.004,03.96 STEP=1/16T *STEP*



Gate time

(

■

Section 5 - Sequencer Basics

select

Step

Song only

TRK—##

AUTOSTEP —

GATE — Gate Time Select

— Track Number

The number of the currently selected track (on which you are recording) is shown in the upper left corner of the display. It is displayed only to remind you which track is being recorded and it cannot be selected or changed.

Automatic Step Advance Switch

This switch determines whether key events will advance the current time setting.

•

ON — each individual key track and will automatically advance the sequencer time by the amount set in the step size parameter. The duration of the note is controlled by the gate time select parameter.

•

OFF — key events do multiple events can be recorded at the same track location (time).

If you use AutoStep for entering chords, the result will be an arpeggiated chord,

similar to a guitar chord being strummed. This is true because each note of the chord will advance the time by the step size, causing older notes to have longer durations.

The gate time (duration) value of a note is assigned when a key is released. This

parameter allows you to determine the source of the duration value.

Step

(command)

down event

automatically advance the sequencer time, and

not

will cause a note to be recorded on the

Step Entry Page

•

HELD — the amount of time that you hold down the key(s) while advancing

the track will determine the gate time. The time between key down and key

release will be the duration.

•

STEP — the duration of new notes will be the same as the current step size.

•

1/1 to 1/64T (and dotted note values 1/1D to 1/16D) — when you select any of these settings, the displayed note value will be used for the duration. If you need finer resolution, or wish to have longer gate times than a whole note ( closest available value to enter the note and then, after you have finished with Step Recording, use the Event Editor to precisely adjust the duration.



), use the

1/1

5 - 19

Section 5 - Sequencer Basics



TIME — Current Track Location

This parameter allows you to set the current location on the track. The track

location or time is normally displayed as a three—part parameter when you are

recording a

sequence

is being recorded. In sequence mode, the three parts are Bars, Beats and Clocks. In song mode, Step Number and Repetition Count fields are added to the left of the Bars, Beats and Clocks fields.

The maximum values for these fields are determined by the length of the track. In song mode, the song structure is also important because the number of steps, the number of repetitions of each step, and the sequence length of each step are

factored into the computation of the song track length. You can advance the track by changing any of the fields, and if you have selected

RECORD-MODE=LOOPED on the Seq Control page, advancing past the end of

the track will wrap around to the beginning. Otherwise, if you advance past the

end of the track you will enter Audition mode.

STEP — Step Size

This parameter allows you to set the current step size which will be added to the

current track location (TIME) whenever you use the *STEP* command, or when the AutoStep switch is on. The range of step sizes is from whole notes (1/1) to 1/64th note triplets (1164T). Dotted note values are also available (1/1D to 1/16D).

SD-1 Musician's Manual

track, with two additional parts added when a

song

track

Note name

Whole note

Whole note triplet

Half note



Half note triplet

Quarter note - 

(Dueler note triplet

Setting Beat.Ciock

1/1

iiiT

112

- 2.00 '

1/2T

114

1/4T

*STEP* — Step Command

Pressing this soft button will advance the track location (TIME) by the amount set

in the step size

If you have selected RECORD-MODE=LOOPED on the Seq Control page, stepping past the end of the track will wrap around to the beginning, allowing you to continue stepping. Otherwise, if you step past the end of the track you will enter Audition mode.

If you are using the optional SW-5 Dual Foot Switch, you can assign the left footswitch to advance the location by setting FS I --*STEP* on the Master page. Pressing the footswitch will act just like the *STEP* command on the Step Entry page. This is useful when you need both hands to control the keyboard.

4.00

2.64

1.32

1.00

0.64

Note name

Eighth note

Eighth note triplet

Sixteenth note

—



Sixteenth nate triplet

32nd note

32nd note triplet

parameter.

Setting Beet.Olock

1/8 1/8T 1116

1/16T

- 1/32 1/32T

0.48

0.32

0.24

0.16

0.12

0.08

Note

name

64th note

64th note triplet

Dotted whole note

Dotted half note

Dotted quarter note

Dotted eighth note

Dotted 16th note

Setting

118 1/8T 1/1D 1/2D 114D 1/8D

1/16D ,

Beat.Cio,

0.06 '

0.04

6.00

3.00

1.48

0.72

0.36

5-20

Step Entry Page

SD-1 Musician's Manual

Using the Step Entry Recorder

All notes played and all control changes made in Step Entry mode will recorded into the new track.

With GATE.HELD, if you enter a note and release the key without advancing the

track location (time), then the note will be recorded with minimum (1/64th note)

duration. This is also true when using AutoStep because the key down and key

up appear to occur at the same time. For controllers, it is necessary to advance the track location after entering the

event so that they will be correctly recorded. Use *STEP* or advance one of the TIME fields.

It is possible to record trills played with monophonic sounds using AutoStep if you set the gate time to be less than the step size, and remember to change GATE to HELD just before you finally release the held key. For example, if STEP=1/16, then GATE-TIME must be

Temporary Record Bypass

If you press and hold the be able to play keys

Rec

play next and you do not want to inadvertently enter wrong notes into the track.



is held down. This is useful when you are looking for the right key(s) to

Rec

without

Section 5 - Sequencer Basics

always

less

than 1/16 (i.e. 1/16T, 1/32, etc.).

button while in Step Entry Record mode, you will

having them recorded. Keys are not recorded while

Access to Other Pages while in Step Entry

Your access to other pages is restricted in Step Entry mode, in a way similar to

Audition mode. You may get to any of the Performance parameter pages, the Click page, and the Master page. The Track Select pages (1-6 or 7-12) may be displayed, and you may use Replace Program to enter program changes onto the current track, but you may not change tracks. The BankSet button may be used in Replace Program to change banks. Pressing any of the other restricted buttons will return you to the Step Entry page. This is a convenient way to get back after you have selected one of the accessible pages while in Step Entry mode.

Entering Audition Mode from Step Entry

As with the normal mode of recording, when you have completed recording a track in Step Entry mode, either by pressing track, you will enter Audition mode, which behaves as it always has.

Entering Step Entry Record after Locating or from Play

You can use the Locate page to get to the place in the track where you wish to

begin Step Entry recording, and then hold at that point. You may also be in PLAY and press the where you want to start Step Entry recording.

Autopunch does

not

affect Step Entry recording.

Stop

Rec

or by reaching the end of the

and press

Cont

to enter record

Rec

button at the point

Step Entry Page



5 - 21

Section 5 - Sequencer Basics

About the SAVE CHANGES... Page

Along with the notes, controllers and program changes that are recorded on each track, there are many other parameters that are saved with each sequence or song, These are:

•

the name of the sequence or song

•

the tempo of the sequence or song

•

the program assigned to each track on the Tracks 1-6 and 7-12 pages

•

all Performance/Track parameters for each track of the sequence or song

•

which tracks are selected and layered on the Tracks 1-6 and 7-12 pages

•

the setting of the LOOP switch on the Seq Control page

•

the setting of the CLICK parameter on the Click page

Whenever you record any track of a sequence or song, all of these values are automatically saved— that is, they will be remembered by the SD-I if you leave the sequence (by selecting another one) and return to it later. However, if you change any of the above things, and then select a new sequence or song before

you record any new track data, the following message will appear:



SD-I Musician's Manual

Hint:

SAUE CHANGES TO <SEQ NAME> 7

•

Pressing *YES* saves the sequence or song, with the current settings of all the parameters listed above, into sequencer memory.

•

Pressing *NO* leaves the settings of the parameters listed above as they were

when you last recorded a track, or answered *YES* when exiting the same

sequence.

In either case, the track data (notes, controllers and program changes) are always saved. Sometimes it's hard to remember, when you get this page, exactly what you changed. As a general rule, if you are happy with the sequence or song as it is, answer *YES*. If you have just been experimenting with different tempos, programs, MIDI configurations, etc., and want to leave the sequence as it was before your experiments, answer *NO*.

There is one quick way to save any changes you make to a sequence or song. After you have changed any of the values listed above and want to save them, press the sequence or song again. The display will ask "SAVE CHANGES TO <SEQ NAME>?" Answer *YES* and the changes you made to the sequence or song will be saved.

Seq

button to return to the sequence bank page, and select the same



*YES* *NO *

5 - 22

As mentioned above, you can avoid being asked to save changes by setting the SAVE CHANGES parameter to OFF. For live performance, and other applications in which you want to experiment with tempo, track parameters. etc. without being bothered about saving the changes, this is the preferred setting.



Step Entry Page

SD-1 Musician's Manual



Using Sequencer Data Created on a VFXsp

Sequencer data is affected by the particular software version used to create or change the data. Most VFXsp sequence data will work correctly with the SD-1 software. However, please be aware that some older sequencer data been created or saved with invisible problems which can still confuse the SD-1 sequencer, even if the conditions that originally caused the problems have been corrected. Some older sequences that play correctly try to change or edit them. We recommend using the SD-I software to re-create old sequences if you are having problems with old data.

Locate Page

Pressing the Sequencer sequencer information as well as control over tempo and Auto-locate functions. Pressing Edit Times for use with the Autopunch feature.

First we will look at the Locate page as it appears when a sequence is selected.

When a song is selected, the Locate page is a little different (see below).

Sequence Locate Page

•

Select a sequence from one of the Sequencer Bank pages.

•

Press

Locate again

Locate.

When a sequence is selected, the Locate page shows:

Locate

will reveal the second sub-page where you can set the

Section 5 - Sequencer Basics

may

have

may

have problems if you

button displays a page which provides valuable

TEMPO

Current Sequence

Current

Track

C21

LOCATE SEQ=FIRST-UERSE TRACK=01 4/4 STOP TEMPO=120 GOTO BAR/BEAT=001.01

Tempo



I Auto-locate Control

Time Signature

1M1

Current

location

The status of the sequencer (whether it is in Play, Stop, Record, etc.) is always shown in the lower left-hand corner of the display on this page.

The following are

•

SEQ —

•

TRACK

shows the name of the current sequence.

selected track from here; you do that from the Tracks

•

Time Signature —

•

BAR/BEAT —

display only

parameters, provided here for your information:

shows the current primary/selected track. You cannot change the

1-6

or 7-12 page.

shows the time signature of the current sequence.

shows your current location in the sequence by bar and beat. You can locate to a different place in the sequence using the GOTO function described below.

The active controls on the Sequence Locate page are:

Sets the tempo of the current sequence. This can be adjusted using the data entry controls or by

tapping

on the soft button below the tempo indicator whenever the

tempo is selected. When CLOCK=MIDI on the Seq Control page, this field will read TEMPO=EXT to indicate that the tempo is controlled by incoming MIDI clocks.

Range= 25 to 250 RPM, or EXT.

Save Changes... Page



5 - 23



Section 5 - Sequencer Basics

GOTO — Sequence Autolocate Control

Displays the GOTO sub-page where the auto-locator destination is set. Using the GOTO function you can quickly locate to any bar and beat within the sequence, in order to play or record from there.

•

Press GOTO. The display shows:

LOCATE SEQ=F I BST-UERSE TRFICK=01 4/4

GOTO will be

slider or the up and down arrow buttons. Press the soft button beneath the Bar/Beat field to move the cursor between the Bar and Beat.

Press the GOTO soft button again to complete the locating process and return to

• the main Locate page. The GOTO function provides a quick and easy way to

repeatedly locate to a certain place in a sequence — the destination remains set

until a new sequence or song is selected. Once the destination is set, simply press the GOTO button twice to locate to the same place.

•

After using the GOTO function to locate to a spot in the sequence, press

StoplCont



*EXIT*-GOI

'Mt

flashing

to begin playing the sequence from that point.

SD-1 Musician's Manual



BAR/BERT=.01



I O-



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aza

and the destination may be set using the data entry



Song Locate Page

•

Select a song from one of the Sequencer Bank pages. Press

Locate.

Current Song Step

SONG LOCATE FIRST-UERSE STEP/REP=01,01 SNGS TEMPO=+00 GOTO BAR/BEAT=001.01

Note that the Sequencer Status (shown in the lower left corner of the display) now shows SNGS, for Song Stop, indicating that a song is selected.

The following are

•

Sequence Name — shows the name of the sequence which is playing as the current song step. This is updated with the new steps as the song plays.

•

STEP/REP shows your current location in the song by steps and repetitions. You can locate to a different place in the song using the GOTO

function described below.

•

BAR/BEAT — shows your location within the current song step by bar and beat. As with the song steps and reps, you can locate to a different point using

the GOTO function.

When a song is selected, the Locate page shows:

Sequence in

Current Song Location (Step +

eme

display only

4 eM

Location in current

Step (Bar + Beat)

parameters, provided here for your information:

Rep) II

5 - 24



Step Entry Page

SD-I Musician's Manual

The active controls on the Song Locate page are:

TEMPO — Song Tempo Offset

This controls the tempo of the song. It is expressed as a percentage of the sequence tempo changing the song tempo offset automatically adjusts the

tempo of each the sequences in the song by +1-99%, within the legal limits of 25-

250 BPM. When TEMPO.+00 the sequences will play at their designated

tempo. When CLOCK=MIDI on the Seq Control page, this field will read TEMPO=EXT

to indicate that the tempo is being controlled by incoming MIDI clocks. Range-- -99 to +99 BPM, or EXT.

GOTO — Song Autolocate control

The GOTO sub-page looks a little different in song mode, as you can locate to

any step or rep in the song, as well as to any bar and beat within the step.

•



Press GOTO. The display shows:

Section 5 - Sequencer Basics

LOCATE SONG F I FIST -UERSE STEP/REP=01.01

*EXIT*-GO1

GOTO is flashing and the destination may be set using the data entry slider or

the up and down arrow buttons.

•

Press the soft button above the Step/Rep field to move the cursor between the

Step and Repetition selecting the desired destination. Press the soft button

beneath the Bar/Beat field to move the cursor between the Bar and Beat.

•

Press GOTO again to complete the locating process and return to the main Locate page with the new location as the the current one.

•

After using the GOTO function to locate to a point in the song, press

StoplCont

Edit Times — Using the Autopunch Feature

Press

Locate

the edit the Edit Time parameters for editing. When a sequence is selected, the display shows the Bar, Beat and Clock at which the SD-1 will enter and exit record when Autopunch is on.

to begin playing from that point.

a second time to display the Edit Times sub-page which contains

and OUT times. Press the soft buttons nearest IN and OUT to select

EDIT TIMES AUTOPUNCFP-ON

\ t /

T19A/SEAT=001.01

O- 13



IN-001A1,01

Bar Beat Clock!

I '

STOP RESET

The edit times are set using the data entry slider or the up and down arrow

buttons. Repeatedly pressing the soft button next to either time moves the cursor between the Bar, Beat and Clock. The SET and RESET buttons are also used to

change the currently selected time value.

Edit Timesl Auto-punch



SET



OUT=007.0496

I I 

I Bar

113gLIPIOCk 1

5 -

Ensoniq SD-1 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents