Hammond SK1 User Manual

HA<O>
Model: /
STAGE KEYBOARD
ank you, and congratulations on your choice of the Hammond Stage Keyboard SK1/SK2.
e SK1 and SK2 are the first ever Stage Keyboards from Hammond to feature both traditional Hammond Organ Voices and the basic keyboard sounds every performer desires.
Please take the time to read this manual completely to take full advantage of the many features of your SK1/SK2; and please retain it for future refer­ence.
DRAWBARS SELECT
ORGAN TYPE
DRAWBARS SELECT
ORGAN TYPE
EXIT
UPPER
PLAY
NUMBER NAME
Bourdon
OpenDiap8'Gedeckt8'VoixClst
16'
VALUE
LOWER
PEDAL
PATCH
Octave4'Flute Dolce4'Hautbois8'Flute
II
ENTER
MENU/
EXIT
UPPER
LOWER
Mixture
2'
III
PEDAL
PLAY
NUMBER NAME
PATCH
Owner’s Manual
VALUE
ENTER
2

IMPORTANT SAFETY INSTRUCTIONS

u Before using this unit, please read the following Safety instructions, and adhere to them. u Keep this manual close by for easy reference. u In this manual, the degrees of danger are classied and explained as follows:
is sign shows there is a risk of death or severe injury if this unit is not properly used
WARNING
CAUTION
as instructed.
is sign shows there is a risk of injury or material damage if this unit is not properly
used as instructed.
*Material damage here means a damage to the room, furniture or animals or pets.
WARNING
u Do not open (or modify in any way) the unit or its AC
adaptor.
u Do not attempt to repair the unit, or replace parts in
it. Refer all servicing to your retailer, the nearest Ham­mond Dealer, or an authorized Hammond distributor, as listed on the “Service” page.
u Never use or store the unit in places that are:
w Subject to temperature extremes (e.g., direct sun-
light in an enclosed vehicle, near a heating duct, on top of heat generating equipment)
w Damp (e.g., baths, washrooms, on wet oors) w Humid w Exposed to rain w Dusty w Subject to high levels of vibration.
u Be sure to use only the AC adaptor supplied with the
unit. And, make sure the line voltage at the installation matches the input voltage specied on the AC adap­tor’s case. Other AC adaptors may use a dierent po­larity, or be designed for a dierent voltage, their use could result in damage, malfunction, or electric shock.
u Do not excessively twist or bend the power cord, or
place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are re and shock hazards!
u is unit, either alone or in combination with an am-
plier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a extended periods of time at a high volume level, or at a level that is uncom­fortable. If you experience any hearing loss or ring­ing in the ears, you should immediately stop using the unit, and consult a physician.
u Do not allow any objects (e.g., ammable material,
coins, pins); or liquids of any kind (water, so drinks, etc.) to penetrate the unit.
u Immediately turn the power o, remove the AC adap-
tor from the outlet, and request servicing by your re­tailer, the nearest Hammond Dealer, or an authorized Hammond distributor, as listed on the “Service” page when: w e AC adaptor, the power-supply cord, or the
plug has been damaged; or
w If smoke or unusual odor occurs w Objects have fallen into, or liquid has been spilled
onto the unit; or
w e unit has been exposed to rain (or otherwise
has become wet); or
w e unit does not appear to operate normally or
exhibits a marked change in performance.
u In households with small children, an adult should
provide supervision until the child is capable of fol­lowing all the rules essential for the safe operation of the unit.
u Protect the unit from strong impact. (Do not drop it!)
u Do not force the unit’s power-supply cord to share an
outlet with an unreasonable number of other devices. Be especially careful when using extension cords - the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.
u Before using the unit in a foreign country, consult
with your retailer, the nearest Hammond Dealer, or an authorized Hammond distributor, as listed on the “Service” page.
u Do not put anything that contains water (e.g., ower
vases) on this unit. Also, avoid the use of insecticides, perfumes, alcohol, nail polish, spray cans, etc., near the unit. Swily wipe away any liquid that spills on the unit using a dry, so cloth.
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Sk2
Owner’s Manual
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CAUTION
3
u e unit and the AC adaptor should be located so
their location or position does not interfere with their proper ventilation.
u Always handle the AC adaptor by the plug when plug-
ging into, or unplugging from an outlet or this unit.
u At regular intervals, you should unplug the AC adap-
tor and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to re.
u Try to prevent cords and cables from becoming en-
tangled. Also, all cords and cables should be placed so they are out of the reach of children.
u Never climb on top of, nor place heavy objects on the
unit
u Never handle the AC adaptor or its plugs with wet
hands when plugging into, or unplugging from, an outlet of this unit.
u Before moving the unit, disconnect the AC adaptor
and all cords coming from external devices.
u Before cleaning the unit, turn o the power and un-
plug the AC adaptor from the outlet.
u Whenever you suspect the possibility of lightning in
your area, disconnect the AC adaptor from the outlet.
In the unlikely event that you need to dispose of this unit, be sure to contact your dealer or your nearest town or municipal office for its proper disposal.
Introduction
4

IMPORTANT - PLEASE READ

uPower Supply
u Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric mo­tor or variable lighting system).
u e AC adaptor will begin to generate heat after long hours
of consecutive use. is is normal, and is not a cause for concern.
u Before connecting this unit to other devices, turn off the
power to all units. is will help prevent malfunctions and/ or damage to speakers or other devices.
uPlacement
u Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.
u is device may interfere with radio and television recep-
tion. Do not use this device in the vicinity of such receivers.
u Noise may be produced if wireless communications devices,
such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.
u Do not expose the unit to direct sunlight, place it near de-
vices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Also, do not allow lighting devices that normally are used while their light source is very close to the unit (such as a piano light), or powerful spotlights to shine upon the same area of the unit for extended periods of time. Excessive heat can de­form or discolor the unit.
u When moved from one location to another where the tem-
perature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or mal­function may result if you attempt to use the unit in this condition. erefore, before using the unit, you must al­low it to stand for several hours, until the condensation has completely evaporated.
u Do not allow rubber, vinyl, or similar materials to remain
on the unit for long periods of time. Such objects can dis­color or otherwise harmfully affect the finish.
u Do not paste stickers, decals, or the like to this instrument.
Peeling such matter off the instrument may damage the ex­terior finish.
kind, to avoid the possibility of discoloration and/or defor­mation.
uAdditional Precautions
u Please be aware that the contents of memory can be irre-
trievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of losing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory in another MIDI device (e.g., a sequencer).
u Unfortunately, it may be impossible to restore the contents
of data that was stored in another MIDI device (e.g., a se­quencer) once it has been lost. Hammond assumes no li­ability concerning such loss of data.
u Use a reasonable amount of care when using the unit’s but-
tons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.
u When connecting / disconnecting all cables, grasp the
connector itself - never pull on the cable. is will avoid causing short circuits, or damage to the cable’s internal ele­ments.
u To avoid disturbing your neighbors, try to keep the unit's
volume at reasonable levels. You may prefer to use head­phones, so you do not need to be concerned about those around you (especially when it is late at night).
u When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.
uMaintenance
u To clean the unit, use a dry, soft cloth; or one that is slightly
dampened.
u To remove stubborn dirt off plastic parts, use a cloth im-
pregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth. Try to wipe the entire surface using an equal amount of strength, moving the cloth along with the grain of the wood. Rubbing too hard in the same area can damage the finish.
u Never use benzine, thinners, alcohol or solvents of any
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Sk2
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Owner’s Manual
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5

INTRODUCTION

Introduction
6
Table Of Contents
IMPORTANT SAFETY INSTRUCTIONS ................................................2
IMPORTANT - PLEASE READ ................................................................. 4
INTRODUCTION ........................ 5
MAIN FEATURES ....................................................................................... 9
NAMES AND FUNCTIONS ...................................................................10
TOP PANEL ......................................................................................................10
REAR PANEL ...................................................................................................13
KEYBOARD ......................................................................................................14
ACCESSORIES .................................................................................................14
HOOK-UP .................................15
BASIC HOOK-UP .....................................................................................16
CONNECTING THE LESLIE SPEAKER ................................................17
BASIC CONNECTION OF THE LESLIE SPEAKER ...................................17
MIDI CONTROL OF THE LESLIE SPEAKER .............................................17
EXPAND THE KEYBOARD .....................................................................18
SK1: DUAL KEYBOARD + PEDALBOARD ...............................................18
SK1: ORGAN + PIANO .................................................................................19
SK2: PEDALBOARD ......................................................................................20
GETTING READY TO PLAY .......21
SWITCH ON ..............................................................................................22
HOW TO POWER ON ...................................................................................22
BACK UP ..........................................................................................................22
RESET TO THE FACTORY SETTINGS ........................................................22
PLAY WITH THE PATCHES ....................................................................23
USER and PRESET .........................................................................................23
HOW TO CALL A PATCH ..............................................................................23
Example: Select U041. .......................................................................................23
REGISTER FAVORITE PATCHES (FAVORITES) ..................................24
REGISTER PATCHES TO FAVORITES .........................................................24
HOW TO CALL FAVORITES .........................................................................24
Column: RECORD FAVORITES LIKE PRESET BUTTONS .....................25
USE THE FOOT CONTROLLERS ..........................................................26
EXPRESSION PEDAL ....................................................................................26
FOOT SWITCH ................................................................................................26
MASTER EQUALIZER .............................................................................27
TRY CREATING YOUR OWN SOUND .................................................28
SELECT [MANUAL] .......................................................................................28
Column: INITIALIZE THE INTERNAL SETTINGS [MANUAL] .............28
SELECT THE UPPER DRAWBARS ..............................................................29
PULL OUT DRAWBARS ................................................................................29
ADD THE TOUCH-RESPONSE PERCUSSION .........................................29
ADD EFFECTS TO THE ORGAN SECTION ..............................................30
VIBRATO & CHORUS ............................................................................................30
LESLIE .......................................................................................................................30
OVERDRIVE ............................................................................................................30
MULTI-EFFECTS ....................................................................................................30
ALLOCATING THE EXTRA VOICES............................................................31
SELECT AN INSTRUMENT ..........................................................................31
ADJUST THE VOLUME BALANCE .............................................................31
ADD EFFECTS TO THE EXTRA VOICE SECTION ...................................32
MULTI-EFFECTS ....................................................................................................32
ADD REVERB TO BOTH SECTIONS ..........................................................32
REVERB ....................................................................................................................32
WHAT IS A “PART”? .......................................................................................33
KEYBOARD SPLIT ..........................................................................................33
MANUAL BASS ..............................................................................................33
LOWER TO PEDAL .........................................................................................34
PEDAL SUSTAIN ............................................................................................34
RECORD THE PATCH TO MEMORY ..........................................................35
Example: RECORD TO U032 .............................................................................35
SETTING UP .............................37
SOUND ENGINE STRUCTURE .............................................................38
ORGAN SECTION ..........................................................................................39
EXTRA VOICE SECTION ...............................................................................39
MASTER EQUALIZER ....................................................................................39
ORGAN SECTION ....................................................................................40
ORGAN TYPE ..................................................................................................40
TONE-WHEELS (BType1, BType2, Mellow) ..................................................40
TRANSISTOR (Vx, Farf) .......................................................................................40
PIPE ...........................................................................................................................40
Column: SELECTING THE ORGAN TYPES..............................................41
Example: Switching the manual part to “Pipe” .........................................41
HARMONIC DRAWBARS™ ...................................................................42
DRAWBARS (ON TONE-WHEEL) ...............................................................42
DRAWBARS FOR THE UPPER AND LOWER PARTS .............................43
DRAWBARS TO USE ON THE PEDAL .......................................................43
DRAWBAR REGISTRATION PATTERNS....................................................44
MODERN DRAWBAR REGISTRATIONS ...................................................45
DRAWBARS (Vx) ............................................................................................46
DRAWBARDS (Farf ) ......................................................................................47
DRAWBARS (PIPE) ........................................................................................48
DRAWBAR SELECT .................................................................................49
ASSIGN DRAWBARS TO PARTS .................................................................49
MATCH THE REGISTRATION TO DRAWBARS ........................................49
PERCUSSION ............................................................................................50
1´ DRAWBAR CANCEL ........................................................................................50
VIBRATO & CHORUS ..............................................................................51
DRAWBAR OVERDRIVE .........................................................................52
LESLIE .........................................................................................................53
MULTI-EFFECTS, REVERB .....................................................................54
PEDAL SUSTAIN, MANUAL BASS ......................................................55
KEYBOARD SPLIT, OCTAVE SHIFT .....................................................56
TRANSPOSE .............................................................................................57
EXTRA VOICE SECTION ........................................................................58
ALLOCATE AND SOLO .................................................................................58
BUILT IN SOUNDS AND LIBRARY .............................................................58
MULTI-EFFECTS, REVERB .....................................................................59
PATCH .........................................................................................................60
USER AND PRESET .......................................................................................60
NAME THE PRESENT SETTING ..................................................................61
RECORD TO THE PATCH ..............................................................................62
USING THE CONTROL PANEL ..63
WHAT YOU CAN DO ON THE CONTROL PANEL ...........................64
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7
PLAY MODE ..............................................................................................65
HOW TO READ THE DISPLAY ....................................................................65
BUTTON OPERATION IN THIS MODE .....................................................65
MENU MODE ...........................................................................................66
HOW TO READ THE DISPLAY ....................................................................66
BUTTON OPERATION IN THIS MODE .....................................................66
MENU AND THE CONTENTS .....................................................................67
FUNCTION MODE ..................................................................................68
HOW TO READ THE DISPLAY ....................................................................68
BUTTON OPERATION IN THIS MODE .....................................................68
SHORT CUT TO FUNCTION MODE ...................................................69
EXAMPLE OF OPERATION:.........................................................................69
REGISTER THE PAGES YOU FREQUENTLY USE ..............................69
EXAMPLE OF OPERATION:.........................................................................69
PARAMETER OPERATION EXAMPLE: ......................................................70
SETTING THE PARAMETERS ...73
DRAWBAR .................................................................................................74
uSETTING FOR MANUAL (LOWER & UPPER) DRAWBARS ....................74
uSETTING THE PEDAL PART ...........................................................................75
PATCH .........................................................................................................76
uPATCH NAME ....................................................................................................76
uPATCH LOAD .....................................................................................................76
uFAVORITES .........................................................................................................76
EXVOICE (Extra Voices) ........................................................................77
CONTROL ..................................................................................................78
uFOOT SWITCH...................................................................................................78
uEXPRESSION ......................................................................................................79
uGLIDE...................................................................................................................79
uDAMPER .............................................................................................................80
uASSIGN................................................................................................................80
uDISPLAY ..............................................................................................................81
PERCUSS (Percussion) ..........................................................................82
VIB&CHO (Vibrato & Chorus) .............................................................83
LESLIE .........................................................................................................84
uCABINET NUMBER ..........................................................................................84
uLESLIE PARAMETERS ......................................................................................84
uEXTERNAL LESLIE SPEAKER .........................................................................86
RECORD THE CABINET ................................................................................86
CUST. TW (Custom Tone-Wheels) ....................................................87
OD / EFF (Overdrive / Effects) ............................................................88
uORGAN SECTION EFFECTS ...................................................................88
OVERDRIVE ............................................................................................................88
MULTI-EFFECTS ....................................................................................................88
uEFFECTS OF THE EXTRA VOICE SECTION ........................................95
OVERDRIVE ............................................................................................................95
MULTI-EFFECTS ....................................................................................................95
EQUALIZ (Equalizer) ..............................................................................96
uORGAN SECTION .............................................................................................96
uORGAN SECTION, EXTRA VOICE SECTION..............................................96
REVERB ......................................................................................................97
TUNE ..........................................................................................................98
uMASTER TUNE ..................................................................................................98
DEFAULT ....................................................................................................99
SYSTEM ................................................................................................... 100
MIDI .......................................101
ABOUT MIDI .......................................................................................... 102
WHAT IS “MIDI”? ........................................................................................102
MIDI JACKS ON THIS KEYBOARD .........................................................102
WHAT THE MIDI CAN DO ON YOUR KEYBOARD .............................102
MAIN MIDI MESSAGE ...............................................................................103
CHANNEL MESSAGE ........................................................................................ 103
SYSTEM MESSAGE ............................................................................................103
MIDI STRUCTURE ................................................................................104
uKEYBOARD CHANNELS .............................................................................. 104
uEXTERNAL ZONE CHANNELS ...................................................................104
uEXPANDED KEYBOARDS ............................................................................104
USING AN EXTERNAL SEQUENCER ...............................................106
uRecording a performance to an external sequencer ......................106
uSequencer playback ...................................................................................106
USING A MIDI SOUND MODULE .................................................... 107
ZONES ..................................................................................................... 108
uWHAT IS DISPLAYED ON THE UPPER LEFT? ......................................... 108
uINTERNAL ZONE ...........................................................................................108
uEXTERNAL ZONE .......................................................................................... 108
PANIC FUNCTION AND PARAMETER RE-LOAD ....................................... 109
MIDI ......................................................................................................... 110
uMIDI TEMPLATE ............................................................................................. 110
uMASTER ........................................................................................................... 110
uKEYBOARD CHANNELS .............................................................................. 111
SAVE THE SETUP ...................113
SAVE YOUR SETUP .............................................................................. 114
WHAT YOU CAN DO WITH THE USB FLASH DRIVE ......................... 114
ABOUT USB FLASH DRIVE ......................................................................114
USABLE USB FLASH DRIVE ............................................................................114
USB MEMORY CONNECTOR .......................................................................... 114
FOLDER STRUCTURE .......................................................................................114
INITIALIZE THE USB FLASH DRIVE ................................................. 115
SETUP PROCEDURES .........................................................................116
HOW TO READ THE DISPLAY .................................................................116
SAVE THE SETUP ........................................................................................116
CHANGE THE SETUP NAME ...................................................................117
LOAD THE SETUP .......................................................................................118
DELETE THE SETUP ...................................................................................118
MUSIC PLAYER ......................119
BEFORE PLAYING BACK .................................................................... 120
FILE TYPE AND PLACING FOLDER .......................................................120
HOW TO READ THE DISPLAY .................................................................120
OPERATION OF THE MUSIC PLAYER ............................................. 121
MUSIC PLAYER MODES ...........................................................................122
CHANGE THE TIME DISPLAY ..................................................................122
VOICE LIBRARY .....................123
WHAT IS VOICE LIBRARY? ................................................................. 124
FILE TYPE AND THE PLACING FOLDER ............................................... 124
VOICE LIBRARY AND SETUPS ................................................................124
OPERATE THE VOICE LIBRARY......................................................... 125
LOADING THE VOICE LIBRARY ..............................................................125
DELETE A LIBRARY ....................................................................................126
Introduction
8
CLEAR ALL LIBRARIES ..............................................................................126
Troubleshooting ...................127
TROUBLESHOOTING .......................................................................... 128
APPENDIX ..............................129
EXTRA VOICE INSTRUMENT LIST ................................................... 130
MIDI TEMPLATES .................................................................................132
MIDI TEMPLATES OF SK1 ........................................................................132
MIDI TEMPLATES OF SK2 ........................................................................133
MIDI INFORMATION ........................................................................... 134
MIDI Implementation ..............................................................................134
Channel Voice Message ................................................................................134
Channel Mode Message ................................................................................134
Drawbar Data List 1 .................................................................................. 135
Control Number ................................................................................................135
Drawbar Data List 2 .................................................................................. 135
System Exclusive Message.....................................................................136
Mode Setting Exclusive Message ...............................................................136
NRPN Switch ......................................................................................................136
Data Set (Rx. only) ............................................................................................ 136
Identity Request (Rx. only) ............................................................................ 136
Identity Reply (Tx. only) .................................................................................136
Global Parameters ....................................................................................137
Patch Parameters ......................................................................................138
Leslie Parameters ......................................................................................142
System Parameters ................................................................................... 142
CUSTOM TONE-WHEELS LIST ......................................................... 143
MIDI IMPLEMENTATION CHART ..................................................... 144
MIDI CHANNELS AND MESSAGES ................................................. 145
SPECIFICATIONS .................................................................................. 146
PRESET PATCH LIST............................................................................. 147
SERVICE .................................................................................................. 149
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Owner’s Manual
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MAIN FEATURES

uA LIBRARY OF ESSENTIAL KEYBOARD VOICES
e modern keyboard player requires a wide palette of voices, including organs, pianos (acoustic and electric), wind and various keyboards.
uAUTHENTIC HAMMOND DRAWBAR ORGAN
e SK1/SK2 is first and foremost a genuine HAMMOND organ with Virtual Tone­Wheels to provide its traditional sound. Also available are the tones of vintage “combo” organs, and a variety of pipe organ ranks to provide church and classical organ voices.
uEXTRA VOICE SECTION
High Quality Acoustic and Electric Pianos are included, in multiple varieties of popular voices. Wind voices are also included. New voices will be able to be downloaded via the USB port.
e Organ and Extra Voice can be used together, and their outputs can be individually accessed, using the 8-pin Leslie speaker jack for the organ voice.
uDIGITAL LESLIE/VIBRATO
A digital and programmable LESLIE is available for the Drawbar voices, as well as the traditional “Chorus-Vibrato” as used on the legendary B-3. e Chorus-Vibrato may be selected for the Upper and Lower manuals, independently.
uA WIDE VARIETY OF EFFECTS
Digital Multi-effects are available for the Organ and Extra Voice sections independently. A Master Equalizer allows you to tailor the total tonal response of the keyboard.
9
uMP3 MUSIC PLAYER
is keyboard is equipped to play MP3 type audio files. is makes it very convenient for accompanying solo performances or practicing.
uMIDI MASTER KEYBOARD
External Zones are available to enable the SK1/SK2 to be used as a master keyboard.
uPATCHS AND FAVORITES
In addition to the 100 available user-defined patches, 10 “Favorite” quick-call patches are available for on-stage ease.
uBUILT-IN USB PORT
e versatile USB Flash Drive is adopted for easy access to a PC or for saving the audio file set up of the music player also for storing the voice library.
uSMALL AND LIGHT WEIGHT
Both the SK1 and SK2 are small and light weight, making transport and setup easy.
Introduction
10
PEDAL
LOWER
NAME
PATCH
VALUE

TOP PANEL

NAMES AND FUNCTIONS

DRAWBARS SELECT
ORGAN TYPE
Bourdon
OpenDiap8'Gedeckt8'VoixClst
16'
uUPPER LEFT
MASTER VOLUME knob
Controls the total volume. (P. 22)
CONTROL button
Brings the CONTROL window up in the display. (P. 78)
uMUSIC PLAYER
VOLUME knob
Controls the volume of the music player. (P. 121)
SONG button
Selects the audio file to play. (P. 121)
1/2 button
Selects PLAY and PAUSE modes of the music player. (P. 121)
uDRAWBAR SELECT
UPPER, PEDAL, LOWER buttons
Used to select which division (Upper/Lower/Pedal) the Draw­bar settings will affect while editing or playing live. e indica­tor light shows which selector is “live”. (P. 49)
uVIBRATO & CHORUS
V1/C1, V2/C2 buttons
Controls the depth of the classic “Vibrato & Chorus” effect. 1 is light, 2 is medium, and pressing both buttons selects 3 which is maximum. (P. 51)
CHORUS button
Toggles between Vibrato and Chorus effect. (P. 51)
UPPER, LOWER buttons
Selects which division (or both) receives the Vibrato & Chorus Effect. (P. 51)
MENU/
EXIT
Octave4'Flute Dolce
II
Mixture
III
Hautbois
8'
Flute
4'
2'
PLAY
NUMBER
uLESLIE
BYPASS button
De-selects the Leslie effect and directs the output to the Main outputs. When the indicator light is ON, the Bypass is en­gaged. (P. 53)
STOP button
Sets the STOP or SLOW then the [FAST] button is off. When the light is ON, the [FAST] button toggles STOP/FAST. And when the light is OFF, it toggles SLOW/FAST(P. 53)
FAST button
Toggles the modes of the rotors FAST or not. When the light is ON, it is FAST. (P. 53)
uDRAWBARS
DRAWBARS
ese are for adjusting the basic harmonics of the organ sec­tion. e function of each drawbar is different depending on the keyboard selected (Upper/Lower/Pedal) of type of Organ (Transistor/Pipe). (P. 42)
uPERCUSSION
SECOND button
Adds 4´ percussion (decay) to the UPPER part. (P. 50)
THIRD button
Adds 2 ⅔´ percussion (decay) to the UPPER part. (P. 50)
FAST button
Switches the decay time of the percussion. (P. 50)
SOFT button
Switches the percussion volume. (P. 50)
UPPER
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Owner’s Manual
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UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
11
ENTER
uCONTROL PANEL
MENU/EXIT button
Recalls the Menu mode in the display. Also used for returning to the Menu mode from other function modes. (P. 66)
PLAY button
Returns to the Play, or basic mode. (P. 65)
DISPLAY VALUE knob
Increases/Decreases Patch numbers while performing or adjusts values during editing.
DIRECTION buttons
Moves the cursor or pages.
ENTER button
Confirms the current entry or procedure.
uFAVORITES
RECORD button
Enables recording of user-definable items. (P. 35)
MANUAL button
Dismisses any current Patch or Favorite in favor of the current settings of the control panel. (P. 28)
NUMBER buttons
Recalls the corresponding Favorites. (P. 24)
TRANSPOSE button
Shifts the entire instrument’s key signature Up or Down. (P. 57)
OCTAVE DOWN button
Lowers the UPPER part by one octave. (P. 56)
OCTAVE UP button
Raises the UPPER part by one octave. (P. 56)
OCTAVE LOWER button
Raises and lowers the octave of the LOWER part, together with the OCTAVE DOWN/UP buttons. (P. 56)
uKEYBOARD CONTROL
P. SUS (Pedal SUStain) button
Switches the Pedal Sustain on. (P. 34)
M. BASS (Manual BASS) button
Switches the Manual Bass on. (P. 33)
SPLIT button (only on the SK1)
Divides the SK1 keyboard into UPPER and LOWER. (P. 33)
LOWER to PEDAL button (only on the SK2)
Couples the LOWER part to the pedalboard. (P. 34)
Introduction
NAMES AND FUNCTIONS - continued
12
UPPER
PEDAL
LOWER
VALUE
NUMBER NAME
PATCH
ENTER
uEXTRA VOICES
ALLOCATE UPPER, LOWER button
Toggles the Extra Voices to the UPPER, and LOWER parts. e light illuminates when button is pressed (on). (P. 58)
SOLO button
Mutes the organ section and only the Extra Voices sound. (P. 58)
VOLUME knob
Adjusts the volume of the Extra Voices. (P. 31)
VOICE GROUP buttons
Selects the voice group of the Extra Voices. (P. 31)
uORGAN SECTION EFFECTS
DRAWBARS OVERDRIVE AMOUNT knob
Adjusts the amount of the Overdrive effect. (P. 52)
DRAWBARS OVERDRIVE ON button
Switches the overdrive effect ON/OFF. (P. 52)
DRAWBARS EFFECT AMOUNT knob
Adjusts the amount of the Multi-Effects. (P. 54)
DRAWBARS EFFECT ON button
Switches the Multi-Effects ON/OFF. (P. 54)
REVERB ON button
Switches the Reverb ON/OFF. (P. 54)
uMASTER EQUALIZER
BASS knob
Adjusts the boost/cut the of bass frequencies. (P. 27)
MID FREQUENCY knob
Sets the frequency the MID GAIN knob will adjust. (P. 27)
MID GAIN knob
Adjusts the boost/cut of the mid range frequency as set by the MID Frequency knob. (P. 27)
TREBLE knob
Adjusts the boost/cut of the treble frequencies. (P. 27)
uEFFECTS OF THE EXTRA VOICE SECTION
EXTRA VOICE EFFECT AMOUNT knob
Adjusts the depth of the Multi-Effects. (P. 59)
EXTRA VOICE EFFECT ON button
Switches the Multi-Effects ON/OFF. (P. 59)
uEFFECTS FOR ALL PARTS
REVERB DEPTH knob
Adjusts the depth of the Reverb. (P. 54)
Sk1
Sk2
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Owner’s Manual
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REAR PANEL

13
󱣧
USB
FLASH DRIVE
󱣦
uPOWER
󱣜 DC IN jack
Connect the AC adaptor AD3-1250 to this jack.
󱣝 POWER switch
uSOUND OUTPUT TERMINALS
󱣞 PHONES jack
Connect stereo headphones here. Connecting Headphones does NOT mute the Line or Leslie
Outputs.
󱣟 LINE OUT L/MONO jack 󱣠 LINE OUT R jack
ese are the sound output jacks. If the connected mixer or monitor speaker is stereophonic,
connect both L and R. If monaural, connect only to the L/ MONO terminal. (P. 16)
󱣡 LESLIE 8 PIN jack
Connect a Leslie Speaker equipped with an eight-pin jack here. When the connection of a physical Leslie Speaker is detected,
the on-board digital Leslie Simulator to the PHONES jack (53) and the LINE OUT jacks (54, 55) are disabled. (P. 17)
󱣡󱣢󱣣󱣤󱣥
󱣠
󱣞󱣟
PHONES
󱣝
󱣜
uMIDI TERMINALS
󱣥 MIDI OUT jack
MIDI information is output from this jack. (P. 102)
󱣦 MIDI IN jack
MIDI received here. From the factory, this terminal is set to receive channels in accordance with using a lower manual and pedalboard. (P. 102)
uUSB TERMINAL
󱣧 USB FLASH DRIVE jack
is jack is for connecting a USB Flash drive. (P. 114)
uCONTROLLER TERMINALS
󱣢 DAMPER PEDAL jack
Connect an optional Damper Pedal (optional FS-9H etc.) here. If you press the damper pedal, holding down the keyboard, the
sound is sustained even after you release your finger from the key. (P. 78)
󱣣 FOOT SWITCH jack
Connect the Foot Switch (optional FS-9H etc.) here. Consult (P. 78) to learn the different functions available for the
foot switch.
󱣤 EXP. PEDAL jack
Connect the Expression Pedal (optional EXP-50 etc.) here. Controls volume while you are playing. (P. 78)
Introduction
NAMES AND FUNCTIONS - continued
14

KEYBOARD

󱣨
DRAWBARS SELECT
ORGAN TYPE
󱣪
󱣩
MENU/ EXIT
PLAY
NUMBER NAME
VALUE
UPPER
LOWER
PEDAL
PATCH
ENTER
󱣨 Keyboard (SK1)
61 waterfall keys, velocity sensitive.
󱣩 UPPER keyboard (SK2)
is is for playing the UPPER part.
󱣪 LOWER keyboard (SK2)
is is for playing the LOWER part.

ACCESSORIES

󱣫
󱣬
Sk1
Sk2
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󱣫 AC adaptor
Supplies power to the instrument - USE ONLY AD3-1250, DO NOT SUBSTITUTE!
󱣬 AC cord set
Attaches AC adapter to Wall outlet.
Owner’s Manual
15

HOOK-UP

16

BASIC HOOK-UP

Attach cables and accessories as illustrated. ere is no on-board amplification or speaker system. An external amp/speaker is
required. When the stereo headphones are connected to the PHONES jack, you can enjoy playing it or practising by yourself.
Switch this unit, and any external equipment OFF before connecting amps or head­phones.
USB MEMORY
Foot Switch
FS-9H (optional)
Expression Pedal
Powered Speakers
(optional)
EXP-50 (optional)
e Expression Pedal and Foot Switch parameters must be set properly. For details see [CONTROL] (P. 78)
PHONES
AC adaptor AD3-1250 (included)
to AC outlet
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CAUTION
Do not place this unit in direct sun light, near heat sources, or in a hot location.

CONNECTING THE LESLIE SPEAKER

An 8-pin type Leslie speaker can be directly connected to this keyboard.
v Switch keyboard OFF before connecting the Leslie speaker.
17
USB MEMORY
PHONES
8-pin Leslie Cable
MIDI Cable (Optional)

BASIC CONNECTION OF THE LESLIE SPEAKER

Connect the Leslie Speaker #2101, or #2101mk2 and the Leslie 8-PIN jack on this key­board with the exclusive 8-pin Leslie cable (optional LC-8-7M, not included).
NOTE: The Leslie terminal on this unit is of 8-pin specications. It is impossible to directly con-
nect a 11-pin spec. Leslie speaker.
1. Make the setting of Tone-Wheel organ.
2. Switch “ON” the [BYPASS] button, set the [STATIONARY VOLUME] of the #2101/mk2 at desired volume.
3. Repeat “ON/OFF” the [BYPASS] button with playing the keyboard, set the [RO­TARY VOLUME] of the #2101/mk2 at same volume which you can hear.

MIDI CONTROL OF THE LESLIE SPEAKER

To control the parameters of the Leslie Speaker #2101, #2101mk2 (fine adjustment of the rotor speed or the rise time, etc.):
1. Connect the MIDI OUT of this unit with the MIDI IN of the Leslie speaker with a MIDI cable.
2. Set the keyboard channel - UPPER and the Leslie MIDI channel to the same chan­nel. (P. 111)
When this unit detects that the Leslie speaker is connected, the Leslie parameters sent through MIDI from this unit are switched from the SK original to those for the Leslie speaker.
LESLIE SPEAKERS TO BE CONNECTED
This keyboard is designed to connect with 3 channel Leslie speakers such as #2101. How­ever, it is also possible to connect 1 channel type Leslie speakers such as #3300 sending the stationary channels to the LINE OUT jacks independently. (P. 86)
LESLIE CHANNEL
3 channel type Leslie speakers are equipped with a stereo speaker system, independent of the rotor, to provide stereo sound for the Extra Voices and direct organ sounds.
A traditional 1-channel Leslie, such as a #122 or #147 has no stationary speaker system, thus requiring a separate amplier/speaker for the Extra Voices or direct organ sounds.
Hook-Up
18

EXPAND THE KEYBOARD

is instrument can be upgraded to dual keyboards by connecting an external MIDI keyboard and pedalboard.

SK1: DUAL KEYBOARD + PEDALBOARD

USB MEMORY
(MERGE)
MIDI OUT
INOUT
PHONES
MIDI Keyboard
MIDI Pedalboard
1. Connect as illustrated above. ere is only one MIDI IN jack onboard this in­strument, so a MIDI keyboard with a merge function or a MIDI Merge-box is necessary for realizing a dual keyboard configuration.
NOTE: This illustration shows only the keyboard expansion See P. 16 for the basic hook up of
the power source, audio, etc.
2. Turn the SK1 power ON. en recall the MIDI template “3KBD”. (P. 110)
3. Set the Send channel of the added MIDI keyboard at “2” and that of the MIDI pedalboard at “3”.
Refer to the operation manual of the added MIDI keyboard and pedalboard, as re­quired.
uRECOMMENDABLE MIDI KEYBOARD
e following HAMMOND MIDI pedal keyboards (compliant with the SK1) are available from our sales dealers:
w MIDI pedalboard XPK-100 (13 keys) w MIDI pedalboard XPK-200 (20 keys)
Both models have a MIDI merge function.
Sk1
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SK1: ORGAN + PIANO

You can create a comprehensive basic keyboard rig by utilizing a separate keyboard con­troller for the Extra Voices (Piano, Etc) and using the SK-1 keyboard for Organ.
19
USB MEMORY
PHONES
Weighted
MIDI OUT
MIDI Keyboard
1. Connect as illustrated.
NOTE: This illustration shows only the keyboard expansion. See P. 16 for the basic hook up of the
power source, audio, etc.
2. Switch ON the power of this unit. en recall the MIDI template “Extra Voice”. (P.
110)
Refer to the operation manual of the added MIDI keyboard as required.
Hook-Up
EXPAND THE KEYBOARD - continued
20

SK2: PEDALBOARD

INOUT
MOUNTING THE CU-1 (optional)
1. Connect the MIDI OUT of the MIDI pedalboard to the MIDI IN of this unit with a MIDI cable.
2. When using a Leslie Switch CU-1, connect the CU-1 to the FOOT SWITCH jack.
NOTE: This illustration shows only the keyboard expansion. See P.16 for the basic hook up of the power
source, audio, etc.
3. Switch ON the power of this unit and call the MIDI template “Pedal KBD”. (P. 110)
4. When using the CU-1, set the CONTROL - FOOT DEVICE” at “CU-1”. (P. 78)
uRECOMMENDABLE MIDI KEYBOARD
e following MIDI pedal keyboards (compliant with the SK2) are available from our sales dealers:
w MIDI pedal-board XPK-100 (13 keys) w MIDI pedal-board XPK-200 (20 keys)
Both models have a MIDI merge function.
MIDI Pedalboard
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21
GETTING READY
TO PLAY
22
ENTER
VALUE

HOW TO POWER ON

UPPER
NUMBER NAME
PEDAL
PATCH
LOWER

SWITCH ON

After making the necessary connections, follow the procedures below for powering on your SK1/SK2. Please be sure to adhere to the procedure, to prevent malfunction or damage.
u PROCEDURES
1. Before switching the power ON, confirm the [MASTER VOLUME] knob is set to minimum.
2. Switch ON the [POWER] (on the rear of this keyboard). e Title mode and then the Play mode are displayed (as illustrated).
v For protecting the circuits, the keyboard is designed not to play immediately at
the power on (about 6 seconds).
3. Switch ON the connected amplifier etc.
4. Play a bit, raising the [MASTER VOLUME] knob to adjust the volume to your needs.
v The [MANUAL] button does not sound in the default settings. Pull out the
Drawbars or select any of the FAVORITE [1] to [10] buttons to get sound.
5. Adjust the volume of amplifier etc.
v To turn OFF the power, do the above steps in reverse. (Switch OFF the amplier
etc. rst.)

BACK UP

is keyboard “remembers” the unit’s status immediately before the power is turned off, returning the unit to that status upon the next power-on.
e status of the default settings are the same as when the [MANUAL] button is depressed.

RESET TO THE FACTORY SETTINGS

To reset all parameters of this keyboard to its default settings, perform the following steps:
uOPERATION PROCEDURES
1. Switch the [POWER] of this keyboard off.
2. Holding down the preset [RECORD] button, switch the [POWER] ON.
3. Keep holding down the button until “Loading Default...” is displayed.
4. When the Play mode is displayed, this operation is completed.
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ere are 100 patches loaded in memory from the factory, allowing you to immediately start playing. You can also create 100 patches of your own.

USER and PRESET

Patches
refer
refer
refer
U001 U002 U003 U004 U005
P098 P099 P100
“FAVORITE”
buttons
2 3
1
MANUAL
exclusive

PLAY WITH THE PATCHES

ere are two domains: “USER” and “PRESET” in this key-
First Second ird Fourth Fih
Mezzo Forte Forte Fotissimo
Manual
“VALUE”
knob
in PLAY mode
sequential
select
“P” are not rewritable
board’s Patch memory. You can freely overwrite in the “USER” domain, but you can not do so in the “PRESET” domain as it contains the factory settings.
“USER” and “PRESET” are indicated by “U” and “P” respec­tively.
23

HOW TO CALL A PATCH

Example: Select U041.

MENU/
EXIT
PLAY
1
1. GO TO THE PLAY MODE
Select the PLAY button, to enter PLAY mode.
UPPER
PEDAL
NUMBER NAME
PATCH
(2) - optional
LOWER
VALUE
2
ENTER
2. SELECT THE PATCH NUMBER
Select the patch number U041 with the [VALUE] knob. Read the [PRESET PATCH LIST] (P. 147) in the Appendix for the preset patch details.
Call various patches to play. When you call patches, not only the Drawbar registrations but the effects such as Leslie, reverb , and Extra Voices also change.
NOTE: You can set the types of parameters to call (P. 76 #2 to 10).
NOTE: You can set the FAVORITE buttons to select a Patch with direct
key-in (P. 76 #11)
Getting Ready To Play
24
ENTER

REGISTER FAVORITE PATCHES (FAVORITES)

Patches are selected with the [VALUE] knob. On stage, it is convenient to have your favorite patches avail­able immediately. Here’s how:

REGISTER PATCHES TO FAVORITES

MENU/
Hautbois
8'
EXIT
PLAY
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
1
ENTER
Press and hold
2
Press
1. SELECT THE PATCH
Select the patch you want to register to a favorite button as shown on the previous page

HOW TO CALL FAVORITES

2. SELECT THE BUTTON TO REGISTER
Press the desired Favorite button, holding down the [RE­CORD] button. “Recording Favorite..” is displayed for a moment and the selected Favorite button blinks momen­tarily. Your favorite is stored. Repeat as desired.
MENU/
EXIT
PLAY
HA<O>
UPPER
PEDAL
NUMBER NAME
Sk1
PATCH
Sk2
Owner’s Manual
/
LOWER
VALUE
SELECT THE DESIRED BUTTON
Press the Favorite button you wish to recall. e Favorite but­ton lights and the corresponding patch is called.
ENTER
ENTER

Column: RECORD FAVORITES LIKE PRESET BUTTONS

You can record a Favorite Patch with a procedure similar to the Hammond XB/XK series organs, by holding the [RECORD] button, and pressing the selected favorite button - after doing the following procedure.
25
LOCATE THE MENU MODE
1
MENU/
EXIT
PLAY
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
Press the [MENU/EXIT] button. e MENU mode appears. Repeat-press the menu button until the “A” menu appears (if necessary)
SELECT THE PATCH
2
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
ENTER
GO TO THE FAVORITE PAGE
4
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
Press the [] button twice. e Favorite page appears.
SET THE RECORD AT OVERWRITE
5
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
ENTER
ENTER
Press the [] buttons to select the PATCH option (it will blink).
ENTER
3
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
Press the [ENTER] button to select the patch function mode.
ENTER
Turn the [VALUE] knob and set the value of the item RE­CORD to “OVERWRITE”.
RETURN TO THE PLAY MODE
6
MENU/
EXIT
PLAY
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
Press the [PLAY] button. Returning to the PLAY mode.
Getting Ready To Play
26
EXP-50 (optional)
FS-9H (optional)

USE THE FOOT CONTROLLERS

Expression and sustain are important elements in any performance. Here you’ll learn how to connect these controllers.

EXPRESSION PEDAL

e Expression Pedal controls the overall volume or loudness of the SK1/SK2. e further you depress the pedal, the louder the sound becomes; the more you pull back on the pedal, the softer it.
NOTE: The Volume pedal has specic parameters to adjust. (P. 79)
NOTE: You can switch enable or disable of which control the Extra Voice
section. (P.77)

FOOT SWITCH

e foot switch can be programmed to various functions. e de­fault setting is [LESLIE S/F ALTERNATE]. Every press toggles, the speed of the Leslie effect to fast or not.
NOTE: You can change the foot switch assignment. (P. 78)
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MASTER EQUALIZER

Every room has a different acoustic profile, and it is often necessary to compensate for this. e SK’s MASTER EQUALIZER allows you to tailor the overall tonal profile of your instru­ment without changing the contents of the Patches.
BASS
Controls the Bass frequencies. It is adjustable below 100Hz by ±9dB. e response is flat in the middle.
MID FREQUENCY
Controls which Mid-range frequency will be adjusted by the MID GAIN knob. e range is between 250Hz and 3.1kHz.
MID GAIN
Controls the gain of the frequency set by the MID FREQUENCY knob. e re­sponse is flat at the center.
TREBLE
Controls the treble frequencies. Adjustable above 8kHz by ±9dB. e response is flat in the middle.
27
v The sound may distort if gains are raised too high. Adjust accordingly.
NOTE: These are live performance controls, and they are not record to Patch memory.
Getting Ready To Play
28
ENTER
ENTER

TRY CREATING YOUR OWN SOUND

In this section you’ll learn how to create your own sound. In this example, the Organ and Extra Voices are combined (Jazz Organ and Electric Piano).

SELECT [MANUAL]

First, select the [MANUAL] button (LED lit). e [MANUAL] button makes all the current control panel
settings active, allowing for real-time registration, and the cre­ation of new patches.
NOTE: To return to the Patch, press the [MANUAL] button again (LED
o).

Column: INITIALIZE THE INTERNAL SETTINGS [MANUAL]

When the MANUAL button is pressed, not only the current panel settings become active, but the internal settings do as well. is is the procedure to return them to the DEFAULT Status.
GO TO THE MENU MODE
1
MENU/
EXIT
PLAY
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
Select the [MENU/EXIT] button. e Menu mode appears. If the display is different from the above illustration, select the [MENU/EXIT] button again.
LOCATE PAGE E
2
ENTER
3
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
Press the [ENTER] button. is brings up the MANUAL page of the DEFAULT function mode.
ENTER AGAIN
4
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
Press the [ENTER] button. e contents of MANUAL are initialized.
ENTER
ENTER
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
ENTER
Press the [] button 4 times reaching Page E. e DEFAULT entry is blinking.
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RETURN TO THE PLAY MODE
5
MENU/
EXIT
PLAY
UPPER
PEDAL
NUMBER NAME
PATCH
Press the [PLAY] button. is returns the SK1/SK2 to the Play mode.
LOWER
VALUE

SELECT THE UPPER DRAWBARS

LOWER
ENTER
VALUE
29
DRAWBARS SELECT
ORGAN TYPE

PULL OUT DRAWBARS

DRAWBARS SELECT
ORGAN TYPE
MENU/
EXIT
PLAY
UPPER
PEDAL
NUMBER NAME
PATCH
In this example, make sounds to begin with the Organ Section. e DRAWBARS SELECT buttons are for selecting which
part the Drawbars will control written below.
NOTE: What is a “PART”? (p. 33)
Select [UPPER]. is is the basic Organ Part, the one used most frequently.
Pull out Drawbars to your taste. You can monitor your selec­tions easily while playing the keyboard (the UPPER keyboard if on SK2).
e Drawbars make the fundamental organ sound of this unit. e tone changes depending on how far the Drawbars are pulled out.
e volume of each sound becomes maximum when the Draw­bar is fully pulled out, and null when fully pushed back. e drawbars are arranged so that the pitch grows higher from left to right.
Now, as an example, fully pull out the 3 left side bars; 16´, 5 ⅓´ and 8´.
NOTE: You can change the sound character of the Drawbars. (P. 74)
NOTE: The present registration is displayed in the Play mode. (P. 65)

ADD THE TOUCH-RESPONSE PERCUSSION

[PERCUSSION] here does not mean percussion instruments like drums or marimbas, but the classic crisp attack unique to the Hammond Organ. Use it to mix with Drawbar sounds whenever necessary. [PERCUSSION] is available only on the UPPER part.
If you switch on the [SECOND] and the [THIRD], percus­sion sounds of one octave higher “C” and “G” are added to the note on each keyboard, respectively.
If you switch on the [FAST] button the decay is quicker, and if the [SOFT] button is selected, the volume of the Percussion is diminished.
Here, select the following 3 Percussion buttons [THIRD], [FAST], [SOFT].
NOTE: You can ne-tune the percussion parameters to your taste. (P.
82)
Getting Ready To Play
TRY CREATING YOUR OWN SOUND - continued
DRAWBARS SELECT
DRAWBARS SELECT
ORGAN TYPE
30

ADD EFFECTS TO THE ORGAN SECTION

VIBRATO & CHORUS

ORGAN TYPE

LESLIE

OVERDRIVE

Adding the Classic Hammond Vibrato & Chorus to the sound.
[UPPER], [LOWER] buttons
Switches the Vibrato & Chorus effect ON/OFF. When ON the light illuminates.
[V1/C2], [V2/C2] buttons
ese set the depth of the Vibrato effect. If both buttons are selected, the depth be­comes maximum as V3/C3.
[CHORUS] button
is button changes the Vibrato to the distinctive and Classic Hammond Chorus effect-Changing the V1/V2/V3 to C1/C2/C3. When the Chorus effect is engaged the button light illuminates.
NOTE: You can ne-tune the speed of Vibrato/Chorus. (P. 83)
For this example, set ALL of the Vibrato & Chorus buttons to “on” (except [LOW­ER]).
e LESLIE effect is the famous “Moving and Swirling” sound provided by rotating horns and speakers, but executed here in the Digital realm.
[FAST] button
is button toggles the mode of the rotor to fast or not. When the light is ON, it is FAST, and when OFF, not.
[STOP] button
is button sets the mode when the [FAST] button is off. When the light is ON, it is STOP, and when OFF, it is SLOW.
[BYPASS] button
To Engage the Leslie effect, press the [BYPASS] button turning the light OFF.
NOTE: These controls perform the same functions when a Physical Leslie is connected via the
8 pin plug.
NOTE: You can ne-tune the parameters of the Digital Leslie eect etc. (P. 84)
For this example, let’s set the status of all lights OFF.
e overdrive section adds warmth at low settings, and “grit” or distortion at higher.
[ON] button
Toggles the Overdrive OFF and ON (when on the light is illuminated).
[AMOUNT] knob
Adjusts the amount of Overdrive. e amount increases as you rotate the knob clock­wise.
In this example, the Overdrive is not used. e Button light should be OFF.

MULTI-EFFECTS

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Adjusts the amount of the Chosen Multi-effect to be applied to the Drawbar sounds. e default settings: at “Tremolo”.
[ON] button
Toggles the Multi-Effects send ON and OFF (e light illuminates when ON).
[AMOUNT] knob
Adjusts the amount of Multi-Effect to be applied. e amount increases as you rotate the knob clockwise.
In this example, the Multi-Effects are not used. e Button light should be OFF.
Owner’s Manual

ALLOCATING THE EXTRA VOICES

SELECT AN INSTRUMENT

31
Choose which parts will play the Extra Voices.
[UPPER] button
e Extra Voices play in the UPPER part.
[LOWER] button
e Extra Voices play in the LOWER part.
[SOLO] BUTTON
Turns the Organ section OFF and only the Extra Voices sound. In this example, a blend of Organ and Piano voices are desired.
Press the [UPPER] button ON, and insure the [LOWER] and [SOLO] buttons are not lit.
UPPER
NUMBER NAME
To choose the Extra Voice instruments, press the desired Voice Group button on the top panel, then select your specific instru­ment in the display.
Select the “EPiano Rd2” as follows.
PEDAL
PATCH
LOWER
VALUE
2
1. SELECT A VOICE GROUP
Press the [E.PIANO] button. e instrument automatically selects voice used previously in
this voice group. e voice will appear in the display.

ADJUST THE VOLUME BALANCE

1
ENTER
2. SELECT AN INSTRUMENT
Select “EPiano Rd2” with the [VALUE] knob. Now the “EPiano Rd2” is ready to play.
To achieve your desired blend of Organ and Extra Voice (In this example the E. Piano), adjust the Extra Voice volume knob accordingly.
Getting Ready To Play
TRY CREATING YOUR OWN SOUND - continued
32

ADD EFFECTS TO THE EXTRA VOICE SECTION

MULTI-EFFECTS

e most suitable effects for each Extra Voice are automatically called when selecting that voice.
[ON] button
Adds effects to the Extra Voices. When “ON” the light is illuminated.
[AMOUNT] knob
Adjusts the amount of effect added. Turning the knob clockwise increases the amount.

ADD REVERB TO BOTH SECTIONS

REVERB

e SK1/SK2’s Digital Reverberation is common to both Organ and Extra Voice sections.
[ON] button
Turns the Reverb effect ON.
[DEPTH] knob
Adjusts the amount of Reverb added. Turning the knob clockwise increases the amount.
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WHAT IS A “PART”?

Each “PART” is equivalent to a player in a band or an orchestra. e 3 Parts here are expressed in Organ terms: UPPER. LOWER, and PEDAL. ese parts can be indi­vidually played with different sounds.
e SK1 has a single keyboard, the SK2 has 2 keyboards. Plural parts are available si­multaneously, by splitting the keyboards or expanding them using a MIDI keyboard.

KEYBOARD SPLIT

e SK1 has only 1 manual, but it can be split and treated as if it were a 2 manual instrument.
[SPLIT] button
To use the Split function, press the [SPLIT] button and the light will go ON. e default setting split is at the middle B/C.
NOTE: You can change the split point (dividing note) and octave. (P. 108)
NOTE: The Split function is disabled when a second MIDI Keyboard is
added. (P. 110)
Right of the split point is referred to as: UPPER and the left side LOWER. Percussion does not function on the LOWER part.
ere is no SPLIT function available on the SK2.
Lower
Split Point
Upper
33

MANUAL BASS

Manual Bass
You can play the Pedal voices using the lowest notes of the key­board (the LOWER keyboard if on the SK2).
[M. BASS] button
To use the Manual Bass function, press the [M. BASS] button and the light will go ON. e Pedal/Bass sound is heard in conjunc­tion with the lowest note being played, on the manual keyboard till that time.
In order to interface with the melody performance, the default Manual Bass upper limit point is set to sound up to, and including middle “B”.
NOTE: The Manual Bass can be set to play in Lowest, Polyphonic, and
Chord (P. 108 #1). You can change the playing range of the Manual Bass (the upper limit) (P. 108 #2).
NOTE: When the SK1 is expanded to 2 manual, the Manual Bass function
works on the LOWER keyboard. (P. 110)
e part obtained when the Manual Bass is selected is called PED­AL part and its sound is controlled by the Drawbars ([PEDAL] when selected in Drawbar Select). is is originated from the style of playing bass on the pedal keyboard of a 3 keyboard type organ.
You can use both the manual bass and the split at the same time. is makes it possible to play the bass + chord + melody only by yourself.
NOTE: You can triggering the Manual Bass by foot switch (P. 78).
Getting Ready To Play
TRY CREATING YOUR OWN SOUND - continued
34

LOWER TO PEDAL

Lower to Pedal
When a pedal keyboard is connected to the SK2, you can play the LOWER part sound (or “registration”) with the pedalboard using the “LOWER TO PEDAL”.
[LOWER to PEDAL] BUTTON
To use the ‘Lower to Pedal’ coupler, press the [LOWER to PED­AL] button and the light will go ON.
e default upper limit for Lower to Pedal is below Middle “B”.
NOTE: You can change the playing range (the upper limit) of the ‘Lower
to Pedal’. (P. 108 #2)

PEDAL SUSTAIN

A popular effect for organ bass is “PEDAL SUSTAIN”, which adds a smooth decay reminiscent of a string bass.
[PEDAL SUSTAIN]
To engage the pedal sustain, press the [P. SUS] button and the light will go ON. When you release your foot from the pedalboard (or release the key on the Lower keyboard - when using manual bass), the PEDAL part decays smoothly.
NOTE: You can adjust the sustain time of the Pedal Sustain. (P. 75 #16)
HA<O>
Sk1
Sk2
Owner’s Manual
/

RECORD THE PATCH TO MEMORY

ENTER
All the previous settings can be recorded to any Patch within the range of U001 to U100.

Example: RECORD TO U032

35
1
Hautbois
8'
III
2
NUMBER NAME
UPPER
MENU/
PLAY
PEDAL
PATCH
EXIT
LOWER
UPPER
PEDAL
NUMBER NAME
PATCH
VALUE
LOWER
ENTER
VALUE
Press the [RECORD] button. A question “Which patch do you want to record?” appears in
the display.
Select the patch number, this time U032, to record, using the [VALUE] knob.
3
UPPER
NUMBER NAME
PEDAL
PATCH
LOWER
VALUE
ENTER
Press the [ENTER] button. e Patch Number is decided and “Recording Patch” is
displayed. When the recording process completes, the display returns to the previous mode.
e recorded patch is automatically selected.
NOTE: The user created patch data is not lost when the power is
turned o and/or disconnected.
Getting Ready To Play
TRY CREATING YOUR OWN SOUND - continued
36
HA<O>
Sk1
Sk2
Owner’s Manual
/
37

SETTING UP

38

SOUND ENGINE STRUCTURE

Pedalboard
Pedal
Drawbars
Pedal
Virtual
Tonewheel Set
Lower Keyboard
Lower
Drawbars
Vibrato & Chorus
Lower&Upper
Virtual
Tonewheel Set
Upper Keyboard
Percussion
Upper
Drawbars
Overdrive
TC & Equalizer
Extra Voice
Generator
Overdrive
Sk1
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Owner’s Manual
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Multi Effect
Equalizer
Leslie
Simulator
Multi Effect
Reverb
Master
Equalizer
Line Out
Leslie 8Pin
Phones
To fully utilizing this unit, read the following detailed explanations about the various func­tions for creating music.

ORGAN SECTION

TONE-WHEELS
e sound source or “engine” of the classic Hammond Organ are the electro-magnetic Tone-Wheel Generators. On this keyboard, the Tone Wheel engine is replicated digitally.
While the power is on, each of the 96 virtual Tone-Wheels keeps oscillating as they did in the vintage Hammond Organs.
KEYS
e tone signals created with the 96 virtual Tone-Wheels are “switched” at the keys. To each key the signals corresponding to the pitch and harmonics (for example, 9 sets on
the manual keyboard) are distributed, and when you touch or release a key, the switch connects or cuts the tone signals.
DRAWBARS
Each Drawbar represents a fundamental harmonic. Each bar adjusts the value of each harmonic. ere are 9 drawbars corresponding to 9 different harmonics.
TOUCH-RESPONSE PERCUSSION
e Percussion creates a decaying sound on the UPPER manual.
VIBRATO & CHORUS
e Vibrato & Chorus gives depth and richness to the organ sound by slightly varying the pitch (Vibrato), or doubling the voice by mixing the original sound, with a duplicate, slightly detuned one (Chorus).
39
TONE-WHEEL SETS
The Tone-Wheel Sets are divided into the Manuals and the Pedal Part. This is to give the Pedal Part the Decay (= the sound gradually fading out while pressing the key) or Sustain Eect. (= the sound gradually fading out after the key is released).
HARMONICS
Harmonic is a pitch of a dierent ratio to a cer­tain pitch; for example, the one octave higher C to the middle C. The more Harmonics, the brighter and richer sound is obtained.
OVERDRIVE
e Overdrive creates distortion as if an amplifier was being driven beyond its limits.
MULTI-EFFECTS
e Multi-Effects create various effects such as tremolo and Wah.
EQUALIZER, LESLIE, REVERB
e built-in Effects are as follows: an Equalizer for sculpting the tonal response, a Leslie Effect for rotary speaker effects, and Reverb.
(e built-in Leslie Effect is disengaged when a physical Leslie is connected to the 8-pin terminal.)

EXTRA VOICE SECTION

SOUND ENGINE
e Extra Voice section is the sound engine for playing piano and other musical instru­ments. It is independent of the Organ Section.
EFFECTS
You can add Overdrive, Multi-Effects, Equalizer and Reverb to the Extra Voice Section.

MASTER EQUALIZER

e combined signal of Organ and Extra Voice is routed through the Master Equalizer. Allowing you to tailor your sound for the provided venue, amp, sound system or record­ing. e settings are not saved in patch memory.
Setting Up
40

ORGAN SECTION

ORGAN TYPE

ere are various “Organ” types: the Hammond Tone-Wheel organs used in every­where rock, jazz, and Gospel, the transistor organ frequently heard in pop music of ‘60’s. Classical pipe organ used in classical music or church services. All organs have characteristic sounds.
e keyboard will sound like the types of organ you choose.

TONE-WHEELS (BType1, BType2, Mellow)

ese are various types of Hammond Organs’ characteristic tone wheels. e Ham­mond Organ’s original purpose was to duplicate the pipe organ, however, they be­came famous for producing a unique sound of their own.
e BType1 and BType2 have the B-3/C-3’s traditional Tone-Wheel sounds. e BType2 has more wow-flutter and leakage noise.
e Mellow is not a Tone-Wheel, if strictly speaking. It replicates the first-generation non-mechanical Transistor Hammond Tone Generators like the GT-7 and Concord.

TRANSISTOR (Vx, Farf)

After the transistor became generally used, the light weight organs were introduced (such as Ace Tone TOP-6 etc.) using the transistor circuit instead of the tone wheels or tubes. e circuit system is different from maker to maker or model by model. We have replicated 2 representative types here.
e Vx is a type to combine the triangle wave and square wave with several footages. e Farf is one to combine the sound wave forms coming through plural filters with the tablet switch.

PIPE

e pipe organ produces sounds by oscillating the air sent through the pipe. e name of Stops tells you which wind instruments that you are duplication.
You can create other sounds by combining different organ Stops, in the same way Drawbars are used on this keyboard.
Sk1
Sk2
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Owner’s Manual
/

Column: SELECTING THE ORGAN TYPES

ENTER
ENTER
Use the control panel for switching the organ types.

Example: Switching the manual part to “Pipe”

DRAWBARS SELECT
1
MENU/
EXIT
UPPER
PEDAL
LOWER
ORGAN TYPE
VALUE
Press the [UPPER] and [LOWER] buttons together. e DRAWBAR function mode is displayed and the organ type (“BType1” etc.) of the manual keyboard presently selected blinks.
41
PLAY
2
UPPER
NUMBER NAME
MENU/
3
EXIT
PLAY
NUMBER NAME
PEDAL
PATCH
PATCH
LOWER
UPPER
NUMBER NAME
PEDAL
PATCH
VALUE
LOWER
Select “Pipe” with the [VALUE] knob. e pipe organ sounds when you play the keyboard.
ENTER
VALUE
To return to the PLAY mode, press the [PLAY] button.
Setting Up
42
Bourdon
16'
OpenDiap8'Gedeckt8'VoixClst
II
Mixture
III
Octave4'Flute Dolce
4'
Hautbois
8'
Flute
2'

HARMONIC DRAWBARS™

e 9 Drawbars on this keyboard are used to create the basic “Hammond” sounds. Each Drawbar is marked with the register numbers 1 - 8 along the flat part of the Drawbar. If you push back a Drawbar until you cannot see any number at all, the sound of the Drawbar is not heard. If you pull it out to the fullest position the sound level is maximum.
When recalling a patch, the drawbars’ “positions” will change internally, but not physically. However, if you move a drawbar, the setting will “snap” to that drawbars current position.

DRAWBARS (ON TONE-WHEEL)

16' 8' 4'
51/3'
22/3'
2'
13/5' 11/3'
1'
Middle “C”
e pitch of each Drawbar is as shown above, when the middle C is depressed. e footage marked (´) on the handle end of each Drawbar is derived from the corre­sponding length of pipes of a pipe organ.
e numbers 1 - 8 on the “bar” portion of each Drawbar indicate the volume of the sound to be produced as well as the guide to remember Drawbar settings.
Pull the fundamental (8´), the third harmonic (2⅔´) plus the fifth harmonic (1⁄´) Drawbars out completely and play the keyboard. Notice how the sound resembles a clarinet.
If you push the 8´ Drawbar half-way, you’ll notice the sound becomes more high­pitched and a bit “harder”. Now pull the 8´ Drawbar back out fully and push the 2⅔´ and 1⁄´ in halfway. Notice how the sound becomes mellower.
Experiment with the Drawbars to obtain your own personal favorite sounds.
HA<O>
Sk1
/
Sk2
Owner’s Manual
In the case of the Tone-Wheel Organ, refer the correspondence between each bar and the footage to the “TW” row in front of the Drawbars.
DRAWBAR RESISTRATION
The lengths of the pulled out Drawbars.

DRAWBARS FOR THE UPPER AND LOWER PARTS

43
WHITE DRAWBARS
16' 8' 4'
51/3'
BLACK DRAWBARS
16' 8' 4'
51/3'
22/3'
22/3'
2'
2'
13/5' 11/3'
13/5' 11/3'
1'
In each Drawbar set, the white Drawbar (8´) on the left side makes the fundamental sound. e other white Drawbars get higher by the octave to the right.
1'
e sounds of the black Drawbars, too, play an important role in building rich tones. eir pitches are fifth and third to the fundamental. ese harmonics add a complexity to the tone, even allowing characteristics of acoustic instruments.
BROWN DRAWBARS
16' 8' 4'
51/3'
22/3'
2'
13/5' 11/3'
1'

DRAWBARS TO USE ON THE PEDAL

1/3
16' 8' 4'
5
'
2/3
2
'
3/5
2'
1
' 1
1/3
1'
'
e two brown Drawbars on the far left give depth and richness to the sound. e left 16´ is one octave lower than the 8´, and 5⅓´ is the third harmonic of the 16´ fundamental. Normally, the tones are built on the 8’ fundamental, but, if you want to add depth to the tone or to expand the playing range by one octave lower, build your tones on the 16´ fundamental.
e Pedalboard plays the bass line and uses the two Drawbars
-16´ and 8´. e first Pedal Drawbar produces a tone at 16´ pitch for a deep foundation bass, while the second Pedal Draw­bar produces a tone at 8´ pitch, or one octave higher.
e registration of the Pedal part appears in the center of the display. 16´ on the left and 8´ on the right.
Setting Up
HARMONIC DRAWBARS™ - continued
44

DRAWBAR REGISTRATION PATTERNS

e Drawbar Registration is matched by digits. It is easy to remember the typical combinations of the 9 Drawbars by their forms.
e Drawbar Registrations are grouped into the following 4 patterns:
Flute family (2 step pattern) Diapason family (check mark pattern)
16' 8' 4'
51/3'
22/3'
2'
13/5' 11/3'
16' 8' 4'
1'
51/3'
22/3'
2'
13/5' 11/3'
1'
Accompaniment Flute 8´ I .............. 00 8460 000
Accompaniment Flute 8´ II ............. 00 3220 000
Accompaniment Flute 8´ III ........... 00 8600 000
Chorus of Flutes 16´ ....................... 80 8605 002
Orchestral Flute 8´ .......................... 00 3831 000
Piccolo 2´ ........................................ 00 0006 003
Stopped Flute 8´ .............................00 5020 000
Tibia 8´ ........................................... 00 7030 000
Tibia 4´ ........................................... 00 0700 030
Tibia (eater) 16´ .......................... 80 8605 004
Wooden Open Flute 8´ ................... 00 8840 000
Accomp. Diapason 8´ ...................... 00 8874 210
Chorus Diapason 8´ ........................ 00 8686 310
Diapason 8´ .................................... 00 7785 321
Echo Diapason 8´ ........................... 00 4434 210
Harmonic Diapason 16´ ................. 85 8524 100
Harmonic Diapason 8´ ................... 00 8877 760
Harmonic Diapason 4´ ................... 00 0606 045
Horn Diapason 8´ ........................... 00 8887 480
Open Diapason 8´ .......................... 01 8866 430
Solo Diapason ................................. 01 8855 331
Wood Diapason 8´ .......................... 00 7754 321
Reed family (triangle pattern) String family (bow pattern)
2
16' 8' 4'
51/3'
22/3'
2'
13/5' 11/3'
Bassoon 16´ .................................... 44 7000 000
Clarinet 8´ ...................................... 00 6070 540
English Horn 8´ .............................. 00 3682 210
Flugel Horn 8´ ................................ 00 5777 530
French Horn ................................... 00 7654 321
Kinura 8´ ........................................ 00 0172 786
Oboe 8´ .......................................... 00 4764 210
Trombone 8´ ................................... 01 8777 530
Trumpet 8´...................................... 00 6788 650
Tuba Sonora 8´ ............................... 02 7788 640
Vox Humana 8´ .............................. 00 4720 123
16' 8' 4'
1'
51/3'
Cello 8´ ........................................... 00 3564 534
Dulciana 8´ ..................................... 00 7770 000
Gamba 8´ I ..................................... 00 3484 443
Gemshorn 8´ ................................... 00 4741 321
Orchestral String 8´......................... 00 1464 321
Salicional 8´ .................................... 00 2453 321
Solo Viola 8´ ................................... 00 2474 341
Solo Violin 8´.................................. 00 3654 324
Viola da Gamba 8´ .......................... 00 2465 432
Violina 4´ ........................................ 00 0103 064
Violone 16´ ..................................... 26 3431 000
/
2'
2
3'
13/5' 11/3'
1'
HA<O>
Sk1
Sk2
Owner’s Manual
/

MODERN DRAWBAR REGISTRATIONS

e Drawbar registrations introduced on the previous page are typically for classical mu­sic.
ey were created at the dawn of the Hammond Organ, when it was intended to sound like a pipe or church organ. Later on, as the Hammond Organ spread throughout Jazz, Pop, Rock and (especially) Gospel music, Some timeless registrations become common.
Jazz Bluesy
16' 8' 4'
51/3'
22/3'
2'
13/5' 11/3'
1'
16' 8' 4'
51/3'
22/3'
2'
13/5' 11/3'
45
1'
SECOND THIRD FAST SOFT
ON ON ON
Groovy & Funky Max Power
16' 8' 4'
16' 8' 4'
51/3'
22/3'
2'
13/5' 11/3'
1'
51/3'
22/3'
2'
13/5' 11/3'
1'
APPLICATION OF PERCUSSION
When Percussion is used, the sound of the 1´ Drawbar is cancelled. As it was on the Vintage B-3. A trick is to keep the 1’ drawbar fully out, and then turn the percussion on and o as you play for a instant change in sound. Try it!
Setting Up
HARMONIC DRAWBARS™ - continued
46

DRAWBARS (Vx)

16´
 
Oscillators
16´
II
III
IV
II
 
Filter
III
IV
e original British Vx type organ was equipped with Drawbars, but the function was different from that of the Hammond Organ. e vintage arrangement has been re-created here.
Each of the 4 bars on the left functions sim­ilarly to the Hammond Organ. II, III and IV on the right are “Mixture” drawbars that sound plural pitches.
e 2 right-most bars are a mini mixer con­trolling the mellow voice or bright voice as in the vintage combo organ.
 
at Middle “C”
to output
Each or both of the two right-most draw­bars must be pulled in some combination to achieve sound in the Vx type.
Bourdon
OpenDiap8'Gedeckt8'VoixClst
16'
Octave4'Flute Dolce
II
FOOTAGE
The markings, “8’, 4’” etc., indicate the lengths of pipes corresponding to their pitch. The common term for these numbers are “footages”.
For example, 8’ means that a pipe of 8’ in length sounds, the lowest C on a standard 5 octave organ keyboard.
If the organ type is set to Vx, refer to the
Mixture
III
Hautbois
8'
“Vx” row on the other side of the Drawbars for the correspondence between each bar
Flute
4'
2'
and the footage.
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Owner’s Manual
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DRAWBARDS (Farf)

47
Bass 16´
 
Strings 16´
Oscillators
Flute 8´
16´
Trumpet 8´
Oboe 8´
Filters
Bass 16´
Strings 16´
Flute 8´
Oboe 8´
Trumpet 8´
Strings 8´
Flute 4´
Piccolo 4´
Strings 4´
Strings 8´
to output
Piccolo 4´
Flute 4´
at Middle “C”
Strings 4´
e original Italian Farf type organ was tablet-equipped with different sounds at various footages. On this keyboard the op­eration is made with Drawbars instead of tablets.
At the same footage, the tablets gives grow brighter in sound as you progress to the right. e names “Flute”, “Strings”, etc. are general descriptions and do not reflect the tonalities or characteristics of the real in­struments.
Bourdon
OpenDiap8'Gedeckt8'VoixClst
16'
Octave4'Flute Dolce
II
When using the Farf type organ, refer to the “Farf” row on the other side of the Draw-
Mixture
III
Hautbois
8'
Flute
4'
2'
bars for the correspondence between each bar and the footage.
Setting Up
HARMONIC DRAWBARS™ - continued
48

DRAWBARS (PIPE)

UPPER:
LOWER:
PEDAL:
Bourdon
16´
Principal
16´
Sub Bass 16´
+
Gedeckt 8´
Open
Diapason
Principal
Principal Chorus
Gedeckt
Melodia
+
Mixture IV
Viole
CelesteIIOctave
Flauto
Dolce4´Flute2´Mixture
Rohr Flute8´Prestant4´Flute
When using the PIPE organ type, the stops are registered through the Drawbars, and follow the classic organ layout left to right as follows: Flue,Mixture and Reed.
On the UPPER and LOWER parts, each Drawbar corresponds with a stop of the pipe organ.
On the PEDAL part, two stops sound with one Drawbar.
NOTE: The eects - Vibrato & Chorus, Leslie, Overdrive - are not available on the Pipe type
voices.
Super
Octave
III
Mixture
IV
Hautbois
Trom-
pette
Bourdon
OpenDiap8'Gedeckt8'VoixClst
16'
HA<O>
Sk1
Octave4'Flute Dolce
II
Sk2
Owner’s Manual
/
If the organ type is Pipe, refer to the “Pipe”
Mixture
III
Hautbois
8'
Flute
4'
2'
row on the other side of the Drawbars for the correspondence between each bar and the footage.
Disable
D
i
sa
b
l
e
Disa
b
l
e
D
i
sa
b
l
e
Dis
a
b
le

DRAWBAR SELECT

E
n
a
b
l
e
D
i
sa
b
l
e
Disable

ASSIGN DRAWBARS TO PARTS

Physical Drawbars
On
49
Upper Registration
UPPER PEDAL LOWER
Press
is keyboard has 3 parts; UPPER, LOWER and PEDAL. On the SK1, the keyboard is usually assigned to the UPPER, and, when you want to sound the LOWER, PEDAL, use the Split / Manual Bass Function or connect a MIDI keyboard and/or Pedalboard and assign each part.
Although there are three parts here, there is only one set of Drawbars. e [UPPER], [LOWER], and [PEDAL] buttons
All LEDs are “Off”
UPPER PEDAL LOWER
Physical Drawbars
Lower Registration
Pedal Registration
allow you to register all the parts. e Drawbars select buttons are [UPPER], [PEDAL] and
[LOWER]. Which button you choose, sends the registration commands to proper part of the sound engine.
Upper Registration
Lower Registration
Pedal Registration
Press again
If you de-select any of the drawbar buttons, the instant control of the drawbars for that part is suspended. You can “pre-set” a registration, however (covered in next section)

MATCH THE REGISTRATION TO DRAWBARS

Physical Drawbars
not equal
Upper Registration Upper Registration
When you recall a patch, the Drawbar registration of the re­corded patch is heard, instead of the physical Drawbar setting. If you move any Drawbar, its position takes precedence over the recorded registration, although the recorded preset is not altered.
If you wish to switch to the physical Drawbar setting, Press
Blink “On”
UPPER PEDAL LOWER UPPER PEDAL LOWER
Press and hold
and hold the corresponding button ([UPPER], [PEDAL] or [LOWER]) in the Drawbar select until the light blinks then release it. e physical registration now becomes “current”.
Physical Drawbars
equal
Setting Up
50

PERCUSSION

Organ tones are normally heard as long as the playing key is held down. e word “Percussion” refers to a tone that is not steady and fades away, such as a piano or chimes. is keyboard has Percussion tones which enhance the sounds produced by the Drawbars.
“Touch-Response Percussion” is very useful for highlighting single notes, full chords, even entire songs.
[SECOND] button
e 2nd harmonic speaks at the same pitch as the 4´ Drawbar. Combining this 2nd harmonic with the Drawbars will produce a bright and clear attack.
To engage, press the [SECOND] button and the light will go ON.
[THIRD] button
e 3rd harmonic tone speaks at the same pitch as the 2⅔´ Drawbar. Combining this 3rd harmonic with the Drawbars will produce the ringing attack that has become a Hallmark Hammond sound.
To engage, press the [THIRD] button and light will go ON.
[FAST] button
When this button is OFF (LED not lit) the percussion tone will decay (decrease in volume) slowly like a chime. When [FAST] is “ON” (LED is lit) the percussion tone will decay rapidly like a xylophone.
[SOFT] button
is control regulates the volume of the percussion tone. When it is OFF (LED not lit) the percussion effect will be very prominent, compared to the tones produced by the UPPER Drawbars.
NOTE: Percussion is available on 3 Organ types; BType1, BType2 and Mellow.
NOTE: You can ne-tune the parameters of the Percussion (P. 82).
DECAY
On the piano, the sound gradually fades out even if you keep touching the key. It is called Decay. The violin sound, on the contrary, keeps sounding at a certain volume. It is called Sustain.

1´ DRAWBAR CANCEL

As on the Vintage Hammond B-3, the 1´ Tone-Wheel Drawbar is inoperative when the Percussion is engaged.
NOTE: If you wish the 1´ Drawbar to remain operative, you can change the parameter. (P. 82)
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Sk2
HA<O>
Owner’s Manual
/

VIBRATO & CHORUS

DRAWBARS SELECT
e Hammond Vibrato & Chorus is another hallmark of the Classic Hammond sound. Vibrato alters the pitch slightly, as a violinist, singer, or guitarist may do. And Chorus combines a detuned signal with the original for a lush tone.
ORGAN TYPE
[UPPER] button
Pressing [UPPER] button “ON” (red LED lit) will turn the Vibrato & Chorus effect on for the UPPER Drawbars.
[LOWER] button
Pressing [UPPER] button “ON” (red LED lit) will turn the Vibrato & Chorus effect on for the LOWER Drawbars.
[V1/C1], [V2/C2] button
ese buttons are for setting the depth of the Vibrato & Chorus effects.
V1 (C1): V1 (C1), light vibrato (chorus) V2 (C2): V2 (C2), vibrato (chorus) of standard depth. V1+V2 (C1+C2): V3 (C3), deepest vibrato (chorus)
NOTE: While the power is on, the Vibrato and/or Chorus button LED’s will always be on. The ef-
fect will not be active unless the UPPER or LOWER switches are pressed (LED on).
[CHORUS] button
e CHORUS effect combines a slightly detuned signal with the original. To engage the Chorus effect, press this button and the light will go ON.
51
STATUS CHART OF EACH BUTTON
BUTTON MODE
V1/C1 V2/C2 CHORUS Effect
On O O V1
O On O V2
On On O V3 On O On C1
O On On C2
On On On C3
NOTE: Vibrato & Chorus is available on 5 Organ types; BType1, BType2, Mellow, Vx and Farf.
NOTE: The speed etc. of the Vibrato & Chorus eects can be ne-tuned. (P. 83)
NOTE: The Vibrato & Chorus eects on this keyboard come from a virtual model of the mechani-
cal scanner as rst used on the vintage B-3. It operates in the same manner, albeit in the digital realm. (no moving parts)
Setting Up
52

DRAWBAR OVERDRIVE

Overdrive simulates the effect of pushing an amplifier beyond its normal limits to achieve a more aggressive sound.
By changing the drive amount, various sounds are obtained from an unclipped warmth to a hard distortion.
[OVERDRIVE ON] button
To engage the Overdrive effect, press this button and the light will go ON.
[OVERDRIVE AMOUNT] knob
Adjusts the amount of the Overdrive effect. Rotating the knob clockwise increases the depth of the effect.
NOTE: Drawbar Overdrive is available on 5 Organ types; BType1, BType2, Mellow, Vx and
Farf.
NOTE: You can ne-tune the overdrive sound. (P. 88)
NOTE: The button and knob are for the Organ section. The Overdrive eect for the Extra
Voice section is operated by the parameter in the control panel. (P. 95)
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LESLIE

DRAWBARS SELECT
ORGAN TYPE
e rotating sound of the LESLIE Speaker is the natural partner of the Ham­mond Organ. A Digital version is built-in to the SK1/SK2; and the controls will also function with a connected physical Leslie.
[FAST] button
Toggles the mode of the rotor by two steps. Every press switches the status. When the light is ON, the mode is FAST, and when it is OFF, it is not.
[STOP] button
To toggle the FAST and SLOW when you pressed the [FAST] but­ton, press this button and the light OFF.
To toggle the FAST and STOP when you pressed the [FAST] but­ton, press this button and the light ON.
[BYPASS] button
When the light is OFF, the Organ section sound is output from the rotary channel.
To bypass the Leslie effect, press this button and the light will go ON. Regardless of the status of the [FAST], [STOP] buttons, the Organ section sound is output from the stationary channel.
NOTE: Leslie Eect is available on Organ section except Pipe type.
NOTE: You can ne-tune the parameters of the Leslie eect. (P. 84)
STATUS CHART OF EACH BUTTON
BUTTON MODE
BYPASS STOP FAST CH=1
O O On Fast
O O O Slow
O On On Fast
O On O Stop
On On On Fast
On On O Stop
On O On Fast
On O O Slow
53
CH=3,
on-board
Leslie effect
Bypass
Diagram of 3 channel Leslie Speaker
Horn Rotor
Stationary Speaker
Ampli­fier
800Hz
Bass Rotor
Horn Driver
Woofer
WHAT IS THE LESLIE EFFECT?
The Leslie Speaker was invented by Donald Leslie in 1941 to make the Hammond Organ sound like a Thea­tre Pipe Organ. Using motor-driven rotating horns and baes, Leslie’s invention gave the organ a rich and moving tone, which quickly became it’s own unforget­table sound.
In its basic form, the Leslie Speaker has an built-in amplier and two rotors; the “Horn Rotor” for treble and the “Bass Rotor” for bass which are each fed by a custom-designed driver/speaker. The combination of the two utilizes the “Doppler Eect” to give the unique Leslie “swirling” sound..
Some models have not only rotors but also a xed speaker. The circuit for sending the sound to the rotor is called the “Rotary Channel”, and that for the xed speaker is called the “Stationary Channel”.
The Digital Leslie on-board the SK1/SK2 employs all the proprietary concepts used in the physical speakers, but realizes them in the digital realm. It is recommended that you run the Main Outputs “in stereo” to get the full­est eect.
Setting Up
54

MULTI-EFFECTS, REVERB

e SK1/SK2 has on-board Digital Multi-Effects and Reverb to enhance the Organ section.
uMULTI-EFFECTS
[EFFECT ON] button
To engage the Muti-Effects. Press this button and the light will go ON.
[EFFECT AMOUNT] knob
Adjusts the amount of the Multi-Effects.
NOTE: There are numerous parameters in the Multi-Eects. The de-
tailed settings of the parameters are adjusted on the control panel. (P. 88)
uREVERB
e Digital Reverb is common to both Organ and Extra Voice sections.
[REVERB ON] button
To engage the Reverb, press this button and the light will go ON.
[REVERB DEPTH] knob
Adjusts the depth of the Reverb.
NOTE: You can ne-tune the time etc. of the Reverb. (P.97)
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PEDAL SUSTAIN, MANUAL BASS

A popular option for playing the Pedals or Manual Bass is Pedal Sustain, which allows the Pedal voice to smoothly decay upon release, much in the manner of a string bass.
Using the lowest note of the keyboard, you can play the PEDAL part together (Man­ual Bass).
[P. SUS] button
To engage the PEDAL SUSTAIN, press the [P. SUS] button and the light will go ON. After releasing your foot from the Pedal keyboard (or, if you release your finger from the
Manual keyboard when you are using the Manual Bass function) (= explained later in this manual), the sound will slowly fade, or decay.
NOTE: You can control the decay time of the Pedal Sustain. (P. 75)
[M. BASS] button
To engage the Manual Bass function, press the [M. BASS] button and the light will go ON.
e keyboard that functions as the Manual Bass is the keyboard itself if it is on the SK1 stand-alone, and the Lower keyboard if the Lower keyboard is added to the SK1 or SK2.
e default range of the MANUAL BASS is up to the middle “B”.
NOTE: You can change the highest note range of the MANUAL BASS (P. 108 #2).
NOTE: You can select the MANUAL BASS play chords or only the lowest note (P. 108 #1).
55
COUPLER
Like the Manual Bass or the Lower to Pedal (only on the SK2), the function to set a key­board to play two keyboards together is called “COUPLER”.
Setting Up
56

KEYBOARD SPLIT, OCTAVE SHIFT

e SK1 normal range is the UPPER Keyboard. A split is optional to place the LOWER keyboard voices on the left side of the single keyboard.
e keyboard can be shifted up or down one octave to facilitate easier play.
SK1 SK2
[SPLIT] button (only on the SK1)
Press to split the keyboard, and the light will go ON.
NOTE: You can set the split point. (P. 108)
[OCTAVE] buttons
Raises or Lowers each part by one octave.
w To raise UPPER by one octave, press the [UP] button. w To lower UPPER by one octave, press the [DOWN] button. w To raise LOWER by one octave, press the [UP] button, holding down the
[LOWER] button.
w To lower LOWER by one octave, press the [DOWN] button, holding down the
[LOWER] button.
Octave of LOWER is at “+1”.
When changing octaves here, the status of the Octave is briefly shown on the display.
[LOWER to PEDAL] button (only on the SK2)
Allows whatever sounds that are registered on the LOWER Part to be played on the PEDAL part as well. To use this function, press this button and turn the light ON.
NOTE: You can change the upper limit playing range of ‘Lower to Pedal’. (P. 108)
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TRANSPOSE

e transpose function allows you to match the same key of other instru­ments or vocalists without changing the key that you are playing in.
For example, if you set Transpose at [+5], the note “F” sounds when you play the “C” key. (By playing in the key of C the SK1 sounds in the key of F.)
[TRANSPOSE] button
w To raise the pitch by semi-tone, press the [UP] button, while holding down the
[TRANSPOSE] button.
w To lower the pitch by semi-tone, press the [DOWN] button, while holding down the
[TRANSPOSE] button.
You can set Transpose in the range from -6 to +6 semi-tone.
57
Transpose is at “+5”.
When performing this operation, the status of the transposition is shown in the display. Transpose is mapped to the following points: i) Between the internal keyboard and the built-in sound engines. ii) Between the MIDI IN and the built-in sound engines. iii) To the external zone. iv) When the MIDI pedalboard XPK-100 is connected, transpose value will synchronize
with it.
NOTE: Transpose is a temporary parameter, and is not recorded to any patch. When the power is
switched OFF, it returns to 0.
Setting Up
58

EXTRA VOICE SECTION

e EXTRA VOICE section contains the sounds other than Or-
e Organ and Extra Voice sections can be played simultaneously. gan which comprise the SK series. As a single system, you select which voice to allocate to what part.

ALLOCATE AND SOLO

To play the Extra Voices, you must allocate them to either the UPPER or LOWER parts. e Extra Voices can play alongside the Organ and can also be soloed, muting the organ section.
[ALLOCATE UPPER], [ALLOCATE LOWER] buttons
Selects either the UPPER/LOWER part to allocate Extra Voices. To play the Extra Voices, press either button and (LED ON).
To CANCEL the Extra Voice allocation, press the desired button again (LED OFF).
[SOLO] button
Mutes the Organ section to play only the Extra Voices. e solo functions toggled ON and OFF by pressing [SOLO] button.
EXTRA VOICE
The Extra Voice section on your SK1/2 is not related to, and does not replicate the sounds of F-100 “Ex­travoice” (1960’s).

BUILT IN SOUNDS AND LIBRARY

ere are 6 groups of resident sounds, corresponding to the Voice Group. ese core sounds may not be overwritten. You may expand this core with sounds available online from “LIBRARY”, which Hammond-Suzuki will make available in the future.
To select instruments, see “SELECT INSTRUMENTS” on (P. 31), and the “IN­STRUMENT LIST” (P. 130) for the built in sounds.
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PRO-CHORD FUNCTION
In the Extra Voice instruments, some are set with the “Prochord” function. These are for easily play­ing on the keyboard the harmony heard from the brass section etc.
The instrument with a Prochord has “Pcd” as a suf­x added to its name.
If you allocate this instrument to the Upper part, play a chord on the Lower keyboard and play a single note on the Upper keyboard, you can get a melody with harmony.
ON SK1:
CHORD MELODY
ON SK2:
MELODY
CHORD

MULTI-EFFECTS, REVERB

is keyboard is equipped with Multi-Effects capable of adding various effects to the Extra Voices, and Reverb capable of adding the effects of playing in a concert hall.
59
uMULTI-EFFECTS
[EFFECT ON] button
To engage the Multi-Effects, press this button and the light will go ON.
[EFFECT AMOUNT] knob
Adjusts the amount of the Multi-Effects.
NOTE: There are numerous parameters in the Multi-Eects. Detailed
settings are made with the parameters in the control panel. (P. 95)
uREVERB
Reverb is common for both the organ and the Extra Voice sec­tions.
[REVERB ON] button
To engage the Reverb, press this button and the light will go ON.
[REVERB DEPTH] knob
Adjusts the depth of the Reverb.
NOTE: You can ne-tune the time etc. of the Reverb eect. (P. 97)
Setting Up
60
e settings you have prepared can be recorded to User Patches.

USER AND PRESET

PATCH

“FAVORITE”
buttons
1
2 3
MANUAL
exclusive
refer
refer
refer
Patches
First
U001
Second
U002
ird
U003
Fourth
U004
Fih
U005
November
U098
December
U099
“User” ends
U100
Preset begins
P001
Monday
P002
Tuesday
P003
Mezzo Forte
P098
Forte
P099
Fotissimo
P100
Manual
“VALUE”
knob
in PLAY mode
sequential
select
“P” are not rewritable
ere are 100 USER and 100 PRESET Patches as illustrated. e “User” Patch are over-write capable. e “Preset” Patches are not.
To call the Patch, select the Patch Number with the [VALUE] knob in the Play mode (P. 23).
To record the present setting to the patch, first give a name to it and designate the patch number before recording the patch (next page).
e [MANUAL] button on the left side of the top panel shifts the focus to all the current settings of the top panel, and the current internal settings. It is used as a start­ing point for writing your own patches, or for the musician who prefers to register “by hand” instead of using patches.
PATCH LOAD
Only the Drawbar registrations of each keyboard were recorded to the preset of the B-3/C-3. But many more parameters than the Drawbar registra­tions are recorded to the patches on this keyboard.
If you wish to keep the “traditional” style of regis­tration (Drawbars only), Select the proper param­eters in “Patch Load”. (P. 76)
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NAME THE PRESENT SETTING

ENTER
61
GO TO THE MENU MODE
1
MENU/
EXIT
PLAY
Press the [MENU/EXIT] button. Menu mode will be displayed.
GO TO PAGE A
2
UPPER
NUMBER NAME
PEDAL
PATCH
LOWER
UPPER
PEDAL
NUMBER NAME
PATCH
VALUE
LOWER
ENTER
VALUE
GO TO PATCH FUNCTION MODE
3
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
Press [ENTER] and go to PATCH function mode.
INPUT NAME
4
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
ENTER
ENTER
If Page A is not displayed, go to Page A by pressing [] button.
SELECT THE “PATCH”
2
UPPER
PEDAL
NUMBER NAME
PATCH
Press [] button twice and move the cursor to “PATCH”.
LOWER
You can enter a name using up to 15 letters.
[],[] buttons: Moves the cursor. [VALUE] knob: Selects letters.
e Characters available are the Capital and small English Al­phabet, signs and digits.
e name input here is not captured until you record the patch (as explained on the next page).
VALUE
ENTER
Setting Up
PATCH - continued
ENTER
62

RECORD TO THE PATCH

Example: RECORD TO “U032”
GIVE THE NAME
1
PRESS THE [RECORD] BUTTON
2
MENU/
EXIT
UPPER
PEDAL
LOWER
Enter the name of your Patch. (P. 61)
VALUE
PLAY
SELECT THE PATCH NUMBER
3
UPPER
PEDAL
NUMBER NAME
PRESS [ENTER]
4
PATCH
NUMBER NAME
LOWER
PATCH
Press the [RECORD] button. e Record mode is displayed.
VALUE
Select the patch number you wish to record with the [VALUE] knob (is time select U032).
ENTER
UPPER
PEDAL
NUMBER NAME
PATCH
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VALUE
ENTER
Press the [ENTER] button. e patch is confirmed and is dis­played as follows for a few seconds:
Recording Patch...
When the recording is completed, the display returns to the previous one.
NOTE: The recorded patch data is retained if the power is switched
o or disconnected.
63
USING THE
CONTROL PANEL
64

WHAT YOU CAN DO ON THE CONTROL PANEL

Your access to deep-editing the SK1/SK2. All of the parameters and all of the controls not covered by the top panel knobs and switches are here.
MENU/
EXIT
UPPER
PEDAL
LOWER
VALUE
PLAY
e modes displayed are, basically “PLAY”, “MENU” and “FUNCTION”. See how to read them and how to use the buttons on the next pages.
PLAY mode
MENU mode
NUMBER NAME
PATCH
ENTER
HA<O>
FUNCTION mode
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PLAY MODE

UPPER
PEDAL
LOWER
NUMBER NAME
PATCH
ENTER
VALUE
MENU/
EXIT
e Play mode is basic for all operations. All information necessary for ordinary performance is displayed here.
To locate this mode
1. “Playmode”isthedefaultmodeatpower-up.
2. IfthePlaymodeisnotdisplayed,touchthe[PLAY]button.

HOW TO READ THE DISPLAY

Drawbar Registration
UPPER / PEDAL / LOWER
Display of Registration (Bars)
65
Display of Extra Voice
Display of Registration (Digits)
Patch

BUTTON OPERATION IN THIS MODE

Display the Menu mode.
MENU/
EXIT
UPPER
PEDAL
LOWER
PLAY
e three PLAY modes, two for display­ing the Registration and the other for displaying the Extra Voices, are toggled every time the [PLAY] button pressed.
Select the Patch
VALUE
PLAY
Switch the three Play mode types.
NUMBER NAME
PATCH
ENTER
Using the Control Panel
66
ENTER

MENU MODE

e purpose of the menu mode is to give a directory of all the various function.
To locate this mode:
Pressthe[MENU/EXIT]button.
ere are many pages functions available to edit. For easier editing, the different divisions in the menus are grouped together in bundles of four. Search for the item you wish to edit using the direction buttons, then press the [ENTER] button and display each Function mode.

HOW TO READ THE DISPLAY

Page Items

BUTTON OPERATION IN THIS MODE

MENU/
EXIT
PLAY
UPPER
NUMBER NAME
Return to the Play mode.
PEDAL
PATCH
LOWER
Move the page.
Select the item in the page.
VALUE
ENTER
Jump to the selected Function mode.
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67

MENU AND THE CONTENTS

PAGE A
1. DRAWBAR
Sets the parameters for each of the Organ section’s Drawbars. (P. 74)
2. EXVOICE
Selects the Extra Voice instrument, plus, its range and volume. (P. 77)
3. PATCH
For naming the patch, setting which parameters will load and assignment of Favorites. (P. 76)
4. CONTROL
For setting the controllers, such as the Expression Pedal and Foot Switch. (P. 78)
PAGE B
1. CUST. TW
For custom setting of the tone wheel sets of the Lower and Up­per part. (P. 78)
2. PERCUSS
For custom setting the percussion parameters. (P. 82)
3. VIB & CHO
For custom setting the speed and depth of the Vibrato & Cho­rus. (P. 83)
4. LESLIE
For adjusting the built-in Leslie effect and sets the external Les­lie speaker. (P. 84)
PAGE E
1. DEFAULT
For returning to the factory default setting. (P. 99)
2. SYSTEM
For setting the System Parameter(s) and displaying the infor­mation. (P. 100)
3. LIBRARY
For controlling the Sound Library of the Extra Voices. (P. 125)
4. FORMAT
For initializing the USB Flash Drive. (P. 115)
PAGE C
1. O. D./EFF
Adjust the Overdrive and the Multi-Effects here. (P. 88)
2. EQUALIZ
For setting the parameters of the Equalizer. (P. 96)
3. REVERB
For setting the parameters of the Reverb. (P. 97)
4. TUNE
Set the tuning of the entire keyboard. (P. 98)
PAGE D
1. ZONE
For setting the Internal Zone/External Zone. (P. 108)
2. MIDI
For setting the basic MIDI operations. (P. 110)
3. SET-UP
For saving/loading the set-up to/from the USB Flash Drive. (P. 114)
4. PLAYER
For operating the Music Player. (P. 121)
Using the Control Panel
68

FUNCTION MODE

ese modes are for selecting and controlling the function. All modes can be navigated the same way.

HOW TO READ THE DISPLAY

There is another page above (or below) this page.
PARAMETER
(ITEM) NAME
PAGE NAME
VALUE
CURSOR
(ashing VALUE)
Shows there is another page on the right (or the left) of this page.
CURSOR
On this keyboard the cursor style is to ash the entry.

BUTTON OPERATION IN THIS MODE

MENU/
EXIT
PLAY
UPPER
NUMBER NAME
Return to the PLAY mode.
PEDAL
PATCH
LOWER
Move the page up or down.
Move the cursor on the page. The cursor goes to the edge of the mode, and, if there is another page on the right or the left, moves to that page.
VALUE
ENTER
Adjust the value of the cursor location.
Jump to the MENU mode.
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SHORT CUT TO FUNCTION MODE

UPPER
PEDAL
LOWER
NUMBER NAME
PATCH
ENTER
VALUE
Each button on the top panel has a built in shortcut-making programming and edit­ing easier.
Pressing and holding any of the buttons on the top panel automatically jumps the display to the related function menu item.

EXAMPLE OF OPERATION:

LOCATE THE PERCUSSION FUNCTION MODE
Press and hold
69
If you wish to edit the percussion settings, press and hold either of the [SECOND], [THIRD], [FAST], or [SOFT] buttons, and the display will immediately jump to the percussion func­tion mode. is is called “SHORT CUT”.
In the next chapter, you will see which button is used for a particular “SHORT CUT”.
NOTE: Changing the length of time until display jump when button
held. (P. 81)

REGISTER THE PAGES YOU FREQUENTLY USE

You can assign frequently-used function page to the [CONTROL] button for im­mediate access.

EXAMPLE OF OPERATION:

REGISTER THE “DRAWBAR - PEDAL” PAGE
1
2
DRAWBARS SELECT
Bourdon
OpenDiap8'Gedeckt8'VoixClst
ORGAN TYPE
16'
II
Octave4'Flute Dolce
4'
Display the page you want to register using the MENU etc. Here, as an example, let’s display the “Drawbar - Pedal” page.
Hautbois
Flute
Mixture
2'
8'
III
Press and hold
MENU/
EXIT
PLAY
While holding down the [RECORD] button press the [CONTROL] button.
You will be able to immediately access the desired page just by pressing the [CONTROL] button.
Press with...
Using the Control Panel
70

PARAMETER OPERATION EXAMPLE:

ADJUST THE [FAST] PERCUSSION DECAY TIME
LOCATE THE MENU MODE
1
MENU/
EXIT
PLAY
SELECT THE MENU PAGE
2
NUMBER NAME
UPPER
PEDAL
PATCH
LOWER
VALUE
Press the [MENU/EXIT] button. e MENU mode is displayed.
ENTER
MENU/
EXIT
PLAY
MOVE THE CURSOR TO THE FUNCTION MODE YOU WISH TO LOCATE
3
MENU/
EXIT
PLAY
PRESS [ENTER]
4
UPPER
PEDAL
NUMBER NAME
NUMBER NAME
UPPER
PATCH
PEDAL
PATCH
LOWER
LOWER
VALUE
ENTER
VALUE
ENTER
Locate the “PERCUSS” page using the [],[] buttons.
“PERCUSS” is on Page B.
Move the cursor to “PERCUSS” using the [],[] buttons.
MENU/
EXIT
PLAY
HA<O>
UPPER
NUMBER NAME
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Owner’s Manual
/
PEDAL
PATCH
LOWER
VALUE
Press the [ENTER] button. e display shows the first page of the Percussion func­tion mode.
ENTER
MOVE THE CURSOR TO THE PARAMETER YOU WANT TO CHANGE
5
MENU/
EXIT
PLAY
CHANGE THE VALUE
6
MENU/
EXIT
PLAY
UPPER
PEDAL
NUMBER NAME
NUMBER NAME
UPPER
PATCH
PEDAL
PATCH
LOWER
LOWER
VALUE
ENTER
VALUE
ENTER
71
Decay time is on the “DECAY” page. Locate the “DECAY” page using the [][] buttons.
“FAST” is on the right side of the page move the cursor (blinking value) to the right using the [][] buttons.
Decrease the value using the [VALUE] knob.
NOTE: If you want to change other items,
repeat the process 1 to 6.
RETURN TO THE PLAY MODE
7
MENU/
EXIT
PLAY
RECORD TO THE PATCH IF NECESSARY
8
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
e parameter “DECAY FAST” is a patch parameter, so, if you call another (or same) patch, it is changed to the newly set value.
If you need the changed value hereafter, you must record it to a patch.
MENU/
EXIT
PLAY
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
VALUE
ENTER
ENTER
Press the [PLAY] button. e display returns to the PLAY mode.
PATCH PARAMETERS
Patch Parameters are unique to the current patch, and change with the programming of each patch. Many of the knobs/buttons on the top panel are “Patch Parameters”
The Parameters common to all the patches are called “Global Parameter”, on the contrary.
Using the Control Panel
72
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73
SETTING THE
PARAMETERS
74

DRAWBAR

Drawbar sound parameters for each keyboard are set in this mode.
To locate this mode:
MENU/
EXIT
See the “Function mode” (P. 68) for operational details.
ENTER

uSETTING FOR MANUAL (LOWER & UPPER) DRAWBARS

ORGAN TYPES
Select the manual keyboard organ type.
BType1: Traditional B-3/C-3 tone-wheel sound BType2: Sound with more leakage noise and wow-utter Mellow: With transparent sine waves Vx: Transistor Organ, Vx type Fart: Transistor Organ, Farf type Pipe: Pipe Organ
When the organ type is set at Vx, Farf, or Pipe, the parameters (2) to (6) are unavail­able.
CLICK - ATTACK LEVEL
Sets the key-on click volume. e higher the value, the louder the click gets. No key-click at 4. As the value goes
lower than 4, the attack rate becomes slower.
CLICK - RELEASE LEVEL
Sets the key-off click volume. e higher the value, the louder the click gets. No key-click at 4. As the value goes
lower than 4, the release rate becomes slower.
CLICK - LOW PASS FILTER
Sets the key-click tone. e setting range is 0 to 127. e higher the value, the brighter the sound.
FOLDBACK - LOW
Sets the key-point from which the 16´ Drawbar folds back (= repeat the same octave on the lower octaves of the keyboard).
e bottom key on the keyboard is displayed as “1C”. e setting range is 1C to 2C.
FOLDBACK - HIGH
Sets the key from which the 1´ Drawbar folds back (= repeat the same octave on the higher octaves).
e setting range is 4G to 5C.
NOTE: The Fold-back is possible not only with 1´ but also with 1⁄´, 1⁄´, 2´, 2⁄´ Drawbars.
UPPER ZONE OCTAVE
Set the octave shift for the UPPER part. e setting range is -2 to +2.
UPPER ZONE LOW UPPER ZONE HIGH
Set the sounding range of the UPPER part with these two parameters.
TONE-WHEEL SET
There are variations available for each virtual Tone­Wheel set of BType1, BType2 and Mellow. (P. 87)
KEY CLICK
On the traditional models such as B-3/C-3, a noise occurred when keys were pressed and released, due to the mechanical keying system employed on the classic organs. That characteristic is replicated here.
Loudness
Attack
Rate
Attack
Click
Note On Note Off
EXAMPLES OF KEY-CLICK SETTINGS
Simulation of classic multi-contact keyboard B-3 and C-3: AT = 8, RL = 8
Simulation of a PCM synthesizer to produce the key-click only at ‘attack’: AT = 8, RL = 4
Slow envelope like a pipe-organ: AT = 0, RL = 0
FOLD-BACK
As the number of the Tone-Wheels was limited on the B-3/C-3, the very highest and lowest pitches “folded back” on the keyboards, sounding the same octave twice in a row. This function repro­duces this characteristic.
Release
Rate
Release
Click
Time
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LOWER ZONE - OCTAVE
Set the octave shift for the LOWER part. e setting range is -2 to +2.
LOWER ZONE - LOW LOWER ZONE - HIGH
Set the sounding range of the LOWER part with these two parameters.

uSETTING THE PEDAL PART

ORGAN TYPE
Set the Organ type for the Pedal part.
Normal: The traditional tone wheel sound of the B-3/C-3. Muted: Analog oscillating sound as heard on the Classic X-5. Synth1: Saw-tooth waveform with the lter-sweep. Synth2: Dull square wave.
When the “Pipe” Organ type is selected by (1), only Pipe Organ pedal sounds are heard, regardless of this parameter. Also, parameters (14) to (17) are unavailable.
ATTACK
is allows you to set the Pedal Attack Rate and the Key-Click Volume at ‘attack’ and ‘release’.
MAX CLK: Immediate attack and the key-click is loud. NORM CLK: Immediate attack and the key-click is normal. SOFT CLK: Immediate attack and the key-click is soft. NO CLK: A slightly slower attack without key-click. SLOW ATK: Slow attack without key-click.
DECAY RATE
is allows you to determine whether the Pedal voice remains at the same volume as a note is held, or if the voice decays, as like a plucked string.
e setting range is 1 - 5 and C. e higher the value, the longer the decay time. ere is no decay at C.
SUSTAIN LENGTH
is allows you to set the Release Rate (= the decay time after key release), when the [P. SUS] button is ON.
1 is the shortest, and 5 is the longest decay time.
NOTE: You can locate this page by holding down the [P. SUS] button as well.
VELOCITY
is allows you to set the response to the Velocity. e setting range is OF and 1 - 4. At OFF, the volume does not change however hard you play the key. As the value increases from 1 - 4, the sounds gets louder even if the key is played softly.
KEY MODE
is allows you to set the Pedal polyphony.
POLY: Makes it possible to play chords(up to 3 notes). MONO: Only the lowest note will sound, when you play a chord.
PEDAL ZONE - OCTAVE
Set the octave shift for the Pedal part. e setting range is -2 to +2.
PEDAL ZONE - LOW PEDAL ZONE - HIGH
Set the sounding range for the PEDAL part with these two parameters.
Loudness
Note On Note Off
Attack
Decay = "C"
Decay = "1" - "5"
Sustain =
"On"
SUSTAIN
Unlike synthesizer nomenclature, on the this keyboard “Sustain” refers to note decay after note release. On a synth envelope generator this setting would be called “T4” or “Release”.
ZONE
The “ZONE” set in these modes is the setting of the sounding range for each part of the organ section.
See page 104 for details.
75
Time
NOTE: All the parameters in these modes
are Patch Parameters. They are re­corded into the Patch.
Setting the Parameters
76

PATCH

In this mode you a name your patch, set which parameters load, and how to link to the Favorite buttons.
To locate this mode:
MENU/
EXIT
See the “Function mode” (P. 68) for operational details.
~ omitted ~
ENTER

uPATCH NAME

Patch Name (P)
Name the present patch using up to 15 letters. Move the cursor by the [][] buttons. en select letters
with the [VALUE] knob. e patch name is lost, unless you save the patch.
NOTE: This parameter (P) is a patch parameter. It is recorded in each
patch.

uPATCH LOAD

ese are for setting which parameters are loaded when a patch is called.
PATCH LOAD - UPPER Registration (G)
Sets whether or not to load the Drawbar registration of the UPPER part.
PATCH LOAD - LOWER/PEDAL Registration (G)
Sets whether or not to load the Drawbar registration of the LOWER and PEDAL parts.
PATCH LOAD - DRAWBAR (G)
Sets whether or not to load the parameters specific to the Or­gan Section such as organ type or percussion.
PATCH LOAD - EXTRA VOICES (G)
Sets whether or not to load the Extra Voice parameters.
PATCH LOAD - INTERNAL ZONE (G)
Sets whether or not to load the parameters relating with Inter­nal Zone or Coupler (Pedal to Lower and Manual Bass).
PATCH LOAD - EXTERNAL ZONE (G)
Sets whether or not to load the parameters specific to the Exter­nal Zone to control external MIDI equipment.
PATCH LOAD - DRAWBAR EFFECT (G)
Sets whether or not to load the parameters specific to the Or­gan Section Effects (Overdrive, Multi-Effects, Equalizer, and Leslie).
PATCH LOAD - EXTRA VOICE EFFECTS (G)
Sets whether or not to load the parameters specific to the Extra Voice Section Effects (Overdrive, Multi-Effects and Equalizer).
PATCH LOAD - REVERB (G)
is is for setting whether or not to load the Reverb parameter.
NOTE: Each Patch Load parameter is a global parameter. It is record-
ed when the value is set. Common for each patch.

uFAVORITES

FAVORITE ACCESS (G)
is is for setting the action of the Favorite Buttons.
ASSOCIATE:
Each number button usually calls the related patch. If you touch each number button holding down the [RECORD]
button, it relates the number button to the currently selected patch.
OVERWRITE:
In addition to above, if you touch each number button holding
down the [RECORD] button, it records the current setting to the selected patch.
LOCKED1-10:
Each number button usually calls the corresponding patch, 1 ...
10.
If you touch each number button holding down the [RECORD]
button, it records the current setting to the corresponding patch, 1 ... 10.
DIRECT:
This is for directly calling the patch, using each number button.
To call the patch, rst put in the 3 digit patch number and then
touch the [ENTER] button. U001 ... [1], [ENTER] U010 ... [1], [10], [ENTER] U100 ... [1], [10], [10], [ENTER] P001 ... [1], [10], [1], [ENTER] P010 ... [1], [1], [10], [ENTER] P100 ... [2], [10], [10], [ENTER]
You can not relate the patch to each number button.
⓬ to ㉑ FAVORITE PATCHES (G)
Displays and changing the patches related with each Number button.
NOTE: “G” means “Global”. These parameters will be recorded when
set, and are common in each Patch.
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EXVOICE (Extra Voices)

In this mode the basic Extra Voice settings are made such as the extra voice tone and volume.
To locate this mode:
MENU/
EXIT
or, touch either button in the voice group. See “Function mode” (P. 68) for operation details.
77
ENTER
ZONE - OCTAVE
Sets the playing octave for the Extra Voice section. e setting range is -2 to +2.
ZONE - LOW ZONE - HIGH
Sets the sounding range in the Extra Voice section with these two parameters.
VOICE GROUP
Sets the Voice group. Choices are in the range of “A. Piano” to “Library”, same as the [VOICE GROUP] buttons on the top panel.
INSTRUMENT
Selects the instrument in the voice group. Consult the instrument list at the back of this manual (P. 130) for details.
VOLUME
Adjust the volume of the Extra Voice section here. It is linked with the [VOLUME] knob on the top panel.
e setting range is 0 to 127.
VELOCITY
Sets the response to the velocity (strength of the key touch) of the Extra Voice section. e setting range is OFF, 1 to 4. At OFF keys sound at a certain volume, regardless of
the key touch strength (like an organ’s touch). At 1 to 4, the harder you strike the key, the louder it sounds (like a piano keyboard).
EXPRESSION
Sets the enable or desable the Expression control. At ON, Expression controls both Or­gan and Extra Voice section. At OFF, Expression controls only the Organ section.
NOTE: The parameters in this mode are patch parameters, and are recorded to each patch.
LINK BETWEEN INSTRUMENTS AND OTH­ER PARAMETERS
When an instrument is selected, each pa­rameter of the Octave, the Multi-Eects, the Equalizer and the Prochord (although not displayed), is automatically set at the recom­mended value.
Setting the Parameters
78

CONTROL

is mode is for setting the controller. Please insure that the Expression Pedal and Foot Pedal are properly con-
nected before adjusting their settings, it is also possible to assign the oc­tave buttons to other functions.
To locate this mode:
MENU/
EXIT
or, touch the [CONTROL] button. See “Function mode” (P. 68) for operation details.

uFOOT SWITCH

FOOT SWITCH - DEVICE (G)
is is for selecting the equipment connected to the FOOT SWITCH jack.
FOOT SW: Foot Switch connected. CU-1: Optional Leslie Mode Switch (CU-1) connected.
FOOT SWITCH - TIP MODE (G)
is sets the Foot Switch function.
OFF: Does not function. LESLIE S/F ALT, MOM, TRI:
Switches the Leslie Eect Slow/Fast/Stop. At ALT, Fast / not (Slow or Stop - it set by [STOP] button) is toggled every time the foot
switch is pressed. At TRI, it is switched to Stop when the foot switch is further held down for longer than a second.
At MOM, it is switched to Fast only while the foot switch is held down. When released, it is
switches to not (Slow or Stop - it set by [STOP] button).
GLIDE:
The pitch bends while the foot switch is pressed down the interval is determined by a
parameter setting.
PATCH FWD, REV:
Switches the Patch Forward or Reverse.
FAVORITE FWD, REV:
Switches the Favorite Forward or Reverse.
SPRING:
This generates the sound of the spring reverb being shaken.
DELAY TIME:
This is for setting the delay time (P. 88, 97) of the Eects, at the interval of pressing the foot
switch. The delay sound goes out, while the foot switch is held down.
MUSIC START:
Controls the Start/Stop of the music player.
MANUAL BASS:
Triggers the Manual Bass note of Pedal part.
BASS 1C - BASS 3C
Triggers the specied note of Pedal part.
ENTER
TIP AND RING
The typical stereo plug, there are 3 metal parts. The end is called the “Tip”, the middle portion is the “Ring”. The part on the cord side is called the “Sleeve”.
This keyboard requires a foot switch that uses a Stereo Jack. Two Mono-Jack foot switches may be used, and can have discrete functions, if a Left/ Right stereo splitter is used.
Tip
Ring Sleeve
SPRING REVERB
The Hammond Organ company actually invented the spring reverb for its organs in the 1940’s. The eect was obtained with a length of spring and a few pickups. If the spring was disturbed, it would make a large crashing noise that was usually con­sidered a nuisance, but sometimes was used as a program sound eect. The Reverb here is digital, but the “crash” eect is re-created here.
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FOOT SWITCH - RING MODE (G)
is sets the Ring side function, when the foot switch connected to the foot switch jack is of the TRS specifications.

uEXPRESSION

EXPRESSION - SOURCE (G)
Sets the source of expression control.
PED (NORM):
For the (Optional) Hammond-Suzuki EXP-50 pedal etc.
PED (REV):
For using a Korg XVP-10 type of Expression Pedal etc. MIDI: For using expression information received at the UPPER keyboard channel.
EXPRESSION - MONITOR
Displays the current value of expression. In case of no sound or no change when the expression pedal is pressed, this monitor shows whether the expression value changes or not, so you may discover the cause of trouble (if any). is can also be an indicator when playing from low volume to fade in.
EXPRESSION - MINIMUM LEVEL (G)
Sets the volume at minimum expression. e setting range is OFF, -40dB to 0dB. At OFF the instrument is silent when Pedal is
at Minimum (all the way back). e other value points represent the lowest volume that will be present at the Pedal’s minimum position.
EXPRESSION - LIMIT LOW FREQUENCY (G) EXPRESSION - LIMIT HIGH FREQUENCY (G)
Sets the amount of Low or High Frequency to remain, when the expression is set at minimum.
e setting range is OFF, -40dB to 0dB. At OFF the sound totally disappears, but at other value points the set volume is kept, even if the expression is at minimum.
EXPRESSION - GAIN (S)
Sets the gain (range) of the connected expression pedal. Depending on the type of the connected expression pedals, the expression value may not
change. In such case, adjust this parameter to obtain the desired response.
EXPRESSION - CURVE (S)
Adjusts change of expression value corresponding to the angle of the depressed expres­sion pedal.
e setting range is 1 to 3. Refer each curve to the bottom right illustration or try playing live to discern which curve is correct for you.
NOTE: The parameters indicated (S) are system parameters. They are recorded when set, and are
common in each Patch.

uGLIDE

GLIDE - RANGE (P)
Sets the bend range of pitch by semi-tone. Setting range is -24 to +12.
GLIDE - TIME (P)
Sets the time from the start of glide to reach the pitch set at (11). e setting range is
0.1 to 5.0 seconds.
GLIDE - AMP (P)
Engages a “fade” along with the Glide, where the volume drops in tandem with the pitch to total silence.
3RD PARTY EXPRESSION PEDAL
When using a Korg XVP-10 type of pedal, con­nect the EXPRESSION jack of the XVP-10 to the EXP. PEDAL jack of the this keyboard with a stereo (TRS) cable.
EXPRESSION LIMIT
One of the human ear’s characteristics is that when the volume falls, the sound of the high or low frequencies becomes dicult to hear. Using expression limit, you can hear the re­vised frequency response.
Vintage B-3 preamps age in dierent ways-one symptom is the organ’s timbre may change with Expression pedal travel. This is a desirable characteristic for some.
Loudness
Expression = Maximum
LF
Limit
120Hz 4kHz
Loudness
Expression = Minimum
LF
Limit
120Hz 4kHz
Value
127
Output
Min. Level
Output
Min. Level
HF
Limit
Frequency
HF
Limit
Frequency
3 2 1
0
NOTE: The parameter with (P) indicated is
a patch parameter, and is recorded to each patch. (G) indicates “global parameter”, which is recorded upon being set, and is common with each patch.
Degree
79
Setting the Parameters
CONTROL - continued
80

uDAMPER

DAMPER - UPPER (G) DAMPER - LOWER (G) DAMPER - PEDAL (G) DAMPER - EXTRA VOICES (G)
Assigns the DAMPER to the various divisions of the Instrument. (14) (15) and (16) are for setting each part of the Organ section, and (17) is for the
Extra Voices.

uASSIGN

OCTAVE BUTTON - DOWN (G) OCTAVE BUTTON - UP (G) OCTAVE BUTTON - LOWER (G)
Used to assign extra functions other than the original ones to the [OCTAVE] but­tons.
ORIGIN:
Works according to the buttons’ original function.
LES STOP, LES FAST:
Similar to the [LESLIE STOP], [LESLIE FAST] buttons.
VIB UPPER, VIB LOWER:
Similar to the [VIBRATO UPPER], [VIBRATO LOWER] buttons.
GLIDE:
This is for activating the Glide function.
SPRING:
This is for producing the shock noise of the Spring Reverb.
DELAY TIME:
Sets the Delay (Eect) Time by tapping the button at the speed you wish the delay to be
set. If you keep pressing the button, the Delay sound disappears.
DAMPER
Or “Sustain” pedal-analogous to the RIGHT pedal on a piano. Sounds are held when this pedal is depressed. Called “Damper” due to the fact that when the pedal was depressed on a piano, the mechanism that muted or “damped” the strings was raised, allowing the piano strings to ring free.
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uDISPLAY

DISPLAY - SHORT CUT (G)
Sets the short cut waiting time. e setting range is 0 to 2 seconds. At NO the short cut feature is disabled.
DISPLAY - TIME OUT (G)
Sets the time for returning to the previous mode from the mode displayed by the short cut operation.
e setting range is 4 to 16 seconds. At NO the screen will not return to the previous mode.
DISPLAY - POP UP (G)
Sets the interval at which the Pop Up is displayed when you move the [OVERDRIVE] or [EFFECT AMOUNT] knob.
e setting range is 0.5 to 2 seconds. At NO no Pop Up is displayed.
81
NOTE: The parameter with (P) indicated is
a patch parameter, and is recorded to each patch. (G) indicates “global parameter”, which is recorded upon being set, and is common with each patch.
Setting the Parameters
82
MENU/
EXIT

PERCUSS (Percussion)

is mode is for setting the parameters of the percussion sounds.
To locate this mode:
ENTER
or, keep pressing either of the [SECOND], [THIRD], [FAST], [SOFT] buttons for a moment.
See “Function mode” (P. 68) for operation details.
LEVEL SOFT LEVEL - NORMAL
Controls the percussion volume levels. e Normal level is set by the NORM setting, and SOFT is the level when the [SOFT] button is ON.
DECAY - SLOW DECAY - FAST
Controls the percussion decay time. e Slow rate is set by SLOW setting, and FAST is the time when the [FAST] button is ON.
e setting range is 1 to 9 and C. As the value is raised, the decay time grows longer. At C (continuous) there is no decay, and the percussion sound is sustained while keys are pressed.
KEYBOARD - TOUCH
Sets the touch response of the percussion.
ON: Legato playing will result in the First note hit engaging the per-
cussion, and none after.
OFF: The envelopes reset with each key hit and percussion sounds on
every note.
KEYBOARD - VELOCITY
Links the percussion volume to velocity.
ON: A harder strike produces a louder percussion sound. OFF: Regardless how hard you play, the volume remains the same.
KEYBOARD - KEY TRACK
Attenuates the percussion volume by keyboard position.
ON: The higher the note is, the lesser the volume. OFF: no change in volume.
DRAWBAR - 1´ CANCEL
Mutes the UPPER 1´ Drawbar while using the percussion.
ON: Mute active OFF: No mute.
DRAWBAR - LEVEL
Reduces the UPPER Drawbar volume while using the percus­sion (except [SOFT] button is ON).
-5dB: Reduces the volume in similar response to the classic B-3/C-3.
-3dB: Slight reduction in volume. 0dB: Does not reduce the volume.
NOTE: All the parameters of these modes are patch parameters, and
are recorded to the respective patches.
TOUCH
The percussion generator on the vintage B­3/C-3 had a single envelope, which would not recycle until all keys were raised. Originally thought to be a defect, the resulting response became a desired trait.
1´ CANCEL
The B-3/C-3 had no exclusive key contact for the percussion, but, used the 1´ contact. This is simulated on this keyboard.
DRAWBAR LEVEL
When the percussion was activated on the B-3/C-3, the volume of the Drawbars became slightly softer in volume. This is simulated on this keyboard.
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MENU/
EXIT

VIB&CHO (Vibrato & Chorus)

83
In this mode, the settings specific to Vibrato and Chorus are adjusted.
To locate this mode:
ENTER
or, keep pressing either of the [V1/C1], [V1/C2], [CHORUS], [ON UPPER], [ON LOWER] buttons for a few seconds.
See “Function mode” (P. 68) for operation details.
RATE
Sets the Speed of the Vibrato and Chorus effect. e setting range is 6.10 - 7.25 Hz.
VIBRATO - TREMOLO
Sets Tremolo (amplitude modulation) of the Vibrato and Chorus effect. e setting range is 0 - 15.
EMPHASIS
Sets Emphasis (high frequency boost) of the Chorus effect (C1 / C2 / C3). e setting range is 0 - 9 dB.
PEDAL
Sets Vibrato and Chorus affects on the Pedal part by [LOWER] button. e setting range is ON/OFF.
DEPTH V1 DEPTH V2 DEPTH V3 DEPTH C1 DEPTH C2 DEPTH C3
Sets the Depth of each Vibrato and Chorus effect mode. e setting range is 0 - 15.
NOTE: The parameters in these modes are Preset Parameters and are recorded to each Preset.
CHORUS EFFECT
The Hammond Chorus/Vibrato is not an eve­ryday DSP eect. It is a re-creation of the vin­tage mechanical scanner that was included on-board the classic B-3, through executed in the digital realm.
PEDAL
On the vintage B-3/C-3, the Vibrato and Cho­rus aects not only Lower part but also Pedal part via [LOWER] (exactly, “GREAT”) tablet by the circuit structure. It is divided on later mod­els.
This parameter simulates that.
NOTE: All the parameters in these modes
are Patch Parameters. They are re­corded into the Patch.
Setting the Parameters
84

LESLIE

In this mode, the settings are made for the built-in Leslie Effect and the External Leslie Speaker.
ere are many parameters related to the Leslie functions, to make this easier to edit and use.
To locate this mode:
MENU/
EXIT
or, keep pressing either of the [BYPASS], [STOP], [FAST] buttons for a few seconds. See “Function mode” (P. 68) for operation details.
e built-in Leslie parameters are grouped in macro-settings called “CABINETS”. You select the CABINET NUMBER in the Com­bination Presets where this selection is saved as part of the Preset.
ENTER

uCABINET NUMBER

CABINET NUMBER (P)
Selects the Cabinet Number to use in the Patch. e setting range is P1 to P8 (not-overwritable) and U1 to U8 (overwritable). If the
Leslie parameter is changed, “*” is displayed on the left side.

uLESLIE PARAMETERS

CABINET NAME (L)
Sets the Cabinet Name by up to 10 characters. Move the cursor with the [][] button and select letters with the [VALUE] knob.
Allowable values are: symbols, digits and the large and small Alphabet. e name and following (L) parameters are not recorded until the Cabinet Macro is
recorded into memory (See the next paragraph.)
AMP (L)
is is for setting the type of the virtual Power Amplifier.
Solid: Flat characteristic Amp Tube: Tube-style amp with Mild characteristics.
SPEAKER (L)
is is for setting the virtual Speaker.
RotSmall: A small Leslie speaker, such as the Leslie 145 RotLarge: A large Leslie speaker, such as the Leslie 122 Station: A xed speaker, such as the Hammond PR-40
CONCEPT OF THE CABINET NUMBER
One Cabinet is equivalent to a virtual Leslie speak­er made with the Leslie parameter.
This is a Patch parameter.
#1
#2
#3
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85
SLOW SPEED - HORN (L) SLOW SPEED - BASS (L)
Mode:
SLOW FAST SLOW FAST STOP
Sets the speed of the rotor at slow mode. e setting range is 0, 24 to 318 rpm. At 0, no rotation.
FAST SPEED - HORN (L) FAST SPEED - BASS (L)
Sets the speed of the rotor at the fast mode.
Rotor Speed:
e setting range is 0, 375 to 453 rpm. At 0, no rotation.
HORN LEVEL (L) BASS LEVEL (L)
Sets the volume of each rotor. e setting range is 0 to -12dB.
RISE TIME - HORN (L) RISE TIME - BASS (L)
Sets the time for the rotors to “ramp up” to the ‘Fast Speed’, when switching from ‘Slow’ or ‘Stop’ to the ‘Fast’ mode.
e setting range for the Horn Rotor is 0.2 to 5.0sec., and the Bass Rotor is 0.5 to
12.5sec.
FALL TIME - HORN (L) FALL TIME - BASS (L)
Sets the time for the rotor to reach the ‘Slow Speed’, when switching from ‘Fast’ to ‘Slow’ mode.
e setting range for the Horn Rotor is 0.2 to 5.0sec., and that for the Bass Rotor is 0.5 to 12.5sec.
BRAKE TIME - HORN (L) BRAKE TIME - BASS (L)
Sets the time for the rotor to stop, when switching from ‘Fast’ to the ‘Stop’ mode. e setting range for the Horn Rotor is 0.2 to 5.0sec., and the Bass Rotor is 0.5 to
12.5sec.
HORN CHARACTER (L)
Sets the tone of the Horn Rotor. “FLAT” has no boost or cut in frequencies, and the “MID” or “DEEP” have “peaks” in
various tonal ranges, to mimic the particular characteristics of the horns.
MIC - ANGLE (L)
Sets the virtual locations of the two virtual microphones for the virtual Leslie Speaker. e ANGLE decides the distance between the two virtual mikes. e setting range is 0
to 180°. Farther settings exhibit more stereophonic characteristics.
MIC - DISTANCE (L)
Sets the distance between the virtual Leslie Speaker and the virtual microphones. e setting range is 0.3 to 2.7m. Setting the range “further away” will result in a less
intense sound.
NOTE: When you operate the parameters 2 to 9, the setting range will be lost after the power is
switched OFF, if you do not do the recording operation of the next paragraph.
Rise Time
Fall Time
Brake Time
Distance
Angle
Setting the Parameters
LESLIE - continued
ENTER
VALUE
86

uEXTERNAL LESLIE SPEAKER

LESLIE CHANNELS
Sets the channel for the Leslie speaker connected to the LESLIE 8-PIN jack.
1ch: For connecting a 1 channel Leslie cabinet such as the 122XB, 3300/W (non-expansion).
The Drawbar and the percussion sounds are output only from the rotary channel, the other voices are from the LINE OUT jack.
3ch: This is for connecting a 3 channel Leslie cabinet such as the 2101/mk2, 3300/W (stationary
expanded). The Drawbar and the percussion sounds are output from the rotary channel, the Extra Voices are from the stationary channel of the Main and Aux.
NOTE: This is a system parameter. It is recorded upon setting, and is common with all patch-
es.

RECORD THE CABINET

Record the Leslie Parameter (#2 to #19 on the previous page) to the Cabinet Numbers and use them selecting at the patches.
1
2
Give a name to the cabinet as desired.
MENU/
EXIT
PLAY
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
3
UPPER
NUMBER NAME
PEDAL
PATCH
LOWER
Select the Cabinet Number to record with the [VALUE] knob.
VALUE
ENTER
4
UPPER
PEDAL
NUMBER NAME
PATCH
LOWER
VALUE
ENTER
Press the [RECORD] button in the Leslie Parameter setting mode (#2 to #19).
e Cabinet Select mode is displayed.
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Recording is made upon pressing the [ENTER]. e display is as the above during the treatment.
NOTE: If you don’t wish to record, touch the [MENU/EXIT] button.

CUST. TW (Custom Tone-Wheels)

In this mode, you select the characteristics of each tone wheel set to be used on the manual keyboards.
To locate this mode:
MENU/
EXIT
See “Function mode” (P. 68) for operation details.
87
ENTER
TONE-WHEEL SET
Selects the Custom Tone-Wheel set (BType1, BType2, Mellow). e present setting is automatically switched to the selected tone wheel set.
CUSTOM NUMBER
Selects the “CUSTOM NUMBER” to use. Further refines the choice of Hammond type. “Real B-3” simulating a well-preserved
B-3/C-3, “80’s Clean” with less leakage noise, Rough sound “Noisy”, and “Noisy 60” with louder leakage noise.
NOTE: This parameter is a Global Parameter. It is common for the same Tone-wheel Set (=
“B-type” here) of each Combination Preset.
LEAKAGE NOISE
In the Vintage Hammond Organs, there was often “cross-talk” in the mechanical tone-wheel genera­tors. Originally thought a defect the “hash” sound became a very desirable Hammond trait.
“Mellow” does not include “Leakage Noise”.
Setting the Parameters
88
OD / EFF (Overdrive / Eects)
In this mode, Overdrive and the Multi-Effects are adjusted. e Organ and Extra Voice Sections have their own independent overdrive and
Multi-Effects section.
To locate this mode:
MENU/
EXIT
or, keep pressing the [OVERDRIVE], [EFFECT ON] buttons for a few seconds. See “Function mode” (P. 68) for operation details.
ENTER

uORGAN SECTION EFFECTS

OVERDRIVE

OVERDRIVE - DRIVE
Adjusts the drive component of the Overdrive. e higher you raise the value, more distortion is obtained. It is linked with the [DRAWBARS OVERDRIVE AMOUNT] knob on the top panel.
OVERDRIVE - EXPRESSION
Sets whether or not to vary the distortion amount by operating the Expression Pedal.
EX-OD:
If you operate the Expression Pedal, not only the volume but also the distortion amount
also varies.
OD-EX:
The eect of the Expression Pedal changes only the volume and the distortion amount
does not change.
OD ONLY:
The eect of the Expression Pedal only changes the distortion amount and the volume
does not change.
INPUT:
This is similar to “EX-OD”, but less of volume change.
OVERDRIVE - PREAMP
Sets the characteristic of the Overdrive.
Tube: Replicates the overdrive of a tube-driven amp. Stomp: Replicates the stomp box. Clip: Accurate hard clip. EPAmp: Replicates the pre-amplier of an electric piano.
Level
Time

MULTI-EFFECTS

EFFECT TYPE
Selects the Multi-Effect type. e following effects are built in this keyboard.
Tremolo, Auto Pan, Wah-Wah, Ring Mod., Phaser, Flanger, Chorus, Delay
e parameters for the Multi-Effects are different type by type. e explanation about the types follows:
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Tremolo
e Tremolo modulates the volume at a set cycle.
89
Level
TREMOLO - WAVEFORM
Sets which waveform is used to modulate the volume.
Tri: Triangle wave. The volume changes smoothly. Sqr: Square wave. The volume suddenly rises and falls. Saw: Sawtooth wave. Repeated decaying sound is obtained. S&H: Sample & hold. The volume changes randomly. DSqr: Dull square wave like the old electric piano eect.
TREMOLO - RATE
Adjusts the speed of the tremolo cycle. e setting range is 0 to 127. e higher the value rises, the faster the cycle becomes. is
is synchronized with the [EFFECT AMOUNT] knob on the top panel.
TREMOLO - DEPTH
Adjusts the depth of the tremolo effect. e setting range is 0 to 127. At 0 the volume does not modulate. e higher the value
goes up, the deeper becomes the effect. At 127 a repeated no sound/maximum volume is obtained.
Auto Pan
Auto Pan applies adjustable modulation to the stereo field. is is not applicable if a monophonic (one channel) amp is used, or when the Leslie
effect is used.
Depth
Rate
Time
Left Right
AUTO PAN - WAVEFORM
Sets which waveform to modulate the direction.
Tri: Triangle wave. The direction smoothly changes. Sqr: Square wave. The direction suddenly moves to the left, and suddenly moves to the right. Saw: Sawtooth waveform. The direction repeatedly moves from left to right. S&H: Sample & hold. The direction changes randomly. DSqr: Dull square wave like the old electric piano eect (recommended).
AUTO PAN - RATE
Adjusts the speed of the modulation. e setting range is 0 to 127. e higher the value rises, the faster the modulation be-
comes. It is linked with the [EFFECT AMOUNT] on the top panel.
AUTO PAN DEPTH
Adjusts the depth of the cycle. e setting range is 0 to 127. At 0, there is no direction modulation. e higher the value
rises, the deeper the effect becomes. At 127 you can give a perfect left/right repetition.
Rate
Time
Depth
NOTE: All the parameters in these modes
are Patch Parameters. They are re­corded into the Patch.
Setting the Parameters
OD / EFF (Overdrive / Eects) - continued
90
Wah-Wah
Wah-Wah imposes a “speech-like” dynamic to the sound.
Wah-Wah - SOURCE
Selects the source of the WAH control.
MAN: Uses the FREQ parameters, i.e. the [EFFECT AMOUNT] knob. EXP: Uses the Expression Pedal like a “Wah Wah pedal”. LFO: Auto-Wah using the built-in ‘LFO - Low Frequency Oscillator’.
Wah-Wah - SENSITIVITY
Sets the sensitivity to change the Wah effect of LFO or Expression Pedal. It is linked with the [EFFECT AMOUNT] knob on the top panel when the
SOURCE (5) is set at EXP or LFO. e setting range is 0 to 127. e dynamic response increases as the value rises.
Wah-Wah RESONANCE
Boosts the cut-off frequency range of the Low-pass Filter and gives a more pro­nounced “Wah” effect.
e setting range is 0 to 127. e resonance increases as the value rises.
Wah-Wah - WAVEFORM
When the SOURCE (5) is set at LFO, the LFO wave form is set.
Tri: Triangle wave. The sound smoothly varies. Sqr: Square wave. The lter suddenly opens and suddenly closes. Saw: Saw-tooth wave. Repeated changes in the sound are obtained. S&H: Sample & Hold. Random sound changes are obtained.
Wah-Wah - RATE
When the SOURCE (5) is set at LFO, the cycle speed is adjusted. e setting range is 0 to 127. e cycle becomes faster as the value increases.
Wah-Wah - FREQUENCY
Adjusts the central frequency. It is linked with the [EFFECT AMOUNT] knob on the top panel when the SOURCE (5) is set at MAN.
e setting range is 0 to 127. e frequency becomes higher as the value is increased.
Waveform,
Rate
Modulation
Source
Level
Resonance
Sensitivity
Frequency
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Ring Mod.
e Ring Modulator creates complex, metallic-like sounds by taking the sum and differ­ence of the fundamental tone and a second “ring” frequency.
91
RING MODULATOR - SOURCE
Selects what to use to modulate the ring frequency.
MAN: Uses the following FREQ parameter, i. e. the [EFFECT AMOUNT] knob. EXP: Modulates the ring frequency with the Expression Pedal. LFO: Allows a cyclical modulation eect using the built-in LFO-Low Frequency Oscillator. NOTE: The ring frequency changes by the note, i. d. the UPPER Part performance (or the performance
of the allocated part if in the Extra Voices).
RING MODULATOR - FREQUENCY
Adjusts the central ring frequency. It is linked with the [EFFECT AMOUNT] knob on the top panel.
e setting range is 0 to 127. e frequency becomes higher as the value increases.
RING MODULATOR - MIX
Adjusts the volume balance between the fundamental and effect sounds. e setting range is 0 to 127. At 0, only the fundamental sound is heard. As the value is
raised, the more effect is added. At 127, only the effect comes out.
RING MODULATOR - WAVEFORM
When the SOURCE (5) is set at LFO, the LFO waveform is set.
Tri: Triangle wave. The ring frequency number smoothly varies. Sqr: Square wave. The ring sound suddenly changes to treble and also suddenly to bass. Saw: Sawtooth wave. The ring sound repeatedly drops from treble to bass. S&H: Sample & hold wave. The ring frequency changes randomly.
RING MODULATOR - RATE
When the SOURCE (5) is set at LFO, the frequency speed is adjusted. e setting range is 0 to 127. e cycle becomes faster as the value is raised.
RING MODULATOR - DEPTH
Adjusts the depth of the frequency change when the source is set at LFO or EXP. e setting range is 0 to 127. e ring frequency becomes wider as the value is raised.
Level
Waveform,
Rate
Modulation
Source
Original Signal
Modulation
Eect Signal
Ring
Frequency
Frequency
Setting the Parameters
OD / EFF (Overdrive / Eects) - continued
92
Phaser
is creates a sound with a shifting phase, adding a twisting effect to the sound..
PHASER - RATE
Adjusts the frequency speed. It is linked with the [EFFECT AMOUNT] knob. e setting range is 0 to 127. e cycle becomes faster as the value increases.
PHASER - DEPTH
Adjusts the depth of modulation. e setting range is 0 to 127. e modulation becomes deeper as the value increases.
PHASER - RESONANCE
Adjusts the resonance (feed-back) amount. e setting range is 0 to 127. e resonance becomes greater as the value increases.
At higher values, the sound is modulated beyond normal recognition.
PHASER - MANUAL
Sets the middle frequency of the phase effect. e setting range is 0 to 127. e frequency becomes higher as the value increases.
PHASER - MIX
Adjusts the volume balance between the “dry” and the effect sound. e setting range is 0 to 127. At 0, only “dry” is heard. e effect level becomes great-
er as the value increases. At 127 the ratio between the “dry” and the effect sounds becomes 1:1.
PHASER - HPF
Controls the frequency range of the effect. e setting range is 0 to 127. At 0 the effect is added to all frequencies. e effect is
added to the higher frequencies as the value increases.
Level
HPF
Rate
Depth
Mix
Modulation
Manual
eect range
Frequency
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Flanger
is is the sweeping “Jet Airplane” sound adjustable from a mild shimmer to a deep “swoosh”.
FLANGER - RATE
Adjusts the modulation speed. It is linked with the [EFFECT AMOUNT] knob on the top panel.
e setting range is 0 to 127. e cycle becomes faster as the value increases.
FLANGER - DEPTH
Adjusts the depth of modulation. e setting range is 0 to 127. e modulation becomes deeper as the value increases.
FLANGER - RESONANCE
Adjusts the amount of resonance (feed-back). e setting range is 0 to 127. e resonance becomes greater as the value increases. At
higher values, the sound is modulated beyond normal recognition.
FLANGER - DELAY
Controls the delay of the effect sound. e setting range is 0 to 127. e delay increases as the value is increased.
FLANGER - MIX
Adjusts the volume balance between the “dry” and the effect sound. e setting range is 0 to 127. At 0, only the “dry” is heard. e effect level becomes
greater as the value is increased. At 127 the ratio between the “dry” and the effect sounds becomes 1:1.
FLANGER - HPF
Controls the frequency range of the effect. e setting range is 0 to 127. At 0 the effect is added to all frequencies. e effect is
added to the higher frequencies as the value increases.
Level
Mix
Modulation
HPF
93
Rate
Depth
eect range
Frequency
Setting the Parameters
94
Chorus
is “Chorus” is NOT the same as Hammond’s proprietary “Chorus-Vibrato”. is effect is the familiar Chorus as heard widely on electric pianos, guitars, etc.
CHORUS - RATE
Adjusts the speed of the cycle of the rising and falling effect pitch. It is linked with the [EFFECT AMOUNT] on the top panel.
e setting rate is 0 to 127. e cycle becomes faster as the value increases.
CHORUS - DEPTH
Adjusts the depth of modulation. e setting range is 0 to 127. e modulation becomes deeper as the value increases.
CHORUS - RESONANCE
Adjusts the amount of resonance (feed-back). e setting range is 0 to 127. e resonance becomes greater as the value increases.
At higher values, the sound is modulated beyond normal recognition.
CHORUS - DELAY
Controls the delay of the effect sound. e setting range is 0 to 127. e delay becomes greater as the value increases.
CHORUS - MIX
Adjusts the volume balance between the “dry” and the effect sound. e setting range is 0 to 127. At 0, only the “dry” is heard. e effect level be-
comes greater as the value increases. At 127 the ratio between the “dry” and the effect sounds becomes 1:1.
CHORUS - HPF
Controls the frequency range of the effect. e setting range is 0 to 127. At 0, the effect is added to all frequencies. e effect is
added to the higher frequencies as the value increases.
CHORUS - PHASE
Selects the type of the chorus effect available: “2” (normal) or “3” (rich) phase effect type.
NOTE: There is no phase parameter on the organ section. And it is xed at “2”.
❿ ⓫
Level
Rate
Depth
Original Signal
Eect Signal
Mix
Frequency
eect range
HPF
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Delay
is is for adding echo effects.
95
DELAY - TYPE
Select the type of delay here.
MONO:
A simply delayed sound.
RtoL, LtoR:
The delay is alternated in the stereo eld. At RtoL the delayed sound comes from the right, and
at LtoR from the left. Your results may vary when used in a mono idiom, or through a Leslie Speaker.
DELAY - TIME
Adjusts the delay time. It is linked with the [EFFECT AMOUNT] on the top panel. e setting range is 10 to 1000 ms.
DELAY - FEED-BACK
Sets the repetition amount of the effect sound. e setting range is 0 to 127. e repetition becomes greater as the value is increased.
DELAY - MIX
Adjusts the volume balance between the “dry” and the effect sound. e setting range is 0 to 127. At 0, only the “dry” is heard. e effect level becomes
greater as the value is increased. At 64 the ratio between the “dry” and the effect sounds becomes 1:1. At 127 only the effect sound is heard.
Level
Delay Time
Level
L R
TYPE = MONO
Original Signal
Eect Signal
Mix
Feedback
Time
TYPE = PAN
L R
L R
Time

uEFFECTS OF THE EXTRA VOICE SECTION

OVERDRIVE

OVERDRIVE - SWITCH
Turns the Overdrive effect of Extra Voice section “ON/OFF”.
NOTE: While this parameter is “ON”, the stereo sound of “Stereo Grand” etc. becomes monaural.
OVERDRIVE - DRIVE
Controls the distortion amount. e distortion becomes greater as the value is increased. ere is no knob linked with this effect, different from the organ section, so the setting
is possible only in this mode.
OVERDRIVE - EXPRESSION OVERDRIVE - PREAMP
e functions of these parameters are the same as those of the organ section.

MULTI-EFFECTS

EFFECT TYPE and the other effect parameters
e functions of these parameters are the same as those of the organ section.
NOTE: All the parameters in these modes
are Patch Parameters. They are re­corded into the Patch.
Setting the Parameters
96
MENU/
EXIT

EQUALIZ (Equalizer)

In this mode, you adjust the settings for the Equalizer. An Equalizer is used to adjust the tonal quality. e SK1/2’s built-in Equalizer con-
sists of 3 bands and a recreation of the unique “tone” control that was part of the vintage B-3. e Bass and Treble bands are handled by “shelf ” equalizers, and the Mid band is handled by parametric control.
To locate this mode:
See “Function mode” (P. 68) for operation details.
ENTER

uORGAN SECTION

TONE CONTROL
is is a simulated original B-3 TONE CONTROL. Its response is unique, but its basic response is to gently cut the overall treble above 200Hz.
e setting range is -9 to +9, and it becomes neutral when set at “0”. “-1” corre­sponds to the maximum of the original B-3 tone control, “-5”, the middle, “-9”, the minimum. e tone control found on the original B-3, was only available at “minus” settings, but here you are able to “plus” the settings as well.

uORGAN SECTION, EXTRA VOICE SECTION

❷, ❽ GAIN - BASS ❸, ❾ GAIN - MIDDLE ❹, ❿ GAIN - TREBLE
Adjusts the Boost/Cut of Bass, Mid-range and Treble respectively. e setting range is -9 to +9. It is flat at 0.
❺, ⓫ FREQUENCY - BASS ❻, ⓬ FREQUENCY - MIDDLE ❼, ⓭ FREQUENCY - TREBLE
Adjusts the central frequency that will be attenuated. e setting range is 20Hz - 200Hz for BASS, 250Hz - 3.1kHz for MIDDLE, 4.0kHz
- 8.0kHz for TREBLE.
v The sound may distort if gains are raised too high. Adjust accordingly.
NOTE: The parameters in these modes are patch parameters, and are recorded to respective
patches.
+3dB
0dB
-3dB
-9dB
-15dB
+9dB
0dB
-9dB
Gain
Gain
100Hz
Bass Gain
Middle Freq.
1kHz 10kHz
Middle
Gain
1kHz
TC
+9
0
-1
-5
-9
Frequency
Treble
Gain
Frequency
THE EFFECTIVE USE OF THE MID-
DLE FREQUENCY
The frequency response of the horn rotor in the Leslie speaker is not at. It has a peak from 1kHz to 3kHz. This peak is eective in “cutting through” any ensemble playing.
If you use this organ through line out without a Le­slie speaker, you can duplicate eect by setting the FREQUENCY- MIDDLE to approximately 2kHz, and the GAIN - MIDDLE to “+”.
PATCH PARAMETERS
The equalizer is designed to be a patch parameter to be actively utilized as a part of sound making parameter.
Use the Master Equalizer for tonal compensation to match the performance stage (P. 27).
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REVERB

In this mode, you set the Reverb effect. Reverb is common with the Organ and Extra Voice sections, the single reverb control
section affects both.
To locate this mode:
MENU/
EXIT
or, keep pressing the [REVERB ON] button for a few seconds. See “Function mode” (P. 68) for operation details.
DEPTH
is sets the depth (volume) of the Reverb Effect. e setting range is 0 to 127. is parameter is linked with the [REVERB DEPTH]
knob on the top panel.
TYPE
is sets the types of Reverb Effect.
Room 1: Small room Room 2: Large room Live: Ambient room Hall 1: Large Hall Hall 2: Small Hall Church: Church Plate: Iron-plate Reverb Spring: Spring Reverb Delay: Delay PanDly: Panning Delay RevDly: Reverb + Delay
REVERB TIME
When the Type (#2) is set at Room 1 to Spring, e decay of the Reverb is attenuated. e setting range is 0 to 127. e decay becomes greater as the value is increased.
DELAY TIME
When the Type (#2) is set at Delay, PanDly, RevDly, this sets the delay time. e setting range is 4.7 to 2000ms. e delay becomes longer as the number value is
increased.
NOTE: You can set the delay time with the foot switch. (P. 78 #2)
DELAY FEEDBACK
When the Type (#2) is at Delay, PanDly, RevDly, it sets the amount of Feedback (How many times the sound repeats.)
e setting range is 0 to 96%. e repetition becomes greater as the value is increased.
NOTE: Type (#2) is a micro-parameter. When you change the type, each reverb parameter (ex-
cept #1) is automatically set to the recommend value.
97
ENTER
NOTE: All the parameters in these modes
are Patch Parameters. They are re­corded into the Patch.
Setting the Parameters
98
In this mode, the entire keyboard is tuned.
To locate this mode:
MENU/
EXIT
See “Function mode” (P. 68) for operation details.

uMASTER TUNE

MASTER TUNE
is is for tuning the entire keyboard. e setting range is A = 430 to 450 Hz.

TUNE

ENTER
NOTE: The parameter of this mode is a global parameter. It is recorded when it is set, and is
common for each patch.
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DEFAULT

In this mode, you can go back totally or partially to the factory default settings.
To locate this mode:
MENU/
EXIT
To initialize each parameter, select the parameter you want to initialize with the [][] button and press the [ENTER] button.
MANUAL
is is for initializing the contents of the [MANUAL] button. Used to create a “clean slate” for new Patch settings.
PATCH
is is for initializing the User Patch contents (from Preset Patch with same patch num­ber). Select the Patch you want to initialize with the [VALUE] knob. e selecting range is U001 to U100 and ALL (All user patches).
GLOBAL
is is for initializing the Global Parameters such as the Master Tune or assignment of the Foot Switch.
LESLIE
is is for initializing the contents of all internal Leslie cabinets. Select the cabinet you want to initialize with the [VALUE] knob. e selecting range is U1 to U8 and ALL (All User cabinets).
LIBRARY
is is for deleting all the tone library contents and rewriting to the default contents.
ALL
is is for initializing all parameters of this keyboard. If any unstable condition occurs on this keyboard system, initializing “all” will usually
clear the problem.
NOTE: You can also totally initialize your keyboard by switching the power ON while pressing
and holding the [RECORD] button.
99
ENTER
Setting the Parameters
100
MENU/
EXIT

SYSTEM

In this mode,the System information of the SK1/SK2 is displayed.
To locate this mode:
ENTER
See “Function mode” (P. 68) for operation details.
VERSION - MAIN PROGRAM VERSION - SUB-PROGRAM VERSION - VOICE INFORMATION VERSION - D. S. P. VERSION - BOOTSTRAP PROGRAM VERSION - FACTORY PRESET
is mode is display only and not intended for System update use.
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