Hammond XM-2 User Manual

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Model :/

Thank you, and congratulations on your choice of

a Hammond XM-2, Drawbar Sound Module.

In order to get the most out of this instrument for

many years to come, please take the time to read

this manual in full.

Owner’s Manual

IMPORTANT SAFETY INSTRUCTIONS

Before using this unit, please carefully read this “Safety Instructions” and use it correctly. Please be sure to keep this manual at hand even after reading it once. This “Safety Instructions” section contains very important points for securing your safety. Strictly observe the instructions, please. In this manual, the degrees of dangers and damages are classified and explained as follows:

WARNING

as instructed.

This sign shows there is a risk of injury or material damage if this unit is not properly

This sign shows there is a risk of death or severe injury if this unit is not properly used

CAUTION

used as instructed.

*Material damage here means a damage to the room, furniture or animals or pets.

WARNING

 Do not open (or modify in any way) the unit or its AC adap-

tor.

 Do not attempt to repair the unit, or replace parts in it (except

when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Hammond, or an authorized Hammond distributor, as listed on the “Service” page.

 Never use or store the unit in places that are:

 Subject to temperature extremes (e.g., direct sunlight in

an enclosed vehicle, near a heating duct, on top of heatgenerating equipment)

 Damp (e.g., baths, washrooms, on wet floors)  Humid  Exposed to rain  Dusty  Subject to high levels of vibration.

 Be sure to use only the AC adaptor supplied with the unit.

Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.

 Do not excessively twist or bend the power cord, nor place

heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!

 This unit, either alone or in combination with an amplifier

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

 Immediately turn the power off, remove the AC adaptor from

the outlet, and request servicing by your retailer, the nearest Hammond, or an authorized Hammond distributor, as listed on the “Service” page when:  The AC adaptor, the power-supply cord, or the plug has

been damaged; or

 If smoke or unusual odor occurs  Objects have fallen into, or liquid has been spilled onto

the unit; or

 The unit has been exposed to rain (or otherwise has be-

come wet); or

 The unit does not appear to operate normally or exhibits a

marked change in performance.

 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.

 Protect the unit from strong impact.

(Do not drop it!)

 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.

 Before using the unit in a foreign country, consult with your

retailer, the nearest Hammond, or an authorized Hammond distributor, as listed on the “Service” page.

 Do not put anything that contains water (e.g., flower vases)

on this unit. Also, avoid the use of insecticides, perfumes, alcohol, nail polish, spray cans, etc., near the unit. Swiftly wipe away any liquid that spills on the unit using a dry, soft cloth.

 Do not allow any objects (e.g., flammable material, coins,

pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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CAUTION

 The unit and the AC adaptor should be located so their loca-

tion or position does not interfere with their proper ventilation.

 Always grasp only the plug on the AC adaptor cord when plug-

ging into, or unplugging from, an outlet or this unit.

 At regular intervals, you should unplug the AC adaptor 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 fire.

 Try to prevent cords and cables from becoming entangled.

Also, all cords and cables should be placed so they are out of the reach of children.

 Never climb on top of, nor place heavy objects on the unit.

 Never handle the AC adaptor or its plugs with wet hands

when plugging into, or unplugging from, an outlet of this unit.

 Before moving the unit, disconnect the AC adaptor and

all cords coming from external devices.

 Before cleaning the unit, turn off the power and unplug

the AC adaptor from the outlet.

 Whenever you suspect the possibility of lightning in your

area, disconnect the AC adaptor from the outlet.

In case if in the future your instrument gets too old to play or mal-

functions beyond repair, please observe the instructions of this

mark, or, if any question, be sure to contact your dealer or your

nearest town or municipal office for its proper disposal.

Introduction

IMPORTANT - PLEASE READ

Power Supply

 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 light-

ing system).

 The AC adaptor will begin to generate heat after long hours of con-

secutive use. This is normal, and is not a cause for concern.

 Before connecting this unit to other devices, turn off the power to

all units. This will help prevent malfunctions and/or damage to speak-

ers or other devices.

Placement

 Using the unit near power amplifiers (or other equipment contain-

ing large power transformers) may induce hum. To alleviate the prob-

lem, change the orientation of this unit; or move it farther away

from the source of interference.

 This device may interfere with radio and television reception. Do

not use this device in the vicinity of such receivers.

 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.

 Do not expose the unit to direct sunlight, place it near devices that

radiate heat, leave it inside an enclosed vehicle, or otherwise sub-

ject 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.

 When moved from one location to another where the temperature

and/or humidity is very different, water droplets (condensation) may

form inside the unit. Damage or malfunction may result if you at-

tempt to use the unit in this condition. Therefore, before using the

unit, you must allow it to stand for several hours, until the conden-

sation has completely evaporated.

 Do not allow rubber, vinyl, or similar materials to remain on the

unit for long periods of time. Such objects can discolor or other-

wise harmfully affect the finish

Maintenance

 To clean the unit, use a dry, soft cloth; or one that is slightly damp-

ened.

 To remove stubborn dirt off plastic parts, use a cloth impregnated

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.

 Never use benzine, thinners, alcohol or solvents of any kind, to avoid

the possibility of discoloration and/or deformation.

Additional Precautions

 Please be aware that the contents of memory can be irretrievably

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 impor-

tant data you have stored in the unit’s memory in another MIDI

device (e.g., a sequencer).

 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.

 Use a reasonable amount of care when using the unit’s buttons, slid-

ers, or other controls; and when using its jacks and connectors. Rough

handling can lead to malfunctions.

 When connecting / disconnecting all cables, grasp the connector

itself - never pull on the cable. This way you will avoid causing

shorts, or damage to the cable’s internal elements.

 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).

 When you need to transport the unit, package it in the box (includ-

ing padding) that it came in, if possible. Otherwise, you will need to

use equivalent packaging materials.

 Do not paste stickers, decals, or the like to this instrument. Peeling

such matter off the instrument may damage the exterior finish.

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BATTERY BACK UP

Your XM-2 uses a battery-backed RAM to remember your changes to the Parameters.

When the battery voltage becomes low, the Display will show:

If you see these messages, you should immediately back up your parameter changes, if

you have made any. If there is no battery installed in the unit, or if the battery is

compeletely dead, the Display will show:

After the above message is displayed, the XM-2 will re-initialize itself, and the factory

default settings will be restored. Therefore, it is a good idea to periodically save your

data to a sequencer.

CAUTION: Ask your dealer or store for the details how to change the batter-

ies.

Introduction

IMPORTANT SAFETY INSTRUCTIONS.................................. 2

IMPORTANT - PLEASE READ ............................................... 4

BATTERY BACK UP .............................................................. 5

MAIN FEATURES ................................................................. 9

NAMES AND FUNCTIONS .................................................. 10

Front Panel................................................................................... 10

Rear Panel ................................................................................... 11

HOOK-UP........................................ 13

BASIC HOOK-UP ................................................................ 14

CONNECTION USING A SIMPLE MIDI KEYBOARD ............................... 14

CONNECTION USING A SIMPLE MIDI KEYBOARD AND THE XMc-2 .... 15

CONNECTION USING A MULTI-FUNCTIONAL MIDI KEYBOARD ............ 16

CONNECTION USING TWO MIDI KEYBOARDS ..................................... 16

CONNECTION USING MULTIPLE MIDI KEYBOARDS AND THE XMc-2 .. 17

CONNECTION OF LESLIE SPEAKER ................................... 18

BASIC CONNECTION OF THE LESLIE SPEAKER .................................. 18

MIDI CONTROL OF LESLIE SPEAKER .................................................. 18

TURN ON AND PLAY ...................... 19

TURN ON THE POWER....................................................... 20

HOW TO TURN THE POWER ON ......................................................... 20

BACK-UP ............................................................................................ 20

RESET TO THE FACTORY SETTINGS .................................................. 20

LISTEN TO THE DEMONSTRATION .................................... 21

PLAY BY THE PATCH ......................................................... 22

HOW TO CALL OUT THE PATCHES ..................................................... 22

WHAT IS “PART” ?.............................................................................. 22

PLAY WITH THE CONTROLLERS ....................................... 23

PITCH BEND ....................................................................................... 23

EXPRESSION PEDAL ........................................................................... 23

FOOT SWITCH .................................................................................... 23

CREATE YOUR OWN SOUNDS ........................................... 24

SELECT PATCH 128. ........................................................................... 24

MAKE THE DRAWBAR REGISTRATION ............................................... 24

ADD PERCUSSION .............................................................................. 24

ADD EFFECTS ..................................................................................... 25

VIBRATO AND CHORUS ............................................................... 25

LESLIE ......................................................................................... 25

RECORD TO THE PATCH ..................................................................... 26

SETTING UP ................................... 27

SOUND ENGINE STRUCTURE ............................................ 28

SYSTEM STRUCTURE OF XM-2 .......................................................... 28

HOW TO USE THE PANEL BUTTONS ................................. 30

EXAMPLE: Set Upper 8' of Drawbar registration at 5. .......................... 30

DRAWBAR (DRAWBAR registration) ................................. 31

DRAWBARS™ .................................................................... 32

WHITE DRAWBARS ............................................................................ 33

BLACK DRAWBARS ............................................................................ 33

BROWN DRAWBARS .......................................................................... 33

PEDAL DRAWBARS ............................................................................ 33

DRAWBAR REGISTRATION PATTERNS ............................................... 34

PERC (PERCussion)........................................................... 36

NOTE .................................................................................................. 36

DRAWBAR CANCEL ..................................................................... 36

VIB & CHO (VIBrato and CHOrus) ..................................... 37

LESLIE ............................................................................... 38

PATCH ................................................................................ 39

NAME THE PATCH .............................................................................. 39

RECORD A NEW PATCH ...................................................................... 40

DISPLAY AND ITS OPERATION..... 41

PLAY MODE ....................................................................... 42

HOW TO READ THE DISPLAY ............................................................. 42

PANEL BUTTON MODE ...................................................... 43

HOW TO READ THE DISPLAY ............................................................. 43

BUTTON OPERATION IN THIS MODE................................................... 43

MENU MODE ..................................................................... 44

HOW TO READ THE DISPLAY ............................................................. 44

BUTTON OPERATION IN THIS MENU................................................... 44

FUNCTION MODE .............................................................. 45

HOW TO READ THE DISPLAY ............................................................. 45

BUTTON OPERATION IN THIS MODE................................................... 45

EXAMPLE: Adjusting the DECAY TIME of the Percussion [FAST] ......... 46

SHORT CUT TO THE FUNCTION MODE .............................. 48

EXAMPLE: Move to the Percussion Function Mode. ........................... 48

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IN THIS MANUAL:

NOTE:s and appear frequently.

The NOTE: is a supplementary explanation.

The are explanations of terms and

applications.

SETTING THE PARAMETERS ....... 49

DRAWBAR ......................................................................... 50

Setting the Manual (LOWER and UPPER) ................................................. 50

Setting the PEDAL .................................................................................... 51

PATCH ................................................................................ 52

PATCH NAME ........................................................................................... 52

PATCH LOAD ............................................................................................ 52

PATCH NUMBERS .....................................................................................52

EFFECTIVE USE OF LINK-LOWER/PEDAL ............................................ 53

WHEN LINK LOWER/PEDAL IS ON: .............................................. 53

WHEN LINK LOWER/PEDAL IS OFF: ............................................. 53

CONTROL........................................................................... 54

PITCH BEND ............................................................................................. 54

MODULATION ...........................................................................................55

PRESSURE ............................................................................................... 55

EXPRESSION ............................................................................................ 56

FOOT SWITCH .......................................................................................... 57

DISPLAY ...................................................................................................57

ADJUSTING THE EXPRESSION PEDAL ................................................ 58

TUNE ................................................................................. 59

CUSTOM TONEWHEELS .................................................... 60

B-Type ......................................................................................................... 60

Mellow ......................................................................................................... 60

Brite ............................................................................................................. 60

PERCUSS (PERCUSSion) .................................................. 61

LESLIE ............................................................................... 62

CABINET NUMBERS ................................................................................. 62

LESLIE PARAMETERS .............................................................................. 62

RECORD THE CABINETS ..................................................................... 64

OD/VIB (OverDrive / VIBrato) ............................................ 65

OVERDRIVE .............................................................................................. 65

VIBRATO & CHORUS ................................................................................65

EQUALIZ (EQUALIZer) ....................................................... 66

REVERB ............................................................................. 67

MIDI .................................................................................. 68

MIDI TEMPLATE ....................................................................................... 68

MASTER ................................................................................................... 68

MIDI CHANNEL .........................................................................................69

MIDI TEMPLATES AND THEIR PURPOSES .......................................... 70

THE MIDI IN MODES AND THEIR FUNCTIONS ..................................... 70

KEYMAP ............................................................................ 71

SPLIT ....................................................................................................... 71

MANUAL BASS ......................................................................................... 71

WHAT IS SPLIT? ...................................................................................... 71

WHAT IS MANUAL BASS?........................................................................ 71

DEFAULT ............................................................................ 72

SYSTEM ............................................................................ 73

APPENDIX ...................................... 75

Part and MIDI Messages ................................................... 77

MIDI Information ............................................................... 78

Drawbar Data List 1 .......................................................... 79

Drawbar Data List 2 .......................................................... 79

System Exclusive Message ............................................... 80

Global Parameters ............................................................ 81

Patch Parameters.............................................................. 82

Leslie Parameters ............................................................. 84

System Parameters ........................................................... 84

Specifications.................................................................... 86

Demonstration Songs and Composers .............................. 87

Factory Patches ................................................................ 88

SERVICE ............................................................................ 89

Introduction

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MAIN FEATURES

ACCURATELY REPRODUCES THE TONE-WHEEL SOUND.

Your new XM-2 contains (96) independent oscillating digital tone-wheels which accurately repro-

duces the sound of the Vintage B-3.

In addition, this module has full polyphony.

DIGITAL LESLIE / VIBRATO EFFECTS.

The XM-2 module is equipped with a DSP effect generator to simulate the Scanner-Vibrato and the

Leslie Speaker.

The range of sounds that you can create is expanded by the use of Vibrato and Chorus effects, and by

the real sounding Leslie effects which effectively simulates the rotation of the two Rotors which are

present in a traditional Leslie.

8-PIN LESLIE SPEAKER SOCKET.

Your new XM-2 contains an 8-pin Leslie speaker socket for direct connection to our Leslie 21 System

Speakers.

CAN BE EXPANDED BY USE OF EXTERNAL MIDI PRODUCTS.

You can connect your XM-2 with various MIDI instruments and expand its function. You can not

only play it using a single MIDI keyboard but also expand the number of keyboards (Lower Key-

board and Pedal Keyboard) by connecting it with other MIDI keyboards. You can also record your

performance to an external sequencer.

Introduction

Front Panel

NAMES AND FUNCTIONS

1 2 3 4

FRONT LEFT SIDE

1. POWER Switch

This switches ON/OFF the module.

2. CONTROLLER Jack

This is the terminal for connecting the Drawbar Controller

XMc-2 (to be separately purchased).

Use the exclusive cable HMC-1 for connection.

3. VOLUME Knob

Controls the total volume.

4. DISPLAY

Displays various information.

EDIT BUTTONS

5. PLAY Button

Jumps to the PLAY mode, the basic mode.

10. VALUE Knob

Increases and decreases the Patch or value of the selected

parameter.

11. ENTER Button

This is used for deciding the selected items.

12 13

14 15

PANEL BUTTONS

12. DRAWBAR Button

Calls out the Drawbar Registration mode.

13. PERC. Button

Calls out the Percussion Switch mode.

14. VIB. & CHO. Button

Calls out the Vibrato Switch mode.

14. LESLIE Button

Calls out the Leslie Switch mode.

6. MENU/EXIT Button

Recalls the MENU mode. This is also used to return from

each function mode.

7. RECORD Button

Records the Patches.

This is also used for controlling the other recording.

8. PAGE Buttons

Selects Pages in the menu.

9. PARAMETER Buttons

Selects Parameters.

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Rear Panel

16 19 17 18 20 21 22 25 24 23

POWER SUPPLY

16. DC IN Jack

Connects the attached AC Adaptor AD1-1508 (100 - 120V)

AD3-1508 (220 - 240V).

SOUND OUTPUT TERMINAL

17. LINE OUT L/MONO Jack

If your amplifier has only a single (1) female 1/4" audio

input connector (MONO input), use this Jack.

18. LINE OUT R Jack

This is the Right channel output of the XM-2.

Use the Left and Right output Jacks if your mixer or ampli-

fier has stereo inputs.

Use only the L/MONO terminal, if the input is monaural.

The built-in Leslie Effect is only on L (the left), when the

Leslie Speaker (20) is connected.

19. HEADPHONE Jack

This is for connecting a set of stereo headphones.

Sound is sent out from the LINE-OUTS (17, 18) and

LESLIE 8PIN (20), also when this terminal is used.

The built-in LESLIE is only on L (the left), when the

LESLIE SPEAKER (20) is connected.

20. LESLIE 8PIN Jack

This is for connecting the Leslie 21 System Speaker.

Read “CONNECTING THE LESLIE SPEAKER” for more

details.

CONTROLLER TERMINAL

21. EXP. PEDAL Jack

This terminal is for the Expression Pedal (V-20R - optional).

You can control the volume while you play.

22. FOOT SWITCH Jack

This terminal is for the Foot Switch (FS-9H - optional).

You can switch the speed of the Leslie effect and the Patch,

etc. while playing.

MIDI

23. MIDI OUT Jack

Outputs the internal information of this unit and the play-

ing information from the MIDI IN terminal (according to

the setting).

24. MIDI IN 1 Jack

Receives the MIDI information.

The factory setting of this terminal is for receiving the in-

formation through the MIDI channel.

You can also set it for receiving only a specified part infor-

mation, regardless of the channel.

25. MIDI IN 2 Jack

Receives the MIDI information.

The factory setting of this terminal is for receiving the in-

formation through the MIDI channel.

You can also set it for receiving only a specified part infor-

mation, regardless of the channel.

Introduction

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HOOK-UP

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BASIC HOOK-UP

Be sure to turn OFF the power of your XM-2 and connecting devices before you do the

hookup.

CONNECTION USING A SIMPLE MIDI KEYBOARD

This is the simplest example.

You can play as many as 3 parts by a single-manual MIDI Keyboard, using the Split and Manual Bass

functions of the XM-2.

Set the MIDI Keyboard for sending a single channel. (The channel number does not matter.)

Call out “Single KBD” by the MIDI Template (P. 68) of this unit.

In this case of connection, you can record to and play out of an external sequencer.

AC Adaptor

(Provided)

Stereo

Headphones

To Mixer, Amplifier etc.

MIDI Sequencer,

Computer etc.

(optional)

Foot Switch

(optional)

Expression

Pedal (optional)

MIDI OUT

*#1 :/Owner’s Manual

MIDI Keyboard

CONNECTION USING A SIMPLE MIDI

KEYBOARD AND THE XMc-2

The hook-up example shown below is for making the Drawbar Registration change at hand

using the Drawbar Controller XMc-2.

Set the MIDI Keyboard for sending a single channel. (The channel number does not matter.)

Call out “Single KBD” by the MIDI Template (P. 68) of this unit.

In this case of connection, you can record to and play out of an external sequencer.

MIDI Sequencer,

Computer etc.

(optional)

TO XM-2

MIDI Keyboard

MIDI IN

MIDI OUT

Hook-Up

CONNECTION USING A MULTI-FUNCTIONAL

MIDI KEYBOARD

This hook-up shown below is for using a MIDI Keyboard that can send data to multiple MIDI

channels or an electronic organ that has multiple keyboards.

Call out “By Channel” by the MIDI template (P. 68) of this unit.

Set appropriate values for the MIDI channels on this unit and on each keyboard. The default

settings of the receiving channels on this unit are Upper = 1, Lower = 2, and Pedal = 3.

MIDI Keyboard (for UPPER / LOWER / PEDAL)

MIDI OUT

CONNECTION USING TWO MIDI KEYBOARDS

This hook-up example is for using two MIDI Keyboards; one for playing UPPER and the other

for playing LOWER part.

Set each of the MIDI Keyboard to send a single channel. (The channel numbers do not matter.)

Call out “2KBD for L&U” by the MIDI Template (P. 68) of this unit.

MIDI Keyboard (for UPPER)

MIDI OUT

MIDI Keyboard (for LOWER)

MIDI OUT

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CONNECTION USING MULTIPLE MIDI

KEYBOARDS AND THE XMc-2

Using the Drawbar Controller XMc-2 allows you not only to change the Draw-

bar Registration at hand, but also to easily build the double or triple manual

systems using the built-in MIDI IN terminal of the XMc-2.

Set each MIDI Keyboard to send a single channel. (The channel number does

not matter.)

Call out “2/3KBD via XMc” by the MIDI Template (P. 68) of this unit.

This example of connection allows you to record into an external sequencer.

MIDI Sequencer,

Computer etc.

(optional)

TO XM-2

MIDI Keyboard (for UPPER)

MIDI OUT

MIDI Keyboard (for LOWER)

MIDI OUT

MIDI Pedalboard

MIDI IN

Hook-Up

CONNECTION OF LESLIE SPEAKER

This unit has an 8-pin Leslie Connector which can directly connect the Leslie

Speaker.

Be sure to turn OFF the power before you connect to the Leslie Speaker.

BASIC CONNECTION OF THE LESLIE

SPEAKER

Connect the Leslie Speakers #2101, 2102 and the Leslie 8-pin terminal by use of the exclusive

8-pin Leslie Cable LC-7-8M(= optional, to be separately purchased).

NOTE: The Leslie terminal on this unit has 8 pins. For connecting a 11-pin Leslie Speakers, you

need a Leslie Adaptor XLD-811 (= optional, to be separately purchased).

The volume of the Leslie Speakers #2101, 2102 is adjusted by the Rotary knob. Set the Sta-

tionary knob at Minimum. The sound circuit on this unit is specified for a single channel.

Refer to the Leslie Speaker manual as well to make sure.

MIDI CONTROL OF LESLIE SPEAKER

For MIDI-controlling the parameters (=fine adjustment of the Rotary speed, rise time, etc.) on

the Leslie #2101, 2102:

1. Connect the MIDI OUT of this unit and the MIDI IN on the Leslie Speaker by the MIDI cable.

2. Set the MIDI channel - UPPER of this unit and the MIDI channel of the Leslie Speaker to the same channel. (P. 69 #11)

3. Set the MIDI - Leslie Parameter of this unit at “21”. (P. 69 #8)

*#1 :/Owner’s Manual

TURN ON AND PLAY

*#1 :/ Owner’s Manual

TURN ON THE POWER

HOW TO TURN THE POWER ON

After the connection is completed, turn on the power in the following order: If you do not follow this

order, it may cause malfunctions or damages to the speakers etc.

STEPS TO TAKE

1. Before turning the unit ON, make sure that the [VOLUME] knob of this unit is at MIN.

2. Turn the [POWER] switch ON. In the display, the title and then the PLAY mode appears. (See the illustration.)

 It does not immediately start up after turning the power on because of circuit protec-

tion.

3. Turn on the power of the connected amplifier etc.

4. Turn the [VOLUME] knob for fine adjustment.

5. Adjust the volume of the amplifier etc.

You can adjust the volume more easily if you use the demonstration play.

 When you turn off the power, do the above procedure backwards. Turn OFF the ampli-

fier etc. first.

BACK-UP

This unit memorizes the status of the settings immediately before it is turned off. For this reason, the

settings when the unit is powered up is the same as they were just before the unit was shut off. This

is called BACK-UP.

RESET TO THE FACTORY SETTINGS

To return all settings on this unit to the original Factory Settings, do the following:

STEPS TO TAKE

1. Turn OFF the power on this unit.

2. Turn the power ON, holding down the [RECORD] button.

3. Keep pressing the [RECORD] button until “Loading Default” appears in the display.

4. The procedure is completed when the PLAY mode appears.

*#1 :/Owner’s Manual

STEPS

LISTEN TO THE DEMONSTRATION

Demonstration Plays are built in for introducing the features, sounds, etc. of

this unit.

Touch the [MENU/EXIT] button and display the menu.

Touch the [PAGE] button and go to Page E.

Touch the [ENTER] button.

The Demo mode appears.

Select the tune you want to listen to by touching the

[PAGE] button.

The play starts when you touch the [ENTER] button.

NOTE: When the tune ends, the next one automati-

cally starts.

For selecting another tune while playing, touch the [EN-

TER] button again. (The play stops.)

To stop the Demo Play, touch either the [MENU/EXIT]

or [PLAY] button.

NOTE: Demo Plays do not affect the existing set-

tings.

Turn On and Play

This unit memorizes various settings up to 128 [PATCHES]. For your imme-

diate play after purchasing this unit, the factory settings are recorded in the

patches 001 to 120.

PLAY BY THE PATCH

HOW TO CALL OUT THE PATCHES

EXAMPLE: Select 041.

GO TO THE PLAY MODE

If the present mode is not PLAY, touch [PLAY] and go to the

PLAY mode.

SELECT THE PATCH NUMBER

Select Patch No. 041 by the [VALUE] knob.

Call out various patches and play.

When you call out a patch, not only does the Drawbar registra-

tion of each part change but also the effects such as Leslie and

Reverb also change.

NOTE: You can set the type of parameter you call out. (P.

52 #2 to 8)

WHAT IS “PART” ?

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A [PART] is like a player in a band or in an orchestra.

Like an organ with 3 manuals can produce 3 different sounds, this unit also can produce 3 different

parts, Upper, Lower, and Pedal, because it has these 3 different parts.

NOTE: The function that makes it possible to use multiple sounds is called [Multi-Timbre].

You can play more expressively if you operate the controller while playing.

Let us explain in this page about the controller generally used in electronic

musical instruments. (About the unique HAMMOND Controller, let us ex-

plain in the next page.)

PITCH BEND

PLAY WITH THE CONTROLLERS

You can change the pitch while playing, by receiving the Pitch Bend informa-

tion.

NOTE: You can adjust the amount of the pitch change by the Pitch Bend

information. (P. 54 #1 to 4)

This figure shows an example: XK-1.

EXPRESSION PEDAL

This figure shows V-20R ( = optional, to be

separately purchased).

On an organ, generally not like on the piano, the velocity, i.e. touch on the keys,

does not give any dynamics.

However, if you connect an expression pedal ( = optional) to this unit, or receive

the expression information from the MIDI, you can change the volume and give

expression to your play.

The volume of the Expression Pedal gets maximum when fully depressed on the

toe-side and gets minimum when fully returned on the heel-side.

NOTE: Set this unit to match the model of your expression pedal. (P. 56

#13)

FOOT SWITCH

This figure shows FS-9H ( = optional, to be

separately purchased).

This is used for controlling various switches by foot instead of doing it by hand.

In the default settings, “Leslie Fast” is assigned here.

NOTE: You can change the assignment of the foot switch. (P. 57 #19 to 20)

Turn On and Play

CREATE YOUR OWN SOUNDS

Let us here explain how to create the unique HAMMOND sounds such as Drawbars,

Percussion sounds and the sounds obtained by using the Vibrato or Leslie effects.

The example here is after a MIDI Keyboard (set for MIDI Channel 1) is connected to

the MIDI IN 1 terminal of this unit (immediately after delivery from your dealer).

SELECT PATCH 128.

Call out Patch Number 128. The default setting of this Patch is the

simplest of all, so it is best suited for creating new sounds.

MAKE THE DRAWBAR REGISTRATION

Touch the [DRAWBAR] button. The display turns into the Drawbar

Registration (how far the bars are drawn) mode.

In this mode, the basic sounds using the Drawbars are created.

Adjust the volume of each footage in the range of the displayed “UP-

PER”, while touching the keys.

The volume gets loud when the value of each footage (each digit of

Drawbar Registration) increases. It gets quieter when the value gets

smaller. Basically, the pitch gets higher from left to right.

Select the footage by the [PARAM] button, and change the value by

the [VALUE] knob. Operate the other parameters in the same way.

The most frequently used registrations are 3 fully drawn left-side

bars and all 9 fully drawn bars.

NOTE: You can change the characters of the Drawbars. (P. 50 )

ADD PERCUSSION

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The “Percussion” here is not the ordinary percussion instrument but

that of decaying sounds that adds lively and articulate sounds. Mix

the sounds with the Drawbar sounds whenever you want.

Touch the [PERC] button. The display turns into the PERCUSSION

mode.

Turn ON and OFF each value of “2ND” and “3RD” of the parameter

by the [PARAM] button and the [VALUE] knob. The decay sounds

of an octave higher “DO” (the second harmonics) and “SO” (the third

harmonics) are added to the note on the keyboard.

The decay speed gets faster if you change “DCY” from SLW to FST.

The Percussion volume goes down if you change “VOL” from NOR

to SFT.

NOTE: You can fine-adjust the percussion volume etc. (P. 61)

ADD EFFECTS

VIBRATO AND CHORUS

Warmth can be added to the sound by slightly changing the Drawbar

pitch in a certain cycle.

Touch the [VIB&CHO] button. The display changes to Vibrato and

Chorus mode.

“MODE”

This sets the depth of the Vibrato effect. At OF no effect is added.

As the value gets larger from 1 to 3, the effect gets deeper.

“CHORUS”

Vibrato sound is mixed to the original tone, and thickness is added to

the sound when you turn this on.

LESLIE

This gives the effects of a live performance feelings by the feeling of

turning rotors.

Touch the [LESLIE] button. The display changes to the Leslie mode.

“SW”

Turn this ON to get the Leslie effects.

“S/F”

This switches the Rotor speed to SLOW or FAST (2 steps). The most

popular style is to play at SLOW basically and then to change to

FAST only at the climax.

“OFF”

This sets the action when the value of the parameter “SW” of the

Leslie effect is OF. BRAK stands for Brake. (The Rotor gradually

slows down and then finally stops.) THRU stands for Through. (The

Leslie effect is bypassed.)

NOTE: These parameters are used for controlling, in the case

Leslie speakers are connected externally.

NOTE: Fine settings are possible for the turning speed of the

built-in Leslie effects etc.

In this chapter we have explained the settings you can make from the panel buttons.

Let us explain in the next page about the Overdrive and Reverb; elements for creating the

HAMMOND ORGAN sounds.

Turn On and Play

RECORD TO THE PATCH

The settings you have made so far can be recorded or memorized to your desired

Patches.

You can also freely rewrite the built-in Patches when delivered from the factory.

EXAMPLE: RECORD INTO “011”

Touch the [RECORD] button. The Record mode appears.

Select the Patch Number (011 in this example) to record to by the

[VALUE] knob.

Touch the [ENTER] button. The Patch is decided and the following

is displayed in the mode for certain seconds:

Recording Patch...

When the recording is completed, the display returns to the immedi-

ate previous mode.

NOTE: The recorded Patch data are not lost even after the

power is turned off.

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SETTING UP

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SOUND ENGINE STRUCTURE

SYSTEM STRUCTURE OF XM-2

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To fully enjoy playing this module, please read the following section of

this manual.

See the illustrated System Structure of your keyboard on the left page.

TONE-WHEELS

The sound source or “engine” of the Hammond Organ is the Tone-wheels. They

are like the strings and pick-ups on the electric guitar. While running, each of the

96 digital Tone-wheels keeps oscillating at a different pitch/frequency.

KEYS

Each of the sound signals made by the 96 digital Tone-wheels is switched at each

key. Each signal corresponding with each pitch and harmonic is distributed to

each key (as an example, 9 signals for the manual keyboard). The keys are switched

on and off by depressing and releasing the keys.

DRAWBARS

The Drawbars prepare the basic sounds. Each bar adjusts the value of a harmonic

(as an example, 9 harmonics for the manual keyboard).

PERCUSSION

The Percussion makes the decay sound, synchronizing with the key touch of the

UPPER part.

TONE-WHEEL SET

The Tone-wheel Sets are divided into the

Manual Keyboard and the Pedal Part. This is to

give the Pedal Part the Decay (= the sound

gradually fading out while pressing the key) or

Sustain Effect. (= the sound gradually fading

out after the key is released).

HARMONICS

Harmonic is a pitch of a different ratio to a cer-

tain pitch; for example, the one octave higher

C to the middle C. The more Harmonics, the

brighter and richer the sound.

VIBRATO/CHORUS

Vibrato gives vibration to the pitch. By mixing the vibrato sound with the funda-

mental sound, Chorus effect is obtained.

NOTE: On this module, the scanner circuit of the B-3/C-3 is simulated, which gives

more effects than the changes of the pitch.

OVERDRIVE

Overdrive adds the fuzzy, raspy, “dirty” sound created by the vacuum tubes of a

tube-style Leslie Speaker when its volume is pushed past its sound limit.

The PEDAL Part however, is designed not to pass through the Vibrato/Chorus or

the Overdrive in order to obtain the clear Bass-line.

EQUALIZER, LESLIE and REVERB

The sound that comes out of the output terminal after passing the special effects:

the Equalizer (for tone regulation), the Leslie (for the rotating speaker effects)

and the Reverb (for resonance). (The built-in Leslie Effect cannot be heard through

the Leslie 8-pin terminal.)

NOTE: The built-in Leslie Effect is designed to smoothly simulate the rotations of

the two rotors.

Setting Up

HOW TO USE THE PANEL BUTTONS

The “Panel Buttons” are the 4 buttons for operating the same functions as those of the

knobs and tablets on the panel of the HAMMOND ORGAN. The basic sounds of the

HAMMOND ORGAN are created by the Panel Buttons, the [PARAM] button, and

the [VALUE] knob.

EXAMPLE: Set Upper 8' of Drawbar registration at 5.

STEPS TO TAKE

Touch the [DRAWB] button.

The display turns into Drawbar Registration mode.

Touch the [PARAM] button and move the blinking cursor

(value) to UPPER 8'.

Set the value at 5 by the [VALUE] knob.

Touch [PLAY] to return to the PLAY mode.

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DRAWBAR (DRAWBAR registration)

This mode is for setting the Drawbar Registration to create the basic sounds.

To locate this mode:

Touch the [DRAWBAR] button.

The first line in the display shows the Drawbar Registration of each part, from left to right,

UPPER, PEDAL, LOWER. The parts UPPER and LOWER are displayed by bar graphs, and

the PEDAL part by figures(numerals). The bottom line shows the currently selected length

of bars (feet) and the values (levels).

You can change the value by selecting the length (footage) by the [PARAM] button and

turning the [VALUE] knob.

Setting Up

DRAWBARS™

The 9 Drawbars (only 2 for the PEDAL parts) on the HAMMOND ORGAN are used to create

different sounds. On each Drawbar the numbers 1 to 8 are marked. When the Drawbar is pushed

back until you can not see the number, the Drawbar does not give any sound. When you pull out

the Drawbar to the full extent, the volume of the Drawbar is at its loudest setting.

This unit has no physical Drawbars, but you can do the same things as on the real organ by

operating the displayed Drawbar Registrations.

The pitch of each Drawbar is as shown above, when the middle C is depressed. The footage

marked (') on each Drawbar is originated from the length of the pipes of the pipe organ.

The numbers 1 - 8 on each Drawbar indicate the volume of the sound to be produced as well as

the guide to simply set the Drawbar.

For example, when you blow clarinet, the internal air vibrates, and the fundamental (8') and the

third harmonic (2 2/3') plus the fifth harmonic (1 3/5') come out at the same time. On this mod-

ule, if you pull out 3 Drawbars, you can get the clarinet sound. If you pull out the right hand side

one of the 3 Drawbars a little longer and the left hand side one a little shorter, the element/

component of the high pitch increases and a hard sound comes out. If you pull out the left hand

one a little longer, on the contrary, the sound gets mellow.

Thus, you can make delicate changes to the sound, depending on the flow of the tune/music or

your choice/preference, by fully utilizing the Drawbars.

NOTE: You can change the characters of the Drawbars. (P. 50)

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WHITE DRAWBARS

BLACK DRAWBARS

In each Drawbar set, the white Drawbar (8') on the left end makes the basic/

fundamental sound. The other white Drawbars get higher by the octave to

the right.

The sounds of the black Drawbars, too, play important roles in building rich

tones. Their pitches are fifth and third to the fundamental. They contain the

elements of all different harmonics of such as the sweet and soft horn, mel-

low strings and so on.

BROWN DRAWBARS

PEDAL DRAWBARS

The two brown Drawbars on the far left have the role to give depth and

richness to the sound. The left 16' is one (1) octave lower than the 8,' and 5

1/3' 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 on the manual by one (1)

octave, the tones are built on the 16' fundamental.

The Pedal Part is for playing the bass line usually, using the only two Draw-

bars -16' and 8'. Others are not used.

The 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.

The registration of the Pedal Part is displayed in the center of the display, the

left one is 16', and the right one is 8'.

Setting Up

DRAWBAR REGISTRATION PATTERNS

The Drawbar Registrations are usually represented by the numbers (footage values) of the 9 Drawbars.

The following are the typical 4 patterns of registrations. You will see the instrument names together with

the numerical registrations on the right hand side of each pattern.

The easiest way for you to obtain the basic tones you want is to remember the typical patterns of the

combined 9 Drawbars.

Flute family (2 step pattern)

Accompaniment Flute 8' I

Accompaniment Flute 8' II

Accompaniment Flute 8' III

Chorus of Flutes 16'

Orchestral Flute 8'

Piccolo 2'

Stopped Flute 8'

Tibia 8'

Tibia 4'

Tibia (Theater) 16'

Wooden Open Flute 8'

00 8460 000

00 3220 000

00 8600 000

80 8605 002

00 3831 000

00 0006 003

00 5020 000

00 7030 000

00 0700 030

80 8605 004

00 8840 000

Reed family (triangle pattern)

Bassoon 16'

Clarinet 8'

English Horn 8'

Flugel Horn 8'

French Horn

Kinura 8'

Oboe 8'

Trombone 8'

Trumpet 8'

Tuba Sonora 8'

Vox Humana 8'

44 7000 000

00 6070 540

00 3682 210

00 5777 530

00 7654 321

00 0172 786

00 4764 210

01 8777 530

00 6788 650

02 7788 640

00 4720 123

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Diapason family (check mark pattern)

Accomp. Diapason 8'

Chorus Diapason 8'

Diapason 8'

Echo Diapason 8'

Harmonic Diapason 16'

Harmonic Diapason 8'

Harmonic Diapason 4'

Horn Diapason 8'

Open Diapason 8'

Solo Diapason

Wood Diapason 8'

00 8874 210

00 8686 310

00 7785 321

00 4434 210

85 8524 100

00 8877 760

00 0606 045

00 8887 480

01 8866 430

01 8855 331

00 7754 321

String family (bow pattern)

Cello 8'

Dulciana 8'

Gamba 8' I

Gemshorn 8'

Orchestral String 8'

Salicional 8'

Solo Viola 8'

Solo Violin 8'

Viola da Gamba 8'

Violina 4'

Violone 16

00 3564 534

00 7770 000

00 3484 443

00 4741 321

00 1464 321

00 2453 321

00 2474 341

00 3654 324

00 2465 432

00 0103 064

26 3431 000

Setting Up

PERC (PERCussion)

The Percussion attack sound is a Hammond exclusive.

Percussion is usually used with the Drawbar sound.

To locate this mode:

Touch the [PERC.] button.

2ND (Second)

The second harmonic or 4' Drawbar decay is added to the UPPER Part.

To use this, set the value “ON”.

3RD (Third)

The third harmonic or 2 2/3' Drawbar decay is added to the UPPER Part. By mixing it with

the Drawbars, a distinctive sound is obtained.

To use this, set the value “ON”.

DECAY

The piano sound gradually goes out even

if you keep the key down. This is called “de-

cay”. The violin on the contrary, keeps

sounding at a certain volume. This is called

“sustain”.

DCY (DeCaY)

This sets the decay time for the Percussion.

It is effective if you use this to play with a clear-cut rhythm in an up-tempo piece.

Select “SLW” (slow) or “FST” (fast).

VOL (VOLume)

This sets the volume of Percussion.

Select “NOR” (normal) or “SFT” (soft).

NOTE: You can fine-adjust Percussion. (P. 61)

NOTE

DRAWBAR CANCEL

When either the “2ND” or “3RD” is ON, 1' in the Upper Part Drawbars does not produce

a sound. This is the same action as on the B-3/C-3.

NOTE: You can set to play 1' Drawbar, while Percussion is ON. (P. 61 #8)

*#1 :/Owner’s Manual

VIB & CHO (VIBrato and CHOrus)

VIBRATO adds warmth to the tone, by slightly changing the Drawbar pitch at a

certain speed.

You can also add richness to the sound by mixing the Vibrato sound with the funda-

mental (= Chorus Effect).

To locate this mode:

Touch the [VIB.&CHO.] button.

MODE

This sets the depth of Vibrato effect.

No effect at OF. The larger the value gets (1 to 3), the effect gets deeper.

CHORUS

This is for switching Vibrato and Chorus effects.

Turn this ON to get the Chorus effect.

NOTE: You can make fine settings for Vibrato and Chorus effects. (P. 65 #4 to 12)

Setting Up

LESLIE

LESLIE EFFECT is the simulated sound of rotating speakers.

If you connect the real Leslie speakers to this module, it controls those (speakers).

To locate this mode:

Touch the [LESLIE] button.

Turn this ON to turn the Rotor. The sound is sent out from the Rotary Channel.

S/F

Select the Rotor speed from either SLOW or FAST.

OFF

This sets the operation when the SW is OF. Select either BRAK or THRU. BRAK stands

for Brake. (The Rotor gradually slows down and finally stops.) THRU stands for Through.

(The Leslie effects are bypassed, and the sounds are sent out from the stationary chan-

nel.)

NOTE: You can not control the Brake or Through on external Leslie Speakers.

NOTE: You can fine-set the LESLIE effect, i.e. the Leslie speed. (P. 62)

In the Leslie speakers, generally an amplifier and two rotors are

incorporated, i.e. the “Horn Rotor” responsible for the treble and

the “Bass Rotor” for the bass.

Each rotor has a speaker or speakers and a motor for controlling

the speed to give the unique tremolo sound gained by the Doppler

effect.

There are also models that have not only the rotors but also sta-

tionary speakers - switchable.

The circuit to send the sound to the rotor is called “Rotary Chan-

nel” and that to the stationary speaker is called “Stationary Chan-

nel”.

The built-in Leslie Effect simulates them and you can get the best

effect when connected to a stereophonic amplifier and speaker

system.

PARAMETERS AND STATUS

Parameter

S/F SW

Fast On Brak

Fast On Thru

Slow On Brak Slow On Thru

Fast Off Brak

Slow Off Brak

Fast Off Thru

Slow Off Thru

OFF

MODE

WHAT IS THE LESLIE EFFECT?

State

External

Leslie

Speaker

Fast Through

Slow Through

Internal

Leslie Effect

Fast

Slow

Brake

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The settings you have made can be recorded into the Patches.

NAME THE PATCH

Go to the MENU.

Go to PAGE A.

PATCH

Touch the [MENU/EXIT] button.

The MENU mode will be displayed.

If the PAGE A is not displayed, touch the [PAGE] button and

go to PAGE A.

Go to the PATCH function mode.

Input the NAME.

Select the PATCH by using the [PARAM] button. Touch the

[ENTER] button and go to the PATCH function mode.

You can store names using up to 10 letters.

[PARAM] Button: moves the cursor.

[VALUE] Knob: selects letters.

You can use all the Alphabet letters large and small, signs/

symbols and digits.

The name input here is only temporary. Do the recording op-

eration to save it, as explained on the next page.

Setting Up

RECORD A NEW PATCH

EXAMPLE: RECORD INTO “011”.

Touch the [RECORD] button.

Touch the [RECORD] button. The [RECORD] mode appears on

the display.

Select the Patch number.

Touch the [ENTER] button.

Select by the [VALUE] knob the patch number you wish to record

in. (No. 011 in this example)

Touch the [ENTER] button.

The Patch will be decided and the following message will appear

in the display for a few seconds:

Recording Patch ...

When the recording is completed, the display returns to the pre-

vious one.

NOTE: The recorded Patch data is not lost even after the power is

turned off.

*#1 :/Owner’s Manual

DISPLAY AND ITS

OPERATION

*#1 :/Owner’s Manual

PLAY MODE

The PLAY MODE is the basic display for all the operations. The necessary informa-

tion for the normal play will be displayed.

There are two types of PLAY MODE screens to display the Drawbar Registration.

One is by showing the length of the Drawbars and the other by digits.

To locate this mode:

1. The PLAY mode will be displayed immediately after the power is turned ON and the start-up steps are completed.

2. Touch the [PLAY] button if the displayed mode is wrong.

HOW TO READ THE DISPLAY

Drawbar Registration

UPPER Part/ PEDAL Part/ LOWER Part

BAR display

Patch Number :

Name

These two PLAY mode displays (= the bar dis-

play and the digital display) will be switched ev-

ery time you touch the [PLAY] button.

In the bar display, the Patch name is shown but

another Patch, if assigned to the LOWER Part is

not shown.

Also, the MIDI IN Note Information is displayed.

Sounding on MIDI Note

Message

DIGITAL display

Number on LOWER & PEDAL Part/

Number on UPPER Part

The Patch name is not shown in the digital mode

display, but you can see the Preset Number of the

LOWER Part.

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PANEL BUTTON MODE

The Panel Button mode is used for controlling the same functions as the knobs and

tabs do on the HAMMOND ORGAN.

By using the Panel Buttons, the [PARAM] buttons, and the [VALUE] knobs, you can

create the basic sounds of the HAMMOND ORGAN.

To locate this mode:

Touch one of the Panel Buttons you want to set; [DRAWBAR], [PERC], [VIB&CHO], and [LESLIE].

HOW TO READ THE DISPLAY

Drawbar registration

UPPER Part/ PEDAL Part/ LOWER Part

Drawbar

Registration

mode

Selecting FOOTAGE: LEVEL

PARAMETER

Percussion

mode

VALUE

CURSOR

(Flashing VALUE)

BUTTON OPERATION IN THIS MODE

These buttons are used to move the CURSOR right

Returns to the PLAY mode.

or left for selecting the PARAMETER to change.

CURSOR

In the display window of this keyboard, the

CURSOR is displayed in the flashing style,

while the most popular indicator- cursor

used on the PC, the mobo, etc. is in the

shape of an arrow, a square or an I-shape.

The CURSOR increases or decreases the

value of the Parameter.

Display And Its Operation

The MENU mode is the path for each function.

MENU MODE

To locate this mode:

Touch the [MENU/EXIT] button.

There are several pages which contain many various FUNCTION displays. Move from

page to page and find the item where you want to go, select item by [PARAM] button,

and touch the [ENTER] button to see the desired display.

HOW TO READ THE DISPLAY

FUNCTION ITEM

PAGE

(If none, blank.)

BUTTON OPERATION IN THIS MENU

Moves from a page to another.

Returns to the PLAY mode.

Select the FUNCTION ITEM.

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Enter each FUNCTION MODE.

FUNCTION MODE

The FUNCTION MODE is for making each setting and adjustment.

There are many displays, but the basic operation is the same.

HOW TO READ THE DISPLAY

This shows there are

PAGEs above (or below).

PARAMETER

This shows there is a PAGE on

the right (or on the left).

PAGE

NAME

VALUE

CURSOR

(Flashing VALUE)

BUTTON OPERATION IN THIS MODE

Returns to the

PLAY mode.

Moves from a page to another.

The CURSOR increases or

decreases the value of the

Parameter.

This button is used to move the CURSOR

right or left for selecting the PARAMETER

to change.

The CURSOR moves to the edge of the

display and onto the next page (on the right

or the left), if there is one.

Display And Its Operation

EXAMPLE: Adjusting the DECAY TIME of the Percussion [FAST]

Go to the MENU Mode.

Touch the [MENU] button.

The [MENU] mode is displayed.

Select the PAGE.

Select the FUNCTION.

Touch the [ENTER] button.

Search for the “PERCUS” page, using the [PAGE]

button.

“PERCUS” is on PAGE B. So select PAGE [B].

Choose the “PERCUS” by using the [PARAM] but-

ton.

*#1 :/Owner’s Manual

Touch the [ENTER] button.

Now you are on the (first page) of the Percussion

Function mode.

Move the CURSOR to the Parameter you want to change.

Change the value.

DECAY TIME is on the “DECAY” PAGE. Move to

that page using the [PAGE] button.

“FAST” is on the right end. Move the CURSOR (flash-

ing value) to underneath “FAST” using the [PARAM-

ETER] button.

Decrease the value, using the [VALUE] button or the

[VALUE] knob.

NOTE: Repeat the operation 1 - 6, if you want to

change other parameters, too.

Back to PLAY mode.

Record a new Patch.

The “DECAY FAST” is a Patch Parameter. It will go back to the set value if you call

out the other (or current) Patch.

If you want to continue to use the changed value hereafter, you must record the value

into the Patch.

Touch the [PLAY] button to return to the PLAY mode.

PATCH PARAMETERS

They are the Parameters to be recorded into

each Patch.

They include the Drawbar Registrations,

Parameters for panel buttons, “Decay Fast”

and many others.

The overall/general common Parameters

(which are not included in the Patches) are

called “Global Parameters.”

Display And Its Operation

SHORT CUT TO THE FUNCTION MODE

Each Panel Button has a “SHORT-CUT” capability, so that you can easily go to each

Function mode. By holding down the button, you can easily go to the desired mode

display. The “SHORT-CUT” mode can save time by going directly to the parameters

you want to change.

EXAMPLE: Move to the Percussion Function Mode.

For example, if you want to change the Percussion setting, you can

Touch and Hold

go to the PERCUSSION FUNCTION MODE display, by holding

down the [PERC.] button for a few seconds. This enables the “SHORT

CUT” mode.

The Short-cut works on the following:

[DRAWBAR]DRAWBAR [PERC.] PERCUSSION [VIB&CHO] VIB/OD [LESLIE] LESLIE

NOTE: You can change the time for holding down the button for

“SHORT CUT”. (P. 57 #21)

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SETTING THE

PARAMETERS

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DRAWBAR

In this mode, you can set the Parameter relating to the Drawbar sound of each part.

To locate this mode:

1. Touch the [MENU/EXIT] button and display the MENU, touch the [PAGE] button and select PAGE A, choose “DRAWBAR” by the [PARAM] button, and touch the [ENTER] button.

2. Another option is to hold down the [DRAWBAR] button for a certain length of time.

13 14

10 11 12

4 5 6 7 8

Setting the Manual (LOWER and UPPER)

1. TONE-WHEELS

Select the TONE-WHEEL SET (waveform) for the manual part.

B-type: The traditional Tonewheel Sound of B-3/C-3

Mellow: Sine wave

Brite: The analog sound represented by X-5

2. CLICK - ATTACK LEVEL

This allows you to set the Key-Click VOLUME of the ATTACK (= when you touch the

key). The larger the value, the louder it gets. No key-click at 0.

NOTE: When this parameter is changed, also 4. Envelope - Attack Rate will be changed to

its suitable value automatically.

3. CLICK - LPF

This allows you to set the tone of the Key-Click.

The setting range is 0 - 127. The larger the value, the brighter it gets.

4. ENVELOPE - ATTACK RATE

This allows you to set the speed of the Drawbar at Attack (when you touch the key). The

more the value, the slower it gets. The volume will be maximum(= loudest) at 0 at the

time you touch the key.

TONE-WHEEL SET

Each Tone-wheel Set allows you to make finer adjustment. (P. 60)

KEY-CLICK

The “Key Click” is the noise heard every time the key is touched or released on the B-3/C-3, as the voice is generated by mechanically switching ON and OFF on these models. The function on this model simulates the good old noise.

5. CLICK - RELEASE LEVEL

This allows you to set the volume of the Key-Click at RELEASE (= when you release

the key). The larger the value, the louder it gets. No Key-Click at 0.

NOTE: When this parameter is changed, also 6. Envelope - Release Rate will be changed to

its suitable value automatically.

6. ENVELOPE - RELEASE RATE

This allows you to set the Decaying Speed of the Drawbar Sound at Release (when you

release the key). The higher the value, the slower the RELEASE gets. The sound dies at

0 at the same time as you release the key.

7. FOLD-BACK - LOW

This allows you to set at which key the 16' Drawbar starts the FOLD-BACK. (Fold-

back: Repeating the same octave in a certain range on the keyboard.)

The first key (= MIDI note number 36) is displayed as “1C”. The setting range is 1C -

2C.

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FOLD-BACK

As the number of the tonewheels was limited on the B3/C-3, the organs were designed to repeat the same octave in the upper-most or lower-most range. The feature of this model is to simulate that.

8. FOLD-BACK - HIGH

This allows you to set which key the 1' Drawbar starts to FOLD-BACK (= repeat the

same octave) in the upper-most range. The set range is 4G - 5C.

NOTE: The FOLD-BACK can be set not only on the 1' but also 1 1/3', 1 3/5', 2' and 2 2/3'

Drawbars.

Setting the PEDAL

9. TONE-WHEELS

This allows you to select the Tone-wheel waveform of the PEDAL part.

Normal: The traditional B-3/C-3 Tone-wheel sound

Muted: Analog sound represented by the X-5.

Synth1: Sawtooth waveform with swept filter.

Synth2: Dull square waveform.

10. ATTACK

This allows you to set the Attack Rate and the Key-Click Volume at ATTACK and RE-

LEASE.

MAX CLK: Immediately attacks and the key-click is loud.

NORM CLK: Immediately attacks and the key-click is normal.

SOFT CLK: Immediately attacks and the key-click is soft.

NO CLK: A slightly slower attacks without key-click

SLOW ATK: Slow attack without key-click

11. DECAY RATE

This allows you to determine whether to keep voicing or to decay, or set the decay time,

while holding down the key.

The setting range is 1 - 5 and C. The longer the value gets, the longer is the decay time.

No decay at C.

12. SUSTAIN - ON

This allows you to set whether or not to use the Sustain function.

13. SUSTAIN - LENGTH

This allows you to set the Release Rate (= the decay time after you release the key),

when the SUSTAIN - ON (item #12) is ON.

1 is the shortest. And 5 is the longest.

14. VELOCITY

This allows you to set the response to the Velocity. The setting range is OF and 1 - 4. At

OF, the volume does not change however hard you may touch the key. As the value

increases from 1 - 4, the sound gets louder even if you touch the key softly.

15. KEY MODE

This 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.

NOTE: The previously released note will be cut when you touch the new one, even when

the PEDAL is in the POLY mode and SUSTAIN is ON.

NOTE: When the note-data of the Pedal are received from the MIDI IN terminal while the

value of the parameter [MIDI IN] (P. 68 #2-4) is “CH”, the Pedal produces polyphonic

sound, regardless of the value.

SUSTAIN

This is the function that the volume slowly fades out after the key is released, not like that of the synthesizers.

VELOCITY

“Velocity” is the speed of the key is depressed. When you touch the piano hard, the hammer hits the string hard and so the sound is loud. The organ key is, on the other hand, generally only the switch to open the valve, and so the sound does not change however hard you may touch the key. So this function is effective if you use it when the Decay Rate is other than C, or Decay.

NOTE: All the parameters in these modes are Patch Parameters. They are recorded into

the Patch.

Setting The Parameters

PATCH

In this mode, you can give names to patches, set how to recall them, and set the

Preset Buttons for the Drawbar Controller XMc-2.

To locate this mode:

Touch the [MENU/EXIT] button and display the MENU, touch the [PAGE] button and select PAGE A, choose “PATCH” by [PARAM] button, and touch the [ENTER] button.

9 10 11 12 13

2 3 4 5 6

PATCH NAME

1. PATCH NAME (P)

This allows you to name the present Patch using up to 10 letters.

Move the cursor with the [PARAM] button, and choose the let-

ters with the [VALUE] knob.

This change will be lost if you do not record it, same as the other

Patch Parameters.

NOTE: The parameters by the names with (P) on the tail are Patch

Parameters, and are recorded to each Patch.

PATCH LOAD

This allows you to set the operation when you recall the Patch.

2. PATCH LOAD - UPPER (B)

This allows you to set whether or not to recall the Drawbar Reg-

istration of UPPER Part.

3. PATCH LOAD - LINK LOWER/PEDAL (G)

This allows you to determine whether or not to recall the Draw-

bar Registration of the LOWER and the PEDAL Parts.

4. PATCH LOAD - DRAWBAR (B)

This allows you to determine whether or not to recall the Param-

eters relating to the Drawbars of each Part, such as the Tonewheel

Set.

7 8

6. PATCH LOAD - SPLIT / MANUAL BASS (G)

This allows you to determine whether or not to recall the Param-

eters relating to the SPLIT or the MANUAL BASS.

7. PATCH LOAD - EQ/RV (G)

This allows you to determine whether or not to recall the Param-

eters relating to the EQUALIZER and REVERB.

8. PATCH LOAD - ANI/OD (G)

This allows you to determine whether or not to recall the Param-

eters relating to VIBRATO, OVERDRIVE and LESLIE.

PATCH NUMBERS

9. to 13. PATCH NUMBERS (G)

Set the Patch Numbers for assigning to each Preset Button

on the Drawbar Controller XMc-2.

This setting can be made not only by this operation but also by

touching the Preset buttons on the XMc-2 holding down the

[RECORD] button on this unit.

NOTE: Each Parameter (G) of Patch Load except LINK LOWER/

PEDAL is a Global Parameter, which is recorded at the

time of setting, and common in each Patch.

5. PATCH LOAD - PERCUSSION (B)

This allows you to determine whether or not to recall the Param-

eters relating to Percussion.

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EFFECTIVE USE OF LINK-LOWER/PEDAL

This is a function to set for switching and recording only at the Program Change to the

LOWER part, without operating the Patches of the LOWER and the PEDAL at the Program

Change to the [VALUE] knob or the UPPER part of this unit.

The Preset Keys on B-3/C-3 are independent, key by key, and so they were operated inde-

pendently. This function simulates that.

WHEN LINK LOWER/PEDAL IS ON:

When you call out the Patches by the [VALUE] knob of this unit,

or receive the Program Change to the UPPER part, the Patches of

all parts (UPPER/LOWER/PEDAL) change.

After this, to change the Patches for the POWER/PEDAL parts,

send the corresponding Program Change to the LOWER part.

The settings are recorded to the Patches for all parts (UPPER/

LOWER/PEDAL) in the operation of this unit.

To record only the settings of the LOWER/PEDAL parts to the

Patches, send the Program Change to the LOWER part, holding

down the [RECORD] button on this unit.

If different Patches are selected between the UPPER and the LOWER/PEDAL, the display

will be like this.

WHEN LINK LOWER/PEDAL IS OFF:

When you call out the Patches by the [VALUE] knob of this unit,

or receive the Program Change to the UPPER part, only the Patch

of the UPPER part changes.

To call out the Patches for the POWER/PEDAL parts, send the

corresponding Program Change to the LOWER part.

The settings are recorded to the Patches only for the UPPER part

in the operation of this unit.

To record the settings of the LOWER/PEDAL parts to the Patches,

send the Program Change to the LOWER part, holding down the

[RECORD] button on this unit.

LOWER&PEDAL UPPER

Setting The Parameters

CONTROL

In this mode, settings of various controllers are made.

Effects can be set to the controllers mounted on the MIDI

keyboards connected to this unit such as Pitch Bend, Pres-

sure, etc. Also, there are connecting terminals for the Foot

Switch and the Expression Pedal on the rear panel. You

must select and set their purpose.

21 22

19 20

13 14 15 16 17 18 14

10 11 12

8 9

1 2 3 4 5 6 7

To locate this mode:

Touch the [MENU/EXIT] button and display the MENU, touch the [PAGE] button and select PAGE A, choose “CONTROL” by the [PARAM] button, and touch the [ENTER] button.

PITCH BEND

1. BEND - L&U DOWN (P)

2. BEND - L&U UP (P)

3. BEND - PEDAL DOWN (P)

4. BEND - PEDAL UP (P)

These are for setting the changing range of the PITCH-BEND by the semi-tone.

Both the LOWER and the UPPER PARTS change at the same time, as they use the same

Tone-Wheels.

The setting range is 0 - 12 for up, 0 - 24 for down.

5. BEND - MODE (P)

It switches the function of the PITCH BEND information.

BEND:

You can slide the pitch by changing the PITCH BEND information.

MOTOR:

You can control the TONE-WHEEL motor. The motor turns on when it is in the

center or in the neutral position, stops when you turn down, and accelerates

when you turn up.

6. BEND - TIME (P)

This sets the time for slowing down to stop or accelerating the motor when it [= MODE(5)]

is in the MOTOR mode.

The value ranges from 0.1[s] to 5.0[s].

MOTOR

There is no pitch-bend function on the B-3/C-3. So some musicians turned off the power while playing it in order to get that effect. If the B-3/C-3 is turned off, the Tone-wheel motor gradually slows down and stops, and the amplifier does as well. This function is to simulate that on this model.

HOW PITCH BEND MODE WORKS

7. BEND - AMPLIFIER (P)

This decides whether to turn off the amplifier or not by turning down the PITCH BEND

information.

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BEND: The pitch immediately falls. MOTOR: The pitch gradually falls down to the

set point.

MODULATION

8. MODULATION - LESLIE (P)

Use this for controlling the speed of the Leslie effects by the Modulation Information.

SPEED:

This changes the speed of the Leslie effects according to the Modulation Infor-

mation between Slow to Fast, continuously.

FAST:

If the Modulation value is less than 63, the mode of the Leslie effect is SLOW. If

64 or higher, FAST.

OFF:

It does not function

9. MODULATION - OVERDRIVE (P)

Use this for controlling the amount of OVERDRIVE by the Modulation Information.

ON: The amount of OVERDRIVE changes according to the Modulation Information.

OF: Does not function.

PRESSURE

10. PRESSURE - LESLIE (P)

Use this for controlling the speed of the Leslie effects by the Pressure Information.

SPEED:

The speed of the Leslie effects continuously changes between SLOW and FAST

in accordance with the Pressure Information.

FAST:

The mode of the Leslie effects gets SLOW when the Pressure value is less than

32, and goes FAST when the value is 81 or more.

OFF:

Does not function.

BRAKE ON MODULATION

If you want to “Brake” the Leslie effect by pulling the modulation wheel forward, set the Slow Speed to “0” on Leslie Parameter (P. 62).

11. PRESSURE - OVERDRIVE (P)

Use this for controlling the amount of OVERDRIVE by the Pressure Information.

ON: The amount of OVERDRIVE changes according to the Pressure Information.

OF: Does not function.

12. PRESSURE - PITCH BEND (P)

Use this for controlling the amount of PITCH BEND by the

Pressure Information.

UP:

The pitch goes up in accordance with the Pressure Information.

DOWN:

The pitch goes down in accordance with the Pressure Information.

OFF:

Does not function.

NOTE: The parameters by the names with (P) on the tail are Patch Parameters, and are

recorded to each Patch. (G) is for “Global”. These parameters will be recorded

when set, and are common in each Patch.

Setting The Parameters

21 22

19 20

13 14 15 16 17 18 14

10 11 12

8 9

1 2 3 4 5 6 7

EXPRESSION

13. EXPRESSION - SOURCE (G)

Determines what to use for controlling the Expression.

PED(NORM):

Uses V-20R etc.

PED(REV):

Uses KORG XVP-10 etc.

MIDI IN:

Uses the Expression Information received at the keyboard channnel UPPER.

14. EXPRESSION - MONITOR

Displays the present Expression Value. You can find the causes for such troubles as “no

sound”, “non-function” of the Expression Pedal, by checking if the Expression Value

changes normally. Also, this can be a guide when you want to play the “fade in” from

“quiet”.

15. EXPRESSION - MINIMUM LEVEL (G)

It sets the output level when the Expression is the minimum.

The setting range is OFF, -60db to 0db. “OFF” makes no sound when the Expression is

minimum, “0dB” does not reduce the volume level.

16. EXPRESSION - LIMIT LF (G)

17. EXPRESSION - LIMIT HF (G)

These are for setting the level to maintain for low and high frequencies when the Expres-

sion is the minimum.

The setting range is OFF, -60dB to 0dB. This function does not work at “OFF”. Other-

wise the level is maintained even if the Expression is minimum.

18. EXPRESSION - GAIN (S)

This is for adjusting the gain (=range of the change) of the connected expression pedal.

It sometimes occurs that, even if you press the expression pedal all the way down, the

expression value does not reach the maximum value (127), due to the difference of each

expression pedal model from model. In such a case, adjust this parameter for getting the

maximum range of the change.

NOTE: This parameter is a System Parameter. This parameter will be recorded when set. It

is common in each Patch.

EXPRESSION LIMIT

One of the human ear’s characteristics is that, when the volume falls, the sound of high or low frequency becomes difficult to hear. On this model, it is rectified. The volume is maintained above a certain level even when the volume goes down by using the Expression, in order to keep the sound of high or low frequency audible. The similar function is adopted on most home audio equipments. It is called the “loudness” function.

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FOOT SWITCH

19. FOOT-SWITCH - TIP (G)

This is used for setting the function for the Foot Switch 1 terminal.

If you are using the Foot Switch with the stereo plug, this sets the function on the tip side.

OFF:

Does not work.

LESLIE S/F ALT:

LESLIE S/F MOM:

These are for switching the SLOW/FAST Leslie Effect.

At ALT, it switches at each press and, at MOM, the Leslie effect goes Fast, as long as

you keep pressing the foot switch, and it goes slower Slow if you release it.

DAMPER UPPER:

DAMPER LOWER:

DAMPER PEDAL:

They sustain the Notes of the UPPER, LOWER and PEDAL Parts, respectively, as

long as you keep depressing the footswitch.

PATCH FWD:

PATCH REV:

They are for switching one Patch to the right (FWD) or the left (REV).

SPRING:

This is for producing a sound of the old Spring Reverb.

DELAY TIME:

It sets the delay time of the reverb effect (P. 67) along the kicked intervals.

20. FOOT-SWITCH - RING (G)

This is for setting the function on the RING side if you use the FOOT SWITCH equipped

with the Stereo plug.

DISPLAY

21. DISPLAY - SHORT CUT (G)

It sets the time limit in seconds for the short cut function.

The range is 1s to 2s and NO short cut. The short cut function does not work when the value

is in “NO”.

22. DISPLAY - TIME OUT (G)

It sets the time limit to return to the previous mode from the one displayed by using the short

cut operation.

The range is 4s to 16s and NO time out. The time out function does not work when the value

is in “NO”.

DAMPER

The word “Damper” comes from the damper pedal of the piano. The piano stops sounding when you release your finger from the key. This is because of the damper system. While you hold the damper pedal, the system does not work and so it keeps sounding even after you release the key.

SPRING REVERB

The Spring Reverb is a reverb effect to obtain the reverberation using the spring resilience. It was easily affected by a shock and it used to give a big “clang” if it was bumped. However, this drawback has come to be used as an effect in the genre of progressive rock. This module gives the simulated sound.

TIP AND RING

When you look at the plug of the stereo headphones, there are 3 metal parts. The head por tion is called “Tip” and the middle portion is the “Ring”. The part on the cord side is called the “Sleeve”. The ordinary foot-switch has only the Tip and the Sleeve, but the footswitch with two switches in one plug or two footswitches using the L/R converting cable can be connected.

NOTE: The parameters by the names

with (P) on the tail are Patch Pa-

rameters, and are recorded to

each Patch. (G) is for “Global”.

These parameters will be re-

corded when set, and are com-

mon in each Patch.

Setting The Parameters

ADJUSTING THE EXPRESSION PEDAL

When you use the Expression Pedal V-20R, we suggest you follow the adjusting procedure as shown below.

1 2

Set at “0”

Plug-in the Expression Pedal V-20R to this module, and set the

Minimum Volume at Zero.

Adjust the

Maximum Level

Fully depress the toe side of the Expression Pedal.

Set the Expression - Source (13) at “PED (NORM)”.

Adjust the Expression - Gain (18) to the Minimum Value

where the Monitor (14) displays “127”.

Adjust the

Minimum Level

Set the Maximum Level you want when you

fully depress the toe side of the Expression

Pedal by the Master Volume knob, and also

by the Minimum Level (15) you want when

you depress the heel side as well.

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Adjust the

Minimum Level

An alternative way for setting the Minimum

Level:

Set the Expression - Minimum Level (15) at

“OFF”, adjusting the Minimum Volume on the

Expression Pedal V-20R.

TUNE

In this mode, you can tune and transpose for playing in ensemble with the other

instruments.

To locate this mode:

Touch the [MENU/EXIT] button. The MENU appears. Select PAGE A by the [PAGE] button, and choose the “TUNE” by the [PARAM] button, then touch the [ENTER].

1 2

1. TRANSPOSE

You can transpose the entire keyboard in semi-tone increments.

The setting range is -6 to +6.

Transpose effects between MIDI IN and the built-in sound engine.

2. MASTER TUNE

This is for changing the pitch of this entire keyboard.

The setting range is A = 430 - 450 Hz.

NOTE: The parameters in this mode are the Global Parameters. They are recorded when

the value is set. Also, they are common at each Patch.

Setting The Parameters

CUSTOM TONEWHEELS

In this mode, you can select and regulate the Tone-Wheel Sets for the Manual Key-

board parts (LOWER and UPPER).

We call this “CUSTOM TONEWHEELS”.

The typical 3 (or 4) types of settings are recorded when delivered from the factory.

To locate this mode:

Touch the [MENU/EXIT] button and display the MENU, select PAGE B by the [PAGE] button, and then choose “B-type”, “Mellow”, or “Brite” by the [PARAM] button for the desired Tonewheel Set and touch the [ENTER] button. In addition, the Temporary (= the present setting) automatically switches to the selected Tone-Wheel Set just selcted now.

1. CUSTOM NUMBER

This is for selecting the “CUSTOM NUMBER” to use.

Each Custom Number has wheel-by-wheel parameters such as

“Level”, “Cut Off Frequency” etc.

NOTE: This parameter is a Global Parameter. It is common for the

same Tone-wheel Set (= “B-type” here) of each Patch.

NOTE: You can not edit the wheel-by-wheel parameters on this

model.

B-Type

Real B-3

This template faithfully simulates the classic model B-3.

It contains low motor hum and some leakage noise.

80's Clean

This template simulates the B-3 sounds in the 80’s. It

contains reduced leakage noise.

Noisy

This template is for passing all sounds of the picked-up

signal. It contains full motor hum and leakage noise.

Noisy 60

This template boosts noises. It contains full motor hum

and leakage noise.

Mellow

Full Flats

This template simulates the most ideal tone-wheel set.

Their values are same at each wheel.

Husky

This template has the characteristic of dropped middle

range.

Flute Lead

This has the characteristic of dropped bass and treble,

contrasting “Husky”.

Brite

Classic X-5

This template faithfully simulates the classic model X-5.

It contains dull triangle waveform and flat output levels

on every wheel.

Voxy Full

This template has the most bright sounds. It is suitable

for surfin’ music.

Cheap Tr.s

This template simulates old transistor organs. It contains

insufficient bass and treble.

LEAKAGE NOISE

On the B-3/C-3, the signal leakes in the route from the pick-up mounted for the Tonewheels to the output terminal. Thus noise (= mixed Tone-wheel sound) was also heard, This is called “Leakage Noise”. The “Leakage Noise” is an obstacle in making pure tones, but it is recognized as a character now. “Mellow” and “Brite” does not include the “Leakage Noise”.

*#1 :/Owner’s Manual

PERCUSS (PERCUSSion)

In this mode, you can set the parameter of the PERCUSSION sound.

To locate this mode:

1. Touch the [MENU/EXIT] button and display the MENU, then select PAGE B by the [PAGE] button, choose “PERCUSS” by using the [PARAM] button and touch [ENTER] button.

2. Another option is to hold down the [PERC.] button for a certain length of time.

8 9

5 6 7

3 4

1 2

1. LEVEL - SOFT

2. LEVEL - NORMAL

These are used for setting the Level of Percussion. SOFT is the

level when the VOL (P. 36) is SFT, and NORMAL is the level

when the VOL is NOR.

3. DECAY - SLOW

4. DECAY - FAST

These are used for setting the speed of the Decay of the Percus-

sion.

SLOW is the speed when the DCY (P. 36) is SLW, and FAST is

the speed when the DCY button is FST.

The setting range is 1 - 9 and C. The larger the value gets, the

longer gets the Decay Time. At C, no decay (= continuous).

5. KEYBOARD - TOUCH

This is used for setting the method of sound production of the

Percussion.

ON: If you play legato, the notes including and after the sec-

ond note do not sound. (The envelope will not be re-

set.)

OF: Even if you play legato, all the notes produce sounds

like the piano.

6. KEYBOARD - VELOCITY

Controls the Volume of Percussion with Key Velocity.

ON: The faster a key is pressed, the louder the sound.

OF: It sounds at a certain volume regardless of how fast a

key is pressed.

7. KEYBOARD - KEY TRACK

Changes the Percussion Volume by the note.

ON: The higher notes reduce the volume.

OF: It sounds at a certain volume regardless of notes.

8. DRAWBAR - 1' CANCEL

This mutes the 1' of the UPPER part while using PERCUSSION.

ON: Mute

OF: Does not mute.

9. DRAWBAR - LEVEL

Decreases the volume of the UPPER Drawbars while using PER-

CUSSION.

-3dB:Decreases the volume

0dB:Does not decrease the volume

NOTE: This parameter works only when the VOL is SFT.

NOTE: The parameters in those modes are all Patch Parameters.

They are recorded to each Patch.

TOUCH

The B-3/C-3 had only one built-in Envelope Generator, and was not recharged until all the UPPER Manuals were released. This looks like a drawback, but it had the advantage that the sound did not get loose when chords were roughly played.

1' CANCEL

The B-3/C-3 had no key contact exclusive for percussion but uses the 1' contact for percussion. In this module, this is simulated.

DRAWBAR LEVEL

On the B-3/C-3, the Drawbar Volume gets slightly smaller if the Percussion is on. This is simulated in this module.

Setting The Parameters

LESLIE

In this mode, you can create your own settings for the built-

in Leslie effects.

There are many parameters for the built-in Leslie effects,

and so you can create various settings but not per each Patch

independently.

The parameters are treated by the group called “CABINET”.

You can select the CABINET NUMBER in the Patches.

16 17

10 11 12 13 14 15

3 4 5 6 7 8 9

To locate this mode:

1. Touch the [MENU/EXIT] button to display the MENU. Then select PAGE C by the [PAGE] button, select LESLIE by the [PARAM] button, and touch [ENTER].

2. Another option is to hold down [LESLIE] button.

CABINET NUMBERS

1. LESLIE CABINETS

Here you select the Cabinet Number to use in the Patches. The setting range is 1 - 8. The “*” will be displayed when the Leslie Parameters are

changed from this Cabinet Number.

LESLIE PARAMETERS

2. CABINET NAME

This is for selecting the Cabinet Names.

Move the cursor by the [PARAMETER] button and select letters by the [VALUE].

In this mode, only the present value “Temporary” changes and there is no determining

operation. You must record the name by doing “Recording the Cabinet” as explained in

the next paragraph. Otherwise the data will be lost.

3. SLOW SPEED - HORN

10. SLOW SPEED - BASS

Here the Speed of the Rotor is set for Slow Speed.

The setting range is 0, 24 - 318 rpm. It does not rotate at 0.

4. FAST SPEED - HORN

11. FAST SPEED - BASS

Here the Speed of the Rotor is set for Fast mode.

The setting range is 0, 375 - 453 rpm. It does not rotate at 0.

CONCEPT OF THE CABINET NUMBERS

Each Cabinet represents one imaginary Leslie Speaker prepared by the Leslie Parameter. This parameter is the only Patch Parameter in this mode.

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5. HORN LEVEL

12. BASS LEVEL

The Volume of each Rotor is set. The setting range is 0 to -12dB.

6. RISE TIME - HORN

13. RISE TIME - BASS

Here the time is set for the Rotor to reach the Fast Speed when you go from Slow

or Brake to Fast. The setting range for the Horn Rotor is 0.2 - 5.0s, and that for

the Bass Rotor is 0.5 - 12.5s.

7. FALL TIME - HORN

14. FALL TIME - BASS

Here the Time is set for the Rotor to reach the Slow speed when you go from Fast

to Slow Speed. The setting range for the Horn Rotor is 0.2 - 5.0s, and that for the

Bass Rotor is 0.5 - 12.5s.

8. BRAKE TIME - HORN

15. BRAKE TIME - BASS

Here the time is set for the Rotor to stop when you go from Fast state to Brake.

The setting range for the Horn Rotor is 0.2 - 5.0s, and that for the Bass Rotor is

0.5 - 12.5s.

9. HORN CHARACTER

Here the tone of the Horn Rotor is set.

“FLAT” is a flat tone, and the others are the tones with “peaky” characteristic.

16. MIC - ANGLE

This is the parameter to set for the LOCATIONS of the two Microphones for the

imaginary Leslie Speaker.

The ANGLE decides the distance between the two mikes.

The setting range is 0 - 180 degrees. The farther away, the more stereophonic

feeling it gives.

17. MIC - DISTANCE

This is the parameter to set for the DISTANCE between the imaginary Leslie

Speaker and the Microphones.

The setting range is 0.3 - 2.7m. The more the value increases, the less effective it

gets.

NOTE: When you operate the parameters 2 - 17, the setting range will be lost after

the power is switched off, if you do not do the recording operation of the

next page.

Setting The Parameters

RECORD THE CABINETS

The Leslie parameters (2 - 17 of the previous paragraph)

can be recorded with the Cabinet Numbers, and you can

choose and use them in each Patch.

Enter the name for the Cabinet as you want.

Touch the [RECORD] button in the setting mode of the

Leslie Parameter.

The Cabinet Selection mode is displayed.

Select the Cabinet Number to record by use of the

[VALUE] knob.

Touch [ENTER] and it is recorded.

The display during the recording treatment is shown in

the illustration.

NOTE: If you do not want to record, just touch the [MENU/

EXIT].

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OD/VIB (OverDrive / VIBrato)

In this mode, you can change the setting relating to each Effect for Overdrive and

Vibrato/Chorus.

To locate this mode:

Touch the [MENU/EXIT] button to display the MENU, select PAGE C by the [PAGE] button, choose “OD/VIB” by the [PARAM] button, and then touch the [1] OD/VIB button.

7 8 9 10 11 12

4 5 6

1 2 3

OVERDRIVE

1. OVERDRIVE - SWITCH

Turn ON/OFF the Overdrive effect.

2. OVERDRIVE - DRIVE

This is for adjusting the Overdrive Value.

The higher the value gets, the more distortion you can get.

3. OVERDRIVE - EXPRESSION

This is for varying the amount of Overdrive by changing the Ex-

pression value.

EXJOD:

If you operate the Expression value, not only the vol-

ume but also the distortion will be changed.

ODJEX:

The Expression value affects only the volume and not

the distortion value.

OD ONLY:

The Expression value affects only the distortion value

and not the volume.

VIBRATO & CHORUS

4. VIBRATO - RATE

This is for setting the Speed of the Vibrato and Chorus Effect.

The setting range is 6.10 - 7.25 Hz.

5. VIBRATO - TREMOLO

This is for setting the Tremolo (amplitude modulation) of the

Vibrato and Chorus Effect.

The setting range is 0 - 15.

6. VIBRATO - EMPHASIS

This is for setting the Emphasis (boost the high frequency) of the

Chorus Effect (C1/C2/C3).

The setting range is 0 - 9dB.

7. VIBRATO - DEPTH V1

8. VIBRATO - DEPTH V2

9. VIBRATO - DEPTH V3

10. VIBRATO - DEPTH C1

11. VIBRATO - DEPTH C2

12. VIBRATO - DEPTH C3

These are for setting the Depth of each Vibrato and Chorus Effect

mode.

The setting range is 0 - 15.

NOTE: The parameters in these modes are Patch Parameters and

are recorded to each Patch.

Setting The Parameters

In this mode, the Equalizer settings are made.

The Equalizer is an effect for adjusting the tonal quality. The built-in Equalizer in

this unit consists of 3 bands. You can divide the whole range from bass to treble into

3 independent ranges and adjust/control each of them individually.

To locate this mode:

1. EQ BOOST/CUT - BASS

EQUALIZ (EQUALIZer)

Touch the [MENU/EXIT] button to display the MENU, select Page C by [PAGE]. Next, select “EQUALIZ” by [PARAM] button and then touch [ENTER] button.

1 2 4

2. EQ BOOST/CUT - MIDDLE

4. EQ BOOST/CUT - TREBLE

This is for changing the Boost/Cut of Bass, Mid-range and Treble respectively.

The setting range is -9 to +9. The gain is flat at 0.

3. EQ FREQUENCY - MIDDLE

This is for changing the center frequency range - Middle (item #2).

The frequency center range is 480Hz - 2.9kHz.

NOTE: These parameters are Patch Parameters and are recorded to each Patch.

THE EFFECTIVE USE OF THE MIDDLE FREQUENCY

The frequency response of the horn rotor in the Leslie speaker is not flat. It has a peak from 1kHz to 3kHz, The sensitive range for human ears. When you use this module on line out without a Leslie speaker, you can get the similar effect by setting the FREQUENCY - MIDDLE to about 2kHz, and the BOOST/CUT - MIDDLE to “+”.

PATCH PARAMETERS

Equalizer is a Patch Parameter designed to actively use as one of the tone-making parameters. However, it is not practical to use Equalizer as a tonal complementary tool to match the location. In such a case, if you switch OFF the P.LOAD RV/ EQ in the PATCH function mode, the Equalizer value does not change when the patch is recalled. (P. 52 #7)

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REVERB

In this mode, you can change the setting for the REVERB EFFECT.

To locate this mode:

Touch the [MENU/EXIT] button for the MENU display, select PAGE C by the [PAGE] button, choose “REVERB” by the [PARAM] button, and touch the [ENTER] button.

4 5 6

1 2 3

1. REVERB ON

This is for switching ON/OFF the Reverb Effect.

2. DEPTH

This sets the Depth (= Volume) of the Reverb Effect.

The setting range is 0 - 15. If you increase the value, it will give

the audience the impression that the player is performing in a

larger room.

3. TYPE

This sets the Types of Reverb Effect.

Room 1: Inside the room (short)

Room 2: Inside the room (long)

Live: Live house

Hall 1: Concert Hall (long)

Hall 2: Concert Hall (short)

Church: Church

Plate: Iron-plate Reverb

Delay: Delay

PanDly: Panning Delay

RevDly: Reverb + Delay

4. REVERB TIME

When the Type (3) is set at Room 1 to Plate, it sets the Time for

Reverb to fade out.

The setting range is 0 - 31. The higher the value, the greater the

impression of a large building.

6. DELAY FEEDBACK

When the Type (3) is at Delay, PanDly, or RevDly, it sets the

amount of the Feedback. (The delaying sound repeats.)

The setting range is 0 - 96%. The higher the value, the higher the

Feedback you get.

7. LESLIE ON REVERB

This sets the route of the Reverb and Leslie Effect.

OF: Leslie to Reverb

ON: Reverb to Leslie

NOTE: These parameters are Patch Parameters and are recorded

to each Patch.

5. DELAY TIME

When the Type (3) is set at Delay, PanDly, RevDly, it sets the

delaying time.

The setting range is 4.7 - 1000 ms. The higher the number, the

longer the delay gets.

NOTE: You can set the Delay Time by the Foot-switch. (P. 57 #19)

PATCH PARAMETERS

Reverb is a Patch Parameter, designed to be actively used as one of the tone-making parameters. However, it is not practical to use Reverb as a tonal complementary tool to match the room/stage/hall. In such a case, if you switch off the PLOAD RV/EQ in the Patch function mode, the Reverb On/Off value does not change when the patch is recalled. (P. 52 #7)

Setting The Parameters

MIDI

This mode is for making the basic settings for the MIDI.

To locate this mode:

Touch the [MENU/EXIT] button to display the MENU, select PAGE D by the [PAGE] button. Then select “MIDI” by the [PARAM] button and touch the [ENTER] button.

11 12 13

2 3 4 5 6 7 8 9

MIDI TEMPLATE

1. MIDI TEMPLATE

This mode is used for easily making the purpose-by-purpose settings for each MIDI terminal.

Call out a typical settings by selecting the purposes by the [PARAM] button and touching the

[ENTER] button.

For example, select “2/3KBD via XMc” if you want to play a full-manual organ using the Draw-

bar Controller XMc-2 (= optional) and multiple MIDI Keyboards.

NOTE: The MIDI Template is a function for setting the following modes (2 to 4) by one step. Read

the details for each MIDI Template in the page 70.

MASTER

2. 3. 4. MIDI IN MODE

This is for setting the functions of each MIDI IN terminal.

IN1 and IN2 set the functions for the MIDI IN 1 and 2 respectively on this unit, and the XMc sets

that of the MIDI IN of the XMc-2 connected to this unit.

For example, set the Parameter IN2 to PED if you want to play the PEDAL part by the MIDI

message received at the MIDI IN2 terminal.

NOTE: Read the page 70 for the details of each MIDI IN mode.

5. PROGRAM CHANGE

This is for switching ON/OFF the transmission of the Program Change.

Use the Program Change for switching the Combination Presets on this unit.

ON: Transmit. OF: Don’t transmit

6. REGISTRATION

This is for switching ON/OFF the transmission of the Drawbar Registration.

ON: Transmit. OF: Don’t transmit.

7. NRPN

This is for switching ON/OFF the NRPN (= Non-Registered Parameter Number) transmission.

On this unit, it switches ON/OFF the message transmission such as the Drawbar Foldback and

the Leslie ON.

ON: Transmit. OF: Don’t transmit.

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8. LESLIE

This is used for switching the methods of the Leslie Parameter transmission.

XM: The Leslie Parameters are transmitted by the original NRPN and data of the XM-2.

21: The Leslie Parameters are transmitted by the NRPN and data for the Leslie #2101/2102. In

addition, when you select the Patch, the Leslie Parameters are transmitted.

9. RECEIVE DUMP

This is for switching ON/OFF the MEMORY DUMP receiving.

On this unit, you can transmit the whole current settings by the System Exclusive Messages as a

Memory Dump. However, switch it off if you do not want the settings on this unit changed by

playing the Sequencer.

ON: Receive. OF: Don’t receive.

10. SEND DUMP

This is for sending the Memory Dump.

Touch the [ENTER] button on this page. All the setting contents of this unit are sent out from the

MIDI OUT terminal as a whole.

MIDI CHANNEL

11. UPPER

12. LOWER

13. PEDAL

You can set which MIDI channel to use for transmitting each part.

The options are 1 to 16, OF. It does not transmit at OF.

On MIDI IN terminal, this Parameter works when the MIDI IN mode is CH.

NOTE: The settings in these modes are System Parameters. They are recorded at the same time when

they are set, and are common in all Patches.

Setting The Parameters

MIDI TEMPLATES AND THEIR PURPOSES

Single KBD 2KBD for L&U By Channel 2/3KBD via XMc

XM-2 IN1

XM-2 IN2

XMc-2 IN

Description

SINGLE UPPER CHANNEL LOWER

CHANNEL LOWER CHANNEL PEDAL

SINGLE UPPER CHANNEL UPPER

This template is for the play using the Split and Manual Bass functions of this unit, by connecting a MIDI Keyboard, to be sent by a single channel, to this unit or the Drawbar Controller.

This template is for playing the UPPER and LOWER part respectively on each MIDI Keyboard, by connecting 2 MIDI Keyboards sent by a single channel to this unit.

This template is for the play with a connected MIDI Keyboard, to send out plural MIDI channels to this unit or the Drawbar Controller.

This template is for playing 3 manuals, connecting a MIDI Keyboard to the Drawbar Controller, and another MIDI Keyboard and a MIDI Pedalboard to this unit.

THE MIDI IN MODES AND THEIR FUNCTIONS

SINGLE UPPER LOWER PEDAL CHANNEL

PART played

SPLIT

MANUAL BASS

SOFT-THRU

Description

UPPER UPPER LOWER PEDAL by MIDI channel

YesNoNoNoNo

Yes No Yes No No

Yes Yes Yes Yes No

The note-data received at the port set in this mode basically plays the UPPER part, regardless of the MIDI channels. By using the SPLIT and MANUAL BASS functions, it is possible to play 3 separate parts by a single MIDI Keyboard. The date received is separated into each part inside and runs Soft-Thru the set MIDI channel.

The note-data received at this port set in this mode always plays the UPPER part, regardless of the MIDI channel. It runs Soft-Thru the set MIDI channel.

The note-data received at the port set in this mode always plays the LOWER part, regardless of the MIDI channel. By the Manual Bass function, the PEDAL part can be played at the same time. It runs SoftThru the set MIDI channel.

The note-data received at the port set in this mode always plays the PEDAL part, regardless of the MIDI channel. It runs Soft-Thru the set MIDI channel.

The note-data received at the part set in this mode works in accordance with the MIDI channel. It neglects SPLIT or MANUAL BASS, nor runs Soft-Thru, either.

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KEYMAP

In this mode you can set the zones to play the built-in sound engine in this unit

for Split, Manual Bass, etc.

To locate this mode:

Touch the [MENU/EXIT] button to display the MENU, select PAGE D by the [PAGE] button. Then select “KEYMAP” by the [PARAM] button and touch the [ENTER] button.

1 2 3 4 5

SPLIT

SPLIT functions when the settings of the MIDI IN mode is “SNG”.

1. SPLIT - SWITCH

This is for switching ON/OFF the SPLIT function.

If you switch it ON, the received Note Data is divided/distributed

to each of the LOWER/UPPER parts at the Split Point ( = See

below.), which allows you to play both (LOWER/UPPER) parts

by a single MIDI Keyboard.

2. SPLIT - POINT

This is for setting the point ( = the note) at which to split the

LOWER and the UPPER parts, when you use the SPLIT func-

tion.

The setting value is the highest note used in the LOWER part.

3. SPLIT - LOWER OCTAVE

This is for setting the pitch of the split LOWER part by the oc-

tave.

If you use the SPLIT function, the pitch of the LOWER part may

be too low and so may not be suitable for playing chords.

In such a case, you can raise the pitch of the lower octave.

WHAT IS SPLIT?

It is a function to divide a single MIDI Keyboard into two sepa-

rate (right and left) parts (LOWER/UPPER) at a certain note.

MANUAL BASS

MANUAL BASS functions when the settings of the MIDI IN

mode is “SNG” or “LOW”.

4. MANUAL BASS - SWITCH

This is for switching ON/OFF the Manual Bass function.

If you switch it ON, the PEDAL part plays by receiving the Note

Data in the range upto the Manual Bass Point ( = See below.).

Thus you can play both (Manual and Pedal) parts on a single

MIDI Keyboard.

NOTE: You can choose POLY (for playing chords) or MONO

(sounding only lowest note). (P. 51 #15)

5. MANUAL BASS - POINT

This is for setting the uppermost note where the Manual Bass

functions.

WHAT IS MANUAL BASS?

It is a function to assign a certain range on a single MIDI Key-

board as the LOWER part to allow you to play together with the

Manual part at the same time.

Setting The Parameters

DEFAULT

In this mode, you can initialize the whole or a part of this unit back to the factory

settings.

To locate this mode:

Touch the [MENU/EXIT] button to display the MENU, select PAGE D by the [PAGE] button. Then select “DEFAULT” by the [PARAM] button and touch the [ENTER] button.

1 2 3

To initialize each Parameter, touch the [PARAM] button to choose the Parameter and touch

[ENTER].

1. PATCH

This is for Initializing the Patch.

Select the Patch you want to initialize by the [VALUE] knob. The selection range is 1 to 128,

ALL ( = All Patches).

2. GLOBAL

This is for initializing the Global Parameters such as Master Tune, Foot Switch assignment.

3. LESLIE

This is for initializing the Cabinet(s). Select the Cabinet you want to initialize by the [VALUE]

knob.

The selection range is 1 to 8, ALL ( = All Cabinets).

4. ALL

This is for initializing all the Parameters of this unit.

If the system of this unit gets unstable unexpectedly, you may cure the trouble by doing

DEFAULT ALL.

NOTE: Initializing all Parameters can be made by turning the power on, and holding down the

[RECORD] button.

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In this mode, you can display the system information of this unit.

To locate this mode:

Touch the [MENU/EXIT] button to display the MENU, select PAGE D by the [PAGE] button. Then select “SYSTEM” by the [PARAM] button and touch the [ENTER] button.

1 2 3

1. VERSION - MAIN PROGRAM

2. VERSION - TONE INFORMATION

3. VERSION - DEMO SONG

SYSTEM

4. VERSION - BOOT PROGRAM

These are the versions of each software built-in on this unit.

They are only for display and not the items to set.

Setting The Parameters

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APPENDIX

Appendix76

[Drawbar Sound Module] Model: XM-2

Function

Basic Channel

Default Changed Default

Mode

Messages

Altered Note Number

Velocity

After Touch

: True Voice

Note ON

Note OFF

Key's

Ch's Pitch Bender

12 - 20 21 - 29

33, 35

49, 50, 51

80, 81, 82

98, 99

100, 101

Program Change

: True # System Exclusive

System Common

System Real Time

: Song Position

: Song Select

: Tune

: Clock

: Commands

: Local On/Off Aux Messages

: All Notes Off

: Active Sense

: Reset

6, 38

120 121

MIDI Implementation Chart

Transmitted Recognized Remarks

1 1 Upper Channel *1 1 - 16 1 - 16 33 XX ***** X X36 - 96 ***** 36 - 96 OO XX XX XO XO

X O Modulation O O Data Entry MSB, LSB O O Expression X O Drawbar Reg. Upper X O Drawbar Reg. Lower XODrawbar Reg. Pedal O O Spring Shock X O Leslie On, Brake, Fast OOHold 1 O O Drawbar Reg. U, L, P O O NRPN LSB, MSB XXRPN LSB, MSB X O All Sound Off X O Reset All Controllers O 0 - 127 O 0 - 127 ***** O 0 - 127 OO XX XX XX XX XX XX XO OO XX

Date: 26-Jun-2006

Version: 1.0

Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO O: Yes Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO X: No

*1: Lower Channel = 2, Pedal Channel = 3

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Part and MIDI Messages

Upper Lower Pedal

Note OOO Pitch Bend O *1 X O Modulation (1) OXX Volume, Pan (7, 10) XXX Expression (11) O *2 X X Hold 1 (64) OOO

Drawbar Reg.

Spring Shock (48) OXX RPN (100, 101) XXX NRPN (98, 99) OXX All Notes Off (123) OOO All Sounds Off (120) OOO Reset All Ctrl. (121) OOO After Touch OXO *3 Bank Select (0, 32) XXX

Program Change Patch

CC#80, 12 - 20

CC#81, 21 - 29

Patch (for Lower / Pedal only)

CC#82, 33, 35

Patch

Appendix

*1: It works for both Upper and Lower. *2: It work for all parts (audio controlled). *3: Pitch Bend only

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Appendix78

MIDI Information

[Channel Voice Message]

Note Off

Status 2nd Byte 3rd Byte

8n kk vv or 9n kk 00

n=MIDI Channel Number: 0 - F(Ch.1 - 16) kk=Note Number: 00 - 7F(0 - 127) vv=Velocity(disregard): 00 - 7F(0 - 127)

Note On

Status 2nd Byte 3rd Byte

9n kk vv n=MIDI Channel Number: 0 - F(Ch.1 - 16) kk=Note Number: 00 - 7F(0 - 127) vv=Velocity: 00 - 7F(0 - 127)

Control Change

The value set by the Control Change is not reset even when Program Change messages etc. are received.

Modulation

Status 2nd Byte 3rd Byte

Bn 01 vv n=MIDI Channel Number: 0 - F(Ch.1 - 16) vv=Modulation Value: 00 - 7F

Expression

Status 2nd Byte 3rd Byte

Bn 0B vv n=MIDI Channel Number: 0 - F(Ch.1 - 16) vv=Expression Value: 00 - 7F(0 - 127)

Default Value = 7F(127)

Spring Shock

Status 2nd Byte 3rd Byte

Bn 30 vv n=MIDI Channel Number: 0 - F(Ch.1 - 16) vv=Velocity:

Pitch Bend Change

Status 2nd Byte 3rd Byte

En ll mm n=MIDI Channel Number: 0 - F(Ch.1 - 16) mm=Upper Byte ll=Lower Byte

00 00(-8192) - 40 00(0) - 7F 7F(8191)

[Channel Mode messages]

All Sounds Off

Status 2nd Byte 3rd Byte

Bn 78 00 n=MIDI Channel Number: 0 - F(Ch.1 - 16)

When this message is received, all currently-sounding notes on the corresponding channel will be turned off immediately.

Reset All Controllers

Status 2nd Byte 3rd Byte

Bn 79 00 n=MIDI Channel Number: 0 - F(Ch.1 - 16)

When this message is received, the following controllers will be set to their reset values.

Controller Reset Value

Pitch Bend Change ±0 (Center) Modulation 0 (off) Expression 127 (Maximum) Hold 1 0 (off) RPN unset; previously set data will not change NRPN unset; previously set data will not change

All Notes Off

Status 2nd Byte 3rd Byte

Bn 7B 00 n=MIDI Channel Number: 0 - F(Ch.1 - 16)

When All Notes Off is received, all notes on the corresponding channel will be turned off. However if Hold 1 is On, the sound will be continued until these are turned off.

Leslie On

Status 2nd Byte 3rd Byte

Bn 31 vv n=MIDI Channel Number: 0 - F(Ch.1 - 16) vv=Control Value: 00 - 7F(0 - 127) 0-63 = Off, 64-127 = On

Leslie Brake

Status 2nd Byte 3rd Byte

Bn 32 vv n=MIDI Channel Number: 0 - F(Ch.1 - 16) vv=Control Value: 00 - 7F(0 - 127) 0-63 = Off, 64-127 = On

Leslie Fast

Status 2nd Byte 3rd Byte

Bn 33 vv n=MIDI Channel Number: 0 - F(Ch.1 - 16) vv=Control Value: 00 - 7F(0 - 127) 0-63 = Off, 64-127 = On

Hold 1

Status 2nd Byte 3rd Byte

Bn 40 vv n=MIDI Channel Number: 0 - F(Ch.1 - 16) vv=Control Value: 00 - 7F(0 - 127) 0-63 = Off, 64-127 = On

NRPN MSB/LSB

Status 2nd Byte 3rd Byte

Bn 63 mm (MSB) Bn 62 ll (LSB)

n=MIDI Channel Number: 0 - F(Ch.1 - 16) mm=Upper Byte of the Parameter Number designated by NRPN[MSB]. ll=Lower Byte of same[MSB].

The value set by NRPN is not reset even if "Program Change", "Reset All controllers", etc. are received.

NRPN- "Non Registered Parameter Number"

The expansive range named NRPN is provided in the Control Change, which function is specific on each equipment and not defined in the MIDI Standard. When you use it, designate the parameter to control, by giving NRPN MSB and NRPN LSB (cc#98 and 99), and then set the value of the designated parameter by the Data Entry MSB(cc#6). Once the NRPN parameter is designated, all the data entry received into the same channel after that is regarded as the change of the value of the parameter. To avoid any mis-operation, we suggest you to set RPN Null (RPN = 7F 7F), after setting the necessary parameter value. On this sound module you can change the voice parameter by using NRPN.

Data Entry

Status 2nd Byte 3rd Byte

Bn 06 mm (MSB) Bn 26 ll (LSB)

n=MIDI Channel Number: 0 - F(Ch.1 - 16) mm,ll=Value for the Parameter designated by RPN/NRPN.

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Drawbar Data List 1

Control number: Upper

Lower Pedal

Data Map:

Level 16' 5 1/3' 8' 4' 2 2/3' 2' 1 3/5' 1 1/3' 1' 16' 8'

ex: Set Lower 8' to level 7 via MIDI... Bx 51 19 (x=Lower Channel)

00h(0) 09h(9) 12h(18) 1Bh(27) 24h(36) 2Dh(45) 36h(54) 3Fh(63) 48h(72) 00h(0) 09h(9)

01h(1) 0Ah(10) 13h(19) 1Ch(28) 25h(37) 2Eh(46) 37h(55) 40h(64) 49h(73) 01h(1) 0Ah(10)

02h(2) 0Bh(11) 14h(20) 1Dh(29) 26h(38) 2Fh(47) 38h(56) 41h(65) 4Ah(74) 02h(2) 0Bh(11)

03h(3) 0Ch(12) 15h(21) 1Eh(30) 27h(39) 30h(48) 39h(57) 42h(66) 4Bh(75) 03h(3) 0Ch(12)

04h(4) 0Dh(13) 16h(22) 1Fh(31) 28h(40) 31h(49) 3Ah(58) 43h(67) 4Ch(76) 04h(4) 0Dh(13)

05h(5) 0Eh(14) 17h(23) 20h(32) 29h(41) 32h(50) 3Bh(59) 44h(68) 4Dh(77) 05h(5) 0Eh(14)

06h(6) 0Fh(15) 18h(24) 21h(33) 2Ah(42) 33h(51) 3Ch(60) 45h(69) 4Eh(78) 06h(6) 0Fh(15)

07h(7) 10h(16) 19h(25) 22h(34) 2Bh(43) 34h(52) 3Dh(61) 46h(70) 4Fh(79) 07h(7) 10h(16)

08h(8) 11h(17) 1Ah(26) 23h(35) 2Ch(44) 35h(53) 3Eh(62) 47h(71) 50h(80) 08h(8) 11h(17)

50h(80) 51h(81) 52h(82)

Appendix

PedalUpper/Lower

Drawbar Data List 2

Data Map:

Control Number

Part 16' 5 1/3' 8' 4' 2 2/3' 2' 1 3/5' 1 1/3' 1'

Upper

Lower Pedal

Value

ex: Set Lower 8' to level 7 via MIDI... Bx 17 70 (x=Upper Channel)

0Ch(12) 0Dh(13) 0Eh(14) 0Fh(15) 10h(16) 11h(17) 12h(18) 13h(19) 14h(20)

15h(21) 16h(22) 17h(23) 18h(24) 19h(25) 1Ah(26) 1Bh(27) 1Ch(28) 1Dh(29)

21h(33)-23h(35)------

Level

012345678

00 - 0Fh

0 - 15

10 - 1Fh

16 - 31

20 - 2Fh

32 - 47

30 - 3Fh

48 - 63

40 - 4Fh

64 - 79

50 - 5Fh

80 - 95

60 - 6Fh 96 - 111

70 - 7Eh 112- 126

7Fh 127

*#1 :/Owner’s Manual

Appendix80

System Exclusive Message

Memory Dump Mode Setting Exclusive Message

1.Each Packet Full Parameters Reset F0 55 00 10 Model ID MSB 42 Model ID for DT1 16 11 Command: Data Packet 40 Address MSB [TYPE]

[PNH] [PNL] Packet Number LSB 42 Check Sum [DATA]

[CHD]

F7 End of Exclusive It takes about 50ms to process this message.

2.Acknowledge F0 55 SUZUKI ID 00 10 Model ID MSB 16 14 Command: Acknowledge [AK]

[PNH] [PNL] Packet Number LSB F7 End of Exclusive

System Exclusive SUZUKI ID Device ID

Model ID LSB

Data Type

02h= Setup Dump 7F Address LSB

Packet Number MSB

64 Bytes Data 128 Bytes nibblized ASCII When this device receives this message, it is reset to ex: 7Eh = 37h, 45h the initial status of Full Parameter, and gets ready Check Digit for receiving the music data for this device Lower 7 bits of XOR [DATA] correctly.

System Exclusive

Device ID

Model ID LSB

Result: 00h=OK

05h=Check Digit Error 06h=Receive Protected

Packet Number MSB

F0 55 10

Take an interval before the next message.

System Exclusive SUZUKI ID Device ID for DT1

Command: DT1

Address

Reset

End of Exclusive

3.Hand shake communication Master Slave

Packet 0 ->

Packet 1 ->

This device will wait for 20ms if no acknowledge is received and transmit the next data of the

packet number. (One Way Transfer)

NRPN Switch

F0 System Exclusive 55 00 10 16 02 Command: NRPN Sw. [DATA] F7

When this device receives this message, switch Tx&Rx NRPN in Control channel.

<- Acknowledge 0

<- Acknowledge 1

.....

SUZUKI ID Device ID Model ID MSB Model ID LSB

00h=Off, 7Fh=On End Of Exclusive

*#1 :/Owner’s Manual

Global Parameters

Appendix

Category

Tune

Expression

Foot Switch

Parameter

Transpose

Master Tune

Source

Min. Level

Min. Limit LF

Min. Limit HF

Mode Tip

Mode Ring

NRPN

LSB

(62)

01 00

01 02

02 00

02 08

02 09

02 0A

02 02

02 03

Global Parameters

DATA

MSB

(63)

3A - 40 - 46 (-6 - 0 - 6)

032E - 0338 - 0342 (430 - 440 - 450)

00 - 02 00: Exp. Pedal (Normal) 01: Exp. Pedal (Reverse) 02: MIDI IN

00 - 0D (Off, -60dB - -0dB)

00 - 09 00: Off 01: Leslie Fast(alternate) 02: Leslie Fast(momentarily) 03: Damper Upper 04: Damper Lower 05: Damper Pedal 06: Patch Fwd. 07: Patch Rev. 08: Spring Shock 09: Delay Time

MSB

(06)

Default Description

40 0

0338 440

02 MIDI IN

06 -35dB

09 -20dB

07 -30dB

01 Leslie Fast (alternate)

XMc Preset

ToneWheel set Combi. Preset Load

Preset 1

Preset 2

Preset 3

Preset 4

Preset 5

B-Type

Mellow Brite

Link Lower/Pedal(Link L/P)

Upper Regist. (UK)

Split, ManBs (INT)

Reverb, Equalizer (RV/EQ)

Leslie, Vibrato (ANI/OD)

Drawbar (DRAWB)

Percussion (PERCUS)

02 0B

02 0C

02 0D

02 0E

02 0F

03 00

03 01 03 02

50 00

50 01

50 02

50 03

50 04

50 05

50 06

00 - 7F (1 - 128)

00 - 03 00 Real B-3

00 - 02 00 Full Flats 00 - 02 00 Classic X-5

00, 01 (Off/On) 01 On

same as button #

*#1 :/Owner’s Manual

Appendix82

)

(

)

(

)

(

)

(

)

(

)

(

)

(

)

Patch Parameters

Category

Parameter

Name 10 Characters Drawbar

Effect

Leslie On 09 00 00, 01 (Off/On) Leslie Fast 09 01 00, 01 (Slow/Fast)

Leslie Brake Leslie Cabinet 09 07 00 - 07 (1 - 8)

Leslie Mod. Ctrl

Leslie Press. Ctrl 09 0A 00 - 02

Vibrato Mode 09 02 00 - 03 (Off, 1 - 3)

Vibrato / Chorus Vibrato Rate 09 04 00 - 04

Vibrato Tremolo Vibrato Cho. Emphasis 09 16 00 - 09 (0 - 9)

Vibrato Depth V1 Vibrato Depth V2 09 10 00 - 0F (0 - 15)

Vibrato Depth V3 Vibrato Depth C1 09 12 00 - 0F (0 - 15) Vibrato Depth C2 09 13 00 - 0F (0 - 15)

Vibrato Depth C3 OD On 09 09 00, 01 (Off/On)

OD Drive Level Master OD Exp. Ctrl 09 0C 00 - 02

OD Mod. Ctrl 09 0D 00, 01 (Off/On)

OD Press. Ctrl Bend Press. Ctrl 09 17 00 - 02

EQ Bass Gain

EQ Mid Gain

EQ Treble Gain 0A 02 00 - 09 - 12

EQ Mid Freq 0A 03 00 - 0A

Reverb On Reverb Type 0A 05 00 - 09

Reverb Depth 0A 06 00 - 0F (0 - 15)

Reverb Time Reverb Delay Feedback 0A 08 00 - 1F (0 - 96%)

Reverb Delay Time Leslie On Reverb 0A 0A 00, 01 (Off/On)

Patch Parameters

NRPN

LSB

MSB

(62)

(63)

09 06

09 08

09 03

09 15

09 0F

09 11

09 14

09 05

09 0E

0A 00

0A 01

0A 04

0A 07

0A 09

DATA

MSB

(06)

00, 01 (Through / Brake

00 - 02

Off, Speed, S/F

00 - 01

6.1 - 7.25Hz

00 - 0F (0 - 15)

00 - 3F (0 - 63)

00: OD to Exp 01: Exp to OD 02: OD Only

00, 01 (Off/On)

Off, Down, U

00 - 09 - 12

-9 - 0 - +9 dB

00 - 09 - 12

-9 - 0 - +9 dB

480 - 2.9kHz

00, 01 (Off/On)

00: Room 1 01: Room 2 02: Live House 03: Hall 1 04: Hall 2 05: Church 06: Plate 07: Delay 08: Pannning Delay 09: Reverb + Delay

00 - 1F (0 - 31)

00 - 3F (4.7 - 1000ms)

P. load

always

ANI/OD

EQ/REV

Category

Internal Zone

Parameter

Split On

Manual Bass On

Pedal Key Range High

Split Point

Split Lower Octave

Patch Parameters

NRPN

LSB

MSB

(62)

(63)

07 00

00, 01 (Off/On)

07 01

00, 01 (Off/On)

07 04

24 - 60

07 05

24 - 5F

07 06

00, 01 (0, +1)

DATA

MSB

(06)

P. load

SPLIT& MANBS

*#1 :/Owner’s Manual

Appendix

Category

Upper/ Lower Drawbar

Percussion Voice

Upper Drawbars

Parameter

Voice Type

Drawbar Click Attack

Drawbar Click Release

Drawbar Env. Attack

Drawbar Env. Release

Fold Back Low

Fold Back High

Bend Range Down

Bend Range Up

Bend Mode

Bend Time

Bend Amplitude

Drawbar Click LPF

Second On

Third On

Decay Fast

Soft

Level Soft

Level Normal

Decay Fast

Decay Slow

Touch

Velocity

Key Track

Drawbar 1' Cancel

Drawbar Level

16'

5 1/3'

2 2/3'

1 3/5'

1 1/3'

Patch Parameters

NRPN

LSB

MSB

(62)

(63)

20 00

00 - 02 00: B-Type 01: Mellow 02: Brite

20 01

00 - 0F (0 - 15)

20 02

00 - 0F (0 - 15)

20 03

00 - 0F (0 - 15)

20 04

00 - 0F (0 - 15)

20 05

00 - 0C (C1 - C2)

20 06

2B - 30 (G4 - C5)

20 07

00 - 18 (0 - 24)

20 08

00 - 0C (0 - 12)

20 0A

00 - 01 (Bend / Motor)

20 0B

00 - 31 (0.1 - 5.0s)

20 0C

00 - 01 (Off/On)

20 09

00 - 7F (0 - 127)

08 00

00, 01 (Off/On)

08 01

00, 01 (Off/On)

08 02

00, 01 (Off/On)

08 03

00, 01 (Off/On)

08 04

00 - 0F (1 - 16)

08 05

00 - 0F (1 - 16)

08 06

00 - 09 (1 - 9, C)

08 07

00 - 09 (1 - 9, C)

08 08

00, 01 (Off/On)

08 09

00, 01 (Off/On)

08 0A

00, 01 (Off/On)

08 0B

00, 01 (Off/On)

08 0C

00, 01 (0, -3dB)

see Drawbar Data List

for details

DATA

MSB

(06)

P. load

DRAWB

PERCUS

UPPER

Category

Lower Drawbars

Pedal Drawbar Voice

Pedal Drawbars

Lower Patch Parameters

NRPN

LSB

Parameter

16'

5 1/3'

2 2/3'

1 3/5'

1 1/3'

Voice Type 22 00 00 - 03

Drawbar Attack

Bend Range Down 22 02 00 - 18 (0 - 24)

Bend Range Up Sustain On 22 04 00, 01 (Off/On) Sustain Length 22 05 00 - 04 (1 - 5) Pedal Key Mode 22 06 00, 01 (Mono/Poly) Decay Length 22 07 00 - 05 (1 - 5, Cont.)

Velocity

16'

MSB

(62)

(63)

see Drawbar Data List

22 01

22 03

22 08

see Drawbar Data List

DATA

MSB

(06)

for details

00: Normal 01: Muted 02: Synth 1 03: Synth 2

00 - 04 00: Slow Attack 01: No Click 02: Soft Click 03: Normal Click 04: Max Click

00 - 0C (0 - 12)

00 - 04 (Off, 1 - 4)

for details

P. load

Link L/P

*#1 :/Owner’s Manual

Appendix84

Leslie Parameters

Category

Cabinet #1 - 8

Parameter

Name

Slow Speed Horn Slow Speed Bass Fast Speed Horn Fast Speed Bass Rise Time Horn Rise Time Bass Fall Time Horn Fall Time Bass Brake Time Horn Brake Time Bass Volume Horn Volume Bass Mic. Angle Mic. Distance Horn Character

Leslie Parameters

NRPN on XM

LSB

(62)

06 00 7F 00 06 01 7F 01 06 02 7F 02 06 03 7F 03 06 04 7F 04 06 05 7F 05 06 06 7F 06 06 07 7F 07 06 08 7F 08 06 09 7F 09 06 0A -- -06 0B -- -06 0C 7F 0A 06 0D 7F 0B 06 0E -- --

MSB

(63)

NRPN on 21

LSB

(62)

DATA

MSB

(63)

00 - 63(0, 24 - 318rpm) 05 (36rpm) 00 - 63(0, 24 - 318rpm) 05 (36rpm) 00 - 1B(0, 375 - 453rpm) 07 (393rpm) 00 - 1B(0, 375 - 453rpm) 07 (393rpm) 00 - 18(0.2 - 5.0s) 0A (2.2s) 00 - 18(0.5 - 12.5s) 0D (7.0s) 00 - 18(0.2 - 5.0s) 04 (1.0s) 00 - 18(0.5 - 12.5s) 09 (5.0s) 00 - 18(0.2 - 5.0s) 05 (1.2s) 00 - 18(0.5 - 12.5s) 13 (10s) 00 - 0C(-12 - 0dB) 0C (0dB) 00 - 0C(-12 - 0dB) 0C (0dB) 00 - 06(0 - 180deg) 05 (150deg) 00 - 08(0.3 - 2.7m) 02 (0.9m) 00 - 02(Flat, Mid, Deep) 01 (Mid)

MSB

(06)

(10 Characters)

Default

System Parameters

Category

MIDI

Display

Expression

Parameter

MIDI In Mode In1 Single, Upper, Lower,

MIDI In Mode In2 Single, Upper, Lower,

MIDI In Mode XMc Single, Upper, Lower,

TRx. NRPN Off / On On

Tx. Leslie Param. XM / 21 XM

TRx. Prog. Change Off / On On

TRx. Drawbar Regi. Off / On On

Rx. Dump Off / On On

TRx. Channel Upper 1 - 16, Off 1

TRx. Channel Lower 1 - 16, Off 2

TRx. Channel Pedal 1 - 16, Off 3

To Shortcut 1, 2s, No 1s

Time Out 4, 8, 16s, No No

Gain 70 - 130% 110%

System Parameters

Data Range

Pedal, Channel

Channel

Pedal

Channel

Default

Single

Channel

Single

*#1 :/Owner’s Manual

Appendix

*#1 :/Owner’s Manual

Appendix86

Specifications

Sound Generator

2 x VASE III as Digital Tone-wheels

Harmonic Drawbars

Pitches

9 Pitches (Upper and Lower) 2 Pitches (Pedal)

Waveform

B-type/Mellow/Brite (Upper and Lower) Muted/Normal/Synth1/Synth2 (Pedal)

Percussion

Harmonics

Second, Third

Adjustable

Fast Decay, Soft Touch, Velocity, Decay (Fast, Slow) Level (Soft, Normal)

Tuning

Master

430 - 450 1Hz Steps

Transpose

-6 - 0 - +6 semitones

Effects

Internal Leslie

On, Fast, Brake Digital, 2 Rotors

Vibrato and Chorus

V1, V2, V3, C1, C2, C3 Upper&Lower On/Off Speed: 5(6.10 - 7.25Hz)

Overdrive

Digital Overdrive

Equalizer

3 Bands

Reverb

10 Programs

Sustain

5 Lengths (Pedal)

Keymap

Functions

Split Manual Bass

Adjustable

Split Point Lower Octave Pedal Top key

Patches

128 Patches

Display

20-characters, 2 lines with 12 control switches and Rotary encoder

Storage

None

MIDI

Templates: 4

Connections

DC Input (15V) MIDI In1, In2, Out Exp. Pedal (Phone Jack), Foot Switch, Line Out L/Mono, R, Headphones, 8-pin Leslie

Accessory

AC Adaptor

AD1-1508 (100 - 120V) AD3-1508 (220 - 240V)

Dimension

396(W) x 172 (D) x 50(H) mm

Weight

1.8 kg

*#1 :/Owner’s Manual

*#1 :/

Demonstration Songs and Composers

Playing the demonstration performance:

1. Touch the [MENU/EXIT] Button.

2. Select page 4 by [PAGE] Button.

3. Touch the [ENTER] Button.

4. Select a song by [PAGE] Button.

5. Touch the [ENTER] Button to play.

Songs / Composers

Liberation

Takanobu Masuda

XM-2 Happy

Acid Wash

Joey DeFrancesco

Tony Monaco

Shooting Star

Daisuke Kawai

B-3 Cookin’

Deryl Winston

Somthing Slow

Joey DeFrancesco

Shakin’

Joey DeFrancesco

Joey started playing at the age of four. He recalls,

“I could just play. I was already hearing Jimmy

Smith and stuff like that around the house. Then

one time my Dad, “Papa John” DeFrancesco,

brought the Hammond organ home from a gig.

When I heard that sound I really got into it. My

Dad guided me in the right direction, the do’s

and the don’ts, but he was never very forceful

about it.” At the age of 10, Joey was already

playing for money on weekend gigs. By high

school, he was working steadily around Phila-

delphia, receiving first-hand instruction from the

top-shelf organists who come through the city

such as Jimmy Smith, Jack McDuff, and numer-

ous others. His high visibility career kicked off

when Miles Davis asked Joey to join his late 80s

band. Joey then signed a contract with Columbia

that resulted in five records from 1989 to 1994.

With the release of his album, “All of Me” in

1989, Joey emerged on the jazz scene. The glo-

bal jazz community has credited Joey and his re-

cordings, from the late 1980s and early 1990s, as

the singular sensation for rekindling a love for

the Hammond B-3 organ. In 2003, Joey and his

band released their latest hit CD, “Falling in Love

Again”. This CD featured the Hammond “New”

B-3 organ. For the year 2002/2003, the maga-

zine Downbeat chose Joey as “the Jazz Organist

of the Year”. Currently Joey is very active at

Hammond Suzuki. Besides participating at dealer

promotions, national conventions, concerts, and

clinics, he contributes to Hammond product de-

velopment.

Tony Monaco

Tony started playing the accordion when he was

eight years old. When he was twelve, he was given

a Jimmy Smith album and instantly knew that

Jazz Organ was his calling. Tony began playing

in Jazz nightclubs around Columbus Ohio while

he was still learning the art of Hammond B3 or-

gan. He was influenced by hometown Organists

such as Hank Marr and Don Patterson. Tony’s

newfound fascination led him to jazz organ leg-

ends Jimmy McGriff, Richard “Groove” Holmes,

Charles Earland, Jack McDuff, and Dr. Lonnie

Smith. Here he found an unlimited source of in-

spiration ; he just couldn’t get enough! On Tony’s

sixteenth birthday, he received a phone call from

Jimmy Smith. This was a great honor and really

boosted his enthusiasm as an organist. When he

was twenty, Jimmy Smith invited Tony to come

play with him at his club in Woodland Hills LA.,

California. An experience Tony would never for-

get. In April 2000, Tony met jazz Organist Joey

DeFrancesco while Joey was playing in Colum-

bus, Ohio. The two of them became instant

friends. Joey recognized Tony’s talents right away

and offered to produce a CD for him. Tony’s re-

cording “Burnin’ Grooves” sparked international

attention. Tony now travels and plays the “New

B3” organ as his relationship with Hammond

Suzuki has grown.

Daisuke Kawai

Started music career as a studio musician in 1989.

Has supported Cornelius, Shinji Takeda and, re-

cently, the Morning Musume, Ayumi Hamasaki,

and coba, etc.

Actively performing with his own band “Tone

Wheels”, and the new unit “Opus”.

Deryl Winston

Deryl Winston is a long time resident of San Diego.

He began playing the Hammond Organ at age 14 while

still living in his native home of Seattle Washington.

Deryl was tutored by two of the finest Gospel musi-

cians in the form of his mother Alice Winston (a con-

cert pianist) and Aunt Jean McGraw (Hammond Or-

ganist). It was not long before many in the Seattle

area became familiar with Deryl and the amazing tal-

ent and skill he showed on the Hammond Organ. By

early 2000, Deryl was introduced to the Executives at

Hammond Suzuki USA. They were very impressed

with Deryl and invited him to the Annual Namm Con-

vention in Anaheim Ca. to become one of their artist’s.

Deryl still continues to travel in the capacity as a

Hammond Concert Artist. He provides dedication

concerts and conducts seminars on Hammond Organ

and it’s importance in Gospel music. He’s very thank-

ful and proud to represent such a fine company as

Hammond Suzuki USA. Deryl’s motto is “You ain't

Jammin, unless there’s a Hammond”!

Takanobu Masuda

Started playing the organ when small. Has been in-

terested in the Hammond Organ since about 15. Pur-

chased the new X-5 and Leslie #760 at the age of 18,

then studied mainly Rock style performance and ap-

proach.

Later, as a session keyboardist, joined the recordings

and lives of various artists. Now gives advice to the

makers (Hammond Suzuki) about the XB/XM series

from the viewpoint of a professional musician.

 All the copyrights of these demo-songs belong to

Suzuki Musical Inst. Mfg. Co., Ltd.

 Reproducing these demo-songs for use other than

listining individually is prohibited by law.

 While the demo-songs are playing, the controllers

do not function, except [VOLUME].

*#1 :/

Factory Patches

Patch # Name Patch # Name Patch # Name Patch # Name

001 Jimmy 041 Theatre C# 081 White Shade 121 User 1 002 Lo & Hi 1 042 Theatre D 082 Percuss Bass 122 User 2 003 Warmth 043 Theatre D# 083 Four Beat 123 User 3 004 Groove 044 Theatre E 084 Funk Bass 124 User 4 005 Funky 045 Theatre F 085 Surf Coast 125 User 5 006 Purple 046 Theatre F# 086 Blue Tigers 126 User 6 007 Funky 2 047 Theatre G 087 10th Avenue 127 User 7 008 Full Tibias 048 Theatre G# 088 Popcorn 128 Init. Patch 009 Full Organ 049 Theatre A 089 Doubling 010 Full Church 050 Full Theatre 090 N. E. S. 011 Jimmy 1 051 Tibia 8 & 4 091 Soloist 012 Jimmy 2 052 Tibia 8 & 2 092 Choke Nose 013 Jimmy 3 053 Tibia & Vox 093 S. F. Forever 014 Burner 054 Tibia 8, 4 & 2 094 Tea Lounge 015 Groove 055 Tibia 16 & 8 095 Le Femme 016 Smooth Bass 056 Tibia 16 & 4 096 Triplet 90 017 Shirley 057 Tibia 16, 8 & 4 097 Triplet 100 018 Jimmy MC 058 Tibia 16,8,4&2 098 Triplet 110 019 Fat Bass 059 Tibia 16,8,4,2,1 099 Triplet 120 020 All Nine 060 Full Tibia 100 Triplet 130 021 Gospel 1 061 Gedeckt 8 101 XM-2 Happy 1 022 Gospel 2 062 Flute 8 & 4 102 XM-2 Happy 2 023 Gospel 3 063 Principl 8 103 XM-2 Happy 3 024 Gospel 4 064 Princ Chrs 104 Acid Wash 1 025 Praise 1 065 Rohr Flute 105 Acid Wash 2 026 Praise 2 066 Gamba Clst 106 B-3 Cookin' 027 Praise 3 067 Cornet 107 Shooting 1 028 Praise 4 068 Sesquialtr 108 Shooting 2 029 Meditation 069 Chrs & Mxt 109 Liberatio 1 030 Full Gospel 070 Sforzando 110 Liberatio 2 031 Purple 071 Lo & Hi 1 111 Stopped Fl. 032 Perc Holow 072 Lo & Hi 2 112 Dulciana 033 Some Lovin 073 Lo & Hi 3 113 Fr. Horn 034 Booker 074 Odd Harm 114 Salicional 035 Rock 1 075 M3 Low Man 115 Flutes 8 & 4 036 Rock 2 076 Perc 16 & 4 116 Oboe Horn 037 Rock 3 077 Solo 16 & 2 117 Diapason 038 Full 1 078 Cute Solo 118 Trumpet 039 Full 2 079 Eddieswind 119 Full Swell 040 Full Overd 080 Full Hamm 120 Full Church

00457-40138 V1.0

SERVICE

Hammond maintains a policy of continuously improving and upgrading its instruments and therefore reserves the right to change specifications without notice. Although every attempt has been made to insure the accuracy of the descriptive contents of this Manual, total accuracy cannot be guaranteed. Should the owner require further assistance, inquiries should first be made to your Authorized Hammond Dealer. If you still need further assistance, contact Hammond at the following addresses:

In the United States contact:

HAMMOND SUZUKI USA, Inc.

733 Annoreno Dr.

Addison, IL 60101

UNITED STATES

Website:

www.hammondorganco.com

Technical materials are available and can be obtained by mailing a request to the appropriate address listed above marked ATTENTION: SERVICE DEPARTMENT.

SUZUKI MUSICAL INSTRUMENT MFG. CO., Ltd.

HAMMOND SUZUKI EUROPE

E-mail: Info@hammondsuzuki.com

Website: www.hammondsuzuki.com

Hamamatsu 430-0852 (Shizuoka)

In Europe contact:

B.V.

IR. D.S. Tuynmanweg 4A

4131 PN Vianen

THE NETHERLANDS

Manufacturer:

25-12, Ryoke 2 Chome

JAPAN

All other countries contact:

HAMMOND SUZUKI Ltd.

25-11, Ryoke 2 Chome

Hamamatsu 430-0852

(Shizuoka)

JAPAN

Website: www.suzuki-music.co.jp

*#1 :/Owner’s Manual

HAMMOND SUZUKI, LTD., Hamamatsu, Japan Printed in Japan

00457-50023

V1.00-060825

Hammond XM-2 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

IMPORTANT SAFETY INSTRUCTIONS

IMPORTANT - PLEASE READ

BATTERY BACK UP

Table Of Contents

MAIN FEATURES

Front Panel

NAMES AND FUNCTIONS

Rear Panel

HOOK-UP

BASIC HOOK-UP

CONNECTION USING A SIMPLE MIDI KEYBOARD

CONNECTION USING TWO MIDI KEYBOARDS

CONNECTION OF LESLIE SPEAKER

MIDI CONTROL OF LESLIE SPEAKER

TURN ON AND PLAY

TURN ON THE POWER

HOW TO TURN THE POWER ON

BACK-UP

RESET TO THE FACTORY SETTINGS

LISTEN TO THE DEMONSTRATION

PLAY BY THE PATCH

HOW TO CALL OUT THE PATCHES

PITCH BEND

PLAY WITH THE CONTROLLERS

EXPRESSION PEDAL

FOOT SWITCH

CREATE YOUR OWN SOUNDS

SELECT PATCH 128.

MAKE THE DRAWBAR REGISTRATION

ADD PERCUSSION

ADD EFFECTS

VIBRATO AND CHORUS

LESLIE

RECORD TO THE PATCH

SETTING UP

SOUND ENGINE STRUCTURE

SYSTEM STRUCTURE OF XM-2

HOW TO USE THE PANEL BUTTONS

EXAMPLE: Set Upper 8' of Drawbar registration at 5.

DRAWBAR (DRAWBAR registration)

WHITE DRAWBARS

BLACK DRAWBARS

BROWN DRAWBARS

PEDAL DRAWBARS

DRAWBAR REGISTRATION PATTERNS

PERC (PERCussion)

NOTE

DRAWBAR CANCEL

VIB & CHO (VIBrato and CHOrus)

LESLIE

NAME THE PATCH

PATCH

RECORD A NEW PATCH

PLAY MODE

HOW TO READ THE DISPLAY

PANEL BUTTON MODE

HOW TO READ THE DISPLAY

BUTTON OPERATION IN THIS MODE

MENU MODE

HOW TO READ THE DISPLAY

BUTTON OPERATION IN THIS MENU

FUNCTION MODE

HOW TO READ THE DISPLAY

BUTTON OPERATION IN THIS MODE

EXAMPLE: Adjusting the DECAY TIME of the Percussion [FAST]

SHORT CUT TO THE FUNCTION MODE

EXAMPLE: Move to the Percussion Function Mode.

DRAWBAR

Setting the Manual (LOWER and UPPER)

Setting the PEDAL

PATCH

PATCH NAME

PATCH LOAD

PATCH NUMBERS

EFFECTIVE USE OF LINK-LOWER/PEDAL

WHEN LINK LOWER/PEDAL IS ON: