Korg i40M User Manual

Download

i40M

User’s Guide

Interactive Music Module

AI2 Synthesis System

IMPORTANT SAFETY INSTRUCTIONS

WARNING — When using electrical products, basic precautions should be f ollowed, including the f ollowing:

1. Read all the instructions before using the product.

2. Do not use this product near water — for example, near a bathtub , washbowl, kitchen sink, in a wet basement, or near a swimming pool, or the like.

3. This product should be used only with the cart or stand that is recommended by the manufacturer.

4. This product, 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 le v el or at a level that is uncomf ortable. If you e xperience any hearing loss or ringing in the ears, you should consult an audiologist.

5. The product should be located so that its location or position does not interfere with its proper ventilation.

6. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat.

7. The product should be connected to a power supply of the type described in the operating instructions or as marked on the product.

8. The power-supply cord of the product should be unplugged from the outlet when left unused for a long period of time.

9. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

10.The product should be serviced by qualiﬁed personnel when:

A. The power-supply cord or the plug has been

damaged; or

B. Objects have f allen, or liquid has been spilled

into the product; or C. The product has been exposed to rain; or D. The product does not appear to operate

normally or exhibits a marked change in

performance; or E. The product has been dropped, or the

enclosure damaged.

11.Do not attempt to service the product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualiﬁed service personnel.

SA VE THESE INSTRUCTIONS

The lightning ﬂash with the arrowhead symbol

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

GROUNDING INSTRUCTIONS

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

DANGER – Improper connection of the equipment-grounding conductor can result in a risk of electric shock. Check with a qualiﬁed electrician or serviceman if you are in doubt as to whether the product is properly grounded. Do not modify the plug pro vided with the product – if it will not ﬁt the outlet, have a proper outlet installed by a qualiﬁed electrician.

within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufﬁcient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

THE FCC REGULATION WARNING (FOR THE U.S.A. AND CANADA ONLY)

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

CANADA

THIS APPARATUS DOES NOT EXCEED THE “CLASS B” LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS.

LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA “CLASSE B” PRESCRITES DANS LE REGLEMENT SUR LE BROUILLA GE RADIOELECTRIQUE EDICTE PAR LE

CE mark for European Harmonized Standards

CE mark which is attached to our company’s products of A C mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).

And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC).

Also, CE mark which is attached to our company’s products of Battery operated apparatus means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Warning-THIS APPARATUS MUST BE EARTHED As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured

markings identifying the terminals in your plug,proceed as follows:

• the wire which is coloured green and yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth symbol ,or coloured green or green and yellow.

• the wire which is coloured blue must be connected to the terminal which is marked with the letter N or coloured black.

• the wire which is coloured brown must be connected to the terminal which is marked with the letter L or coloured red.

Data Handling

Data in memory may sometimes be lost due to incorrect user action. Be sure to save important data to ﬂoppy disk. Korg will not be responsible for damages caused by data loss.

LCD Display

Some pages of the manuals show LCD screens along with an explanation of functions and operations. All sound names, parameter names, and values are merely examples and may not always match the actual display you are working on.

Trademarks

Macintosh is a registered trademark of Apple Computer, Inc. MS-DOS and Windows are registered trademarks of Microsoft Corporation. All trademarks or registered trademarks are the property of their respective holders.

Disclaimer

The information contained in this manual has been carefully revised and checked through. Due to our constant efforts to improve our products, the speciﬁcations might dif fer to those in the manual. Korg is not responsible for any eventual differences found between the speciﬁcations and the contents of the instruction manual - the speciﬁcations being subject to change without prior notice

Liability

KORG products are manufactured under strict speciﬁcations and voltages required by each country . These products are warranted by the K ORG distrib utor only in each country . An y K ORG product not sold with a warranty card or carrying a serial number disqualiﬁes the product sold from the manufacturer's/distributor's warranty and liability. This requirement is for your own protection and safety.

Service and User’s Assistance

For service, please contact your nearest Authorized K ORG Service Center. For more information on KORG products, and to ﬁnd software and accessories for your piano, please contact your local Authorized KORG distributor.

Web servers

• Home page Korg Italy: “http://www.korg.it”

• Home page Korg.net: “http://www.korg.net”

• Home page Korg USA.: “http://www.korg.com”

• Home page Korg Inc.: “http://www.korg.co.jp”

How to...

How to…

Demo

Listening ☞P. 20

MIDI

Connecting a master keyb. ☞P. 47 Connecting a sequencer ☞P. 53 Connecting a digital piano ☞P. 48 Connecting an accordion ☞P. 49 Connecting a MIDI guitar ☞P. 52 Connecting other instrum. ☞P. 54 MIDI channel programming ☞P. 109, ☞P. 137

Arrangements and automatic accompaniments

Selecting ☞P. 25 Starting & stopping ☞P. 26 Fill, intro, ending ☞P. 27 Changing the volume ☞P. 3

Loading from disk ☞P. 129 Creating new arrangements ☞P. 56

Programs (single sounds)

Selecting ☞P. 30 Assigning to the keyboard ☞P. 29 Editing (Perf. Edit) ☞P. 42, ☞P. 154

Standard MIDI Files (SMF, Songs)

Loading ☞P. 22 Saving ☞P. 35, ☞P. 124 Listening ☞P. 22 Erasing from memory ☞P. 120

Disk

Loading ﬁles ☞P. 128 Saving ﬁles ☞P. 131 Formatting a disk ☞P. 133

Summary

Introduction . . . . . . . . . . . . . . . . . . .2

User’s guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Safety Instructions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Before you begin.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Connecting an external amplifying system. . . . . . . . . . . . . . . . . . . . .2

Connecting the power cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Turning on the power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Adjusting the general volume. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Adjusting the volume of the Vocal/Guitar section . . . . . . . . . . . . . . .3

The headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Connecting a MIDI controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Front and Rear Panels . . . . . . . . . . . 6

Front Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Operative modes . . . . . . . . . . . . . .15

Arrangement Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Backing Sequence mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Program mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Song Play mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Song Edit mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Disk/Global mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Display pages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Recording a display page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Subpages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Programming a parameter value. . . . . . . . . . . . . . . . . . . . . . . . . . 19

Tutorial . . . . . . . . . . . . . . . . . . . . .20

Demo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Listening to the Demo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

The Backing Sequence demo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Listening to the songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

The arrangements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

What are styles and arrangements . . . . . . . . . . . . . . . . . . . . . . . . 25

How to program the MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Selecting an arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Starting the accompaniment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Synchro start e stop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Intro/ending . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

All the tracks, at once! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Fade in/out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Varying the tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

The real time tracks (Upper 1, Upper 2, Lower) . . . . . . . . . . . 29

What are the real time tracks?. . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Assigning the real time tracks to the keyboard. . . . . . . . . . . . . . . . 29

Activating and deactivating the real time tracks . . . . . . . . . . . . . . . 29

Blocking the programs of the real time tracks. . . . . . . . . . . . . . . . . 30

Changing the sounds of the real time tracks . . . . . . . . . . . . . . . . . . 30

Transposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Selecting a Keyboard Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Recording a Keyboard Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

The backing sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

What are the backing sequences? . . . . . . . . . . . . . . . . . . . . . . . . . 32

Recording the Backing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 32

Saving the Backing Sequences on disk. . . . . . . . . . . . . . . . . . . . . . 33

Deleting the Backing Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . 34

The Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

What are the Songs? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Recording a song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Saving the Song as Standard MIDI File (SMF) . . . . . . . . . . . . . . . . 35

Editing Standard MIDI Files (SMF) . . . . . . . . . . . . . . . . . . . . . . . . . 36

The Vocal/Guitar section. . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Connecting a microphone or a guitar. . . . . . . . . . . . . . . . . . . . . . . 39

Using the Vocal/Guitar section. . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Changing the settings of the Vocal/Guitar section . . . . . . . . . . . . . 40

Programming the Vocal/Guitar section . . . . . . . . . . . . . . . . . . . . . 40

The programs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Editing the programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

MIDI . . . . . . . . . . . . . . . . . . . . . . . 44

What is MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

The special channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

The Global channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

The Chord 1 and Chord 2 channels. . . . . . . . . . . . . . . . . . . . . . . . 45

The Keyboard Set channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

The Arrangement channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

What is General MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

What are Standard MIDI Files? . . . . . . . . . . . . . . . . . . . . . . . 46

Connecting the i40M to a MIDI keyboard . . . . . . . . . . . . . . . 47

Connecting the i40M to a digital piano . . . . . . . . . . . . . . . . . 48

Connecting the i40M to a MIDI accordion. . . . . . . . . . . . . . . 49

Connecting the i40M to a MIDI guitar . . . . . . . . . . . . . . . . . . 52

Connecting the i40M to an external sequencer . . . . . . . . . . . 53

Controlling another instrument with the i40M. . . . . . . . . . . . . 54

Arrangement Play mode. . . . . . . . 56

Tempo and chord scanning. . . . . . . . . . . . . . . . . . . . . . . . . . 56

Page 1: Performance monitor . . . . . . . . . . . . . . . . . . . . . . . . 57

Page 2: Style select. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Page 3: Track settings (1). . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Page 4: Track settings (2). . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Page 5: Ensemble/Variation change. . . . . . . . . . . . . . . . . . . 61

Page 6: Drum Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Page 7: Kick & Snare Designation. . . . . . . . . . . . . . . . . . . . . 62

Page 8: Keyboard scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Page 9: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Page 10: Effect modulation . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Page 11: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Page 12: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Page 13: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Page 14: Vocal/Guitar mode/ Assigned parameters . . . . . . 65

Summary

Page 15: Vocal effects (1) (Vocal mode). . . . . . . . . . . . . . . . .66

Page 16: Vocal Effects (2) (Vocal mode). . . . . . . . . . . . . . . . . 66

Page 17: Mixer (Vocal mode) . . . . . . . . . . . . . . . . . . . . . . . . 67

Page 18: Tone programming (Vocal mode). . . . . . . . . . . . . . 67

Page 19: Drive programming . . . . . . . . . . . . . . . . . . . . . . . . 68

Page 20: FX1 programming (Vocal mode) . . . . . . . . . . . . . . 69

Page 21: FX2 programming (Vocal mode) . . . . . . . . . . . . . . 70

Page 15: Guitar effects (1) (Guitar mode). . . . . . . . . . . . . . . .71

Page 16: Guitar effects (2) (Guitar mode). . . . . . . . . . . . . . . .72

Page 17: Mixer (Guitar mode). . . . . . . . . . . . . . . . . . . . . . . .72

Page 18: Tone programming (Guitar mode) . . . . . . . . . . . . . 73

Page 19: Drive programming (Guitar mode) . . . . . . . . . . . . . 73

Page 20: Modulation programming (Guitar mode) . . . . . . . .75

Page 21: Ambience programming (Guitar mode) . . . . . . . . .77

Page 22: NR and CR programming (Guitar mode) . . . . . . . .78

Page 23: Rename Arrangement. . . . . . . . . . . . . . . . . . . . . . . 79

Page 24: Write Arrangement. . . . . . . . . . . . . . . . . . . . . . . . . 79

Page 25: Write Keyboard Set . . . . . . . . . . . . . . . . . . . . . . . . 80

Backing Sequence mode . . . . . . . . 81

• Saving the backing sequences before turning off. . . . . . . . .81

Page 1: Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

Page 1: Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

Recording all the tracks in one go in real time. . . . . . . . . . . . . . . . . 82

Recording a track at a time in real time . . . . . . . . . . . . . . . . . . . . . 85

Page 2: Step recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Page 3: Erase Backing Sequence . . . . . . . . . . . . . . . . . . . . . . 92

Page 4: Copy Backing Sequence . . . . . . . . . . . . . . . . . . . . . .92

Page 5: Edit 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

5-1. Delete measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

5-2. Insert measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

5-3. Erase measures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Page 6: Edit 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

6-1. Copy measures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

6-2. Bounce tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

6-3. Quantize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Page 7: Shift note (Transposition) . . . . . . . . . . . . . . . . . . . . . .97

Page 8: Event edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Page 9: Extra Track settings (1). . . . . . . . . . . . . . . . . . . . . . .101

Page 10: Extra Track settings (2). . . . . . . . . . . . . . . . . . . . . .102

Page 11: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Page 12: Effect modulation. . . . . . . . . . . . . . . . . . . . . . . . . .103

Page 13: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . .103

Page 14: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Page 15: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Page 16: Next Backing Sequence . . . . . . . . . . . . . . . . . . . .104

Page 17: Rename Backing Sequence. . . . . . . . . . . . . . . . . .105

Page 18: SMF converter. . . . . . . . . . . . . . . . . . . . . . . . . . . .105

Song Play mode . . . . . . . . . . . . . 106

Page 1: Performance monitor. . . . . . . . . . . . . . . . . . . . . . . .107

Page 2: Channel settings . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Page 3: Transpose position. . . . . . . . . . . . . . . . . . . . . . . . . .110

Page 4: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Page 5: Effect modulation. . . . . . . . . . . . . . . . . . . . . . . . . . .111

Page 6: Effect placement. . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Page 7: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Page 8: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Page 9: Song Play Harmony . . . . . . . . . . . . . . . . . . . . . . . . 112

Song Edit mode . . . . . . . . . . . . . . 113

• Saving a song before turning off. . . . . . . . . . . . . . . . . . . . 113

Page 1: Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Page 2: Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Page 2: Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Page 3: Track parameters . . . . . . . . . . . . . . . . . . . . . . . . . .117

Page 4: Event edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Event filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118

Event types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118

Page 5: Shift notes (Transposition) . . . . . . . . . . . . . . . . . . . .120

Page 6: Erase song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Page 7: Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

7-1. Delete measures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121

7-2. Insert measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121

7-3. Erase measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122

Page 8: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Page 9: Effect modulation. . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Page 10: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Page 11: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Page 12: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Page 13: Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Disk/Global mode . . . . . . . . . . . . 125

• “Parameter modified - Write?” message. . . . . . . . . . . . . .125

Introduction to disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Write protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Inserting a disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Removing a disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Cleaning the heads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127

Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127

Possible problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127

The disk supplied with the instrument. . . . . . . . . . . . . . . . . . . . . . .127

Page 1: DISK functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

1. Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

1-1. Load all . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

1-2. Load one . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

1-3. Load global . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

1-4. Load keyboard set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

2. Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

3. Utility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

Compatibility with Korg i30 data . . . . . . . . . . . . . . . . . . . . . . . . .133

Page 2: Echo Back / MIDI IN Octave. . . . . . . . . . . . . . . . . . 135

Page 3: MIDI Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

Page 4: Global MIDI parameters . . . . . . . . . . . . . . . . . . . . . 137

Page 5: MIDI channel settings (1). . . . . . . . . . . . . . . . . . . . . 139

Page 6: MIDI channel settings (2). . . . . . . . . . . . . . . . . . . . . 139

Page 7: MIDI channel settings (3). . . . . . . . . . . . . . . . . . . . . 140

Page 8: MIDI filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Page 9: Arrangement Harmony. . . . . . . . . . . . . . . . . . . . . . 142

Page 10: Backing Sequence Harmony. . . . . . . . . . . . . . . . . 142

Page 11: Song Play Harmony . . . . . . . . . . . . . . . . . . . . . . . 143

Page 12: Assignable pedal/switch . . . . . . . . . . . . . . . . . . . 143

Setting quarter tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

Page 13: EC5 external controller . . . . . . . . . . . . . . . . . . . . . 145

Page 14: Lower memory . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

vii

Summary

Page 15: Chord recognition mode. . . . . . . . . . . . . . . . . . . .147

Page 16: Auto chord scanning/Damper polarity. . . . . . . . . 148

Page 17: Main scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149

Page 18: Sub scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149

Page 19: User scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150

Page20: MIDI data dump. . . . . . . . . . . . . . . . . . . . . . . . . . .150

Page 21: Joystick settings . . . . . . . . . . . . . . . . . . . . . . . . . . .151

Page 22: Write Global. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Page 23: Assignable pedal/footswitch calibration. . . . . . . .152

Program mode. . . . . . . . . . . . . . .153

How to recover lost changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Page 1: Program play . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

Performance Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Page 2: Oscillator basic/Oscillator 2 relative . . . . . . . . . . . . 155

Page 3: Oscillator tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Page 4: Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Page 5: VDF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Page 6: VDF EG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Page 7: VDF keyboard tracking. . . . . . . . . . . . . . . . . . . . . .161

Page 8: VDF velocity sensitivity. . . . . . . . . . . . . . . . . . . . . . .163

Page 9: VDA EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Page 10: VDA keyboard tracking . . . . . . . . . . . . . . . . . . . . 165

Page 11: VDF velocity sensitivity. . . . . . . . . . . . . . . . . . . . . .167

Page 12: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168

Page 13: Vibrato controller . . . . . . . . . . . . . . . . . . . . . . . . .169

Page 14: VDF MG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170

Page 15: VDF MG controller/VDA level . . . . . . . . . . . . . . .171

Page 16: Controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Page 17: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Page 18: Effect modulation. . . . . . . . . . . . . . . . . . . . . . . . . .173

Page 19: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . .173

Page 20: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . .173

Page 21: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . .173

Page 22: Rename program. . . . . . . . . . . . . . . . . . . . . . . . . 174

Page 23: Write program. . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Effects. . . . . . . . . . . . . . . . . . . . . 175

Effect type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

“Effect select” pages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

“Effect modulation” pages . . . . . . . . . . . . . . . . . . . . . . . . . . 176

“Effect placement” pages. . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Effect 1 settings pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Effect 2 settings pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Dynamic modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Shelving equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Settings for each effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Appendices. . . . . . . . . . . . . . . . . 194

Messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

General problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Floppy disk related problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

List of detected chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

MIDI Implementation chart. . . . . . . . . . . . . . . . . . . . . . . . . . 202

MIDI Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Arrangements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Programs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Multisamples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Drum kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Drum samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Technical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Index . . . . . . . . . . . . . . . . . . . . . 222

viii

GETTING STARTED

Getting Started • Introduction

1. Introduction

Thank you for choosing Korg i40M, the interactive music workstation created for even the most demanding musicians! Given the legendary Korg sound and the most sophisticated automatic accompaniment functions, the i40M is the ideal instrument for those who play professionally and those who play just for pleasure.

The i40M is not only an instrument with great sound, great design and easy to use, it is also a ﬂexible instrument that allows you to read and save Standard MIDI Files, program new arrangements, and create new sounds. On the whole, it is a complete instrument which enhances the musician’s creativity!

We wish you years and years of great music with the i40M!

User’s guide

The quickest and easiest way to obtain the best from your new instrument is to read the instruction guide. This guide is divided into two parts:

Getting Started - For those who want to start playing straight away without too much theory. Follow the instructions step by step and start playing now!

Reference - This is a more detailed look at the instrument and is for those who want to exploit all its potentiality to the full and become a real music programmer.

Safety Instructions

Before turning the instrument on, read carefully the “Safety Instructions” on the inside cover. Done that? Then let’s make way for the music!

Before you begin...

Accessories

The following accessories are supplied with the instrument. Check that you have all of them and if any are missing contact your retailer.

√ User’s guide √ Floppy disk “Accessory Disk” √ Power cable

Connecting an external amplifying system

You can connect the i40M to a professional amplifying system (mixer or ampliﬁed speakers) or to a hi-ﬁ system. For more information see “Rear panel” on page 13.

Connecting the i40M to a mixer (or to two ampliﬁed diffusers)

Connect the OUTPUT jacks of the i40M to two mono inputs of the mixer (or to the speaker inputs) using two audio cables with mono jacks. To take the signal in mono, connect the LEFT/MONO output only and one channel of the mixer using an audio cable. For more information refer to the user’s guide of the mixer (or the speakers).

Getting Started • Introduction

Connecting the i40M to a hi-ﬁ system

Connect the OUTPUT jacks of the i40M to the AUX or TAPE inputs of the ampliﬁer using two audio cables with a mono jack at one end and an RCA connector at the other end (do not use the PHONE or TUNER inputs).

Connecting the power cable

●Plug the power cable into

the power socket.

Make sure that the mains voltage is suitable for the instrument (the voltage is indicated next to the AC power inlet).

Adjusting the general volume

●Use the MASTER VOLUME knob

to adjust the general volume of the internal sound generation.

Moving the knob towards “10” will increase the volume, and moving it towards the “0” will decrease the volume. In the “0” position the instrument will be mute.

If you are connected to an external amplifying system, you should at this point turn the volume of the mixer or the speakers up and then adjust both the volume of the i40M and that of the speakers.

The MASTER VOLUME knob controls the level of the internal sound generation both of the OUTPUT jacks and the headphones.

Note: This knob does not control the volume of the VOCAL/GUITAR section (input signal from the INPUTIN jack). Use the VOLUME knob to adjust the level of this section.

Warning: At the maximum volume the sound can be distorted. Should this happen, decrease the volume of the i40M.

Turning on the power

●Press the POWER

switch to turn the instrument on.

On turning on, the instrument will be in the Arrangement Play mode. If you are connected to an external amplifying system, turn the speakers on only after having switched on the i40M.

●To turn the instrument off, press the POWER

switch again.

In order to save on electricity, turn the instrument off when you are not using it. Do not turn the power off while the disk indicator is lit or while a message such as “Loading”, “Saving” or “Formatting” is shown on the LCD display.

Note: When the instrument is turned off, all the data contained in the RAM memory will be lost (e.g. backing sequence and song). On the contrary, USER styles, USER arrangements and USER programs are retained. Before turning the instrument off, save backing sequence (☞P. 33) and song (☞P. 35) on disk.

Adjusting the volume of the Vocal/Guitar section

The VOCAL/GUITAR section takes the input signal from the INPUT-IN jack and process it with dedicated effects. The processed signal is combined with the sounds generated by the internal sound generation and comes out from the OUTPUT jacks.

●Use the VOLUME knob to adjust

the volume of the section.

Moving the knob towards “10” will increase the volume, and moving it towards the “0” will decrease the volume. In the “0” position the VOCAL/GUITAR section does not reach the OUTPUT jacks.

The VOLUME knob controls the level of the VOCAL/GUITAR section both of the OUTPUT jacks and the headphones.

Note: Use the GAIN knob located next to the INPUTIN jack to adjust the input level at best. Connect the instrument, start playing and check the color of the SIGNAL led on the control panel: if it is red, distortion is present and the gain must be decreased; if it is orange, distortion is close and the gain should be

Getting Started • Introduction

decreased slightly; if it is green, the level is correct. If the led does not light up, the input level is too low and the gain must be increased.

Suggestion: If the INPUT-IN jack is not used, set the volume on zero to avoid any interference or residual noise.

The headphones

●Connect the headphones to the PHONES jack

located on the rear panel.

Use stereo headphones with a standard jack. Adjust the volume with the MASTER VOLUME knob.

page 44. Let’s now illustrate two of the most common situations: connecting a MIDI keyboard and connecting a MIDI accordion.

Connecting a MIDI keyboard

The i40M can be controlled with any MIDI keyboard, such as a master keyboard or a synthesizer with MIDI OUT jack.

1 Connect the MIDI OUT jack of the MIDI key-

board to the MIDI IN 1 jack of the i40M using a standard MIDI cable.

2 Program the keyboard to transmit over the MIDI

1 channel.

According to the factory settings, the MIDI 1 channel is the channel used by the i40M to receive most information. For example, channel 1 corresponds to Global that allows for using all the functions related to the split point (Keyboard Mode section).

For more information on Global programming, see “MIDI” on page 44 and the “GLB (Global)” on page 139.

Connecting a MIDI controller

For live performances the i40M must be connected to a MIDI controller, such as a MIDI keyboard, a digital piano, a MIDI accordion, a guitar controller, a wind controller, a set of percussion pads or an external sequencer. For detailed information see “MIDI” on

Note: If the keyboard transmits over the MIDI channel dedicated to the i40M Global, the keyboard becomes the integrated keyboard of the i40M. The i40M becomes virtually your keyboard instrument.

Suggestion: If the keyboard does not transmit over the Global channel, see “MIDI” on page 44 for more information.

Getting Started • Introduction

Connecting a MIDI accordion

You can connect a MIDI accordion and play a track of the i40M with each section.

1 Connect the MIDI OUT jack of the MIDI accor-

dion to the MIDI IN 1 jack of the i40M using a standard MIDI cable.

2 Press DISK/GLOBAL.

3 Press the PAGE [+] button repeatedly to access

the MIDI Settings page.

MIDI SETTINGS (Yes) <PROTECT> <SETUP>

• “Accordion 1” is designed for those who have an accordion with three ﬁxed channels. This setup is also suitable for backing sequence recording.

• “Accordion 2” is designed for those who have an accordion with two channels on the right hand and do not want to play the bass of the i40M.

• “Accordion 3” is designed for those who have an accordion with two channels on the right hand, want to play the bass of the i40M and have another channel to change the Arrangements of the i40M with Program Change.

For more information on the MIDI Setups, see “MIDI” on page 44 and the “Page 3: MIDI Settings” on page 136.

6 Press ENTER/YES twice to conﬁrm the MIDI

Setup selection.

The conﬁguration of the MIDI channels and of the other parameters selected with the MIDI Setup will be retained until the conﬁguration is manually changed.

7 Press REC/WRITE/LYRICS and then ENTER/YES

twice.

The automatic settings of the MIDI Setup are saved in Global and will be available also after turning the instrument off and on again.

4 Press CURSOR [>] to select <SETUP>.

MIDI SETUP (Yes) Setting:DEFAULT

5 Press the TEMPO/VALUE [+] to select one of the

MIDI “Accordion” setups.

There are three “Accordion” setups.

Connecting other MIDI controllers

The MIDI conﬁguration may vary according to the type of controller connected to the i40M. To automatically re-conﬁgure the i40M select a MIDI Setup (see “MIDI” on page 44 and the “Page 3: MIDI Settings” on page 136).

Getting Started• Front and Rear Panels

2. Front and Rear Panels

Front Panel

IJKL MN OP

WXY

DEFGH

RST U V

1 Display

The editing pages, parameters and messages for the user will appear in this display.

2 Floppy disk drive slot

3.5 inch double-sided double density (2DD) or double-sided high density (HD) ﬂoppy disks can be inserted in this drive. You can use Korg i-series formatted ﬂoppy disks and standard Ms-Dos® formatted ﬂoppy disks.

The i40M incorporates a disk drive without auditory feedback (i.e. the “click” when the disk has been pressed all the way in).

3 Disk eject button

Press this button to remove a ﬂoppy disk from the drive. If pressing this button does not eject the disk,

do not try to force it out. Contact your dealer or nearest Korg Service Station.

4 MASTER VOLUME knob

Output level of internal sound generation (OUTPUT outlets and headphones).

This control does not adjust the level of the VOCAL/ GUITAR section (input signal through INPUT-IN).

Warning: Volume that is too high can cause serious harm to your hearing. Keep the volume at a moderate level.

Note: At higher volumes the sound can be distorted.

Getting Started • Front and Rear Panels

5 ACC.VOLUME knob (Accompaniment Volume)

Automatic accompaniment volume. In Song Play and Song Edit modes it controls the volume of all tracks, except the one selected (whose volume remains constant).

6 MODE section

The buttons in this section activate the operating modes of the instrument (see chapter “Operative modes” on page 15).

• ARR. PLAY (Arrangement Play) button

This button accesses the Arrangement Play mode. (The instrument is automatically in this mode when it is turned on). With this mode you can use the automatic accompaniments.

• B.SEQ (Backing Sequence) button

This button accesses the Backing Sequence mode. With this mode you can record or playback musical performances played with automatic accompaniments.

• SONG PLAY button

This button accesses the Song Play mode. With this mode you can directly playback musical performances in Standard MIDI File (SMF) format without loading them from disk.

You can also read the SMF lyrics in the display (Lyrics function). The display mode can be selected with the REC/WRITE/LYRICS button.

• SONG EDIT button

This button accesses the Song Edit mode. With this mode you can record, playback, edit and save a Standard MIDI File (SMF).

• DISK/GLOBAL button

This button accesses the Disk/Global mode. With this mode you can load and save data from a ﬂoppy disk, and program some of the instrument’s general settings (e.g. pedals and MIDI channels).

• PROGRAM button

This button accesses the Program mode. With this mode you can play and edit the single programs (single sounds).

PROGRAM/ARRANG to light up the ARRANG led, and press a NUMBER 1-8 button.

To select a demo from 9 to 16, press PROGRAM/ ARRANG to light up the PROGRAM led and press a NUMBER 1-8 button.

Press START/STOP to stop the demo playback. How to exit the Demo mode. To exit the Demo

mode either press EXIT/NO or the button of one of the operating modes (MODE section).

7 CHORD SCANNING section

Arrangement Play and Backing Sequence modes: this section speciﬁes which area of the keyboard will be used to detect chords for the automatic accompaniment. To activate the FULL mode it is necessary to light the leds of both LOWER and UPPER buttons.

• LOWER button

Chords will be detected in the Lower range (below the split point). The chord recognition mode is deﬁned by the “ChordRecog (Chord recognition mode)” parameter of the Disk/Global mode (see page 147).

• UPPER button

Chords will be detected in the Upper range (above and including the split point). The recognition mode is automatically set at Fingered 2 (see page 147).

• FULL (LOWER + UPPER) buttons

Chords will be detected in the entire range. The recognition mode is automatically set at Fingered 2 (see page 147).

• OFF (unlit leds)

Chords are not detected. If the leds are off, when pressing START/STOP to start the accompaniment, you can only listen to the Drum and Perc tracks. The other accompaniment tracks do not play.

8 KEYBOARD MODE section

If the i40M is connected to a keyboard through the Global channel, these buttons can be used to select the set-up of the tracks on the keyboard in the Arrangement Play e Backing Sequence modes.

• DEMO buttons

Press both ARR.PLAY and B.SEQ to access the Demo mode where you can listen to 16 demo pieces.

How to listen to all demos consecutively. To listen to all demo pieces consecutively access the Demo mode and press START/STOP. To stop the demo playback press START/STOP.

How to listen to a single demo. To listen to a single demo, access the Demo mode and select it. The demo playback starts immediately.

To select a demo use the buttons of the PROGRAM/ ARRANG section. To select a demo from 1 to 8, press

Note: This section is particularly dedicated to the connection of the i40M to a MIDI keyboard. It only works if the MIDI controller transmits over the special Global channel (see page 45).

• M.DRUM button

A different percussion sound is assigned to each note of the keyboard.

• SPLIT button

The right hand (Upper 1 and Upper 2) and the left hand (Lower) play different sounds and are separated by the split point. The Upper 2 and Lower tracks are alternative, one excludes the other on the keyboard.

Getting Started• Front and Rear Panels

• FULL UPPER button

One or two tracks (Upper 1 and/or Upper 2) play on the entire keyboard.

9 KEYBOARD ASSIGN section

These buttons select the realtime tracks (Upper 1, Upper 2, Lower) in the Arrangement Play and Back- ing Sequence modes. The Upper 2 and Lower are alternative, one excludes the other on the keyboard.

10 VOCAL/GUITAR section

The VOCAL/GUITAR section applies effects to the signal of a microphone, a guitar or a line source (mono) coming to the INPUT-IN connector. The signal is then mixed with the sound of the internal sound generation and sent to the OUTPUT outlets.

In Vocal mode it harmonizes the voice with the notes received over the MIDI channel dedicated to harmonisation. According to the factory settings, the notes are received over channel 5.

The VOCAL/GUIT AR section works in the Arrangement Play, Backing Sequence and Song Play modes. The settings are saved in the Keyboard Set. See “The Vocal/Guitar section” on page 39.

• VOLUME knob

It controls the level of the VOCAL/GUITAR section on the OUTPUT outlets.

Note: When you turn the instrument on, the VOCAL/ GUITAR section is deactivated. Select one of the Keyboard Sets to activate it. If you have connected a microphone, choose a Keyboard Set in the bank A. If you have connected a guitar, choose a Keyboard Set in the bank B (clean settings) or C (overdrive settings).

11 PROGRAM/ARRANGEMENT section

These buttons are used to select programs and arrangements.

To select a program (single sound) press PROGRAM/ARRANG to light the PROGRAM led. Press one of the BANK (A, B, C, D, E, F) buttons to choose the bank, then select a two-digit number between 11 and 88 using the NUMBER buttons to choose the program.

To select the DRUM bank press twice the F(USER/ DRUM) button until the abbreviation “Dr” shows in the display. The Drum programs range from Dr11 to Dr28.

To select an arrangement, press PROGRAM/ ARRANG to light the ARRANG led. Press one of the BANK (A, B, USER) buttons to choose the bank, then select a two-digit number between 11 and 88 using the NUMBER buttons to choose the arrangement.

• SIGNAL led

The SIGNAL led changes color according to the signal level. If it is off, there is no signal or the signal level is very low. If it is green the signal is present. If it is orange, the signal is close to saturation. If it is red, the signal is saturated.

Warning: The signal cannot be saturated. If the led is red, adjust the input gain with the GAIN knob in the control panel.

• A/B switch button

It selects the operating mode of the A/B switch between A and B.

• A/B knob

Programmable knob. It controls the value of the parameter assigned to the A or B function (see page 65). The A or B operating mode can be selected with the A/B switch button.

Note: The knob does not work until the last value of the controlled function is reached. For example, if the knob is on “0” and the current parameter value is “5”, the knob will not work until it reaches “5”.

• C button

Programmable button. It can act as “mute” for the VOCAL/GUITAR section, the effects or the harmonisation.

If the program or arrangement to be selected belongs to the same bank of the selected program or arrangement, only select the two-digit number without pressing the BANK button.

In the Arrangement Play mode you can use the Arrangement Preview and Program Preview functions to show the program or arrangement name in the display before selecting it.

Press a BANK button, if necessary press a NUMBER button to select the tens, then select the program or arrangement using the TEMPO/VALUE buttons and press ENTER/YES to conﬁrm.

12 VOLUME/PROGRAM buttons

These buttons are normally used to adjust the track volume of the tracks and to mute it. To raise the volume press the upper button, to lower it press the lower button. To mute a track press the upper and lower button together. To take off the mute, press one of the buttons brieﬂy.

Arrangement Play mode: these buttons select the tracks and change the volume. When a track has been selected you can set a different program for that track (see PROGRAM/ARRANG section).

Backing Sequence mode: these buttons select the tracks and change the volume. To select the Extra Tracks ﬁrst press the TRACK SELECT button and then the VOLUME buttons.

Song Play mode: these buttons select the MIDI channels (tracks) of the SMF and change the volume. To

Getting Started • Front and Rear Panels

go from channels 1-8 to channels 9-16 (and vice versa) press the TRACK SELECT button.

Song Edit mode: these buttons select the tracks and change the volume. To go from tracks 1-8 to tracks 916 (and vice versa) press the TRACK SELECT button.

Program mode: these buttons modify the value of the parameters indicated under each button.

13 TRACK SELECT button

Arrangement Play mode: mutes the ACC1, ACC2, ACC3 tracks.

Backing Sequence mode: switches between the arrangement tracks and the Extra Track.

Song Play mode: switches between the channels 1-8 and the channels 9-16 of the SMF. (In Song Play mode channels and tracks are the same).

Song Edit mode: switches between tracks 1-8 and tracks 9-16.

14 CURSOR buttons

These buttons move the cursor among the parameters that appear in the display. Before modifying the value of a parameter, the cursor must be positioned on the value that needs to be modiﬁed (ﬂashing text).

17 ENTER/YES button

By pressing this button you can give a positive reply to questions that may appear in the display and to start some operations in the Disk/Global mode (Load, Save, Format, MIDI Setup…).

Song Play mode: by pressing this button when the cursor is on the name of a song, the song will be inserted in the JukeBox list and the JukeBox mode activated.

18 PAGE buttons

These buttons select the previous (-) or the next (+) page in the current mode. The page number appears on the right of the display. Two arr ows appear befor e or after the number to indicate the presence of previous (<) or next (>) pages.

If no arrows appear before and after the page number, you are in a subpage of the Disk/Global mode. To exit press EXIT/NO (see page 19).

19 MEMORY-CHORD/TIE button

Arrangement Play and Backing Sequence modes: keeps the accompaniment chord after taking your hand off the keyboard.

Backing Sequence-Step Recording mode: inserts a tie (ties the last note played to the next note that is going to be played).

15 TEMPO/VALUE buttons

These buttons modify the tempo or the parameter value selected in the display. The TEMPO or VALUE indicators show up in the display when they are functioning.

16 EXIT/NO button

This button is used to go back to Page 1 of the current operative mode and to return to the higher level from the subpages (pages in which the indication of previous or next page is not shown next to the number page).

The second function (NO) is to be used to give a negative reply to questions that may appear in the display.

Arrangement Play, Backing Sequence and Song Play modes: takes you back to Page 1 of the mode.

Page 1 of the Arrangement Play mode: calls up the settings of the realtime tracks saved in the Arrangement.

Song Play mode: takes you back to the previous page after pressing a VOLUME/PROGRAM button to choose a track.

Song Play-JukeBox mode: makes you exit from the JukeBox mode.

Song Edit mode: calls up Page 2 of the mode. Disk/Global mode subpages: takes you back to the

top page.

20 MEMORY-LOW/HAR/REST button

Arrangement Play and Backing Sequence modes: if the Lower track is controlled by the Global channel, this button keeps the Lower track notes after taking your hands off the keyboard. (See “Page 14: Lower memory” in the Disk/Global mode).

Arrangement Play, Backing Sequence, Song Play modes: keeps the harmonization notes coming over the Harmony channel (see page 142 and following).

Backing Sequence-Step Recording mode: creates a pause.

21 BASS INV./< (Bass Inversion/backwards) button

Arrangement Play and Backing Sequence modes: with this function the lowest note of a chord played in inverted form will always be detected as the main note of the chord. Thus, you can specify to the arranger composite chords such as Am7/G or “F/ C”. When the Chord Scanning is FULL, the bass note will not change until another bass note is played.

Backing Sequence-Step Recording mode: this button is used to go to the previous step.

22 SPLIT POINT/> (Split Point/Forward) button

Arrangement Play and Backing Sequence modes: selects the split point (division of the keyboard). Hold down the button and play the note you wish to become the split point. This note and all the notes to the right of it are part of the Upper range, the notes to its lefts are part of the Lower range.

Getting Started• Front and Rear Panels

The split point can be saved in the Global in order to remain available also after you turn the instrument off and on again. (See “Page 22: Write Global” on page 152).

Note: The split point is particularly useful when the i40M is connected to a MIDI keyboard. It only works if the MIDI controller transmits through the special Global channel (see page 45).

Backing Sequence-Event Editing mode: goes to the next step.

23 FADE IN/OUT button

If the accompaniment is not playing, this button fades it in (the volume gradually increases from zero to the maximum value). If the accompaniment is playing, this button fades it out (the volume gradually decreases from the maximum value to zero). You do not need to press START/STOP to start or stop the accompaniment.

24 TEMPO (Tempo Lock) button

Led lit up: when you change the arrangement the tempo will not change. The tempo can be manually changed by using the TEMPO/VALUE buttons.

25 RESET/INS button

Backing Sequence, Song Play, Song Edit modes: this button returns the sequencer to the ﬁrst measure.

Arrangement Play and Backing Sequence modes: restarts the chord scanner and returns to the beginning of the measure.

The second function of the (INS) button is to insert a Step Recording event, or an empty space where the cursor is positioned when you wish to write a name.

Note: In any situation this button can be used as “MIDI Panic”. Press it when a note gets stuck to unblock it.

26 TAP TEMPO/DEL button

You can set the tempo with this button. The tempo is updated in the display.

The second function of the (DEL) button is to cancel the event that has been selected in Step Recording, or to cancel a letter where the cursor is positioned when you wish to write a name.

27 REC/WRITE/LYRICS

(Recording/Writing/Lyrics) button

Backing Sequence and Song Edit modes: this button enters the record mode.

Arrangement Play and Program modes: this will access the W rite page where you can save your modiﬁed Arrangement, Keyboard Set o program.

Song Play mode: switches through the display modes Lyrics 1 (lyrics 1), Lyrics 2 (lyrics 2), Play (standard execution information).

Note: The Lyrics modes are only available if the SMF contains the lyrics. The Lyrics 2 mode is only available with some SMF.

Global mode: recalls the Write Global page.

28 SINGLE TOUCH button

Led lit up: when an arrangement is changed, the programs of Upper 1, Upper 2 and Lower tracks are recalled and saved in the new arrangement.

29 SUSTAIN button

Arrangement Play, Backing Sequence, Program, Song Play modes: increases the length of the notes

(by extending the program sustain).

30 ENSEMBLE button

Arrangement Play and Backing Sequence modes: harmonizes the melody played with your right hand with the chords played with your left hand. The Chord Scanning must be LOWER.

31 TRANSPOSE buttons

These buttons change the transposition (in semitones) of the instrument. The transposition value temporarily appears on the right side of the display. In order to cancel the transposition you must press both buttons together.

32 OCTAVE buttons

These buttons change the transposition (in octaves) of the track selected in the display. In order to cancel the transposition you must press both buttons together.

33 VARIATION 1, 2, 3, 4 buttons

Arrangement Play and Backing Sequence modes: these buttons select one of the four style variations.

Backing Sequence-Step Recording mode: these button are used to specify the length of the note being input (the value of the notes is shown under the buttons).

34 FILL 1/2 (Fill-in) buttons

Arrangement Play and Backing Sequence modes: pressing one of these buttons during performance will add a ﬁll-in.

Backing Sequence-Step Recording mode: these buttons are used to specify the length of the note being input (the value of the notes is shown under the buttons).

35 INTRO/ENDING buttons

Arrangement Play and Backing Sequence modes: pressing one of these buttons before you begin playing will cause an introduction to be played after you press START/STOP. Pressing one of these buttons during a performance will cause an ending to be

Getting Started • Front and Rear Panels

played, after which the performance will end automatically.

Backing Sequence-Step Recording mode: these buttons are used to specify the length of the note being input (the value of the notes is shown under the buttons).

36 START/STOP button

Arrangement Play, Song Play and Demo modes: this button starts or stops the automatic accompaniment or playback.

Backing Sequence and Song Edit modes: it starts or stops playback. If the REC/WRITE/LYRICS led is lit up, it starts or stops recording.

37 SYNCHRO-START and SYNCHRO STOP buttons

The SYNCHRO-START button makes the accompaniment start when you play a note or chord in the chord detection area of the keyboard, without having to press START/STOP.

The SYNCHRO-STOP button makes the accompaniment stop when the hand playing the notes in the chord detection area of the keyboard is taken off the keyboard.

select the set-up of the realtime tracks (Upper 1, Upper 2 and Lower), the effects and the settings of the VOCAL/GUITAR section.

In Song Play mode the Keyboard Set only select the settings of the VOCAL/GUITAR section (and not the track set-up).

To choose a Keyboard Set you have to press once, or repeatedly BANK to choose bank A, B or C, then you must press one of the number buttons to choose the Keyboard Set.

In Arrangement Play you can save the current set- up of the realtime tracks, the effects and the settings of the VOCAL/GUITAR section in a Keyboard Set.

1. Press REC/WRITE/LYRICS.

2. Press one of the buttons in the KEYBOARD SET section to recall the Write Keyboard Set page.

3. Press once, or repeatedly BANK to choose the bank (A, B or C).

4. Press the number button which corresponds to the Keyboard Set where you wish to save the setup.

38 KEYBOARD SET section

By pressing only one button in Arrangement Play and Backing Sequence modes the Keyboard Set

5. Press ENTER/YES twice to conﬁrm.

Getting Started• Front and Rear Panels

Display

6 2 7

1 Mode

The ﬁrst line of the display indicates the operative mode: ARR.PLAY, BACKING SEQ., SONG PLAY, SONG EDIT, DISK/GLOBAL, PROGRAM.

2 Tempo/Value

The two indicators TEMPO and VALUE show in alternation. They show the functioning of the TEMPO/VALUE buttons. If these buttons act as tempo controls the display shows TEMPO. If they act as modiﬁers of the selected parameter the display shows VALUE.

3 Split

Indicates that the SPLIT POINT button is currently pressed, and the note shown below in the display is the currently selected split point.

4 Transpose/Octave

The two indicators TRANSPOSE and OCT AVE show in alternation. According to which one shows, the value below indicates the transposition value by semitones or octaves.

5 Page

Indicator of the current page. If [>] shows, there are pages to follow. If [<] shows there are previous pages. Go through the pages with the PAGE [+] and [-] buttons.

6 Tempo

Current tempo. If the TEMPO indicator is showing, you can vary the tempo with the TEMPO/VALUE buttons.

7 Tempo mode/Clock (synchronization)

Tempo mode and type of synchronization.

AUTO means that the sequencer is reading the tempo recorded in the song.

EXT means that the i40M is synchronized with the metronome of an external device connected to its MIDI IN. Only one of the MIDI IN connectors of the i40M can receive the synchronism (see page 137).

You can choose the kind of synchronism you require on “Page 4: Global MIDI parameters” of the Disk/ Global mode.

8 Chord name 9 Modiﬁable parameters

Two lines of characters that show the parameters of the various edit pages. You can move through the parameters with the CURSOR buttons and modify the values with the TEMPO/VALUE buttons.

10 Volume indicators

Track volume. The tracks that are selected are shown at the top and on the left:

none = accompaniment and realtime tracks shown

above the PROGRAM/VOLUME buttons (Arrangement Play, Backing Sequence)

ET = Extra Track (Backing Sequence) ch = channels (Song Play) 1-8 = tracks/channels 1-8 (Song Play, Song Edit) 9-16 = tracks/channels 9-16 (Song Play, Song Edit)

To select the hidden tracks press TRACK SELECT. If all the indicators are off, the realtime and accompaniment tracks indicated above the VOLUME/PROGRAM buttons are shown.

Rear panel

Getting Started • Front and Rear Panels

1 2 3456

1 PHONES jack

You can connect a stereo headphones here.

2 OUTPUT connectors

Audio outlets. You can connect an ampliﬁer here. You can connect the i40M to a mixer, two ampliﬁed speakers or the AUX/TAPE inlet of an hi-ﬁ system. If the ampliﬁer is mono, only connect the L/MONO connector.

MIDI IN

MIDI OUT

The signal can never be saturated. If the red led lights up, adjust the GAIN knob in order to reduce the input gain.

4 GAIN knob

Adjusts the gain of the INPUT-IN inlet. Turn it towards the left to reduce the gain (e.g. when the SIGNAL led is orange or red), and towards the right to increase it.

EC5

Warning: Volume that is too high can cause serious damage to your hearing. Keep the volume at a moderate level.

3 INPUT-IN connector

Audio inlet for microphone, guitar or mono line signal. The signal goes through the effects and the harmonizer of the VOCAL/GUIT AR section, and comes out from the OUTPUT outlets (together with the sounds of the internal sound generation of the i40M).

Set the input level with the GAIN knob. The presence of the signal lights up the green SIGNAL led. If the signal is close to saturation, the led becomes orange. If the signal is saturated, the led becomes red.

5 DAMPER connector

You can connect a damper pedal here, such as Korg DS-1 or similar. The damper pedals can have a different polarity; choose the polarity of your pedal on “Page 16: Auto chord scanning/Damper polarity” in the Disk/Global mode (see page 148).

6 ASSIGNABLE PDL/SW connector

You can connect an expression pedal here, such as Korg XVP-10 or EXP-2, or a PS-1 or PS-2 type footswitch. You can program the function assigned to the pedal on “Page 12: Assignable pedal/switch” in the Disk/Global mode (see page 143).

7 MIDI connectors

You can connect other MIDI devices (keyboards or computers) here. For the connection you need the special MIDI cables which you can purchase from your Korg dealer. (See chapter “MIDI” on page 44).

Getting Started• Front and Rear Panels

• MIDI IN 1 and MIDI IN 2 connectors

Receive MIDI data from external devices. The two connectors are identical and can be used, for instance, to simultaneously connect a keyboard to MIDI IN 1 and an accordion to MIDI IN 2. The synchronism signal (MIDI Clock) can only be received by one connector at a time (see “Clock (Clock source)” on page 137).

• MIDI OUT connector

Transmits the MIDI data generated by the i40M to other devices.

• MIDI THRU connector

Re-transmits the MIDI data received by the MIDI IN 1 and 2 ports.

8 EC5 connector

You can connect an optional Korg EC5 external controller here. You can program the EC5 on “Page 13: EC5 external controller” in the Disk/Global mode, assigning a function to each of the ﬁve pedal switches.

9 POWER switch

On/off switch.

10 Power supply connector

Plug the power cable supplied with the instrument here.

Warning: Always connect the instrument to a power socket with ground.

3. Operative modes

Getting Started • Operative modes

The instrument can function in different “modes”, each of which groups together functions that are for its

Arrangement Play mode

Arrangement Play is the main operative mode. When the instrument is turned on, it is always in this mode, where you can select the arrangements and the Keyboard Set you wish to use.

There are 192 arrangements in total, organized as 64 arrangements in each of the three banks A, B, and USER. The arrangements in the USER bank are freely modiﬁable and can be used to load new data from a disk.

The 15 Keyboard Set are all freely modiﬁable and divided in three banks with 5 Keyboard Set each. The Keyboard Set are designed to immediately change the programs of the real time tracks and the settings of the VOCAL/GUITAR section.

Each arrangement is composed of a style and three real time tracks (Upper 1, Upper 2, and Lower). The real time tracks can be played “live” with the accompaniment of the style tracks.

The way in which the real time tracks are arranged on a MIDI keyboard and their activation/deactivation state are set in the KEYBOARD MODE and KEYBOARD ASSIGN sections.

The styles are made up of patterns (musical structures) used to create the automatic accompaniments. Each style contains four variations, two intros (introductions), two endings and two ﬁll-ins (passages).

The style selected by the arrangement detects the type of chord played in a section known as “chord detection section” and adapts its pattern to that chord. For example, if the pattern is in C major, playing a F major

own particular use. In order to choose a mode you need to press a button in the MODE section.

chord in the chord detection section will cause the pattern transposition to F major.

The way in which patterns are affected by chords is of course more complex than what indicated above. Korg instruments are renowned for their reﬁnement in detecting the chords.

The styles consist of six tracks: drums, percussion, bass, accompaniment tracks ACC1, ACC2 and ACC3. These six tracks are referred to as the Backing Tracks, since they provide the rhythmical and harmonic backing of the song.

Whilst playing you can modify several arrangement parameters (e.g. the volume of the instrumental parts), however if you stop the accompaniment, or decide to select a different arrangement, your edits will be lost.

To save the changes in the USER bank use the Write Arrangement of the “Page 24: Write Arrangement” (see page 79).

To save the changes in the Keyboard Set use the Write Keyboard Set function of the “Page 25: Write Keyboard Set” (see page 80).

The following scheme shows the parameters that are automatically changed when selecting an arrangement or Keyboard Set:

• if the SINGLE TOUCH led is on, the arrangement can also change the parameters of the real time tracks;

• if the SINGLE TOUCH led is off, the arrangement can only change the parameters of the accompaniment tracks.

Getting Started • Operative modes

SINGLE

TOUCH

Style Acc. tracks (prog, vol,

pan, fx send, octave) Outputs Wrap around Drum map Snare/kick designation Ensemble Fill mode Tempo

Arrangement

Keyboard assign Keyboard mode Chord scanning Keyboard scale Master fx

Upper 1 (prog, vol, pan, fx send, octave) Upper 2 (prog, vol, pan, fx send, octave) Lower (prog, vol, pan, fx send, octave)

Vocal/Guitar

Keyboard Set

SINGLE

TOUCH

OFF

Style Acc. tracks (prog, vol,

pan, fx send, octave) Outputs Wrap around Drum map Snare/kick designation Ensemble Fill mode Tempo

Arrangement

Keyboard assign Keyboard mode Chord scanning Keyboard scale Master fx

Upper 1 (prog, vol, pan, fx send, octave) Upper 2 (prog, vol, pan, fx send, octave) Lower (prog, vol, pan, fx send, octave)

Vocal/Guitar

Backing Sequence mode

The Backing Sequence mode allows you to create a song in a simple way, by recording it in real time with the arrangements. You can playback the song in this way or convert it in SMF and playback it in Song Play or Song Edit mode.

The main parts of a backing sequence are the three arrangement tracks (keyboard track, controls track and chord track). The controls track records the button

Keyboard Set

selections of the front panel; the chord track records the sequence of the chords; the keyboard track records whatever is played in real time. Of course, you can leave the keyboard track empty and play it live.

In addition to the arrangement tracks, there are eight tracks referred to as Extra Tracks that can be used to record other free parts for a customized arrangement.

Program mode

Getting Started • Operative modes

The individual sounds played on the i40M are called programs. The instrument has a total of 384 programs, organized into six banks (A, B, C, D, E, F-USER) with 64 programs each, plus a DRUM bank which contains 16 Drum programs (14 ROM + 2 USER).

The programs are based on a multisample and are pr ocessed with an envelope (EG) and a digital ﬁltering (VDF) stage.

Song Play mode

The Song Play mode allows you to listen to songs in Standard MIDI File format (SMF), by directly reading them from disk, with no waiting time for loading.

The Song Play mode allows you to listen to songs made up of 16 MID channels and is perfectly compatible with the General MIDI (GM).

This operative mode allows you to listen to new songs, not to record them. You can change the program of the MIDI channels, and adjust the volume, pan, effects,

In the Program mode you can edit previously recor ded programs in order to create new programs and save them in the USER locations. You can then use the new programs in the arrangements, songs and backing sequences.

In the Program mode only the special Global channel is enabled to receive messages from an external MIDI controller.

effect send, tempo and transpose settings. However, the changes are not saved in memory or on disk.

In this operative mode you can read the lyrics of the SMF in Solton, M-live (Midisoft), Tune1000 and compatible (Roland Edirol, GEM GMX, KAR, HitBit, and Yamaha XF) format on the display. You can also read the chord abbreviations of the SMF in Solton, M-live (Midisoft), and GEM GMX format.

Song Edit mode

This operative mode allows you to record a new song with the typical functions of a sophisticated sequencer. The Song Edit mode is basically a sequence with 16 tracks. The produced SMF can be compatible with the General MIDI (GM).

The new song can be saved on disk in Standard MIDI File (SMF) in format 0. You can use this operative

mode to convert an SMF in format 1 into an SMF in format 0 (that is faster to load in Song Play mode).

In addition, the Song Edit mode allows you to load into memory, modify and save any existing SMF.

When you turn the instrument off, the song will be canceled from memory. Therefore, before turning off you need to save any modiﬁcations on disk (see page 124).

Getting Started • Operative modes

Disk/Global mode

The Disk/Global mode allows you to load or save data, and modify the parameters which affect the operation of the instrument. The operations you can carry out are:

• Save on disk data contained in memory and load into memory data from disk

• Tune the keyboard

• Modify MIDI settings

• Program pedals and external controllers

• Program Lower Memory

• Select a Scale (temperament)

• Control transmission/reception of MIDI messages (data ﬁltering)

Display pages

The parameters and functions of the various operative modes are grouped into several pages, which appear on the display. The page number is always indicated on the right-hand side of the display. To move through the display pages use the PAGE [+] and [–] buttons.

• Calibrate the pedal/footswitch

• Program the MIDI channels of the VOCAL section. Apart from the Local Control and Clock Source

parameters, all the settings (including the split point) can be saved in Global (with the W rite Global function, see page 152) and will be retained when the instrument is turned off.

Global can be saved on disk and will be saved with each Save All and Save Global operation. The split point is not saved or loaded.

Note: The i40M can read disks from other Korg i-Series instruments, of which it can re-use the data (see page 133).

BER button combination from number [1] to number [8]. To record these pages under different numbers, use the following procedure.

1 Access the display page that you wish to record.

If you wish to go directly to a page number you know, hold down the operative mode button the page which you wish to go to belongs to and enter the number using the buttons of the PROGRAM/ARRANG. section.

To go directly to a page from 1 to 8, press the PROGRAM/ARRANG button to light up the ARRANG led and then press a NUMBER button from number [1] to number [8].

To go directly to a page from 9 to 16, press the PROGRAM/ARRANG button to light up the PROGRAM led and then press a NUMBER button from number [1] to number [8].

Recording a display page

When the instrument is new, pages from 1 to 8 are assigned to the ARRANG + NUMBER button combination from number [1] to number [8], and the pages from 9 to 16 are assigned to the PROGRAM + NUM-

2 Hold down the current operative mode button

and press the REC/WRITE/LYRICS button.

3 Release the REC/WRITE/LYRICS button (continue

pressing the operative mode button).

4 Press in sequence the button combination where

you want to record the current display page.

Press the PROGRAM/ARRANG button to light up the PROGRAM or ARRANG led and then a NUMBER button from [1] to [8].

5 Release the operative mode button and the but-

ton that you have recorded.

You may ﬁnd it convenient to record the same type of page in the various operative modes to the same button. For example, the effect selection page could be found under the PROGRAM + NUMBER button number [7] both in the Song Play and Arrangement Play mode.

Getting Started • Operative modes

Subpages

Some of the display pages allow you to select secondary pages, referred to as “subpages”. The subpages are indicated by two round brackets ( ) which contain the option. In the display shown below, the (LOAD), (SAVE) and (UTIL) items access the relative subpages.

Use the CURSOR buttons to place the cursor on the name of the desired page and press the ENTER/YES button to access the selected subpage. To return from a subpage to the higher page press the EXIT/NO button.

Programming a parameter value

In order to modify the value of a parameter that appears on the display, ﬁrst of all you need to select the value with the cursor. The cursor is indicated by the ﬂashing of the value or the text line selected. Move the cursor in the display with the CURSOR buttons and modify the value with the TEMPO/VALUE. buttons.

MODE

VALUE

Cursor

DISK/GLOBAL

PAGE

Getting Started • Tutorial

4. Tutorial

This chapter is a practical guide to the use of the i40M that illustrates some real examples. All you need to do is follow these simple “lessons” and you will master the main functions of the instrument in a very short time.

Whilst using the instrument you may ﬁnd yourselves in trouble, without knowing how to get out of a particular situation or edit page you have accessed by mistake. Remember that:

• EXIT/NO returns to the main pages of the vari-

ous operative modes;

Demo

Listening to the Demo

The Demo is a selection of demonstrative songs contained in memory that cannot be erased (ROM). Let’s listen to them to get an idea of the sound capabilities of the instrument.

• START/STOP stops the accompaniments;

• RESET interrupts all the notes you are playing;

• turn the instrument off and on again to return to the initial situation (songs and backing sequences in memory are lost).

The names of the programs, styles and arrangements that appear in the next pages may be slightly different from those of the actual instrument—Don’t worry, they are only examples!

2 Press START/STOP again to stop the demo.

To listen to a single demo

1 Select the demo with the buttons of the PRO-

GRAM/ARRANG section.

Entering the Demo mode

●Press the ARR.PLAY and B.SEQ (DEMO) buttons

together

The “Demo” page will appear.

To listen to all the demo

1 Press START/STOP.

The demo songs will playback one after the other.

If you wish to select a demo from number 1 to 8, press the PROGRAM/ARRANG button to light up the ARRANG led and then a button [1]–[8] of the NUMBER section. If you wish to select a demo from number 9 to number 16 press the PROGRAM/ARRANG button to light up the PROGRAM led and then a button [1]–[8] of the NUMBER section.

ARRANGEMENT NO. PROGRAM NO. 1 Synth World 1 Classic Piano 2 Jazz 2 Contemp. Piano 3 Latin 3 Bolero 4 Rock 4 Dance 5 Gospel 5 Jungle 6 Quick Step 6 Garage 7 German Polka 7 Progressive 8 Valzer 8 Modern Beat

2 Press START/STOP again to stop the demo.

Getting Started• Tutorial

To exit the Demo mode

●Press EXIT/NO or one of the buttons of the

MODE section.

By pressing EXIT/NO you go back to the Arrangement Play mode. by pressing a button of the MODE section you go to the selected mode.

The Backing Sequence demo

The Accessory Disk supplied with the instrument contains the demonstration backing sequences. Reading them on disk will help us understand how the backing sequences work.

1 Insert the Accessory Disk into the disk drive. 2 Press DISK/GLOBAL to enter the Disk/Global

mode.

The DISK/GLOBAL led will light up. The DISK/ GLOBAL indicator will appear on the display.

5 Move the cursor on (BSQ), and press ENTER/

YES view the ﬁles contained in the disk.

Filename

The display shows the name of the ﬁle which contains the backing sequence to be loaded, the backing sequence number and the location number in the memory where to load it.

Backing sequence in

the ﬁle

Memory loca-

tion

6 Use the TEMPO/VALUE buttons to select the ﬁle

you wish to load.

7 Select the backing sequence you wish to load

and the memory location where to load it.

3 While the cursor is on (LOAD), press ENTER/YES

to enter the “Load” subpage.

Load (KBSET) (ALL) (ONE) (GLOBAL)

4 Move to cursor on (ONE), and press ENTER/YES

to enter the “Load One” subpage.

In the ﬁgure the backing sequence 00 will be loaded in location 00. Each ﬁle can contain up to ten backing sequences and there are ten backing sequence locations in the memory, numbered from 00 to 09.

To select a different backing sequence or load it in a different location, move the cursor to the “BS00” parameters and select different numbers and locations.

We do not need to make any change in the example, since we want to load the backing sequence 00 in location 00.

8 Press ENTER/YES to load the selected backing

sequence.

9 When “Completed” appears on the display,

press B.SEQ to enter the Backing Sequence mode.

The B.SEQ button led will light up. The BACKING SEQUENCE indicator will appear on the display.

0 Use the CURSOR buttons to move the cursor to

the back sequence name. Use the TEMPO/ VALUE buttons to select the backing sequence you wish to listen to.

We do not need to make any change in the example, since the backing sequence 00 is already selected when switching to the Backing Sequence mode.

1 Press START/STOP to start the playback.

Getting Started • Tutorial

0 Press START/STOP again to stop the playback.

Note: When the instrument is turned off, the backing sequences in memory will be canceled.

Listening to the songs

The songs are musical pieces with sixteen tracks available in the form of Standard MIDI Files (SMF). The i40M is able to playback SMF format 0 without having to load them in memory, and SMF format 1 after a short loading.

If the SMF is in Solton, M-live (Midisoft), Tune1000 or compatible (Edirol, GMX, KAR, HitBit, XF) format and contains lyrics, the lyrics are viewed in time with the music.

If the SMF is in Solton, M-live (Midisoft), or GMX format and contains chord abbreviations, the abbreviations are viewed in time with the music.

You can playback a single song, or create a list to playback with just one command (for example with the JukeBox function).

To listen to a song

1 Inser t the disk containing the song into the disk

drive.

2 Press SONG PLAY to enter the Song Play mode

(Lyrics 1 mode).

The SONG PLAY led and the REC/WRITE/LYRICS led will light up.

If the ﬁle has a number between 1 and 8, press the PROGRAM/ARRANG button to light up the ARRANG led, then press the BANK [A] button and a NUMBER button from [1] to [8].

If the ﬁle has a number between 9 and 16, press the PROGRAM/ARRANG button to light up the ARRANG led, then press the BANK [B] button and a NUMBER button from [1] to [8].

If the ﬁle has a number between 17 and 24, press the PROGRAM/ARRANG button to light up the ARRANG led, then press the BANK [USER] button and a NUMBER button from [1] to [8].

4 After selecting the song, press START/STOP.

If the selected song is in M-live (MidiSoft), Solton, or Tune1000 or compatible (Edirol, GMX, KAR, HitBit, XF) format and contains lyrics, the lyrics appear on the display in time with the music. If not, the display shows the standard information.

If the song is format 1, the red START/STOP led will ﬂash for a few seconds, while the data is being loaded from the disk. When loading ends, playback will begin. If some backing sequences or songs are already loaded in the Song Edit mode, a message will appear asking you if it is OK to erase this data. If you don’t mind losing the data in the memory, press ENTER/YES to start playback.

If you wish to retain the data, press EXIT/NO to cancel loading. Switch to the Disk/Global mode and save the song and backing sequences on another disk (see page 131). Then go back to the Song Play mode and repeat the operation.

●If the song is in Tune1000 or compatible (Edirol,

GMX, KAR, HitBit, XF) format, press REC/ WRITE/LYRICS to switch to the Lyrics 2 mode.

Note: In the Song Play mode the REC/WRITE/LYRICS led will automatically light up to indicate that you are in the Lyrics 1 mode and that the lyrics of the song can be viewed. If the led is off, you are in Play mode (standard executive information).

3 Select the song with the TEMPO/VALUE buttons.

You can also select the song by entering its position number on the disk.

If the song is in a different format, pressing REC/ WRITE/LYRICS will display the executive information page (Play mode).

With the Tune1000 and compatible (Edirol, GMX, KAR, HitBit, XF) format there are two ways to view the lyrics:

• Lyrics 1 (the whole line will appear at once on the display);

• Lyrics 2 (the words appear one at a time, in time with the music). Press REC/WRITE/LYRICS to switch to the Lyrics 2 mode.

●Press REC/WRITE/LYRICS to change the viewing

mode from the lyrics (Lyrics modes) to the standard executive information (Play mode).

The REC/WRITE/LYRICS led will go off.

●Press REC/WRITE/LYRICS again to view the lyr-

ics (Lyrics 1 mode).

Getting Started• Tutorial

The REC/WRITE/LYRICS led will light up.

5 To stop the song, press START/STOP.

Listening to all the song on a disk

1 Inser t the disk containing the songs in SMF for-

mat 0 or 1.

2 Press SONG PLAY to enter the Song Play mode.

The SONG PLAY and REC/WRITE/LYRICS leds will light up.

3 If the name of a song appears on the display,

press EXIT/NO to display “ALL SONGS”.

●If the played song is in Tune1000 or compatible

(Edirol, GMX, KAR, HitBit, XF) format, press REC/WRITE/LYRICS to switch to the Lyrics 2 mode.

●Press REC/WRITE/LYRICS to change the viewing

mode from the lyrics (Lyrics modes) to the standard executive information (Play mode).

●Press REC/WRITE/LYRICS again to view the lyr-

ics (Lyrics 1 mode).

5 Press START/STOP to stop the playback.

JukeBox

The JukeBox allows you to create a list of songs to be played back with just one command, choosing among the songs contained on the disk.

1 Inser t the disk containing the songs in SMF for-

mat 0 or 1 into the disk drive.

2 Press SONG PLAY to enter the Song Play mode.

The SONG PLAY led will light up.

Now all the songs contained in the disk are selected. Press EXIT/NO to go back to ALL SONG after selecting a single song.

4 Press START/STOP to start the playback of all

songs.

The songs in SMF format 0 are played back at once. If the song is in M-live (MidiSoft), Solton, or T une1000 or compatible (Edir ol, GMX, KAR, HitBit, XF) format and contains lyrics, the lyrics appear on the display in time with the music. If not, the display shows the standard information.

If the song is in M-live (MidiSoft), Solton, or GMX format and contains chord abbreviations, the abbreviations appear on the display in time with the music.

The songs in SMF format 1 must be loaded in memory ﬁrst, then after a few seconds wait they are played back. If some backing sequences or songs are already loaded in the Song Edit mode, a message will appear asking you if it is OK to erase this data. If you don’t mind losing the data in memory, press ENTER/YES to start playback.

3 Choose the ﬁrst song with the TEMPO/VALUE

buttons.

4 Press ENTER/YES to insert the song in the list.

The name of the song, alongside its position number on the list, will appear on the display. Number 1 will appear after you have inserted the ﬁrst song.

Position on the list

If you wish to retain the data, press EXIT/NO to cancel loading. Switch to the Disk/Global mode and save the song and backing sequences in another disk. Then go back to the Song Play mode and repeat the operation.

Selected song

Getting Started • Tutorial

5 Choose the second song to be added in the list

with the TEMPO/VALUE buttons.

6 Press ENTER/YES to conﬁrm the second song on

the list.

7 Add other songs to the list by following steps 5-

8 Once the list is complete, press START/STOP to

play back all the selected songs.

The songs in SMF format 0 are played back at once. If the song is in M-live (MidiSoft), Solton, or T une1000 or compatible (Edir ol, GMX, KAR, HitBit, XF format and contains lyrics, the lyrics appear on the display in time with the music. If not, the display shows the standard information.

If the song is in M-live (MidiSoft), Solton, or GMX format and contains chord abbreviations, the

abbreviations appear on the display in time with the music.

The songs in SMF format 1 must be loaded in memory ﬁrst, then after a few seconds wait they are played back. If some backing sequences or a song are already contained in the Song Edit mode, a message will appear asking you if it is OK to erase this data. If you don’t mind losing the data in memory, press ENTER/YES to start playback.

If you wish to retain the data, press EXIT/NO to cancel loading. Switch to the Disk/Global mode and save the song and backing sequences on another disk. Then go back to the Song Play mode and repeat the operation.

9 Press START/STOP to stop playback. 0 Press START/STOP again to re-start playback. A Press EXIT/NO to exit the JukeBox mode.

The arrangements

Getting Started• Tutorial

What are styles and arrangements

The i40M features an automatic accompaniment system based on styles and arrangements. Playing with this system is just as if you had a real band backing you with six instruments: three harmonic instruments, bass, drums and a percussion set.

The styles provide the musical structure of the accompaniment, while the arrangements provide the sounds, effect and some general parameters. Generally speaking, the style is the “music style”, while the arrangement is its “instrumentation”.

During the playback you can select the arrangements and play live with the three real time tracks Upper 1, Upper 2 and Lower (two tracks at a time: Upper 2 and Lower exclude one other).

How to program the MIDI

The i40M need to receive the chords from a controller (MIDI keyboard, digital piano, MIDI accordion, MIDI guitar etc.). Then the arranger will transform the chords in accompaniment patterns according to the selected arrangement and style.

The chords must get at least to one of these special MIDI channels: Global, Chord 1, and Chord 2. For information on the connection of the MIDI controller see the detailed description contained in “MIDI” on page 44.

1 Press ARR. PLAY to enter the Arrangement Play

mode.

The ARR.PLAY led will light up. The ARR.PLAY indicator will appear on the display.

2 Press the PROGRAM/ARRANG button to light

up the ARRANG led.

3 Press one of the BANK [A], [B] or [USER] but-

tons.

4 Enter a two-digit number between 11 and 88

using the buttons of the NUMBER section.

If the arrangement is contained in the same bank as the selected arrangement, you only need to enter a two-digit number, without pressing a BANK button.

Arrangement Preview. In the Arrangement Play mode the Arrangement Preview function allows you to view the arrangement name on the display before selecting it.

Press a BANK button, use a NUMBER button to select the tens – if necessary – then select the arrangement with the TEMPO/VALUE buttons and conﬁrm with ENTER/YES.

Once the selection has been completed, the name of the selected arrangement will appear on the display:

Tempo of selected arrangement

The KEYBOARD MODE section of the control panel works only if the controller is connected through the Global channel. This channel is generally used when connecting a master keyboard. For more information on the Global channel see “The Global channel” on page 45.

Selecting an arrangement

The i40M includes 192 arrangements divided into three banks of 64 each (64 in bank A, 64 in bank B, and 64 programmable in bank USER).

The arrangement families are listed in the top section of the control panel. The complete list of the arrangements is contained at the end of this guide (see page 205).

Selected arrangement

The style (and the accompaniment patterns) changes and:

• if the SINGLE TOUCH led is on, also the real time programs (Upper 1, Upper 2, and Lower tracks) change;

• if the TEMPO led is off, also the metronome time changes.

Getting Started • Tutorial

Note: The arrangement can memorize the status of

the control buttons. Therefore when changing the arrangement, you can also select one of the two ﬁlls, one of the two intros or one of the four variations.

Starting the accompaniment

After selecting an arrangement, you can start the automatic accompaniment.

1 Press RESET/INS to reset the values.

RESET erases the chords that are still in memory.

2 Press START/STOP.

Rhythm play will start. The START/STOP red led will light up on the ﬁrst beat, the green led on the other beats, according to the time signature of the style.

3 Play a progression of chords.

The keyboard area and the way in which chords ar e detected will depend on the type of connection, on the split point, on the status of the CHORD SCANNING section, and on the “ChordRecog (Chord recognition mode)” parameter of the Disk/Global mode (see page 147).

Once the chord has been detected, the rhythm will be joined by the bass and the other accompaniment tracks that play following the detected chords.

If the MEMORY-CHORD button led is on, the chords will remain in memory also after releasing the notes.

The chord name is shown on the display:

Recognized chord

4 Continue playing the chords and play the mel-

ody.

5 Press START/STOP to stop the accompaniment.

Synchro start e stop

You can make the accompaniment start or stop without pressing START/STOP.

When the i40M is connected with a MIDI key- board through the special Global channel,

• if the CHORD SCANNING is LOWER, the chords played with the left hand below the split point will be detected;

• if the CHORD SCANNING is UPPER or FULL, the chords played above the split point or with two hands on the entire keyboard will be detected.

Note: If the option assigned to the “ChordRecog (Chord recognition mode)” parameter is “Fingered 1”, you only need to play a note to detect a major chord.

When the i40M is connected with a MIDI controller through channels other than Global (for example, when a MIDI accordion is connected), chords must come through the Chord 1 and Chord 2 channels with no extension limits.

The MIDI Setup (see page 136) selected when connecting the controller will always create the suitable condition to send the chords in the correct way through the appropriate channels.

1 With the accompaniment stopped, light up the

SYNCHRO-START led.

The Synchro Start makes the accompaniment start when the notes for the chord recognition chords ar e played.

2 Play a chord in the chord recognition area to

start the accompaniment.

3 Light up the SYNCHRO-STOP led.

The Synchro Start makes the accompaniment stop when the notes for the chord recognition chords ar e released.

4 Release the chord recognition notes to stop the

accompaniment.

The accompaniment stops at once.

5 Play a chord again in the chord recognition

area to restart the accompaniment.

6 Turn off the SYNCHRO-STOP led.

If the SYNCHRO-STOP led is off and the MEMORY-CHORD led is on, the accompaniment will continue playing also when the chord recognition notes are released.

Getting Started• Tutorial

7 Continue playing, then press START/STOP to

stop the accompaniment.

Fill

The ﬁll is an interlude that breaks the rhythm continuity. Each style of the i40M has two different ﬁllins.

1 Start the automatic accompaniment (with

START/STOP or SYNCHRO-START + played notes).

2 Whilst playing press one of the FILL [1] or [2]

keys.

A ﬁll-in will be played. When the ﬁll ﬁnishes, a different variation may be selected (see “Page 5: Ensemble/Variation change” in the Arrangement Play mode).

3 Press START/STOP to stop the accompaniment.

1 Start the accompaniment (with START/STOP,

INTRO/ENDING + START/STOP, or SYNCHROSTART + played notes).

2 Press one button in the VARIATION section.

The led of the selected variation will start ﬂashing. At the end of the measure the pattern will change. The led of the new variation will stay lit.

3 Press one of the FILL buttons and straight away

afterwards one button in the VARIATION section.

The ﬁll-in will play. The led of the variation that is going to play at the end of the ﬁll-in will ﬂash. At the end of the ﬁll-in the new variation will play.

4 Press START/STOP or INTRO/ENDING to stop

the accompaniment.

Note: On “Page 5: Ensemble/Variation change” in the Arrangement Play mode, you can connect each FILL button to a variation that will be selected automatically after the ﬁll-in has ﬁnished.

Intro/ending

“Intro” means introduction, “ending” means end. Each style has two intros and two endings, which are selected by one of the two buttons in the INTRO/ ENDING section.

1 With the accompaniment stopped, press one of

the INTRO/ENDING [1] or [2] buttons.

2 Start the automatic accompaniment with ST ART/

STOP (or SYNCHRO-START + played notes).

The introduction will be played, then the normal accompaniment pattern will begin (“Variation”).

Note: The Intro 1 can play different chords, while the Intro 2 only plays with the recognized chord.

3 Play normally, then press one of the INTRO/

ENDING [1] or [2] buttons.

The ending will be played and the accompaniment will stop.

Note: The Ending 1 can play different chords, while the Ending 2 only plays with the recognized chord.

All the tracks, at once!

1 With the SYNCHRO-START led off, play a chord

in the chord recognition area.

2 Press START/STOP (or INTRO/ENDING +

START/STOP) to start the accompaniment.

The accompaniment tracks (Drum, Percussion, Bass, Acc1, Acc2, Acc3) will start playing.

3 Press START/STOP or INTRO/ENDING to stop

the accompaniment.

Fade in/out

1 With the accompaniment stopped, play a chord

in the chord recognition area, then press FADE IN/OUT to start the accompaniment.

The accompaniment will start. The volume of the accompaniment tracks and the real time tracks will be set at zero, and will gradually increase to full.

2 While the accompaniment is playing, press

FADE IN/OUT to stop the accompaniment.

Variations

Variations are different versions of the same style Each style has four variations.

The volume of the accompaniment tracks and the real time tracks will gradually decrease to zero. At the end, the accompaniment will stop and the volume will come back to full.

Getting Started • Tutorial

Varying the tempo

●With the accompaniment stopped, use the

TEMPO/VALUE buttons to vary the tempo.

In order for these controls to work as tempo controls, the TEMPO indication must appear on the left-hand side of the display.

There is an easier way to vary the tempo, which is as follows:

1 Set (beat) the tempo on the TAP TEMPO button.

The tempo shown on the display will change according to the tempo beaten.

2 Start the accompaniment. 3 Vary the tempo with the TEMPO/VALUE buttons. 4 Stop the accompaniment with START/STOP or

INTRO/ENDING.

The real time tracks (Upper 1, Upper 2, Lower)

Getting Started• Tutorial

What are the real time tracks?

The real time tracks (Upper 1, Upper 2 e Lower) can be used to play “live” over the automatic accompaniment tracks.

You can have two tracks at the same time, since Upper 2 and Lower exclude one other.

If the real time tracks are managed through the special Global channel, the split point – and the KEYBOARD MODE section in general – are taken into consideration. In this case:

• if the Keyboar d Mode is SPLIT, the Upper tracks can play above the split point and the Lower track below the split point;

• if the Keyboard Mode is FULL UPPER, the Upper tracks can play on the entire extension.

Note: If notes are received from channels other than Global, the tracks will ignore the split point. If the channel assigned to the track coincides with Global, Global has the priority and the split point is taken into consideration. For the assignation of the MIDI channels to the tracks and Global, see page 139.

3 Press FULL UPPER to play the Upper 1 and/or

Upper 2 tracks on the entire keyboard.

Use the buttons in the KEYBOARD ASSIGN section to activate or deactivate the tracks.

4 Press SPLIT to split the keyboard in two parts

again.

Activating and deactivating the real time tracks

The real time tracks can be activated or deactivated in two ways:

• using the buttons in the KEYBOARD ASSIGN section (the led lights up when the track is playing);

• using the UP1 and UP2/LOW buttons in the PROGRAM/VOLUME section (press two buttons together to mute the track; press one button to activate it again).

Note: The Upper 2 and Lower tracks exclude one other. When UPPER 2 is selected, LOWER is automatically deactivated, and vice versa.

Assigning the real time tracks to the keyboard

If the i40M is connected to a MIDI keyboard through the special Global channel (see pages 45 and 47), you can assign the real time tracks to the keyboard areas with the buttons in the KEYBOARD MODE section.

1 Press M.DRUM to play the dr um kit on the key-

board.

2 Press SPLIT to split the keyboard in two parts.

The Upper 1 and/or Upper 2 tracks can play on the right-hand side of the split point, while the Lower track can play on its left-hand side.

Use the buttons in the KEYBOARD ASSIGN section to activate or deactivate the tracks.

Note: The Upper 2 and Lower tracks exclude one other.

1 Light up the UPPER 1 led (KEYBOARD ASSIGN

section) to activate the Upper 1 track.

Press the button to select the Upper 1 track.

2 Light up the UPPER 2 led (KEYBOARD ASSIGN

section) to activate the Upper 2 track.

Press the button to select the Upper 2 track. The Lower track is deactivated.

3 Light up the SPLIT led (KEYBOARD MODE sec-

tion) to split the keyboard, then light up the LOWER led (KEYBOARD ASSIGN section) to activate the Lower track.

Press the button to select the Lower track. The Upper 2 track is deactivated.

Note: The Lower track can only be activated when the KEYBOARD MODE is SPLIT.

Getting Started • Tutorial

Blocking the programs of the real time tracks

When you change an arrangement, you usually change also the programs assigned to the real time tracks. If you wish to change the accompaniment, but not the programs of the real time tracks, turn off the SINGLE TOUCH button led. With the SINGLE TOUCH led on, the arrangement will also change the programs and the volume of the real time tracks.

Changing the sounds of the real time tracks

You can assign one of the i40M programs to each real time track.

1 If the i40M is connected to a keyboard, press

the SPLIT button to split the keyboard in two parts.

2 Select the Upper 1 track by pressing one of the

UPP1 buttons in the PROGRAM/VOLUME section.

The abbreviation “UP1” will appear on the second text line of the display, followed by the bank number, name and number of the program assigned to the Upper 1 track.

loaded from disk or directly programmed by the user.

5 Using the buttons of the NUMBER section select

a two-digit number between 11 and 88.

To select a drum kit, press the [F/USER/DRUM] button twice, until the abbreviation “Dr” appears on the display.

If the program you wish to select is in the same bank as the selected program, you only need to select the two-digit number, without pressing a BANK button.

After selecting the bank and indicating a two-digit number, the program will be selected and assigned to the Upper 1 track.

Program Preview. In the Arrangement Play mode you can use the Program Preview function to view the name of the program on the display before selecting it.

Press a BANK button, use a NUMBER button to select the tens – if necessary – then select the program with the TEMPO/VALUE buttons and conﬁrm with ENTER/YES.

6 Select the Upper 2 track by pressing one of the

LOW/UPP2 buttons in the PROGRAM/VOLUME section and activating UPPER 2 in the KEYBOARD ASSIGN section.

If active, the Lower track will be deactivated. The abbreviation “UP2” will appear on the display, followed by the bank number, name and number of the program assigned to the Upper 2 track.

Bank Number

Name

3 Press the PROGRAM/ARRANG button to light

up the PROGRAM led.

4 Press one of the BANK [A], [B], [C], [D], [E],

[F(USER/DRUM)] buttons.

The A and B banks contain the 128 programs of the General MIDI standard. The A bank contains the ﬁrst 64 programs, the B bank contains the other 64 programs. The C and D banks contain programs that are more or less organized as in the General MIDI banks, however there are some differences. The E bank contains layered programs and fantasia sounds, while the F(USER) bank contains programs

7 Select a program with the procedure illustrated

for the Upper 1 track.

8 Select the Lower track, by pressing one of the

LOW/UPP2 buttons in the PROGRAM/VOLUME section and activating LOWER in the KEYBOARD ASSIGN section.

If active, the Upper 2 track will be deactivated. The abbreviation “LOW” will appear on the display, followed by the bank number , name and number of the program assigned to the Lower 2 track.

9 Select a program with the procedure illustrated

for the Upper 1 track.

0 Select the Upper 1 track again (press one of the

UPP1 buttons in the VOLUME section).

The abbreviation “UP1” will appear on the display. All the next selections of programs will be assigned to the Upper 1 track.

Getting Started• Tutorial

Transposition

You can change the pitch of the real time tracks with the semitone transposition.

Note: If the accompaniment is playing during the modiﬁcation, the transposition will enter at the beginning of the next measure.

●To lower the real time track pitch by one or

more semitones press the TRANSPOSE [ ] button once or more.

The sound pitch will be lowered by a semitone each time the button is pressed.

●To raise the real time track pitch by one or more

semitones press the TRANSPOSE [ ] button once ore more.

The sound pitch will be raised by a semitone each time the button is pressed.

●To cancel the transposition press both TRANS-

POSE buttons together.

1 Press the BANK button in the KEYBOARD SET

section a few times, to turn on the C bank led.

Each time you press the BANK button, one of the banks is selected in cyclic mode:

A ⇒ B ⇒ C ⇒ A…

2 Press button 1 of the KEYBOARD SET section.

Keyboard Set 1 of the C bank will be selected. The programs of the real time tracks will change and the status of Chord Scanning, Keyboard Assign, Keyboard Mode, the effects, etc. could change, too (depending on the data saved in the Keyboard Set).

Recording a Keyboard Set

It is possible to record the status of the real time tracks, the effect and the VOCAL/GUITAR section in a Keyboard Set. Let’s try to record the current status in Keyboard Set 5 of the B bank.

1 Press REC/WRITE/LYRICS and press one of the

buttons in the KEYBOARD SET section.

Selecting a Keyboard Set

By selecting a Keyboard Set in the Arrangement Play mode, you can select the programs of the real time tracks, the Keyboard Mode, the Keyboard Assign, the Chord Scanning, the effects, as well as other characteristics that would otherwise have to be programmed one at a time.

In Arrangement Play and Song Play, the Keyboard Sets also recall the settings of the VOCAL/GUITAR section.

There are three banks (A, B, C) with ﬁve Keyboar d Sets each (1, 2, 3, 4, 5). Let’s try to select Keyboard Set 1 of the C bank.

The Write Keyboard Set page will appear.

2 Press a few times the BANK button in the KEY-

BOARD SET section to light up the B led.

3 Press button 5 in the KEYBOARD SET section. 4 Press ENTER/YES twice to save (or EXIT/NO to

cancel).

The status of the real time tracks, the effects and the VOCAL/GUITAR section is saved in Keyboard Set 5 of the B bank. You can save the Keyboard Sets with the Save functions in the Disk/Global mode (see page 131).

Note: To retrieve the original Keyboard Sets, load the Keyboard Set contained in the Accessory Disk supplied.

Getting Started • Tutorial

The backing sequences

What are the backing sequences?

The backing sequences are musical pieces created by playing the real time tracks and the arrangement accompaniment.

The creation of a new song in the Backing Sequence mode consists in recording a standard playing with the arrangements, just like if you were playing normally in the Arrangement Play mode.

Apart from the tracks available in the Arrangement Play mode, the Backing Sequence mode contains other eight tracks (Extra T racks) wher e you can record fr eely.

The backing sequences can be saved on disk as backing sequences or Standard MIDI File (see “Page 18: SMF converter” on page 105).

Recording the Backing Sequences

2 If the i40M is connected to a keyboard or to

another controller, program it to transmit over the special Global channel.

Note: The backing sequence must receive the real time tracks over the Global channel and the chords over the Global and/or the Chord 1 and Chord 2 channels.

3 Press B.SEQ to enter the Backing Sequence

mode.

The B.SEQ led will light up. The following display will appear.

Tempo

Measure number

With the i40M you can create new songs exploiting the wealth of material in the automatic accompaniment. This type of songs is known as Backing Sequence.

Note: While recording, you cannot select some of the buttons, e.g. the Keyboard Sets.

1 If the i40M is connected to a MIDI accordion,

switch to the Disk/Global mode and select the MIDI Setup “Accordion 1”.

See “Connecting the i40M to a MIDI accordion” on page 49. “Accordion 1” allows you to transmit the right hand over the special Global channel and the chords over the Chord 1 and Chord 2 channels.

Note: The backing sequence must receive the real time tracks over the Global channel and the chords over the Global and/or the Chord 1 and Chord 2 channels.

Arrangement

Backing Sequence name

4 Select the backing sequence you wish to record

with the TEMPO/VALUE buttons.

For this example, let’s select BSQ3. (If BSQ3 is recorded, select another backing sequence).

5 Select an arrangement with the buttons of the

PROGRAM/ARRANG section.

Press the PROGRAM/ARRANG button to light up the ARRANG led, then one of the BANK [A], [B] or [USER] buttons to select the bank. Finally, press two NUMBER button in sequence to choose a twodigit number between 11 and 88.

6 If necessary, change the split point, the Key-

board Mode, the Keyboard Assign and the Chord Scanning.

Split point: hold down SPLIT POINT and play the note that you wish to be the new split point. Key- board Mode: use the buttons in the KEYBOARD MODE section. Keyboard Assign: use the buttons of the KEYBOARD ASSIGN section. Chord Scan- ning: use the buttons of the CHORD SCANNING section.

Getting Started• Tutorial

7 Press REC/WRITE/LYRICS to enter the recording

mode.

The REC/WRITE/LYRICS led will light up and the recording page will appear. If the “ATr” (arrangement tracks) tracks are selected, you can record both the real time and the accompaniment tracks in real time.

Tempo

Real time track

Selected track(s)

Control track

Quantize value

Chord track

Metronome

8 Press START/STOP (or one of the INTRO/END-

ING buttons + START/STOP) to start the accompaniment.

After a two-measure pre-count, recording will begin and the accompaniment will start playing.

non-copy protected and must have space enough to contain the new data.

2 Press Disk/Global to enter the Disk/Global

mode.

The following display will appear:

3 If you have inser ted a blank disk, you need to

format it.

1. Move the cursor to (UTIL) using the CURSOR buttons. Press ENTER/YES to enter the “Utilities” subpage.

2. Move the cursor to (FORMAT) using the CURSOR buttons. Press ENTER/YES to enter the “Format disk” subpage.

3. Press ENTER/YES to start formatting. After a couple of minutes the disk will be ready to use.

9 You can now play freely. During the recording

you can use the FILL, VARIATION, ENDING buttons freely.

0 Press START/STOP (or one of the INTRO/END-

ING buttons) to stop the accompaniment and the recording.

The recording will stop and the REC/WRITE/LYRICS led will go off. The sequencer will go back to measure 001.

A Press START/STOP to listen to the song that you

have just recorded.

Saving the Backing Sequences on disk

The backing sequences contained in memory will be lost when you turn the instrument off, therefore you need to save them on disk. The following procedure allows you to save all the back sequences contained in memory (max 10) in a new ﬁle.

4. Press EXIT/NO to go back to the main page in the Disk/Global mode.

4 Move the cursor to (SA VE) and press the ENTER/

YES button to enter the “Save” subpage.

5 Move the cursor to (BSQ) and press the ENTER/

YES button.

The following display appears:

Note: If you have used arrangements and programs from the USER bank, choose (ALL) instead of (BSQ). This operation will save the entire contents on memory, including the USER arrangements and the USER programs used by the backing sequence.

1 Insert an empty disk into the disk drive.

The i40M uses 3.5” 2DD/HD (double density or high density) disks. The disk must be formatted in MS-DOS® format, compatible with Windows™, Macintosh® and other systems. The disk must be

6 Assign a new ﬁlename.

1. Select the character you wish to change with the CURSOR buttons.

Getting Started • Tutorial

2. Change the character using the TEMPO/ VALUE buttons.

3. Press INS to insert a new character and DEL to delete the character indicated by the cursor.

7 Press ENTER/YES to save the ﬁle on disk.

To cancel the operation press EXIT/NO.

8 When the message “Completed” appears on

the display, press the B.SEQ button to go back to the Backing Sequence operative mode.

Deleting the Backing Sequences

If you don’t mind losing the backing sequence and you need space in memory, you can delete it. The backing sequences use up space in memory, taking it away from other data (e.g. songs in Song Edit, other backing sequences).

1 Press B.SEQ to enter the Backing Sequence

mode.

2 Press PAGE [+] repeatedly to get to “Page 3:

Erase Backing Sequence” in the Backing Sequence mode.

3 Press ENTER/YES twice to delete the backing

sequence from memory.

4 Press EXIT/NO to go back to the ﬁrst page of

the Backing Sequence mode.

The Songs

What are the Songs?

The songs are musical pieces with sixteen tracks that can be saved on disk in the form of Standard MIDI File (SMF). There are two operative modes dedicated to the songs: the ﬁrst one is used to read the songs live (Song Play) and the second one is used to create new songs or edit the existing songs (Song Edit).

Unlike the backing sequences, the songs are made up of completely free tracks that cannot be created with the arrangements. You can however convert a backing sequence into a standard song (see “Page 18: SMF converter” on page 105).

The i40M is compatible with most of the songs found on the market. You can convert songs created with the computer sequencer into songs that can be read by the i40M, and vice versa.

1 Press SONG EDIT to enter the Song Edit mode. 2 Press PAGE [+] to go to Page 2.

Track

Tempo mode

Recording mode

Quantize Metronome

Starting measure

Ending measure

Recording a song

In the Song Edit mode you can record a new song freely and save it on disk as a Standard MIDI File (SMF).

Getting Started• Tutorial

3 Whilst on Page 2, press REC/WRITE/LYRICS to

enter the recording mode.

4 Select the track you wish to record with the but-

tons of the PROGRAM/VOLUME section. Use the TRACK SELECT button to switch between the 1-8 and 9-16 tracks.

5 Program the MIDI controller to transmit over the

channel of the track you wish to record.

The tracks need to receive channeled information and not over the special Global channel. Each track of the song usually corresponds to a MIDI channel with the same number as the track. For example, track 1 usually corresponds to channel 1, track 2 to channel 2 and son on.

Suggestion: if it is not possible to change the MIDI channel used by the MIDI controller for transmission, follow this procedure:

1. Go to “Page 3: Track parameters” in the Song Edit mode.

2. Modify the “Ch” parameter by assigning the number of the MIDI channel used by the MIDI controller for transmission.

8 Move the cursor to the Q parameter and select

a quantize value.

The quantize corrects the rhythmical mistakes made during the recording. The quantize value is expressed in musical values. Very high values can deeply change the recording.

9 Move the cursor to the M parameter and acti-

vate or deactivate the metronome.

OFF means that the metronome is deactivated. ON means that it is active both during the recording and playback. REC means that it is active only during the recording.

0 Press START/STOP to start the recording.

Play freely.

A At the end press START/STOP to stop the record-

ing.

B Repeat the procedure with the other tracks.

Saving the Song as Standard

3. Go back to the recording page and record the track.

4. Go to “Page 3: Track parameters” in the Song Edit mode and assign the original MIDI channel to the “Ch” parameter.

5. Select a different track and repeat the pr ocedur e, assigning the MIDI channel used by the controller for transmission to the track you wish to record.

6 Move the cursor to the Recording Mode param-

eter and select the recording mode.

You can select the OVRW option to delete the old data and record the new data of the track.

Otherwise, in particular to record the drum track one instrument a time, you can select OVDB, where you can add new notes to existing notes.

The more complex AUTOP and MANP modes are described on page 115

7 Move the cursor to the Tempo parameter and

program the metronome tempo.

MIDI File (SMF)

The songs and backing sequences contained in memory will be lost when you turn the instrument off, therefore you need to save them on disk.

1 Insert a new disk into the disk drive.

The disk must be formatted, non copy-protected, and must have space enough for the song you are saving. To format the disk see “FORMAT (Format disk)” on page 133.

2 If you are not already in the Song Edit mode,

press SONG EDIT.

3 Press repeatedly PAGE [+] to get to “Page 13:

Save” in the Song Edit mode.

If you select the AUT option, the tempo is the current one indicated by TEMPO/VALUE. If you select the TEMPO-REC option, the tempo variations during the recording are recorded.

4 Assign a name to the song.

Move the cursor with the CURSOR buttons and change the character indicated by the cursor using the TEMPO/VALUE buttons.

Getting Started • Tutorial

Be careful: If you are saving a ﬁle that was previ-

ously loaded from the disk, you need to change the name of the ﬁle to avoid overwriting the existing ﬁle on disk. A disk cannot contain two ﬁles with the same name (in the same directory). A message will inform you that you are overwriting an existing ﬁle.

5 Press ENTER/YES twice to conﬁrm and the name

and save.

After pressing ENTER/YES the “Are you sure?” will appear. Press ENTER/YES again to save the Standard MIDI File on disk. When ﬁnished, the message “Completed” will appear.

Editing Standard MIDI Files (SMF)

A SMF can be modiﬁed, for example by adding a solo or changing the program played by the track. Let’s try to edit the song “iS-Lands” contained in the disk supplied with the instrument.

Loading and listening to the song

5 Press PAGE [+] to get to “Page 2: Playback”.

6 Press START/STOP to listen to the song.

The song will be played from beginning to end. When it stops, the sequencer will go back to measure number 001. You can stop playback halfway through the song by pressing START/STOP; in this case, press RESET to get back to measure number

001.

Changing the sound of a track

Let’s replace the pan ﬂute of the melody line with an alto sax.

1 Press PAGE [+] repeatedly to get to “Page 4:

Event edit”.

1 Inser t the disk supplied with the instr ument into

the disk drive.

2 Press SONG EDIT to enter the Song Edit mode. 3 Select the ﬁle “ISLANDS” with the TEMPO/

VALUE buttons.

4 Press ENTER/YES twice to load the song.

The message “Now loading” will appear. When ﬁnished, the message “Completed” will appear.

Selected track

2 Select track 6 (Tr06) using the TEMPO/VALUE

buttons.

The pan ﬂute is to be found in track 6 (Tr06).

3 Press REC/WRITE/LYRICS, then START/STOP to

access Event Edit.

Getting Started• Tutorial

4 Use the CURSOR buttons to move the cursor to

M001#00.

M001#00 indicates the measure number and the step inside the measure (001 = measure 1, #00 =initial step of the measure).

5 Press TEMPO/V ALUE [UP/+] to select M001#01.

The #01 step is the ﬁrst measure step that contains performable data (for example, notes). There will be a message showing the change of program on the second line of the display text.

Message type

(“status”)

Bank

Select LSB

Program

Change

Program

6 Move the cursor to “075” using the CURSOR

buttons.

Deleting parts of a song

In this example we will delete the marimba accompaniment from the ﬁrst four measures.

1 Press PAGE [+] repeatedly to get to “Page 7:

Edit”.

2 Move the cursor to (ERASE) using the CURSOR

buttons,

3 Press ENTER/YES.

Number “075” is the value of the MIDI Program Change message. A program can be selected through the combination of two Bank Select (usually abbreviated in BS MSB and BS LSB) and Program Change (usually abbreviated in PC). In the i40M the message sequence BS MSB=000, BS LSB=000 and PC=075 corresponds to program B24 (bank B, program 24) which is the pan ﬂute.

7 Change the number to “065” using the TEMPO/

VALUE buttons.

The program change number “65” corresponds to the B12 program (Alto Sax).

8 Press START/STOP to exit Event Edit. 9 Press EXIT/NO to get back to page 2 (Play). 0 Press START/STOP to listen to the edited song.

The melody will now be played by an alto sax.

4 Move the cursor to “Tr01”. 5 Press TEMPO/VALUE [UP/+] to select “Tr05”.

The marimba part is on track 5 (Tr05).

6 Moves the cursor to “001” located at the right

of the arrow.

As we want to delete the ﬁrst four measures, measure 001 should be to the left of the arrow and measure 004 to the right of it.

7 Press TEMPO/V ALUE [UP/+] repeatedly to select

measure number “004”.

8 Press ENTER/YES twice.

The message “Completed” will appear on the display. The ﬁrst four measures of the marimba part will be deleted.

9 Press EXIT/NO to get to page 2 (Play). 0 Press START/STOP to listen to the song.

The marimba part will not play at the beginning of the song anymore.

Getting Started • Tutorial

Adding parts to a song

In this example, we shall add a counterpoint melody to the song, recording it onto track 7 (Tr07).

1 If you are not already at page 2 (Play), press

EXIT/NO, or hold down SONG EDIT and press ARRANGEMENT NUMBER [2].

(This is a shortcut to get directly to a page – see page 18).

2 Press REC/WRITE/LYRICS.

3 Move the cursor to “Tr01” using the CURSOR

buttons.

with the same number as the track. For example, track 1 usually corresponds to channel 1, track 2 to channel 2 and son on.

6 Press PROGRAM/ARRANG to light up the PRO-

GRAM led, then press BANK [A], and ﬁnally NUMBER [7] and [1].

This will assign the “A71 Strings” program to track 7 (Tr07).

7 Press START/STOP to start recording. Play the

new part.

After a two-measure precount, recording will begin.

4 Press TEMPO/V ALUE [UP/+] repeatedly to select

“Tr07”.

5 Program the MIDI controller to transmit over the

channel of the track you wish to record.

The tracks need to receive channeled information and not over the special Global channel. Each track of the song usually corresponds to a MIDI channel

8 When ﬁnished press START/STOP to stop the

recording.

If you have made any mistakes, press RESET and begin recording again, following the instructions from step 2 to step 7.

9 Press START/STOP to listen to the song.

The Vocal/Guitar section

Getting Started• Tutorial

Connecting a microphone or a guitar

You can connect a microphone or a guitar to the INPUT-IN jack. You can also connect a mono instrument with output at line level (such as a synthesizer).

The input level of the signal can be adjusted with the GAIN knob located next to the INPUT-IN jack. After you connected the instrument or the microphone, play or sing and adjust the knob until you obtain the desired level. Check the level with the assistance of the SIGNAL led situated in the VOCAL/GUITAR section.

The input signal is processed by the harmonizer and the effect processors of the VOCAL/GUITAR section. The processed signal is sent to the OUTPUT audio jacks of the i40M, together with the sounds generated by the internal sound generator.

The signal level is indicated by the SIGNAL led, located in the control panel of the VOCAL/GUITAR section. If it is off, the signal is not present; if it is green, the signal is present, if it is orange, the signal is close to saturation; if it is red, the signal is saturated.

The presence of the signal will light up the green SIGNAL led. If the signal is close to saturation the led will turn orange. If the signal is saturated, the led will turn red.

2 If necessary, press ARR.PLAY to go to the

Arrangement Play mode.

3 Select Keyboard Set A1 to activate the VOCAL/

GUITAR section.

When you turn the instrument on, the VOCAL/ GUITAR section is inactive. To activate it you need to select a Keyboard Set.

4 Adjust the general volume of the VOCAL/GUI-

TAR section with the VOLUME slider.

5 Use the A/B button to select the operating mode

A of the A/B knob.

Be careful: the signal must never be saturated. If this happens, reduce the input gain with the GAIN knob.

Note: When you turn the instrument on, the VOCAL/ GUITAR section is deactivated. Select one of the Keyboard Sets to activate it. If you have connected a microphone, select a Keyboard Set in the A bank; if you have connected a guitar, select a Keyboard Set in the B (clean settings) or C (overdrive settings) bank.

Using the Vocal/Guitar section

In this example we will see how to use the settings of the VOCAL/GUITAR section saved in Keyboard Set A1 (if it was not modiﬁed).

1 Connect the guitar or the microphone to the

INPUT-IN jack of the i40M.

Connect the guitar using a cable ending with mono jacks. Connect the microphone with a cable ending with a mono jack.

Light up the led A of the A/B button and knob.

6 Start singing and adjust the Harmony volume

(parameter A) with the A/B knob.

7 Use the A/B button to select the operating mode

B of the A/B knob.

Light up the led B of the A/B button and knob.

Adjust the input level with the GAIN knob. The correct adjustment will optimize the background noise caused by the connections with the microphone or the guitar.

Getting Started • Tutorial

8 Start singing and adjust the effect level (param-

eter B) with the A/B knob.

9 Press the C button to mute the entire VOCAL/

GUITAR section.

0 Press the C button again to cancel the mute.

Changing the settings of the Vocal/Guitar section

The Keyboard Sets contain the settings of the VOCAL/GUITAR section. Select a Keyboard Set to automatically change the settings. The default settings of the Keyboard Sets supplied with the instrument are:

Bank Type of settings

A Vocal B Guitar clean C Guitar distorted

As the Keyboard Sets are modiﬁable, you can edit and save the settings of the section. You only need to make the modiﬁcations as described in the following paragraph and save the Keyboard Set as described on a page 31.

4 According to the connected device, assign the

Guitar (for the guitar) or the Vocal (for the microphone) option to the “VOC/GTR MODE” parameter.

Note: Each mode offers effects that are especially dedicated to the guitar or vocal. For example, the harmonizer is only available in the Vocal mode, while the ampliﬁer simulator only works in the Guitar mode. Other effect with the same name, such as the compressor, work differently in each mode.

5 Go to the next pages to select the effects.

You can have different effects according to the selected mode (Vocal or Guitar). Now it is important to select the effects, to assign the control of two of their parameters to the A/B knob, and the mute to the C button.

6 Go back to “Page 14: Vocal/Guitar mode/

Assigned parameters”. Move the cursor to “A” to select the parameter assigned to the A/B knob. Select the parameter you wish to control with the A/B knob in A mode.

ARR.PLAY

MODE

VOC/GTR MODE=Guitar A:CHORUS Depth

CHORD

OCTAVETEMPO

PAGE

Programming the V ocal/Guitar section

1 If necessary, press ARR.PLAY to go to the

Arrangement Play mode.

2 Select a Keyboard Set to activate the VOCAL/

GUITAR section.

When you turn the instrument on, the VOCAL/ GUITAR section is deactivated. You need to select a Keyboard Set to activate it.

3 Press PAGE [+] repeatedly to get to “Page 14:

Vocal/Guitar mode/ Assigned parameters”.

ARR.PLAY

MODE

VOC/GTR MODE=Guitar A:CHORUS Depth

CHORD

OCTAVETEMPO

PAGE

7 Press CURSOR [<] to select the “A” parameter.

Press TEMPO/VALUE [+] to change the “A” parameter to “B”.

ARR.PLAY

MODE

VOC/GTR MODE=Guitar B:DIST Depth

CHORD

OCTAVETEMPO

PAGE

8 Press CURSOR [>] to select the parameter

assigned to the A/B knob. Select the parameter

Getting Started• Tutorial

MODE

ARR.PLAY

OCTAVETEMPO

PAGE

CHORD

VOC/GTR MODE=Guitar C:Vocal/Guitar Mute

you wish to control with the A/B knob in B mode.

ARR.PLAY

MODE

VOC/GTR MODE=Guitar B:DIST Depth

CHORD

OCTAVETEMPO

PAGE

9 Press CURSOR [<] to select the “B” parameter.

Press TEMPO/VALUE [+] to change the “B” parameter to “C”.

ARR.PLAY

MODE

VOC/GTR MODE=Guitar C:Vocal/Guitar Mute

CHORD

OCTAVETEMPO

PAGE

0 Press CURSOR [>] to select the parameter

assigned to the C button. Select the parameter you wish to control with the C button.

The C button is used to mute the effects, the harmonization or the entire VOCAL/GUITAR section.

A Save the settings of the VOCAL/GUITAR section

in a Keyboard Set.

To save the settings, save the Keyboard Set as described in “Recording a Keyboard Set” on page 31.

Getting Started • Tutorial

The programs

Editing the programs

The i40M has a vast selection of Korg sounds, the same sounds that you hear on records and in concerts of many famous artists. However, it is also your creativity that needs suitable sounds, these you can create in Performance Edit by changing the fundamental parameters of the sounds. You can start from a program that is close to what you wish to create, perform the changes and save the program in the F(USER) bank. In this example we shall start with a digital piano.

DRUMS

MUTE

Vibrato intensity

Makes the sound brighter or mellower

Modiﬁes the sound quality over the time

Modiﬁes the sound quality during time

Makes the sound disappear faster or

more slowly, after a key has been

VIBRATO

INT.

CUTOFF

1 Program the MIDI controller to transmit over the

special Global channel of the i40M.

For information on the Global channel, see page 45. For information on programming the Global channel, see page 132.

2 Press PROGRAM to enter the Program mode.

In this situation the PROGRAM/VOLUME buttons are used to select the editable parameters of the selected program. The upper button of each pair increases the value of the parameter, while the lower button decreases it. In the display the volume indicators change to indicators of the parameter value.

VOLUME

PERC BASS ACC1 ACC2 ACC3 LOW/UPP2 UPP1

PROGRAM

VDF

VDF EG

ATTACK

RELEASE

VDA

INT.

TIME

VELOCITY

TIME

LEVEL

SENS.

BALANCE

EFFECT

Effects intensity

Keyboard touch responsiveness

Program volume

3 Select the program you wish to edit.

In this case, we want to select the A16 program, so press PROGRAM/ARRANG to light up the PROGRAM led, then BANK [A], and ﬁnally NUMBER [1] [6].

4 Press the upper PROGRAM [VIBRATO INT.] but-

ton to increase the vibrato.

5 Press the lower PROGRAM [VDF CUTOFF] but-

ton for a few moments to make the sound less brilliant.

If you have closed the sound too much, press the upper button to reopen the ﬁlter. VDF means Variable Digital Filter.

6 Press the upper PROGRAM [ATTACK TIME] but-

ton for a few moments to make the sound attack slower.

7 Press the upper PROGRAM [RELEASE TIME] but-

ton for a few moments to make the sound disappear more slowly when releasing the note.

If the sound lasts too long, press the lower button to slightly shorten the release time.

8 Adjust the program volume using the PRO-

GRAM [VDA LEVEL] buttons.

VDA means Variable Digital Ampliﬁer.

Getting Started• Tutorial

9 Adjust the effect level using the PROGRAM

[EFFECT BALANCE] buttons.

0 If you wish to save the program you have

edited, press REC/WRITE/LYRICS to go to “Page 23: Write program” (see page 174).

Selected USER location

0 Using the TEMPO/V ALUE buttons select the loca-

tion in the F(USER) bank where you wish to save the program.

A Press ENTER/YES to save the program.

Press EXIT/NO if you wish to cancel the operation.

Warning: The program you are saving will substitute and therefore delete the existing program. Don’t’ press ENTER/YES if you are not sure that you want to lose the program.

Getting Started • MIDI

What is MIDI?

5. MIDI

The MIDI protocol. The MIDI is a standard protocol

that deﬁnes the hardware and software for the communication between musical instruments and computers. The hardware is represented by the interface with multipolar connectors located on the back of the i40M. The connectors are:

• MIDI IN (to receive data),

• MIDI OUT (to send data)

• MIDI THRU (to re-transmit the data received over the MIDI IN).

The MIDI IN 1 and MIDI IN 2 connectors of the i40M are identical. As a rule, if only one instrument is connected, it is recommended to use the MIDI IN 1 connector.

The software of the MIDI protocol is represented by a series of “messages” that the controller instrument (master) sends to the controlled instrument (slave) to “instruct” it to emit a sound or somehow modify it.

For example, if a MIDI keyboard is connected to the i40M, pressing a key on the keyboard will cause the transmission of a note activation message (Note On). The message will go through one of the MIDI channels and reach the i40M, that will convert the note message into a sound.

The same occurs with other messages: fox example, pressing the sustain pedal will cause the transmission of the Sustain/Damper message; editing the volume will cause the transmission of the Volume message, and so on.

The MIDI messages. There are “general” MIDI mes-

sages (metronome tempo, Start/Stop, Local Off) and “channel” messages that only refer to one of the sixteen MIDI channels.

The channel messages include the Note On (note activation), Program Change (selection of program, arrangement, Keyboard Set), and Control Change.

Most of the control messages, such as Sustain/Damper and Volume, is sent in the form of a Control Change message. This message consists in two parts: the Control Change number (0-127), that determines the control type, and the control value (0-127).

For instance, the activation of the Sustain/Damper pedal is a Control Change #64, with value 127. A “standard” volume is a Control Change #07, with value 90.

Some important controllers are:

CC# Name Notes

In combination with CC#32 selects

00 Bank Select MSB

01 Modulation Activates modulation. 07 Volume Selects volume. 10 Pan Selects the pan value.

32 Bank Select LSB

91 Effect 1 send Effect 1 send 93 Effect 2 send Effect 2 send

the program bank. In the i40M its value is always 0.

In combination with CC#00, selects the program bank. In the i40M the possible values are: Banks A-B = 00 Banks C-D = 01 Bank E = 02 Bank F = 03 Bank Dr = 04

The list of the messages sent via MIDI can be found in the Appendix.

Connections. In order to connect two musical instru-

ments, you need standard MIDI cables that can be found in any musical instrument store.

Each cable must be used to connect two connectors of different instruments. Never connect two connectors of the same instrument with the same cable.

The simplest connection is the connection between the MIDI OUT connector of the controller and the MIDI IN connector of the controlled instrument.

The MIDI channels. The MIDI messages are sent from

one instrument to the other over 16 separate channels. Each message must be sent over a speciﬁc MIDI channel.

For example, if the keyboard transmits over channel 1, the controlled instrument must receive over channel 1. If not, the controlled instrument will not play or will play the sound of a different channel.

The special channels. Some MIDI channels of the

i40M can be assigned to “special channels” that are used for special functions. These channels are Global, Chord 1, Chord 2, Arrangement and Keyboard Set. A detailed description of these channels is contained in the following pages.

Getting Started• MIDI

Other information. The MIDI is a vast, articulated

world. This guide will only refer to the use of the MIDI

The special channels

The Global channel

The Global is a special channel that allows you to simulate a keyboard integrated into the i40M. When the i40M is connected to a keyboard, the keyboard should transmit over the Global channel of the i40M.

According to the factory settings, the Global is programmed over channel 1 when the instrument is turned on. Since most of the MIDI controllers transmit over channel 1 when turned on, if no modiﬁcations have been made, a MIDI controller and the i40M are immediately connected over the Global channel.

The Global channel has the priority over the other channels. For example, if the Global is programmed over channel 1 and a track is programmed over channel 1 as well, the Global (with its settings and characteristics) will control the track, not the standard channel 1.

The MIDI messages received over the Global and not over a standard channel are affected by the buttons of the KEYBOARD MODE section (such as the split point). Therefore, if the SPLIT button led is lit up, the notes that arrive to the i40M over this channel will be divided by the split point into the Upper (above the split point) and Lower (below the split point) parts.

The notes that arrive to the Global channel are used for the chord detection of the automatic accompaniment. If the KEYBOARD MODE is SPLIT, only the notes below the split point will be used. These notes will be combined with the ones of the special Chord 1 and Chord 2 channels.

The Global channel does not work in Song Play, Song Edit, and Backing Sequence when the Extra Tracks are selected. The reason is that in these operative mode the information need to be channeled separately.

The Global channel works in Arrangement Play and Backing Sequence when the arrangement tracks are selected. It also works in Program mode, where all the other channels are deactivated.

For information on the programming of the Global channel, see “GLB (Global)” on page 139.

with the i40M. For more information, refer to specialized books and magazines.

The Chord 1 and Chord 2 channels

The notes that go through the Chord 1 and 2 channels are used for the chord detection of the automatic accompaniment. The notes will be combined with the notes that go through the Global channel (under the split point if the SPLIT led is lit up).

The Chord channels are not affected by the split point and the KEYBOARD MODE section of the control panel. All the notes – both above and below the split point – will be sent to the chord detection.

The buttons of the CHORD SCANNING section have a particular effect on the Chord channels:

• if you have selected LOWER, the chord detection mode will be set by the “ChordRecog (Chord recognition mode)” parameter in the Global mode (see page 147);

• if you have selected UPPER or FULL, the chord detection mode will always be Fingered 2 (you need to play at least three notes in order for the chord to be detected).

These two channels are especially useful for accordion players to assign a different Chord channel to the chords and the bass played with the left hand. In this way, chords and bass will participate to the creation of chords for the chord detection of the automatic accompaniment.

For information on the programming of the Chord channels, see “CHORD 1” and “CHORD 2” on page 140.

The Keyboard Set channel

The Keyboard Set channel is used to receive the program change messages for the Keyboard Sets. The reception of a program change message over this channel will cause the selection of a Keyboard Set.

For information on the programming of the Keyboard Set channel, see “KBSET (Keyboard Set)” on page 140.

Getting Started • MIDI

The Arrangement channel

The Arrangement channel is used to receive the program change messages for the arrangement. The

What is General MIDI?

General MIDI (abbreviated GM) is a series of added MIDI speciﬁcations, that allow you to play a song on different instruments without any modiﬁcations.

Until General MIDI appeared, there were no standar ds that governed the organization of sounds and how to select them. When a song was played by a different MIDI instrument to the original, the sound could differ entirely from the original ones. For example, a snare might play instead of a hi-hat, a crash cymbal instead of a bass drum, or a synth brass instead of a piano, and so on.

Therefore, in order to play a song on a different instrument, you needed to prepare a comparison table, which allowed you to identify the sounds on the new instrument that corresponded to those on the old one. In addition to the sounds, you also had to adjust other parameters, for example the volume and the effects.

reception of a program change message will cause the selection of an Arrangement.

For information on the programming of the Arrangement channel, see “ARNG (Arrangement)” on page 140.

General MIDI standardizes the organization of sounds, in such a way that the piano track is always played by a piano and the drum kit track by a drum kit; it also standardizes the setup of the drums in a drum kit, the main sound parameters (attack, sustain, release…), volume values and controls for the effects and effect send functions. The song can be played in the same way on any General MIDI compatible instrument.

In the i40M the General MIDI sounds are contained in the A and B banks. There are 128 General MIDI sounds altogether; the A bank contains programs 0-63, whereas the B contains programs 64-127. There are two General MIDI compatible Drum kits (Dr11 and Dr12).

To program MIDI songs compatible with any GM instrument, you need to use these programs and these Drum kits.

What are Standard MIDI Files?

“Standard MIDI File” format (abbreviated as SMF) is a standard that allows you to exchange songs between different sequencers, meaning incorporated sequencers in musical instruments, or computer software. SMF are not necessarily GM compatible.

The i40M sequencer is compatible with SMF 0 and 1 formats. It can read SMF in the Song Play mode (see page 106) and edit them in the Song Edit mode (see

page 113). In the Backing Sequence mode it can save a backing sequence in standard SMF format 0 (see page 105).

The i40M can also show on the display the lyrics of the SMF in Solton, M-Live (Midisoft), Tune1000 and compatible (Edirol, GMX, KAR, HitBit, XF) format (see page 22).

Connecting the i40M to a MIDI keyboard

Getting Started• MIDI

The easiest way to control the i40M is by connecting a master keyboard. You only need to connect the MIDI OUT connector of the keyboard to the MIDI IN 1 connector of the i40M. If the master keyboard transmits over the Global channel of the i40M, the master keyboard becomes the equivalent of the i40M integrated keyboard.

MIDI IN

MIDI OUT

ARRANGEMENT BANK A

ARRANGEMENT BANK B

8 BEAT

LATIN 3

POP

DISCO 1

11 - 18

51 - 58

11 - 18

51 - 58

16 BEAT

LATIN 4

21 - 28

JAZZ 1

21 - 28

DISCO 2

61 - 68

31 - 38

LATIN 1

31 - 38

WALTZ

JAZZ 2

ROCK 2

71 - 78

41 - 48

LATIN 2

TRADITIONAL

ROCK 1

ROCK 3

81 - 88

MODE

MASTER

ACC.

VOLUME

MEMORY

ARRANGEMENT

BANK

NUMBER

VARIATION

FILL INTRO/ENDING

•

MUTE

VDF VDF EG ATTACK RELEASE VDA VELOCITY EFFECT

VOLUME TEMPO/VALUE

PROGRAM

SYNCHRO TRANSPOSE OCTAVE

START/STOP

PROGRAM BANK A (GENERAL MIDI)

51 - 58

PIANO

BASS

11 - 18

61 - 68

CHROMATIC PERC.

STRINGS

21 - 28

71 - 78

ORGAN

ENSEMBLE

31 - 38

81 - 88

GUITAR

BRASS

41 - 48

CHORD SCANNING

KEYBOARD ASSIGN KEYBOARD MODE

PROGRAM

BANK

NUMBER

KEYBOARD SET

PROGRAM BANK B (GENERAL MIDI) 11 - 18 21 - 28 31 - 38 41 - 48

REED

SYNTH SFX

51 - 58

PIPE

ETHNIC

61 - 68

SYNTH LEAD

PERCUSSIVE

71 - 78

SYNTH PAD

SFX

81 - 88

Interactive Music Workstation

iS40

If the keyboard transmits over the Global channel, the split point and the status of the Keyboard Mode and Keyboard Assign sections in the control panel will affect the notes.

According to the factory settings, the Global channel of the i40M is the MIDI 1 channel when the instrument is turned on. When turned on, most of the keyboards will transmit over this channel and therefore no programming is usually necessary.

1 Connect the MIDI OUT connector of the key-

board to the MIDI IN 1 connector of the i40M.

2 Program the keyboard so that the keyboard

transmits over the Global channel of the i40M (see “GLB (Global)” on page 139)

3 Press DISK/GLOBAL to go to the Disk/Global

mode.

4 Press the PAGE [+] button repeatedly to get to

“Page 3: MIDI Settings” (see page 136).

5 Press CURSOR> to select SETUP, then press

ENTER/YES to enter the MIDI Setup page.

6 Select the desired setup using the TEMPO/

VALUE buttons. Select the “Master keyboard” setup and press ENTER/YES twice to conﬁrm the selection.

This setup is illustrated below.

Note: The settings can change when new data is loaded from disk. To protect the settings from loading, use the PROTECT function (see page 136).

7 Press one of the buttons in the MODE section to

go to the desired operative mode.

The MIDI “Master keyboard” Setup

You can automatically conﬁgure the i40M for the connection to a MIDI keyboard by selecting the MIDI “Master keyboard” Setup (see page 136).

Connections and settings

To connect the keyboard to the i40M use this procedure:

This MIDI Setup will conﬁgure the i40M for the connection to a master keyboard. The Keyboard Assign, Keyboard Mode and Chord Scanning Mode sections will affect the notes played.

The special Global channel is programmed over the MIDI 1 channel. You can change arrangement or Keyboard Set by sending a program change message to channel 2 (special Arrangement channel) or 3 (special Keyboard Set channel), respectively.

The chord detection mode is determined by the status of the Chord Recognition Mode section and the “ChordRecog (Chord recognition mode)” parameter in the Global mode (see page 147).

Getting Started • MIDI

Connecting the i40M to a digital piano

The digital piano can be used as a MIDI keyboard to control the i40M. The keyboard is generally divided into two parts; the left part is muted, to play the piano with the right hand and the chords for the automatic accompaniment with the left hand.

If the left part of the keyboard was not muted, the left hand would have to play very low, compact chords with a very bad sound. The Echo Back function of the i40M allows you to divide the keyboard at the split point of the module.

When the Echo Back function is active, the i40M sends a Local Off message to the piano. This message disconnects the piano keyboard from its internal sound generator. The notes played on the keyboard are sent to the i40M that uses the notes below the split point for the chord detection and retransmits the notes above the split point to the piano to allow it to play its internal sound. At this stage, the left hand only plays the accompaniment chords and the right hand plays the piano sound.

CHORD 1 (GLOBAL)

MIDI OUT

Chords (Lower)

MIDI OUT

If you select the “Digital Piano 1” setup, the right hand will only play the piano. If you select the “Digital Piano 2” setup, the right hand can also play the Upper 1 and Upper 2 parts, where the left hand plays the Lower part of the i40M.

Piano (Upper 1) (Upper 2)

3 Turn the digital piano on.

Note: When the Echo Back function is active, when turned on, the i40M transmits a Local Off message over the MIDI OUT connector. Always turn on the piano before the i40M.

4 Program the piano to transmit over channel 1

that corresponds to the special Chord 1 and (in “Digital Piano 2”) Global channels in the i40M.

At this stage, the left hand will play the chords for the accompaniment and the right hand will play the digital piano. If you have selected “Digital Piano 2”, you can use the buttons of the Keyboard Assign sections to add the Upper 1, Upper 2 and Lower section of the i40M to the piano.

5 Press DISK/GLOBAL to go to the Disk/Global

mode.

6 Press the PAGE [+] button repeatedly to get to

“Page 3: MIDI Settings” (see page 136).

7 Press CURSOR> to select SETUP, the press

ENTER/YES to enter the MIDI Setup page.

8 Select the desired setup using the TEMPO/

VALUE buttons. Select one of the “Digital piano” setups and press ENTER/YES twice to conﬁrm the selection.

At this stage the Echo Back function will be activated (see page 135) and a Local Off message will be sent to the piano. The piano keyboard will be disconnected from its internal sound generation. The MIDI messages will be sent to the i40M that will send again them to the internal sound generator of the piano, taking the split point into consideration.

This setup is illustrated below.

Connection and settings

To connect the piano to the i40M follow this procedure:

1 Connect the MIDI OUT connector of the piano to

the MIDI IN 1 connector of the i40M.

2 Connect the MIDI IN connector of the piano to

the MIDI OUT connector of the i40M.

In this way the i40M and the piano are connected in a “MIDI loop”.

Note: The settings can change when new data is loaded from disk. To protect the settings from loading, use the PROTECT function (see page 136).

9 Press a button in the MODE section to go to the

desired operative mode.

Getting Started• MIDI

The MIDI “Digital piano” Setups

You can automatically conﬁgure the i40M for the connection to a digital piano by selecting the MIDI “Digital piano 1” or “Digital piano 2” Setup (see page 136).

Digital piano 1. This MIDI Setup allows you to play

the chords of the automatic accompaniment with your left hand and the sound of the digital piano with your right hand.

The special Chord 1 channel is programmed over the MIDI 1 channel. The Lower part of the piano is muted.

The chords for the accompaniment are detected on the left-hand side of the split point. If the Chord Scanning selected in the control panel is LOWER, the chord detection mode is the one indicated by the “ChordRecog (Chord recognition mode)” parameter in the Global mode (see page 147). If it is UPPER or FULL, the chord detection mode is always “Fingered 2”.

Digital piano 2. This MIDI Setup allows you to play

the chords of the automatic accompaniment with your left hand and the sound of the digital piano with your right hand. Moreover, you can use the buttons of the Keyboard Assign section to activate or deactivate the Lower part (left hand) and the Upper 1 and Upper 2 parts (right hand) of the i40M.

Suggestion: If you only wish to play the i40M parts, and not the piano sound, set the piano volume to zero.

Global and Chord 1 are programmed over channel 1. The settings of the Global channel have the priority over the settings of the other channels.

The chord detection mode is determined by the status of the CHORD SCANNING section in the control panel and the “ChordRecog (Chord recognition mode)” parameter in the Global mode (see page 147).

Connecting the i40M to a MIDI accordion

There are different types of MIDI accordion and each type requires a different conﬁguration of the i40M. Select one of the MIDI “Accordion” Setups to conﬁgure the module properly (see page 136).

Connection and settings

To connect the accordion to the i40M follow this procedure:

1 Connect the MIDI OUT connector of the accor-

dion to the MIDI IN 1 connector of the i40M.

2 Press DISK/GLOBAL. 3 Press PAGE+ twice to get to the MIDI Settings

page.

4 Press CURSOR> to select SETUP, then press

ENTER/YES to enter the MIDI Setup page.

5 Select the desired setup using the TEMPO/

VALUE buttons. Select one of the “Accordion” setups and press ENTER/YES twice to conﬁrm the selection.

6 Press a button in the MODE section to go the

desired operative mode.

7 Only with “Accordion 1”: if your right hand

plays some notes in the Lower part, or if the lower part is muted, hold down SPLIT POINT and play the lowest note of the right hand, then release SPLIT POINT.

The different types of MIDI accordion

Programmable / non-programmable. The MIDI

accordions can be programmable or non-programmable. The programmable accordions offer the possibility of selecting the MIDI channel assigned to each part of the accordion, whereas the non-programmable accordions feature a ﬁxed relationship between parts and MIDI channels.

For example, in the most common case of a non-programmable accordion, the right hand will transmit over channel 1, the chords over channel 2 and bass over channel 3.

These setups will be described in the following pages.

Note: The settings can change when new data is loaded from disk. To protect the settings from loading, use the PROTECT function (see page 136).

Number of MIDI channels. Accordions transmit over

a minimum of three MIDI channels. The most sophisticated accordions can transmit over a higher number of channels, normally ﬁve (four plus one special part for the arrangement change).

In the three-channel type of accordions, the right hand transmits over channel 2, the chords over channel 2

Getting Started • MIDI

and bass over channel 3. In the ﬁve-channel type of accordions (usually programmable) the standard setting is right hand over channels 1 and 4, chords over channels 2, bass over channel 3, special part dedicated to the arrangement change over channel 16 or 10.

Bass Inversion

Bass Inversion causes the lowest note sent to the chord detection to be always detected as the chord root. The lowest note is usually the note played with bass.

Since in some accordions bass and chords can play in the same octave in some accordions, bass may not be the lowest note sent to the MIDI. Therefore this note would not be recognized as the chord root.

bass

real bass

chords

˙ ˙

actually detected bass

detected

chord

To solve this problem, you need to transpose an octave below the accordion bass.

bass

C/E

˙ ˙

chords

˙ ˙

real bass

actually detected bass

˙ ˙

C/G

detected

chord

˙ ˙

Dynamics

Not all accordions can transmit Velocity messages (e.g. the dynamics, or intensity, notes are played with). However, in the i40M you can select the ﬁxed dynamics value used to receive the notes sent by the accordion.

The MIDI “Accordion 1” and “Accordion 2” setups automatically select a ﬁxed dynamics value. If the value is not appropriate for your accordion, you can edit the “Velocity Input” parameter in the Disk/Global mode (see page 138).

The MIDI “Accordion” Setups

The following table shows the i40M tracks that correspond to each of the 16 MIDI channels according to the selected MIDI “Accordion” setup. It also shows the value of the “Velocity Input” parameter.

With the MIDI programmable accordions, you can select the MIDI channel used to send the different parts, that is the correspondence between the i40M parts and the accordion parts.

Accordion 1 Accordion 2 Accordion 3

Chan. Track Track Track

1 Global

2 Lower + Chord 1 +

3 Bass +

4 – Upper 2 Upper 2 5 ––– 6 ––– 7 ––– 8 ––– 9 ––– 10 Drum Drum Arrangement 11 Perc Perc Perc 12 Bass Drum 13 Acc1 Acc1 Acc1 14 Acc2 Acc2 Acc2 15 Acc3 Acc3 Acc3 16 – Global Global Velocity

Input

(Upper 1 + Upper

Harmony

Chord 2

110 110 Normal

Upper 1 Upper 1

Lower + Chord 1 + Harmony

Chord 2 Bass +

Lower + Chord 1 + Harmony

Chord 2

Accordion 1. The “Accordion 1” setup is dedicated to

those who have an accordion with three ﬁxed channels (with no assignable MIDI channel). With this setup you can play Upper 1 and Upper 2 with your right hand, Lower with the chords and the i40M bass with the accordion bass.

Getting Started• MIDI

The chords for the automatic accompaniment will be sent by the right hand, chords (Chord 1) and bass (Chord 2).

Accordion part Channel i40M track

Right hand 1 Global (Upper 1 + Upper 2)

Chords 2 Lower + Chord 1 + Harmony

Bass 3 Bass + Chord 2

Use this setup to program the backing sequences (Backing Sequence mode) and the programs (Program mode).

Accordion 2. The “Accordion 2” setup is dedicated to

those who have an accordion with two channels on the right hand and do not want to play the i40M bass. With this setup you can play Upper 1 and Upper 2 with your right hard, Lower with the chords, but not the i40M bass.

Since the Upper 1 and Upper 2 parts are controlled by two MIDI independent channels, you can send different volume, program change, and modulation values, etc.

The chords for the automatic accompaniment are sent by the chords (Chord 1) and the bass (Chord 2).

Accordion part Channel i40M channel

Right hand 1 1 Upper 1 Right hand 2 4 Upper 2

Chords 2 Lower + Chord 1 + Harmony

Bass 3 Chord 2

– 12 Bass

Accordion 3. The “Accordion 3” setup is dedicated to

those who have an accordion with two channels on the

right hand, want to play the i40M bass and has another channel to change the i40M Arrangements with Program Change. With this setup you can play Upper 1 and Upper 2 with your right hand, Lower with the chords and the i40M bass with the accordion bass.

The chords for the automatic accompaniment are sent by the chords (Chord 1) and the bass (Chord 2). If the accordion is provided with a special channel to send the program change message, you can select the i40M arrangements (with a program change over channel

10).

Suggestion: if you wish to change arrangement, but not the sounds of the Upper 1, Upper 2 and Lower tracks, turn the SINGLE TOUCH led off.

Suggestion: if you wish to change the programs of the Upper 1, Upper 2 and Lower parts in one go, select a Keyboard Set via MIDI or in the control panel (see page 140).

This setup does not set a ﬁxed dynamics value. If your accordion does not transmit dynamics messages, select a ﬁxed value with the “Velocity Input” parameter (see page 138).

Accordion part Channel i40M track

Right hand 1 1 Upper 1 Right hand 2 4 Upper 2

Chords 2 Lower + Chord 1 + Harmony

Bass 3 Bass + Chord 2

Special 10 Arrangement

Getting Started • MIDI

Connecting the i40M to a MIDI guitar

The i40M includes some special functions that allow you to connect a MIDI guitar and at the same time send chords for the automatic accompaniment and melody notes. In order to use this function you only need a standard footswitch, such as Korg PS-1 or Korg PS-2. The use of the Korg EC5 pedal keyboard is particularly recommended.

Connection and settings

To connect a guitar to the i40M follow this procedure:

1 Connect the MIDI OUT connector of the guitar to

the MIDI IN 1 connector of the i40M.

2 Press DISK/GLOBAL. 3 Press PAGE+ twice to get to the MIDI Settings

page.

4 Press CURSOR> to select SETUP, then press

ENTER/YES to enter the MIDI Setup page.

5 Select the desired setup using the TEMPO/

VALUE buttons. Select the “Guitar” setup and press ENTER/YES twice to conﬁrm the selection.

This setup is illustrated below.

Note: The settings can change when new data is loaded from disk. To protect the settings from loading, use the PROTECT function (see page 136).

7 Press REC/WRITE/LYRICS to save the Global.

The “Write Global?” message will appear.

8 Press ENTER/YES twice to conﬁrm saving the

Global.

9 Press a button in the MODE section to go to the

desired operative mode.

0 Press FULL UPPER in the KEYBOARD MODE sec-

tion to extend the Upper 1 and/or Upper 2 tracks to the entire extension of the guitar keyboard.

A Turn off the SINGLE TOUCH led to avoid editing

the Keyboard Mode with an arrangement change.

Using the 40M with a MIDI guitar

1 Play the melody.

After selecting the MIDI “Guitar” setup and the FULL UPPER Keyboard Mode, the guitar will transmit over the special Global channel on the entire keyboard. The melody can be played by Upper 1, Upper 2 or both tracks.

2 Hold down the pedal programmed for the “Gui-

tar Pedal” function and play the chord for the automatic accompaniment.

6 Activate the “Guitar pedal” function.

• If you have connected a footswitch, go to “Page 12: Assignable pedal/switch” (see page 143) and select the “Guitar Pedal” option.

• If you have connected a EC5 pedal keyboard, go to “Page 13: EC5 external controller” (see page 145) and assign the “Guitar Pedal” option to a pedal.

When pressing the pedal programmed for the “Guitar pedal” function, the i40M will receive the accompaniment chords over the Global channel.

3 Release the pedal and star t playing the melody

again.

4 When releasing the pedal, the i40M will receive

the melody notes from the Upper 1 and/or Upper 2 tracks over the Global channel.

Connecting the i40M to an external sequencer

Getting Started• MIDI

Even though the i40M has a built-in sequencer, there are computer sequencers that have more powerful editing functions. In general, it is easier to use the internal sequencer of the i40M to compose songs that are based on the automatic accompaniments (i.e. a backing sequence), and to use a computer sequencer to make Standard MIDI Files (SMF).

MIDI connections

In order to connect the i40M to a computer you need to have a computer with the MIDI interface.

Connect the i40M, a MIDI keyboard, the computer and another sound module (expander), if any, as in the following diagram.

MIDI IN

MIDI THRU

MIDI IN

MIDI OUT

MIDI IN

in the i40M and /or the additional module. The channel is the one that corresponds to the selected track in the computer sequencer.

The “MIDI Thru” function of the sequencer causes the notes to be received by the sequencer on a channel (the channel on which the MIDI controller transmits). The notes are sent to the i40M (and/or the additional module) over the channel assigned to the track selected in the computer.

For instance, if the master keyboard transmits over channel 1 and you must program the drum track assigned to channel 10, the data transmission will be as follows:

• The master keyboard transmits to the sequencer over the MIDI 1 channel.

• The track selected in the sequencer is the “Drum” track (or other name), to which the MIDI 10 channel is assigned (see the manual of the sequencer).

• The sequencer transmits the data received from the master keyboard to the MIDI 10 channel of the i40M, that usually corresponds to the drum track (according to the General MIDI speciﬁcations).

MIDI OUT

ARRANGEMENT BANK B

ARRANGEMENT BANK A

51 - 58

11 - 18

DISCO 1

51 - 58

LATIN 3

11 - 18

POP

8 BEAT

61 - 68

DISCO 2

61 - 68

21 - 28

LATIN 4

JAZZ 1

21 - 28

16 BEAT

71 - 78

ROCK 2

71 - 78

WALTZ

JAZZ 2

31 - 38

LATIN 1

31 - 38

81 - 88

ROCK 3

81 - 88

TRADITIONAL

ROCK 1

41 - 48

LATIN 2

41 - 48

MODE

MASTER

ACC.

VOLUME

MEMORY

ARRANGEMENT

BANK

VOLUME TEMPO/VALUE

NUMBER

MUTE

PROGRAM

VDF VDF EG ATTACK RELEASE VDA VELOCITY EFFECT

FILL INTRO/ENDING

SYNCHRO TRANSPOSE OCTAVE

START/STOP

•

VARIATION

PROGRAM BANK A (GENERAL MIDI)

51 - 58

PIANO

11 - 18

61 - 68

CHROMATIC PERC.

21 - 28

71 - 78

ORGAN

31 - 38

81 - 88

GUITAR

41 - 48

CHORD SCANNING

KEYBOARD ASSIGN KEYBOARD MODE

PROGRAM

NUMBER

PROGRAM BANK B (GENERAL MIDI)

REED

SYNTH SFX

BASS

51 - 58

11 - 18

PIPE

ETHNIC

STRINGS

61 - 68

21 - 28

SYNTH LEAD

PERCUSSIVE

ENSEMBLE

71 - 78

31 - 38

SYNTH PAD

SFX

BRASS

81 - 88

41 - 48

BANK

KEYBOARD SET

Interactive Music Workstation

iS40

The notes that are played on the keyboard come from the MIDI OUT connector and are sent to the MIDI IN connector of the MIDI interface, which then transmits them to the computer.

The notes that are generated by the computer (for example playing back a song by its sequencer) are sent to the MIDI interface, and transmitted from the MIDI OUT to the i40M MIDI IN.

The notes that arrive at the MIDI IN connector of the i40M are played and immediately retransmitted to the additional sound module, with no modiﬁcations; therefore the module receives the same data received by the i40M.

It is advisable to mute some of the i40M channels (tracks) and mute the channels enabled to play in the i40M in the additional module. In this way you will avoid the superposition of the sounds coming from the two instruments.

Performing a song from computer

1 Press SONG PLAY to enter the Song Play mode.

When in the Song Play mode, the i40M supplies 16 MIDI channels to an external sequencer. There is a corresponding i40M MIDI channel for every MIDI channel of a song that is played back by the external sequencer.

Each MIDI channel can play a different program, has its own effect send and its own panpot (positioning between the stereo channels). You should imagine every MIDI channel as an instrument in a band or orchestra: for example, you can have the piano on channel 1, sax on channel 2, strings on channel 3… You are fr ee to set them wher e you like, except for channel 10 which is reserved for the drum kit.

Along with the notes, a song can contain control events called MIDI controllers (or Control Change messages), which can regulate parameters such as volume, vibrato, pan, pedal, etc. The list of the MIDI controllers transmitted and received by the i40M can be found in the Appendix.

If the “MIDI Thru” function is activated in the computer sequencer (normally active; the name can be different according to the sequencer), the notes played on the keyboard are immediately sent to a MIDI channel

It is possible however, to directly program the general parameters of each channel (program, pan, effect send) from the i40M control panel. (See page 109).

Getting Started • MIDI

The control data of the VOCAL/GUITAR section must be received over the channel set on “Page 11: Song Play Harmony” in the Disk/Global mode (see page 143).

2 Load the song into the computer sequencer, and

put it onto playback.

The external sequencer controls the Start/Stop functions. At this stage, the i40M will become a simple expander.

Note: The i40M is a General MIDI compatible instrument. If the song you are playing back is General MIDI compatible, the correct sounds will be selected, if not the sounds might not correspond. See the following paragraph.

The programs

The song that is played back by the computer sequencer can select the i40M programs through the two MIDI messages Bank Select (bank selection) and Program Change (program selection). The ﬁrst column in the chart indicates the Bank Select number, the second column indicates the Program Change number,

and the third column the i40M selected program number.

Bank Select

No.

2 0-63 E11-E88 30–63 F11–F88 40–127 Dr11–Dr28

Program Change

No.

0–63 A11–A88 64–127 B11–B88 0–63 C11–C88 64–127 D11–D88

i40M Program

In the i40M the Bank Select is represented by the Control Change message #00 with value 0 and by the Control Change message #32 with value from 0 to 4 (see table above).

A suggestion for those who program songs on computer: Even though it is not essential, you usually set the bass on channel 2, melody on channel 4, drum kit on channel 10, control of the i40M voice harmonizer on channel 5.

Controlling another instrument with the i40M

You can use the i40M as an arrangement module for other instruments. Connect a MIDI cable to the i40M MIDI OUT connector to the MIDI IN connector of an expander or another keyboard.

As regards the sounds, if the controlled instrument (“slave”) is General MIDI compatible, there will be no problems with arrangements that only use General MIDI programs (A and B banks).

If the slave is not General MIDI compatible, the name of the i40M programs does not match the name of the slave programs. You need to edit the i40M arrangements, by assigning the program change number that corresponds to the desired sound in the slave to the tracks.

REFERENCE

Reference • Arrangement Play mode

6. Arrangement Play mode

Tempo and chord scanning

The tempo and recognized chords are always shown at the top of the display.

Tempo Chord name

= (Tempo)

[40…240]

Adjust the tempo using the TEMPO/VALUE buttons. Alternatively, you can deﬁne the tempo by tapping it on TAP TEMPO.

40-240 Normal metronome tempo expressed

in BPM (Beat Per Minute).

EXT External Synchronism. Automatically

selected if the Clock Source parameter in the Disk/Global mode is on MIDI IN 1 or MIDI IN 2. Start/Stop and tempo are controlled by an external device connected via MIDI (sequencer, keyboards).

Name of the chords

When the instrument detects a chord, its abbreviation appears on the display. The chords control the arrangement patterns.

The notes for chord detection must be received over the special Global, Chord 1 and Chord 2 channels (see “The special channels” on page 45).

The notes for the chord detection that arrive on Chord 1 and Chord 2 channels have no extension limits. The notes that arrive on the Global channel are affected by the split point and the status of the CHORD SCANNING section.

• Chord Scanning LOWER: detects chords below the split point. The detection mode depends on the “ChordRecog (Chord recognition mode)” parameter (see page 147).

• Chord Scanning UPPER: detect chords above the split point. The detection mode is always “Fingered 2” (see page 147), that requires chords of at least three notes.

• Chord Scanning FULL: detect chords on the entire keyboard. The detection mode is always “Fingered 2” (see page 147), that requires chords of at least three notes.

In order to program the split point, hold down the SPLIT POINT button and play the note you with to set as split point.

The detected chord stays in memory, even if you change the arrangement while the accompaniment is playing. You can reset the chord scanning by pressing RESET, or by selecting an arrangement with the accompaniment stopped.

Page 1: Performance monitor

Reference • Arrangement Play mode

Press the ARR.PLAY button to enter the Arrangement Play mode. In this page you can select the arrangement and assign programs to the tracks.

Arrangement

Track

Program

ARR (Arrangement)

[A11…A88, B11…B88, U11…U88]

The display will show the bank, number and name of the selected arrangement. Use the buttons in the PROGRAM/ARRANG section to choose an arrangement (see “Selecting an arrangement” on page 25). Press PROGRAM/ARRANG to light up the ARRANG led. First select a bank (A, B, USER), then enter a two-digit number with the numeric buttons. If the arrangement is in the same bank, you only need to enter the twodigit number.

Arrangement Preview. Alternatively, you can press one of the BANK button, enter the tens number if necessary, select the arrangement using the TEMPO/ VALUE buttons and conﬁrm the selection with ENTER/YES.

If you choose a new arrangement while you are performing, the new arrangement will start playing at the beginning of the next measure, and the tempo will change accordingly. If you do not want the tempo to change when you switch from one arrangement to the other, press the TEMPO button to enlighten its led.

If, when selecting an arrangement you wish to change the keyboard programs as well, press SINGLE TOUCH to enlighten its led.

You can also select the arrangements by using a footswitch such as Korg PS-1 or PS-2 or an external controller KORG EC5 (optionals). For more information see “Page 12: Assignable pedal/switch” or “Page 13: EC5 external controller” in the Disk/Global mode.

Track

[DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2]

Select the track you wish to edit using the PROGRAM/VOLUME buttons. The buttons are arranged in pairs and you can use either the upper or lower button to select the track. The track name is indicated above each pair of buttons.

Note: The Upper 2 and Lower tracks exclude one other.

• To select the Upper 1 track press one of the UPP1 buttons.

• To select the Upper 2 track press one of the LOW/ UPP2 buttons and activate UPPER2 in the KEYBOARD ASSIGN section.

• To select the Lower track press one of the LOW/ UPP2 buttons, activate SPLIT in the KEYBOARD MODE section and activate LOWER in the KEYBOARD ASSIGN section.

Program

[A11…U88, Dr11…Dr28]

Before selecting a program, you must select the track you want to assign the program to (unless it is already selected). Select the program using the buttons in the PROGRAM/ARRANG section (see “Changing the sounds of the real time tracks” on page 30). Press PROGRAM/ARRANG to light up the PROGRAM led. Select a bank ﬁrst (A, B, C, D, E, F-USER/DRUM), then enter a two-digit number , using the number buttons. If the program is in the same bank, you only need to select the two-digit number.

Program Preview. Alternatively, you can press one of the BANK button, enter the tens number if necessary, select the program using the TEMPO/VALUE buttons and conﬁrm the selection with ENTER/YES.

In order to select a Drum program (Dr11–28), press the F(USER/DRUM) button repeatedly in the PROGRAM section, until the abbreviation “Dr” appears, then select a two-digit number with the number buttons.

Reference • Arrangement Play mode

Page 2: Style select

In this page you can select the style played by the arrangement. The style contains the patterns played by the arrangement. To change the programs of the accompaniment tracks, see “Page 3: Track settings (1)” on page 59.

Arrangement

Style

ARR (Arrangement)

[A11…A88, B11…B88, U11…U88]

For more information about selecting the arrangements, see “Page 1: Performance monitor”.

STY (Style)

[A11…A88, B11…B58, U11…U28]

Select the style using the buttons in the PROGRAM/ NUMBER section. First press PROGRAM/ARRANG to enlighten the ARRANG led. Then select a bank (A,

B), ﬁnally enter a two-digit number with the NUMBER buttons. There are 128 styles in total, in the A and B banks, so you can select A11-A88 and e B11-B88.

If you want to select a style loaded from disk, choose the USER bank, and enter a two-digit number using the number buttons. There are a maximum of 16 USER styles, so you can only select U11-U28.

If you change the style while the accompaniment is stopped, the style programs will be assigned to the accompaniment tracks, transpositions deleted and the “wrap around” parameter will be set on ORG. For more information about these parameters, see “Page 4: Track settings (2)” on page 60.

If you change the style while the accompaniment is playing, the accompaniment patterns will change, whereas the programs and the track parameters will not. If the TEMPO led is off, the tempo of the new style will be selected.

In order to create a new arrangement, select a style that is close to what you have in mind, then change the programs, volume, pan, tempo, effects. Finally, save the new arrangement in the USER bank. USER styles and arrangements will stay in memory even when the instrument is turned off.

You can also select styles by using an optional footswitch or KORG EC5 external controller. For more information refer to see “Page 12: Assignable pedal/ switch” or “Page 13: EC5 external controller” in the Disk/Global mode.

Page 3: Track settings (1)

Reference • Arrangement Play mode

In this page you can choose the program (sound), pan (stereo position), and effect send (send levels) for each of the eight tracks in the arrangement.

Track

Pan

Program

Effect sends

Track

[DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2]

For more information about selecting the tracks, see see “Page 1: Performance monitor”.

Program

[A11…U88, Dr11…Dr28]

For more information about selecting programs, see see “Page 1: Performance monitor”.

Pan (Channels A and B)

[OFF, L15…L01, CENT, R01…R15, PROG]

Track position in the stereo “panorama”. The pan corresponds to the A and B channels of the internal sound generation (see chapter “Effects”). The A and B channels usually form the direct signal (A=Left, B=Right). If the effect setup is not Parallel 3, the A and B channels can function as effect send. See see “Page 11: Effect placement”.

CNT In the center. L values On the left (channel Left, A). R values On the right (channel Right, B). OFF No output of track from channels A

and B.

PROG Pan of program used.

C=/D= (Effect send, channels C and D)

[0…9, P]

Signal level sent to the effects. Normally, channel C is the reverb effect setting, channel D is the modulating effect setting (chorus, ﬂanger...). If the effect placement is not on Parallel 3, the C and D channels can function in different ways. See see “Page 11: Effect placement”.

0-9 Effect level. 0: there will be no output

of the track from channels C/D.

P The program level will be used.

Reference • Arrangement Play mode

Page 4: Track settings (2)

For each track in the arrangement, you can set the damper pedal and the parameters related to keyboard range (octave, wrap around) for each arrangement track. The parameters can be different according to the selected track.

Track

Track status

Program

Wrap-around

Track

[DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2]

For information about selecting tracks, see “Page 1: Performance monitor”.

Program

[A11…U88, Dr11…Dr44]

For information about selecting programs, see “Page 1: Performance monitor”.

Damper

[DIS, ENA]

This enables or disables the damper effect on the keyboard tracks. This parameter will only appear if track UP1 or LOW/UP2 is selected.

ENA Enabled. DIS Disabled.

Track status

instrument connected via MIDI. It will only appear if you select one of the DRUM, PERC, BASS, or ACC1– ACC3 tracks.

OFF The track will not play. INT Normal setting. The track will only

play the internal tone generator, and will not transmit data to the MIDI OUT connector.

EXT The track will not be played by the

internal tone generator, but will transmit data to external devices through the MIDI OUT connector.

BOTH The track will be played by the inter-

nal tone generator, and transmit data to the MIDI OUT connector.

Wrap (wrap-around point)

[ORG, 1…12]

The wrap-around point is the highest register limit for the backing track. The accompaniment patterns will be transposed according to the detected chord. If the chord is too high, the backing track might play in a register that is too high, and therefore unnatural. If, however, it reaches the wrap-around point, it will automatically be transposed an octave lower. This parameter will only appear when you select the BASS or ACC1–3 tracks.

The wrap-around point can be set for each track in semitone steps up to a maximum of 12 semitones, relative to the chord keynote. This value will be the interval between the key speciﬁed by the Chord Variation and the wrap-around point. It would be better not to program all the tracks at the same wrap-around point, to avoid them all jumping by an octave the same time. In order to ﬁnd the best wrap around point for the track you are editing, mute all the other tracks and try experimenting on each track.

ORG The track will use wrap-around point

of the style.

1-12 Number of semitones relative to the

Chord variation pitch.

[OFF, INT, EXT, BOTH]

This determines whether the track should be played by the internal tone generator and/or an external

Page 5: Ensemble/Variation change

Reference • Arrangement Play mode

In this page you can choose the kind of Ensemble you want, and latch the FILL buttons to a variation.

Ensemble

Fill 1

Fill 2

Ensemble

[DUET…REED ENS]

This enables you to set the Ensemble function thus activating the ENSEMBLE button.

DUET Add a third to the melody. CLOSE “Closed” chord harmonization. OPEN 1 “Open” chord harmonization. OPEN 2 The same as the above, but with a

different algorithm.

OCTAVE Add one or more octaves to the mel-

ody.

POWER ENS Add a ﬁfth and an octave to the mel-

ody, typical hard rock harmonization.

4THS Add a fourth and a minor seventh to

the melody (two layered fourths), typical jazz harmonization.

BLOCK “Block” harmonization, typical jazz

piano harmonization.

BRASS ENS Typical brass section harmonization. REED ENS Typical reed section harmonization.

Fill 1/Fill 2

[OFF, →1…→4, 1&2…3&4, UP, DOWN]

These parameters determine the variation to be selected at the end of the ﬁll-in. Fill 1 will program the FILL [1] button and Fill 2 will program the FILL [2] button.

OFF At the end of the ﬁll-in the initial vari-

ation will resume playing.

Values →1 - →4 At the end of the ﬁll-in, the indicated

variation will play. For example, if the parameter or Fill 1 has been set on “→2”, after Fill 1, variation 2 will be selected.

Values 1&2–3&4 Each time a ﬁll-in ends, one of the

two indicated variations will be selected. For example, if the Fill 1 parameter is set on “2&3”, after the ﬁrst Fill 1 playback, variation 2 will be selected, after the second ﬁll-in playback, variation 3 will be selected

UP and DOWN These settings increase or decrease

the variation respectively. For example, if the Fill 1 parameter is set on UP, starting form variation 1, after the Fill 1, variation 2 will be selected. After variation 4, variation 1, before variation 1, variation 4 will be selected. Thus the cycle is:

→3→4→1→2→

…

Reference • Arrangement Play mode

Page 6: Drum Mapping

The Drum Mapping function allows you to edit the Drum part of the Style with only one operation. The Drum Mapping will replace some instruments in the drum kit without changing the notes.

The settings will only affect the selected Arrangement and will be memorized by saving the modiﬁcations in a new Arrangement USER.

Drum mapping VAR1…VAR4

[1…8]

Selected Drum Map. You can select a different Drum Map for each Variation of the Style. There are eight Drum Maps (1…8). Drum Map 5 corresponds to the original pattern programming.

Page 7: Kick & Snare Designation

The Kick & Snare Designation function allows you to replace the programmed Bass Drum (Kick) and the Snare Drum (Snare) with a different Bass Drum or Snare Drum from the same drum kit with only one operation.

The settings will only affect the selected Arrangement and will be memorized by saving the modiﬁcations in a new Arrangement USER.

Kick designation

[A…D]

Designation for the Bass Drum (Kick). There are four designations (A…D). Designation A corresponds to the original pattern programming.

Snare designation

[A…D]

Designation for the Snare Drum. There are four designations (A…D). Designation A corresponds to the original pattern programming.

Page 8: Keyboard scale

Reference • Arrangement Play mode

In this page you can choose the keyboard scale (or temperament) automatically assigned by the arrangement to the tracks when selected.

Scale type

Key

Scale type

[EQUAL TEMP…USER SCALE 4]

EQUAL TEMP. Equal temperament. This scale is nor-

mally used nowadays, in traditional Western music. Consists of 12 absolutely identical semitones.

EQUAL TEMP. 2 The same as the previous setting, but

with some irregularities in pitch, consenting a more realistic imitation of acoustic instruments.

PURE MAJOR The major chords of the selected key

will be perfectly tuned.

PURE MINOR The minor chords of the selected key

will be perfectly tuned.

ARABIC Arabic scale, with quarter tones. The

Key parameter should be set to C for “rast C/bayati D”, to D for “rast D/ bayati E”, to F for “rast F/bayati G”,

to G for “rast G/bayati A”, to A# for “rast B b/bayati C”.

PYTHAGOREAN Pythagorean scale, based on ancient

Greek theory. It is suitable for play-

ing melodies. WERCKMEISTER Late baroque/classical scale. KIRNBERGER 18th century harpsichord scale. SLENDRO Indonesian gamelan scale. The

octave is divided into 5 notes (C, D,

F, G, A). The remaining notes will

play equal temperament notes. PELOG Indonesian scale. The octave is

divided into 7 notes (all the white

keys, if the key parameter is assigned

to C tonic). The black keys will play

equal temperament. USER SCALE 1…4 One of the 4 scales that you create

on “Page 19: User scale” of the

Disk/Global mode.

Note: When a scale other than Equal Temperament or Equal Temperament 2 is selected, the TRANSPOSE buttons may cause undesired chords to be recognized.

Key (Tonic)

[C…B]

This parameter selects the key for the scales where it is necessary to indicate the key as well.

Reference • Arrangement Play mode

Page 9: Effect select

The instrument has two incorporated digital effect processors for the sounds produced by the internal sound generator. In this page, you can choose which

Page 10: Effect modulation

In this page you can connect the effects to controls, which allow you to dynamically modulate their intensity. For more details, see page 176.

Page 11: Effect placement

In this page you can choose the effect setup of the arrangement, and program pan and levels for channels C and D. Pan and sending of arrangement tracks

effects you wish to assign to an arrangement and turn them on or off. For more details, see page 175.

are programmed on “Page 3: Track settings (1)”. For more details, see page 177.

Page 12: Effect 1 settings

Page 13: Effect 2 settings

These pages contain the effect parameters selected on “Page 9: Effect select”, that will be used for the selected arrangement. The parameters contained in

these pages will depend on the effects you have selected. For more information on programming effects, see page 178.

Reference • Arrangement Play mode

Page 14: Vocal/Guitar mode/ Assigned parameters

This page allows you to select the operating mode of the VOCAL/GUITAR section. It also allows you to select the operation of the A/B knob and of the C button in the VOCAL/GUITAR section.

Vocal/Guitar mode

ARR.PLAY

MODE

VOC/GTR MODE=Guitar A:CHORUS Depth

A/B or C button

CHORD

Assigned parameter

OCTAVETEMPO

PAGE

VOC/GTR MODE

[Guitar/Vocal]

Operating mode of the VOCAL/GUITAR section. Select “Guitar” when connecting a guitar. Select “Vocal” when connecting a microphone.

Assigned parameter (A/B, Vocal mode)

[ALL VOCAL PARAMETERS]

Parameter assigned to the A function of the A/B knob in the Guitar mode.

A/B (Vocal): MIXER Harmony

MIXER Lead

MIXER FxSend

Assigned parameter (C, Vocal mode)

[Vocal/Guitar Mute, Effect Mute, Harmony&Fx Mute, Harmony Mute]

Voc/Gtr Mute Mute of the Vocal/Guitar section Effect Mute Effect mute of the Vocal/Guitar sec-

tion. Harmony&Fx Mute Harmony and effect mute of the

Vocal/Guitar section. Harmony Mute Harmony mute of the Vocal/Guitar

section.

Note: The effects of the VOCAL/GUITAR section will change if the Vocal or Guitar mode is selected.

A, B, C

[A, B, C]

Selection of the function you wish to program. “A” and “B” are functions assigned to the A/B knob. You can switch from mode A to mode B by pressing the A/ B button.

“C” is the function assigned to the C button, which acts as “mute” of the entire VOCAL/GUITAR section, effects or harmonization only.

Assigned parameter (A/B, Guitar mode)

[ALL GUITAR PARAMETERS]

Parameter assigned to the A function of the A/B knob in the Guitar mode.

A/B (Guitar): OFF

Assigned parameter (C, Guitar mode)

[Vocal/Guitar Mute, Effect Mute]

Voc/Gtr Mute Mute of the Vocal/Guitar section. Effect Mute Effect mute of the Vocal/Guitar sec-

tion.

Reference • Arrangement Play mode

Page 15: Vocal effects (1) (Vocal mode)

First page for effect selection in the Vocal mode of the VOCAL/GUITAR section.

ARR.PLAY

MODE

Vocal FX HARMONY:ON TONE:ON

Harmony Tone (equalization)

CHORD

OCTAVETEMPO

PAGE

HARMONY

[OFF/ON]

Activates/deactivates the harmony of the vocal part, which can be used in the Arrangement Play, Backing Sequence and Song Play modes.

The harmony notes must be received over a dedicated MIDI channel, which is different for each operative mode.

For more information, see

• “Page 9: Arrangement Harmony” on page 142

• “Page 10: Backing Sequence Harmony” on page 142

• “Page 11: Song Play Harmony” on page 143.

TONE

[OFF/ON]

Activates/deactivates the Tone section (equalizer). For information about programming see page 67.

Page 16: Vocal Effects (2) (Vocal mode)

Second page for effect selection in the Vocal mode of the VOCAL/GUITAR section.

ARR.PLAY

MODE

Vocal FX DRV:COMP FX1:CHORUS FX2:HALL

CHORD

OCTAVETEMPO

PAGE

DRV

[OFF, COMP]

Drive effect type, consisting in a compressor. The compressor cuts down the vocal dynamics, reducing on one hand the background noise and the sibilant sounds (“s”, “f”), and on the other hand the excessive dynamics, such as the explosive sounds (“p”, “t”).

For information about programming see page 68.

FX1

[OFF, CHORUS, DELAY]

Effect type 1 (chorus, delay). This type of effects must be used to increase the sound depth. The delay creates a distance between the original sound and its reﬂection from the walls, whereas the chorus makes the sound softer and seems to multiply it in the space.

For information about programming see page 69.

FX2

[OFF, HALL, ROOM]

Effect type 2 (reverb). This type of effects inserts the sound in a particular setting. For example, if you are singing in a very dry room, with no reverb at all, you can add one of these effects to give the impression of singing in a room or concert hall with strong reﬂections.

For information about programming see page 70.

Page 17: Mixer (Vocal mode)

Reference • Arrangement Play mode

In this page you can program the mixing of the VOCAL/GUITAR section (Vocal mode).

Harmony volume

ARR.PLAY

MODE

MIXER Harmony=100 Lead=100 FxSend=060

CHORD

Vocal volume Effects send

OCTAVETEMPO

PAGE

Harmony

[0…127]

Level of harmonization notes.

Lead

[0…127]

Microphone level.

FxSend

[0…127]

Effect send. It corresponds to the signal level from the VOCAL/GTR connector sent to the FX1 and FX2 effects.

Page 18: Tone programming (Vocal mode)

This page contains the programming of the Tone effect selected in “Page 15: Vocal effects (1) (Vocal mode)” (see page 66).

Note: These parameters can only be accessed if the TONE parameter is not set on OFF in “Page 15: Vocal effects (1) (Vocal mode)”.

The Tone section is composed of an equalizer with three ﬁxed bands. The bands are Lo, Md, and Hi.

ARR.PLAY

MODE

TONE Lo=-02 Md=+00 Hi=+01

CHORD

OCTAVETEMPO

PAGE

[-15…0…+15]

Low frequency band. With positive values the band is boosted (level increase), whereas with negative values the band is cut (level reduction).

[-15…0…+15]

Medium frequency band. With positive values the band is boosted (level increase), whereas with negative values the band is cut (level reduction).

[-15…0…+15]

High frequency band. With positive values the band is boosted (level increase), whereas with negative values the band is cut (level reduction).

Reference • Arrangement Play mode

Page 19: Drive programming

This page contains the programming of the DRV (Drive) effect selected in “Page 16: Vocal Effects (2) (Vocal mode)”.

Note: These parameters can only be accessed if the DRV parameter is not set on OFF in “Page 16: V ocal Effects (2) (Vocal mode)”.

Compressor

The compressor cuts down the vocal dynamics, reducing on one hand the background noise and the sibilant sounds (“s”, “f”), and on the other hand the excessive dynamics, such as the explosive sounds (“p”, “t”).

ARR.PLAY

MODE

COMPRESSOR Sens=15 Attack=05 Rel.=07

CHORD

OCTAVETEMPO

PAGE

Sens (Sensitivity)

[0…30]

Sensitivity. With low values, the compressor will only eliminate the sounds at a low level (background noise, sibilant and explosive sounds). With high values, the compressor will also eliminate the sounds at a higher level (notes in piano or pianissimo).

Attack

[0…10]

Compressor speed in the activation phase.

Rel. (Release)

[0…10]

Compressor speed in the deactivation phase.

Page 20: FX1 programming (Vocal mode)

MODE

ARR.PLAY

OCTAVETEMPO

PAGE

CHORD

DELAY Level=24 Time=21 F.Back=11

Reference • Arrangement Play mode

This page shows the parameters of the FX1 effect selected in “Page 16: Vocal Effects (2) (Vocal mode)”. The parameters are different according to the selected effect.

Note: These parameters can only be accessed if the FX1 parameter is not set on OFF in “Page 16: V ocal Effects (2) (Vocal mode)”.

Chorus

The chorus effect is a delay modulated by an LFO (Low Frequency Oscillator) and produces a slight variance in pitch. When it is combined with the direct signal, an effect as though multiple instruments were playing in unison is produced. The chorus effect makes the sound wider and deeper.

ARR.PLAY

MODE

CHORUS Level=15 Speed=10 Depth=15

CHORD

OCTAVETEMPO

PAGE

Depth

[0…30]

Chorus intensity.

Delay

The delay sends the effected signal in feedback to the input of the delay, thus creating repetitions of the original note. Each repetition has a lower sound level than the previous one until the sound dies away.

Level

Note: The chorus effect will not be noticed if (1) if the output signal is taken in mono or (2) the signal is taken in stereo, but in the external mixer the pan of the two channels has the same setting. In order to notice it, the signal must be taken in stereo and the pan sliders of the two channels must be turned in the opposite direction.

Level

[0…30]

Chorus level.

Speed

[0…30]

Chorus speed modulation.

[0…30]

Delay level.

Time

[0…30]

Delay time. It will determine the duration of each repetition.

F.Back (FeedBack)

[0…30]

The feedback (return of the signal sent back in the delay) will determine the number of repetitions.

Reference • Arrangement Play mode

Page 21: FX2 programming (Vocal mode)

This page shows the parameters of the FX2 effect selected in “Page 16: Vocal Effects (2) (Vocal mode)”.

The parameters are different according to the selected effect.

Note: These parameters can only be accessed if the FX2 parameter is not set on OFF in “Page 16: V ocal Effects (2) (Vocal mode)”.

The FX2 effects in the Vocal mode are reverb effects.

Hall, Room

The Hall reverb simulates the sound refractions in a concert hall.

ARR.PLAY

MODE

HALL Level=15 Time=09 Tone=05

CHORD

OCTAVETEMPO

PAGE

ARR.PLAY

MODE

ROOM Level=18 Time=07 Tone=07

Level

[0…30]

Reverb level.

Time

[0…30]

Reverb duration.

CHORD

OCTAVETEMPO

PAGE

The Room reverb simulates the sound refractions in a room.

Tone

[0…30]

Reverb tone. This parameter will determine the high frequency attenuation. Higher values will give a higher attenuation.

Page 15: Guitar effects (1) (Guitar mode)

Reference • Arrangement Play mode

First page for effect selection in the Guitar mode of the VOCAL/GUITAR section.

Drive effect

ARR.PLAY

MODE

Guitar FX DRV:OvDrv MOD:FLANGR AMB:HALL

Modulation effect

CHORD

Ambience effect

OCTAVETEMPO

PAGE

DRV

[OFF, OvDrv, DIST, COMP]

Drive effect type. This type of effect simulates the functions of a guitar preampliﬁer.

Overdrive is a saturation with warm, dense sounds. (For information about programming see page 73).

Distorsion is an electronically simulated saturation, with colder, buzzing sounds. (For information about programming see page 74).

The compressor cuts down the instrument dynamics. With low values it will reduce the background noise and the “dirty” notes. With high values it will also reduce the notes played in pianissimo. (For information about programming see page 74).

MOD

[OFF, CHORUS, FLANGR, PHASER, TRMOLO, PAN, PITCH, WAH]

Modulation effect type. This type of effects creates a modulation that gives more life and space feeling to the sound.

Chorus increases the sound depth, creating the impression of a sound multiplication in the space. The sound becomes softer. (For information about programming see page 75).

Flanger is similar to chorus, but varies the harmonic contents of the sound in cyclic mode. (For more information about programming see page 75).

Phaser is similar to ﬂanger, but with a faster modulation. The signal becomes slightly out of tune. (For more information about programming see page 75).

Tremolo varies the volume in cyclic mode, making the sound tremble. (For information about programming see page 76).

Pan moves the sound from one stereo channel to the other in cyclic mode. (For information about programming see page 76).

Pitch modulation varies the pitch in cyclic mode. (For information about programming see page 76).

The wah enhances the upper harmonics of the sound, making it more nasal. (For information about programming see page 76).

AMB

[OFF, DELAY, HALL, ROOM]

Ambience effect type (delay/reverb). For information about programming see page 77.

Reference • Arrangement Play mode

Page 16: Guitar effects (2) (Guitar mode)

Second page for effect selection in the Guitar mode of the VOCAL/GUITAR section.

Noise Reduction

ARR.PLAY

MODE

Guitar FX NR:ON TONE:ON CR:ON

Tone (equalization)

CHORD

Cabinet Resonator

(ampliﬁer simulation)

OCTAVETEMPO

PAGE

TONE

[OFF/ON]

Activates/deactivates the Tone section (equalizer). For information about programming see page 73.

[OFF/ON]

Activates/deactivates the Noise Reduction. For information about programming see page 78.

[OFF/ON]

Activates/deactivates the Cabinet Resonator (ampliﬁer simulator). For information about programming see page 78.

Page 17: Mixer (Guitar mode)

(There is no Page 17 in Guitar mode.)

Reference • Arrangement Play mode

MODE

ARR.PLAY

OCTAVETEMPO

PAGE

CHORD

OVER DRIVE Gain=10 Level=10

Page 18: Tone programming (Guitar mode)

This page contains the programming of the Tone effect selected in “Page 16: Guitar effects (2) (Guitar mode)” (see page 66).

Note: These parameters can only be accessed if the TONE parameter is not set on OFF in “Page 16: Guitar effects (2) (Guitar mode)”.

The Tone section is composed of an equalizer with three ﬁxed bands. The bands are Lo, Md, and Hi.

ARR.PLAY

MODE

TONE Lo=-02 Md=+00 Hi=+01

CHORD

OCTAVETEMPO

PAGE

[-15…0…+15]

Low frequency band. With positive values the band is boosted (level increase), whereas with negative values the band is cut (level reduction).

[-15…0…+15]

Medium frequency band. With positive values the band is boosted (level increase), whereas with negative values the band is cut (level reduction).

[-15…0…+15]

High frequency band. With positive values the band is boosted (level increase), whereas with negative values the band is cut (level reduction).

Page 19: Drive programming (Guitar mode)

This page shows the parameters of the DRV (Drive) effect selected in “Page 15: Guitar effects (1) (Guitar mode)”. The parameters are different according to the selected effect.

Note: These parameters can only be accessed if the DRV parameter is not set on OFF in “Page 15: Guitar effects (1) (Guitar mode)”.

Overdrive

The overdrive is a distorsion with warm dense sounds, obtained by simulating the saturation of the preampliﬁcation stage of the ampliﬁer.

Gain

[0…30]

Gain (overdrive saturation).

Level

[0…30]

Effect level.

Reference • Arrangement Play mode

Distorsion

The distorsion is obtained by simulating the saturation of the ampliﬁer distorsion circuit. The sounds are colder and more buzzing than in the overdrive.

ARR.PLAY

MODE

DISTORTION Gain=10 Level=10

Gain

[0…30]

Gain (distorsion saturation).

Level

[0…30]

Effect level.

CHORD

OCTAVETEMPO

PAGE

values it will also reduce the notes played in pianissimo.

ARR.PLAY

MODE

COMPRESSOR Sens=05 Attack=03 Level=20

CHORD

OCTAVETEMPO

PAGE

Sens (Sensitivity)

[0…30]

Sensitivity. With low values, the compressor will only eliminate the sounds at a low level (typically, background noise and “dirty” notes). With high values, the compressor will also eliminate the sounds at a higher level (notes in piano or pianissimo).

Attack

[0…10]

Compressor speed in the activation phase.

Compressor

The compressor cuts down the instrument dynamics, reducing the signal peaks and increasing the signal level in the lower level. With low values it will reduce the background noise and the “dirty” notes. With high

Level

[0…30]

Compressor level.

Rel. (Release)

[0…10]

Compressor speed in the deactivation phase.

Reference • Arrangement Play mode

MODE

ARR.PLAY

OCTAVETEMPO

PAGE

CHORD

FLANGER F.Back=03 Speed=05 Depth=05

MODE

ARR.PLAY

OCTAVETEMPO

PAGE

CHORD

PHASER F.Back=03 Speed=12 Depth=15

Page 20: Modulation programming (Guitar mode)

This page shows the parameters of the MOD (Modulation) effect selected in “Page 15: Guitar effects (1) (Guitar mode)”. The parameters are different according to the selected effect.

Note: These parameters can only be accessed if the MOD parameter is not set on OFF in “Page 15: Guitar effects (1) (Guitar mode)”.

Chorus

ARR.PLAY

MODE

CHORUS Level=15 Speed=10 Depth=15

CHORD

OCTAVETEMPO

PAGE

Depth

[0…30]

Effect intensity.

Flanger

Flanger is similar to chorus, but has a shorter delay. It varies its harmonic contents in cyclic mode, with the feeling of getting closer and farther in cyclic mode.

F.Back (Feedback)

[0…30]

The feedback is the effect quantity that is sent back to the ﬂanger and modulated again.

Level

[0…30]

Chorus level.

Speed

[0…30]

Chorus modulation speed.

Speed

[0…30]

Effect modulation speed.

Depth

[0…30]

Effect intensity.

Phaser

The phaser is similar to the ﬂanger, but with a faster modulation. The signal becomes slightly out of tune.

Reference • Arrangement Play mode

F.Back (Feedback)

[0…30]

The feedback is the effect quantity that is sent back to the phaser and modulated again.

Speed

[0…30]

Effect modulation speed.

Depth

[0…30]

Effect intensity.

Tremolo

Tremolo varies the volume in cyclic mode, making the sound tremble.

ARR.PLAY

MODE

CHORD

PAN Speed=20

Speed

[0…30]

Effect modulation speed.

Pitch modulation

ARR.PLAY

MODE

PITCH MODULATION : Pitch=+07 Level=28

CHORD

OCTAVETEMPO

PAGE

OCTAVETEMPO

PAGE

ARR.PLAY

MODE

TREMOLO Speed=17 Depth=07

CHORD

OCTAVETEMPO

PAGE

Speed

[0…30]

Effect modulation speed.

Depth

[0…30]

Effect intensity.

Pan

The pan moves the sound from one stereo channel to the other in cyclic mode.

Pitch

[-24…0…+24]

Maximum distance from the base note, expressed in semitones. With the value +24, the pitch oscillates between the base note and the two upper octaves. With the value -24, the pitch oscillates between the base note and the two lower octaves.

Level

[0…30]

Effect level.

Wah

The wah enhances the upper harmonics of the sound, making it more nasal.

Reference • Arrangement Play mode

MODE

ARR.PLAY

OCTAVETEMPO

PAGE

CHORD

HALL Level=15 Time=09 Tone=05

ARR.PLAY

MODE

CHORD

WAH Sens=13 Attack=07 Pol.=DOWN

OCTAVETEMPO

PAGE

Attack

[0…10]

Attack speed.

Pol. (Polarity)

[UP/DOWN]

Wah polarity.

Sens (Sensitivity)

[0…30]

Sensitivity.

Page 21: Ambience programming (Guitar mode)

This page shows the parameters of the AMB (Ambience) effect selected in “Page 15: Guitar effects (1) (Guitar mode)”. The parameters are different according to the selected effect.

Note: These parameters can only be accessed if the AMB parameter is not set on OFF in “Page 15: Guitar effects (1) (Guitar mode)”.

Time

[0…30]

Delay time. It determines the duration of each repetition.

F.Back (FeedBack)

Delay

ARR.PLAY

MODE

DELAY Level=24 Time=21 F.Back=11

Level

[0…30]

Delay level.

CHORD

[0…30]

The feedback (return of the signal sent back in the delay) determines the number of repetitions.

Hall, Room

The Hall reverb simulates the refractions of a concert hall.

OCTAVETEMPO

PAGE

The Room reverb simulates the refractions of a room.

Reference • Arrangement Play mode

ARR.PLAY

MODE

CHORD

ROOM Level=18 Time=07 Tone=07

OCTAVETEMPO

PAGE

Time

[0…30]

Reverb length.

Tone

[0…30]

Reverb tone. This parameter will determine the high

Level

frequency attenuation. Higher values will give a higher attenuation.

[0…30]

Reverb level.

Page 22: NR and CR programming (Guitar mode)

This page shows the parameters of the NR (Noise Reduction) and CR (Cabinet Resonator) effects. These effects can be activated in “Page 16: Guitar effects (2) (Guitar mode)”.

Note: These parameters will only be accessed if the NR and CR parameters are not set on OFF in “Page 16: Guitar effects (2) (Guitar mode)”.

NR: Threshold

[0…30]

Level threshold under which the signal must be cut. With too high values even the guitar sound can be cut.

CR: Size

NR/CR (Noise Reduction/Cabinet Resonator)

The Noise Reduction reduces the level of the background noise (noise captured by the pick-ups, empty strings touched by mistake). The Cabinet Resonator simulates a guitar ampliﬁer.

ARR.PLAY

MODE

NR:Threshold=06 CR:Size=24 Depth=13

CHORD

OCTAVETEMPO

PAGE

[0…30]

This parameter determines the size of the simulated ampliﬁer cabinet.

Depth

[0…30]

Effect intensity.

Page 23: Rename Arrangement

Reference • Arrangement Play mode

The “Rename Arrangement” page allows you to modify the arrangement name. The name can be made up of a maximum of 10 characters.

Selected

arrangement

Move the cursor to the character you wish to

change

Page 24: Write Arrangement

The “Write Arrangement” page allows you to save the arrangement in a location of the USER bank. Press REC/WRITE/LYRICS to directly enter this page while you are in Arrangement Play mode. Along with the arrangement, the status of the Chord Scanning and Keyboard Assign settings will be saved.

The following characters can be used.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!.,:;'`"+-=#&@$ ¥%(){}[]<>*/_|^˘¯

Use the CURSOR buttons to move the cursor to the character you wish to change and the TEMPO/ VALUE buttons to choose a character.

Press INS to insert a new character at the cursor location. Press DEL to delete the character at the cursor location.

Along with the location number, the arrangement name currently existing in the location you selected previously will be shown. Make sure that you are not working with important data without having ﬁrst made a copy.

Warning: Once you have saved a new arrangement, it will not be possible to recover the erased arrangement.

1 Select the location where the arrangement will

be saved using the TEMPO/VALUE buttons.

It is not possible to use the buttons in the ARRANGEMENT section to choose a location.

2 Press ENTER/YES.

The USER arrangements will stay in memory even when the instrument is switched off. It is possible to save them on disk or with one of the Save operations in the Disk/Global setting: “Save All” (page 132) or “Save Arr” (page 132).

Reference • Arrangement Play mode

Page 25: Write Keyboard Set

This page allows you to save the current situation of the real time tracks, effects and VOCAL/GUITAR section in a Keyboard Set.

Keyboard Set location

1 Press REC/WRITE/LYRICS and one of the but-

tons in the KEYBOARD SET section.

The Write Keyboard Set page will appear.

2 Press the BANK button repeatedly, in the KEY-

BOARD SET section, to turn on the led of the bank you wish to use (A, B,C).

3 Press the button in the KEYBOARD SET that cor -

responds to the location you wish to use.

4 Press ENTER/YES twice to save.

Reference • Backing Sequence mode

7. Backing Sequence mode

• Saving the backing sequences before turning off

Warning: When the instrument is turned off, the backing sequences in memory will be erased. Before turning off the instrument, save the backing sequences on

Page 1: Playback

1 Press B.SEQ to enter the Backing Sequence

mode.

This page (Page 1) allows you to select a backing sequence and play it.

Note: If Page 1 in the Backing Sequence mode is not displayed, press EXIT/NO to load it.

2 Move the cursor to BSQ and use the TEMPO/

VALUE buttons to select the la backing sequence you wish to playback.

3 Press START/STOP to start playback. 4 Press START.STOP to stop playback.

disk (see “2. Save” on page 131, and “Saving the Backing Sequences on disk” on page 33).

BSQ (Backing sequence)

[0…9]

Selected backing sequence. In theory, the memory could contain up to a maximum of 10 backing sequences; in practice, the number of backing sequences you can ﬁt into memory depends on their size and complexity. If a song was loaded in Song Edit, the free memory available for the backing sequences will be reduced further.

Warning: Backing sequences are not saved on memory when the instrument is turned off. Before turning off the instrument, save the backing sequences on disk (see a “2. Save” on page 131).

5 Press RESET to go back to the beginning (mea-

sure 001).

Backing Sequence

Arrangement

Measure

M (Measure number)

[001…999]

This is the measure at which playback will begin. Each track of a backing sequence can record up to 999 measures. By pressing RESET, the indicator will go back to

001. If the backing sequence reaches the end, the indicator will automatically go back to 001.

Reference • Backing Sequence mode

Page 1: Recording

The backing sequence can be recorded in different ways:

• In real time, all the tracks in one go (see “Recording all the tracks in one go in real time” on page 82).

• In real time, a track at a time (see “Recording a track at a time in real time” on page 85).

• In step mode (see “Page 2: Step recording” on page 89).

While you are at Page 1 of the Backing Sequence mode, press REC/WRITE/LYRICS to enter the recording mode. In order to go back to the playback mode, press REC/WRITE/LYRICS or EXIT/NO.

Recording all the tracks in one go in real time

This mode allows you to create a new song by recording the playback in real time with the arrangements. You only need to put the backing sequence in the recording mode, start playing with the arrangements and the new song is ready.

For instructions on this recording mode see on page 32.

1 If the i40M is connected to a MIDI accordion, go

to the Disk/Global mode and select the MIDI Setup “Accordion 1”.

2 If the i40M is connected to a keyboard or to

another controller, program it to transmit over the special Global channel.

3 Press B.SEQ to enter the Backing Sequence

mode.

4 If necessary, press EXIT/NO to get to Page 1. 5 Press REC/WRITE/LYRICS to activate the record-

ing.

The Backing Sequence-Realtime Recording page will appear (see below), where you can select the track you wish to record, choose the quantize in recording and program the metronome.

6 Program the parameters. 7 Press START/STOP (or INTRO/ENDING +

START/STOP) to start the recording.

8 Play freely, using any control button of the

arrangement.

9 Press START/STOP (or INTRO/ENDING) to stop

the arrangement.

0 Press START/STOP to stop the recording.

Details of the Backing Sequence-Realtime Recording page

Tempo

Chord name

Note: For this recording mode, the backing sequence must receive over the special Global, Chord 1 and Chord 2 channels.

Tempo mode

Reference • Backing Sequence mode

Control track

Selected

track/s

Record mode

Selected

track

Real time tracks

Quantize value

Starting measure

Quantize value

Chord track

Metronome

Ending measure

Metronome

Tempo

Metronome tempo (playing speed) of the backing sequence expressed in quarters per minute (1/4 =

Tempo mode

[REC, AUT, 40…240]

This indicates the mode used to record or playback the tempo. Move the cursor to the “Tempo” parameter (the note with the equal symbol and the numeric value), then change the mode with the TEMPO/ VALUE buttons.

• To go to TEMPO-REC press together the two TEMPO/VALUE buttons.

• To go to AUTO press together the two TEMPO/ VALUE buttons and press TEMPO/VALUE [UP/+].

only be chosen if you are recording (REC/WRITE/LYRICS led lit up).

AUTO Recorded tempo playback. It auto-

matically appears in playback. The tempo will be the one recorded in the backing sequence.

Values 40-240 Metronome value. The tempo can be

adjusted manually during recording or playback, using the TEMPO/ VALUE buttons.

Chord name

When the instrument detects a chord, its abbreviation will appear on the display. The chords control the arrangement patterns.

The notes for the recognition of chords must be received over the special Global, Chord 1 and Chord 2 channels (see “The special channels” on page 45).

The notes for the recognition of chords arriving over the Chord 1 and Chord 2 channels are affected by the Chord Scanning, but have no extension limits (the split point does not affect these channels). The notes arriving over the Global channel are affected both by the Chord Scanning and the split point.

• Chord Scanning LOWER: chord detected below the split point. The recognition mode depends on the “ChordRecog” parameter (see page 147).

• Chord Scanning UPPER: chord detected above the split point. The recognition mode is always “Fingered 2” (see page 147), that requires chords of at least three notes.

• Chord Scanning FULL: chord detected on the entire keyboard. The recognition mode is always “Fingered 2” (see page 147), that requires chords of at least three notes.

In order to program the split point, hold down the SPLIT POINT button and play the note you wish to set at split point.

The detected chord will remain in memory even if you change the arrangement while the accompaniment is playing back. To start the chord recognition again, press RESET or select an arrangement with the accompaniment stopped.

• To go back to the numeric values, press again TEMPO/VALUE [UP/+].

Suggestion: if you want to simplify the recording of a quick song, record with a slower tempo and choose a normal tempo only after recording.

TEMPO-REC Tempo changes are recorded whilst

you are recording. This option can

Selected track

Track you wish to record. If the option AT r is selected, all the arrangement tracks are recorded in one go (accompaniment, keyboard, controls, chords).

In order to record the ATr track, the MIDI controller must transmit over the Global channel of the i40M.

Reference • Backing Sequence mode

The ETr1-ETr8 tracks are the Extra Tracks 1-8, used to add freely recorded parts (non-automatic). See “Recording a track at a time in real time” on page 85.

To record the Extra Tracks, the MIDI controller must transmit over the channel of the Extra Tracks. The Extra Tracks usually are not connected to the MIDI and a MIDI channel must be assigned to them (see “Page 9: Extra Track settings (1)” on page 101).

Track status

[– – – –, REC, (KBTr/CTRL/CHRD), MUTE]

These settings will appear if you select track ATr. They determine the status of the keyboard, control and chord tracks.

Hyphens (– – – –) An empty track. It will only possible

to select REC.

REC The track is recording. The data

already contained in the track will be

deleted. MUTE The track will be mute. KBTr, CTRL, CHRD Play status of the keyboard, control

and chord tracks, respectively.

Recording mode

[OVWR, OVDB, AUTP, MANP]

This parameter will appear when you select an Extra Track (ETr1–8). It indicates how the extra track you have selected will be recorded.

OVWR (Overwrite). Data previously

recorded onto the track will be

erased. OVDB (Overdub). New data will be added

to data previously recorded onto the

track. AUTP (Auto Punch). This option allows you

to demarcate the area, between a

start measure and an end measure,

where you wish to record. When this

option is selected, the “First measure”

(ﬁrst autopunch measure) and “Last

measure” (last autopunch measure)

parameters appear. Recording

occurs in overwrite mode. MANP (Manual Punch). This option allows

you to manually specify the area

where you wish to record.

How to carry out Manual Punch. Playback the song. When

you get to the beginning of the area where you wish to record, press REC/WRITE/LYRICS. Press REC/ WRITE/LYRICS again when you get to the area you wanted to record.

Instead of pressing the REC/WRITE/ LYRICS button, you can use a pedal which has been especially set for the PUNCH IN/OUT function. see “Page 12: Assignable pedal/switch” on page 143 or “Page 13: EC5 external controller” on page 145.

Q (Recording quantize)

[HI, … ]

Quantization is the correction of timing imprecisions. The notes are moved during recording, so that the timing of the song is more regular, without any notes off time.

Since the continuous controllers (like pitch bend) are quantized, if you use these controls heavily, it would be better to record with the HI option set, and use the quantize function later on (see “6-3. Quantize” on page 96).

HI No quantize; the notes will be

recorded exactly as they were performed (with a precision of 1/96th of a quarter note).

Other options All the notes are brought to ideal

intervals, determined by the value you have selected. For example, if you have selected the option , the beginning of all the notes you play will be moved to the nearest quarter note.

M (Metronome)

[OFF, ON, REC]

Metronome options.

OFF The metronome will only sound dur-

ing the pre-count, before recording.

ON The metronome will sound during

recording and playback.

REC The metronome will only sound dur-

ing recording.

Reference • Backing Sequence mode

Recording a track at a time in real time

This method allows you to create a backing sequence by recording a track at a time.

The backing sequence tracks may corresponds to various tracks of the i40M. Some of the backing sequence tracks do not correspond to real tracks of the i40M, but to special control tracks.

Abbrev. BSQ track i40M track

Upper 1, Upper 2,

A Tr Arrangement T rac ks

KBT r Real Time Tracks

ET r Extra T racks

CHRD Chord T r ack

Lower, Drum, Percussion, Bass, Acc1, Acc2, Acc3, chords, controls

Upper 1, Upper 2, Lower

Channels not used by real time and accompaniment tracks

Accompaniment (Drum, Perc, Bass, Acc1, Acc2, Acc3)

the tempo. If this information does not appear, press EXIT/NO to go to Page 1 of the Backing Sequence mode.

Tempo

Arrangement

Measure number

Backing Sequence name

4 Move the cursor to the backing sequence name

with the CURSOR buttons, then select the backing sequence you wish to record using the TEMPO/VALUE buttons.

In this example select BSQ4. (If BSQ4 is recorded, select another backing sequence).

5 Select an arrangement with the buttons of the

PROGRAM/ARRANG section.

Accompaniment control buttons (Fill, Varia-

CTRL Control Trac k

tion, Style selection, Arrangement selection, etc.)

Preparing the recording

1 If the i40M is connected to a MIDI accordion, go

the Disk/Global mode and select the MIDI Setup “Accordion 1”.

Note: The backing sequence must receive the real time tracks over the Global channel and the chords over the Global and/or Chord 1 and Chord 2 channels.

2 If the i40M is connected to a keyboard or

another controller, program it to transmit over the special Global channel.

Press the PROGRAM/ARRANG button to light up the ARRANG led. Then press one of the BANK [A], [B] or [USER] buttons to select the bank. Press two NUMBER buttons in a sequence to enter a twodigit number from 11 to 88.

6 If necessary, change the split point, the Key-

board Mode, the Keyboard Assign and the Chord Scanning.

7 Press REC/WRITE/LYRICS to enter the recording

mode.

The REC/WRITE/LYRICS will light up and the recording page will appear. The arrangement tracks (A Tr) are selected. The display shows the status of the backing sequence tracks (REC = recording).

Tempo

Real time tracks

Controls track

Chord track

3 Press B.SEQ to enter the Backing Sequence

mode.

The B.SEQ led will light up. The display shows the backing sequence name, the measure number and

Selected track/s

Quantize value

Metronome

Reference • Backing Sequence mode

8 To hear the metronome during the recording,

move the cursor to “M” (metronome) and select the option REC using the TEMPO/VALUE buttons.

9 To record the tempo changes, move the cursor

to the “Tempo” parameter and press the TEMPO/VALUE buttons together to select the option TEMPO-REC.

Recording the chords

To record the chord track, the MIDI controller must transmit over the Global, Chord 1 and/or Chord 2 channel.

1 Use the CURSOR buttons to move the cursor to

the real time track. Use the TEMPO/VALUE buttons to select the status “----” (deactivated track).

2 Move the cursor to the control track and select

the status “----” (deactivated track).

Now only the chord track is in recording mode (REC status).

Recording the control track

In order to record the contr ol track, the MIDI contr oller must transmit over the Global channel.

1 Press REC/WRITE/LYRICS to go back to the

recording mode.

The REC/WRITE/LYRICS will light up and the recording page will appear.

Selected track/s

Real time tracks

Tempo mode

2 Move the cursor to the chord track and set the

CHRD status (e.g. already recorded).

Control track

Quantize value

Chord track

Metronome

3 Press START/STOP to start the recording and the

accompaniment.

After a two-measure pre-count, the recording will start.

4 Play the chords in the chord detection area.

The accompaniment will start playing.

5 At the end of the chords, press START/STOP to

stop the recording.

The recording will stop and the REC/WRITE/LYRICS led will go off. The sequencer will go back to measure 001.

6 Press START/STOP again to listen to the chords

you have just recorded.

The song will be played from the beginning to the end. When ﬁnished, the sequencer will go back to measure 001. You can stop the playback halfway by pressing START/STOP; in this case, press RESET to return to measure 001.

3 Move the cursor to the control track and select

the REC status (e.g. recording the track).

Now the real time track is in the “---” status (deactivated), the control track is in the REC status (recording), the chord track is in the CHRD status (already recorded and played back). Only the control track is being recorded.

4 Press START/STOP to start the recording. Press

immediately one of the INTRO/ENDING buttons to book the intro.

After a two-measure pre-count, the arrangement will start playing and the recording will start with an introduction.

5 Before the end of the intro, press one of the

VARIATION [1]–[4] buttons to select the variation.

6 To insert a ﬁll-in, press one of the FILL [1] or [2]

button.

The ﬁll-in will be played and then the variation will start again.

7 At the end, press one of the INTRO/ENDING

buttons to play the ending. Press ST ART/STOP to stop the recording.

The recording will stop and the REC/WRITE/LYRICS led will go off. The sequencer will go back to measure 001.

Reference • Backing Sequence mode

8 Press START/STOP to listen to the song you have

just recorded.

Recording the solo part

In order to record the real time tracks, the MIDI controller must transmit over the Global channel. The MIDI channels assigned to the real time tracks in the Disk/Global are not active in the Backing Sequence mode.

1 Press REC/WRITE/LYRICS to go back to the

recording mode.

The REC/WRITE/LYRICS led will light up and the recording page will appear.

Selected track(s)

Real time tracks

Control track

Chord track

6 When ﬁnished, press START/STOP to stop the

recording.

The recording will stop and the REC/WRITE/LYRICS will go of. The sequencer will go back to measure 001.

7 Press START/STOP again to listen to the song

you have just recorded.

Recording the Extra Tracks

Apart from the arrangement tracks, the song has other eight tracks (Extra Track, abbreviated in ETr) where you can freely record a string pad, reinforcement parts and solos, to enhance and personalize the arrangement. In the example we will record the Extra Track 8.

1 Press the PAGE [+] button repeatedly to get to

“Page 9: Extra Track settings (1)”.

Tempo mode

Quantize value

Metronome

2 Move the cursor to the control track and set the

CTRL status (already recorded).

3 Move the cursor to the real time track and set

the REC status (recording).

Now the real time track is in the REC status, the control track in the CTRL status (already recorded), the chord track in the CHRD status (already recorded). Only the real time track of the backing sequence is being recorded (Upper 1, Upper 2, and Lower tracks).

4 Press START/STOP to start the recording.

After a two-measure pre-count, the arrangement will start playing and the recording will start.

5 Play the solo part.

If the selected Keyboard Mode is SPLIT, the solo part must be played above the split point.

2 In the PROGRAM/VOLUME section press one

button in the last pair of buttons on the righthand to select the Extra Track 8 (ETr8).

In this page you can select one of the eight Extra Tracks by pressing a button in the PROGRAM/ VOLUME section.

3 Move the cursor to the upper line with the CUR-

SOR buttons.

4 Use the buttons of the PROGRAM/ARRANG sec-

tion to select the program you wish to assign to the Extra Track 8.

Press the PROGRAM/ARRANG button to light up the PROGRAM led. Then press one of the BANK [A], [B], [C], [D], [E] or [F(USER/DRUM)] buttons to select the bank. Finally press two NUMBER buttons in a sequence to enter a two-digit number between 11 and 88.

Reference • Backing Sequence mode

5 Move the cursor to the “Ch” parameter and

assign a MIDI channel to the Extra Track.

The Extra Track usually are not connected to the MIDI.

6 Program the MIDI controller to transmit over the

channel of the Extra Track you wish to record.

The Extra Tracks must receive the notes over their own channel, and not over the special Global channel.

7 Press EXIT/NO to go back to page 1. Then press

REC/WRITE/LYRICS to enter the recording mode.

0 Press START/STOP to start the recording.

After a two-measure pre-count, the arrangement will start playing and the recording will start.

A Play freely.

Selected track(s)

Real time tracks

Tempo mode

Control track

Quantize value

Chord track

Metronome

8 Move the cursor to the track (Atr) selected for

the recording using the CURSOR buttons.

9 Use the TEMPO/VALUE or PROGRAM/VOLUME

buttons to select ETr8 instead of ATr.

This operation will program the recording of the Extra Track 8.

B When ﬁnished, press START/STOP to stop the

recording.

The recording will stop and the REC/WRITE/LYRICS led will go off. The sequencer will go back to measure 001.

C Press START/STOP again to listen to the song

you have just recorded.

D Repeat the procedure to record other Extra

Tracks.

Page 2: Step recording

Reference • Backing Sequence mode

Step recording (recording step by step) allows you to insert an event at a time. It can be used for all the tracks (keyboards, chords, controls, extra tracks). Step recording erases the data of the measures you are recording on.

Track in record

When in this page, ﬁrst select the track to be recorded, then press REC/WRITE/LYRICS and START/STOP. To go out of the step recording sub-pages and go back to this page, press START/STOP. To playback the new backing sequence go back to Page 1 and press START/ STOP.

Measure

Track in record

[KBTr, CHRD, CTRL, ETr1…ETr8]

Track to be recorded.

KBTr Real time tracks. CHRD Chord track. CTRL Control track. ETr1–ETr8 Extra tracks 1-8.

Measure

Chord

1. Select the chord using the CURSOR and the TEMPO/VALUE buttons, or play it with the MIDI controller connected over the Global, Chord 1 and/ or Chord 2 channels.

2. Press ENTER/YES to enter the chord. The chord will be input at eighth-note steps ( = 48 tic). If you need a greater precision, input the events and then adjust their location with “Page 8: Event edit”.

3. If necessary, move to a different location using the < and > buttons. You can replace the chord you have already entered.

Warning: If you go back with the < button and input or edit data, the remaining part of the track will be erased.

4. When ﬁnished, press START/STOP to go back to Page 2 of the Backing Sequence mode. To listen to the new backing sequence, go back to Page 1 and press START/STOP.

Tension

Location

Bass note

M (Measure number)

[001…999]

This indicates the measure where recor ding will begin. Each track of a backing sequence can record up to 999 measures. Press RESET to bring the measure indicator back to 001.

Step recording the chord track

In order to step record the control track go to page 2 of the Backing Sequence mode, select the CTRL track, press REC/WRITE/LYRICS, and then START/STOP. The following page will appear.

M (Measure number)

Current measure.

Location

This indicates the location where the next chord will be entered. The number to the left of the colon (:) indicates the beat within the measure. The number to the right of the colon (:) indicates the position within the beat, in 1/96th quarter note units.

Chord

Chord to be entered.

Reference • Backing Sequence mode

Tension

Tension adds notes that have actually been played to the accompaniment, even if they haven't been written in the style pattern.

Bass note

You can indicate a bass note that is different to the chord root (e.g. C/E to indicate the ﬁrst reverse of the C chord).

Step recording the control track

In order to step record the control track go to page 2 of the Backing Sequence mode, select the CTRL track, press REC/WRITE/LYRICS, and then START/STOP. The following page will appear.

Measure

Position

This indicates the position where the next chord will be entered. The number to the left of the colon (:) indicates the beat within the measure. The number to the right of the colon (:) indicates the position within the beat, in 1/96th quarter note units.

Type of event

This indicates the type of event you wish to input on the control track. The following events can be input.

Type of event Values

ARRANGEMENT * U11–88, A11–88, B11–88 STYLE A11–88, B11–58, U1–16 STY, ELEMENT (style

element)

KB MODE/ASSIGN (keyboard mode/ assign) **

OFF, VAR1–VAR4, INT1, INT2,

END1, END2, FIL1, FIL2

FUL-UP1, FUL UP1&2, SP UP1&L, DRUM, FUL-MUTE, FUL-UP2, SP-

MUTE, SP-UP1, SP-UP2, SP-

UP1&2, SP-LOW

Type of event

Value

1. Select the type of event and the value using the CURSOR and TEMPO/VALUE buttons.

2. Press ENTER/YES to enter an event.

3. Move to a different location using the < and > buttons. The event will be input at eighth-note steps ( = 48 tic). If you need a greater precision, input the events and then adjust their location with “Page 8: Event edit”.

Warning: If you go back with the < button and input or edit data, the next part of the track will be erased.

4. When ﬁnished, press START/STOP to go back to Page 2 of the Backing Sequence mode. To listen to the new backing sequence, go back to Page 1 and press START/STOP.

M (Measure number)

Current measure.

CHORD SCAN (chord scanning)

CHORD MEMORY OFF, ON BASS INV. (bass

inversion) TRANSPOSE –11… –1, 00, +1… +11 DRUM MUTE PERC MUTE BASS MUTE ACC1 MUTE ACC2 MUTE ACC3 MUTE UP1 PROG (Upper 1

program) * UP2/LOW PROG

(Upper 2/Lower program) *

UP1 OCT. (Upper 1 octave)

UP2/LOW OCT. (Upper 2/Lower octave)

OFF, LOWER, UPPER, FULL

OFF, ON

PLAY, MUTE

A11–A88, B11–B88, C11–C88,

D11–D88, E11–E88, Dr11–Dr28,

F11–F88

–2, –1, 0, +1, +2

* These events can also be input using the PRO-

GRAM/ARRANG buttons.

Reference • Backing Sequence mode

** The KB MODE/ASSIGN parameter controls the

KEYBOARD ASSIGN and KEYBOARD MODE sections:

Option Keyboard Assign Keyboard Mode

FUL-UP1 UPPER1 FULL FUL UP1&2 UPPER1, UPPER2 FULL SP UP1&L UPPER1, LOWER SPLIT DRUM --- DRUM FUL-MUTE --- FULL FUL-UP2 UPPER2 FULL SP-MUTE --- SPLIT SP-UP1 UPPER1 SPLIT SP-UP2 UPPER2 SPLIT SP-UP1&2 UPPER1, UPPER2 SPLIT SP-LOW LOWER SPLIT

Step recording the real time track

1. Press EXIT/NO to get to Page 2 in the Backing Sequence mode.

2. Select the KBTr track.

3. Press REC/WRITE/LYRICS and then START/ STOP. The following page will appear.

Note

This indicates the name of the most-recently entered note. This parameter will appear if you have selected track KBTr or ETr1–8.

M (Measure number)

Current measure.

Position

This indicates the position where the next event will be entered. The number to the left of the colon (:) indicates the beat within the measure. The number to the right of the colon (:) indicates the position within the beat, in 1/96th quarter note units.

Time signature

[1/4…16/16]

Initial time signature of the backing sequence. This parameter will appear if you have selected track KBTr or ETr1–8. To enter time signature changes during the backing sequence go to “Page 8: Event edit” on page 97.

Position

Duration

Metro

Note

Step

Measure

Velocity

4. Move the cursor to the parameters you wish to modify, using the CURSOR buttons, and change the values using the TEMPO/VALUE buttons.

5. Select the step using the buttons with the notes (or with the TEMPO/VALUE buttons) and play the note to be entered.

6. When ﬁnished, press START/STOP to go back to Page 2 of the Backing Sequence mode.

7. To playback the new backing sequence, go back to Page 1 and press START/STOP.

Step

[]

This speciﬁes the length of the step by which you will move forward each time a note is entered (or other event). This will appear if you have selected KBTr or ETr1–8 as the track. The value will be indicated by a musical symbol. You can select any musical value from

(whole note) and (32nd note), including length-

ened (dotted) notes (.) and triplet notes (3). You can select the step by using either the TEMPO/

VALUE buttons or the VARIATION, FILL, INTRO/ ENDING buttons.

Velocity

[002…126, KEY]

This indicates the strength (dynamics) of the note. If the value is KEY, the velocity with which the note was actually played will be input. This will only appear if you have selected KBTr or ETr1–8 as the track.

Reference • Backing Sequence mode

Duration

[001…100%]

This speciﬁes the duration of the note, relative to the length of the step.

100 Duration of the step. Lower values Staccato (sharply detached) notes. Higher values Legato (smooth ﬂowing) notes.

Step recording the extra tracks

In order to step record an extra track, go to Page 2 of the Backing Sequence mode, select the extra track

Page 3: Erase Backing Sequence

This function erases all the data from the selected backing sequence.

(ETr1-ETr8), press REC/WRITE/LYRICS and then START/STOP. This page will appear.

Position

Duration

Step

Measure

Velocity

Note

Metro

The extra track recording pages are the same as the keyboard track recording page.

Select the backing sequence you wish to erase using the TEMPO/VALUE buttons. Press ENTER/YES twice to erase it.

Backing Sequence to be erased

Page 4: Copy Backing Sequence

This function copies the entire contents of the selected backing sequence to another backing sequence.

Source (the selected backing

sequence)

Target

Select the target backing sequence using the TEMPO/ VALUE buttons, and press ENTER/YES twice.

Korg i40M User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

1. Introduction

2. Front and Rear Panels

3. Operative modes

4. Tutorial

5. MIDI

6. Arrangement Play mode

7. Backing Sequence mode