Kurzweil PC2R User Manual

Kurzweil

Musician’s Guide

PC2R

©2000 All rights reserved. Kurzweil is a product line of Young Chang Co.; Kurzweil and PC2R are trademarks of Young Chang Co. All other products and brand names are trademarks or registered trademarks of their respective companies. Product features and speciﬁcations are subject to change without notice.

Part Number: 910350 Rev. A November 1, 2000

The symbol of a house with an arrow pointing inside is intended to alert the user that the product is to be used indoors only.

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.

IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS

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

WARNING: When using electric products, basic precautions should

always be followed, including the following:

1. Read all of the Safety and Installation Instructions and Explanation of Graphic Symbols 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 a stand or cart that is recommended by the manufacturer.

4. This product, either alone or in combination with an ampliﬁer and speakers or headphones, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should 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 only of the type described in the operating instructions or as marked on the product.

8. This product may be equipped with a polarized line plug (one blade wider than the other). This is a safety feature. If you are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety purpose of the plug.

9. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time. When unplugging the power supply cord, do not pull on the cord, but grasp it by the plug.

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

11. The product should be serviced by qualiﬁed service personnel when:

A. The power supply cord or the plug has been damaged; B. Objects have fallen onto, or liquid has been spilled into the

product; C. The product has been exposed to rain; D. The product does not appear to be operating normally or

exhibits a marked change in performance; E. The product has been dropped, or the enclosure damaged.

12. 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.

13. WARNING: Do not place objects on the product’s power supply cord, or place the product in a position where anyone could trip over, walk on, or roll anything over cords of any type. Do not allow the product to rest on or be installed over cords of any type. Improper installations of this type create the possibility of a ﬁre hazard and/or personal injury.

RADIO AND TELEVISION INTERFERENCE

WARNING: Changes or modiﬁcations to this instrument not expressly

approved by Young Chang could void your authority to operate the instrument.

IMPORTANT: When connecting this product to accessories and/or other

equipment use only high quality shielded cables.

NOTE: This instrument has been tested and found to comply with the

limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the instrument is used in a commercial environment. This instrument generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this instrument in a residential area is likely to cause harmful interference, in which case the user will be required to correct the interference at his or her own expense.

Changes and modiﬁcations not expressly approved b y the manuf acturer

SA VE THESE INSTRUCTIONS

or registrant of this instrument can void the user’s authority to operate this instrument under Federal Communications Commission rules.

In order to maintain compliance with FCC regulations, shielded cables must be used with this instrument. Operation with unapproved equipment or unshielded cables is likely to result in harmful interference to radio and television reception.

NOTICE

This apparatus does not exceed the Class A limits for radio noise emissions from digital apparatus set out in the Radio Interference Regulations of the Canadian Department of Communications.

AVIS

Le present appareil numerique n’emet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la class A prescr ites dans le Reglement sur le brouillage radioelectrique edicte par le ministere des Communications du Canada.

Young Chang Distributors

Contact the nearest Young Chang ofﬁce listed below to locate your local Young Chang/ Kurzweil representative.

Young Chang America, Inc.

P.O. Box 99995 Lakewood, WA 98499-0995 Tel: (253) 589-3200 Fax: (253) 984-0245

Young Chang Co., Ltd.

178-55 Gajwa-Dong Seo-Ku, Inchon, Korea 404-714 Tel: 011-82-32-570-1380 Fax: 011-82-32-570-1218

Young Chang Akki Europe GmbH

Industriering 45 D-41751 Viersen Germany Tel: 011-49-2162-4491 Fax: 011-49-2162-41744

Young Chang America, Inc. (Canadian Division)

3650 Victoria Park Ave. Suite 105 Toronto, Ontario Canada M2H 3P7 Tel: (416) 492-9899 Fax: (416) 492-9299

iii

Young Chang Distributors ............................................................................................................................................... iii

Chapter 1 Introduction

Basic PC2R Features........................................................................................................................................................ 1-1

The Sound ................................................................................................................................................................. 1-1

Physical Controllers................................................................................................................................................. 1-1

Effects......................................................................................................................................................................... 1-2

Options ............................................................................................................................................................................. 1-2

Sound ROM Cards................................................................................................................................................... 1-2

Polyphony Expansion Board.................................................................................................................................. 1-2

Unpacking your PC2R.................................................................................................................................................... 1-2

Chapter 2 Startup

Setup.................................................................................................................................................................................. 2-1

Basic Connections............................................................................................................................................................ 2-2

Power ......................................................................................................................................................................... 2-2

Audio ......................................................................................................................................................................... 2-3

Digital Output ................................................................................................................................................... 2-3

MIDI........................................................................................................................................................................... 2-3

MIDI Conﬁgurations ........................................................................................................................................ 2-4

MIDI Thru/Out................................................................................................................................................. 2-4

Powering Up .................................................................................................................................................................... 2-4

Display (LCD)........................................................................................................................................................... 2-5

LEDs........................................................................................................................................................................... 2-5

Software Upgrades .................................................................................................................................................. 2-5

Playing the Demo Sequences ................................................................................................................................. 2-5

Troubleshooting........................................................................................................................................................ 2-5

No Text in Display ............................................................................................................................................ 2-5

Low Battery........................................................................................................................................................ 2-5

No Sound ........................................................................................................................................................... 2-6

Chapter 3 Playing Your PC2R

Changing Sounds ............................................................................................................................................................ 3-1

Demonstration Sequences.............................................................................................................................................. 3-1

Also In This Chapter....................................................................................................................................................... 3-1

Overview .......................................................................................................................................................................... 3-2

Modes ........................................................................................................................................................................ 3-2

Performance Modes................................................................................................................................................. 3-2

Internal Voices (Programs) .............................................................................................................................. 3-2

KB3 Mode (KB3 Programs) ............................................................................................................................. 3-2

MIDI Setups Mode (Setups) ............................................................................................................................ 3-2

Special Modes........................................................................................................................................................... 3-3

Objects........................................................................................................................................................................ 3-3

EQ............................................................................................................................................................................... 3-3

Effects......................................................................................................................................................................... 3-4

The Front Panel................................................................................................................................................................ 3-4

Kurzweil PC2R Musician’s Guide

Contents

Color-Coded Labeling............................................................................................................................................. 3-5

The Display (LCD)................................................................................................................................................... 3-5

The Performance Region......................................................................................................................................... 3-7

The Edit Region........................................................................................................................................................ 3-9

The Modes Region ..................................................................................................................................................3-11

Program and Setup Organization............................................................................................................................... 3-12

Selecting Programs and Setups................................................................................................................................... 3-13

EQ .................................................................................................................................................................................... 3-14

Changing the EQ.................................................................................................................................................... 3-14

Using the Controllers on Your MIDI Source ............................................................................................................. 3-14

Effects.............................................................................................................................................................................. 3-15

Controlling Effects ................................................................................................................................................. 3-15

Selecting Effects...................................................................................................................................................... 3-16

Changing the Effects Routing............................................................................................................................... 3-16

Bypassing Effects.................................................................................................................................................... 3-17

Wet/Dry Mix .......................................................................................................................................................... 3-17

Changing the Wet/Dry Mix From the Front Panel.................................................................................... 3-18

Editing Effects......................................................................................................................................................... 3-18

Layering and Splitting.................................................................................................................................................. 3-18

Using AutoSplit for Quick Layers and Splits..................................................................................................... 3-19

How AutoSplit Works ........................................................................................................................................... 3-19

Saving Quick Layers and Splits ........................................................................................................................... 3-20

Changing the AutoSplit Key Without Editing ................................................................................................... 3-20

Saving the AutoSplit Key...................................................................................................................................... 3-21

Muting and Soloing ...................................................................................................................................................... 3-21

Muting ..................................................................................................................................................................... 3-21

Soloing ..................................................................................................................................................................... 3-21

Zone-Button LEDs ................................................................................................................................................. 3-22

The AutoSplit Feature............................................................................................................................................ 3-23

Saving the Internal Setup............................................................................................................................................. 3-23

Chapter 4 Programming Your PC2R

Basic Editing Concepts ................................................................................................................................................... 4-1

Overview................................................................................................................................................................... 4-1

Beginning to Edit...................................................................................................................................................... 4-1

Entering an Edit Mode..................................................................................................................................... 4-2

Finding a Parameter and Changing its Value ............................................................................................... 4-2

Naming and Storing ......................................................................................................................................... 4-3

Other Save-Dialog Functions ................................................................................................................................. 4-4

Restoring Factory Effects ................................................................................................................................. 4-4

Deleting Objects ................................................................................................................................................ 4-4

Dumping Objects .............................................................................................................................................. 4-5

Editing Short Cuts: Intuitive Entry....................................................................................................................... 4-6

Short Cuts for Navigating the Controllers Menu......................................................................................... 4-6

Short Cuts for Changing Parameter Values .................................................................................................. 4-7

Other Editing Functions.......................................................................................................................................... 4-8

Comparing ......................................................................................................................................................... 4-8

Copying and Pasting ........................................................................................................................................ 4-9

More About SysEx Dumps ....................................................................................................................................4-11

SysEx IDs...........................................................................................................................................................4-11

Dumping the Entire Memory........................................................................................................................ 4-12

Kurzweil PC2R Musician’s Guide

Contents

The Program Editor ...................................................................................................................................................... 4-12

Program Structure.................................................................................................................................................. 4-12

Program Editing Basics ......................................................................................................................................... 4-12

Entering the Program Editor......................................................................................................................... 4-12

The Current Layer........................................................................................................................................... 4-13

Keymaps........................................................................................................................................................... 4-13

Muting and Soloing Layers ........................................................................................................................... 4-13

Exiting the Program Editor............................................................................................................................ 4-14

The Internal Setup.................................................................................................................................................. 4-14

Beyond the Basics................................................................................................................................................... 4-14

The KB3 Editor.............................................................................................................................................................. 4-15

KB3 Program Structure ......................................................................................................................................... 4-15

Editing the Percussion Parameters...................................................................................................................... 4-15

The Setup Editor............................................................................................................................................................ 4-16

Setup Structure....................................................................................................................................................... 4-16

Special Setups ......................................................................................................................................................... 4-16

Entering the Setup Editor ..................................................................................................................................... 4-17

Creating Setups ...................................................................................................................................................... 4-18

Setting Initial Volume Levels for Different Zones............................................................................................. 4-19

Assigning Knobs to Control Wet/Dry Mix in Different Zones....................................................................... 4-20

Assigning Entry Values ......................................................................................................................................... 4-21

A Few Important Points About Entry Values ............................................................................................. 4-21

Multiple Controller Function ............................................................................................................................... 4-22

Offset vs. Scale................................................................................................................................................. 4-23

Crossfades ............................................................................................................................................................... 4-24

Velocity Switching.................................................................................................................................................. 4-24

Velocity Layering ................................................................................................................................................... 4-25

Selecting Setups Remotely.................................................................................................................................... 4-25

Transposing a Setup With a Button ..................................................................................................................... 4-26

Effects Edit Mode ......................................................................................................................................................... 4-26

Effects Change Mode............................................................................................................................................. 4-26

Setting the Effects Change Mode.................................................................................................................. 4-27

Entering Effects Edit Mode................................................................................................................................... 4-27

Selecting Different Effects..................................................................................................................................... 4-28

Editing Effects Parameters.................................................................................................................................... 4-28

KB3 Effects ....................................................................................................................................................... 4-28

Saving Effects.......................................................................................................................................................... 4-29

Other Effects-Mode Functions ............................................................................................................................. 4-30

Common Editing Tasks ................................................................................................................................................ 4-31

Turning AutoSplit On and Off ............................................................................................................................. 4-31

Controlling Vibrato and Tremolo with LFOs ..................................................................................................... 4-31

Using Mono Audio Output .................................................................................................................................. 4-31

Changing Preset Drawbar Values........................................................................................................................ 4-32

Making Drawbars Live .................................................................................................................................. 4-32

Changing the Values of Preset Drawbars.................................................................................................... 4-32

Editing the Internal Setup..................................................................................................................................... 4-32

Using the Arpeggiator.................................................................................................................................................. 4-33

Using Pressure (Aftertouch) as an Arpeggiator Controller ............................................................................. 4-34

Using the Arpeggiator with a Sequencer or External Controller.................................................................... 4-35

Using the PC2R with Other Gear................................................................................................................................ 4-35

Using MIDI Receive Mode ................................................................................................................................... 4-35

The PC2R as MIDI Master .................................................................................................................................... 4-35

vii

Kurzweil PC2R Musician’s Guide

Contents

Sending Bank-Select and Program-Change Messages .............................................................................. 4-36

Understanding Bank-Select Controllers...................................................................................................... 4-36

Sending Program Changes Only .................................................................................................................. 4-38

Sending Different Program Changes to the Same Channel...................................................................... 4-39

Preventing Program Changes on Slaves...................................................................................................... 4-39

Working With an External Sequencer ................................................................................................................. 4-39

Multi-Track Recording ................................................................................................................................... 4-40

Troubleshooting............................................................................................................................................................. 4-40

Chapter 5 Descriptions of Parameters

Program Editor Parameters ........................................................................................................................................... 5-1

The Timbre Menu..................................................................................................................................................... 5-2

The Envelope Menu................................................................................................................................................. 5-3

The LFO Menu.......................................................................................................................................................... 5-4

The LFO Menu: Rotor Effects Parameters............................................................................................................ 5-5

The Store Menu ........................................................................................................................................................ 5-5

KB3 Editor Parameters ................................................................................................................................................... 5-6

The Timbre Menu..................................................................................................................................................... 5-6

The Envelope Menu................................................................................................................................................. 5-8

The Envelope Menu: Percussion Parameters....................................................................................................... 5-9

The Envelope Menu: Percussion Pitch Parameters........................................................................................... 5-10

The LFO Menu........................................................................................................................................................ 5-10

Setup Editor Parameters............................................................................................................................................... 5-10

The MIDI Xmit Menu .............................................................................................................................................5-11

The Program Menu................................................................................................................................................ 5-12

The Key Range Menu ............................................................................................................................................ 5-14

The Transpose Menu ............................................................................................................................................. 5-15

The Velocity Menu ................................................................................................................................................. 5-16

The Controllers Menu............................................................................................................................................ 5-20

Front-Panel Controllers and MIDI-Source Controllers ............................................................................. 5-20

The Controllers Menu: Continuous Controller Parameters............................................................................. 5-21

The Controllers Menu: Ribbon Controller Parameters..................................................................................... 5-22

The Controllers Menu: Switch Controller Parameters ..................................................................................... 5-24

The Arpeggiator Menu.......................................................................................................................................... 5-26

Effects Edit Mode Parameters ..................................................................................................................................... 5-32

MIDI Receive Mode Parameters ................................................................................................................................. 5-33

Global Mode Parameters.............................................................................................................................................. 5-35

Appendix A Maintenance and Upgrades

Replacing the Battery..................................................................................................................................................... A-1

Before you Begin .....................................................................................................................................................A-1

Removing the Top Panel ........................................................................................................................................ A-1

Installing the Battery .............................................................................................................................................. A-2

Replacing the Top Panel ......................................................................................................................................... A-4

Powering up............................................................................................................................................................. A-4

Boot Block........................................................................................................................................................................ A-4

Starting the Boot Block ........................................................................................................................................... A-4

About Software Upgrades ..................................................................................................................................... A-4

Setting Up For a Software Upgrade .....................................................................................................................A-5

Installing an Operating System or Setups ........................................................................................................... A-5

viii

Installing a New Boot Block .................................................................................................................................. A-6

Installing Sound ROM Options............................................................................................................................. A-6

Resetting the PC2R.................................................................................................................................................. A-6

Running the Diagnostics........................................................................................................................................ A-7

Kurzweil PC2R Musician’s Guide

Appendix B General Reference

Speciﬁcations ...................................................................................................................................................................B-1

Physical Speciﬁcations.............................................................................................................................................B-1

Electrical Speciﬁcations........................................................................................................................................ B-2

Voltage and Frequency Ranges....................................................................................................................... B-2

Power Consumption.........................................................................................................................................B-2

Environmental Speciﬁcations.................................................................................................................................B-2

Audio Speciﬁcations................................................................................................................................................ B-3

Line-Level Left and Right Analog Audio Outputs ......................................................................................B-3

Digital Audio Output .......................................................................................................................................B-3

Headphone Output ..........................................................................................................................................B-3

Parameter Reference .......................................................................................................................................................B-4

PC2R Audio Signal Routing ..........................................................................................................................................B-9

MIDI Controllers ...........................................................................................................................................................B-10

Special Controllers ........................................................................................................................................................B-10

MIDI Controller Messages for Front-Panel Knobs................................................................................................... B-11

KB3 Controllers .............................................................................................................................................................B-12

PC2R Keymaps ..............................................................................................................................................................B-13

PC2R Effects and Effects Parameters..........................................................................................................................B-14

MIDI Implementation Chart........................................................................................................................................ B-21

Contents

Appendix C Program and Setup Information

PC2R Programs................................................................................................................................................................C-2

Controller Assignments for Programs in Bank 0........................................................................................................C-4

Controller Assignments for Programs in Bank 6.....................................................................................................C-23

PC2R Setups...................................................................................................................................................................C-33

Physical Controller Assignments for Setups.............................................................................................................C-34

Appendix D PC2R Drum Maps

Normal............................................................................................................................................................................. D-2

PC2ReMap....................................................................................................................................................................... D-3

GMReMap ....................................................................................................................................................................... D-4

Index of Parameters

.............................................................................................................................................IP-1

Chapter 1 Introduction

Thanks for buying your PC2R MIDI rack-mount performance synthesizer! It features 16 megabytes of renowned Kurzweil ROM sounds in a convenient one-space rack unit that can help you sound like a pro on stage or in the studio. We hope you like it.

The PC2R is perfect for adding 64 voices (or even 128 voices) to your performance controller— a Kurzweil PC2 or any other keyboard or alternative MIDI control source, or a computer with sequencing software. If you already own a PC2, you already know how to use the PC2R—although the programming parameters are organized a bit differently. If this is your ﬁrst PC2 of any kind, you’ll still ﬁnd it easy to learn, and highly adaptable to your MIDI system.

Basic PC2R Features

The Sound

The PC2R offers 64-voice polyphony that’s expandable to 128 voices. For maximum ﬂexibility in connecting to sound systems and processing or recording equipment, the PC2R provides analog and digital audio outputs, which you can use simultaneously.

There are 256 factory programs, including Kurzweil’s new stereo triple-strike Grand Piano, Rhodes and Wurlitzer electric pianos, stereo strings, brass, and Take 6 vocal samples—as well as our critically-acclaimed keyboard, guitar, bass, drums, and percussion sounds. There’s also room for two Sound ROM Option cards, for up to 48 megabytes of ROM sounds.

For serious Hammond organ fans we offer KB3 Mode, which uses tone-wheel synthesis to provide superb recreations of the classic B-3 sound—including real-time drawbar control response and multi-effects settings that include all of the essential features of a Hammond-Leslie setup—percussion, key click, chorus and vibrato, tube amp distortion, and rotary speakers with programmable speed control that ramps up and down like the real thing. You can play KB3 programs by themselves or with other programs in setups.

Setups make the PC2R a versatile performance instrument. Each setup contains four zones that can cover any part of your controller’s keyboard (or any part of the MIDI note range, if you’re using an alternative control source). Zones can also overlap across the entire note range. You can program each zone independently—with different programs, physical controller assignments, and MIDI channels for each zone. Each zone in a setup can be programmed independently to have arpeggiation enabled or disabled.

Physical Controllers

You’ll probably control the PC2R’s sound from your MIDI source, using its Pitch and Mod Wheels and/or other physical controllers. You can also control the sound from the front panel of the PC2R itself, using the four programmable knobs to the left of the display. See page 3-8 for more information about these control knobs.

1-1

Introduction

Options

Effects

To complement the ROM sounds, there are over 150 multiple effects and 30 reverbs. You can apply the effects to programs or setups, and you can easily control the wet/dry mix in real time. You can also program the multi-effects and reverbs for even more control in performance and recording.

Options

Ask your Kurzweil dealer about the following PC2R options.

Sound ROM Cards

The PC2R has sockets for two ROM expansion cards that you can install yourself (the expansion kits come with complete instructions). Each expansion card adds 16 megabytes of ROM sounds to the 16 megabytes of onboard ROM.

Polyphony Expansion Board

There’s a kit for expanding your PC2R’s polyphony from 64 voices to 128 voices. You can install this kit yourself as well.

Unpacking your PC2R

Your PC2R carton should contain the following:

• PC2R Rack-Mount synthesizer module

• Power adapter

• Four adhesive-backed rubber feet

• This manual

• Warranty card

You might want to keep the PC2R carton and packing materials for easy shipping or transport.

1-2

Chapter 2 Startup

Setup

During operation, the PC2R must be either installed in a properly-ventilated MIDI rack, or resting on its four rubber feet on a sturdy, level surface. If not properly ventilated, the PC2R could overheat and malfunction.

Figure 2-1 shows the bottom panel of the PC2R and the recommended locations for the rubber feet. Peel the backing paper from each rubber foot and attach it as indicated.

Attach feet here

Figure 2-1 Attaching rubber feet

2-1

Startup

Basic Connections

Figure 2-2 shows the PC2R’s rear panel, where you’ll ﬁnd the power, audio, and MIDI connections.

Serial No. Model: PC2R

Manufacturer: Young Chang Co., Ltd. Designed in USA Made in R.O.K.

Power

Figure 2-2 The PC2R’s rear panel

The PC2R has an external transformer/power supply with a standard electrical plug on one end, and a keyed four-pin plug that connects with the PC2R (“keyed” means that there’s only one way to connect it). This is a specialized power supply, and is not interchangeable with other power supplies.

PC2R

Digital Out

In Thru Out

Power In

MIDIAudio Outs

Thru / Out

9.0V 2.0A

14.0V~0.25A

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

Caution : Use only the power supply that comes with your PC2R, or a replacement purchased

from an authorized Kurzweil dealer. Using a different power supply can seriously damage your PC2R!

Connect the keyed plug to the AC In connector. Figure 2-3 shows the correct orientation of the plug.

Flat side up!

Key

Figure 2-3 Proper orientation of plug

Place the power supply somewhere where it will stay dry and out of the way. We recommend keeping it on the ﬂoor. Never cover the power supply with anything; it needs adequate ventilation to prevent overheating.

Connect the plug at the other end of the power-supply cable into a standard power outlet. If you plan to take your PC2R to a location that uses a different voltage level, you’ll need to get an additional power supply that’s compatible with the local voltage.

2-2

The PC2R’s Power Switch/Volume knob (in the top left corner of the front panel) will probably be in the off position when you plug the instrument in for the ﬁrst time. If it happens to be on, we recommend that you turn it off before making any further connections.

Audio

Basic Connections

The PC2R features balanced left and right analog audio outputs with 1/4-inch jacks. For best results, use balanced cables to connect to balanced, line-level inputs on your mixer or sound system.

It’s important to use shielded, twisted-pair cables. The cables should each have 1/4-inch stereo (tip-ring-sleeve) plugs on one end to connect to the PC2R. The other end of each cable should have either 1/4-inch stereo plugs or XLR plugs. Cables of this type provide balanced operation, which greatly reduces many types of noise. Unbalanced cables or sound-system inputs won’t give you quite the same audio quality.

For best performance, set the PC2R’s Master Volume knob to its maximum when adjusting mixer or sound-system levels. Otherwise, if you adjust the PC2R’s level by increasing the level of your sound system, you’ll increase the noise level.

If you’re using a monaural sound system or running the PC2R’s audio into a single mixer channel, we recommend conﬁguring the PC2R for mono output, in which case the PC2R sends the same one-channel signal to the left and right sides of both the analog and digital outputs. See page 4-31 for information about using mono audio output mode.

The PC2R has a headphone jack, which carries the same signal as the main outputs (that’s true whether you’re using stereo or mono output). The headphone jack accepts a standard 1/4-inch stereo plug, and is compatible with nearly all types of headphones. Plugging into the headphones jack does not mute the other audio outputs.

Startup

Digital Output

MIDI

You can also use the headphone jack as an unbalanced stereo line-level output. Just connect a stereo cable from the headphone jack to a stereo input on your mixer or sound system. If you have only unbalanced inputs to your sound system, you’ll get better audio quality using the headphone jack.

With the PC2R, you can take advantage of the growing number of digital recorders and mixers on the market. Connect a 75-Ohm coaxial cable from the PC2R’s RCA Digital Out jack to the AES or S/PDIF input of the receiving device. You may need an RCA-to-XLR adapter to connect with the receiving device. If the receiving device receives only optical signals, you’ll need a converter as well.

You can use the analog and digital audio outputs at the same time. There are ﬁve parameters in the Global menu that control the digital output conﬁguration. You may want to edit some of these parameters, depending on how you’re using the PC2R’s digital output. In many (perhaps most) cases, however, the default values provide the best performance. For more information, see the descriptions of the digital audio output parameters, beginning on page 5-41.

The PC2R accepts most standard (and several specialized) MIDI messages at its MIDI In port. It also has an Out port and a switchable Thru/Out port, so it can transmit certain MIDI messages—like program changes and system-exclusive (SysEx) information—as well as passing the MIDI information it receives on to other MIDI gear.

The typical MIDI conﬁguration for the PC2R is to connect its MIDI In port to the MIDI Out port of a MIDI control source—a keyboard, an alternative controller like a wind or percussion controller, or a sequencer. The PC2R can receive information independently on all 16 MIDI channels.

2-3

Startup

Powering Up

Use the MIDI Out port and/or the programmable Thru/Out port if your PC2R is part of a more complex MIDI system.

Even if your MIDI source can transmit on only one MIDI channel, you can make it more powerful with the PC2R, which can remap incoming MIDI information to four different MIDI channels, each playing a different sound.

MIDI Conﬁgurations

You’re likely to set up your PC2R in some variation of one of three basic conﬁgurations:

• As s MIDI slave only, for use as a sound module; connect the MIDI Out of your MIDI source to the PC2R’s MIDI In.

• With a dedicated or computer-based sequencer or digital recording unit, for recording and multi-timbral (multi-channel) playback; connect the MIDI Out of your MIDI source to the MIDI In of your sequencer, and connect the MIDI Out of the sequencer to the MIDI In of the PC2R. In this case you’ll probably want to use MIDI Receive mode instead of the performance modes (see page 3-3 for more information).

• As both a MIDI slave and MIDI master, enabling you to pass MIDI information through the PC2R and play additional mult-timbral sound sources; connect the MIDI Out of your MIDI source to the MIDI In of the PC2R, and connect the MIDI Out and/or MIDI Thru/Out to the MIDI In of one or more additional instruments.

MIDI Thru/Out

This jack has two functions: it can be a MIDI Out port, enabling you to send directly to two different slaves, or it can be a MIDI Thru port, in which case it passes along whatever MIDI information that the PC2R receives at its MIDI In port (but not the MIDI information that the PC2R itself generates). This makes it easy to include the PC2R in a chain of multiple MIDI devices, which is a common conﬁguration when you’re using a computer for sequencing.

There’s a small switch labeled Thru/Out on the PC2R’s rear panel (as you face the rear panel, the switch is to the left of the MIDI In port). You should be able use a ﬁnger to ﬂip the switch to the desired position. If that doesn’t work, use a small pointed object—a ball-point pen works nicely.

Powering Up

When you’ve made all your connections, you’re ready to turn on the on the PC2R. First, turn the Power/Volume knob all the way to the left, then push it until it clicks. All of the lights on the front panel ﬂash, and the liquid-crystal display (LCD) shows a series of messages. The ﬁrst time you power up the PC2R, the display looks like this:

Bank:0||Internal||1A 000|Stereo Grand|

Caution: Before playing, we recommend that you turn the Volume knob all the way down (to

the left), and gradually raise the volume while playing from your MIDI source. This way you won’t cause any pain or damage if there’s too much gain in your sound system.

2-4

When you turn the power off, the PC2R remembers the performance mode you’re in (or the corresponding editor). The next time you turn it on, it comes up in that mode.

Display (LCD)

The PC2R’s 40-character liquid-crystal display tells you what’s going on, whether you’re playing or editing. Depending on your viewing angle (and possibly the temperature), you may need to adjust the contrast for better visibility. There’s a small black knob at the far right of the front panel, which adjusts the LCD contrast so you can read the display easily in different lighting conditions.

LEDs

Most of the buttons on the PC2R’s front panel contain light-emitting diodes that indicate the status of the features that the buttons control. They should all ﬂash as the PC2R starts up.

Software Upgrades

The PC2R contains a type of reloadable computer memory called Flash ROM, which makes software upgrades fast and easy. You can learn about new features from your Kurzweil dealer, or from our website (www.kurzweilmusicsystems.com). See Boot Block on page A-4 for software-installation instructions.

Startup

Powering Up

Playing the Demo Sequences

The PC2R features two demonstration sequences that show what you can do with a PC2R and a MIDI sequencer. The demos were recorded using PC2R sounds and effects exclusively.

1. Press the MIDI Receive and Global buttons together (notice the word Demo on the front panel under these two buttons). The display shows

(Cancel|to|exit). The LEDs in the Main and Layer buttons ﬂash. If you decide not to

play a demo, press Cancel to return to the previous mode.

2. Press Main to play the ﬁrst demo, or press Layer to play the second. During playback, you can stop the demo by pressing Cancel.

Troubleshooting

No Text in Display

If no messages are displayed when you turn on the power on your PC2R and no LEDs ﬂash, check the power adapter connections at the AC outlet and the PC2R Adapter In jack.

Low Battery

When you turn your PC2R off, a lithium battery protects the memory that the PC2R uses to store user-deﬁned programs and setups, and other editing changes that you’ve saved. Every time you turn on your PC2R, it automatically checks the battery voltage. If it’s getting low, you’ll see a message like this before the PC2R ﬁnishes starting up:

Select|a|demo...

and

|Battery|voltage|is ||low|(2.0|volts)

When you see this message, you should replace your battery immediately, to avoid losing your data. See page A-1 for instructions.

2-5

Startup

Powering Up

No Sound

If no sound comes from the audio or headphones outputs of your PC2R when you play your MIDI control source, check the following:

• The Volume knob might be set too low.

• Your MIDI connection may not be functioning: check that you have a MIDI cable connected from the MIDI Out port of your MIDI source to the MIDI In port of the PC2R. The LED in the MIDI Receive button blinks when the PC2R receives MIDI information.

• Your MIDI source may not be sending MIDI information.

• The channel on which you’re sending MIDI may be inactive in the PC2R: Press the MIDI Receive button; use a cursor button or the Alpha Wheel to select the channel that your MIDI source is using; use a cursor button to select the Channel On/Off parameter; turn the Alpha Wheel to the right to change the value to On.

• There may be no current program or setup selected (the display shows

• If your MIDI source has a continuous pedal, check the connection, and check the position of the pedal.

• You might be in MIDI Setups mode with all zones muted (inactive): press any or all of the four buttons labeled Zone 1–Zone 4, and the lights in the buttons will turn green.

Not|Found).

You could also try the “Panic” feature, which sends an All Notes Off and All Controllers Off message to the PC2R. Press the KB3 and MIDI Setups buttons at the same time.

2-6

Chapter 3 Playing Y our PC2R

Changing Sounds

If your MIDI connections and channel assignments are OK, you should be able to change programs from your MIDI source—which is probably how most people do it. If you want to change programs from the PC2R however, you can. Just turn the Alpha Wheel in either direction to scroll through the list of available sounds.

There’s more about selecting programs and setups beginning on page 3-13.

Demonstration Sequences

There are two demo sequences stored in ROM. These demos were recorded using PC2R sounds and effects exclusively. See page 2-5 to learn how to play the demo sequences.

Also In This Chapter

Chapter 3 shows you how to get the most out of your PC2R in performance. The overview introduces a few important features and concepts, while the remaining sections provide more detail.

• Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-2

• The Front Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-4

• Selecting Programs and Setups . . . . . . . . . . . . . . . . . . . . . . . . 3-13

• EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-14

• Using the Controllers on Your MIDI Source. . . . . . . . . . . . . . 3-14

• Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-15

• Layering and Splitting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-18

• Muting and Soloing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-21

• Saving the Internal Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-23

3-1

Playing Y our PC2R

Overview

Modes

We’ll start by explaining how the PC2R is organized. In this overview we’ll discuss modes, programs and setups (and how they’re organized), objects, banks, and something called the Internal Setup. (described on page 4-14) We’ll also brieﬂy mention EQ (equalization) and effects.

The PC2R has six modes. Each mode provides a different set of functions. You’ll choose modes depending on what you want to do with the PC2R. There are two kinds of modes: performance modes for playing sounds, and edit modes for programming them.

The three main performance modes are Internal Voices mode, KB3 mode, and MIDI Setups mode. You’ll use one of these modes whenever you’re playing your PC2R. Each mode organizes sounds into programs or setups, which we’ll describe below. Select a performance mode by pressing the corresponding button in the Modes region at the right side of the front panel.

Each of the performance modes has its own editor, where you can make changes to individual programs and setups.

There are also three special modes for programming effects, making channel-by-channel control assignments, and conﬁguring the whole PC2R.

Performance Modes

Internal V oices (Programs)

Internal Voices mode lets you play one internal voice (program) at a time. A program consists of one or more sounds (like piano or strings), and the settings (parameters) that affect those sounds—for example, the highest and lowest notes for a particular sound. The PC2R starts in Internal Voices mode the ﬁrst time you turn it on (after that, it starts in the performance mode you were in when you turned it off). See Program Structure on page 4-12 for more information about what’s in a program.

KB3 Mode (KB3 Programs)

In KB3 mode, the PC2R uses a different synthesizer technique (tone wheel emulation) to reproduce the sound of classic tone-wheel organs (like the Hammond B-3). In most other respects, KB3 mode is like Internal Voices mode. See KB3 Program Structure on page 4-15 for details.

MIDI Setups Mode (Setups)

MIDI Setups mode is what makes the PC2R such a ﬂexible MIDI rack unit. In this mode you play setups instead of programs. Each setup can play up to four different programs, each on its own MIDI channel. See Setup Structure on page 4-16 for more information.

3-2

Special Modes

While you’re in Internal Voices mode, press Main to go to a special setup editor that controls the internal setup (see Editing the Internal Setup on page 4-32 for more information). The internal setup deﬁnes controller assignments and other characteristics for all the programs in Internal Voices mode. Pressing Main also enables you to create quick layers and splits, as described on page 3-18.

Effects Edit Mode

Press the FX button to get to Effects edit mode, where you can select and edit the effects associated with each program and setup. Effects edit mode is also accessible through the Program, KB3, and Setup Editors, but it’s often more convenient to go directly to Effects edit mode: just press FX, and you’re immediately looking at the ﬁrst menu of effects parameters for the current program or setup.

There’s an exception that occurs when the value of the FX Chg Mode parameter—in the Global menu—has a value of Panel. In this case, you can still get directly to Effects edit mode by pressing the FX button, but Effects edit mode controls the effects for the entire PC2R, not just the current program or setup.

MIDI Receive Mode

Use MIDI Receive mode to conﬁgure each MIDI channel independently (this is the mode to use when you’re driving your PC2R from a multi-channel sequencer). You might think of this mode as a special performance mode for conﬁguring individual MIDI channels—program assignment, volume and pan settings, effects routing, and the wet/dry mix of the effects.

Playing Y our PC2R

Overview

Global Mode

Objects

Use Global mode to make changes that affect the entire PC2R—for example, tuning and transposition, MIDI clock source, program-change protocol, and more.

Throughout this manual, we’ll occasionally mention objects, which may sound a bit technical, so we’ll explain. Object is just a convenient name we use to refer to any chunk of information that the PC2R stores or processes. Programs and setups are objects, for example. So are effects. Many PC2R objects are invisible to you, but you’ll be working regularly with the highest-level objects: programs, setups, and effects. When you’re editing programs, there’s a good chance you’ll work with other important objects: keymaps. You might also use System Exclusive (SysEx) messages to store programs, setups or effects to an external device—or use a single SysEx message to store all the objects you’ve modiﬁed while editing.

Whichever mode you’re in, the PC2R can apply three-band equalization (EQ) to the programs you’re playing. Press the Global button to view the current EQ setting. See page 3-14 for more about changing the EQ settings.

3-3

Playing Y our PC2R

The Front Panel

Effects

There are over 150 preset effects, including reverbs, delays, choruses, ﬂangers, phasers, tremolo, panners, envelope ﬁlters, distortions, rotary speakers, compressors, enhancers, waveform shapers, and multi-effect combinations. There are also 30 preset reverbs. See page 3-15 for more information about effects.

The Front Panel

The buttons and knobs on the PC2R’s front panel control it during performances and when you’re editing.

PUSH

PWR

Performance

VOL

Zone 1 Zone 2 Zone 3 Zone 4

Main

Layer

Rotary Fast / Slow Perc On / Off Volume Decay Pitch

ABCD

Shift

16' 2 2/3'

Performance region

Split Split LayerSolo

5 1/3'2'8'

1 3/5'4'1 1/3'

Chorus / Vib

Pre-AmpDrawbar Toggle 1' Chorus / Vib

On / Off

Depth

Edit Modes

PC2R

Edit / Store Group / Menu Compare Copy

Edit region Modes region

Edit regionEdit regionEdit region

Internal Voices

KB3

MIDI Setups

Cancel Enter FX MIDI Receive Global

YesNo

Panic

Demo

Figure 3-1 The PC2R’s front panel

The two-line, 40-character display (LCD) lets you know what’s going on, whether you’re performing or editing. There’s more about the display beginning on page 3-5.

In addition to the display, there are three main regions on the PC2R’s front panel. These regions are labeled in orange at the top of the front panel:

Performance As the label suggests, you’ll use the buttons and knobs in this region

primarily when you’re in one of the performance modes. They affect various functions, depending on the performance mode. This region also includes the Power/Volume knob and the Headphones jack.

Edit Use the buttons in this region (along with the Alpha Wheel) to select and edit

parameters when you’re programming your PC2R.

Modes There are two rows of buttons in this region. The buttons in the top row select

the performance mode: Internal Voices, KB3, or MIDI Setups. The buttons in the bottom row select special modes for conﬁguring your

PC2R: the FX button selects parameters for selecting and routing effects; the MIDI Receive button selects parameters for determining how the PC2R responds to certain incoming MIDI messages; the Global button enters a menu of general parameters that affect the entire PC2R things like overall EQ and velocity sensitivity, among others).

The Modes region also contains the adjustment knob for the display contrast; adjust the setting of this knob if you’re having trouble reading the display.

3-4

For a more thorough discussion of the buttons and knobs in each region, see page 3-7.

Color-Coded Labeling

Most of the buttons to the right of the display are labeled in a single color: white. These buttons have similar or related functions in most performance and editing modes.

Most of the buttons and knobs in the Performance region, however, are labeled with more than one color, or with more than one function. These multi-purpose buttons and knobs do different things depending on which mode you’re in. The color of the labeling in the Performance region corresponds to the color of the labeling of the mode-selection buttons: white corresponds to Internal Voices mode, orange corresponds to KB3 mode, and blue corresponds to MIDI Setups mode.

For example, there’s a button labeled Solo in white, and Rotary fast/Slow in orange. In Internal Voices mode, this button (Solo) switches to AutoSplit mode and solos the current zone.When you’re in KB3 mode, this button switches between fast and slow rotary effects for the current KB3 program. Any button with labeling in more than one color has different functions in different performance modes.

The Display (LCD)

The display looks quite different in each mode, so we’ll show you examples of each.

Playing Y our PC2R

The Front Panel

Internal V oices Mode

When you turn on your PC2R, the display should look like this:

Bank ID Bank index (category and program)

Bank name

Bank:0||Internal||1A 000|Stereo Grand|

Program ID and name

This is Internal Voices mode, where the PC2R always starts when you turn it on (to get to Internal Voices mode from another mode, press the Internal Voices button). The top line gives you information about the bank, while the bottom line shows the ID and name of the current program.

KB3 Mode

Press the KB3 Mode button to enter KB3 mode; the display changes to something like this:

Bank ID

Program ID

Program name

4:000|All Out|||||| P:888888885|CV:Chor1

Drawbar type

Drawbar values (one digit for each harmonic wavelength)

Chorus/Vibrato setting

3-5

Playing Y our PC2R

The Front Panel

You’ll ﬁnd KB3-mode programs in banks with IDs 4 and 5. Unlike Internal-Voices programs and setups, they don’t display a bank index.

KB3 programs use tone-wheel synthesis to produce sound. When you select a KB3 program (or a setup that contains one), the tone wheels start up and run constantly while the program is in use. This requires quite a bit of processing, and consequently has an effect on the polyphony available for other programs. KB3 programs use 44 of the PC2R’s 64 available voices, so when you use a KB3 program in a setup, you have 20 voices of polyphony available for the remaining programs in the setup.

Because of the special processing requirements of KB3 programs, you can play only one KB3 program at a time (this is true in all performance modes). There’s a parameter in the Global menu called KB3 MIDI Chan, which speciﬁes which MIDI channel is available for playing KB3 programs. You can’t play KB3 programs on any other channel. This is important to note if you’re playing the PC2R from an external sequencer. In this case, make sure that the sequencer selects KB3 programs only on the KB3 channel; otherwise, the KB3 program won’t play.

KB3 programs have nine adjustable drawbar settings, with harmonic wavelengths ranging from 1 to 16 feet. You can change the drawbar settings using the drawbar controls: Knobs A–D and the Drawbar Toggle (Shift) button. Here’s how it works:

When the LED in the Drawbar Toggle button is green, Knobs A–D represent drawbars 1–4 (the four longest—or lowest-pitched—harmonic wavelengths). Press the Drawbar Toggle button, and its LED turns amber. The knobs then represent drawbars 5–8 (shorter, higher-pitched wavelengths). Press Drawbar Toggle again, and its LED turns red. Now Knob A controls Drawbar 9 (the shortest), and Knobs B–D control other KB3 features.

There are nine digits in the bottom line of the display that show the current drawbar values. From left to right, they correspond to drawbars 1–9. Moving one of the drawbars changes the corresponding drawbar values, and changes the nature of the organ sound.

Try it out. Make sure you’re in KB3 mode, then move one of the knobs. You’ll see one of the values on the bottom line change. By default, moving a knob all the way to the left is equivalent to pulling out the drawbar on a real organ. The corresponding value is 8. Conversely, turning the knob all the way to the right is equivalent to pushing the drawbar in, with a corresponding value of 0. If you change the value of the MIDI In parameter (in the Global menu) to Normal or Merge, you’ll reverse the effect of the drawbar control knobs.

When the Drawbar Toggle LED is red, the Pre-Amp knob (Knob B) is at minimum when all the way to the left. The Chorus/Vib On/Off knob (Knob C) turns chorus or vibrato off when you turn it to the left past the halfway point, and on when you turn it to the right past the halfway point. The Chorus/Vib Depth knob (Knob D) scrolls through the chorus and vibrato settings as you turn the knob from left to right.

To the left of the drawbar values, there’s a letter (either P or L) that indicates whether the program has preset or “live” drawbar values. A program with preset drawbars always starts with the same factory-set drawbar values when you select the program. Moving the drawbar controls changes their values temporarily, but the next time you select that program, the drawbars will once again be at their preset startup values. (You can edit the startup values for programs with preset drawbars; see Changing Preset Drawbar Values on page 4-32.)

A program with live drawbars starts with drawbar values that reﬂect the positions of the drawbar controls. Moving the drawbar controls changes their values further. Most of the KB3 programs have preset drawbars, although you can also edit them to have live drawbars.

3-6

MIDI Setups Mode

Press the MIDI Setups button to enter MIDI Setups mode, and the display looks like this:

Playing Y our PC2R

The Front Panel

Setup ID

Setup name

S001|Dance C7| A01|1:Beat Box|

Bank index

Current zone

The setup ID usually begins with that have the AutoSplit feature turned on, the S is replaced by a caret (^). Notice that the bank index is a letter followed by a numeral, which is the opposite of the way the bank index looks in Internal Voices mode. This is convenient if you’re controlling the PC2R from a PC2, because you can use the Group button on the PC2 to select a group of setups, then use the Sound Select buttons to select one of the 16 setups in that group.

Program assigned to current zone

The Performance Region

Depending on how you use your PC2R, you may control it more from your MIDI source than from the PC2R’s front panel. Still, we’ve tried to organize the front panel so that everything you might need in a performance situation is easy to reach, and separate from the programming functions.

There are two rows of buttons and knobs in the Performance region. Their functions vary depending on your performance mode.

S to indicate that you’re playing a setup—although in Setups

Solo

In either Internal Voices mode or MIDI Setups mode, pressing this button turns on the solo feature (if you’re in Internal Voices mode, the PC2R switches to AutoSplit mode—a special performance conﬁguration of MIDI Setups mode.). When the Solo feature is on, (that is, when its LED is lit), pressing one of the Zone buttons solos that zone, so you hear that zone only. See page 3-21 for more about muting and soloing.

In KB3 mode, this button switches between fast and slow rotary effects (if any) for the current program.

Main

In Internal Voices mode, this button takes you to AutoSplit mode—a special performance and editing conﬁguration of MIDI Setups mode. In this case, the Zone 2–Zone 4 buttons add splits or layers, as indicated (see page 3-18 for more information about layering and splitting).

In KB3 mode, this button turns the percussion effect on or off for the current program.

In MIDI Setups mode, this button selects Zone 1 for viewing or editing. Press it again to mute/unmute the zone.

3-7

Playing Y our PC2R

The Front Panel

Layer

Split

Split Layer

In Internal Voices mode, this button switches the PC2R into AutoSplit mode, and adds a layer.

In KB3 mode, this button switches between low and high volume for the percussion effect (if any) for the current program.

In MIDI Setups mode, this button selects Zone 2 for viewing or editing.

In Internal Voices mode, this button switches the PC2R into AutoSplit mode, and adds a new sound below a preset split point.

In KB3 mode, this button switches between fast and slow decay for the percussion effect (if any) for the current program.

In MIDI Setups mode, this button selects Zone 3 for viewing or editing.

In Internal Voices mode, this button switches the PC2R into AutoSplit mode, and adds a layer to the sound below the split point.

In KB3 mode, this button switches between high and low pitch for the percussion effect (if any) for the current program.

In MIDI Setups mode, this button selects Zone 4 for viewing or editing.

In any performance mode, pressing Split and Split Layer together is an editing shortcut that displays the AutoSplit Key parameter. You can then use the Alpha Wheel to change the AutoSplit key (or hold down the Enter button and play a note on your MIDI source). Press Cancel to return to your performance mode.

Shift

The Shift button controls the functions of Knobs A–D (described below). Each time you press Shift, its LED changes color—from green to amber to red. Each of these states causes

Knobs A–D to have a different set of functions. The default functions of the knobs depend on your performance mode (they do different things in each mode). You can program them for different functions as well.

Knobs A–D

In Internal Voices mode and MIDI Setups mode, Knobs A–D control various program characteristics, as deﬁned by a series of parameters in the Controllers menu in the Setup Editor. Remember that controller assignments in Internal Voices mode are deﬁned by the internal setup, which you can edit in AutoSplit mode (which is a subset of the Setup Editor)—while in Internal Voices mode, press Main; hold Global and move a knob to select its Ctrl Num parameter; change its value; press Store; press the Internal Voices button at the Save prompt. See page 3-23.

3-8

Playing Y our PC2R

The Front Panel

The following table shows the parameters that correspond to Knobs A–D, for each state of the Shift LED when you’re in Internal Voices mode or MIDI Setups mode. When the parameter

name includes the word “Knob,” the corresponding knob functions as a continuous controller. When the parameter name includes the word “Switch,” the corresponding knob functions as a switch controller.

Knob A Knob B Knob C Knob D

Green Green Knob A Green Knob B Green Knob C Green Knob D Amber Amber Swch A Amber Swch B Amber Swch C Amber Swch D Red Red Switch A Red Knob B Red Knob C Red Knob D

In KB3 mode, Knobs A–D adjust drawbar lengths, pre-amp settings, and chorus/vibrato settings for KB3 programs. You’ll notice that these knobs each have three rows of labeling in orange. Each row of labeling corresponds to one of the states of the Drawbar Toggle LED. The default assignments for the knobs are as follows:

Knob A Knob B Knob C Knob D

Green Drawbar 1 (16') Drawbar 2 (5 1/3') Drawbar 3 (8') Drawbar 4 (4') Amber Drawbar 5 (2 2/3') Drawbar 6 (2') Drawbar 7 (1 3/5') Drawbar 8 (1 1/3') Red Drawbar 9 (1') Pre-amp level Chorus/Vibrato On/Off Chorus/Vibrato Depth

If your MIDI source has programmable sliders or other physical controllers, you can program those controllers to work the way Knobs A–D work. See page B-12 for a list of the MIDI Controller messages that affect PC2R features.

The Edit Region

There are eight buttons, and a dial called the Alpha Wheel, in the Edit region. Most of the buttons you’ll need for programming (editing) your PC2R are in this region. (We’ll discuss editing thoroughly in Chapter 4.)

Four of the buttons in the Edit region have dual labels. For readability, when we refer to these buttons, we’ll describe them according to the situation, instead of using the full name. For example, to enter an edit mode, we’ll instruct you to press Edit (not Edit/Store).

Edit/Store

Press the Edit button to enter the edit mode corresponding to your current performance mode.This is where you make changes to the parameters that deﬁne programs, setups, and effects. See Chapter 4 for speciﬁcs about programming your PC2R.

Once you’re in an edit mode, this button becomes the Store button. Press Store to bring up a Save dialog, then either press Yes to save the current object, or use the cursor buttons to select another related function. See Naming and Storing on page 4-3 for more information.

Group/Menu

In all three performance modes, this button is the Group button, and selects categories of programs or setups. (See page 3-13 for more information about using the Group button to select programs and setups by category.)

3-9

Playing Y our PC2R

The Front Panel

Cursor Buttons

To select a program or setup this way, press the Group button to display a category of programs or setups. Use the Alpha Wheel or cursor buttons to scroll through the categories. Press Enter to select the ﬁrst program or setup in that category.

If you’re in Internal Voices mode or KB3 mode, you can scroll all the way through the Internal Voices categories and into the KB3 categories (and vice versa). The PC2R automatically switches to the corresponding performance mode. Setups are separate, however; you can’t switch performance modes by scrolling through setup categories.

When you’re editing programs or setups, press Menu to select the ﬁrst menu of programming parameters in the current edit mode. Use the cursor buttons to view the available menus, then press Enter to view the parameters in the current menu. When you’re viewing parameters, press Menu again to return to the list of menus.

These are the Left and Right arrow buttons under the Edit/Store and Group/Menu buttons.We call them cursor buttons because they control the cursor, which is a bar that appears under one of the characters in the display. The position of the cursor indicates what’s selected for changing or editing.

The following table shows what happens in each performance mode when you press one of the cursor buttons.

Mode Function

Internal Voices Selects bank ID parameter or program ID parameter KB3 Selects bank ID parameter, program ID parameter, or chorus/vibrato setting parameter MIDI Setups None

You’ll also use the cursor buttons when editing, to select what you want to edit. See Basic Editing Concepts on page 4-1 for more about the cursor buttons.

Compare

When you’re editing, the Compare button lets you listen to the effect of a change, then to check the original. See page 4-8 for details.

Copy

When you’re editing setups, you can copy a zone and paste it into another zone, either in the same setup, or in a different setup.

Cancel/No

Use this button to exit from edit modes, and to answer “No” to prompts in the display (like

Save|Voice|1?).

3-10

Enter/Yes

Use this button to enter program or setup categories in performance modes, to get into menus while editing, and to answer “Yes” to prompts in the display.

The Modes Region

The six buttons in the Modes region take you to various performance and editing modes.

Internal V oices

Press this button to get to Internal Voices mode from any performance or editing mode. Internal Voices is the mode to use for playing Internal-Voice programs.

KB3

Press this button to get to KB3 mode from any performance or editing mode. KB3 mode offers several programs that emulate the classic B-3 organ.

MIDI Setups

Press this button to get to MIDI Setups mode from any performance or editing mode. Use MIDI Setups mode when you want to play programs on up to four different MIDI channels.

The FX button takes you to the FX Routing menu in the edit mode that corresponds to your current performance mode. For example, if you’re in MIDI Setups mode, pressing FX takes you to the Setup Editor (the Zone Parameters menu).

Playing Y our PC2R

The Front Panel

From the FX Routing menu, you can assign a different effect to the current program or setup, and you can edit the current effect. See page 4-28 for more information about editing effects.

MIDI Receive

This button takes you to MIDI Receive mode, where you can conﬁgure how the PC2R responds to incoming MIDI information. The ﬁrst time you enter MIDI Receive mode after powering up, the display shows Channel 1, because the PC2R resets the MIDI Receive channel each time you shut down. Until you shut down again, the PC2R tracks which channel you’re viewing even after you’ve left MIDI Receive mode, so the next time you enter MIDI Receive mode, the display shows the channel you were most recently viewing.

Use the cursor buttons to select the parameters for each channel. You can scroll beyond the parameters for a given channel and move to the parameters for the next higher or lower channel. A faster way to jump to a different channel is to select the Channel parameter (that is, to move the cursor under the channel number), then use the Alpha Wheel to change channels. You can press either MIDI Receive or Cancel to jump immediately to the Channel parameter.

Another navigation short cut is to press both cursor buttons at the same time. When you do this, you jump to the corresponding parameter for the next higher channel (or back to Channel 1 if you’re looking at channel 16).

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Program and Setup Organization

You can set the following parameters for each channel. See page 5-33 for more information about using MIDI Receive mode.

• Channel On/Off

• Program

• Volume

• Pan

• Effects routing

• Wet/Dry mix from output of FX-A to input of FX-B

• Wet/Dry mix to input of FX-A

• Wet/Dry mix to input of FX-B

Global

The Global button takes you to a list of parameters and functions affecting the entire PC2R There’s a description of each global parameter/function beginning on page 5-35.

Demo

Press MIDI Receive and Global together to enter a special demo mode. Then press Main or Layer (in the Performance region) to play a demo sequence. Press Cancel to stop playback, or to

exit from demo mode.

Panic

Press KB3 and MIDI Setups together for the “Panic” function. This sends All Notes Off messages and All Controllers Off messages on all MIDI channels—both to the PC2R’s sound engine and to its MIDI Out port.

Program and Setup Organization

The PC2R’s programs and setups are arranged in banks; each bank can contain 128 programs or setups. The PC2R has a total of eleven banks, as shown in the following table:

Mode

Internal Voices

KB3

MIDI Setups

Bank IDBank

Name

0 Internal Programs 0–127 Factory programs 1 User Empty Can store 128 user-deﬁned programs numbered 0–127 2 Exp1 Empty Reserved for internal programs contained in future expansion b loc k 3 Exp2 Empty Reserved for internal programs contained in future expansion b loc k 6 Int2 Programs 0–127 Factory programs

4 Internal 5 User Empty Can store 128 user-deﬁned KB3 programs numbered 0–127 0 Internal 1 User Empty Can store 128 user-deﬁned setups numbered 129–256

2 Exp1 Empty Reserved for factory setups contained in future expansion block 3 Exp2 Empty Reserved for factory setups contained in future expansion block

Bank

Contents

KB3 programs 0–120

Setups 0–32 and 125–128

Total of 16 factory KB3 programs, numbered in increments of 8

Factory setups

Comment

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Selecting Programs and Setups

Select a performance mode by pressing Internal Voices, KB3, or MIDI Setups.

Once you’re in a performance mode, you can select the programs or setups either by turning the Alpha Wheel, or by sending program change messages from your MIDI source. If you’re scrolling with the Alpha Wheel, you’ll notice that you can scroll from the Internal Voices programs into the KB3 programs, and vice versa. The LEDs in the mode-selection buttons change accordingly. You can’t scroll out of MIDI Setups mode, however. If you scroll to the end of the list of setups, the list wraps around to the other end.

You can also select programs and setups by category, using the Group button. In Internal Voices mode, the factory programs are categorized into groups of eight related programs. For example, the group Piano 1 contains eight piano programs (1A–1H). In KB3 mode, they’re categorized by bank—either Internal or User. In MIDI Setups mode, they’re categorized into groups of 16 setups.

In Internal Voices mode, you’ll see a bank index at the top right of the display (for example, 1A, which is the bank index for Program 000. The bank index consists of a numeral (from 1–16, representing the program group) and a letter (from A–H, representing the program within the group). That’s 16 groups of eight programs, which accounts for the 128 programs in each Internal Voices bank.

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Selecting Programs and Setups

To select a program by category, press the Group button to view the list of program categories. Use the cursor buttons or Alpha Wheel to scroll through the list of categories. Press Enter to select the ﬁrst program in the current category.

There are 35 categories: 32 for factory Internal Voices programs; one for user-deﬁned Internal Voices programs; one for factory KB3 programs; one for user-deﬁned KB3 programs. All the Internal Voices programs and KB3 programs are accessible this way; you can scroll back and forth between the Internal Voices banks and the KB3 banks.

In KB3 mode, the programs themselves aren’t organized into categories, so there’s no bank index shown in the display. Still, you can use the Group button to select the Internal bank of KB3 programs or the User bank of KB3 programs (press Group, then use the Alpha Wheel or cursor buttons to select a bank, then press Enter.

Note that if the value of the Wrap/Skip parameter (in the Global menu) is set to On, you can’t enter the User bank of KB3 programs unless you’ve stored at least one user-deﬁned KB3 program. When Wrap/Skip is On, if the User KB3 bank is empty when you try to enter it, the PC2R skips to the next available program, which happens to be Program 000 in Bank 6. (This isn’t true in the case of the User Internal Voices bank, since it actually contains a factory program.)

In MIDI Setups mode, there’s a bank index in the lower left of the display. Setups are categorized into eight groups of 16 setups. The bank index consists of a letter (A–H, representing the setup group), and a numeral (1–16, representing the setup within the group). That’s eight groups of 16 setups, accounting for the 128 setups in each MIDI Setups bank.

To select a setup by category, press the Group button to view the list of setup categories. Use the Alpha Wheel or cursor buttons to scroll through the list of categories. Press Enter to select the ﬁrst setup in the current category. By storing related setups in groups of 16 (001–016, 017–032, etc.), you can make it easier to get to the setups you want. For example, you could use groups to arrange setups according to your playlist for a gig—a group or two for each set.

When you’re in Internal Voices mode or KB3 mode, you can select not only programs, but program banks. Press the Left cursor button to select the bank ID parameter, then turn the Alpha Wheel to select a different bank.

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The PC2R comes with its own three-band equalization (EQ), or tone controls. The EQ is global, which means that there is only one setting that is used all of the time regardless of which program or setup you’re playing. Its purpose is to adjust the PC2R for individual listening situations.

Changing the EQ

1. Press the Global button, and the EQ parameters appear in the display (the EQ settings are

2. Use the cursor buttons to position the cursor under the frequency range that you want to

3. Turn the Alpha Wheel to adjust the level from -12 dB to +12 dB.

at the top of the list of global parameters):

EQ:|Low|||Mid|||High ||||+0dB||+0dB||+0dB

Each band starts at 0 dB when you turn on your PC2R (this is called ﬂat equalization).

adjust.

4. Press Cancel to return to the previous mode. The EQ settings remain in place until you change them again or turn off the PC2R.

Using the Controllers on Your MIDI Source

You can use the four knobs in the Performance region to control twelve different functions (three groups of four functions, depending in the color of the Shift LED). You can also use the physical controllers on your MIDI source for the same purpose. The MIDI Controller messages that the PC2R receives affect both the PC2R, and any MIDI instruments connected to the PC2R’s MIDI Out or MIDI Thru ports. The MIDI Controller messages that the PC2R remaps and transmits via MIDI vary depending on your performance mode.

In every mode but MIDI Receive mode, incoming MIDI information usually gets remapped and then transmitted to four zones—each of which can use a different MIDI channel (the exception occurs when the MIDI In parameter in the Global menu has a value of Normal, in which case incoming MIDI information is processed as it’s received.)

Because of this remapping, you can make any physical controller on your MIDI source behave like any of the knobs on the PC2R. To do this, program the controller on your MIDI source so that it sends the MIDI Controller message that corresponds to the knob on the PC2R (the table on page B-11 lists the MIDI Controller messages that correspond to the knobs). Here’s an example.

When you move Red Knob B on the PC2R (that is, when the Shift LED is red and you move Knob B), each zone of the current setup generates a MIDI Controller message (or not), depending on the value of the Ctrl Num parameter for Red Knob B in each setup zone. In Setup 001, for example, Zones 1 and 2 send no message, and Zones 3 and 4 send MIDI 1, which controls vibrato depth in those zones.

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Chances are that when you move the Mod Wheel on your MIDI source, you’ll change vibrato depth in Zones 3 and 4 just as if you’d moved Red Knob B on the PC2R. That’s because most MIDI instruments are programmed so that the Mod Wheel sends MIDI 1. (If you were in Internal Voices mode or KB3 mode, moving the Mod Wheel on your MIDI source would affect

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Effects

the vibrato depth in the current program only if the PC2R were using the same MIDI channel as your MIDI source—and if the program responded to MIDI 1.)

Suppose you want to use a different physical controller on your MIDI source to affect the vibrato depth in Setup 001. Program that controller to send MIDI 1, and it will affect vibrato depth just as the Mod Wheel does.

On the other hand, suppose you want to use the Mod Wheel (or any controller sending MIDI 1) on your MIDI source to control something other than vibrato depth in Setup 001. To do this, go to the Ctrl Num parameter for Red Knob B in each zone (because Red Knob B normally responds to an incoming MIDI 1 message). Set the value of the Ctrl Num parameter to the MIDI Controller message you want to send (10 Pan, for example). Now moving the Mod Wheel on your MIDI source changes the pan position in every zone that has a value of 10 for the Red Knob B Ctrl Num parameter. That’s because the PC2R takes the incoming MIDI 1 message (on any channel) and remaps it to MIDI 10 before sending it to the PC2R’s sound engine.

Only those MIDI Controller messages listed in the table on page B-11 get remapped in this way. Most of the remaining MIDI messages get sent to each zone in the setup without getting remapped to the PC2R’s internal controller messages. The following MIDI messages are ignored completely while remapping is on: 54, 55, 56, 33, 34, 36, 43, 38, 96, 97, 98, 99, 100, and 101.

Keep in mind that this is the default behavior. In other words, the default value of the MIDI In parameter is Auto, which means that the PC2R automatically remaps incoming MIDI messages when you’re in any mode but MIDI Receive mode. If you don’t want the remapping to occur, set the value of MIDI In to Normal or Merge.)

Effects

The PC2R’s digital multi-effects consist of two independent effects blocks called FX-A and FX-B. The current program or setup determines whether the signal from the PC2R’s sound engine goes through either effect block (every program and every setup zone has a parameter called Routing that determines whether the signal goes through FX-A, FX-B, or both).

You can use most of the PC2R’s effects on FX-A. FX-B is primarily for reverbs (these reverbs are also available for FX-A).

Controlling Effects

By default, most programs and setups use at least one of the effects blocks (the FX LED is lit), which means that you hear some kind of effect along with the sounds. You can vary the effects in real time by changing the wet/dry mix of FX-A and FX-B independently using MIDI Controller messages. (When you’re in Internal Voices mode, you can use Green Knobs A and B to control the wet/dry mixes for most programs.)

Send the following MIDI Controller messages to the PC2R to change the wet/dry mix. A value of 0 for one of these messages sets the mix level to fully dry (0%); a value of 127 makes the mix fully wet (100%).

MIDI 91 FX-B MIDI 92 FX-A to B MIDI 93 FX-A

You can also change the wet/dry mix from the PC2R’s front panel, using the FX Wet/Dry parameters. See Wet/Dry Mix on page 3-17 for more information.

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Effects

Send a MIDI Controller message of 94 to change effects routing. A value of 0–31 switches the routing to None; a value of 32–63 switches to FX-A; a value of 64–95 switches to FX-B; a value of 96–127 switches to Both.

Selecting Effects

1. Press the FX button You’ll see the FX Routing menu in the bottom line of the display

2. Press the Right cursor button. The FXA Select menu appears. (If you entered FX mode

3. Press Enter to enter the menu (or ﬁrst press the Right cursor button again to get to the

4. Use the Alpha Wheel to select a different effect.

5. Save your changes (see Naming and Storing on page 4-3), unless you want the effect to

(unless you entered FX mode from MIDI Receive mode, in which case there’s no FX Routing menu).

from MIDI Receive mode, the FXA Select menu appears right away, and you don’t have to press the Right cursor button.)

FXB Select menu). The bottom line of the display shows the ID and name of the current effect. The top line shows the name of the current menu, as well as the editing mode.

revert to its original state the next time you select the program or setup.

Changing the Effects Routing

The Routing parameter determines whether the sound of a program or setup gets sent to one or both of the effects blocks. Think of the Routing parameter as an effect send, routing the audio signal from the sound engine to the effects processor (or bypassing it).

When you select a program or setup, the LED in the FX button indicates the effects routing, as follows:

Off None

Green FX-A

Red FX-B

Amber Both

One way to change the effect you hear with a program or setup is to change the effects routing so that you hear a different effect, a combination of effects, or no effect at all.

1. Press the FX button You’ll see the FX Routing menu in the bottom line of the display (unless you entered FX mode from MIDI Receive mode, in which case there’s no FX Routing menu, because effects routing is part of the MIDI Receive menu).

2. Press Enter to enter the FX Routing menu. You’ll see the Routing parameter.

3. Use the Alpha Wheel to change the value of the Routing parameter.

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4. If you’re changing effects routings for a setup, press one of the zone buttons to select a different zone, and change the effects routing for that zone as well, if desired.

5. Save your changes (see Naming and Storing on page 4-3), unless you want the routing to revert to its original state the next time you select the program or setup.

Bypassing Effects

Suppose you’re in the recording studio, and the engineers are using their own external effects processor, or perhaps a global reverb setting for all channels. You want to silence the PC2R’s effects and/or reverb temporarily (without making permanent changes to the programs or setups you’re playing during recording. You can quickly bypass either or both of the effects blocks globally, using the FXA Bypass and FXB Bypass parameters in the FX Routing menu.

1. In any performance mode, press FX, which takes you to the FX Routing menu.

2. Press Enter, which displays the Routing parameter for the current program or current setup zone.

3. Press the Right cursor button to display the FXA Bypass parameter.

4. Change the value to On.

5. Repeat Steps 3 and 4, if desired, for the FXB Bypass parameter.

6. Press Cancel twice to return to the previous performance mode.

Bypassing FX-A or FX-B in any program or zone bypasses the corresponding effect block in all programs or zones. When you no longer need to bypass effects, go to the FXA Bypass or FXB Bypass parameter in any program or zone, and set its value to Off. This removes the bypass in all programs and zones.

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Effects

Wet/Dry Mix

Most of the PC2R’s factory programs and setups route the audio signal into FX-A and not directly into FX-B. In this case, the PC2R automatically routes the signal from the output of FX-A into FX-B before it goes to the audio outputs. This means that there are three wet/dry variables; therefore there are three Wet/Dry parameters:

A Controls how much of FX-A’s effect gets applied to the dry signal coming from

B Controls how much of FX-B’s effect gets applied to the dry signal coming from the

Global A>B Controls how much of the processed signal coming from FX-A goes to FX-B and

In Internal Voices mode, the settings for these three parameters affect every layer in the program. In MIDI Setups mode, GlobalA>B affects every zone in the setup (and every MIDI channel), but the settings for A and B are independent in each zone, and on each MIDI channel.

The specialized double-block KB3 effects use a different processing structure; only FX-A is available when you use these effects. Consequently, both B and Global A>B are inapplicable.

Note: You can use the KB3 effects for Internal-Voices programs and setups, not just for KB3 programs. If you use a KB3 effect in one of the zones in a setup (or on one of its MIDI channels), you might want to route the setup’s other zones (or channels) to FX-B. This bypasses the KB3 effect for those zones or channels, since the send to FX-B is inactive. It depends on whether you want the KB3 effect applied to all the programs in the setup.

the sound engine

sound engine.

gets FX-B’s effect applied to it.

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Layering and Splitting

Changing the Wet/Dry Mix From the Front Panel

1. Press FX, then press the Right cursor button until you see the FX Wet/Dry menu.

2. Press Enter. The display should look something like this:

Z:1||Global|A>B:22|% A:|64|%|||B:(36|%)

The ﬁrst character is L (layer) if you’re coming from Internal Voices mode or KB3 mode, or Z (zone) if you’re coming from MIDI Setups mode. The numeral following the L or Z indicates the current layer or zone. Use the zone buttons to change the current zone or layer.

Note: Since the L indicates that you’re changing the wet/dry mix for a program, the zone buttons don’t do anything signiﬁcant, since any change you make to any of the parameters affects every layer in the program, regardless of which layer is current. The only reason the L is there is to remind you that you’re adjusting a program and not a setup.

Note the parentheses around the value for B. This indicates that the current zone is not routed to FX-B. In this case, editing the value of B won’t change the wet/dry mix for FX-B. If you routed the zone to FX-B, the parentheses would disappear.

In performance modes, you can change the wet/dry mix for both FX-A and FX-B without going to the Wet/Dry parameters. When an effect block is in use, the corresponding knob (Green Knob A for FX-A and Green Knob B for FX-B) adjusts the wet/dry mix. This is a performance feature only; if you want to change the wet/dry mixes permanently, you’ll need to use the Wet/Dry parameters, then save either the resulting effect or the entire program or setup.

There’s a diagram of the PC2R’s audio signal routing on page B-9.

Editing Effects

Each effect has up to four parameters that you can edit to modify the effect. See Editing Effects Parameters on page 4-28 for more information.

Layering and Splitting

In Internal Voices mode, you can play one program at a time. That’s because Internal Voices mode is based on the internal setup, which contains a single zone (as described on page 4-14). If you wanted to create a multi-zone setup with different programs in each zone, you could go to MIDI Setups mode, then start programming (editing): assigning MIDI channels and programs to zones, making physical controller assignments (for front-panel controllers or programmable physical controllers on your MIDI source), and so on. This gives you a great deal of control and ﬂexibility, but it takes a bit of time.

If you’re on stage and you suddenly decide that your solo needs two sounds instead of one, you don’t want to take the time to edit a setup; you just want to add another sound as quickly as possible. Fortunately, the PC2R makes it easy to do this kind of thing without doing any actual editing.

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Layering is playing two sounds on the same part of the keyboard. Splitting is playing two sounds on different parts of the keyboard. Using the PC2R’s AutoSplit feature, you can create a layer or a split by pressing a single button. With a few more button presses, you can change the

sounds in the layers or splits, and create combinations of layers and splits. We’ll show you how to do it, then we’ll explain what’s going on.

Using AutoSplit for Quick Layers and Splits

We’re going to start with piano, layer it with strings, add a split with bass, then layer the bass with drums.

1. Press Internal Voices, then turn the Alpha wheel until you see Program 000 Stereo Grand. (Or press Internal Voices then press Group, then press the Left cursor button or turn the Alpha Wheel until you see Piano|1, then press Enter.)

2. Press Layer (in the Performance region—also labeled Zone 2).

3. Turn the Alpha Wheel until you see Program 065 Slow Strings. Now you have piano and strings layered across the entire keyboard.

4. Press Split (Zone 3).

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Layering and Splitting

5. Turn the Alpha Wheel until you see Program 104 Round and Wound. Now you have a bass from the bottom of the keyboard up to G up.

6. Press Split Layer (Zone 4).

7. Turn the Alpha Wheel until you see Program 112 Studio Drums 1+2. That’s it: bass layered with drums in the lower part of the keyboard, and piano layered with strings in the upper part.

How AutoSplit Works

We’ll go through the same procedure again, explaining what’s going on with each step. If you want to follow along, start by pressing Internal Voices to return to Internal Voices mode. Notice the four zone buttons: Zone 1 is active (the LED in the Zone 1 button is green), while Zones 2–4 are muted (amber LEDs).

1. Press Layer (Zone 2). The ﬁrst thing to notice is that you’re in the Setup Editor. That’s because you now have two active zones, and as you know, you can’t have more than one zone in Internal Voices mode (because Internal Voices mode is based on the internal setup, which has only one zone.) Consequently the PC2R automatically switches to the Setup Editor so that it can activate Zone 2. Notice that the LED for Zone 2 is green, conﬁrming that Zone 2 is active.

As soon as you press Layer, Zone 2 becomes active, and whatever program is assigned to Zone 2 gets layered with the piano. Zone 2 is now the current zone, which we know from the information in the top line of the display (whichever zone number you see is the current zone). Incidentally, the word auto means that the AutoSplit feature is on (if it weren’t, none of this would work).

3, and layered piano and strings from A 3

2. Use the Alpha Wheel to select Program 065 Slow Strings. In Step 1 we created the layer by activating Zone 2; now we’ve assigned a program to it.

3. Press Split (Zone 3). The PC2R automatically splits the keyboard at a predetermined point (it’s called the AutoSplit Key, and by default it’s G# 3, although you can change it). Zones 1 and 2 play above the AutoSplit Key. Zone 3 becomes active (and becomes the

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Layering and Splitting

current zone), and whatever program is assigned to Zone 3 plays below the AutoSplit Key.

4. Use the Alpha Wheel to select Program 104 Round and Wound. In Step 3 we created the split by activating Zone 3 below the AutoSplit Key; now we’ve assigned a program to it.

5. Press Split Layer (Zone 4).Zone 4 becomes active (and becomes the current zone), and whatever program is assigned to Zone 4 gets layered with the bass.

6. Use the Alpha Wheel to select Program 112 Studio Drums 1+2. In Step 5 we created the layer by activating Zone 4 and layering it on Zone 3; now we’ve assigned a program to it.

Saving Quick Layers and Splits

With practice, you can use AutoSplit to create layers and splits in seconds, which is a great performance feature. When you come up with something you like, save it for future use.

1. After you’ve made a split or layer, press Store (in the Edit region). The display looks something like this, prompting you to save the setup at the lowest-available ID in the User bank for setups:

Save|setup|129? A01|Setup|129

2. Press Yes . The display shows Setup|NNN|saved! then returns to MIDI Setups mode.

When you save a setup this way, the PC2R turns the AutoSplit feature off for that setup, and sets the low and high notes of each zone. See Muting and Soloing on page 3-21 to learn about how this affects playing setups. If you want, you can edit the setup and turn AutoSplit back on (there’s a good reason to do so, described in The AutoSplit Feature on page 3-23). See Turning AutoSplit On and Off on page 4-31 to learn how.

Changing the AutoSplit Key Without Editing

Every setup can have its own AutoSplit Key. The internal setup also has an AutoSplit Key that determines where the split point goes when you make a setup out of a program by adding a layer or split.

You can change the AutoSplit Key without leaving Internal Voices Mode or MIDI Setups mode (you can’t layer or split in KB3 mode; likewise, you can’t change the AutoSplit Key).

1. Press Zone 3 and Zone 4 simultaneously. The display looks like this (the top line is blank):

AutoSplit|Key:|G#3

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2. Use the Alpha Wheel to change the value (or hold the Enter button and play the note corresponding to the desired split point). You can put it anywhere from C -1 to G 9, but in most cases, you’ll want it somewhere within the normal note range of your MIDI source.

3. Press Zone 3 and Zone 4 simultaneously (or press Cancel) to return to your previous performance mode.

Changing the AutoSplit Key this way is a performance feature only; as soon as you leave your current performance mode, the change is lost. You can save it, however. Read on.

Saving the AutoSplit Key

If you’re in MIDI Setups mode, just save the setup, as described in Saving Quick Layers and Splits above. If you want to save the AutoSplit Key to the internal setup, follow the procedure described in Saving the Internal Setup on page 3-23.

Muting and Soloing

Setups can give you a nice thick sound, with a different program in each of the four setup zones (you can arrange the zones so that they all play in different note ranges, or you can have them all overlap). You can make your setups even more versatile by muting or soloing zones, changing the sound by pressing a single button on the PC2R’s front panel.

In MIDI Setups mode, the four zone buttons select, mute, and unmute the zones in a setup. This differs from turning the zones on and off, which is done with the MIDI Channel parameter in the MIDI Xmit menu.

The Solo button turns on the solo feature, in which case the zone buttons select the corresponding zone for soloing.

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Muting and Soloing

Muting

Soloing

Zones that aren’t playing (either because they’re muted or because another zone is being soloed) are silent on the PC2R, but they still generate MIDI information.

You can mute any or all zones in a setup. Muting one zone has no effect on the other zones. To mute (or unmute) a zone, it must be the current zone (the bottom line of the display shows the number of the current zone, followed by the name of the program assigned to that zone). When a zone is current, each press of its zone button toggles between muting and unmuting. If a zone is not the current zone, press its zone button twice to mute or unmute the zone (the ﬁrst press makes the zone current, then each subsequent press toggles between muting and unmuting).

Not surprisingly, you can solo only one zone at a time, and that’s the only zone you’ll hear, regardless of the status of the other zones. When you press the Solo button, whatever zone was current at the time becomes the soloed zone (the LED in its zone button turns red). Once the Solo button is on, pressing any zone button once solos that zone.

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Muting and Soloing

Zone-Button LEDs

The tri-colored LED in each zone button indicates the zone’s status for the current setup:

Off Empty zone—that is, a zone that has its MIDI Channel parameter set to Off. When a

Red Soloed zone. Only one zone can be soloed at a time. When a zone is soloed, only that

Green Active zone. As long as no other zone is soloed, an active zone responds to note

Amber Muted zone. Muted zones don’t respond to note or controller information, but they

The following table shows how a zone’s status affects the data generated by the zone.

zone’s LED is off (unlit), the zone does not produce sound, even though it has a program assigned to it.

zone plays and generates notes and controller messages. Other zones, if they’re not empty, still generate program changes and entry/exit controller values, but don’t play note or respond to controllers.

information— as well as controller information, program changes, and entry/exit controller values. If another zone is soloed, an active zone is “backgrounded”—its status LED remains green, but it doesn’t respond to note or controller information.

do respond to program changes and entry/exit controller values.

LED Color

Red Soloed Green (no others are red) Active Green (another is red) Backgrounded Amber Muted

(Off) Empty

Zone

Status

Notes Controllers

Program Changes

Entry and

Exit Values

✔✔✔✔ ✔✔✔✔

✔✔ ✔✔

When you’re in MIDI Setups mode, the bottom line in the display indicates the current zone—that is, the one that will be affected by any editing you do to the setup. In the following example, Zone 1 is the current zone, as indicated by the numeral just to the left of the colon:

S002|Unison Line| A02|1:Big Brass|

Press any zone button once to make that zone the current zone. Assuming the zone is active (it’s active if the LED in its zone button is green), pressing its zone button once mutes the zone, turning its LED amber. Press its zone button again to reactivate the zone, turning its LED green.

Press the Solo button to solo the current zone. The LED in the Solo button lights up, and the soloed zone’s LED also turns red. The other zone’s LEDs don’t change color, but if they’re active (green LED), they stop generating note and Controller data, becoming backgrounded.

Data Generated by Zone

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While the Solo button is on, you can press any zone button to solo the corresponding zone. You can solo a zone even if it’s muted. Press the Solo button again to turn its LED off, and any backgrounded zones become active again. Muted zones stay muted.

The AutoSplit Feature

Muting and soloing are slightly different depending on whether the AutoSplit feature is on. When it’s on, a soloed zone expands to cover the entire MIDI note range—it doesn’t matter what the settings are for the AutoSplit key or for the zones low and high notes (key range). Similarly, if you mute both of the zones above the AutoSplit key, the zones below the AutoSplit key expand to cover the entire MIDI note range. And vice versa. This is great for performance situations, because you can use the full range of your MIDI source no matter which zone(s) you’re using.

When AutoSplit is off, soloed zones remain within the limits deﬁned by the setup. Likewise, unmuted zones stay within their limits if you mute both of the zones on the other side of the split point. This silences part of the MIDI note range.

By default, AutoSplit is on in the internal setup, enabling you to make quick layers and splits at any time when you’re in Internal Voices mode (we recommend that you leave it this way). All of the factory setups have AutoSplit turned off, and when you save a quick layer or split, the resulting setup also has AutoSplit turned off. You can turn it back on for any setup, however, as described on page 4-31.

There’s one more thing to remember about AutoSplit. When you make a quick layer or split, you’re in a kind of transition between Internal Voices mode and MIDI Setups mode. You start off in Internal Voices mode, but as soon as you press one of the zone buttons, the MIDI Setups button lights up and the Internal Voices button becomes unlit. As long as you stay in this quicklayer-and-split semi-mode, you can mute and unmute each zone with a single button press; you don’t have to make the zone current ﬁrst. It’s a nice performance feature.

Playing Y our PC2R

Saving the Internal Setup

Once you save your quick layer or split, it becomes a regular setup, with AutoSplit turned off. Even if you turn it back on (to make soloed and unmuted zones expand across the entire MIDI note range), you’re no longer in the special quick-layer-and-split mode when you’re playing the setup—you’re in regular MIDI Setups mode. Consequently, you have to make a zone current before you can mute or unmute it.

Saving the Internal Setup

It’s quite common to start out in Internal Voices mode then make a change that switches you to MIDI Setups mode—for example, when you make a quick layer or split, then change the AutoSplit point. At this point you have three options:

• Select another setup or move to another performance mode, without preserving your changes

• Store the changes in a new setup (or replace an existing one)

• Save the changes to the internal setup

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Playing Y our PC2R

Saving the Internal Setup

Saving to the internal setup is useful when you want the changes you’ve made in the current setup to apply to all the programs you play while in Internal Voices mode (remember, Zone 1 of the internal setup is what sets all the parameters for programs—like note range, controller assignments, etc.).

1. Press Store (in the Edit region of the front panel). The display looks something like this:

2. Press Internal Voices (in the Modes region). The display looks like this:

3. Press Yes . The display brieﬂy shows Internal|setup|saved! then returns to Internal

Save|setup|133? A05|Setup|133

||||||Save|to ||Internal Voices?

Voices mode.

There’s more about editing and saving the internal setup on page 4-32.

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Chapter 4 Programming Y our PC2R

Basic Editing Concepts

So far we’ve explained the PC2R primarily from a performance standpoint, covering the fundamentals of selecting programs and setups, and applying real-time controls and effects. There’s much more to the PC2R, however—you can modify existing programs, setups, and effects in countless ways, or create completely new ones. We call this editing, and there are a few concepts that apply to editing in general, whether you’re working on programs, setups, or effects.

Overview

Editing consists of changing the value of one or more parameters. A parameter deﬁnes one particular component of a program or setup (or the PC2R itself). These parameters are organized into menus—groups of related parameters. There are separate menus for programs, setups, effects, and more. There’s also a set of global parameters affecting the entire PC2R.

For example, in every MIDI setup, each zone has a parameter called MIDI Channel. This parameter’s value determines the channel on which the PC2R transmits (and possibly receives) MIDI information. Every parameter has a default value set at the factory.

Note to PC2 keyboard owners: you’ll notice a few differences in the names and the organization of some of the parameters. We did this to accommodate the differences between the keyboard models and the rack-mount model. If you prefer, you can program your PC2R directly from your PC2. Go to the Global menu (on the PC2, not on the PC2R), and set the value of the Xmit Buttons parameter to On. As long as the MIDI Out port of the PC2 is connected to the MIDI In of the PC2R, this causes the buttons you press on your PC2 to affect your PC2R in the same way. You might want to set the Local Control parameter on your PC2 to a value of Off while you edit your PC2R, so you can hear the PC2R exclusively.

Beginning to Edit

If you want to change the value of any parameter, there are three basic steps:

• Entering an edit mode

• Finding a parameter and changing its value

• Naming and storing (saving)

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Programming Y our PC2R

Basic Editing Concepts

Entering an Edit Mode

There are four buttons that take you into the PC2R’s various edit modes:

Edit Takes you to the ﬁrst menu in the edit mode corresponding to the

FX Takes you to the ﬁrst FX edit menu corresponding to the current mode. MIDI Receive Takes you to the Channel 1 menu in MIDI Receive mode, where you can

Global Takes you to the global three-band EQ, which is actually the ﬁrst “menu” in

You can get to Effects edit mode, MIDI receive mode, or Global mode from any performance mode; just press FX, MIDI Receive, or Global.

To edit programs or setups, you must ﬁrst select the performance mode corresponding to the object you want to edit (select KB3 mode, for example, if you want to edit a KB3 program). When you’ve selected a performance mode, press Edit.

When you press Edit, you go to the ﬁrst menu in the edit mode corresponding to the performance mode you were in when you pressed Edit. You’ll see one of the following displays:

performance mode you were in.

conﬁgure each MIDI channel for program and controller assignments.

Global mode, which contains parameters for overall control of the PC2R.

Internal Voices mode

Sound|Parameters ||||Timbre|||||>

KB3 mode ||KB3|Parameters

||||Timbre|||||>

MIDI Setups mode Zone|Parameters

||||MIDI|Xmit||>

Finding a Parameter and Changing its Value

To navigate through the PC2R’s menus, use the Alpha Wheel or the cursor buttons (the right and left arrow buttons at the bottom left of the Edit region) and the Enter button.

Notice the arrows (>) in the display examples above. They indicate that you can view more menus of parameters by pressing the Right cursor button. The reason you don’t see any left arrows in these examples is that when you enter an edit mode, you’re always at the top menu. As soon as you move away from the top menu, you’ll see a left arrow in the display as well.

1. Once you’ve entered an edit mode, use the Alpha Wheel or the cursor buttons to ﬁnd the menu you want.

2. Press Enter to enter the menu.

3. Use the cursor buttons to view the parameters in the menu. In most cases, there’s just one parameter visible at a time. In that case, when you see the parameter you want to edit, turn the Alpha Wheel left or right to change the value.

4-2

In some cases, you can see more than one parameter at a time (for example, the global three-band EQ is a set of three parameters in Global mode). When there’s more than one parameter visible, use the cursor buttons to move the cursor (the little ﬂashing bar) under the value you want to change. Then turn the Alpha Wheel to change the value.

Programming Y our PC2R

Basic Editing Concepts

Naming and Storing

Storing (saving) is optional, of course. If you don’t want to store any of your changes, press Cancel one or more times to return to the mode you were in before you started editing. Although naming is obviously optional as well, we’ll assume you’re going to name the object you’re editing before storing it.

This procedure describes storing a setup, so it assumes that you’re in MIDI Setups mode. The process is similar for naming and storing other objects.

1. Press Store (in the Functions group of buttons). The display will show either

Save|Setup|NNN? or Replace|Setup|NNN? where NNN is the setup ID.

• If you’re in the Internal bank of setups, the display will show Save|setup|NNN?

where NNN is the ﬁrst available setup ID in the User bank of setups.

• If you’re in the User bank, the display will show Replace|setup|NNN? where NNN

is the ID of the current setup. Use the Alpha Wheel to change the ID if you want to save a new setup instead of replacing the current one.

2. Press the Right cursor button to display

Rename|setup|NNN?

3. Press Yes (Enter). The display shows the name of the current setup, if any. The cursor highlights the character that’s selected for editing.

4. Use the Alpha Wheel to change the character highlighted by the cursor. Use the cursor buttons to move the cursor.

5. When the name looks the way you want it, press Yes . The display again shows either

Save|Setup|NNN? or Replace|Setup|NNN?, depending on where you were when

you started storing.

6. Press Yes (or press No if you don’t want to store the setup after all). The display brieﬂy shows Setup|NNN|saved! then returns to MIDI Setups mode.

Special Characters For Naming Objects

Here are all the characters available for object names, in the order in which they appear:

! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A through Z [ \ ] ^ _ ’ a through z (space)

When you’re naming objects, you can press Zone 1 to switch a letter from upper to lower case, or vice versa. Press Zone 2 to insert a space at the cursor, moving the remaining characters to the right. Press Zone 3 to delete the character at the cursor, moving the remaining characters to the left. Press Zone 4 to move the cursor to the end of the name.

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Basic Editing Concepts

Other Save-Dialog Functions

Restoring Factory Effects

If you’ve changed the effect settings associated with a factory program, you can quickly restore the factory settings. In the Save dialogs for programs (both Internal Voices and KB3) and effects, there are options for restoring the effects for either the current program, or for all programs (both Internal-Voice programs and KB3 programs).

1. Enter the Save dialog by pressing Store. Depending on the edit mode you’re in, you’ll see either a prompt to replace the current effect, or to save or replace the current program (voice).

2. Press the Left cursor button repeatedly until you see either

3. Press Yes to restore, or No to cancel.

If you choose to restore the current effect, the PC2R resets only the current program to its factory effect settings. If you choose to restore all effects, the PC2R resets all programs (both InternalVoice programs and KB3 programs) to their factory effect settings.

Deleting Objects

You can delete user-deﬁned Internal-Voice programs, KB3 programs, setups, or effects by entering the Save dialog for the Program Editor, KB3 Editor, or Setup Editor—or in the Save dialog for Effects edit mode.

When you enter the Save dialog, you’ll see a prompt asking you whether you want to save or replace an object (the object type depends on which edit mode you’re in). The prompt for dumping the object is at another location in the dialog, as you’ll see.

1. Enter the Save dialog by pressing Store. Depending on the edit mode you’re in, you’ll see either a prompt to replace the current effect, or to save or replace the current program (voice) or setup.

2. Press the Right cursor button repeatedly until you see a prompt asking you to delete the object.

3. Press Yes . The display will show another prompt asking you if you’re sure.

4. Press Yes again. The display will show Deleted! brieﬂy, then return to the performance mode you were in before entering the edit mode. You’ll also see --Not|Found-- in the display, indicating that the object is gone.

At any of these prompts, you can press No to cancel the operation.

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Programming Y our PC2R

Basic Editing Concepts

Dumping Objects

If you’ve created a lot of programs, setups, and effects settings, you may want to store them externally, using a MIDI System Exclusive (SysEx) dump). This has several beneﬁts: you can load the objects into other instruments that accept SysEx; you can preserve them in a more permanent backup archive (in case anything happens to the PC2R’s battery-backed memory), and you can create libraries of objects customized for particular performance or recording situation.

You can dump objects to any MIDI recording device that accepts SysEx messages; most MIDI sequencers manufactured today accept SysEx. A SysEx dump can consist of a single object of any type, or all objects of a given type—it can also include all user-deﬁned objects. You can initiate most of these dumps from the Save dialogs of the Program, Setup, KB3 Editors, or the save dialog in Effects edit mode. Each object you dump is a separate SysEx message.

When you enter one of these dialogs, the ﬁrst thing you see is a prompt asking you whether you want to save or replace an object (the object type depends on which edit mode you’re in). The prompt for dumping the object is at another location in the dialog, as you’ll see.

You should prepare your MIDI recording device before initiating the dump. For example, if you’re dumping to a sequencer application, open the ﬁle to which you want to dump, and get the application ready to record. Make sure you have a MIDI cable connected from the MIDI Out port of the PC2R to the MIDI In port of the recording device. Don’t start recording just yet, however.

2. Press the Right cursor button repeatedly until you see a prompt asking you if you want to dump a single object, or to dump all objects of the current type (the current type is determined by the performance mode you were in when you entered the edit mode).

3. Start recording with the MIDI recording device, then press Yes on the PC2R’s front panel.

4. The PC2R dumps the object or objects to the MIDI recording device as a normal ﬁle. The display indicates when the dump is ﬁnished.

Reloading a Dump

1. Connect a MIDI cable from the MIDI Out port of the external device to the PC2R’s MIDI In port.

2. Initiate the dump or playback of the object ﬁle from your external device.

You don’t have to put the PC2R in any special mode to receive the dump. When a dump is sent back to the PC2R, the information goes to the memory location for the corresponding object types.

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Programming Y our PC2R

Basic Editing Concepts

Note: Reloading a dump does not update the edit buffer. Consequently you won’t have access to the objects until you select them in one of the performance modes. For example, suppose you recently dumped an object (we’ll assume it’s Setup 129), but by coincidence you were editing Setup 129 just before you reloaded it. You might expect to be able to play and edit the reloaded version as soon as you’ve ﬁnished reloading, but in fact, you would be playing the copy of the setup that’s in the edit buffer. To play the reloaded setup, return to MIDI Setups mode (without replacing Setup 129—save to a different ID if you really want to save what’s in the edit buffer) and select Setup 129. Only then will you be able to play the reloaded version.

If you plan to make frequent use of SysEx dumps, you should run at least one test cycle of dumping and reloading before you put a lot of effort into editing. You don’t want any surprises, for example, when you have to dump your entire memory to protect it because your PC2R’s battery is running low.

For example, you might dump a setup, then make a simple change to the version on your PC2R (like renaming it). Reload it, then select it, and check whether the name has reverted to its original. If it hasn’t, you haven’t reloaded successfully.

Turn to page 4-11 for more information about SysEx dumps.

Editing Short Cuts: Intuitive Entry

If you do a lot of editing, you’ll spend a fair amount of time ﬁnding parameters and changing values. The PC2R has quite a few parameters, and many of those parameters have long lists of values. Intuitive entry can help speed up the editing process in several ways.

Short Cuts for Navigating the Controllers Menu

The Controllers menu contains over a hundred parameters. Scrolling through them one by one can be time-consuming, so we’ve made it easier to get around.

Parallel Parameter Selection

Every physical controller shares a common set of basic parameters, organized into groups—the same (or nearly the same) group of parameters for each controller. Suppose you’re setting the Ctrl Num parameters for Knobs A–D in the current zone of the setup you’re editing. You don’t have to scroll through all the Knob A parameters to get to the Ctrl Num parameter for Knob B. Just press both cursor buttons together, and you’ll jump directly to the Ctrl Num parameter for Knob B.

This works for any parameter in the Controllers menu; press the cursor buttons at the same time, and you jump to the corresponding parameter for the next controller in the menu. You can’t jump backward in the menu, but you can always press the Menu button to return to the Controllers menu.

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Basic Editing Concepts

Instant Parameter Selection

This technique works for all physical controllers, including mono pressure.

1. Go to MIDI Setups mode if you aren’t already there, and press Edit.

2. Press and hold Global.

3. On your MIDI source, move any controller or strike a key and press it as if you were applying aftertouch—or move one of the controller knobs on the PC2R. This selects the Ctrl Num parameter for the corresponding controller.

Short Cuts for Changing Parameter Values

You can use any continuous physical controller (sliders, wheels, pedals, ribbons, or pressure on your MIDI source, or Knobs A–D on the PC2R) to change the value of the current parameter very quickly. You can also use the keyboard in some cases. Here are three quick examples.

Transposing Setup Zones

1. Go to MIDI Setups mode if you aren’t already there, and press Edit.

2. Find the Transpose menu (it’s fourth in the list). Press Enter.

3. Press Enter again, and hold it down. Then play a note from your MIDI source. The distance of that note from C 4 (Middle C) sets the number of semitones of transposition. For example, if you played E 4, you’d transpose the current zone up a third (four semitones).

Setting the Key Range of a Setup Zone

1. Go to MIDI Setups mode if you aren’t already there, and press Edit.

2. Find the Key Range menu (it’s third in the list). Press Enter.

3. Press and hold Enter, then play a note from your MIDI source. This sets the low key, since the Low parameter becomes current when you press Enter.

4. Select the Hi parameter.

5. Press and hold Enter, then play another note, which sets the high key.

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Programming Y our PC2R

Basic Editing Concepts

Negotiating Long Lists of Values

When a parameter has a long list of values, using a continuous controller to change the value can be faster than using the Alpha Wheel.

This is especially useful within the Controllers menu in the Setup Editor, since for each controller there are well over a hundred available values. The following example changes the value of the Ctrl Num parameter.

1. Go to MIDI Setups mode if you aren’t already there, and press Edit.

2. Hold Global, and move a controller on your MIDI source. You should see the Ctrl Num

3. Press and hold Enter, and move one of the continuous controllers on your MIDI source

This technique is convenient for moving quickly from one end of the list to the other. You can then release the Enter button and use the Alpha Wheel to scroll through the list more precisely.

parameter for the corresponding controller parameter. If you don’t see this, try using another controller on your MIDI source (the Pitch Wheel will probably work).

(this is the intuitive entry part of the procedure). You’ll see the value of the Ctrl Num parameter change.

Other Editing Functions

Comparing

Any time you make a change while editing an object, you can easily compare it to the original object, which is extremely useful for determining whether you want to keep the change.

1. Enter an edit mode, and change the value of a parameter.

2. Press Compare. The PC2R restores the previous value of the parameter. To remind you that you’re listening to the unedited value, the Compare button blinks, and the top line of the display shows Comp.

3. Press Compare again, and PC2R restores your edited value.

The Compare function undoes all the changes you’ve made since entering the edit mode. Here’s an example.

1. In Internal Voices mode, select a program with a crisp attack and a short release. Program 040 Clav Classic works well for this example.

2. Press Edit to enter the Program Editor.

3. Press the Right cursor button until you see the Envelope menu. Press Enter.

4-8

4. Change the value of the Attack parameter to its minimum (crank the Alpha Wheel to the left a few turns). Now you have to hold a key down for the note to reach its full amplitude.

5. Press Compare. The display shows the previous value, and you hear the quick attack.

6. Press Compare again. The slow attack returns.

Programming Y our PC2R

Basic Editing Concepts

7. Press the Right cursor button twice to display the Release parameter.

8. Change the value to its minimum. Now both the attack and the release are slow.

9. Press Compare. Both the slow attack and the slow release are gone.

10. Press Compare again, and the slow attack and release both return.

Copying and Pasting

You can copy setup parameters (zones), controller parameters, and arpeggiator parameters into a buffer, then paste them into other controllers, zones, programs, or setups. You can also copy effects and their parameter settings, and paste them into other programs or setups. Pasting effects does not paste the wet/dry mix values, just the parameter settings.

Pasting Parameters Into a Zone

1. Select the setup whose parameters you want to copy. If you’ve already entered the Setup Editor, make sure you haven’t selected any of the parameters in the Controllers menu (if you are in the Controllers menu, you’ll copy just the controllers and not the entire zone’s parameters).

2. Press Copy.

3. Press the zone button for the zone you want to copy.

4. Press Enter.

5. Press the Right cursor button to display the Paste prompt.

6. Press the zone button for the zone you want to paste into.

7. Press Enter.

Pasting a Zone Into a Different Setup

1. Select the setup containing the zone that you want to copy. If you’ve already entered the Setup Editor, make sure you are haven’t selected any of the parameters in the Controllers menu.

2. Press Copy.

3. Press the zone button for the zone you want to copy.

4. Press Enter.

5. Press the MIDI Setups button.

6. Select the setup that you want to paste into.

7. Press Copy.

8. Press the Right cursor button to display the Paste prompt.

9. Press the zone button for the zone you want to paste into.

10. Press Enter.

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Basic Editing Concepts

Pasting Controller Parameters

1. In MIDI Setups mode, select the setup containing the controller settings that you want to

2. If necessary, press one of the zone buttons to make sure that you’re copying the controller

3. Press Edit to enter the Setup Editor.

4. Make sure the Shift LED is green. Press it one or more times if necessary.

5. Press and hold the Global button, and turn Knob A. This quickly selects the

6. Press Copy, then Yes. The display informs you that the PC2R has copied the controller

7. You have several options for pasting the copied data. Depending on what you want to do,

copy.

settings for the right zone.

Green Knob A parameter in the Controllers menu.

settings, then returns to the Copy prompt.

take one of the following steps:

• To paste the data to the same controller in a different zone, press the appropriate zone

button, then press the Right cursor button to get to the Paste parameter, then press Enter. The display indicates that the controllers have been pasted, then the Paste prompt reappears.

• To paste the data to a different controller in the same zone, press No to remove the

Copy prompt. Then select a parameter for the controller to which you want to past the settings (say, Green Knob B). Press Copy (to display the copy prompt), then the Right cursor button (to display the Paste prompt), then Yes . The display indicates that the controllers have been pasted, then the Paste prompt reappears.

• To paste the data to a different controller in a different zone, press No to remove the

Copy prompt. Then press a zone button to select a zone. Use the cursor buttons to select one of the parameters for the controller you want to paste to. Press Copy, then the Right cursor button, then Yes . The display indicates that the controllers have been pasted, then the Paste prompt reappears.

• To paste the data into a different setup, press No to remove the Copy prompt. Press

the MIDI Setups button, then select the setup you want to paste into. Press Edit to enter the Setup Editor, then press the Right cursor button until you see the Controllers menu. Press Enter. Press a zone button if necessary, to select a zone to paste to. Use the cursor buttons to select a controller to paste to. Press Copy, then the Right cursor button, then Yes.

Keep in mind that you can copy and paste only into similar controllers; the parameters for a switch controller can go only to another switch controller, and those for a continuous controller can go only to another continuous controller.

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Basic Editing Concepts

Pasting Arpeggiator Parameters

1. Select the setup containing the arpeggiator data that you want to copy. Press the Arpeggiator button.

2. Press Copy, then Enter.

3. Press the MIDI Setups button. Select the setup that you want to paste into. Press the Arpeggiator button.

4. Press the Copy button. Press the Right cursor button, then Enter.

You should be aware that this will copy only the parameters in the Arpeggiator menu. It won’t copy any controllers assigned to arpeggiator functions like Arp Latch or Arp Switch.

Pasting Effects

1. In Internal Voices mode, KB3 mode, or MIDI Setups mode, select the program or setup that uses the effect you want to copy.

2. Press FX, select the FXA Select or FXB Select menu, then press Enter. You’ll see the ID and name of the effect assigned to that effects block.

3. Press Copy, and the display shows

4. Press Yes . The display brieﬂy shows that the effect has been copied, then returns to the

Copy|effects? prompt.

5. Press No three times to return to your previous performance mode. Select a different performance mode if desired, then select the program or setup into which you want to paste the effect.

6. Press FX, select the FXA Select or FXB Select menu, then press Enter. You’ll see the ID and name of the effect assigned to that effects block.

7. Press Copy, then press the Right cursor button. The display shows Paste|effects?

8. Press Yes . The display brieﬂy shows that the effect has been pasted, then returns to the

Paste|effects? prompt.

9. Press Store, and you’ll see one of several prompts, depending on your performance mode, and whether you pasted the effect to a factory program or setup or a user-deﬁned program or setup. See Saving Effects on page 4-29 to learn about your options for saving.

More About SysEx Dumps

SysEx IDs

If all you’re doing is dumping objects from your PC2R to a sequencer and loading them back, you won’t have to worry about the PC2R’s SysEx ID. Just make sure that you don’t change it after dumping objects, because you won’t be able to reload them if the PC2R’s SysEx ID is different from the one contained in the incoming messages.

Copy|effects?

The SysEx ID for the PC2R is deﬁned by the Device ID parameter in the Global menu.

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Programming Y our PC2R

The Program Editor

Dumping the Entire Memory

1. Make sure that you have a MIDI connection from the PC2R’s MIDI Out port to the MIDI In port of your external device.

2. Press the Global button, then press the Right cursor button until you see

Dump|all|Objects?

3. Start recording on your external device, and press Enter on the PC2R. The LED in the MIDI Xmit button blinks and the display shows you the object being dumped. The PC2R

shows which objects it’s dumping, then returns to the dump|all|objects? prompt when ﬁnished.

A note for K2000/K2500/K2600 owners: The sequencer in the K2000/K2500 has a 64K maximum for each song. A dump of the entire PC2R memory is larger than 64k, so you can’t use this method to load objects into a K2000, K2500, or K2600. Instead you must dump individual objects. If you need to dump all your PC2R objects, you can dump them into several different songs.

The Program Editor

If you press Edit while in Internal Voices mode, you enter the Program Editor, where you can make changes to a wide variety of parameters that affect individual programs.

Program Structure

A program consists of one or more sounds and other characteristics, as deﬁned by the program’s parameters. Each program contains from one to four layers, each of which can have a different sound, and its own complete set of sound parameters.

Bear in mind that these aren’t the same type of layers that you create when you use the AutoSplit feature. Those layers are actually zones in a setup, as described on page 3-19. The layers in a program simply deﬁne the nature of the program’s sound. When you’re editing a program, you can’t add or delete layers, but you can modify the existing layers using any of the sound parameters.

Program Editing Basics

You’ll remember from Basic Editing Concepts on page 4-1 that the general procedure for editing involves three steps: entering an edit mode (in this case the Program Editor), ﬁnding a parameter then changing its value, and storing your changes—either replacing the current program, or creating a new one, renaming it as well if desired.

Let’s take a quick tour of one of the program-editing menus, to familiarize you with the fundamentals of the Program Editor. Start by calling up Program 000 Stereo Grand.

Entering the Program Editor

Press Edit to enter the Program Editor. For our get-acquainted tour, we’ll look at the Timbre menu, which is the menu that appears when you enter the Program Editor. Press Enter, and the display looks like this:

4-12

Lyr:1||LP|Filt[1] Freq:|F#5|740Hz

Programming Y our PC2R

The Program Editor

The Timbre menu contains parameters that affect the nature of the sound in the current program. The parameter you see now controls the cutoff frequency of a lowpass ﬁlter, one of the two DSP (digital signal-processing) functions contained in each program. You can’t change which DSP functions are associated with a program, but you can change the values for the existing functions.

By the way, you might think the display says E#, not F#. Actually, what you see is the cursor under the F. Turn the Alpha Wheel a couple of clicks to the left, and you’ll see the cursor under the value.

The Current Layer

Notice the zone buttons. In the Program Editor; they represent the layers of the current program. When you enter the Program Editor, all the existing layers in a program are active (green LEDs), so you can see that Program 000 has three layers. Unlit LEDs indicate nonexistent layers.

Pressing a zone button makes the corresponding layer the current layer—that is, the one available for editing. The display shows the number of the current layer. The current layer is the only one you can edit; to edit another layer, make it the current layer.

Now let’s navigate through the Timbre menu. Press the Left cursor button repeatedly until the display stops changing. The display should look like this:

Lyr:1||Keymap|L|>> 5|Piano|mp|Left

Keymaps

This shows you the keymap for the current layer. Every layer has a keymap assigned to it (two keymaps if the program uses stereo keymaps). The keymap is the most basic component of a program; it determines (among other things) which samples or waveforms the program plays. Change the keymap, and you have a different sound. If you wanted to make the current program an organ, for example, you’d change all the keymaps to organ keymaps.

Program 000 uses stereo keymaps, so in each layer there are separate keymaps for the left and right sides. Press the Right cursor button, and you’ll see the keymap for the right side. Most of the PC2R’s programs use mono keymaps, which means that only one of the keymap parameters is active. If you look at the keymap parameters for a mono-sample program (like any of the electric pianos) you’ll see parentheses around one of the parameter names. That’s the inactive keymap; you can’t change its value.

Program 000 is also a multi-velocity program; each layer represents a different keystrike velocity. Note that layer 1 is the soft-strike (mp). Press Zone 2, then Zone 3, and you’ll see that Layer 2 is medium (mf), and Layer 3 is hard (f). Let’s listen to each layer separately.

Muting and Soloing Layers

Press the Solo button, and you’re soloing the current layer (notice that its layer LED turns red, and an asterisk appears in the display next to the layer number). Press Zone 3 (if its LED isn’t already red) to solo Layer 3. Now play a key softly; you should hear nothing. Keep playing louder, and eventually you’ll hear the notes.

Press Solo again to deactivate soloing. Press Zone 2 twice. The ﬁrst time you press it, Layer 2 becomes the current layer. The second time you press it, you mute Layer 2 (its LED turns amber). Now start playing softly, and gradually play harder. You’ll hear notes at ﬁrst, then

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Programming Y our PC2R

The Program Editor

they’ll drop out as your playing triggers muted layer, then you’ll hear notes again as you trigger the loud layer.

Exiting the Program Editor

There are several ways to get out:

• Press Cancel/No one or more times.

• Press Store to begin the Save dialog; when you’ve ﬁnished saving, the PC2R returns to Internal Voices mode.

• Select a performance mode by pressing a mode-selection button.

The Internal Setup

The three performance modes are quite different from a musician’s viewpoint. The most noticeable difference is the way the liquid-crystal display (LCD) looks in each mode, as you’ll learn on page 3-5.

Behind the scenes, however, the performance modes aren’t as different as they seem. In fact, they have quite a bit in common. For example, consider the Pitch Wheel, which you’ll ﬁnd on most MIDI keyboard controllers. Push it up and you bend notes up; pull it down and you bend notes down. This works in all three of the PC2R’s performance modes.

Your MIDI source’s Pitch Wheel (as well as other physical controllers) does what it does because the PC2R is programmed that way—but you could program it for other functions if you wanted. In a setup, your MIDI source’s Pitch Wheel can do something different in each zone—and that’s true for all the assignable physical controllers on your MIDI source (Mod Wheel, sliders, pedals, etc.)—as well as the knobs on the PC2R’s front panel.

In a program (Internal Voices mode, KB3 mode, or MIDI Receive mode), things are different. From the viewpoint of you the musician, programs don’t have zones, so each physical controller on your MIDI source can do only one thing, but it’s up to you to decide what each physical controller does. That information gets stored in the internal setup, which has only one zone, but is otherwise exactly like a setup in MIDI Setups mode.

Every program in Internal Voices mode uses the internal setup to determine how the PC2R responds to your MIDI source’s physical controllers (or its own knobs)—and many other characteristics. Programs in KB3 mode also use the internal setup (although in KB3 mode some responses to physical controllers vary from those of the internal setup).

See page 4-32 to learn about editing the internal setup.

Beyond the Basics

Now that you’ve had an introduction to program editing, it’s time to experiment. If you’re interested in a particular editing task, there’s a good chance you’ll ﬁnd it in Common Editing Tasks on page 4-31. To learn about the speciﬁcs of each parameter, see Program Editor Parameters on page 5-1.

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The KB3 Editor

In the KB3 Editor, you have access to the parameters that affect the sound of the current KB3 program. These parameters are described beginning on page 5-6. KB3 parameters are different from Internal Voices parameters, but otherwise, editing KB3 programs is much like editing Internal Voices programs.

KB3 Program Structure

KB3 programs are signiﬁcantly different from the programs in Internal Voices mode. Instead of sample playback and waveform synthesis, KB3 programs use oscillators to emulate the tone wheel sound of the Classic Hammond™ B-3 organ. The oscillators start running as soon as you select a KB3 program, so there are always voices available—there’s no note stealing, which occurs in Internal-Voices programs when you exceed the polyphony limit.

Because of their unique structure, KB3 programs don’t have multiple layers. They’re effectively a single layer with unlimited polyphony (although if you’re using a KB3 program in a setup, the KB3 program reduces the polyphony available for the other programs in the setup). You’ll also notice that the program IDs for the factory KB3 programs are organized in increments of eight. This is simply to make it convenient to select KB3 programs with the front-panel buttons of the PC2 keyboard model.

Programming Y our PC2R

The KB3 Editor

Editing the Percussion Parameters

When editing the percussion parameters, you must have percussion enabled in order to hear the effects of your edits. Similarly, the combination of percussion effects you want to edit must be active as well. For example, if you want to hear the effect of editing the Perc Ld/Fast parameter, you have to have both the high-volume and fast-decay effects activated.

The zone buttons control which of the effects are active. The Zone 1, Zone 2, and Zone 3 buttons control the combination of Loud/Soft (Volume) and Fast/Slow (Decay) parameters. The Pitch parameters—activated by the Zone 4 button—are independent of the others, but being able to hear edits to the Low Harm and High Harm parameters depends on having the low-pitch or high-pitch effects activated. The following table illustrates how the Loud/Soft and Fast/Slow parameters interact—that is, which effects must be active in order for you to hear the differences resulting from editing the corresponding parameters.

Zone 1

Status

Off Irrelevant Irrelevant None (all percussion effects off)

Zone 2 Status

(V olume)

Off Off Sft/Slow Off On Sft/Fast On Off Ld/Slow On On Ld/Fast

Zone 3 Status

(Decay)

Corresponding Parameter

Group

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Programming Y our PC2R

The Setup Editor

The Setup Editor lets you make changes to setups, then store the modiﬁed setups in the User setup bank. The PC2R comes from the factory with 36 setups, all in the Internal bank. The User bank is empty, so the ﬁrst time you go into the Setup Editor, you’ll be editing one of the setups in the Internal setup bank. The PC2R won’t let you store setups in the Internal bank, but you can store them anywhere in the User bank, either replacing the setup you started with, or assigning it a different setup ID.

In this section, we’ll use a number of practical examples to help you learn your way around the Setup Editor. All the setup editing you’ll do involves these basic steps:

• Selecting a setup

• Entering the Setup Editor

• Changing the values of one or more parameters

• Storing (saving) the setup

You should already know how to select a setup. If not, see Selecting Programs and Setups on page 3-13. you should also be familiar with the three basic steps of editing: navigation, data entry, and storing. See Basic Editing Concepts on page 4-1 if you need to refresh your memory.

Setup Structure

A setup is a combination of up to four programs, each of which can use a different MIDI channel. Setups are structured in four zones; each zone has an independent set of parameters, including program, MIDI channel, controller assignments, and more. Even if your MIDI source can transmit on only one channel, you can make use of the four zones in a setup; the PC2R can remap incoming MIDI information to each of the channel in a setup, so you can play all four programs from one stream of MIDI information.

Before we begin with the details of setup editing, we’ll mention ﬁve important setups that can help you keep track of your editing efforts.

Special Setups

Naturally you can edit any setup you want, changing values for any of the dozens of available parameters. Here’s something to consider, however: the factory setups often have complex interactions between several parameters. Changing the value of one parameter can have a greater impact than you anticipated. Consequently, we’ve made it easy for you to keep things simple.

In the Internal setup bank are ﬁve template setups: 016 KB3 Setup, 125 PC2R Control, 126 Internal Voices, 127 Clear Setup, and 128 Default Setup. They’re included to make it easier for you to get started editing setups.

016 KB3 Setup

You might want to create a setup that includes a KB3 program as well as V.A.S.T programs. This setup is a good template that combines a KB3 program with a bass and a ride cymbal. The setup is designed to give you easy control over the drawbar settings for the KB3 program. Here’s how it works.

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When you select this setup, Zone 1 is soloed (the Solo LED is on, and the Zone 1 LED is red).Green Knobs A–D control the settings for Drawbars 1–4. When they’re adjusted the way

Programming Y our PC2R

The Setup Editor

you want them, press Zone 2. You’ll hear the same organ, because Zone 2 uses the same program. Now, however, Green Knobs A–D control Drawbars 5–8. Red Knob B (or the Mod Wheel on your MIDI source or any controller that sends MIDI 1) always controls Drawbar 9.

When all the drawbars are set the way you want them, press Solo to exit from solo mode, and you’ll hear the bass and ride cymbal. At this point, both Zone 1 and Zone 2 are muted (their LEDs are amber). Press either Zone 1 or Zone 2, one or more times until its LED turns green, activating the zone. Now the organ plays in the upper range, and the bass/ride plays in the lower range. You can still use Green Knobs A–D to control the drawbars (Drawbars 1–4 when Zone 1 is active, and Drawbars 5–8 when Zone 2 is active). If you activate both zones, Green Knobs A–D control the drawbars in pairs (Green Knob A controls Drawbars 1 and 5, and so on).

125 PC2R Control

Setup 125 has many of its controller parameters set for optimum control of the PC2R. If you’re using a PC2 keyboard to control a PC2R, pasting this setup into one or more zones in your PC2 setups will make it easier to control your PC2R. In this case, make sure that the PC2R has its MIDI In parameter (in the Global menu) set to a value of Auto (or Remap if you’re using MIDI Receive mode).

126 Internal Voices

Setup 126 is a generic setup with controller assignments in Zone 1 that match the factory default settings for the internal setup. It’s convenient for restoring the default controller assignments to the internal setup. To do this, select Setup 126, press Edit to go into the Setup Editor, press Store, then press Internal Voices, then press Yes .

127 Clear Setup

Setup 127 is completely “blank”—that is, it has no controller assignments whatsoever.

128 Default Setup

Setup 128 has a handful of typical controller assignments (Pitch Bend, for example).

As you learn to edit setups, you’re likely to ﬁnd it easier to keep track of things if you start with one of these setups and make a few changes at a time. As you learn what kinds of features you like in your setups, you can store them in the User bank, and use them as templates for further editing.

In any case, the examples we provide in this section begin with Setup 128, and build from there. In each example, we’ll refer to the setups we create using the names we suggest in the examples.

Entering the Setup Editor

1. Press the MIDI Setups button to enter MIDI Setups mode.

2. Select the setup you want to edit.

3. Press Edit. This takes you to the Zone parameters menu, the ﬁrst of the twelve menus in the Setup Editor.

4. Use the cursor buttons to view the menus. When you see the menu you want, press Enter to view the parameters in the menu.

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Programming Y our PC2R

The Setup Editor

Creating Setups

If you’ve read Layering and Splitting on page 3-18, you know how to create layered setups using the AutoSplit feature. Doing it this way, however, adds a lot of other features to the resulting setup, and you may not want that. Sometimes it’s better to start from scratch.

1. Start by selecting Setup 128. (Don’t press Edit yet.)

2. Press each of the Zone 1 through Zone 4 buttons once (notice the zone numbers labeled in

3. Press Edit, which displays the MIDI Xmit menu.

4. Press Enter, which displays the ﬁrst parameter (MIDI Channel) in the MIDI Xmit menu.

5. Press the Zone 3 button. The display looks like this:

blue above the buttons). As you press each button, notice how the bottom line of the display shows you the corresponding zone number.

You’ll also notice that every zone already has a program assigned to it. That’s ﬁne, because you can always mute zones (or turn then off) if you don’t want to hear them. In fact, all the zones are muted now (their zone buttons are amber). You muted Zone 1 when you pressed its button, because it was the current zone. Let’s shut two of the zones off, to make the setup as simple as possible.

Zone:3-||||||||0:105 MIDI|Channel:|03

The top line indicates the current zone, as well as the current bank and program ID. Notice the minus sign after the zone number, indicating that the zone is muted.

6. Turn the Alpha Wheel to the left until you see Off in the bottom line of the display. Notice that the Zone 3 button is now unlit, indicating that the zone is off.

7. Repeat Steps 5 and 6 for Zone 4. You now have a two-zone setup (the setup still has four zones, but two of them are completely inactive).

8. Press the Zone 1 button to make Zone 1 the current zone. Press it again to unmute the zone, if necessary. The Zone 1 LED should be green.

9. Press Menu to return to the list of menus.

10. Press the Right cursor button to view the Program menu, and press Enter to view the Program ID and name parameter. This is one of the rare cases in which you don’t see the name of the parameter, just its value.

You should see 000 Stereo Grand on the bottom line of the display. If you don’t, select it now.

11. Press the Zone 2 button to make Zone 2 the current zone. Press it again to unmute it, if necessary. The Zone 2 LED should be green.

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12. Select the program 064 Lyrical Strings.

Programming Y our PC2R

The Setup Editor

13. Press Store to display the Save dialog:

Save|Setup|129? A01|Default|Setup

Notice that the PC2R suggests a setup ID of 129, which is the ﬁrst unused setup ID in the User bank. We’ll use that ID, but we’ll rename the setup before storing it.

14. Press the Right cursor button; the display prompts you to rename the setup. Press Yes .

15. Press Zone 3 repeatedly until you’ve erased the entire name. (This is optional; you can also write over each existing character in turn, if you prefer. You can also press Zone 1 to switch a letter from upper to lower case and back. Press Zone 2 to insert a space at the cursor and move the remaining characters to the right, or press Zone 4 to move the cursor to the end of the name.)

16. Enter a name that you can remember, because we’ll refer to it in later examples. Use the Alpha Wheel and the cursor buttons to insert characters and move the cursor. We’ll call this setup Piano&Strings. Refer to Naming and Storing on page 4-3 if you need a reminder about naming objects.

17. When you’ve entered the name, press Yes. The Save prompt returns. Press Yes again to save the setup. The display tells you that the setup is saved, the returns you to MIDI Setups mode.

Setting Initial Volume Levels for Different Zones

Suppose you want the program in one zone of a setup to be at a lower volume than the others. We’ll edit our two-zone setup to lower the volume of the strings.

1. Start with Setup 129 Piano&Strings, which we created in the previous example.

2. Press Edit, then press the Right cursor button until you see the Controllers menu. Press Enter. The display probably looks like this:

Zone:2|||||||||0:064 Entry|Volume:|127

Notice that the cursor is under the “1” in “127,” indicating that this is the current parameter. (In this case, it doesn’t really matter, since there’s only one parameter visible. Sometimes, however, there’s more than one parameter visible, in which case you can use the cursor buttons to move the cursor under the parameter you want to edit.)

3. Using the Alpha Wheel, change the value to 75.

4. Play a few notes. If you don’t hear a difference in the volume, press Compare and play some more. Press Compare again to stop its LED from blinking.

5. Press Store to display the Save dialog. Notice that the display prompts you to replace Setup 129. We don’t want to do this.

6. Turn the Alpha Wheel one click to the right; the display prompts you to save Setup 130.

7. Rename the setup as EntryVol, and save it at ID 130.

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Programming Y our PC2R

The Setup Editor

Assigning Knobs to Control Wet/Dry Mix in Different Zones

Many of the factory programs use Green Knobs A and B to control the wet/dry mix of the effects assigned to FX-A and FX-B. The setups in these examples don’t use either of these knobs.

Our next example creates a setup that uses Green Knob A to control FX-A’s wet/dry mix (but only in Zone 1), and Green Knob B to control FX-B’s wet/dry mix (but only in Zone 2). By using variations on this procedure, you can make a single knob control different functions in each zone of a setup, or use different knobs to control the same function in different zones.

1. Start with Setup 130 EntryVol, which we created in the previous example.

2. If necessary, press the Zone 1 button to make Zone 1 current.

3. Press Edit.

4. Press Shift one or more times, if necessary, to make the Shift LED green.

5. Hold the Global button, and turn Knob A. You’ll see the Ctrl Num parameter for Green Knob A. Its default value is None.

6. Turn the Alpha Wheel to the right until the value is 93 FXAWet.

7. Press the Zone 2 button to make Zone 2 the current zone. Press the button again to unmute the zone, if necessary. Notice that Ctrl Num is still the current parameter, but now you’re looking at the Ctrl Num parameter for Zone 2.

8. Hold the Global button, and turn Knob B. Change the value of the Ctrl Num parameter to 91 FXBWet.

9. Save the setup as 131 KnobFX.

Now when the Shift button’s LED is green, Knobs A and B control the wet/dry mix of whatever effects are assigned to FX-A and FX-B. Turning these knobs won’t necessarily change anything, however. In order for them both to have an effect, the setup must route some or all of its audio signal through both effects blocks. So let’s check the effects routing.

The easiest way to check the effects routing is to look at the LED in the FX button while you’re in MIDI Setups mode, which is where we are now. The color of the LED indicates the effects routing of the current zone. If you press each of the zone buttons in turn, you’ll see that the FX button’s LED is red for Zones 1 and 2, and green for Zones 3 and 4 (Zones 3 and 4 are off, but they still have effects routings). This means that Zones 1 and 2 are routed through FX-B only, and Zones 3 and 4 are routed through FX-A only. (Off is None, green is FX-A, red is FX-B, and amber is Both. Each zone can be routed independently.)

Let’s change the effects routing so that Zone 1 is routed through FX-A.

1. Select Setup 131, and make sure that Zone A is the current zone.

2. Enter the Setup Editor. Press the Right cursor button until you see the FX Routing menu.

3. Press Enter to display the Routing parameter.

4. Change the value to FXA. Notice that the FX LED changes to green.

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5. Play some notes on your MIDI source, and move Knobs A and B. You should hear the level of the effects (a chorus controlled by Knob A and a reverb controlled by Knob B) change as you move the knobs.

6. Save the setup, replacing Setup 131.

Assigning Entry Values

Suppose you have a setup with an effect whose wet/dry mix is controlled by a knob on your PC2R. You want to make sure it’s active when you start playing the setup. Entry values are a convenient way to specify initial settings for any controller. We’ll edit KnobFX, and set an entry level for Knob A in Zone 1 so that the wet/dry mix of the reverb is at about 75% as soon as we select the setup.

1. Start with Setup 131 KnobFX. Make Zone 1 active, if it isn’t already.

2. Press Edit.

3. Press Shift one or more times, if necessary, to make the Shift LED green.

4. Hold the Global button, and turn Knob A. You’ll see the Ctrl Num parameter for Green Knob A.

5. Press the Right cursor button until you see the Entry Value parameter in the bottom line of the display. Use the Alpha Wheel to change its value to 85 (about 3/4 of the full range of 0–127).

6. Save the setup as 132 EntryFX.

Programming Y our PC2R

The Setup Editor

A Few Important Points About Entry Values

Crossing the Entry Value

Suppose that Knob A happens to be all the way to the right when you select Setup 132. Wet/dry mix is now at 85 on Channel 1. Now you want to use the Knob A to fade the chorus out. If you move the knob, you don’t want it to suddenly jump to the current value; since the knob is all the way up (sending a MIDI Controller message with a value of 127), it would jump to 126 the moment you moved the knob down, and the chorus would suddenly get much wetter.

To avoid this problem, the PC2R is designed so that once you set an entry value for a physical controller, it won’t become active until you pass the point of the entry value. So as you turn Knob A to the left for Setup 132, nothing happens until you reach 85. At that point, the knob takes effect, giving you a smooth fade.

Avoiding Extra Controller Motion

Now suppose you want to have a piano-and-strings setups like Setup 132, but you don’t want to hear the chorus at all when you select the setup. Instead, you want to bring it in later. To do this, you could set the entry value for Knob A in Zone 1 to 0.

Imagine that the knob is all the way to the left when you ﬁrst call up the setup. Remember that the knob must go past the entry value before it becomes active. In this example the entry value is 0 and the current MIDI Controller value sent by the knob is 0 (minimum). When you move the knob up, the MIDI Controller value goes to 1, and therefore hasn’t crossed the entry value, and therefore nothing happens as you continue to turn the knob. You’d have to turn the knob to the right slightly, then back to the left so that it goes to MIDI Controller value 0, then the next time you turn it to the right, the knob will be active. To avoid having to turn the knob right, left, and right again, set the entry value to a very low number other than 0, such as 5. The value is so low that you won’t hear the reverb, but as you turn the knob to the right the ﬁrst time, it will go past value 5 and become active.

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Programming Y our PC2R

The Setup Editor

Setting Exit Values

Suppose that you’re using Setup 132 in a performance, and you ﬁnish a tune by fading out the chorus with Knob A. Its MIDI Controller value is now 0, and will stay at 0 until you turn the knob again (or until something else changes the value).

Unless, of course, you reset Channel 1’s wet/dry mix somehow. That’s where exit values come in; they let you specify MIDI Controller values when you leave a setup. We recommend that you get in the habit of setting exit values for physical controllers whenever you set entry values.

This is less of a problem for some controllers, like volume and wet/dry controls, since the PC2R has default entry values for these controllers. It’s just something to keep in mind when you’re creating your own setups.

Let’s revisit Setup 132, and specify some exit values.

1. Select Setup 132. We’ll assume that Zone 1 is current.

2. Press Edit.

3. Press Shift one or more times, if necessary, to make the Shift LED green.

4. Hold the Global button, and turn Knob A.

5. Press the Right cursor button until you see the Exit Value parameter for Green Knob A.

6. Set a value of 127 (wet/dry mix of 100%).

7. Save the setup, this time replacing Setup 132 without renaming it.

Multiple Controller Function

Here’s your next scenario: You want to add a layer of electric piano to Setup 132, and you want Green Knob A to control the wet/dry mix of the effects for both the acoustic and the electric piano. But you want the acoustic piano’s mix to be dryer than the electric piano’s mix at all times.

1. Select Setup 132. First, we’ll bring the entry value of the piano’s chorus back up to 127.

2. Make sure Zone 1 is current, then enter the Setup Editor and select the Entry Value parameter for Green Knob A. Set its value to 127.

3. Make Zone 3 the current zone (press Zone 3). Note that the Zone 3 LED is off, indicating that the zone is inactive, which we don’t want.

4. Press Menu to exit the Controllers menu. Press the Left cursor button until you see the MIDI Xmit menu. Press Enter.

5. Change the value of the MIDI Channel parameter to 3. Press Zone 3 to unmute the zone, if necessary. The Zone 3 LED should now be green. Now we’re ready to add the electric piano. Since Zone 3 is going to be almost identical to Zone 1 (except for the program and entry effect mix), we’ll save time by copying Zone 1 and pasting it into Zone 3.

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6. Press Copy. The display shows a prompt asking you if you want to copy Zone 3 (because Zone 3 is the current zone). You don’t want to copy Zone 3; you want to copy Zone 1.

7. Press Zone 1, then Enter. The display shows Zone|copied! and returns to the Copy prompt. (This makes Zone 1 the current zone, by the way.)

Programming Y our PC2R

The Setup Editor

8. Press the Right cursor button. The display shows a prompt asking if you want to paste to Zone 1.

9. Press Zone 3, then Enter. The display shows Zone|pasted! and returns to the Paste prompt.

10. Take a minute to save the setup as 133 Offset. You’ll see why we chose that name in a minute. Once you’ve saved, you’re no longer in the Setup Editor.

11. Now we’ll change the program assignment for Zone 3. Press Edit to enter the Setup Editor, then press the Right cursor button until you see the Program menu. Press Enter.

12. Use the Alpha Wheel to select Program 016 Classic E Piano.

13. Now we’ll change the wet/dry mix of the acoustic piano. Press Zone 1 to make Zone 1 active.

14. Hold the Global button, and turn Knob A. Press the Right cursor button until you see the Ctrl Offset parameter. Turn the Alpha Wheel to the left until the value is –64.

This sets an offset of -64 for Green Knob A in Zone 1. The offset uniformly subtracts 64 from the value of the slider (a positive offset would uniformly add to the value). When the knob is all the way up, the value is (127 – 64) or 63. therefore, the acoustic piano will always have a wet/dry mix that’s 64 lower than the electric piano.

15. Save again, replacing Setup 133 without renaming.

Now try playing some notes and adjusting Knob A (make sure the Shift LED is still green). As you move the knob left to the midpoint, the Controller value of the wet/dry mix for the electric piano is 64, and the value for the acoustic piano is 0 (64 – 64). In the bottom half of the knob’s throw, you’ll hear chorus only on the electric piano.

Offset vs. Scale

There’s another way to adjust levels relative to each other that gives slightly different results.

1. Select Setup 133 if necessary, and make Zone 1 current, if it isn’t already.

2. Hold the Global button, and turn Knob A.

3. Press the Right cursor button until you see the Exit Value parameter for Green Knob A.

4. Press the Left cursor button once, to select the Ctrl Scale parameter. Set its value to 50%. This sets a scale of 50% for the wet/dry mix.

Whereas an offset provides a uniform difference between the wet/dry mix for the acoustic and electric pianos, scaling creates a proportional difference. As you turn Knob A to the left, the difference in the wet/dry mix values between the two sounds gets smaller, until they meet at 0.

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Programming Y our PC2R

The Setup Editor

Crossfades

You can use a single continuous controller to fade one sound out while it fades another sound in. This is called a crossfade.

1. Create a two-zone setup, as you did in the example on page 4-18. Use a sustaining sound

2. Make Zone 1 current, then enter the Controllers menu in the Setup Editor. Go to the Ctrl

3. Press the Right cursor button to select the Ctrl Offset parameter, and to 127.

That’s all it takes to create a crossfade. You’ll notice a bit of a drop in volume at the midpoint between the sounds. You can adjust that.

1. Starting from the previous example, press the Right cursor button to select the Ctrl Curve

2. Make Zone 2 current, and change its Ctrl Curve parameter to Sin+. Notice the difference?

in each zone: perhaps two different organs. (If you want, you can use Setup 129, and change the piano to an organ.)

Scale parameter for Green Knob A. Set its value to –100%.

parameter. Change its value to Cos+.

Explaining why this works can get a bit technical. The easy explanation is that the Sin+ curve boosts the volume in the midrange, while the Cos+ curve cuts the volume in the midrange—but since we’ve inverted the curve with scaling and offset, it also boosts the volume in the midrange.

Velocity Switching

You can use your keystrike velocity (how hard you play) to change sounds. This is how program 000 Stereo Grand works: there are actually three sets of samples, one for soft, one for medium, and one for loud.

1. Create a two-zone setup. Go to the Program menu in the Setup Editor. Assign program 022 Soft E Piano to Zone 1, and program 023 Hybrid E Piano to Zone 2. Make Zone 1 current if it isn’t already.

2. Press Menu to exit the Program menu, then press the Right cursor button until you see the Velocity menu. Press Enter.

3. Press the Right cursor button four times to select the Max parameter. Note that this is one of those cases in which there are two parameters visible at a time.

4. Set the value of the Max parameter to 80. Note that the Min value for Zone 1 is 1. This is good.

5. Make Zone 2 current. Press the Left cursor button to select the Min parameter. Set its value to 81. Note that the Max value for Zone 2 is 127. This is also good.

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The soft piano plays at velocities from 1 to 80, and the Hybrid piano plays from 81 to 127. This gives you a nice thunk when you play hard. You can create three- and four-zone setups to switch between even more sounds.

Velocity Layering

Another use for the velocity parameters is to add a layer instead of switching between layers. To do this, have one layer play at velocities from 1 to 127, and another at velocities from 100 to 127. For the higher-velocity layer, use a program with a percussive attack, and possibly bring its entry volume down for a more subtle mix (you can use the entry- and exit- value approach we discussed on page 4-19, or you can simply set the Entry Volume parameter for that layer to something less than 127).

Selecting Setups Remotely

You can use a switch controller on your MIDI source to select Setups 129–256 on the PC2R, which is convenient in performance situations if the PC2R isn’t within easy reach. By default, setups switch immediately when you activate the controller, but you can change the value of the Chg Setups parameter (in the Global menu) to Keys Up, and the setup will remain current until you’ve released all notes on your MIDI source.

You can use any switch controller that sends MIDI 66—whether it’s a dedicated Sostenuto pedal, or a programmable button or pedal that sends MIDI 66. We’ll assume you have a dedicated Sostenuto pedal that’s called Pedal 2.

1. Create a setup with one or more zones. Don’t forget to save…

Programming Y our PC2R

The Setup Editor

2. Go to the Setup Editor (press Edit). Go to the MIDI Channel parameter in the MIDI Xmit menu, and note the channel used by the current zone. This is the channel your MIDI source should be using to transmit its MIDI information.

3. Press and hold Global, and press Pedal 2 on your MIDI source. You should see the On Ctrl parameter for SwitchPdl 2 in the display.

4. Change the value of Ctrl Num to GoToSetup (it’s near the end of the list of values, so this might be a good time to hold Enter and use a controller to change the value).

5. Press the Right cursor button to select the On Value parameter. Set its value to 129 lower than the setup you want to select. For example, a value of 0 selects Setup 129, a value of 1 selects Setup 130, and so on).

6. Save! If you send a before you save, you’ll change setups, and your edits will get erased.

As an alternative, you can use a value of Setup Inc for On Ctrl and a value of 127 for On Value. If you do this for a string of consecutively-numbered setups, you can step through them without taking your hands off the keys. You might also use GoToSetup for the highest- numbered setup in this sequence to take you back to the lowest- numbered setup in the sequence.

In this same sequence of setups, you could use Switch Pedal 3 with On Ctrl set to Setup Dec and On value set to 127 to step down one setup at a time by sending MIDI 67 (Soft Pedal) from your MIDI source.

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Effects Edit Mode

Transposing a Setup With a Button

If you don’t have the time to learn a tune in a different key, you can have the PC2R transpose a setup with one press of a button. This example transposes up a fourth, but it’s up to you to decide both the direction and the interval. You can use any switch controller; this example assumes that you use a controller programmed to send MIDI 67 (Soft Pedal).

1. Create and save a setup with one or more zones.

2. Go to the Setup Editor. Select a zone that matches the MIDI channel used by your MIDI source.

3. Program your MIDI source so that one of its switch controllers sends MIDI 67. This probably should be a toggle switch (which stays on when you release it, then goes off when you press it again), and not a momentary switch (which goes off when you release it). If you use a momentary switch for transposition, the transposition will be in effect only while you’re holding the switch in the on position (of course, this may be the result you want).

4. Hold the Global button, and press the controller on your MIDI source. You should see the On Ctrl parameter for SwitchPdl 3 in the display.

5. Change the value of On Ctrl to TransUp (it’s near the end of the list of values). This automatically changes the value of the Off Ctrl parameter to TransUp as well.

6. Select the On Value parameter, and set its value at 5.

7. Select the Off Ctrl parameter, and change its value to TransDown.

8. Select the Off Value parameter, and set its value at 5.

9. Repeat this procedure for all zones in the setup (unless you want to transpose some zones and not others).

Now when you press the controller on your MIDI source, it transposes the setup up a fourth. Press it again to remove the transposition.

Effects Edit Mode

Effects edit mode has two functions: changing the effects associated with the current program or setup (or the entire PC2R), and modifying the nature of the effects that are currently in use.

Effects Change Mode

The effects change mode determines whether the PC2R automatically selects effects when you select a program or setup. The effects change mode is controlled by the FX Chg Mode parameter, which is one of the parameters in Global mode (press the Global button to get to Global mode). By default, this parameter’s value is Auto, which means that regardless of your performance mode, the PC2R automatically selects the effects associated with whatever object you select—a program or a setup. FX Chg Mode is closely tied to the FX Channel parameter, which determines whether a program change on a particular channel can also change the current effect.

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If you change the value of FX Chg Mode to Panel, the PC2R doesn’t automatically select effects when you select a program or setup, and the only way to change the effects is to select them manually in Effects edit mode, using the FXA Select and FXB Select parameters (Press the FX button to enter Effects edit mode). When the value of FX Chg Mode is Panel, the effects you

Programming Y our PC2R

Effects Edit Mode

select manually apply to whatever program or setup you select, regardless of your performance mode.

The value of FX Chg Mode resets automatically to Auto every time you turn on the PC2R.

Setting the Effects Change Mode

In many cases, you can leave both FX Chg Mode and FX Channel at their default settings (Auto and 1). If you want the effect to change when you select programs on channels other than Channel 1, set the value of FX Channel to match that channel (or set it to Current, so the effect changes regardless of which channel you’re on).There’s one additional case in which you might want to change the settings of FX Chg Mode and FX Channel.

Applying Effects Globally

Suppose you’re in the studio, and you want to use the same reverb settings regardless of the programs or setups you play. In this case, set FX Chg Mode to Panel, which prevents program changes (either from the PC2R or via an external MIDI source) from changing any effects settings. The only way to change the current effect is by changing it manually in Effects edit mode.

There’s another important point to remember about using Panel as the value for FX Chg Mode: you can still edit the current set of effects, but you can’t save them to the current program or setup. Our explanation of Effects edit mode assumes that you have FX Chg Mode set to the default setting of Auto.

See Effects Change Mode (FX Chg Mode) on page 5-38 for a more detailed description of FX Chg Mode.

Entering Effects Edit Mode

You can get to Effects edit mode from any performance mode by pressing the FX button. Effects edit mode is actually a special “subeditor” of your current performance mode—for example, if you press FX while in Internal Voices mode, you end up at the FX Routing menu in the Program Editor:

|||Sound|Parameters||| |||<||FX|Routing||>

The top line of the display indicates that we’ve come from Internal Voices mode—you’d see

KB3|Parameters or Zone|Parameters in the top line if you had come from KB3 mode or

MIDI Setups mode. (If you’ve changed the value of FX Chg Mode to Panel, the top line shows

Panel|FX|Params regardless of where you started).

You can also get to Effects edit mode when you’re in MIDI Receive mode, by pressing the FX button. In this case the top line of the display shows FX|Parameters. To get back to MIDI Receive mode, press MIDI Receive.

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Effects Edit Mode

Selecting Different Effects

On page 3-16 we brieﬂy described performance aspects of changing effects. Here we’ll go into a bit more detail about selecting effects.

1. Enter Effects edit mode as described in the previous subsection.

2. Find the FXA Select or FXB Select menu, then press Enter.

3. Use the Alpha Wheel to change the effect displayed on the bottom line.

This procedure applies to any performance mode, as long as you’re using one of the standard effects in both effect blocks. Things are a bit different if you’re using one of the specialized KB3 effects (IDs 395 and 396). Only the KB3 programs use these effects by default, but you can apply them to any setup or program if you want.

The KB3 effects are complex multi-stage DSP functions that use the FX-A and FX-B blocks in tandem (to accommodate the extra processing requirements). In this case, the ﬁrst parameter in the FXB Select menu is inactive. If you select it, you’ll notice that its value is in parentheses, and you can’t change it (although you can edit the other parameters in the menu).

When you’re using one of these effects, anything else that’s routed to FX-B bypasses the KB3 effect. When you’re using a KB3 effect in one of the zones or channels of a setup, you might want to route the other zones or channels to FX-B (unless you want the KB3 effect applied to all zones or channels of the setup).

You can change the effect associated with the current program or setup as often as you like without actually affecting the program’s or setup’s deﬁnition. Unless you save your changes, the original effect gets reapplied to the program or setup as soon as you exit Effects edit mode. See Saving Effects on page 4-29 to learn how to save the current effect settings to the current program or setup.

Editing Effects Parameters

Most effects have four parameters that control various aspects of the effect (the special KB3 effects we mentioned above have three additional parameters that we’ll describe at the end of the following procedure). Our sound engineers determine which parameters go with which effects; you don’t get a choice of parameters, but you can edit their values any way you want.

1. Select the effect you want to edit, using the FXA Select or FXB Select parameter.

2. Press the Right cursor button one or more times to select one of the four parameters associated with the current effect.

3. Change the value of the current parameter.

4. If desired, save your changes, as described in Saving Effects on page 4-29.

KB3 Effects

The double-block KB3 effects we mentioned in Selecting Different Effects—the ones with IDs 395 and 396—are associated by default with every KB3 program (remember that you can use them with any program or setup if you want). These effects have two special properties that set them apart from the standard single-block effects.

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Effects Edit Mode

In addition to the usual four parameters, these effects have three additional parameters parameters at the end of the FXB Select menu.

Also, there’s a special editing case. If the KB3 effect you’re editing is assigned to a KB3 program and the FX Chg Mode parameter is set to Auto (which is the default), you’ll notice that when you enter the FXA Select menu, the ﬁrst three parameters don’t have values; instead of values you see (Program). That’s because in this special case, the values of these three parameters are determined by the program settings, as described below:

Vibr/Chor Vibrato/Chorus (which is what the VC stands for in the names of some of these

effects). In KB3 mode, change this value with Red Knob D.

Low Rate The vibrato rate in KB3 mode when the Solo button is off. Change this value

using the Rotor Effects Low Rate parameter in the LFO menu in the KB3 Editor.

High Rate The vibrato rate in KB3 mode when the Solo button is on. Change this value

using the Rotor Effects High Rate parameter in the LFO menu in the KB3 Editor.

If the KB3 effect you’re editing is assigned to a setup or an Internal-Voices program—or when it’s assigned to a KB3 program but FX Chg Mode is set to Panel—you can change the values of these three parameters within Effects edit mode.

Saving Effects

If you’ve made changes while in Effects edit mode, you must store the changes if you want to preserve them when you leave Effects edit mode. The basic procedure is as follows, although you have different options depending on whether you’re working with programs or setups, and whether you’re in the Internal bank or the User bank. We’ll get to that in a minute. For now we’ll assume that you’ve edited the effects for a program in the Internal bank.

1. Change the effects as desired (either assign a new effect to one or both effect blocks, or edit the parameters associated with one or both of the current effects).

2. Press Store. The Save dialog appears, looking something like this:

Replace|Effects|30? Digital E Piano

The top line shows the ID of the program whose effects you’ve changed, and the bottom line shows the program’s name.

3. Press Yes , and the display tells you that the effects are saved to the current program.

You’ve modiﬁed the factory settings of the current effect, but only with respect to Program 030. The effect retains its factory settings in other programs or setups that use that effect. So you’ve really modiﬁed only the current program, overwriting its factory settings (don’t worry; you can get them back, as described in Restoring Factory Effects on page 4-4).

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Programming Y our PC2R

Effects Edit Mode

You don’t have to modify the factory programs when editing effects; you can create a new program in the User bank instead.

1. Repeat Steps 1 and 2 from the preceding procedure. When you see the Save dialog, press

2. Press Yes to save to the current program ID (or rename the program ﬁrst, as described on

If you’ve entered Effects edit mode from the User bank of Internal Voices mode, the Save dialog starts by asking if you want to replace the current effect assignment for the current program (just as it does for programs in the Internal bank). If you press the Right cursor button, the Save dialog doesn’t jump to the lowest-available program ID in the User bank; it asks you if you want to replace the current program. Again, you can select a different ID if you want. The dialog says

Save or Replace depending on whether you select an ID that’s already in use.

the Right cursor button. The Save dialog changes:

Save|Voice|N? Digital E Piano

N stands for the lowest-available program ID in the User bank for Internal Voices mode. At

this point, you can either proceed to the next step, or select a different program ID. If the ID is unused, the dialog doesn’t change. If you select an ID that already has a program assigned to it, Save changes to Replace.

page 4-3).

The Save dialog operates in exactly the same way if you enter Effects edit mode from either the Internal or User bank in KB3 mode. If you’re coming from MIDI Setups mode, the dialog is a bit different, since setup effects are stored as part of the entire setup, not its constituent programs. Consequently, the dialog doesn’t ask you if you want to replace the current effect; it asks you if you want to save the setup (if you’re coming from the Internal bank) or replace the setup (if you’re coming from the User bank). Otherwise, the Save dialog operates the same as it does for Internal Voices mode and KB3 mode.

Other Effects-Mode Functions

There’s more to Effects-mode Save dialog than just storing the results of your editing. You can also do the following:

• Dump effects via MIDI System Exclusive messages to an external MIDI recording device

• Restore the factory settings for the effects of the current program (applies to programs in the Internal bank of Internal Voices mode and KB3 mode; doesn’t apply to setups or to programs in any User bank)

• Restore the factory settings for the effects of all programs in the Internal banks for Internal Voices mode and KB3 mode (doesn’t apply to setups or to programs in any User bank)

We describe all of these procedures in Other Save-Dialog Functions on page 4-4.

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Common Editing Tasks

Turning AutoSplit On and Off

The AutoSplit feature is on by default for all programs in Internal Voices mode (as deﬁned by a parameter in the internal setup). In MIDI Setups mode, AutoSplit is off for most factory setups, but you can turn it on if you want. AutoSplit is not available for KB3 mode. Here’s how to turn it on and off.

1. In MIDI Setups mode, press Edit to enter the Setup Editor.

2. Find the Key Range menu and press Enter.

3. Press the Right cursor button until you see the AutoSplit parameter. Change its value as desired.

4. Press Store. The Save dialog appears, prompting you to save the change to the lowest available setup ID. You have two options:

• Press Yes to save the change to the current setup (of course, you can change the setup

ID and name before saving if you want)

Programming Y our PC2R

Common Editing Tasks

• Press the Internal Voices button; this brings up a prompt asking if you want to save

the change to Internal Voices—we’ll assume you do, so press Yes.

In the former case (saving to a setup) saving creates a new setup with AutoSplit either on or off as you speciﬁed. (Alternatively, if you change the setup ID to that of an existing setup before saving, you replace that setup.)

In the latter case (saving to Internal Voices), saving stores the new setting to the internal setup, thereby enabling or disabling AutoSplit for all Internal-Voices programs. When you’re in Internal Voices mode, AutoSplit is so convenient that we recommend that you always leave it on (it’s the factory default setting). In MIDI Setups mode, there are advantages and disadvantages to having AutoSplit on. See The AutoSplit Feature on page 3-23 for more information.

Controlling Vibrato and Tremolo with LFOs

While you can’t add an LFO to a program (LFOs are permanently linked to certain programs at the factory), you can modify the LFOs’ effects on the programs that do use them. Many factory programs and setups make use of the LFOs for vibrato, tremolo, or rotor effects. In many Internal-Voices programs, you can bring in the vibrato or tremolo with the Mod Wheel on your MIDI source.

Using Mono Audio Output

If you have a monaural sound system, or have only one available input to your mixer, you might want to play your PC2R in mono mode, in which case the full audio signal gets sent to both sides of the analog outputs (there’s no separation of left and right).

1. Press Global, then press the Right cursor button until you see the Output Mode parameter.

2. Set its value to Mono, then return to any performance mode.

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Common Editing Tasks

Changing Preset Drawbar Values

Making Drawbars Live

When you’re in KB3 mode, you have two options for using the drawbars. A KB3 program’s drawbars can be preset, which means that the PC2R sets them to their programmed values when you select the KB3 program. They can also be live, in which case the PC2R sets their values to the current positions of the drawbar controls (Knobs A–D, in combination with the Drawbar Toggle button) when you select the KB3 program.

1. In KB3 mode, press Edit to go to the KB3 Editor. The Timbre menu appears.

2. Press Enter, the press the Right cursor button until you see the DrawbarMode parameter.

3. Set its value to Live.

4. Save the program.

Changing the Values of Preset Drawbars

1. Continuing from the previous example, press the Right cursor button, and you’ll see

Drawbar: followed by nine digits, which are the values for Drawbars 1–9.

2. Move any of the drawbar controls to change the corresponding value. Use the Drawbar Toggle button to change which drawbars the knobs control. When the Drawbar Toggle

LED is green, Knobs A–D control Drawbars 1–4. When the LED is amber, the knobs control Drawbars 5–8. When the LED is red, Knob A controls Drawbar 9.

As an alternative, you can use the cursor buttons to position the cursor under the value you want to change, then change it with the Alpha Wheel.

3. Save the program.

The next time you select the program, your edited values will be in effect. You’ll still be able to change them temporarily in real time using the drawbar controls.

Editing the Internal Setup

You can edit the internal setup and store your changes, thereby changing the zone parameters for every program in Internal Voices mode. As an example, we’ll transpose the internal setup up an octave.

1. Start in Internal voices mode, using any program.

2. Press Main to go to the Internal Setup Editor. If necessary, press Main again to unmute Zone 1 (the Main LED should be green before you proceed).

3. Press Menu, which displays the Program menu. Find the Transpose menu, then press Enter. This displays the Transposition parameter.

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4. Change the value to 12. If you play notes from your MIDI source, you’ll hear the transposition.

5. Press Store. The display prompts you to save the setup at the next-available ID (or it prompts you to replace the setup if you were in the User bank of setups when you entered the Internal Setup Editor).

6. Press the Internal Voices button. This displays a prompt asking you if you want to save to the internal setup. Press Yes . The display brieﬂy shows Internal|setup|saved!, then returns to Internal Voices mode.

7. Select a few different programs, and you’ll notice that they’re all an octave higher when you play them.

Using the Arpeggiator

The arpeggiator takes input from your MIDI source and turns it into a constant rhythmic pattern. You can control the speed and nature of the pattern in real time. The arpeggiator resembles what were called “sequencers” on old analog synths—playing a ﬁnite series of notes repeatedly, with changes in the series controlled by the notes you play. The arpeggiator can affect both the PC2R and any MIDI instruments that are slaves of the PC2R. The notes produced by the arpeggiator in a given setup zone go to all of that zone’s destinations: local, MIDI, or both.

The concept behind the PC2R’s arpeggiator is fairly simple, although the options are extensive. Think of it as a “note processor,” generating complex output from relatively modest input. You can select any number of notes for the input, and tell the arpeggiator to recognize and remember them. This is called “latching” the notes. The arpeggiator then processes them by playing them repeatedly, and/or transposing them up and down. You have control over several processing parameters: tempo, velocity, order, duration, transposition, and whether the intervals between notes are ﬁlled chromatically. You can also tell the arpeggiator how to deal with new information coming from the MIDI source. The settings you deﬁne in the Arpeggiator menu apply to all zones for which arpeggiation is activated; you can program each zone individually to respond to or ignore the setup’s arpeggiation values.

Programming Y our PC2R

Using the Arpeggiator

Figure 4-1 shows the processing order the PC2R uses to create arpeggios from your input:

Zone 1 Parameters

Arpeggiator Region

Figure 4-1 Arpeggiator Processing Sequence

Many of the PC2R’s factory setups make use of the arpeggiator—for example, those that include notes in the setup’s name, like setup 001 Dance C7. There are others as well; you’ll know them when you ﬁnd them.

Note Processing

Zone Enablers

Zone 2 Parameters

Zone 3 Parameters

Zone 4 Parameters

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Using the Arpeggiator

The PC2R’s arpeggiator can be a lot of fun to play with; you can get many interesting and unusual effects. The following tutorial will get you started.

1. Start in MIDI Setups mode. To best hear the effects of the arpeggiator, you might want to

2. Press Edit, then ﬁnd the Arpeggiator menu and press Enter.

3. The Arp Active parameter appears. Set its value to On, if it isn’t there already. Play a note

start with a program that has a percussive attack, such as piano, marimba, or guitar. Select a program you like, then mute the other zones in the setup.

on your MIDI source, and hold it on. You should hear arpeggiated notes. If you hear nothing at all, go to the Global menu and check to make sure the Clock parameter is set to Internal. If you hear notes but they aren’t arpeggiated, go back to the Arpeggiator menu (if you’ve left it), ﬁnd the Zone Enable parameter, and make sure its value is On. Find the Latch Mode parameter and make sure its value is Keys.

Play and hold a single note. Notice that it is repeated. Try adding more notes. As you press them they are added to the arpeggio. Let go of one of the keys. Notice that note is dropped from the arpeggio while the others continue. Notice that the arpeggiator plays the notes in the speciﬁc order that you strike them. Also notice that the loudness of the arpeggiated notes depends on how hard you strike the keys.

Hold the sustain pedal and let go of the keys. Notice that even though the notes sustain normally, the arpeggiation stops. In order for the arpeggiator to work, the keys must be held down, or otherwise latched (see the descriptions of the arpeggiator parameters beginning on page 5-26).

4. Select the Hi parameter. Hold Enter and play Middle C to set the Hi parameter to C 4. Now play a chord in the bass and a melody in the treble. Notice that any notes up to C 4 are arpeggiated but all notes above that are played as normal. The Key Range parameter lets you set a range of notes that will be affected by the arpeggiator while others can be played regularly. Hold Enter and play the top note to put the arpeggiator back to playing across the “keyboard.”

5. Select the Zone Enable parameter. This enables you to arpeggiate one or more setup zones, and play others normally. Several of the preset setups do this.

Using Pressure (Aftertouch) as an Arpeggiator Controller

In this example, we’ll use aftertouch to control the volume of arpeggiated notes. We’re assuming that you can send standard Mono Pressure messages from you MIDI source.

1. Make sure that the PC2R is responding to aftertouch. Find the Ctrl Num parameter for MPressure (in the Controllers menu in the Setup Editor), and set its value to Pressure (it’s near the end of the list of values).

Aftertouch is somewhat similar to the Pitch Wheel, in that it functions like a spring; it returns to 0 as you release the pressure. You can assign aftertouch to send any MIDI controller number. However typically, aftertouch is assigned to Pressure, which is a separate MIDI message.

One ﬁnal thing to understand: There are actually two different types of aftertouch: Mono Pressure and Poly Pressure. On most MIDI keyboards, Mono Pressure has a single strip running across the keyboard, so pressing down on any note will generate controller info that will affect all the notes played on that MIDI channel. Poly Pressure has a separate sensor for each key, so pressing down on a key only affects that key. The PC2R uses Mono Pressure.

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Using the PC2R with Other Gear

2. Press the Menu button, then ﬁnd the Arpeggiator menu and press Enter.

3. Find the Vel Mode parameter, and set its value to Pressure. Now when you hold notes and apply pressure, the volume of each arpeggiated note is controlled by how much pressure you apply.

Using the Arpeggiator with a Sequencer or External Controller

If you are sequencing and you use a setup with arpeggiation, the PC2R sends the actual notes generated by the arpeggiator to the sequencer. When you play back the sequence, it simply sends back those notes and does not activate the arpeggiator.

But if, for some reason, you need to have the sequencer or other MIDI source send notes to the arpeggiator itself, you must use the Remap function. To do this, press the Global button, then press the Right cursor button until you see the MIDI In parameter. If you set this to Remap, then all incoming MIDI note messages will be treated as if you played those notes on the keyboard of the PC2R itself.

The MIDI channel info on the incoming data is ignored; The PC2R simply takes the note numbers (and controller messages) and sends them to each zone based on the note range settings for that zone. It’s the same as playing that note on the MIDI source itself. So you probably wouldn’t want to send more than one channel of MIDI information from your source, since the note messages will get mixed together.

Using the PC2R with Other Gear

If your system consists of a MIDI source and a PC2R alone, you probably don’t need to read this section. If you’re using a sequencer, you should read Using MIDI Receive Mode; if you’re using the PC2R to control additional instruments, read The PC2R as MIDI Master.

Using MIDI Receive Mode

MIDI Receive mode is extremely convenient for multi-timbral playback or MIDI recordings. Each channel has an independent set of parameters for adjusting program assignment, volume and pan, effects routing, and effects wet/dry mix.

Any time the PC2R is receiving multi-channel MIDI information from an external source, MIDI Receive mode gives you the most control.

The PC2R as MIDI Master

The PC2R‘s MIDI Out port (as well as its MIDI Thru port) transmits part or all of the MIDI information the PC2R receives at its MIDI In port. If you connect an Out or Thru port of the PC2R to the MIDI In of another MIDI instrument, you can control that instrument via the PC2R.

When the PC2R is in Internal Voices mode or KB3 mode, this usually means sending the same program changes, note information, and controller information to both instruments. In MIDI Setups mode, however, the PC2R can remap a single channel of incoming MIDI information, and transmit four independent channels of MIDI information to the slave instrument. (The PC2R can also do this in the other performance modes, if you want.)

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Using the PC2R with Other Gear

Sending Bank-Select and Program-Change Messages

When you have a MIDI instrument slaved to the PC2R, the program-change messages you send to the PC2R from your MIDI source also go to the slave instrument. If your MIDI source can also send bank-select messages, you can select banks and programs on both the PC2R and the slave.

When you’re in MIDI Setups mode and you select a PC2R setup from your MIDI source, that message gets remapped into four separate program-change messages that get transmitted to the slave instrument, selecting the corresponding program (or bank and program) on the slave. (If you’re wondering what to do if you want to send program changes only to the slave, see Sending Program Changes Only on page 4-38.)

If you want to change banks on the slave instrument when you select a setup on the PC2R, you’ll need to know which MIDI message the slave uses for selecting banks (it’s usually MIDI 0 or MIDI 32 with a value from 0 to 127; many instruments, including the PC2R, can accept MIDI 0 and MIDI 32 as a single bank-selection message, allowing you to select banks numbered from 0 to 16,383). Here’s how to do it:

1. Go into the Program menu in the Setup Editor, and press the Left cursor button to select the Bank parameter. Change its value to a number from 0 to 16,383 (not all instruments can handle numbers higher than 127, however).

Keep in mind that this is also instructing the PC2R to use the same bank. If you want to send different program-change messages to the slave, you’ll need to edit the setup a bit. See Sending Program Changes Only on page 4-38.

2. Press the Right cursor button to select the Program parameter, and select the desired program.

3. Save the setup.

For more information about the bank-select message, see Understanding Bank-Select Controllers.

Understanding Bank-Select Controllers

Most newer keyboards have more than 128 different programs, but MIDI allows only 128 values for the Program Change message. The bank-selection controller enables you to have multiple banks of programs: each program bank can store up to 128 programs.

There are actually two bank-selection controllers: Controller 0 and Controller 32. Some manufacturers use just 0, some use just 32, and some use both. Since each bank-selection controller can have 128 values, that means that the total number of possible banks is 128 x 128 = 16,384 (numbered as 0–16,383). Since each bank can have 128 programs in it, that means the total number of possible programs in an instrument is 2,097,152! In practice, most instruments tend to have 10 or fewer banks.

By default, the PC2R responds to Controller 0 with a value of 0, followed by Controller 32 with a value corresponding to the desired bank (although you can use either controller). There are ﬁve standard program banks (0–3 and 6), and two KB3 banks (4 and 5). When working with external slaves, you may ﬁnd they require very different values for the banks. Many Roland keyboards, for example, use values of 80 or 81 for Controller 0.

The PC2R actually has a transmit parameter called Bank Mode, within the Program menu. This allows you to chose either 0 or 32 or 0/32 for an individual zone. However, if the value of this parameter is not the same as the Bank Sel Ctl (Bank Selection Control) reception parameter found in the Global menu, it causes the PC2R to display the bank values in a very confused manner. Therefore, we recommend that you leave the Bank Mode parameter set at the default value of 0/32, which is the same as the default Global Bank Sel Ctl value.

4-36

Programming Y our PC2R

Using the PC2R with Other Gear

If you have an instrument like a Roland, which responds only to Controller 0 for bank selection, you have to know how to calculate the bank number. Controller 0 is the Most Signiﬁcant Byte (MSB) and Controller 32 is the Least Signiﬁcant Byte (LSB). If you see the two bank controllers together, they are normally shown as MSB/LSB. This means that you count by incrementing the number in the LSB column before incrementing the MSB. In essence, you are counting in base

128. To make it obvious for the majority of us who prefer to think in base 10, the following numbers show how the banks increment:

Controller 0/32 Value Bank Number

0/0 0 0/1 1 0/2 2

……

0/127 127

1/0 128 1/1 129

……

2/0 256

……

When you’ve selected the Bank parameter in the PC2R, the display shows you both the 0/32 value and the bank number equivalent. With other parameters selected, the display shows only the bank number equivalent, followed by a colon (:), followed by the program number.

To ﬁgure out which bank number equivalent you need, follow this formula:

MSB x 128 + LSB

Using the Roland example, if they require you to send Controller 0 with a value of 80 and no value of Controller 32, then you would have 80 x 128 + 0 = 10,240. With the Bank parameter selected, if you scroll to 10240, you will see the display show both 80/0 and 10240.

Another example: If the Roland required you send Controller 0 with a value of 81 and Controller 32 with a value of 2, then you would have 81 x 128 + 2 = 10,370. Again, setting the value of the Bank parameter to 10370 will show both 81/2 and 10370.

4-37

Programming Y our PC2R

Using the PC2R with Other Gear

Sending Program Changes Only

Imagine that you’re playing the PC2R from a keyboard controller, and playing another keyboard at the same time. You want to use your keyboard controller to change programs on both the PC2R and the second keyboard. You don’t want to send note information to the second keyboard, however, since you’re actually playing the second keyboard (and not slaving it from the PC2R). You can easily create a setup that sends program change information, but doesn’t play notes on the second keyboard.

1. Go to MIDI Setups mode and select Setup 127 Clear Setup.

2. Press Copy, then Enter. You have now copied a zone from this setup into the edit buffer.

3. Press MIDI Setups, then select Setup 128 Default Setup. Press Copy, then press the Right cursor button. The display should now say Paste|into|zone|1? Press the Zone 2 button, then Enter. (The display will say Zone|pasted, then revert back to

Paste|into|Zone|2?)You have now pasted all the parameter values from Zone 1 of

Setup 128 into Zone 2 of Setup 127.

4. Press Edit, then press Enter to enter the MIDI Xmit menu. Set the MIDI channels that you want for Zones 1 and 2.

5. Press the Right cursor button to select the Dest parameter. Set the value for Zone 2 to MIDI.

6. Press Zone 1, and set the value of its Dest parameter to Local.

7. Press Menu, then ﬁnd the Program menu and press Enter.

8. Select a program for Zone 1 and a program for Zone 2.

9. Press Menu, then ﬁnd the Key Range menu and press Enter.

10. Make sure Zone 2 is current, then ﬁnd the NoteMap parameter, and change its value to Off.

11. Name and save your setup.

Now when you call up the setup, it will send a program change to your second keyboard, but since the note map for that zone (and therefore MIDI channel) is turned off, no note information is sent to the external keyboard when you play your MIDI source.

This procedure is also an example of the Copy and Paste feature. You pasted all the settings and assignments from the Clear Setup (which has all of its controllers disabled) into the setup you were editing. This is a quick way to make sure that you don’t accidentally send controller information to the second keyboard; if you had copied a zone with controller assignments, those assignments would affect the second keyboard as well.

4-38

Programming Y our PC2R

Using the PC2R with Other Gear

Sending Different Program Changes to the Same Channel

Suppose you want to play Program A on Channel 1 on the PC2R, and Program B on Channel 1 on an instrument that’s slaved to the PC2R. To create a setup that does this, follow Steps 1–8 of the preceding tutorial, but in Step 4 use the same MIDI channel for both zones (don’t forget to save the setup).

Preventing Program Changes on Slaves

You might want a slave instrument to play the same sound regardless of what the PC2R is playing, or you might want to change programs from the slave’s own front panel. You can create a setup that sends note and controller information to the slave, but doesn’t transmit programchange messages.

1. Create a two-zone setup. In the MIDI Xmit menu, set a value of Local for the Dest parameter in Zone 1 and a value of MIDI for the Dest parameter in Zone 2.

2. Make sure that Zone 2 is current. Press Menu, then ﬁnd the Program menu and press Enter.

3. Find the Entry Transmit parameter, and set its value to Off.

4. Name and save this setup. Now when you select the setup from your MIDI source, the program-change message goes only to the PC2R, although both instruments get note and controller information.

Working With an External Sequencer

The most common conﬁguration for MIDI recording assumes that you’re recording one track at a time:

1. Connect the MIDI Out of your keyboard or other MIDI source to the MIDI In of your sequencer (this might be a direct connection, or it might involve a MIDI interface).

2. Connect the MIDI Out of your sequencer to the MIDI In of the PC2R.

3. Turn on the Thru, Soft Thru, or Patch Thru feature on your sequencer. This enables you to hear the PC2R as you record.

4. On the PC2R, press MIDI Receive to go into MIDI Receive mode.

When you record, use your keyboard or MIDI source to set the MIDI channel for recording. When you play back your recording, put the PC2R in MIDI Receive mode, for convenient access to several parameters for each channel. (MIDI Receive mode also automatically disables MIDI remapping—unless you’ve changed the value of the MIDI In parameter in Global mode—so each channel of MIDI information coming in from your sequencer plays only that channel on the PC2R.)

4-39

Multi-Track Recording

This conﬁguration enables you to record multiple tracks, if your sequencer has that capability:

1. Connect the MIDI Out of your keyboard or MIDI source to the MIDI In of the PC2R.

2. Connect the MIDI Out of the PC2R to the MIDI In of the sequencer.

Now you can play a setup and record each of the zones on a separate MIDI channel and track. Of course, this conﬁguration doesn’t let you play back your recording without reﬁtting MIDI cables. If you have a MIDI patch bay, you can set things up so that you don’t have to switch cables between recording and playback. During playback, put the PC2R in MIDI Receive mode so that each track plays properly.

Troubleshooting

If you run into problems while playing or programming, there are several things you can do to help troubleshoot the problem.

First of all if you are not getting the expected results from your programming or are having strange results when hooked to an external device, you can use the MIDIScope utility to see exactly what MIDI messages are being received by the PC2R’s sound engine.

Press the Global button, then ﬁnd the MIDIScope prompt (it’s the last item in the menu). Press Enter, and the display says every MIDI message that the sound engine of the PC2R receives. You’ll see exactly what type of message it is along with the value of that message. For example, a Note On message will show you the note number, along with the attack velocity. A Controller message will show the controller number along with the controller value. It also shows you the MIDI channel of the message. To leave MIDIScope, press any button on the PC2R’s front panel.

MIDIScope|Any|Button|Quits. Now the display will show

A limitation of MIDIScope is that it can display only one message at a time. Therefore it can be confusing if you are sending multiple channels of information at the same time. It’s best to mute all the zones but one so that you can see only that zone’s information (or you could use the Solo button).

If you suspect a physical problem with the PC2R, you can use the diagnostics to test it.

Chapter 5 Descriptions of Parameters

This chapter contains a description for each of the PC2R’s editing parameters. They’re organized into the following sections:

• Program Editor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-1

• KB3 Editor Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-6

• Setup Editor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-10

• Effects Edit Mode Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . 5-32

• MIDI Receive Mode Parameters . . . . . . . . . . . . . . . . . . . . . . . 5-33

• Global Mode Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-35

Within each of these sections, the descriptions are organized according to the order in which they appear in the editing menus. We’ve included lists of values only where necessary to explain what those values mean.

For quick reference to all parameters, their possible values, and (where applicable) default settings, see Parameter Reference on page B-4.

Program Editor Parameters

There are three primary menus in the Program Editor. Each layer of a program has an independent set of these three menus:

Timbre The basic nature of the sound Envelope Attack, decay, and release times LFO Two low-frequency oscillators that you can use to modulate programs during

performance; also the rotor effects for Internal-Voice organs and KB3 organs

There are also three menus for effects settings, including routing and wet/dry mix; these are the same parameters you see when you go into Effects edit mode from Internal Voices mode. See Effects Edit Mode on page 4-26 for more information about saving effects to programs. Also see page 5-32 for a description of all Effects-mode parameters.

The Store menu contains parameters for saving and dumping effects and programs.

5-1

Descriptions of Parameters

Program Editor Parameters

The Timbre Menu

The parameters in the Timbre menu control the most basic components of the sound in a program. There’s a separate set of Timbre parameters for each program layer.

Keymap

The keymap for programs using mono keymaps (most keymaps are mono keymaps). This parameter appears as <<|Keymap|R for programs using stereo keymaps.

Keymap L >>

The keymap for the left side of programs using stereo keymaps. This parameter appears as

(Keymap) for programs using mono keymaps, and is inactive (you can’t change its value).

<< Keymap R

The keymap for the right side of programs using stereo keymaps. It appears as Keymap for programs using mono keymaps, and is the only active keymap parameter.

Key Range Low, Key Range Hi

These parameters set the lowest and highest notes for the layer.

DSP Parameters

Each layer uses a set of DSP (digital signal-processing) functions that you can use to modify the sound of the layer. Every layer of every program is assigned a set of DSP functions (and associated parameters) at the factory; you can’t change which parameters are associated with each layer, but you can change the values of the parameters.

Every layer has a total of two DSP parameters. Some layers use two single-parameter DSP functions, while others use one two-parameter function. For example, Layer 1 of Program 016 Classic E Piano uses two separate lowpass ﬁlters, each of which has a single parameter for setting the cutoff frequency. All the layers in Program 054 Retro Roto use a two-pole lowpass ﬁlter with parameters for setting cutoff frequency and resonance.

Layers that use single-parameter functions include numbers in their names to distinguish them from each other. For example, in Layer 1 of Classic E Piano, there’s LP Filt[1] and LP Filt[2]. These numbers don’t appear in the parameter names of two-parameter functions.

Not all layers use their allotment of DSP functions. They have one or two parameters called None to indicate the absence of DSP functions. You can’t change the values of these parameters.

Note: When you enter the Timbre menu, the ﬁrst parameter you see is the ﬁrst DSP parameter. To get to the preceding parameters in the Timbre menu, press the Left cursor button one or more times.

Volume (Amp)

Independent amplitude control for the layer. Use this parameter to make one layer softer or louder than the others.

5-2

Descriptions of Parameters

Program Editor Parameters

Initial V alue (Init Value)

Sends MIDI Controller messages with the speciﬁed value when you select the program. For example, if you want to hear the full Mod Wheel effect on a program as soon as you start playing, set the init value of the Mod Wheel parameter to 127.

Keep in mind that these initial values have an effect only under one or both of the following conditions:

• The program is deﬁned at the factory to use one or more of the MIDI Controllers listed below to modify the program in some way

• The physical controller assignments for the internal setup use one or more of the same MIDI Controllers to modify all programs in some way

You can set initial values for seven different MIDI Controllers:

Mod Wheel (MIDI 1) MIDI 12 Breath (MIDI 2) MIDI 13 Data (MIDI 6) MIDI 29 MIDI 9

You may be wondering why you can set initial values for these MIDI Controllers and not others. It’s because most of the PC2R’s programs use at least one of these MIDI Controllers to do something (a common example is MIDI 1, which on most keyboards is the message sent by the Mod Wheel, and which controls vibrato or tremolo in many PC2R programs). Appendix B contains a list of programs and which MIDI Controllers the physical controllers are assigned to in each program.

Capture MIDI Vals?

This is a function, not a parameter. Press Yes to read the current values of the MIDI Controller messages listed above (assuming you’re sending them from your MIDI source), and store them as the values for the seven Initial Value parameters.

The Envelope Menu

There are three parameters in the Envelope menu. They control how the amplitude of each layer develops over time.

Attack

How fast the layer ramps up to full volume.

Decay

How fast the layer fades to silence when you’re sustaining notes by holding the keys or using the sustain pedal.

Release

How fast the layer fades to silence when you release notes by letting up the keys or releasing the sustain pedal.

5-3

Descriptions of Parameters

Program Editor Parameters

These parameters control the rate of attack, decay, and release, which are known collectively as the envelope of a sound. Each parameter is measured as a multiple of 1, which is the unadjusted rate (that’s why there’s an x after the value). Higher values mean a higher rate, which means that less time elapses during the corresponding segment of the envelope. For example, if you want notes to linger a long time after you let up the keys, set the Release parameter to a low value.

The LFO Menu

There are eight parameters in the LFO menu. Four of them control two LFOs (low-frequency oscillators). The other four control the rotor effects of the organs in Internal Voices mode, and the rotor effects of the KB3-mode organs. In many programs, the LFOs are activated by the Mod Wheel; they add a vibrato or tremolo effect when you push up the Mod Wheel on your MIDI source.

The LFOs are permanently linked to various sound-modulation functions, which vary from program to program. These functions are in turn controlled by various physical controllers. For example, most of the organs in Internal Voices mode rely on Mod Wheel messages to change the speed of rotary-speaker effects (which are produced by LFOs), while the KB3 organs make use of the Rotary Fast/Slow button or MIDI 68 messages for the same purpose—although the KB3 organs don’t use the LFOs; they have a separate set of rotor-effect generators.

Adjusting the values of the LFO parameters modiﬁes how the LFOs affect the programs that use them (not all programs make use of the LFOs). See MIDI Controllers on page B-10 to learn which programs have functioning LFOs.

Many programs use LFO1, which is always local, meaning that the LFO affects just one layer of the program. The other LFO is called LFO2 in some programs, and GLFO in others. LFO2 is always local, while GLFO is global, which means that it uniformly affects every layer in the programs that use it. In other words, if you change the value of a GLFO parameter in one layer, that value remains constant regardless of which layer you select while editing the program. The detailed description of the LFO parameters begins on page 5-4.

LFO1 Rate

The number of oscillation cycles per second (Hz) for LFO1. Changing the value makes the LFO run faster or slower.

LFO1 Shape

The waveform of the oscillation. Changing the value changes the nature of the LFO’s effect on the sound.

LFO2/GLFO Rate

The number of oscillation cycles per second (Hz). Changing the value makes the LFO run faster or slower.

LFO2/GLFO Shape

The waveform of the oscillation. Changing the value changes the nature of the LFO’s effect on the sound.

5-4

The LFO Menu: Rotor Effects Parameters

The rotor effects simulate the popular Leslie rotating speaker that has become a standard addition to the B-3 organ. KB3 programs all use rotor effects. You can add rotor effects to other programs by saving one of the KB3 effects to those programs.

The rotor effects have two pairs of parameters. Each is responsible for emulating the two speakers (high and low frequencies) that make up the original Leslie rotating speaker.

Rotor Effects Low Rate

Oscillation cycles per second (Hz) for the low rotor. Negative values reverse the phase without changing the rate.

Rotor Effects Low Adjust

The amount of change in the rate of the low rotor when you switch the rotor’s speed control from fast to slow or vice versa. When you’re in KB3 mode, you can use the Rotary Fast/Slow button to switch rotor speed. You can also send a MIDI Controller 68 message from your MIDI source (values of 64 and above switch to fast, and values below 64 switch to slow).

Rotor Effects High Rate

Oscillation cycles per second for the high rotor. Negative values reverse the phase without changing the rate.

Descriptions of Parameters

Program Editor Parameters

Rotor Effects High Adjust

The amount of change in the rate of the high rotor when you switch the rotor’s speed control from fast to slow or vice versa. When you’re in KB3 mode, you can use the Rotary Fast/Slow button to switch rotor speed. You can also send a MIDI Controller 68 message from your MIDI source (values of 64 and above switch to fast, and values below 64 switch to slow).

The Store Menu

This menu appears in all the editors, and includes functions for storing, naming, dumping (via SysEx), and deleting programs (in the Program and KB3 Editors), setups (in the Setup Editor), and effects (in the Program and KB3 Editors).

See Naming and Storing on page 4-3 and Other Save-Dialog Functions on page 4-4 for more information about the functions in the Store menu.

5-5

Descriptions of Parameters

KB3 Editor Parameters

The Timbre Menu

Wheel Volume Map (WheelVolMap)

The wheel volume map determines the volume level for each tone wheel. We’ve provided several tone wheel volume maps here, based on measurements we’ve taken of different organs.

Equal Bright Mellow Junky

All tone wheels at the same volume. Not based on a real B-3.

Normal map, based on a B-3 in good condition.

Somewhere between Bright and Junky.

Based on a B-3 with an uneven, rolled-off response.

OrganMap

Controls the relative amplitude of each key, per drawbar. Like the wheel volume maps, these maps are based on measurements we’ve made on actual organs.

Equal Peck’s Bob’s Eric’s

Uses the same volume for each key and drawbar, and is not based on a real B-3.

Normal map, from a B-3 in good condition.

More uneven, based on an old B-3.

More idealized; smoothed out, but less realistic.

Chorus/Vibrato Switch (Chor/Vib Switch)

This parameter is either On or Off, which enables or disables the chorus or vibrato effect for the KB3 program. If the value is On, the chorus or vibrato is determined by the value of the Chor/Vib parameter (described below). In KB3 mode, you can use the Chorus/Vib On/Off knob to enable or disable the effect. You can also send a MIDI Controller 95 message from your MIDI source (values of 64 and above switch the effect on, and values below 64 switch it off).

5-6

Chorus/Vibrato (Chor/Vib)

Determines the preset chorus or vibrato effect that gets applied to the program. The six possible values are Chor1–Chor3, and Vib1–Vib3. For choruses, the amount of detuning increases from Chor1 to Chor3. For vibratos, the vibrato depth increases from Vib1 to Vib3. In KB3 mode, you can use the Chorus/Vib Depth knob to change the effect.You can also send a MIDI Controller 93 message from your MIDI source.

Rotary Speed

Sets the rotary effect for the program at either Slow or Fast. In KB3 mode, you can use the Rotary Fast/Slow button to change speed (or send MIDI 68 from your MIDI source).

Descriptions of Parameters

KB3 Editor Parameters

DrawbarMode

Determines whether the program’s drawbar controls set themselves to the positions of the drawbar controls when you select the program.

Preset

Initial drawbar settings are deﬁned by the values of Drawbar parameters 1–9; they ignore the initial positions of the drawbar controls. Moving the drawbars affects the sound during performance, but the program restores the preset values each time you select the program.

Live

Initial drawbar settings are deﬁned by the positions of the drawbar controls (Knobs A–D in combination with the Drawbar Toggle button).

Drawbars 1–9 (Drawbar)

The nine parameters correspond to the nine drawbar controls (Knobs A–D in combination with the Drawbar Toggle button). Each can have a value from 0 (drawbar fully in) to 8 (drawbar fully out)

DrawbarSteps

Affects the transition between drawbar levels for each of the drawbar controls.

Smooth

Levels range from 0–127 (but still represented as 0–8 in the display). Smoother transition between levels than Normal.

Normal

Levels range from 0–8, like actual organ drawbars.

Preamp Response (PreampResp)

Enables/disables the preamp+expression pedal part of the KB3 model.

Makes KB3 programs function like stock organs. The expression pedal in this case is more than a volume pedal; it actually functions like a “loudness control,” varying the frequency response to compensate for the ear’s sensitivity at different volumes. In addition, the preamp provides a deemphasis curve to compensate for the built-in tone wheel volume preemphasis.

Off

Emulates organs that have been modiﬁed to have a direct out (before the preamp and expression pedal).

5-7

Descriptions of Parameters

KB3 Editor Parameters

Leakage

Controls the level of the simulated crosstalk and signal “bleed” of adjacent tone wheels in the model. This is provided to help “dirty up” the sound to make it a bit more realistic. A setting of

-96 dB gives the purest tones; other values add more simulated leakage (the maximum is

0.0 dB). The leakage level is scaled by the drawbar levels, as well as by the expression pedal

level.

Amp

Standard amplitude (volume) control, ranging from -96 dB to +48 dB.

The Envelope Menu

Keyclick

Enables/disables Keyclick. Values are On or Off.

Keyclic k V olume (Keyclic kV ol)

Adjusts the volume of the keyclick when the value of the Keyclick parameter is On.

NoteAttack

Controls the attack characteristic of KB3 notes.

Normal

Smoothed attack.

Hard

Instant attack with audible click, in addition to any amount of key click speciﬁed with the Keyclick and KeyclickVol parameters (you might want to set Keyclick to setting).

PercHard

Hard attack level for percussion only; notes without percussion use a normal attack.

Off when you use this

NoteRelease

Controls the release characteristic of notes.

Normal Hard

Smoothed release.

Instant release with audible click.

5-8

Descriptions of Parameters

KB3 Editor Parameters

Perc Switch

Either On or Off, this parameter enables/disables the percussion effect for the program. When the value is On, the nature of the percussion effect is determined by the percussion and percussion-pitch parameters (described below). In KB3 mode, you can use the Perc On/Off button to enable or disable percussion (or send MIDI 73 from your MIDI source).

Perc V olume

This parameter sets the volume of the percussion effect when Perc Switch is On. Available values are Soft and Loud. In KB3 mode, you can use the Volume (Zone 2) button to switch between soft and loud percussion (or send MIDI 71 from your MIDI source).

Perc Decay

This parameter sets the decay rate of the percussion effect when Perc Switch is On. Available values are Slow and Fast. In KB3 mode, you can use the Decay (Zone 3) button to switch between slow and fast percussion decay (or send MIDI 70 from your MIDI source).

Perc Pitch

This parameter sets the pitch of the percussion effect when Perc Switch is On. Available values are Low and High. In KB3 mode, you can use the Pitch (Zone 4) button to switch between low and high percussion pitch (or send MIDI 72 from your MIDI source).

The Envelope Menu: Percussion Parameters

There are four possible combinations of percussion effects. The following table lists these combinations, and indicates which set of parameters corresponds to each combination.

Combination of Effects

Loud and Fast Ld/Fast Loud and Slow Ld/Slow Soft and Fast Sft/Fast Soft and Slow Sft/Slow

For each combination, there are three parameters:

Level

Sets the absolute level of the percussion effect.

Decay

Sets the decay rate of the percussion effect—that is, how long it takes to fade to silence.

Corresponding

Parameter Group

Volume Adjust (Vol Adj)

Adjusts the amplitude of the organ relative to the amplitude of the percussion effect.

5-9

Descriptions of Parameters

Setup Editor Parameters

The Envelope Menu: Percussion Pitch Parameters

Three parameters control the pitch of the percussion effect:

Low Harmonic (Low Harm)

Controls which drawbar is used as the basis for the low harmonic of the percussion effect. The actual pitch obtained depends on which drawbar you use. On an actual tone wheel organ, this is Drawbar 4. You can use any of the nine drawbars. Whichever drawbar you use, it will affect the pitch of the low harmonic only when percussion is on (the Zone 1 button is lit), and the low harmonic is active (the Zone 4 button is off).

High Harmonic (High Harm)

Controls which drawbar is used as the basis for the high harmonic of the percussion effect. The actual pitch obtained depends on which drawbar you use. On an actual tone wheel organ, this is Drawbar 5. You can use any of the nine drawbars. Whichever drawbar you use, it will affect the pitch of the high harmonic only when percussion is on (the Zone 1 button is lit), and the high harmonic is active (the Zone 4 button is lit).

Steal Bar

Controls which drawbar is disabled (if any) when the percussion effect is turned on (the Zone 1 button is lit). On an unmodiﬁed tone wheel organ, the ninth drawbar is the one disabled. Possible values are Drawbar1–Drawbar9, and None.

The LFO Menu

The LFO parameters for KB3 programs are the same as those for Internal-Voices programs. See The LFO Menu on page 5-4.

Setup Editor Parameters

There are twelve menus in the Setup Editor. With one exception, each zone in a setup has an independent set of these menus (the exception is the Arpeggiator menu, in which all parameters but Zone Enable affect all zones in a setup).

The primary menus in the Setup Editor are listed below. There are also four Effects-mode parameters (as described on page 5-32), and a Store menu containing functions for saving, naming, and deleting setups.

MIDI Xmit Program Key Range Transpose Velocity Controllers Arpeggiator

Various MIDI-related features (like what MIDI channel each zone uses)

Bank and program assignments, and other program-related parameters

Activation/deactivation of keys, pitch control

Uniform pitch-shifting of entire zone

Response to your playing style

Functions of PC2R knobs, and physical controllers on your MIDI source

Activation/deactivation and control of arpeggiator

5-10

Each zone in every setup has an independently-programmable set of Setup-Editor parameters; when you change a value for one of these parameters, you’re affecting only the current zone in the current setup (except for the Arpeggiator parameters, which affect the entire setup). Always check to make sure you’ve selected the zone you want to edit before you make changes.

If you want to reprogram the internal setup, use the Setup Editor to edit Zone-1 parameters, then save your changes to the internal setup, as described on page 3-23 and page 4-32.

Throughout this section, we’ll refer only to setup editing. Remember, however, that any changes you make to Zone 1 in the Setup Editor can also be applied to the internal setup.

The MIDI Xmit Menu

The parameters in the MIDI Xmit menu control several aspects of the MIDI information that the PC2R transmits to its sound engine, as well as to its MIDI Out ports.

By changing the value of the Dest parameter, you can make these parameters affect only the PC2R, only external MIDI equipment, or both.

MIDI Channel

Determines which MIDI channel the current zone uses. Use a value of Off to disable a zone. In the default setup, each zone corresponds to the zone number (Zone 1 uses Channel 1, Zone 2 uses Channel 2, and so on).

Descriptions of Parameters

Setup Editor Parameters

Destination (Dest)

Determines whether the zone transmits only to the PC2R, only to MIDI, or to both. The defaultsetup value is both (Local+MIDI). If you set the value to Local, the zone plays only on the PC2R. If you’re using the PC2R to control other instruments or to record to an external sequencer, use a value of MIDI or Local+MIDI.

Bend Range, Semitones (BndRng ST)

Sets the number of semitones of pitch bend applied by any physical controller that sends either the Pitch Up, Pitch Down, Pitch, or Rvrs Pitch MIDI Controller message, when that controller is at its maximum. In the default setup, pitch bending is assigned to be controlled by the standard Pitch Wheel on your MIDI source.

The value of this parameter gets added to the value of BndRng ct. You can think of BndRng ST as a coarse adjustment, and BndRng ct as a ﬁne adjustment. For example, if you want the maximum amount of pitch bend to be slightly more than a whole note, set BndRng ST to 2, and BndRng ct to a relatively low number like 10.

In the default setup, BndRng ST is 2, and BndRng ct is 0, so pushing the Pitch Wheel on your MIDI source all the way up bends the pitch two semitones up, and pulling it all the way down bends the pitch two semitones down.

Bend Range, Cents (BndRng ct)

Sets the number of cents (100ths of a semitone) of pitch bend applied by any physical controller that sends either the Pitch Up, Pitch Down, Pitch, or Rvrs Pitch MIDI Controller message, when that controller is at its maximum. The value of this parameter gets added to the value of BndRng ST. In the default setup, BndRng ct is 0.

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Descriptions of Parameters

Setup Editor Parameters

Auxiliary Bend 1, Up (AuxBnd1 Up)

Sets the number of semitones of upward pitch bend applied by any physical controller that sends AuxBnd1 (MIDI 21 for MSB and MIDI 53 for LSB), when that controller is at its maximum.

Auxiliary Bend 1, Down (AuxBnd1 Dwn)

Sets the number of semitones of downward pitch bend applied by any physical controller that sends AuxBnd1 (MIDI 21 for MSB and MIDI 53 for LSB), when that controller is at its maximum.

Auxiliary Bend 2 Range (AuxBnd2 Rng)

Sets the number of semitones of pitch bend applied by any physical controller that sends AuxBnd2 (MIDI 15), when that controller is at its maximum. In the default setup, there aren’t any controllers set to send AuxBnd2.

The Program Menu

Bank

When you select this parameter, the top line of the display shows the current zone of the setup you’re editing, as well as the bank ID and program ID of the program assigned to the zone. The bottom line shows the ID and name of the bank that the current zone uses.

This parameter selects the bank for the current zone. It also determines which bank-select value the zone sends via MIDI when you select the setup (the zone won’t send a bank-select message to the MIDI Out port if it has a value of Local for the Dest parameter in the MIDI Xmit menu).

Program ID and Name (No parameter name shown)

This parameter selects the program for the current zone. It also determines which programchange value the zone sends via MIDI when you select the setup (the zone won’t send a program-change message to the MIDI Out port if it has a value of Local for the Dest parameter in the MIDI Xmit menu).

Note: When you enter the Program menu, the ﬁrst parameter you see is the Program ID and Name parameter. To get to the Bank parameter, press the Left cursor button once.

Entry T ransmit

Determines whether the current zone sends a program-change command when you select the setup. If its value is On, the zone transmits the program ID of the program assigned to the zone (as shown in the top line of the display when you’re viewing this parameter). This is the setting for each zone in the default setup. The program-change message may include a bank-select message, depending on the value of the Bank Mode parameter.

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If the value of Entry Transmit is Off, the zone doesn’t send a program change when you select the setup.

Descriptions of Parameters

Setup Editor Parameters

The function of this parameter depends on the setting of the Dest parameter. If the current zone’s setting for Dest is Local, the zone doesn’t send a program-change command to the MIDI Out port when you select the setup, even if Entry Transmit is set to On.

Bank Mode

Determines what type of bank-select message, if any, the zone sends when you select the setup.

A value of None prevents the zone from sending a bank-select message. If the value is 0, the zone sends a MIDI 0 message, with a value equal to the ID of the current bank. If the value is 32, the zone sends a MIDI 32 message with a value equal to the ID of the current bank. Values of 0 and 32 enable you to select banks numbered from 0–127.

If the value of Bank Mode is 0/32, the zone sends both MIDI 0 and MIDI 32, combined as a single value. This enables you to select banks numbered from 0-16,383. Since many of today’s MIDI instruments respond to this form of bank-select message (as recommended by the MIDI speciﬁcation), 0/32 is the value of Bank Mode in each zone of the default setup.

There are two other values for Bank Mode: K2000 and K1000. These enable you to send bankselect and program-change commands to older Kurzweil instruments, which use a different system for numbering programs. The manuals for these instruments explain the numbering system thoroughly.

The function of this parameter depends on the setting of the Dest parameter in the MIDI Xmit menu. If the current zone’s setting for Dest is Local, the zone doesn’t send a bank-select command to the MIDI Out port when you select the setup, regardless of the setting for Bank Mode.

Program ID Display Format (PNumDisp)

This parameter is primarily a convenience for when you’re sending MIDI to other instruments or to a sequencer. If you’re using the PC2R as a MIDI slave only, you won’t need to edit this parameter unless your MIDI source numbers its programs starting at 1 (the PC2R numbers its programs and setups starting at 0).

Different MIDI instruments and sequencers refer to program numbers differently: some start counting at 0, and others start at 1. Still others arrange them in groups of 8, with the ﬁrst digit (or letter) denoting the group, and the second digit denoting the number within the group.

PnumDisp lets you display program numbers in the same format as the receiving MIDI equipment. It doesn’t change the outgoing MIDI information in any way; it just makes it easier for you select the desired programs on the receiving gear without having to convert the PC2R’s program ID into the receiving instrument’s format.

0–127

1–128 11–88 A1–P8

For instruments that start numbering IDs at 0 (the setting for each zone in the default setup)

For instruments that start numbering IDs at 1

Compatible with many Roland instruments

For instruments that organize programs in groups of 8

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Descriptions of Parameters

Setup Editor Parameters

Program Name Display Format (PNameDisp)

This is another parameter designed to help you keep track of programs when you’re sending MIDI to other instruments or to a sequencer. It determines the program name you see when you’re viewing the Program Name and ID parameter for the current zone (the parameter you see when you enter the Program menu). It doesn’t affect the program ID that you see, nor does it affect the MIDI information that the zone sends.

The idea behind this parameter is that you use it only for zones that are sending to MIDI (that is, the zone has a value of either MIDI or Local+MIDI for the Dest parameter in the MIDI Xmit menu). For any zone that sends to MIDI, PNameDisp lets you choose between viewing what gets selected on the PC2R when you select the setup, or what gets selected on the receiving instrument when you select the setup.

If the value is Internal, the display normally shows the name of the program that the PC2R uses in that zone. This is the value for each zone in the default setup.

There’s one exception when the value of PNameDisp is Internal: if the zone has a value of MIDI for the Dest parameter (making it a MIDI-only zone), the display shows a name of

External|Prog regardless of the current program ID. This makes sense, since the zone won’t

select any program for the PC2R, it’ll select a program only for the receiving instrument. The PC2R can’t determine the name of that program, so it reminds you that it’s programmed to select some external program with the ID shown in the display.

Use a value of Gen. MIDI when the receiving instrument is a General-MIDI instrument. In this case, the PC2R can determine the name of the program it’s going to select on the receiving instrument, it shows you both the ID and the name.

Use a value of Off when you want the PC2R to remind you that the zone will select a program on a non-General-MIDI external instrument when you select the setup. In this case, the display shows External|Prog regardless of the program ID.

The Key Range Menu

Low and Hi

The primary function for the Key Range menu is determining where a zone plays within the MIDI note range. This is controlled by the values of the Low and Hi parameters. In the default setup, all zones range from C -1 to G 9. An 88-note keyboard ranges from A 0 to C 8 (a 76-note keyboard ranges from E 1 to G 7, and a 61-note keyboard ranges from C 2 to C 7), but you can transpose a zone so that it sends note numbers below or above those ranges—it may not make any sound, but it will still generate MIDI information, which can be useful).

The PC2R ignores the values of these parameters when the AutoSplit parameter has a value of On (the values appear in parentheses to indicate that these parameters are inactive. When AutoSplit is set to On, the value of the AutoSplit Key parameter determines the split points for all the zones in the setup (Zones 3 and 4 cover the region from the bottom of the note range up to—and including—the split point, while Zones 1 and 2 cover the region from the top of the note range down to the note above the split point).

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Intuitive entry makes it easy to edit these parameters; just hold down the Enter button and play a note on your MIDI source to set the value.

Descriptions of Parameters

Setup Editor Parameters

Note Map

This parameter determines how the current zone responds to each note. If you’re using the PC2R as a solo instrument, you’ll probably never need to edit the note map for the internal setup. If you play a lot of setups, or control external instruments, different note maps can be useful in a number of ways.

In the default setup, each zone has a value of Linear for Note Map. This gives you a normal keyboard: playing C 4 triggers the note C 4, just as you would expect. Assuming the zone’s Dest parameter is at its default value of Local+MIDI, every note you play goes both to the PC2R and to the MIDI Out port.

If the value of Note Map is Off, the zone generates no note information, but still generates all non-note information like MIDI Controller messages.

The next group of values—1 of 2 through 4 of 4—generate note information only for speciﬁc notes. We call these alternating note maps. They’re handy when playing a setup that sends MIDI information to multiple external instruments, because they enable you to play the external instruments as if they were a single instrument, thereby increasing your available polyphony.

A value of Inverse reverses the note range: high notes at the bottom and low notes at the top. A value of Constant causes all Note On messages to play the same note. By default this is C 4, but you can change it with the Transpose parameter. Setting a zone’s Note Map parameter to Constant is useful when you want the sound from a particular note to play with every note of another zone—for example, playing a ride cymbal with every note in a bass line.

AutoSplit

Turns the AutoSplit feature on and off for all zones in the setup. In the default setup, this value is Off. The AutoSplit feature is intended primarily for making quick layers and splits from an Internal-Voices program, but enabling AutoSplit for a setup is useful if you like to solo and mute zones while performing. See The AutoSplit Feature on page 3-23 for more information.

AutoSplit Key

When the value of the AutoSplit parameter is On, this parameter sets the split point for all zones in the setup, overriding each zone’s key range settings. Depending on the key ranges you’ve set

for the zones in any particular setup, this may not be useful. On the other hand, you may enjoy the ﬂexibility it provides for muting and soloing. See The AutoSplit Feature on page 3-23 for more information.

When the value of AutoSplit is Off, the value of AutoSplit Key appears in parentheses, indicating that it’s inactive. In this case, the setup uses the values of the Low and Hi parameters to determine the key ranges of each zone.

The T ranspose Menu

T ransposition

Sets the amount of transposition for the current zone. In the default setup, there’s no transposition on any of the zones.

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Descriptions of Parameters

Setup Editor Parameters

The V elocity Menu

The parameters in this menu control the PC2R’s response to the attack velocity of the notes you play—how hard you strike the keys, for example, if your MIDI source is a keyboard. The settings for the velocity parameters affect both the PC2R’s sounds, and the MIDI information the PC2R transmits via its MIDI Out port.

A Bit of Background

When you play a note on your MIDI source, the PC2R generates a Note On message with an attack-velocity value corresponding to how forcefully you play the note. Attack-velocity values range from 1 to 127; they never go lower than 1 or higher than 127. A value of 1 is the softest and 127 is the loudest.

The velocity parameters interact extensively with each other, so changing one parameter’s value can alter the way that others affect the PC2R’s velocity response. We’ll give you a few examples of this interaction. More to the point, it’s quite complicated to describe all the possible ways you can use these parameters in combination with each other. As we describe each parameter, the description assumes that all the other parameters are at their default values. Experimenting with different combinations is the best way to understand how these parameters interact.

You can use the velocity parameters in several interesting ways: customizing the feel of your keyboard to your playing style; compensating for velocity-response differences in instruments receiving MIDI from the PC2R; triggering different sounds as you play softer or harder (see Velocity Switching on page 4-24 to learn how to trigger different sounds at different velocities).

To illustrate how the velocity parameters work, we’ve included a number of graphs with the parameter descriptions. In each graph, the horizontal axis (labeled Keystrike Velocity) represents how hard you play. The vertical axis (labeled Final Attack-Velocity Value) is the attack-velocity value that gets sent to the PC2R to and to the MIDI Out port after any adjustments resulting from non-default values for the velocity parameters. The lines in the graph are the velocity curve—which shows the relationship between every possible keystrike velocity value and the resulting ﬁnal attack-velocity value.

Velocity Scale (Vel Scale)

Increases or decreases the PC2R’s velocity sensitivity. The value for all zones in the default setup is 100%—think of this as the normal value. Higher values increase the sensitivity; notes get louder faster than normal as you play harder. Lower values decrease the sensitivity; notes get louder slower than normal as you play harder. You’ll notice the difference more when you’re playing hard than when you’re playing softly.

You can set negative values for Vel Scale, but doing so isn’t useful unless you also change the value of the Vel Offset parameter (this is one of those interactions we mentioned). See Vel Offset for more information.

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Descriptions of Parameters

Setup Editor Parameters

127

Velocity Scale: 100%

as you strike the keys harder (increase the velocity) MIDI velocity increases proportionally

Velocity Scale: 200%

MIDI velocity reaches maximum on medium strike velocity

Velocity Scale: 50%

MIDI velocity never reaches maximum, even on maximum strike velocity

Final Attack-Velocity Value

127

Keystrike Velocity

Velocity Offset (Vel Offset)

Adds a constant value to your keystrike velocity. The value for all zones in the default setup is 0. A positive value for this parameter causes an upward shift in the entire velocity curve. For example, if you set a value of 64, every note in that zone has a ﬁnal attack-velocity value of 64 greater than your keystrike velocity (to a maximum of 127, of course). So if you play a note with a keystrike velocity of 32, the ﬁnal attack-velocity value is 96. Negative values for Vel Offset shift the velocity curve downward.

127

Velocity Offset: +64

low velocity keystrikes produce medium MIDI velocity and greater

Velocity Offset: -64

low velocity keystrikes result in MIDI velocity of 1; maximum MIDI velocity reduced

Final Attack-Velocity Value

127

Keystrike Velocity

Vel Scale and Vel Offset have a very close relationship; when you change the value of one of them, you’ll often want to change the value of the other as well. For example, suppose you set Vel Scale to 250% in a zone, to make it stand out from the other zones when you’re playing hard. You may ﬁnd that the velocity curve pins at the high end rather quickly—in other words, by the time you’re playing ƒ, the ﬁnal attack-velocity value may already be 127, and playing ƒƒ or ƒƒƒ doesn’t give you any more dynamics. Setting a negative offset shifts the velocity curve downward, preventing the ﬁnal attack-velocity value from maxing out before you get to ƒƒƒ.

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Descriptions of Parameters

Setup Editor Parameters

Here’s another example: reversing a linear velocity curve so that it plays loud when you strike the keys softly, and vice versa. You might think that all you have to do is set Vel Scale to -100%. when you do that, you ﬁnd that all the ﬁnal attack-velocity values are at minimum. When you set Vel Offset to 127, the velocity curve gets shifted as high as it will go, enabling the negative scaling to work properly, as shown in the following graph.

Final Attack-Velocity Value

127

Keystrike Velocity

127

Velocity Scale: -100% Velocity Offset: 127

Velocity Curve (Vel Curve)

So far we’ve been describing the velocity parameters in terms of linear velocity curves—that is, the ﬁnal attack-velocity increases at a uniform rate as your keystrike velocity increases so that on the graph, the velocity curve appears as a straight line. You can use the Vel Curve parameter to change the shape of the velocity curve, which provides variations in dynamic response.

The setting for Vel Curve in all zones of the default setup is Linear. There are two other values whose effects are the opposite of each other. Sin+ causes the ﬁnal attack-velocity value to increase faster than the linear curve until your keystrike velocity is mƒ, than slower than the linear curve as keystrike velocity continues to increase (the velocity curve resembles the ﬁrst portion of a sine wave, if you’re wondering why the value is called Sin+). Cos+ causes the ﬁnal attack-velocity value to increase slower than the linear curve until your keystrike velocity is mƒ, than faster than the linear curve as keystrike velocity continues to increase (resembling the ﬁrst portion of a cosine wave).

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Kurzweil PC2R User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Basic PC2R Features

The Sound

Physical Controllers

Options

Effects

Sound ROM Cards

Polyphony Expansion Board

Unpacking your PC2R

Setup

Basic Connections

Power

Audio

Digital Output

MIDI

Powering Up

MIDI Thru/Out

Display (LCD)

LEDs

Software Upgrades

Playing the Demo Sequences

Troubleshooting

No Text in Display

Low Battery

No Sound

Changing Sounds

Demonstration Sequences

Also In This Chapter

Overview

Modes

Performance Modes

Internal V oices (Programs)

KB3 Mode (KB3 Programs)

MIDI Setups Mode (Setups)

Special Modes

Effects Edit Mode

MIDI Receive Mode

Global Mode

Objects

The Front Panel

Effects

Color-Coded Labeling

The Display (LCD)

Internal V oices Mode

KB3 Mode

MIDI Setups Mode

The Performance Region

Solo

Main

Layer

Split

Split Layer

Shift

Knobs A–D

The Edit Region

Edit/Store

Group/Menu

Cursor Buttons

Compare

Copy

Cancel/No

Enter/Yes

The Modes Region

Internal V oices

MIDI Setups

MIDI Receive

Program and Setup Organization

Global

Demo

Panic

Selecting Programs and Setups

Changing the EQ

Using the Controllers on Your MIDI Source

Effects

Controlling Effects

Selecting Effects