Kurzweil PC3A6, PC3A7, PC3A8 User Manual [ru]

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Part Number 910568-001

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 the Safety and Installation Instructions and Explanation of Graphic Symbols before using the product.

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

DANGER: Improper connection of the equipment-grounding conductor can result in a risk of electric shock. Do not modify the plug provided

with the product – if it will not t the outlet, have a proper outlet installed by a qualied electrician. Do not use an adaptor which defeats the function of the equipment-grounding conductor. If you are in doubt as to whether the product is properly grounded, check with a qualied

serviceman or electrician.

3. 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.

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

5. This product, either alone or in combination with an amplier 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 a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist.

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

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

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

9. 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.

10. 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.

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

12. The product should be serviced by qualied service personnel when: A. The power supply cord or the plug has been damaged;

B. Objects have fallen, 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.

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

qualied service personnel.

14. 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 re hazard and/or personal injury.

RADIO AND TELEVISION INTERFERENCE

WARNING: Changes or modications to the 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 B digital device, pursuant to Part 15 of the FCC Rules.

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

• Reorient or relocate the receiving antenna.

• Increase the separation between the instrument and the receiver.

• Connect the instrument into an outlet on a circuit other than the one to which the receiver is connected.

• If necessary consult your dealer or an experienced radio/television technician for additional suggestions.

NOTICE

This apparatus does not exceed the Class B 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 B

prescrites dans le Reglement sur le brouillage radioelectrique edicte par le ministere des Communications du Canada.

SAVE THESE INSTRUCTIONS

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

The lightning flash with the arrowhead symbol, within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

DO NOT REMOVE THE COVER.

NO USER SERVICEABLE PARTS INSIDE.

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.

SAFETY INSTRUCTIONS

1) Read these instructions.

2) Keep these instructions.

3) Heed all warnings.

4) Follow all instructions.

5) Do not use this apparatus near water.

6) Clean only with dry cloth.

7) Do not block any of the ventilation openings. Install in accordance with the manufacturer’s instructions.

8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including

ampliers) that produce heat.

9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding

prong. The wide blade or the third prong are provided for your safety. If the provided plug does not t

into your outlet, consult an electrician for replacement of the obsolete outlet.

10) Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11) Only use attachments/accessories specied by the manufacturer.

12) Use only with a cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/ apparatus combination to avoid injury from tip-over.

13) Unplug this apparatus during lightning storms or when unused for long periods of time.

14) Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

Warning: To reduce the risk of re or electric shock, do not expose this apparatus to rain or moisture. Do not expose this equipment to dripping or splashing and ensure that no objects lled with liquids, such as vases,

are placed on the equipment.

To completely disconnect this equipment from the AC Mains, disconnect the power supply cord plug from the AC receptacle.

©2014 Young Chang Co., Ltd. All rights reserved. Kurzweil® is a product line of Young Chang Co., Ltd. Kurzweil®, Young Chang®, V. A. S. T.®, and PC3A™ are trademarks of Young Chang Co., Ltd. All other trademarks and copyrights are property of their respective companies. Product features and specications are subject to change without notice.

You may legally print up to two (2) copies of this document for personal use. Commercial use of any copies of this document is prohibited. Young Chang Co. retains ownership of all intellectual property represented by this document.

iii

Kurzweil International Contacts

Contact the Kurzweil oce listed below to locate your local Kurzweil representative.

US Customers:

American Music & Sound 22020 Clarendon Street, Suite 305 Woodland Hills, CA 91367

Tel: 800-431-2609 Fax: 818-597-0411 Email: info@americanmusicandsound.com

www.kurzweil.com

Customers outside the US:

Young Chang Co., LTD. 9th Floor, Bldg 102, I-Park, Jeongja-Dong, Bundang-Gu, Seongnam-Si, Gyeonggi-Do 463-859 South Korea

Tel: +82 31 786 7900

support@kurzweil.com

www.facebook.com/kurzweilmusicsystems/

www.twitter.com/KurzweilMusic

www.youtube.com/user/KurzweilTutorials

Kurzweil International Contacts iv

Chapter 1 Introduction

Keeping Current 1-2 Overview of the PC3A 1-2 VAST Synthesis 1-3 KB3 Tone Wheel Emulation 1-3 VA-1 Programs 1-3 How to Use This Manual 1-4 Do I Have Everything? 1-4 Boot Loader 1-4 Battery 1-4 Options 1-5

Sound ROM Expansion Card 1-5 Pedals 1-5 Ribbon Controller 1-5 Breath Controller 1-5 USB Storage Device 1-5

Chapter 2 Startup

Make Connections 2-1 Make Music 2-1 Startup—the Details 2-2

Before You Start... 2-2 Connecting the Power Cable (Line Cord) 2-2 Connecting Audio Cables 2-2 Connecting MIDI 2-3 Pedals 2-4 Breath 2-4 Ribbon 2-5 Switching On the Power 2-5 USB Storage Port 2-6 USB Computer Port 2-6 Setting the Clock 2-7

PC3A Programs 2-7

Selecting Programs 2-7 Easy Audition 2-7 Program Mode Display 2-8 VAST Programs 2-8 KB3 Programs 2-9

Setups 2-9 Quick Access 2-9 The Other Modes 2-10 Software Upgrades 2-10

Chapter 3 User Interface Basics

Mode Selection 3-1 Mode Buttons 3-2 Bank Buttons 3-2 Sliders 3-3 Program and Category Buttons 3-4

Picking favorites 3-4

Pitch Wheel and Mod Wheel 3-5 Navigation 3-6

The Display 3-6 Pages 3-6 The Top Line 3-6 The Bottom Line 3-6 The Soft Buttons 3-7 The Cursor Buttons 3-7 The Chan/Layer Buttons 3-7 The Edit Button 3-8 The Exit Button 3-8

Data Entry 3-9

The Alpha Wheel 3-9 The Plus/Minus Buttons 3-9 The Alphanumeric Pad 3-9 Double Button Presses 3-10

Intuitive Data Entry 3-11

Changing the Current Layer in Multi-Layer Programs 3-11

Search 3-12 Quick Song Recording and Playback 3-12

Chapter 4 The Operating Modes

What the Modes Are 4-1 Selecting Modes 4-1

Finding Square One 4-2

Using the Modes 4-2

Program Mode 4-2 Setup Mode 4-2 Quick Access Mode 4-3 Eects Mode 4-3 MIDI Mode 4-3 Master Mode 4-3 Song Mode 4-3 Storage Mode 4-3

Chapter 5 Editing Conventions

Introduction to Editing 5-1

What’s an Object? 5-1

Object Type and ID 5-2 Saving and Naming 5-3

ROM Objects 5-4 Memory Objects 5-4 Keyboard Naming 5-5

Deleting Objects 5-6

Dependent Objects 5-6

Saving and Loading Files—Storage Mode 5-6 Special Button Functions 5-7

Chapter 6 Program Mode

The Program Mode Page 6-1

Selecting Programs 6-1 The Soft Buttons in Program Mode 6-2 The Info Box 6-2 Controllers Assignments For Factory ROM Programs 6-2 Saving Controller Settings in Program Mode 6-3 The Arpeggiator In Program Mode 6-3 MIDI Channels 6-3

VAST and KB3 Programs 6-4 VAST Program Structure 6-4 KB3 Program Structure 6-6

KB3 Mode 6-6 KB3 Eects And Real-time Controls 6-6

MIDI Control of KB3 Programs 6-8

Control Setup 6-9

Control Setup Overview 6-9 Control Setup Advanced Features 6-10 Selecting And Editing The Control Setup 6-10

Editing VAST Programs 6-12

The Soft Buttons in the Program Editor 6-12 The MODE Buttons in the Program Editor 6-13 Assigning Program Parameters to Control Sources 6-13

The KEYMAP Page 6-14

Keymap 6-14 Transpose (Xpose) 6-14 Key Tracking (KeyTrk) 6-14 Velocity Tracking (VelTrk) 6-15 Method (AltMethod) 6-15 Stereo 6-15 Timbre Shift 6-16 Playback Mode 6-16 Alternative Controller (AltControl) 6-16 Alternative Switch (AltControl and AltMethod) 6-16

The LAYER Page 6-17

Low Key (LoKey) 6-18 High Key (HiKey) 6-18 Low Velocity (LoVel) 6-18 High Velocity (HiVel) 6-18 Pitch Bend Mode (Bend) 6-18 Trigger (Trig) 6-18 Delay Control (DlyCtl) 6-18 Minimum Delay (MinDly), Maximum Delay (MaxDly) 6-18 Enable 6-19 Enable Sense (S) 6-19

iii

Opaque 6-20 Sustain Pedal (SusPdl) 6-20 Sostenuto Pedal (SosPdl) 6-20 Freeze Pedal (FrzPdl) 6-20 Ignore Release (IgnRel) 6-20 Hold Through Attack (ThrAtt) 6-20 Hold Until Decay (TilDec) 6-21

The PITCH Page 6-21 The AMP Page 6-21 The Algorithm (ALG) Page 6-22

Algorithm Basics 6-23 Common DSP Control Parameters 6-24 Alt Input for Algorithms (Cascade Mode) 6-27 Dynamic VAST 6-28

The DSP Control (DSPCTL) Page 6-29 The DSP Modulation (DSPMOD) Page 6-30 The OUTPUT Page 6-31

Pan 6-32 Pan Mode 6-32 Output: Pan, Gain, and Mode 6-33 Pan Table 6-33 Crossfade and Crossfade Sense (XFadeSense) 6-33 Drum Remap 6-33 Exclusive Zone Map 6-34

The COMMON Page 6-35

Pitch Bend Range Up and Down 6-35 Monophonic 6-35 Legato Play 6-36 Portamento 6-36 Portamento Rate 6-36 Attack Portamento 6-36 Mono Sample XFade 6-37 Globals 6-37 Output: Gain, Pan, and Pan Mode 6-37 Demo Song 6-37

The LFO Page 6-38

Minimum Rate 6-39 Maximum Rate 6-39 Rate Control 6-39 LFO Shape 6-39 LFO Phase 6-39

The ASR Page 6-40

Trigger 6-40 Mode 6-40 Delay 6-40 Attack 6-41 Release 6-41

The Function (FUN) Page 6-41 The Amplitude Envelope (AMPENV) Page 6-42

Attack Segment Times 6-43

Attack Segment Levels 6-43 Decay Segment 6-43 Release Segments 6-43 Loop Type 6-44 Number of Loops 6-44

The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages 6-44 The Envelope Control (ENVCTL) Page 6-45

Adjust 6-46 Key Tracking 6-46 Velocity Tracking 6-46 Source, Depth 6-46 Impact 6-47

The Program FX (PROGFX) Page 6-47

Insert 6-48 Aux 1, Aux 2 6-48 Output 6-48 Auxiliary Send Parameters 6-48 Aux1 Mod, Aux2 Mod 6-49

The Layer FX (LYR_FX) Page 6-49 The Controllers (CTLS) Page 6-50 INFO 6-51 Function Soft Buttons 6-51

Set Controllers (SetCtl) 6-52 New Layer (NewLyr) 6-52 Duplicate Layer (DupLyr) 6-52 Import Layer (ImpLyr) 6-52 Delete Layer (DelLyr) 6-52 Name, Save, Delete 6-52

Editing VAST Programs With KVA Oscillators 6-53

Basic Use of KVA Oscillators 6-53 Setting KVA Oscillator Type 6-54 Advanced Use Of KVA Oscillators 6-55

Editing KB3 Programs 6-59 KB3 Editor: The Tone Wheels (TONEWL) Page 6-59

Upper Tone Wheel Keymap 6-59 Upper Volume Adjust 6-60 Number of Tone Wheels 6-60 Organ Map 6-60 Wheel Volume Map 6-60 Globals 6-60 Lower Transpose / Upper Transpose 6-60

KB3 Editor: The Drawbars (DRAWBR) Page 6-61

Mode 6-61 Steps 6-61 Volume 6-61 Tune 6-61

KB3 Editor: The Set Drawbars (SetDBR) Soft Button 6-62 KB3 Editor: The PITCH Page 6-62 KB3 Editor: The AMP Page 6-62 KB3 Editor: The PERC1 Page 6-63

Percussion 6-63 Volume 6-63 Decay 6-63 Harmonic 6-64 VelTrack 6-64 LowHarm 6-64 HighHarm 6-64 StealBar 6-64

KB3 Editor: The PERC2 Page 6-64

PercLevel, DecayTime, OrgLevel 6-64

KB3 Editor: The KEYCLK Page 6-65

KeyClick 6-65 Volume 6-65 Decay 6-65 VelTrk 6-65 Pitch 6-66 Random 6-66 ReTrigThresh 6-66 Note Attack 6-66 Note Release 6-66

KB3 Editor: The MISC Page 6-67

PreampResp 6-67 Leakage 6-67 LeakMode 6-68 SpeedCtl 6-68 VibChorCtl 6-68 VibChorSel 6-68 VolAdjust 6-68 BendRngUp, BendRngDn 6-68 Sustain 6-68 Sostenuto 6-68 LesliePedal 6-68

KB3 Editor: The EQ Page 6-69 KB3 Editor: The OUTPUT Page 6-70

Exp Pedal 6-70

KB3 Editor: The Program FX (PROGFX) Page 6-70 KB3 Editor: The LFO, ASR, and FUN Pages 6-70 KB3 Programming Tips 6-71

Chapter 7 Setup Mode

Zone-status LEDs in Setup Mode 7-2 Soloing a Zone 7-3

The Setup Editor 7-3 The Channel/Program (CH/PROG) Page 7-4

Program 7-4 Destination 7-5 Channel 7-5 MidiBank 7-5 MIDI Program (MidiProg) 7-6 Status 7-6

Out 7-6 Input Channel 7-6 MIDI Bank Mode (BankMode) 7-7 Entry Program Change (EntryProgChg) 7-8 Arpeggiator 7-8

The Key/Velocity (KEY-VEL) Page 7-9

Low Key (LoKey), High Key (HiKey) 7-10 Transpose 7-10 Note Map 7-10 Velocity Scale (VelScale) 7-11 Velocity Oset 7-12 Velocity Curve (VelCurve) 7-14 Low Velocity (LoVel), HighVelocity (HiVel) 7-16

The Pan/Volume (PAN/VOL) Page 7-17

Entry Volume, Exit Volume 7-17 Entry Pan, Exit Pan 7-17

The BEND Page 7-18

Bend Range (Semitones) and Bend Range (Cents): Up and Down 7-18 Aux Bend 1 Up and Aux Bend 1 Down 7-19 Aux Bend 2 Range 7-19

Controllers 7-19

Continuous Controllers 7-20 Switch Controllers 7-21 The Controller Destination List 7-21 Shift Key Number, Shift Key (ShKeyNum, ShiftKey) 7-26 Continuous Controller Parameters 7-29 Switch Controller Parameters 7-30

The WHEEL Page 7-32 The SLIDER and SLID2 Pages 7-33 The Continuous Control Pedal (CPEDAL) Page 7-34 The Pressure (PRESS) Page 7-35 The Footswitch Pages (FT SW1, FT SW2, FT SW3) 7-36 The Arpeggiator Switch (ARP SW) Page 7-37 The SWITCH Page 7-38 The RIBBON Page 7-39

The Ribbon Conguration (RIBCFG) Page 7-40

Ribbon Conguration 7-40

Position Mode (PosMode) 7-41 Spring 7-41 Center 7-41

The ARPEGGIATOR & ARPEGGIATOR 2 (ARP1, ARP2) Pages 7-42

The ARPEGGIATOR Page 7-42 The ARPEGGIATOR 2 Page 7-49 7-49 Real-time Control of Arpeggiator Parameters 7-53

Ris 7-55

The RIFF1 Page 7-55 The RIFF2 Page 7-58 Real-time Control of Ri Parameters 7-63

vii

The FX Pages: FX, AUXFX1, AUXFX2, and MASTFX 7-64 The Programmable Switch Pages: SWPRG1 to SWPRG8 7-64 The COMMON Page 7-65

Tempo 7-65 Clock Source 7-65 Aux FX Channel 7-65 KB3 Channel 7-66 Mutes 7-66 Arpeggiator Global (ArpGlobal) 7-66

TRIGGER KEYS (KEYTRG) 7-67 The Utility Soft Buttons 7-68

Name 7-68 Save 7-68 Delete 7-68 New Zone (NewZn) 7-68 Duplicate Zone (DupZn) 7-68 Import Zone (ImpZn) 7-68 Delete Zone (DelZn) 7-68

Recording A Setup To Song Mode 7-69

Chapter 8 Quick Access Mode

Soft Buttons In Quick Access Mode 8-2

The QA Editor 8-2

Chapter 9 Effects and Effect Mode

Eects Overview 9-1

Insert Eects 9-1 Aux Eects 9-1 Master Eects 9-2

Chains 9-2 Signal Flow 9-2 DSP Units - Manage and Distribute Processor Power for Eects 9-3 Aux Override 9-3

Eect Mode and the Eects Pages 9-4

The EectsEnable Page 9-4

The Aux 1 Override and Aux 2 Override Pages 9-5 The Master Eects Page 9-8

The Chain Editor 9-9

The MAIN Page 9-9 The MOD Pages 9-10 FXLFO, FXASR, and FXFUN pages 9-11 INFO 9-11

Eects Parameters 9-12

General Parameters 9-12 Reverbs 9-13 Delays 9-14 Equalizers (EQ) 9-15 Compressors, Expanders, and Gates 9-16 Chorus 9-18 Flanger 9-19

viii

Quantize 9-19 LaserVerb 9-19 Filters 9-20 Distortion 9-21 Rotating Speakers 9-22 Vibrato/Chorus 9-23 Tremolo and AutoPan 9-24 Pitcher 9-25 Ring Modulation 9-25 Stereo Simulation 9-25

Chapter 10 MIDI Mode

The TRANSMIT Page 10-1

Control Setup 10-2 Destination 10-2 Channel 10-2 Transpose 10-2 Velocity Map (Transmit) 10-3 Pressure Map (Transmit) 10-4 Program Change (ProgChang) 10-5 Change Setups (ChgSetups) 10-5

The RECEIVE Page 10-5

Basic Channel 10-6 MIDI Receive Mode (MIDI Mode) 10-6 All Notes O 10-6 Program Change Mode (PrgChgMode) 10-6 Velocity Map (Receive) 10-7 Pressure Map (Receive) 10-8 System Exclusive ID (SysExID) 10-9 Bank Select 10-9 Local Keyboard Channel (LocalKbdCh) 10-10

The Channels Page 10-14

Enable 10-14 Program 10-14 Pan 10-15 Volume 10-15 Program Lock, Pan Lock, Volume Lock 10-15

Program Change Formats 10-15

Extended Program Changes 10-16 QAccess 10-16

The Soft Buttons in MIDI Mode 10-18

Program Change (PrgChg) 10-18 Reset Channels (RsetCh) 10-18 Panic 10-18

Chapter 11 Master Mode

MAIN 11-1

Tune 11-2 Transpose 11-2 FX Mode 11-2

Drum Remap 11-2 ID Entry 11-2 Setup Controllers (SetupCtls) 11-2 Master Table Lock (Master Lock) 11-3 Demo Button 11-3 Buttons Mode (Buttons) 11-3 Display 11-3

MAPS 11-5

Velocity Map (Master) 11-5 Pressure Map (Master) 11-7 Intonation 11-8 Key Action Map 11-9 Intonation Key (Int.Key) 11-9 Default Sequence 11-10

OUTPUT 11-10

Output Clock 11-10 Digital Output Volume (Dig. out volume) 11-10 Digital Output (Dig. Out) 11-10 Aux Out Pair Mode 11-10 Clock Source 11-11

TEMPO 11-11 General MIDI Mode (GM On, GM O) 11-12 OBJECT 11-13

Rename 11-14 Delete 11-14

UTILS (UTILITIES) 11-16 CLOCK 11-17 Reset 11-17 Loader 11-18 About 11-18 Save 11-18 Preview Sample (PRVIEW) 11-18

Chapter 12 Song Mode and the Song Editor

Getting Started with the Sequencer 12-1

What is a Sequencer? 12-1

Song Mode: The MAIN Page 12-1

Current Song (CurSong) 12-2 Tempo 12-2 Recording Track (RecTrk) 12-3 Program (Prog) 12-3 Track Number (Trk:#) 12-3 Volume (Vol) 12-4 Pan 12-5 Mode 12-6 Location (Locat) 12-6 Mode Indicators (+ and x): 12-6 Activity Indicators 12-6 Track Status Indicators 12-6 Track Channels 12-7

Soft Buttons on the MAIN Page 12-7 The Save Changes Dialog 12-8

Song Mode: The BIG Page 12-10

Time In 12-10 Time Out 12-10 Song End 12-11 Loop 12-11 RecMode 12-11 Metron 12-11

Song Mode: The FX Pages 12-12 Song Mode: The MIXER Page 12-12

Out 12-12 The Rec, Play, and Stop Soft Buttons 12-13 The Keep Soft Button 12-13 The Done Soft Button 12-13

Song Mode: The METRONOME Page 12-13

Metronome 12-14 CountO 12-14 Program 12-14 Channel 12-14 Strong Note 12-14 Strong Vel 12-14 Soft Note 12-14 Soft Vel 12-14 The Rec, Play, and Stop Soft Buttons 12-14 The Done Soft Button 12-14

Song Mode: The Filter Pages (RECFLT and PLYFLT) 12-15

Notes 12-15 LoKey 12-15 Hi 12-15 LoVel 12-16 Hi 12-16 Controllers 12-16 Controller 12-16 LoVal 12-16 Hi 12-16 PitchBend 12-16 ProgChange 12-16 MonoPress 12-16 PolyPress 12-16 The Rec, Play, and Stop Soft Buttons 12-16 The Done Soft Button 12-16

Song Mode: The MISC Page 12-17

Control Chase 12-17 Quant 12-17 Grid 12-17 Swing 12-18 Release 12-18 Key Wait 12-18

Song Mode: The STATS Page 12-18

The Song Editor 12-19 Song Editor: The COMMON Page 12-19

Tempo 12-19 TimeSig 12-19 FX Track 12-20 DrumTrack 12-20 MidiDst 12-20 Soft Buttons on the COMMON Page 12-21

Song Editor: The TRACK Page 12-21

Common Parameters for Edit Song: Track Functions 12-22 Region/Criteria Box Parameters 12-22 Soft Buttons on the TRACK Page 12-23

Song Editor: Track Functions 12-24

Erase 12-24 Copy 12-24 Bounce 12-25 Insert 12-26 Delete 12-26 Quantize 12-27 Shift 12-28 Transpose 12-28 Grab 12-29 Change 12-30 Remap 12-31

Song Editor: The EVENT Page 12-31

Initial Program, Volume, Pan 12-32 Location 12-32 Bar, Beat, and Tick 12-32 Event Type and Value 12-32 Soft Buttons on the EVENT Page 12-33 Tempo Track 12-33

Chapter 13 Storage Mode

Storage Mode Page 13-1

Using USB Devices 13-2

Storage Mode Common Features 13-4

Directories 13-4 Path 13-4 Common Dialogues 13-4

The STORE Page 13-6

Storing Overview 13-6 Select Object Type To Store 13-7 Select Object Range To Store 13-7 The Store Advanced Page 13-7

The LOAD Page 13-9

Loading Individual Objects From a .P3A Or Compatible File Type 13-10 Loading Methods 13-11

The Utilities (UTILS) Page 13-14

Soft Buttons on the Utilities Page 13-14

Export 13-15

xii

Format 13-15

Chapter 14 Keymap and Sample Editing

The Keymap Editor 14-1

Keymap Editor Parameters 14-3 The Soft Buttons in the Keymap Editor 14-5 Special Double Button Presses in the Keymap Editor 14-6

Building a Keymap 14-7 Editing Samples 14-9

The Miscellaneous (MISC) Page 14-9 The TRIM Page 14-12

Chapter 15 Tutorial: Song Mode

Part 1: Assign Instruments To Tracks 15-2 Part 2: Set The Tempo 15-3 Part 3: Record Your First Track, Save The Song 15-4 Part 4: Record Additional Tracks 15-7 Part 5: Fixing Mistakes 15-8 Part 6: Adjusting The Volume Of Each Instrument 15-10 Part 7: Learning More About Song Mode 15-15

Appendix Specications

MIDI Implementation Chart A-1 Specications A-2

Appendix PC3A Bootloader

Using the Bootloader Menu B-1 System Update (PC3A Software, Objects, Etc.) B-2 Run Diags - PC3A Diagnostics Utility B-2 System Reset B-2 System Utilities B-3

Appendix Changing PC3A Voltage

Removing the fuse holder C-1

Appendix PC3A Objects (V 2.3)

Programs D-1 Setups D-17

Eect Chains D-20 Eect Presets with Algorithms D-29

How to Use These Tables D-29 Reverbs D-29 Delays D-33 Chorus D-35 Flange D-35 Phaser D-36 Trem / Panner / Spatial D-37 Rotary D-37 Distortion D-38 Dynamics D-39 EQ / Filters D-39 Chorus / Combi D-41 Flange / Combi D-42

xiii

Keymaps D-44 Samples D-54

Arpeggiator Shift Patterns D-63 Arpeggiator Velocity Patterns D-65

Appendix PC3A Legacy File Conversion

Object Types and Conversion Details E-1

Keymap Objects E-1 Program Objects E-1 Setup Objects E-1

Index i

xiv

Introduction

Chapter 1 Introduction

Greetings. Your new instrument oers amazing acoustic, electric, and synthesizer sounds,

combined with advanced programming features that will let you create almost any sound you

can imagine. This manual covers the PC3A in its 88, 76, and 61-note congurations (PC3A8,

PC3A7, and PC3A6.) For the most part, anywhere we talk about the PC3A in this manual we mean any of these instruments.

The PC3A comes loaded with 256 MB of ROM sounds, including:

• The Original PC3K set.

• The KORE64 expansion set (featuring improved guitar, drums, synth, brass, and woodwind

sounds).

• The German D Grand EXP expansion set (featuring improved acoustic piano sounds).

In Program Mode, press the Exp 1 Bank button to access KORE64 Programs (IDs 3200-3590), or press the Exp 2 Bank button to access the German D Grand EXP Programs (IDs 3700-3730). By

default, program 3700 will be selected when the PC3A is rst powered on.

In addition to the great sounds and programming features, the PC3A is fully equipped with performance features you’ll use at every gig. For example, there are nine conveniently situated sliders for accurately emulating the drawbars on a tone wheel organ such as a Hammond B3™. And the PC3A’s 24 dedicated sound select buttons, along with its Quick Access banks will let you instantly choose and change sounds whenever you like.

Advanced program, keymap and sample editing features allow you to customize your sounds further. You’re able to map any sample to any key, tune individual samples, change the start, alt start, loop point and end point of samples and even assign a controller to adjust sample start point in real-time.

If you’ve used other Kurzweil gear, you’ll have no trouble getting up and running quickly. Bear in mind, however, that the PC3A’s beauties are more than skin-deep; you’ll want to read this manual, as well as the materials at the www.kurzweil.com website to take full advantage of your instrument.

1-1

Introduction

Arp

Keeping Current

Check for new documentation and operating system upgrades before you start using your instrument. When new software is available for the PC3A, it will be posted at www.kurzweil.

com. You’ll use the PC3A’s Boot Loader (described in this manual) to upgrade your instrument to

use the new software.

Overview of the PC3A

Pictured below is the 88-key PC3A8.

The PC3A’s 1400+ programs include improved piano sounds from the German D Grand EXP expansion, and improved guitar, drums, synth, brass, and woodwind sounds from the KORE64 expansion. Also included are string sections from the Orchestral and Contemporary sound blocks, Stereo Triple Strike Piano, Classic Keys for realistic vintage electric piano sounds, and General MIDI (GM) sounds. Multi-zone performance setups are also provided; many of these setups use note triggers to play factory-recorded songs that provide grooves and arpeggiation that make great templates for performance or recording. An on-board sequencer with front panel transport buttons lets you record your ideas any time inspiration strikes. This sequencer (Song mode) lets you play back MIDI type 0 or 1 sequences, record and play back your own songs, and record multi-timbral sequences received via MIDI.

In addition to V.A.S.T. capability, a few of the features that by themselves make the PC3A an impressive stage and studio machine are:

• 128-voice polyphony

• Fully multi-timbral voices, so that dierent programs can be played on each MIDI channel.

• An on-board digital eects processor provides multiple simultaneous eects, including real-time eects control, internally or via MIDI.

• More eects processing power than Kurzweil’s own KSP8 studio eects processor.

• Two additional balanced analog outputs in addition to the standard stereo audio output pair,

as well as a digital output. All of the outputs are available simultaneously.

For backup, storage, and moving les, two types of USB ports are provided on the back panel of

the PC3A. A USB storage port allows you to connect a USB device such as a thumb drive, and a

second USB Computer port lets you connect the PC3A to a computer for le transfer and MIDI

connectivity.

1-2

Introduction

VA-1 Programs

VAST Synthesis

The PC3A’s Variable Architecture Synthesis Technology (V.A.S.T.) lets you build sounds from realistic instrumental samples and sampled synth waveforms—then modify the nature of those sounds through a wide variety of digital signal-processing (DSP) functions. The PC3A also generates its own synth waveforms, which can be combined with the samples or used on their own.

While many other synthesizers may oer a xed set of DSP tools (typically ltering, pitch, and

amplitude modulation) the PC3A’s Variable Architecture lets you arrange a combination of DSP

functions from a long list of choices. The functions you choose dene the type of synthesis you

use.

Each layer of every program has its own DSP architecture, which we call an algorithm. Within each algorithm, you can select from a variety of DSP functions. Each function can be independently controlled by a variety of sources including LFOs, ASRs, envelopes, a set of unique programmable functions (FUNs), as well as any MIDI control message. The many

dierent DSP functions and the wealth of independent control sources give you an extremely exible, truly vast collection of tools for sound creation and modication.

The PC3A oers powerful editing features we call Dynamic V.A.S.T. and Cascade Mode.

Dynamic V.A.S.T. allows you to “wire” your own algorithms, combining dierent DSP functions in any order you like, including parallel and serial congurations.

Cascade Mode lets you route any layer of a program into the DSP of any other layer. Any of the 32 layers of a program can go into any other layer.

When you’re ready to jump in and start creating programs, turn to Chapter 6.

KB3 Tone Wheel Emulation

In addition to VAST synthesis, the PC3A oers many oscillator-based programs that give you the

classic sound of tone-wheel organs like the Hammond B3. KB3 mode, as we call it, is completely independent of VAST, and has its own set of editing procedures. Nine dedicated sliders on the PC3A’s front panel give you real-time drawbar control over these organ sounds. Buttons above the sliders control rotating speaker speed, percussion, and other organ features.

The quickest way to get to the KB3 programs is by pressing the KB3 button (above the sliders, to the left of the screen). The blue LED in the KB3 button will light when the current program is a KB3 program.

VA-1 Programs

The VA-1 (Virtual Analog Synthesizer) programs included with the PC3A oer realistic

emulations of classic analog synthesizers, built from Kurzweil’s unique anti-aliased DSPgenerated oscillators. The PC3A’s power-shaped oscillators let you transition smoothly from one waveform into another in real time, without using cross-fades.

VA-1 programs are scattered throughout the PC3A. Look for them in the Synth Category and the Classic Keys Bank. You’ll see “KVA Oscillator” appear in the Keymap screen on the left hand side of the display.

1-3

Introduction

How to Use This Manual

This PC3A Musician’s Guide describes how to connect and power up your PC3A, and to hook up the PC3A to your sound system and MIDI system. It provides an overview of the front panel, and a brief description of the operating modes to help you start playing music with the

instrument. It covers the PC3A in its 88, 76, and 61-note congurations (PC3A8, PC3A7, and

PC3A6).

Detailed information on editing and advanced programming features is also provided on the Kurzweil website:

http://www.kurzweil.com

The best way to read this guide is with your PC3A in front of you. By trying the examples we give to illustrate various functions, you can get a quick understanding of the basics.

Do I Have Everything?

Your PC3A shipping carton should include the following in addition to your instrument:

• Power cable

• Sustain pedal

• USB cable

• Getting Started manual

If you don’t have all of these components, please call your Kurzweil/Young Chang dealer.

You may also want to purchase a USB thumb drive for portable backups and storage.

Boot Loader

When you need to update the PC3A’s software or run diagnostic tests, you’ll use the Boot Loader. To bring up the Boot Loader, hold down the Exit button (below the cursor buttons, to the right of the display) while powering on your PC3A. Refer to Appendix BAppendix B, p.1 for details on the Boot Loader.

Battery

The PC3A uses a CR2032 battery to power its clock. The battery should last ve years, and a

message will tell you when the battery needs replacing. The access panel on the bottom of the PC3A (which you can easily remove with a screwdriver) allows you to get at the battery for removal and replacement.

CAUTION: Danger of explosion if battery is incorrectly replaced. Replace only with the same or

equivalent type (CR2032).

1-4

Introduction

Options

Ask your Kurzweil dealer about the following PC3A options:

Sound ROM Expansion Card

The PC3A has the KORE64 and German D Grand EXP cards installed as standard components.

Pedals

The PC3A has jacks for three switch pedals (for functions like sustain or program/setup changes) and two continuous pedals (for functions like volume control and wah). Your Kurzweil dealer stocks the following optional pedals:

FS-1 Standard box-shaped switch pedal KFP-1 Single piano-style switch pedal KFP-2M Double piano-style switch pedal unit CC-1 Continuous pedal

Ribbon Controller

There’s a dedicated modular jack (like a telephone jack) on the rear panel of the PC3A for

connecting this 600-mm (24-inch) ribbon controller. You can congure the PC3A to use the ribbon

as a single large controller, or a three-section controller with independent settings for each section.

Breath Controller

You can plug a Yamaha (or equivalent) breath controller into the dedicated jack on the PC3A’s rear panel.

USB Storage Device

You can plug a USB mass storage device such as a “thumb drive” or memory stick into the PC3A for backing up, archiving, sharing your work, and updating your software. Any size USB mass storage device will work, though thumb drives are recommended for their portability, durability, and low price.

Note: Most USB thumb drives are compatible with the PC3A, but some older USB thumb drives and larger

USB bus powered drives will not work with the PC3A if they require more than 100 mA of current (high power USB devices). When attempting to use an incompatible USB device, the PC3A will display the message “USB device requires too much power.” The PC3A is designed to work with low power USB

devicesandcanprovideamaximumof100mAtoaUSBdevice.Powerrequirementspecicationsfor

thumb drives are not always made clearly available by the manufacturer, but a newly purchased thumb

drivewillmostlikelybecompatible.Ifpossible,checkthepowerrequirementspecicationsofyourUSB

device before purchase.

1-5

Startup

Make Music

Chapter 2 Startup

If hooking up new gear is familiar to you, and you just want to get going, here’s a quick description of what you need to get started with your PC3A. If you need more information, thorough descriptions of each step follow.

Make Connections

1. Set the keyboard on a hard, at, level surface. Make sure to leave plenty of room for

ventilation.

2. Four adhesive-backed rubber feet are provided with your PC3A. If you want to attach them

to the bottom of the PC3A(recommended to prevent scratching your tabletop), carefully turn the keyboard over, remove the paper backing from the rubber feet and attach them now, near each corner, all on the same level.

3. Connect the power cable.

4. Make sure your sound system is at a safe volume level. Also make sure that the PC3A’s

5. Plug in a pair of stereo headphones or run standard (1/4-inch) audio cables from your

Make Music

6. Power up your PC3A, raise the level of the MASTER VOLUME slider, and check out some of

MASTER VOLUME slider (on the far left side of the front panel) is all the way down.

amplier or mixer to the MIX audio outputs on the PC3A. (Use the Main Left out for

mono.) Balanced (“TRS” or “Stereo”) cables are recommended.

the programs and setups. The PC3A starts up in Program mode by default. Press one of the mode buttons to the left of the display to switch modes.

7. If you hear distortion, reduce the gain on your mixing board, or use the pad if it has one.

8. Scroll through the program list with the Alpha Wheel, or the dedicated Category and

Program buttons, and try the PC3A’s many sounds.

2-1

Startup

Startup—the Details

This section walks you through the hookup of your PC3A. We’ll take a look at the rear panel, then describe the power, audio, and other cable connections.

Before You Start...

Don’t connect anything until you make sure your PC3A is properly and safely situated. Also, if your PC3A has been out in the cold, give it time to warm up to room temperature before starting it, since condensation may have formed inside the PC3A. It is normal for the rear panel near the MIDI jacks to become warm after a while.

Connecting the Power Cable (Line Cord)

The PC3A runs on AC power: 100, 120, 230, or 240 volts at 50–60 Hz. Your dealer will set the voltage switch to match the voltage in your area. The voltage level is set with a selector on the rear panel of the PC3A. Unless you are sure it needs to be changed, you shouldn’t adjust this.

When you’ve connected the cable at the PC3A end (as you face the back of the PC3A, the power connection is at the right), plug it into a grounded outlet. If your power source does not have the standard three-hole outlet, you should take the time to install a proper grounding system. This will reduce the risk of a shock.

2-2

Connecting Audio Cables

Analog

After you’ve turned down the level on your sound system, connect the PC3A’s analog audio outputs to your sound system using a pair of stereo or mono audio cables. Mono cables will

always work, but if you’re going into balanced inputs, use stereo cables for a better signal-tonoise ratio and a bit more volume. The PC3A’s analog outputs are balanced, and generate a “hotter” signal than some previous Kurzweil instruments.

You’ll nd four 1/4-inch balanced audio output jacks on the rear panel. For now, connect one end

of each audio cable to your mixing board or PA system inputs, and connect the other end to the jacks marked Main Left and Right on the rear panel of the PC3A. If you have only one input available, use the PC3A’s Main Left output to get the full signal in mono.

In Master mode you can set the Aux outputs to duplicate the Main Outs – useful for monitoring and other operations. They are always in stereo, as is the headphone out.

Startup

Startup—the Details

Digital

For digital audio output from the PC3A, connect a 75-Ohm coaxial cable from the PC3A’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. The PC3A’s Master Page (press the Master mode button) lets you select a range of useful sample rates for the digital output.

The RCA jack labeled “Sync In” allows you to synchronize the PC3A’s S/PDIF Digital Audio output sample rate to an external S/PDIF source. Although no audio signal is received by the “Sync In” jack, its clock is received and may be used to set the output sample rate. For details, see the Master Mode OUTPUT page parameter Digital Output (Dig. Out) in Ch. 11, page 10. NOTE: Sync In is NOT a “Word Clock” input. Only a valid S/PDIF signal is recognized.

Connecting MIDI

The simplest MIDI conguration uses a single 5-pin MIDI cable: either from the MIDI Out port of

your PC3A to the MIDI In port of another instrument, or from the MIDI Out port of another MIDI

controller to the MIDI In port of the PC3A. There are all sorts of possible congurations, including additional synths, personal computers, MIDI eects processors, and MIDI patch bays.

Depending on your system, you may want to use the PC3A’s MIDI Thru port to pass MIDI information from a MIDI controller to the PC3A and on to the next device in your system. You can also connect MIDI devices to the PC3A’s MIDI Out port, which can send channelized MIDI information from the keyboard or through the PC3A from your MIDI controller.

The MIDI Thru port can be congured to serve as an additional MIDI Out by sliding the nearby

switch to the Out position.

You can also use the PC3A’s USB port to send and receive MIDI. By default the PC3A will show up as a USB MIDI device. If you choose USB Temporary Drive from Storage mode, the PC3A will temporarily (while on that Storage mode page) become a “virtual storage device” and USB MIDI

will be disabled. Dierent host programs on your computer may indicate various errors as the

USB MIDI device is no longer present. Leaving Storage mode will restore USB MIDI functionality.

USB MIDI and 5-pin MIDI can be used at the same time; the MIDI signals will be combined into a single 16-channel MIDI stream.

2-3

Startup

Startup—the Details

Pedals

Plug your switch or continuous pedals into the corresponding jacks on the PC3A’s rear panel. We recommend using the Kurzweil pedals described on page 1-5, but you can use almost any switch

or continuous pedal, as long as it adheres to the following specications (as most pedals do):

Breath

Switch pedals Continuous pedals 10-kOhm linear-taper potentiometer,

-inch tip-sleeve plug

-inch tip-ring-sleeve plug

with the wiper connected to the tip.

If you use a third-party (non-Kurzweil) switch pedal, make sure it’s connected before you turn

on your PC3A. This ensures that the pedal will work properly (it might function backward—o

when it’s down and on when it’s up—if you turn on your PC3A before plugging in the pedal).

Similarly, don’t press any of your switch pedals while powering up, because the PC3A veries

each pedal’s orientation during power up. If you’re pressing a pedal, you might cause it to work backward.

The pedals are independently programmable within each zone of every setup. Here are the

default settings for the ve pedals you can use with the PC3A:

Switch Pedal 1 Controller 64 (Sustain) Switch Pedal 2 Controller 66 (Sostenuto) Switch Pedal 3 Controller 67 (Soft) Continuous Control Pedal 1 Controller 11 (Expression / Volume) Continuous Control Pedal 2 Controller 4 (Foot Pedal) producesa“wah”eectinmanysetups

The 3.5mm jack labeled Breath accepts a standard breath controller, which sends standard MIDI Breath (MIDI 2) messages. The PC3A’s preset programs and setups don’t respond to breath, but if you have other instruments that do respond to Breath, you can control them from the PC3A via MIDI.

2-4

You can also program the PC3A so that the breath controller sends a dierent MIDI message. This would enable you to use a breath controller to aect the PC3A, but then other instruments

receiving MIDI from the PC3A would no longer respond to the PC3A’s breath controller (unless you also programmed them to receive the same MIDI Controller that the PC3A’s breath controller is sending).

Startup

Startup—the Details

Ribbon

Plug the optional Kurzweil Ribbon Controller into the modular Ribbon jack on the rear panel.

The ribbon controller itself should rest on a at surface; it ts nicely between the keys and the

buttons and sliders on the front panel.

The ribbon is a continuous controller. You can program the ribbon controller to send MIDI Controller messages 1–127, as well as several specialized messages. It generates values of 0–127

for whatever MIDI Controllers you assign it to send. Just press it, and slide your nger along the

ribbon to change the value of the message it’s sending.

You can congure the ribbon to have one control section that runs its entire length, or to have

three sections of equal length. It sends its highest values when you press it at the end where the

cable connects. When you congure it to have three sections, each section sends its highest values

at the end closest to the cable.

Caution: The modular jack is designed for connection to the Kurzweil Ribbon Controller option only.

Don’t plug any other modular plugs into the Ribbon jack.

Switching On the Power

The PC3A’s power switch is on the rear panel, adjacent to the power cable connection.

When you power up, the display briey shows some startup information. The Program mode display then appears. It looks like the diagram below, though your PC3A may be dierent from

the example.

The rst time you power up (or after a reset), your instrument will be set to operate on MIDI

Channel 1 (as shown at the far right of the top line above).

Set the volume at a comfortable level. You’ll get the best signal-to-noise ratio if you keep the PC3A at full volume, and adjust the level from your mixing board. You may also want to adjust the display contrast and brightness. There are two small knobs on the rear panel of the PC3A for this purpose.

2-5

Startup

Startup—the Details

USB Storage Port

Note: Most USB thumb drives are compatible with the PC3A, but some older USB thumb drives and

Caution: Do not remove a USB device while the display says Loading... or Saving.... Removing a USB

You can plug a USB mass storage device such as a “thumb drive” into the PC3A for backing up, archiving, sharing your work, and updating your software. Any size USB mass storage device will work, though thumb drives are recommended for their portability, durability, and low price. The USB Storage port is on the back panel of the PC3A, but it is easily accessible from the front of

the instrument. A USB connector will only t into the port if oriented properly, so don’t force it

into the port, as this may damage your PC3A or USB device. If you are having trouble inserting

your USB connector into the port, try ipping the connector over.

larger USB bus powered drives will not work with the PC3A if they require more than 100 mA of current (high power USB devices.) When attempting to use an incompatible USB device, the PC3A will display the message “USB device requires too much power”. The PC3A is designed to work with low power USB

devicesandcanprovideamaximumof100mAtoaUSBdevice.Powerrequirementspecicationsfor

thumb drives are not always made clearly available by the manufacturer, but a newly purchased thumb

drivewillmostlikelybecompatible.Ifpossible,checkthepowerrequirementspecicationsofyourUSB

device before purchase.

deviceduringaletransfercancausedatacorruption.

2-6

USB Computer Port

Next to the USB Storage port on the back panel of the PC3A is a USB Computer port. The USB Computer port works for MIDI (transmit and receive) or to connect your PC3A to a computer for

le transfer. By default, the USB port is set to MIDI mode. When selecting USB PC connection in

Storage mode, USB MIDI will temporarily be disabled.

We recommend that you use the USB cable provided with your PC3A and do not use extension USB cables. The PC3A’s USB Computer port is only intended for connection to a USB Type A port.

In USB Storage mode, a “PC3A” virtual drive will appear on your computer desktop. One important thing to know here is that this is a virtual drive. You can save to this drive from the

PC3A, but you must immediately transfer that le to your desktop (or other folder). You must copy data from the PC3A virtual drive to your computer’s drive or else the data will be lost.

Note: When transferring les to and from the PC3A via the USB Computer Port, the maximum

size of les that can be transferred is approximately 1.6MB. This is suitable for most objects.

When using the USB Storage Port to transfer les, the le size that can be transferred is limited only by the size of the USB mass storage device and the PC3A’s available object memory.

Startup

PC3A Programs

When you leave Storage Mode, there will be a prompt telling you that the PC3A is turning back into a USB MIDI device - which you have to acknowledge. If you haven’t copied the le(s) to

your desktop (or other place on the computer) it won’t be on the virtual disk when you leave storage mode.

Depending on your computer’s operating system, you may sometimes see a scary device removal warning on your desktop (for example, when the PC3A leaves the Boot Loader). You may disregard such a message without worries of damage to your PC3A or computer.

Setting the Clock

The rst time you start up your PC3A is probably a good time to set the instrument’s clock to

your current local time. Do this from the Master mode CLOCK page.

The clock will time-stamp your les that have been stored via USB.

PC3A Programs

The PC3A powers up in Program mode, where you can select and play programs (called patches, presets, or voices on other instruments). Programs are preset sounds composed of up to 32 layers of samples or waveforms. If you’ve left Program mode, just press the Program mode button or Exit button to return.

Selecting Programs

When you are in Program mode, there are three basic ways to select a PC3A program:

• Press one of the Bank buttons (above the sliders on the left side of the front panel) to select a bank, then press a Category button and a Program button. The Category and Program buttons are on the front panel, between the screen and the alpha wheel. Note: The instrument

names above the Category buttons are relevant for Banks 1 and 2 (Base 1 and Base 2). For all other Banks, the Category buttons select a group of 8 programs to be selected by the Program buttons, but the group of programs may not match the instrument name of the selected Category button. (See Program and Category Buttons in Ch. 3, page 4 for more details.)

• Type the program’s ID (number) on the alphanumeric buttonpad, then press Enter. If you make a mistake, press Clear, then start over.

• Scroll through the list using the Alpha Wheel, the Plus or Minus button under the Alpha Wheel, or the cursor buttons (the arrow buttons to the right of the display).

The PC3A has various settings for responding to MIDI Program Change commands from external sources. These are explained in Chapter10 , so we won’t go into them here. You should be able to change programs by sending Program Change commands from your MIDI controller.

Easy Audition

Any time you want to hear what a program sounds like, highlight the program’s name (while in Program mode) then press the Play/Pause button to play a brief sample. The Demo Button

parameter on the Master Mode MAIN page must be on for Easy Audition to work; the parameter is on by default. Master mode is described in Chapter 11.

2-7

Startup

PC3A Programs

Program Mode Display

Take a minute to familiarize yourself with the Program mode display. It gives you some helpful basic information, like the MIDI transposition, what MIDI channel you’re on, and which

program is currently selected.

Info Box

There’s a box at the left side of the display. The info box, as it’s called, displays information about the current program (there’s also an info box for Setup mode).

Soft buttons

On most PC3A screens, the bottom line of the display identies the function of each of the

buttons beneath the display. We call these buttons soft buttons, because they do dierent things depending on what’s currently showing in the display.

In Program and Quick Access modes, you can change octaves with the Octav- and Octav+ buttons under the display. The Info soft button shows you relevant details about the current item. The Xpose-/Xpose+ buttons are a shortcut for quick transposition in semitone (half step) increments. You can use them to transpose the entire PC3A as much as three octaves up or down. The top line of the display shows the current amount of transposition (Xpose). Press both Xpose buttons simultaneously to return transposition to zero.

The Panic button (or a double press of Cancel and Enter at the bottom of the alphanumeric

keypad) sends an All Notes O message and an All Controllers O message—both to the PC3A

and over all 16 MIDI channels. You won’t need it often, but it’s nice to have.

VAST Programs

A “normal” VAST program is what most of the factory programs are. The info box contains

details about the dierent layers in each program, usually indicating the keymap used in each

layer. The line under the keymap name indicates the layer’s keyboard range. In this case, only the

rst two displayed layers extend across the entire keyboard (A 0 to C 8). The × symbol to the right

of each layer shows that the keymap is a stereo keymap.

2-8

Startup

Quick Access

KB3 Programs

KB3 (organ) programs dier from VAST programs in that they don’t have layers. Instead they

rely on oscillators that mimic the tone wheels used in many popular organs. Consequently, the info box shows only the waveform used in the program. Because of their architecture, KB3

programs require dierent processing within the PC3A. KB3 programs play only on a single channel at a time (VAST programs will work ne on that channel, too).

The quickest way to get to the KB3 programs is by pressing the KB3 button that’s above the sliders.

When you’re ready to start doing your own programming, check out Chapter 6 .

Setups

Setups are preset combinations of programs. Setups can have up to 16 zones, each of which can be assigned to any range of the keyboard (overlapping or split). Each zone can have its own

program, MIDI channel, and MIDI control assignments, as well as ri and arpeggiator settings.

Press the Setup mode button to the left of the display. Its LED will light, telling you that you’re in Setup mode. Notice that the Setup mode display is similar to the Program mode display. If the setup has four or fewer zones, the box at the left shows you the programs assigned to each of the

setup’s zones. If the setup is composed of more than four zones, then the box displays the rst

four zones; at the top of the box will be text showing the total number of zones. See Ch. 7, page 1 for a more detailed description.

Many setups include arpeggiation and note-triggered songs to create some pretty amazing grooves that you can use as is, or as templates for your own material. As you play with these

setups, experiment with the sliders and other controllers for a wide range of eects. Some of

these grooves keep playing after you’ve released the keys that got them going. When you want to stop them, select another setup, or press the Setup mode button (or Stop for ris).

Quick Access

A really convenient way to select programs and setups is to use Quick Access mode, where you select a Quick Access bank from a list of factory preset or user-programmed banks. Each bank contains ten memory slots, or entries, where you can store any combination of programs or setups. While you’re in Quick Access mode, you can select any program or setup in the bank with buttons 0 through 9 or the cursor keys.

The PC3A comes with a few Quick Access banks already programmed so you can get an idea of how they work. You’ll probably create your own Quick Access banks to help you select programs and setups with a minimum of searching. Press the Quick Access mode button to the left of the display. Its LED lights, to tell you you’re in Quick Access mode.

2-9

Startup

Software Upgrades

The top line of the display tells you which Quick Access bank is selected. Use the Chan/Layer buttons (to the left of the display) to scroll through the banks. The names of each of the ten entries in the bank are listed in the center of the display. Many of their names will be abbreviated. The currently selected entry’s full name is shown near the bottom of the display. The amount of transposition is displayed to the left of the entry name. If the current entry is a program, you’ll see the current keyboard (MIDI) channel displayed to the right of the entry’s name. If it’s a setup, you’ll see the word Setup.

The entries on the Quick Access page are arranged to correspond to the layout of the numeric buttons on the alphanumeric pad.

When you’re ready to create your own Quick Access banks, turn to Chapter8 to learn about the Quick Access Editor.

The Other Modes

There are ve other mode buttons on the front panel. See Chapters 3 and 4 for more detailed

descriptions of the modes.

Eects mode Enable/disable eects presets, and set Aux overrides.

MIDI mode Congure the PC3A for sending and receiving MIDI information.

Master mode Dene performance and control settings.

Song mode Record and edit sequences (songs); play Type 0 and Type 1 MIDI

Storage mode Load and save programs, setups, sequences, and other objects via USB

Software Upgrades

It’s easy to upgrade the PC3A’s operating system and objects (programs, setup, etc.) using the

boot loader to install upgrades into ash ROM. When upgrades are available you can download

them from www.kurzweil.com and install them via one of the PC3A’s two USB ports.

When you’ve downloaded an upgrade, you can install it yourself in a matter of minutes. Follow

the instructions included with the upgrade les.

sequences.

device.

2-10

User Interface Basics

Arp

Mode Selection

Chapter 3 User Interface Basics

This chapter will show you how to get around the front panel of your PC3A. Your interactions can be divided into three primary operations: mode selection, navigation, and data entry. There is also an assignable control section.

Mode Selection

The PC3A is always in one of eight primary operating modes. Select a mode by pressing one of the mode buttons — they’re to the left of the display. Each mode button has an LED that lights to indicate the current mode. Only one mode can be selected at a time.

Program mode Select and play programs, and modify them with the Program Editor.

Setup mode Select and play setups (16 keyboard zones with independent MIDI

channel, program and control assignments), and modify them with the Setup Editor.

Quick Access mode Select from a list of preset banks, each containing a list of ten programs

and/or setups that can be viewed in the display for easy selection. Modify the preset banks and create your own with the Quick Access Editor.

Eect mode Enable/disable eects or set Aux overrides for Program Mode (or a

program selected from Quick Access mode.)

MIDI mode Dene how your PC3A sends and receives MIDI information, and

congure each channel to receive independent program, volume, and pan

messages that override the normal Program mode settings.

Master mode Dene performance and control characteristics for the entire PC3A.

3-1

User Interface Basics

Bank Buttons

Song mode Use the PC3A’s sequencer to record and play back your keyboard

Storage mode Interface with the PC3A’s USB storage or computer ports to load and save

The PC3A’s tone wheel organ emulation is called KB3 mode. You automatically enter this mode when you select a KB3 program. The KB3 Bank button takes you there directly.

Mode Buttons

performance, play Type 0 and Type 1 MIDI sequences, and record multitimbral sequences received via MIDI.

programs, setups, samples, and more.

When you press a mode button, its LED lights up to indicate that the mode has been selected. If pressing a mode button does not light its LED, press the Exit button one or more times, then try again.

Additional labeling for each mode button indicates special functions that relate to some of the PC3A’s editors.

Bank Buttons

The Bank buttons, situated in the top left corner of the PC3A’s front panel, let you choose dierent banks of programs (e.g., KB3 programs or Classic Keys programs). Within each bank,

you can use the Program and Category buttons (to the right of the display) to select individual programs.

The Bank buttons have special functions in KB3 mode, indicated by labels beneath each button.

3-2

User Interface Basics

Bank Buttons

Sliders

In KB3 mode, the PC3A’s nine sliders emulate an organ’s drawbars. For example, slider A emulates an organ’s 16’ drawbar. In other modes, the sliders can be used to send values for

dierent MIDI controllers. In either case, you may have to move the slider past the current value for its selected function before slider movement will have any eect. Press the Info soft button on

the Program mode or Setup mode main page to see the slider assignments of the current program or setup.

Most VAST programs use the sliders for these functions:

A Data Filter frequency, Brightness

B MIDI 13 Filter resonance, Tremolo rate control

C MIDI 22 Layer volume, Envelope control, Lo EQ

D MIDI 23 Layer volume, Envelope control, Hi EQ

E MIDI 24 Layer volume for thumps and release

F MIDI 25 FX control 1

G MIDI 26 FX distortion drive

H MIDI 27 FX distortion warmth

I MIDI 28 Reverb / delay control

3-3

User Interface Basics

Program and Category Buttons

Use the Program and Category buttons, in conjunction with the Bank buttons, to select PC3A programs by Bank type and instrument category. Each Bank contains 128 programs divided into

16 categories. Each of the 16 categories contains 8 programs.

To select a program, rst press one of the Bank buttons (above the sliders on the left side of the front panel) to select a bank, then press a Category button and a Program button. The Category and Program buttons are on the front panel, between the screen and the alpha wheel.

Note: The instrument names above the Category buttons are relevant for Banks 1 and 2 (Base 1 and Base

2). For all other Banks, the Category buttons select a group of 8 programs to be selected by the Program

buttons, but the group of programs may not match the instrument name of the selected Category button.

3-4

Picking favorites

When you select a program within a category, your selection will be remembered. For example, choose program 3 in the Organ category (press Category: Organ, then Program: 3). Now move to

the strings by pressing the Category: Strings button. If you press the Category: Organ button again, you will be returned to program 3 in the Organ category. In this way, each category can have a “favorite” program.

You can make program selections within each category ahead of time. This way, you’ll be able to access the program you want in any category simply by pressing appropriate category button.

Important things to remember about your “favorites”:

• You must save your PC3A’s Master Table to remember your selections across power cycles. See Chapter11 for information about the Master Table.

• Your selections are bank-dependent. In other words, you can save 16 in the Base 1 bank, 16 in the Exp 1 bank, etc.

User Interface Basics

Pitch Wheel and Mod Wheel

Arp

Pitch Mod

To the left of the PC3A’s keyboard are the Pitch Wheel and the Mod Wheel, as well as the SW and Arp buttons.

Push the Pitch Wheel away from you to raise the pitch of the note(s) you are playing. Pull it towards you to lower the pitch. Most programs are set so that the pitch wheel will raise and lower pitch by a whole step, although some programs use the pitch wheel to lower pitch by as much as an octave. The Pitch Wheel has a spring so that it will snap back to place (i.e., back to the original pitch) when you release it.

The Mod Wheel performs a variety of functions. Dierent programs may use it for lter sweeps, tremolo/vibrato, wah, or layer volume.

The Arp button turns on and o the PC3A’s Arpeggiator.

The SW button (MIDI 29) can be programmed to do a variety of things. Often it is used for layer

enable or eect enable.

3-5

User Interface Basics

Navigation

The navigation section of the front panel consists of the display and the buttons surrounding it. These navigation buttons will take you to every one of the PC3A’s programming parameters.

The Display

Your primary interface with the PC3A is its backlit graphic display. As you press various buttons, this uorescent display reects the commands you enter and the editing changes you make. The

ample size of the display (240-by-64 pixels) enables you to view lots of information at one time.

Pages

Within each mode, the functions and parameters are organized into smaller, related groups that appear together in the display. Each one of these groups of parameters is called a page. Each

mode has what we call an entry-level page; it’s the page that appears when you select that mode with one of the mode buttons. Within each mode and its editor(s), the various pages are selected with the navigation buttons. There are many pages, but there are a few features common to each page.

The illustration below shows the entry-level page for Program mode.

3-6

The Top Line

On the top line of most pages, there’s a reminder of which mode you’re in and which page you’re on. Many pages display additional information in the top line, as well. The Program-mode page

above, for example, shows you the current amount of MIDI transposition and the currently selected MIDI channel. The top line is almost always “reversed”—that is, it has a white background with blue characters.

The Bottom Line

The bottom line is divided into six (sometimes fewer) sets of reversed characters that serve as labels for the six buttons directly beneath the display. These labels—and the functions of the

buttons—change depending on the currently selected page. Consequently the buttons that select these functions are called “soft” buttons.

User Interface Basics

Navigation

The Soft Buttons

The soft buttons are called “soft” because their functions change depending on the currently

selected mode and page. Sometimes they perform specic functions, like changing MIDI

channels in Program mode. In the Program Editor and other editors, they’re also used to move to

dierent pages of programming parameters. If a soft button’s label is in all capital letters

(KEYMAP, for example), pressing the corresponding soft button takes you to a page of parameters. If the soft button is labeled in lower-case or mixed-case letters (Save, for example), the soft button performs some kind of function.

The Cursor Buttons

To the right of the display are four buttons arranged in a diamond fashion. These are called the cursor buttons. They move the cursor around the currently selected page, in the direction indicated by their labels. The cursor is a highlighted (reversed) rectangle (sometimes it’s an underscore). It marks the value of the currently selected parameter.

Programming the PC3A involves selecting various parameters and changing their values. Select parameters by highlighting their values with the cursor. You can change the highlighted value with any of the data entry methods described in the data entry section below.

The Chan/Layer Buttons

To the left of the display are two buttons labeled Chan/Layer. Their function depends on the current mode. In Program mode, for example, they shift through the MIDI channels, showing the program assigned to each channel. This changes the MIDI channel the PC3A uses internally, as well as the channel you’re using to send information to other synths connected to the PC3A’s MIDI Out port (MIDI slaves). Changing the current MIDI channel also changes the corresponding setting on the MIDI mode TRANSMIT page. When you press both Chan/Layer buttons at the same time you will be returned to Channel 1, Check out the chart on page 3-10 for more shortcuts you can make with double button presses.

When you’re in the Program Editor, the Chan/Layer buttons let you view each layer in the program. You can see the corresponding parameters in each layer by scrolling through the layers with these buttons. In the Setup Editor, the Chan/Layer buttons scroll through the zones in the current setup. In Quick Access mode, they scroll through the Quick Access banks, and in Song mode they scroll through recording tracks.

3-7

User Interface Basics

Navigation

The Edit Button

The Edit button activates each of the PC3A’s editors, and acts as a shortcut to many pages within the Program Editor. Pressing the Edit button tells the PC3A that you want to change some aspect of the object marked by the cursor. For example, when a program is selected and you press Edit, you enter the Program Editor. If a setup is selected, you enter the Setup Editor.

There are editors accessible from just about every operating mode. To enter an editor, choose one of the modes (mode selection), and press Edit. An editing page for that mode will appear. You can then select parameters (navigation) and change their values (data entry). If the value of the selected parameter has its own editing page, pressing the Edit button will take you to that page. For example, in the Program Editor, on the PITCH page, you might see LFO1 assigned as the value for Pitch Control Source 1. If you select this parameter (the cursor will highlight its value— LFO1 in this case), then press the Edit button, you’ll jump to the page where you can edit the

parameters of LFO1. Naturally, you can nd every page in the current editor by using the soft

buttons, but often it’s easier to use the Edit button shortcut.

The Exit Button

Press Exit to leave the current editor. If you’ve changed the value of any parameter while in that editor, the PC3A will ask you whether you want to save your changes before you can leave the editor. See Chapter 5 for information on saving and naming. The Exit button also takes you to Program mode if you’re on the entry level page of one of the other modes. If at some point you can’t seem to get where you want to go, press Exit one or more times to return to Program mode, then try again.

3-8

User Interface Basics

Navigation

Data Entry

The data entry section of the front panel includes the Alpha wheel, the Plus/Minus buttons, and the 14-button alphanumeric pad.

The Alpha Wheel

The Alpha Wheel is especially useful because it can quickly enter large or small changes in value. If you turn the Alpha Wheel one click to the right, you’ll increase the value of the currently

selected parameter by one increment. One click to the left decreases the value by one increment. If you turn it rapidly, you’ll jump by several increments. You can also use the Alpha Wheel to enter names when you’re saving objects.

The Plus/Minus Buttons

These buttons are located just under the Alpha Wheel. The Plus button increases the value of the currently selected parameter by one, and the Minus button decreases it by one. These buttons are most useful when you’re scrolling through a short list of values, or when you want to be sure you’re changing the value by one increment at a time. One press of the Plus or Minus button corresponds to one click to the right or left with the Alpha Wheel. These buttons will repeat if pressed and held.

Pressing the Plus and Minus buttons simultaneously will move you through the current list of values in large chunks instead of one by one. Don’t confuse these buttons with the +/- button on the alphanumeric pad. This button is used primarily for entering negative numeric values and switching from uppercase to lowercase letters (and vice versa).

The Alphanumeric Pad

As its name implies, this set of 14 buttons lets you enter numeric values, and to enter names one character at a time. Depending on where you are, the PC3A automatically enters letters or numerals as appropriate (you don’t have to select between alphabetic or numeric entry).

When you’re entering numeric values, press the corresponding numeric buttons, ignoring decimal places if any (to enter 1.16, for example, press 1, 1, 6, Enter). The display will reect your entries, but the value won’t actually change until you press Enter. Before pressing Enter, you can return to the original value by pressing Cancel. Pressing Clear is the same as pressing 0 without pressing Enter.

When entering names, you can use the Left/Right cursor buttons or the <<< / >>> soft buttons to move the cursor to the character you want to change. Use the labels under the alphanumeric buttons as a guide to character entry. Press the corresponding button one or more times to insert the desired character above the cursor. The Cancel button is equivalent to the >>> soft button, and Enter is the same as OK. The Clear button replaces the currently selected character with a space. The +/- button toggles between uppercase and lowercase letters.

There’s also a convenient feature called keyboard naming, which lets you use the keyboard to enter characters in names. See page 5-5.

3-9

User Interface Basics

Navigation

Double Button Presses

Pressing two or more related buttons simultaneously executes a number of special functions depending on the currently selected mode. Make sure to press them at exactly the same time.

In this mode

or editor…

Program mode

Setup mode

Song mode

Storage mode

Program Editor

Any Editor

Save Dialog

Rename Dialog

…pressing these

buttons

…does this:

simultaneously…

ARP, SW Brings up quick arpeggiator conguration page.

Octav-, Octav+ Reset MIDI transposition to 0 semitones. Double-press again to go

to previous transposition.

Chan/Layer Set current MIDI channel to 1. Sets layer 1 in Program editor.

Plus/Minus Step to next Program bank (increments of 128).

Up/Down cursor buttons Starts playback of demo song for current Program. Stop with Stop

transport button.

Left/Right cursor buttons Brings up the TEMPO page.

Plus/Minus Moves through list of Setups in increments of 128.

Chan/Layer Set zone 1.

Left/Right cursor buttons Brings up the TEMPO page.

Up/Down cursor buttons Toggle between Play and Stop.

Chan/Layer Select all tracks on any TRACK page in Song Editor.

Left/Right cursor buttons Brings up the TEMPO page.

Left/Right cursor buttons Select all items in a list. Move cursor to end of name in naming

dialog.

up/down cursor buttons Clear all selections in a list. Move cursor to beginning of name in

naming dialog.

Chan/Layer Select Layer 1.

Plus/Minus Scroll through the currently selected parameter’s list of values in

regular or logical increments (varies with each parameter).

2 leftmost soft buttons Reset MIDI transposition to 0 semitones. Double-press again to go

to previous transposition.

Center soft buttons Select Utilities menu.

2 rightmost soft buttons Reset MIDI transposition to 0 semitones. Double-press again to go

to previous transposition.

Left/Right cursor buttons Display the TEMPO page.

Up/Down cursor buttons Toggle between Play and Stop of current song.

Cancel/Enter Panic (sends all notes/controllers off message on all 16 channels).

Plus/Minus buttons Toggle between next free ID and original ID.

Plus/Minus buttons Moves cursor to the end of the name.

Left/Right cursor buttons Moves cursor to the end of the name.

3-10

User Interface Basics

Intuitive Data Entry

Many parameters have values that correspond to standard physical controllers. In many cases, you can select these values “intuitively,” rather than having to scroll through the Control Source list. Do this by selecting the desired parameter, then holding the ENTER button while moving the desired physical control.

For example, on the LAYER page in the Program Editor, you can set the range of the currently selected layer as follows: use the cursor buttons to move the cursor to the value for the LoKey parameter, press (and hold) the Enter button, then press the note you wish to be the lowest note for the currently displayed layer. The note you triggered will appear as the value for the LoKey parameter. Repeat the process for the HiKey parameter.

Another example: select Program 199 while in Program mode. Press Edit to enter the Program Editor. Press the PITCH soft button to select the PITCH page. Move the cursor to the Src1 parameter. Hold the Enter button, and move the Pitch Wheel. PWheel will be selected as the value for Src1.

You can also use the keyboard to choose control sources, since most key numbers correspond to a value on the control source list. If you have a certain control source that you use over and over (for example, LFO1), this can be the quickest way to enter its value. To do this: highlight a parameter which uses a value from the control source list, hold down Enter, then strike the key corresponding to the control source you want to choose. LFO1, for example, is assigned to B5.

Also, for almost every parameter, you can hold the Enter button and move the Data Slider (Slider A) to run through the range of values for the currently selected parameter. This is not as precise as the Alpha Wheel, but much faster.

Changing the Current Layer in Multi-Layer Programs

When editing a multi-layer program, you can quickly switch between layers by holding the Enter button, then striking a key. The PC3A will change the current layer to that key’s layer. If the key is part of more than one layer, subsequent key strikes will cycle through each layer that has that key in its range.

Note: This method for changing the current layer in a multi-layer program will NOT work if the currently

highlighted parameter has a note number or control source for its value. In this case, the key you strike will function as described above.

3-11

User Interface Basics

Quick Song Recording and Playback

Search

There’s a convenient way to nd any string of characters within the currently selected list, or

range of values. Hold the Enter button and press any of the numeric buttons. A dialog appears.

Type in the string of characters you want to nd. For example, if you’re looking at the program list and you want to nd all programs containing the word “Horn,” you would type h-o-r-n. This function is not case-sensitive; it will nd upper and lower case characters regardless of what you

type.

When you’ve typed the string of characters you want to nd, press Enter. The PC3A searches through the current list of objects or values, nds all items that match the string of characters you typed, and displays the rst one it nds. Hold Enter and press one of the Plus/Minus buttons to

search for the next higher- or lower-numbered object that contains the string of characters.

The string you select remains in memory. You can store and select a string of characters with each of the numeric buttons. Hold Enter and press one of the numeric buttons at any time to select that string for a search. When the string appears, you can change it, or just press Enter to nd that string.

Quick Song Recording and Playback

Below the mode selection buttons there are three buttons, labeled Record, Play/Pause, and Stop. They control the recording and playback of songs from any mode; you don’t have to be in Song mode to record or play back. However, you’ll need to make sure that the Demo Button parameter

on Master Mode Page 2 is set to “O.” Otherwise these buttons are used for Easy Audition (see

page 2-7 above).

3-12

Using these buttons aects the current track of the current song—that is, the song and track that

were selected the last time you were in Song mode. When you record, the recording track and recording mode are determined by the current settings in Song mode; likewise for the playback mode when you’re playing a song.

When the sequencer status is STOPPED (neither the Record-button LED nor the Play/Pause-

button LED is lit or ashing), press Record to put the sequencer in REC READY status. The Record-button LED lights (red). Then press Play/Pause to start recording. The Play/Pause-

button ashes (green) to indicate the tempo. Any counto is determined by the current Songmode setting for the CountO parameter. Press Play/Pause or Stop to end recording and go to

the Save dialog, where you can save the song, or discard it.

When the sequencer status is STOPPED, press Play/Pause to begin playing the current song. Press Play/Pause again to pause playback, and again to resume. Press Stop to end playback.

See Chapter 12 in the full manual for more information on Song Mode.

The Operating Modes

Selecting Modes

Chapter 4 The Operating Modes

In this chapter we’ll discuss the theory behind the mode concept, and we’ll describe the basic operating features of each mode.

What the Modes Are

The modes exist to make the PC3A logical to work with. With as many performance and programming features as the PC3A has, it’s helpful to break them into groups. These groups are

called modes. There are eight primary modes; they’re described briey in the section called Using the Modes on page 4-2, then the rest of the manual is dedicated to explaining each primary mode in

turn.

Each mode is named for the kind of operations you perform while in that mode, and each mode’s editor (if any) contains all of the parameters related to editing the type of object found in that mode. In Setup mode, for example, you select setups (and only setups) for performance or editing. All of the setup-editing parameters are grouped together on the Setup-Editor page, which is accessible through Setup mode.

Selecting Modes

When the PC3A is on, it’s always operating in one of the eight primary modes represented by the LED-highlighted buttons to the left of the display—or in one of the editors corresponding to the current operating mode. Pressing one of the mode buttons selects the corresponding mode. This is the mode’s entry level. At the entry level, the LED of the selected mode is lit. Only one mode can be selected at a time.

From any primary mode, you can get to any other primary mode simply by pressing one of the mode buttons. If you’re in an editor, however, you must press Exit to return to the mode’s entry level before selecting another mode.

All of the modes except Storage mode give you access to one or more editors for changing the values of the parameters within that mode. Press the Edit button to enter the editor of the currently selected mode. When you do this, the mode LED goes out.

It’s possible to enter another mode’s editor without leaving the currently selected mode. For example, if you press Edit while in Setup mode, you’ll enter the Setup Editor. The Setup-Editor page will appear, and the Program parameter will be highlighted by the cursor. If you press Edit again, you’ll enter the Program Editor, where you can edit the currently selected program. While you can edit and save programs as you normally would, you’re still in Setup mode, and you can’t select another mode at this point. When you exit the Program Editor, you’ll return to the Setup Editor page. Press Exit again, and you’ll leave the Setup Editor, returning to the Setup mode page.

4-1

The Operating Modes

Using the Modes

The following table lists the procedures for moving between modes and editors. Note that the Exit button won’t always take you where the table says it will; it often depends on how you got where you are. The table assumes that you’ve entered a given editor via its corresponding mode. You’ll always return to Program mode eventually if you press Exit repeatedly.

Current Mode/ Editor Status

Any mode

Program mode

Program Editor

Setup mode

Setup Editor

Quick Access mode

Quick Access Editor

Song mode

Most editors

Available Modes/ Editors

All other modes Press corresponding mode button

Program Editor Press Edit

Program mode Press Exit

Effects Editor On PROGFX page, select Insert, then press Edit

Setup Editor Press Edit

Setup mode Press Exit

Program Editor On CH/PRG page: select LocalPrg parameter; press Edit

Quick Access Editor Press Edit

Quick Access mode Press Exit

Song Editor Select CurSong parameter; press Edit

Program Editor Select Program parameter; press Edit

Previous mode or editor Press Exit

Finding Square One

If, at any time, you don’t know where you are, and the mode LEDs are all unlit, press Exit one or more times. This will return you to the entry level of whatever mode you were in, and if you press Exit enough times, you will always return to Program mode, the startup mode. If you’ve made any changes, you’ll be asked whether you want to save before leaving any editor. Press the No soft button or the Exit button if you don’t want to save. If you want to save, press the Rename or Yes soft button, and you’ll see the Save dialog, which is described in Saving and Naming on page

5-3.

How to Get There

Using the Modes

You can play your PC3A regardless of the mode you’re in. The PC3A’s MIDI response is almost always active. Even so there are three modes that are more performance-oriented than the others. These are Program, Setup, and Quick Access modes. We’ll describe each of the eight modes

briey in this section.

Program Mode

The PC3A starts up in Program mode, where you can select, play, and edit programs. The Program mode entry-level page shows the currently selected program, as well as a small segment of the program list.

The Program Editor takes you to the core of the PC3A’s sound editing parameters.

Setup Mode

Setup mode lets you select, play, and edit setups. Setups consist of up to 16 separate zones, split or overlapping, each having its own program, MIDI channel, and control parameters. Setups are great for performance situations, whether you’re playing multiple PC3A programs or controlling additional synths connected to the PC3A’s MIDI Out port. Chapter 7 describes Setup mode.

4-2

The Operating Modes

Using the Modes

If you’re using a dierent MIDI controller, you can make use of Setup mode even if your MIDI

controller can transmit on only one MIDI channel at a time. To do this, go to the RECEIVE page in MIDI mode (by pressing the RECV soft button while in MIDI mode), and set the Local Keyboard Channel parameter to a value that matches the transmit channel of your MIDI controller. When you select Setup mode, the PC3A will interpret incoming MIDI information according to the settings for the currently selected setup. See the discussion of the Local Keyboard Channel parameter in Chapter 10 for details.

Quick Access Mode

Another feature for live performance, Quick Access mode enables you to combine programs and setups into banks of ten entries. Each of these programs or setups can be selected with a single alphanumeric button. Dierent banks are selected with the Chan/Layer buttons. There’s a selection of factory preset banks, and you can use the Quick Access Editor to create your own banks and store them in the PC3A’s memory. There’s a full description in Chapter 8.

You can also use Quick Access banks as a way to remap incoming or outgoing Program Change commands.

Effects Mode

Eects mode sets the behavior of the PC3A’s eects processor. The Eects mode page lets you tell the PC3A how to select eects congurations called chains. Chapters 9 shows you how.

MIDI Mode

You’ll use MIDI mode to congure the PC3A’s interaction with other MIDI instruments, by setting parameters for transmitting and receiving MIDI. You’ll also use it to congure your PC3A

for multi-timbral sequencing. On the CHANNELS page, you can assign a program to each channel, and enable or disable each channel’s response to three types of MIDI control messages: Program Change, volume and pan. See Chapter 10.

Master Mode

Master mode, described in Chapter11 , contains the parameters that control the entire PC3A. Global settings for tuning, transposition, velocity and aftertouch sensitivity, and other preferences are adjusted here. You can also get to GM Mode from here and set the sample rate for the PC3A’s digital output.

Song Mode

Song mode enables you to play sequences (songs) stored in the PC3A’s memory, and provides a fully featured sequencer that you can use to record songs. You can also record multi-timbrally via

MIDI, or load standard MIDI les (Type 0 or 1). The Song Editor also enables you to modify

existing sequences stored in memory. See Chapter12 .

Storage Mode

Storage mode lets you load and save programs and other objects using an USB device. See Chapter13 .

4-3

Editing Conventions

Introduction to Editing

Chapter 5 Editing Conventions

Introduction to Editing

Programming (editing) the PC3A always involves three basic operations: mode selection, navigation, and data entry.

First, select the mode that relates to the object you want to edit—a program, a setup, etc. Then select the object you want to edit, and press the Edit button to enter the editor within that mode. For programs, setups, songs, and quick access banks, these objects are “selected” when you are on the main page of their corresponding mode. In these cases you can press the Edit button with anything selected on their main page to access their editor. Often there will be more objects inside of these “main page” editors, such as shift patterns and velocity patterns, and they can be edited by selecting their parameter with the cursor and pressing the Edit button. An editor contains all

the parameters that dene the object you’re programming.

Next, you navigate around the editor’s page(s) with the soft buttons, and select parameters with the cursor (arrow) buttons. When you’ve selected a parameter (its value is highlighted by the cursor), you can change its value with one of the data entry methods. When you change a value,

you’ll normally hear its eect on the object you’re editing. The PC3A doesn’t actually write your

editing changes to memory until you save the object you’re working on. It then allows you to choose between writing over the original object, or storing the newly edited version in a new memory location.

What’s an Object?

If you’ve been wondering what we mean by the term “object,” it’s an expression we use for anything that can be named, saved, deleted, or edited. Here’s a list of all the types of objects:

Programs Factory-preset or user-programmed sounds stored in ROM or ash

Algorithms Factory-preset or user-programmed routing (virtual wiring) for V.A.S.T.

Setups Factory-preset or user-programmed MIDI performance presets consisting

Songs Sequence les loaded into memory, or MIDI data recorded in Song mode.

Chains Factory-preset or user-programmed congurations of the PC3A’s onboard

Quick Access banks Factory-preset or user-programmed banks of ten entries each, that store

Intonation maps Factory-preset or user-programmed pitch osets for each note in all

memory. A program is one or more layers of sound, with programmable DSP functions applied to the keymaps within each layer.

DSP Functions.

of up to 16 zones, each with its own program, MIDI channel, and

controller assignments, and (optionally) arpeggiation specications.

digital audio eects processor.

programs and setups for single-button access in Quick Access mode.

octaves. Set from master mode, intonation maps are used to change the PC3A’s intonation in all modes.

5-1

Editing Conventions

Object Type and ID

Shift patterns Factory-preset or user-programmed sequences of note shift information,

Velocity patterns Factory-preset or user-programmed sequences of note velocity shift

Master tables The values that are set for the parameters in Master mode, as well as the

Object Type and ID

The PC3A stores its objects in memory using a system of ID numbers that are generally organized into banks. Each object is identied by its object type and object ID; these make it unique. An

object’s type is simply the kind of object it is, whether it’s a program, setup, song, or whatever. The object ID is a number from 1 to the maximum that distinguishes each object from other objects of the same type. For example, within a bank you can have a setup, a program, and an eect, all with ID 201; their object types distinguish them. You can’t, however, have two programs with ID 201.

used by the arpeggiator for detailed arpeggiations, or by the Shift Key Number controller destination.

information, used by the arpeggiator for detailed velocity triggering in arpeggiation.

settings for the parameters on the Transmit, Receive, and Channels pages in MIDI mode, and the programs currently assigned to each MIDI channel.

Object Type Object ID Object Name

Program 201 Hot Keys

Setup 404 Silicon Bebop

Velocity Map 1 Linear

ROM (factory preset) objects have ID numbers in a number of banks. When you save objects that you’ve edited, the PC3A will ask you to assign an ID. If the original object was a ROM object, the

PC3A will suggest the rst available ID in the User Bank (starting at 1025). If the original object

was a memory object, you’ll have the option of saving to an unused ID, or replacing the original object. Double press the - and + buttons (beneath the alpha wheel) to select the next available user location.

Objects of dierent types can have the same ID, but objects of the same type must have dierent

IDs to be kept separate. When you’re saving an object that you’ve edited, you can replace an existing object of the same type by giving it the same ID. The object you are replacing will be deleted permanently. There is one exception to this: If you write over a ROM object (factory preset,) you can always revert to the original factory ROM object by deleting you new object that uses the ID. The object that you had replaced the ROM object with will be permanently deleted, and the original ROM object will appear in its place.

Many parameters have objects as their values—for example, the Intonation parameter in Master

mode. In this case, the object’s ID appears in the value eld along with the object’s name. You can

enter objects as values by entering their IDs with the alphanumeric pad. This is especially convenient for programs, since their ID numbers are usually the same as their MIDI program change numbers.

5-2

The object type and ID enable you to store hundreds of objects without losing track of them, and

also to load les from storage without having to replace les you’ve already loaded.

Editing Conventions

Saving and Naming

When you’ve edited an object to your satisfaction, you’ll want to store it in memory. There’s a standard procedure for saving and naming, which applies to all objects. You can press the Save

soft button, of course, but it’s easier to press the Exit button, which means “I want to leave the current editor.” If you haven’t actually changed anything while in the editor, you’ll simply exit to the mode you started from. If you have made changes, however, the PC3A will ask you if you want to save those changes. This is the rst Save dialog, the Exit page. Press Cancel to resume editing, No to exit the editor, or Yes to save your edits and move to the Save page.

The Rename soft button on the Save page takes you immediately to the naming dialog, where you assign a name to the object you’re saving. You haven’t saved yet, but you’ll be able to after you’ve named the program.

The cursor underlines the currently selected character. Press the <<< or >>> soft buttons to move the cursor without changing characters. Press an alphanumeric button one or more times to enter a character above the cursor. The characters that correspond to the alphanumeric buttons are labeled under each button. If the character that appears is not the one you want, press the button again. Press the +/- button on the alphanumeric pad to switch between upper and lower case characters.

Press 0 one or more times to enter the numerals 0 through 9. Press Clear (on the alphanumeric pad) to erase the selected character without moving any other characters. Press the Delete soft button to erase the selected character. All characters to the right of the cursor will move one space left. Press the Insert soft button to insert a space above the cursor, moving all characters to the right of the cursor one space to the right.

Press the Cancel soft button if you decide not to name the object. Press OK when the name is set the way you want to save it.

In addition to the letters and numerals, there are three sets of punctuation characters. The easiest way to get to them is to press one of the alphanumeric buttons to select a character close to the one you want, then scroll to it with the Alpha Wheel. Here’s the whole list:

! “ # $ % & ’ ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9

: ; < = > ? @ A through Z

[ \ ] ^ _ ` a through z. (space).

Pressing the Plus/Minus buttons simultaneously is a short cut to the following characters: 0, A, a and (space).

If you’re wondering how we came up with this sequence of characters, it’s composed of ASCII characters 33 through 122.

When you press OK, the nal Save dialog appears, where you assign an ID to the edited object. If you change your mind about the name, press the Rename soft button for another try.

Note: For an additional naming method, see Keyboard Naming below.

5-3

Editing Conventions

Saving and Naming

ROM Objects

Memory Objects

If the object you started from was a ROM (factory preset) object, the PC3A will automatically suggest the next available (unused) ID as the ID for the edited object. If that’s the ID you want,

press the Save soft button, and the object will be stored in memory with that ID. Otherwise, you can select any ID from 1 to the maximum. This page also gives you the opportunity to return to the naming dialog (as described in the previous section) or, by pressing the Object soft button, to access the Object Utilities (see The Utilities (UTILS) Page in Ch. 13, page 14).

If you select an ID that’s already in use, the PC3A will tell you that you’re going to replace the ROM object that’s already been assigned that ID. If you don’t want to do that, you can select a dierent ID. Or you can press the Plus/Minus buttons simultaneously to toggle between the ID that the PC3A suggested and the original ID. Or press the Cancel soft button to cancel the operation.

If you decide not to cancel or change the ID, and you press the Replace soft button, the PC3A will write your newly edited object over the existing ROM object. Actually, it only appears that way, since you can’t truly write to ROM. The ROM object will reappear if you delete the newly edited object (there are soft buttons in each editor for deleting objects).

If the original object was a memory object, the PC3A will assume you want to replace it, and will suggest the same ID as the original object. (In all modes other than Song mode, a diamond icon

preceding an item’s ID indicates a memory object). As with ROM objects, you can cancel, replace, or change the ID and save to an unused ID. If you replace a memory object, however, it’s

denitely gone!

5-4

Editing Conventions

l L



Delet e; mov e char acters left one sp ace

Move cursor left one sp ace



Move cursor right one s pace

(Shif t)

(Spac e)

2 @

a A

3 #

b B

c C

4 $

d D

5 %

e E

f F

6 ^

g G

7 &

h H

8 *

i I

j J

9 (

k K

0 (ze ro) )

m M

- (Hy phen) _ ( Unders core)

n N

= (Eq uals) +

o O

(Back space)

p P

q Q

; (Se micolo n) : (Col on)

r R

' (Ap ostrop he) '' (Q uote)

s S

t T

, (Co mma) <

u U

. (Pe riod) >

v V

/ (Sl ash) ?

w W

x X

[ (Le ft bra cket) ` (Ba ck quo te)

y Y

] (Ri ght br acket) \ (B acksla sh)

z Z

(Spac e)

(OK, Enter)

(Shif t)



Move cursor to en d of n ame



A0 to C8

(Standard 88-note Keyboard)

tch Wheel Absolute Value



1 !

Move cursor to st art of name

Inser t; mov e char acters right one s pace

Move cursor right one s pace

Delet e; mov e char acters left one sp ace

Move cursor left one sp ace

Inser t; mov e char acters right one s pace

Use the (Shift) keys or Sustain pedal to enter upper-case and special characters

Saving and Naming

Keyboard Naming

The keyboard naming feature makes naming objects convenient, by letting you use the keyboard (or your MIDI controller) to enter the name of the object you’re modifying.

When you’re in a Rename dialog, use either of the Chan/ Layer buttons to change between the keyboard naming states: O (disabled), On, and Adv (Advance).

When set to On or Adv, the keys (MIDI note numbers, actually) correspond to all the characters shown on page 5-3. There are also equivalents to the cursor movement, insertion, deletion, and OK (Enter) buttons.

5-5

On requires you to move the cursor to enter each letter, just as you have to do when using the normal data entry methods for naming. Adv automatically moves the cursor one space to the right each time you strike a key, just like a typewriter or computer keyboard. This is the most convenient setting.

Editing Conventions

Saving and Loading Files—Storage Mode

Deleting Objects

Within most editors, there are soft buttons for deleting objects. When you want to delete an object, press the Delete soft button, and the PC3A will ask you if you want to delete the object.

(At this point in the dialog, you can select another object with any of the data entry methods.) Press OK if you want to delete it, or press Cancel if you don’t. The PC3A won’t let you delete ROM objects (also known as “factory” objects).

Memory objects, on the other hand, are gone when you delete them! If you’ve “replaced” a ROM object by saving a memory object with the same ID, the ROM object is invisible, but still there. Deleting the memory object stored at the same ID will restore the ROM object.

You’ll often delete objects to gain memory space, or to organize the memory banks before saving objects to storage. To delete multiple objects, use the Delete Objects utility available in Master mode. It’s described on page 11-14.

Dependent Objects

A dependent object is an object that’s linked in memory with at least one other object. For example, if you create a setup that uses a program that you also created, that program is a

dependent object of the setup.

When you start to delete an object that has dependent objects, the Delete dialog gives you a choice: Delete dependent objects? If you press Yes, the PC3A will delete the object and all its dependent objects when you execute the Delete function. In our example, if you were deleting the setup you created, and you chose to delete dependent objects, the dependent program would get deleted as well. If you press No at the Delete dependent objects? prompt, the PC3A deletes only the object, but keeps the dependent objects. In our example, the setup would get deleted, but the dependent program would remain.

When deleting objects and their dependents, the PC3A deletes only those dependent objects that aren’t dependent on other objects that you’re not deleting. For example, suppose you have two setups that contain the same program. If you delete one of the setups, and delete dependent objects with it, the setup gets deleted, but the program that’s contained in the other setup remains in memory.

Saving and Loading Files—Storage Mode

Saving a le simply involves selecting objects or a complete bank of objects to be stored as a single le. All objects with IDs within that range will be saved to the le. When you load a le, the

PC3A asks you which bank will receive the le. You can load a le into any of the sixteen banks,

regardless of the bank it was saved from. The PC3A will automatically reassign the object IDs.

See Chapter13 for more information on loading and saving les.

5-6

Editing Conventions

Saving and Loading Files—Storage Mode

Special Button Functions

The Mode buttons and the Chan/Layer buttons have additional functions, depending on the mode or editor you’re in. The table below describes some of these special button functions.

Button Special Function

Program Mute 1

Mutes Layer 1 of current program in Program Editor.

Setup Mute 3

Q Access Solo

Effects FX Bypass

MIDI Mute 2

Master Mute 4

Song Mute Active

Storage Compare

Chan / Layer In Program Editor, these two buttons scroll through layers of current program; in Setup

Edit Whenever cursor is highlighting an editable object or parameter, takes you to corresponding

Mutes Layer 3 of current program in Program Editor.

Solos current layer in Program Editor.

In Program Editor, bypasses (mutes) current program’s FX preset (plays program dry.) In Chain Editor, mutes/unmutes currently selected effects box, and the Effect Mode button’s LED will light when a muted effects box is selected, and unlight when an unmuted effects box is selected.

Mutes Layer 2 of current program in Program Editor.

Mutes Layer 4 of current program in Program Editor.

Mutes active layer of current program in Program Editor.

Negates effect of unsaved edits and plays last-saved (unedited) version of object being edited in Program Editor.

Editor, scroll through zones of current setup; in Quick Access mode, scroll through entries in current Quick Access bank; In Song Mode, change recording track.

editor or programming page

5-7

Program Mode

The Program Mode Page

Chapter 6 Program Mode

Programs are the PC3A’s performance-level sound objects. They’re preset sounds equivalent to

the patches, presets, voices, or multis that you nd on other synths.

Program mode is the heart of the PC3A, where you select programs for performance and editing. The PC3A is packed with great sounds, but it’s also a synthesizer of truly amazing depth and

exibility. When you’re ready to start tweaking sounds, the Program Editor is the place to start.

The PC3A oers two new powerful editing features: Cascade Mode and Dynamic VAST.

• Cascade Mode lets you route any layer of a program into the DSP of any other layer. Any of the 32 layers of a program can go into any other layer.

• Dynamic VAST lets you “wire” your own algorithms. You can combine dierent DSP functions in any order you like, including parallel and serial congurations.

The Program Mode Page

The top line of the Program mode entry-level page shows your mode location, the current MIDI transposition, the MIDI bank name and MIDI program number of the highlighted program, and the current MIDI channel.

Selecting Programs

When you are in Program mode, there are three basic ways to select a PC3A program:

• Press one of the Bank buttons (above the sliders on the left side of the front panel) to select a bank, then press a Category button and a Program button to choose within the bank. The Category and Program buttons are on the front panel, between the screen and the alpha wheel. (See Program and Category Buttons on page 3-4 for more details.)

• Type the program’s ID (number) on the alphanumeric buttonpad, then press Enter. If you make a mistake, press Clear, then start over.

• Scroll through the list using the Alpha Wheel, the Plus or Minus button under the Alpha Wheel, or the cursor buttons (the arrow buttons to the right of the display).

6-1

Program Mode

The Program Mode Page

The Soft Buttons in Program Mode

Use the Octav– and Octav+ soft buttons to transpose up or down by a full octave. Pressing both Octav buttons simultaneously returns the transposition to its original setting.

Pressing the Panic soft button sends an All Notes O message and an All Controllers O message on all 16 MIDI channels.

Press the Info soft button to see all of the controller assignments of the current program. Scroll down the page using the Alpha Wheel or the Plus/Minus buttons.

The Xpose-/Xpose+ buttons are a shortcut for quick transposition in semitone (half step) increments. You can use them to transpose the entire PC3A as much as three octaves up or down. The top line of the display shows the current amount of transposition (Xpose). Pressing both Xpose buttons simultaneously returns the transposition to zero. The Xpose buttons transpose the PC3A, as well as any MIDI devices connected to the PC3A’s MIDI Out port. Changing the transposition with the soft buttons also changes the corresponding setting on the MIDI mode TRANSMIT page.

The Info Box

The info box at the left of the Program mode page gives you information about the current program. Generally, the info box shows the keymap assigned to each layer (for KB3 programs, the

info box shows the keymap used for the upper tone wheels.) The line beneath the name of the keymap indicates the keyboard range of that layer. In the diagram above, for example, there’s one layer that extends from C 0 to C 8—the default range. The representation of these layer ranges is approximate; they’re intended to let you know if you have a layered keyboard (lines overlapping) or a split keyboard (lines not overlapping). Stereo keymap layers are indicated in the info box with a double circle symbol. The info box can display up to four layers at a time. If the current program has more than four layers, you can view their keymaps by pressing and holding down the Enter button and scrolling with the Chan/Layer buttons.

Note: For VAST layers using KVA oscillators, the info box may or may not show the name of the oscillator being used. See Advanced Use Of KVA Oscillators on page 6-55 for more details.

The info box can also be set to show the assignment and current MIDI CC value for the last moved controller, see Display on page 11-3 for details.

Controllers Assignments For Factory ROM Programs

Many of the programs included with the PC3A (factory ROM programs) can be controlled by using the PC3A’s physical controllers (sliders, wheels, switches, pedals, etc.) Press the Info soft button to see all of the controller assignments of the current program. Here is a list of controllers and their commonly assigned program parameters:

• Slider I (MIDI 28) - Slider I usually controls the program’s send level to an Aux eect

(usually reverb or delay.) In this case, use slider I to control the reverb or delay level.

• SW Switch - The SW switch often enables a layer (like strings for piano program) or an eect.

• Mod Wheel - The Mod Wheel often works with the parameter assigned to the SW switch and

controls the level of a layer or the level or intensity of an eect such as tremolo, vibrato, or

wah.

• Sliders A-H - Sliders A and B often control lter or EQ parameters that change the “brightness”of the program. Sliders C through H usually control parameters specic to the current programs amplitude envelopes, layer volumes, and insert eect parameters. Press

the Info soft button to see all of the controller assignments of the current program.

See Assigning Program Parameters to Control Sources on page 6-13 for details on making your own controller assignments.

6-2

Program Mode

The Program Mode Page

Saving Controller Settings in Program Mode

Many programs have parameters assigned to the PC3A’s sliders, mod wheel, and the SW button above the mod wheel. You can change the settings of these controllers to change the sound of the

current program. If you switch to a dierent program, the alterations that you made to the

previous program will be lost without warning.

To save a program with its current controller settings, you must save entry values for the controllers. Entry values are values sent for each controller setting when a program is loaded. To capture entry values for the current program, press the Edit button to the left of the display to enter the Program Editor. Next, use the more soft buttons to nd the SetCtl soft button, then press the SetCtl soft button. Lastly, press the Exit button to the right of the display and follow the prompt to choose an ID# and save the program.

Similarly, when using a KB3 program, you can capture the entry values for the drawbars (the sliders) by pressing the SetDBR soft button in the KB3 program editor.

The Arpeggiator In Program Mode

In Program Mode, you can use an arpeggiator for the Program on the currently selected MIDI

channel. The arpeggiator can be turned on and o by pressing the Arp button above the wheels

(so long as the default Control Setup is being used, see Control Setup below for details.)

To access the arpeggiator parameters, press the Arp and SW buttons (above the wheels) simultaneously. See The ARPEGGIATOR Page on page 7-42 for details on the arpeggiator parameters. The arpeggiator plays at the tempo set on the TEMPO page. Press the left and right cursor buttons simultaneously to view the TEMPO page (see TEMPO on page 11-11 for details.)

In Program Mode, you can change the program on the current MIDI channel, or change the current MIDI channel, and the current arpeggiator settings will remain the same. If you enter Setup Mode and then return to Program Mode, the arpeggiator in Program Mode will be returned to its default settings. The default settings for the arpeggiator in Program Mode are set on Zone 1 of the Control Setup (see Control Setup below for details.)

Note: Settings for the arpeggiator in Program Mode are not saved with each program. Settings for the arpeggiator in Program Mode can only be saved by editing arpeggiator settings for Zone 1 of the Control Setup. Because arpeggiator settings are not saved with each program, Setup Mode

should be used when you wish to save a program with specic arpeggiator settings. A Setup can

contain up to 16 programs, each with their own arpeggiator settings (see Chapter 7 Setup Mode for details.)

MIDI Channels

To select a MIDI channel to use in Program mode, use the Chan/Layer buttons at the left of the display. The current MIDI channel is displayed in the top right corner of the Program mode main page. Notes played on the PC3 keyboard are sent to the MIDI out port on the currently selected MIDI channel. For basic use of Program mode (playing a single Program,) the MIDI channel can

usually be ignored. For multitimbral use of Program mode (playing multiple dierent programs

at once,) select each MIDI channel then select a Program for each. In Program mode, when

sending MIDI data to the PC3 from an external MIDI device, the PC3 can play up to 16 dierent

programs at once (one on each MIDI channel.) See Save on page 11-18 for details on saving the Program selection for each channel. For more advanced multitimbral features and easier saving and recalling of multitimbral program selections, see Chapter 7 Setup Mode, and Chapter 12 Song Mode and the Song Editor.

6-3

Program Mode

VAST Program Structure

VAST and KB3 Programs

It is important to understand the dierence between VAST programs and KB3 programs.

VAST programs contain up to 32 layers, each of which contains a keymap or KVA oscillator. Keymaps consists of a number of samples assigned to a particular keyboard range. KVA oscillators use powerful DSP to generate a range of simple and complex waveforms (see Editing

VAST Programs With KVA Oscillators on page 6-53 for more details.) See VAST Program Structure below for more details on VAST programs.

KB3 programs use a much dierent architecture. There are no layers or algorithms, just a set of

oscillators (designed to emulate the tonewheels in a Hammond Organ) that start running as soon as you select a KB3 program. See KB3 Program Structure on page 6-6 for more details on KB3 programs.

VAST Program Structure

You might want to take a look at Figure 6-1 on page 6-5, which depicts the hierarchy of a VAST program, from individual samples all the way up to setups, which can contain up to 16 programs.

Every VAST program contains at least one layer. A layer consists of a keymap and an algorithm for processing the samples contained in the keymap. Each sample is a separate digital recording of some kind of sound: musical, vocal, industrial, any sound at all. Individual samples are

assigned to specic key ranges (from A 2 to D 3, for example), and are also assigned to be triggered at specic attack velocities. These assignments constitute the keymap.

When you trigger a note, the PC3A looks to the keymap of each layer of the currently active VAST program(s) to determine which samples to play. The sound engine then fetches the requested

samples and generates a digital signal representing the sound of the samples. This signal rst

passes through the DSP functions that make up the algorithm. It then passes through the PC3A’s

eects processor, and nally appears—with some level of eects applied to it—at one or more of

the audio outputs.

The layer is the VAST program’s basic unit of polyphony, that is, each layer constitutes one of the 128 voice channels the PC3A can activate at any time. If you have a program that consists of two layers covering the note range from A 0 to C 8, each key you strike triggers two voice channels.

Note: One exception to this structure is when using a KVA oscillator, the sound source for that layer is not derived from a keymap, but is generated at the algorithm stage (though keymap information is still used to

set key range and maximum amplitude.) After this, the structure is the same as described above. See Editing VAST Programs With KVA Oscillators on page 6-53 for more details.

6-4

Program Mode

VAST Program Structure

16 keyboard zones— each with independent program, MIDI channel, and control assignments

Selected for performance and editing in Program mode; up to 32 layers per program

A keymap processed through an algorithm, modulated by control sources

Up to 128 sample roots, assigned to play at programmable key and velocity ranges

Individual digital sound recordings stored in ROM; stereo samples use two voices of polyphony

VAST Program Structure

Zone1Zone2Zone3Zone4Zone5Zone6Zone7Zone

16 keyboard zones— each with independent program, MIDI channel, and control assignments

Selected for performance and editing in Program mode; up to 32 layers per program

Figure 6-1 VAST Program Structure

A keymap processed through an algorithm, modulated by control sources

Up to 128 sample roots, assigned to play at programmable key and velocity ranges

Individual digital sound recordings stored in ROM; stereo samples use two voices of polyphony

6-5

Program Mode

KB3 Program Structure

There’s nothing quite like the sound of the classic Hammond™ B-3 tone wheel organ, especially when played through a Leslie™ rotating speaker system. We’ve done extensive testing and analysis with several tone wheel organs, and created our own models to emulate the unique tone

wheel sound. We even took into account the way that older organs start to sound dierent (and

arguably better) as their capacitors begin to leak—and we included a parameter that lets you vary the amount of grunge (leakage) in your sound.

KB3 programs use oscillators to emulate the tone wheel sound. Each oscillator operates independently, and has its own pitch and amplitude control. You can control how many oscillators are used for a KB3 program. There are two oscillators per voice, for a total of 256. You can use up to 91 of them in a KB3 program (the 92nd is reserved to produce key click). Because the oscillators start running as soon as you select a KB3 program, there are always voices available—unlike VAST programs, which start “stealing” notes when you reach the polyphony limit.

The oscillators—we’ll call them tone wheels from here on—are divided into an upper and lower group. The upper tone wheels use the samples in the PC3A’s keymaps to generate sound, while the lower tone wheels use sine waves. You can change the keymap of a KB3 program’s upper tone wheels to produce a large array of sounds. By changing the keymap from sine to a saw wave

it is possible to emulate the sound of classic combo organs like the Vox™ and Farsa™ models.

KB3 programs are also routed through vibrato, rotary speaker, preamp and distortion eects, see

below for details.

KB3 Mode

KB3 programs are dierent enough from VAST programs that we use the term KB3 mode to

describe what’s going on when you play a KB3 program. Whenever you play a KB3 program, you are in KB3 mode. The blue LED in the KB3 button will light when the current program is a KB3 program.You can play KB3 programs only on a single channel at a time.

If you want to create your own KB3 program, start by editing an existing KB3 program.

KB3 Effects And Real-time Controls

You have real-time control over many components of KB3 programs directly from the front panel. The sliders emulate the drawbars that are so essential to the tone wheel sound, while the

buttons above them (the Bank Buttons) can control the KB3 eects: Leslie, vibrato, chorus, and

percussion. When using a KB3 program in Setup Mode, you must set the Mutes parameter to KB3

Control in order to use the Bank buttons for controlling KB3 eects (see Mutes on page 7-66 for

details.)

Drawbars

One of the standard performance features of many tone wheel organs is the set of drawbars for emulating the stops on a pipe organ. Moving the drawbars controls the amplitude of either the fundamentals or the harmonics of the notes. The PC3A’s sliders serve as the nine drawbars found on most tone wheel organs. Pushing the sliders up is the equivalent of pushing the drawbars in (removing fundamentals or harmonics).

6-6

Subharmonics Fundamental Harmonics

16’ 5

Slider A Slider B Slider C Slider D Slider E Slider F Slider G Slider H Slider I

/3’ 8’ 4’ 2 2/3’ 2’ 1 3/5’ 1 1/3’ 1’

Table 6-1 Standard Drawbar Settings for the Hammond B3

Program Mode

KB3 Program Structure

KB3 Mode Effects Buttons (Bank Buttons)

When using a KB3 program, the Bank buttons (above the sliders) control KB3 eects, instead of choosing program banks as they usually do in program mode. The KB3 function is labeled below

each button, their LEDs indicate the status of the various eects for the current KB3 program. This status is saved as part of each program. You can change the eects in real time by pressing

the buttons.

The KB3 eects return to their programmed settings the next time you select the program. If, however, you’re in the Program Editor when you change the eects, you’re actually editing the

program. (EacheectalsohasacorrespondingparameterintheProgramEditor,seethetablebelow.) If

you like the changes, you can save the program with the new KB3 eects settings. If you don’t

like the changes, you can exit without saving, and the program will revert to its previous settings.

In KB3 mode the Bank buttons also respond to and send MIDI Controller messages. See Table 6-3 on page 6-8 for details.

Effect Category

Rotary

Vibrato

Percussion

LED Color

Button Name

Fast / Slow red/green MISC: SpeedCtl

On / Off red/off MISC: VibChorCtl

Chorus / Vibrato red/green MISC: VibChorSel Disabled if Button 2 is off

Depth 1 / 2 / 3 green/orange/red MISC: VibChorSel Disabled if Button 2 is off

On / Off red/off PERC: Percussion

Volume Loud / Soft red/green PERC: Volume Disabled if Button 5 is off

Decay Fast / Slow red/green PERC: Decay Disabled if Button 5 is off

Pitch High / Low red/green PERC: Harmonic Disabled if Button 5 is off

(relative to button name/ state)

Corresponding Page and Parameter

Comments

Table 6-2 KB3 Mode Effects Buttons and Corresponding Parameters

Additional Controller Assignments In KB3 Mode

Other default assignments for factory KB3 programs include:

CC Pedal 1 (volume) controls preamp volume, which emulates the volume control of an organ preamp. The PreampResp parameter must be set to On for this to work (the default setting.) See

PreampResp on page 6-67 for details.

The Mod Wheel controls Distortion Drive.

Switch Pedal 1 (sustain) controls the SpeedCtl parameter, which toggles the Rotary speed

between slow or fast. See SpeedCtl on page 6-68 for details. This has the same eect as using Bank Button 1 (labeled Rotary Fast/Slow.)

6-7

Program Mode

KB3 Program Structure

MIDI Control of KB3 Programs

Controller Numbers

Table 6-3 lists the MIDI Controller numbers that control KB3 features. Send the listed controller

number and appropriate controller value to control each KB3 feature via MIDI. The PC3A also sends these Controller numbers to its MIDI Out port when using each of these KB3 features.

MIDI

KB3 Program Feature

Controller

Values

Number

Distortion Drive (Mod Wheel) 1 0 = Minimum Distortion Drive.

127 = Maximum Distortion Drive.

Values between 0 and 127 scale between

minimum and maximum Distortion Drive.

Preamp Volume (Volume/Expression Pedal) 11 0 = Minimum Preamp volume.

127 = Maximum Preamp volume.

Values between 0 and 127 scale between

minimum and maximum volume.

Drawbar1 6

Drawbar2 13

Drawbar3 22

Drawbar4 23

Drawbar5 24

Drawbar6 25 0-13 = volume 8

Drawbar7 26

Drawbar8 27

Drawbar9 28

Rotating Speaker Fast/Slow 68 64-127 = Fast, 0-63 = Slow

Chorus/Vibrato On/Off 95 64-127 = On, 0-63 = Off

Chorus/Vibrato Selector and Chorus/Vibrato Depth

Percussion On/Off 73 64-127 = On, 0-63 = Off

Percussion Loud/Soft 71 64-127 = Loud, 0-63 = Soft

Percussion Decay Fast/Slow 70 64-127 = Fast, 0-63 = Slow

Percussion Pitch High/Low 72 64-127 = High, 0-63 = Low

Key Click Level 89 0 = -96 dB.

Leakage Level 90 0 = -96 dB.

With Steps parameter set to

(0-8)

(See Steps on

page 6-61 for

details)

14-27 = volume 7 28-41 = volume 6 42-55 = volume 5 56-70 = volume 4 71-84 = volume 3 85-98 = volume 2

99-112 = volume 1

113-127 = volume 0

93 54-71 = select chorus with depth 1

72-89 = select chorus with depth 2

90-127 = select chorus with depth 3

0-17 = select vibrato with depth 1 18-35 = select vibrato with depth 2 36-53 = select vibrato with depth 3

127 = Maximum Key Click Level set in Editor.

Values between 0 and 127 scale between

-96 dB and maximum Key Click Level.

Values between 0 and 127 scale between

With Steps parameter set to

(0-127)

(See Steps on

page 6-61 for

details)

127 = minimum volume. 0 = maximum volume. Values between 127 and 0 scale between minimum and maximum volume.

127 = 0 dB.

-96 dB and 0 dB.

6-8

Table 6-3 KB3 MIDI Controller Assignments

Program Mode

Control Setup

Control Setup Overview

The Control Setup is a Setup object edited and stored in Setup Mode but used by Program Mode.

The Control Setup denes the CC destinations for the PC3A’s physical controllers (wheels,

sliders, pedals, etc.) in Program mode. These assignments are the MIDI CC numbers that the PC3A’s physical controllers send while in Program mode. Parameters in the Program Editor can then be assigned to respond to these CC numbers. See the Figure 6-2 below for a visual depiction of the Control Setup’s role while in Program Mode. See the sections on page 6-11 for details on physical controller destinations and program parameter sources.

The programs in the PC3A factory ROM have parameters assigned to respond to the controller destinations of the default Control Setup (126 Internal Voices). Therefore you’ll want to use 126 Internal Voices as the Control Setup in most cases.

Note: If you don’t use the default Control Setup, assigned parameters in the PC3A’s factory ROM programs will probably not respond to the PC3A’s physical controllers. Don’t edit the Control Setup unless you are an advanced MIDI user and know what you’re doing.

Advanced users may wish to use a dierent control setup if they need to send specic MIDI

controller numbers to the MIDI out port when in Program mode. You can also program several

dierent control setups and switch among them for dierent applications.

Table 6-4 below shows which pages and parameters in the Setup Editor of the Control Setup

have an eect on Programs in Program mode. Aside from assigning MIDI CC destinations for the

PC3A’s physical controllers, the Control Setup allows you to set other available parameters for each physical controller, such as Scale, Curve, Add, and Switch Type (see Continuous Controller

Parameters on page 7-29 for details on these parameters.)

Default Control Setup:

PC3A’s Physical

Controllers

Slider A (Data)

Switch Pedal 1

(sustain)

(Continues for all

controllers.)

Setup Mode

Setup ID#: 126: Internal Voices

Setup Editor

Controller Destinations:

SlidA sends

Dest: Data (MIDI CC 6)

FOOT SWITCH 1 sends

OnControl/OffControl:

Sustain (MIDI CC 64)

Program Mode

Program

Program Editor Parameter

Control Sources:

Source: Data (CC 6) (parameter is controlled by

the physical controller that is sending MIDI CC 6)

Source: Sustain (CC 64) (parameter is controlled by

the physical controller that is sending MIDI CC 64)

Figure 6-2 Examples Of How The Control Setup Denes The PC3A’s Physical Controller

Assignments While In Program Mode

6-9

Program Mode

Control Setup

Control Setup Advanced Features

The control setup can also be used to set other parameters which aect program mode. See

Chapter 7 Setup Mode for details on each of these parameters:

• Velocity scaling can be set in the Setup Editor with parameters on the KEY-VEL page. Though a master velocity map can be set with the Velocity Map parameter on the Master Mode MAPS page (see page 11-5,) setting velocity scaling in the Control Setup provides more options.

• Programmable switch destinations can be set on the Setup Editor PRG SWITCH pages. In Program mode, the Programmable Switches act as Program Select buttons if none of them are assigned to a destination in the control setup. If at least one Programmable Switch is assigned in the control setup, then the assigned Programmable Switch buttons act as assigned, but none of the buttons function as program select buttons.

• Ribbon settings can be set on the Setup Editor RIBBON and RIBBON CONFIGUR pages.

• MIDI aftertouch can be turned o on the Setup Editor PRESSURE page by setting the Dest eld to OFF.

• On the CH/PROG page you can set the Bank Mode which determines the type of MIDI bank

messages that Program Mode will send to the USB and MIDI out ports when changing programs. See Program Change (ProgChang) on page 10-5 to disable the PC3A from sending program change messages.

• The Destination parameter on the CH/PROG page determines where MIDI messages are sent. Usually this should be kept at its default setting USB_MIDI+MIDI+LOCAL, and the MIDI message destination for Program mode should be set with the Destination parameter on the MIDI Mode Transmit page (see page 10-2 for details.) The Destination parameter on the CH/PROG page works in combination with the Destination parameter on the MIDI Mode Transmit page. For example if the Destination parameter on the CH/PROG page is set to MIDI+LOCAL, then MIDI messages will not be sent to the USB port, even if USB_ MIDI+MIDI+LOCAL is selected for the Destination parameter on the MIDI Mode Transmit page.

Selecting And Editing The Control Setup

The current control setup can be selected on the MIDI Mode Transmit page using the ControlSetup parameter.

To edit the current control setup, select the ControlSetup parameter on the MIDI Mode Transmit page, then press the Edit button to the left of the display. You can also select the setup in Setup Mode and then press the Edit button to the left of the display. If you edit or overwrite the default Control Setup (126 Internal Voices), you can always recall the original control setup by deleting the setup stored at ID# 126. This will return the setup to its default settings. You can delete a setup by using the Delete soft button in the Setup Editor.

When selecting or editing the Control Setup, only Zone 1 of the setup has an eect on program

mode. (Zones 2–16 are not relevant in Program Mode, because the PC3A’s physical controllers can only control one MIDI channel at a time in Program Mode.) See Table 6-4 below for which pages and

parameters in the Setup Editor of the Control Setup have an aect on Programs in Program

Mode.

6-10

Note: The Control Setup doesn’t aect the sound of a program, only the assignments of certain physical controllers. The samples and keymaps assigned to a program are unaected by the

Control Setup. While you’re in Program mode, the PC3A ignores the programs assigned to the setup that you chose as the Control Setup.

Program Mode

Control Setup

Control Setup–Setup Editor Page (Zone 1) Parameters Affecting Program Mode

CH/PROG Arpeggiator, Destination, BankMode

KEY-VEL All

PAN-VOL ExitVolume, ExitPan

BEND AuxBend1Up, AuxBend1Dwn, AuxBend2Rng

COMMON Tempo, ArpSync

ARPEGGIATOR All

RIBBON CONFIGUR All

Continuous Controller assignment pages (SLIDER, SLID2, CONT.PEDALS, RIBBON, WHEEL, PRESS)

Switch Controller assignment pages (FOOT SWITCH 1-3, SWITCH ARP, SWITCH SW, PRG SWITCH 1-8)

Dest, Scale, Add, Curv

Type, OnControl, OnValue, OffControl, OffValue, EntryState

Table 6-4 Control Setup Parameters Affecting Program Mode

About PC3A Physical Controller Destinations

PC3A physical controllers transmit controller messages consisting of a destination and a value.

The destination allows the physical controller to be identied, while the value represents the current state of the physical controller (button on/o, slider setting, etc.) Each destination can be identied as a number (though some destinations are displayed in the PC3A as the name of their

default use.) Destinations can be MIDI continuous controller numbers (0-127) or PC3A internal destinations (128 and above.) For simplicity, we will refer to both of these types of destinations as CC numbers, or CCs (continuous controller numbers.)

By default, physical controller destinations 0-127 are transmitted internally to program parameters, and to the USB and MIDI Out ports as MIDI continuous controller numbers (see

Destination on page 10-2 to change this behavior.)

Physical controller destinations 128 and above are only transmitted internally to program parameters. Destinations above 127 can not be assigned as a program parameter control source.

Some destinations above 127 will still aect Program Mode even though they can not be assigned

as a program parameter control source. For example, destination 133 Tempo always controls the system tempo. In the control setup, setting a slider to destination 133 Tempo would make that slider always control system tempo while in Program mode. This might be useful to change the tempo when using the arpeggiator in Program mode, though the slider wouldn’t be able to control anything else in Program mode. See The Controller Destination List on page 7-21 for details on each controller destination.

About Program Parameter Sources

In program mode, when you want to control a parameter with a physical controller, you set the

parameters source eld to the destination that the physical controller is sending to. For example, by default the destination for the Mod Wheel is CC 1. If you select a source eld in the Program

Editor, then press 1 followed by the Enter button, that parameter will be controlled by the Mod Wheel. In this case, the parameter could also be controlled by CC 1 being sent from an external MIDI device.

You can assign a destination to a source eld by selecting the source eld, holding the Enter

button, then moving the physical controller that you want to use. For most of the PC3A’s physical

controllers, their destination name in the source eld is displayed with the name of the controller

on the PC3A’s front panel.

6-11

Program Mode

Editing VAST Programs

The Program Editor is where you begin to modify the PC3A’s resident sounds, and to build your own sounds around sample keymaps or KVA oscillators (see Editing VAST Programs With KVA

Oscillators on page 6-53 for some dierences.) There’s virtually no limit to the sounds you can

create using the tools in the Program Editor.

Note: This section describes the Program Editor as it applies to VAST programs. See Editing KB3 Programs on page 6-59 for information about editing KB3 programs.

To enter the Program Editor, start in Program mode and press Edit. The Program-mode LED will go out, and the KEYMAP (Keymap) page will appear.

The top line of the display gives you the usual reminder of your location. It also tells you which layer you’re viewing, and how many layers there are in the program. You can use the Chan/Layer buttons to scroll through the layers, if the program has more than one.

Here’s a method for jumping quickly to a specic layer in a program—it’s especially useful in

multi-layered drum programs. Hold the Enter button and strike a key. The display will show the layer(s) assigned to that key. If more than one layer is assigned to the same key, repeatedly striking the key (while continuing to hold the Enter button) will cycle through all layers assigned to that key. This method will work in most places within the Program Editor, but there is an exception: if the parameter you have highlighted has a note number or control source as its value, then holding Enter and striking a note will call up that note or control source. For all other parameters, however, this method will switch between layers.

The Soft Buttons in the Program Editor

The Program Editor’s soft buttons are labeled by the words that appear in the bottom line of the display. These buttons have two important jobs in the Program Editor: selecting pages, and

selecting specic functions. If a soft button is labeled in all uppercase letters, pressing it will take

you to the page it describes. If the button is labeled in mixed uppercase and lowercase letters, pressing it will execute the software function described by the label. Pressing the LAYER soft button, for example, will take you to the Layer page, while pressing the Save soft button will initiate the process for saving the currently selected program.

There are more pages and functions in the Program Editor than there are soft buttons. Therefore, two of the soft buttons are dedicated to scrolling through the list of pages and functions. If you don’t see the button for the page or function you want to select, press one of the soft buttons labeled more, and the labels will change. This doesn’t change the currently selected page, it merely changes the selection of available soft buttons.

6-12

Program Mode

Editing VAST Programs

Two of the soft buttons in the Program Editor are special cases. They’re the soft buttons that select the editing pages for the rst and last DSP functions (Pitch and Level, respectively) of the current program’s algorithm. One of these soft buttons is labeled PITCH, and pressing it will take you to the DSPCTL (DSP Control) page with the Pitch parameter highlighted. The other one of these soft buttons is labeled AMP, and pressing it will take you to the DSPCTL page with the Level parameter highlighted. Additionally, pressing the DSPCTL soft button will take you to the DSPCTL page.

The MODE Buttons in the Program Editor

When in the Program editor, each of the MODE select button has a dierent function. Beside each button is the name of its function in the Program editor. When activated, the button’s LED will light up.

Mute 1, 2, 3, and 4

Each of the top four MODE select buttons serve to mute one of the current program’s rst four

layers. Pressing the Program button mutes layer 1, pressing the MIDI button mutes layer 2, pressing the Setup button mutes layer 3, and pressing the Master button mutes layer 4.

Solo

Pressing the Q Access button solos the current layer.

Mute Active

Pressing the Song button mutes the current layer.

FX Bypass

Pressing the Eect button bypasses all eects. Note, however, that if either of the Aux Overrides in Eects mode are active, then those eects are still applied.

Compare

Pressing the Storage button calls up the Compare Editor, which recalls the program pre-edit settings, allowing you to compare your edited program with the original program. Pressing the

Storage button again returns you to the Program editor. Using the Compare Editor makes no changes to the current program.

Assigning Program Parameters to Control Sources

Many PC3A program parameters can be assigned to be controlled by the PC3A’s physical controllers or by MIDI CCs from an external MIDI device. For details on controllable parameters of VAST programs, see the following sections: The DSP Modulation (DSPMOD) Page on page 6-30,

The LFO Page on page 6-38, The ASR Page on page 6-40, The Function (FUN) Page on page 6-41, The Envelope Control (ENVCTL) Page on page 6-45, The MOD Pages on page 9-10, and FXLFO, FXASR, and FXFUN pages on page 9-11. For KB3 programs, see the following sectionsKB3 Editor: The PITCH Page on page 6-62, KB3 Editor: The AMP Page on page 6-62, KB3 Editor: The LFO, ASR, and FUN Pages on page 6-70, The MOD Pages on page 9-10, and FXLFO, FXASR, and FXFUN pages on

page 9-11.

For each program, the Program Editor can be used to assign the PC3A’s physical controllers or external MIDI controller CC numbers to control parameters. Controllable parameters each have a

source eld. Make assignments to the source eld for the desired parameter. Source elds are named dierently depending on their page: Src1, Src2, RateCt, Trigger, Input a, Input b, and Source. To assign a PC3A physical controller, select the source eld for the parameter, hold the Enter button and move the controller. To assign a CC number to a source eld, enter the number

with the alphanumeric pad, then press Enter. A CC number for an external controller can also be

set by selecting the source eld for the parameter, holding the Enter button, and sending a CC value from the external MIDI controller. When assigning a CC number to a source eld, the number may be displayed in the source eld as the name of that CC’s default use.

6-13

Program Mode

Editing VAST Programs

The KEYMAP Page

Press the KEYMAP soft button to call up the KEYMAP page. The parameters on this page aect sample root selection, i.e., which samples are played on which keys.

Parameter Range of Values Default

Keymap Keymap List 1 Piano f Left

Transpose -128 to 127 semitones 0

Key Tracking ± 2400 cents per key 100

Velocity Tracking ± 7200 cents 0

Alt Method Switched, Continuous Switched

Stereo Off, On Off

Timbre Shift ± 60 semitones 0

Playback Mode Norm, Rvrs, Bidirectional, Noise Normal

Alt Control Control Source List Off

6-14

Keymap

Assign a keymap from ROM to the current layer. Keymaps are collections of samples assigned to note and velocity ranges. With the Keymap parameter selected, press the Edit button to enter the Keymap editor (see The Keymap Editor on page 14-1 for details.)

Transpose (Xpose)

Transpose the current keymap up as much as 127 semitones (ten octaves and a perfect fth) or

down as much as 128 semitones (ten octaves and a minor sixth).

Key Tracking (KeyTrk)

This is one of the six common DSP control parameters. On the KEYMAP page, key tracking aects the interval between notes. The default value of 100 cents (a cent is a hundredth of a semitone) gives you the normal semitone interval between each note. Higher values increase the interval; lower values decrease it. Negative values will cause the pitch to decrease as you play higher notes.

When you make changes to this parameter, you’ll need to keep in mind that KeyTrk on the KEYMAP page works in conjunction with KeyTrk on the PITCH page. Therefore, you’ll need to check the KeyTrk value on both pages to see how key tracking works within a program. Unless you’re looking for nonstandard note intervals, the values of the KeyTrk parameters on the PITCH and KEYMAP pages should add up to 100 cents.

Program Mode

Editing VAST Programs

Velocity Tracking (VelTrk)

This is another common DSP control parameter. As with the other parameters on the KEYMAP

page, this shifts the position of the keymap. Dierent attack velocities will play dierent pitch

shifts of the sample root assigned to that note range. If the shift is great enough, the next higher or lower sample root will be played, which in some cases (many drum programs, for example) will

play an entirely dierent sound. Positive values will play higher pitches of the sample root when

you use hard attack velocities (they shift the keymap downward), while negative values will play lower pitches.

Method (AltMethod)

See Alternative Switch (AltControl and AltMethod) below.

Stereo

You’ll use this parameter when you’re working with stereo samples.

When you set this parameter to On, the KEYMAP page changes slightly:

An additional Keymap parameter appears. The two keymap parameters are distinguished as

Keymap 1 and Keymap 2. The KEYMAP page parameters will aect both keymaps. When the

Stereo parameter is set to On, the OUTPUT page for the current layer will show an additional pair of Pan parameters.

The PC3A contains both stereo and mono samples. Keymaps designed for stereo use are labeled with names beginning with “Stereo” or ending in “Left,” “Right,” “L,” or “R.” For stereo keymap playback, set Stereo “On” and assign corresponding Left and Right keymaps to Keymap1 and Keymap2 respectively. For keymaps beginning with “Stereo,” assign the same keymap to both Keymap1 and Keymap2. If you select the same keymap for Keymap1 and Keymap2, the PC3A automatically uses the left side for Keymap1 and the right side for Keymap2.

Once you have the keymaps assigned, go to the OUTPUT page and set the panning for each sample as desired. Keep in mind that using stereo keymaps reduces the polyphony of the program. For example, if you had a two-layer program with stereo keymaps in each layer, each note you play would use 4 of your 128 voices, allowing a total of 32 notes before all the voices have been used.

If you’re not using stereo samples, you should set this parameter’s value to O.

6-15

Program Mode

Editing VAST Programs

Timbre Shift

This parameter works only on multi-sample keymaps, and changes the root selection for each key you play. With this parameter you can radically alter the current layer’s timbre (basic sound characteristics). The nature of the change depends on the timbre itself, so this parameter calls for

experimentation. Basically, timbre shifting changes a note’s timbre by imposing dierent

harmonic qualities onto the note. A timbre-shifted note retains its original pitch, but its harmonics are those of the same timbre at a higher or lower pitch. Positive values for this parameter tend to brighten a sound, while negative values darken.

Here’s an example. If you shift the timbre up 4 semitones, then playing C 4 will result in the pitch C 4, but will actually play the sample normally assigned to G# 3, and shift its pitch up four semitones. This will increase the playback rate of the sample, so although the pitch remains

normal, the timbre is brighter. You’d get the same eect by setting the Xpose parameter on the

KEYMAP page to -4 semitones, then setting the Adjust on the PITCH page to +4 semitones. For multi-sample layers with narrow key ranges, large amounts of timbre shifting will cause

dierent sample roots to be played back.

Playback Mode

This gives you numerous options for manipulating the samples in the current layer as you trigger them. Normal leaves the samples unaected, while Reverse plays them in reverse. At a value of Reverse, the samples will continue to loop as long as notes are sustained. To play them just once in reverse, you would adjust the length of the layer’s amplitude envelope (explained later in this chapter). BiDirect (bidirectional) causes the samples to loop innitely, alternating between normal and reversed playback. Noise replaces the samples with a white noise generator.

Alternative Controller (AltControl)

See Alternative Switch (AltControl and AltMethod) below.

Alternative Switch (AltControl and AltMethod)

Many, but not all, PC3A sample roots have been pre-assigned a carefully chosen alternate sample start point that can be selected using the Alternate Switch feature (AltControl and AltMethod parameters). This feature allows you to control the sample playback start/end time triggered by any control source. (The alternate sample start point can be adjusted by editing a sample, see

Editing Samples on page 14-9 and The TRIM Page on page 14-12 for details.)

Use the AltControl parameter to specify a control source that will cause the sample to begin or end at the Alt point. Then use the AltMethod parameter to choose between switched and continuous calculation of the Alt point. If the value of AltMethod is Switched, the PC3A will use the Alt point when the relevant control source is at a value greater than 64 at Note Start. If AltMethod is Continuous, the Alt point will vary depending on the value of the relevant control source at Note Start.

As an example, suppose you’re working with a ute keymap and wish to control the amount of chi heard at the beginning of the sound. On the KEYMAP page in the Program Editor, set

AltControl to MWheel. Now the Mod Wheel controls how much of the initial sample attack is used. If you set AltMethod to Switched and move the Mod Wheel at least half-way up, at Note Start the sample will begin at the pre-set alternate start point (in this case, slightly past the initial chi). If you set the AltMethod to Continuous, the PC3A will interpolate the sample’s starting point based on the position of the Mod Wheel. If the Mod Wheel is 75% of the way up at Note Start. the sample will begin 75% of the way between normal and alternate start points.

6-16

Program Mode

The LAYER Page

Emulating Legato Play

If you place the Alt point after the initial attack transients of the sample, then you can use the Alt Switch to emulate legato playing in an acoustic instrument. As an example, set Keymap to

14 Flute. Now set the AltControl parameter to Chan St (Channel State). Now if you play notes

separately, the initial breathy chi will be heard. But if you play the notes legato (connecting them smoothly), the Alt point is used and you do not hear the chi. This is because the Chan St is

turned on as long as any note is being held. Most of the PC3A’s ROM samples have their Alt

points set for purposes of legato play. In most cases the dierence in attacks is subtle, but for some sounds, like drums, the dierence can be more noticeable.

The LAYER Page

Press the LAYER soft button to call up the LAYER page. Here you’ll set a number of parameters

that aect the current layer’s keyboard range, attack and release characteristics, and response to

various controls.

Parameter Range of Values Default

Low Key C -1 to G 9 C 0

High Key C -1 to G 9 C 8

Low Velocity ppp to fff ppp

High Velocity ppp to fff fff

Bend Off, Key, All All

Trig Normal, Reversed Normal

Delay Control Control Source list Off

Minimum Delay 0 to 25 seconds 0

Maximum Delay 0 to 25 seconds 0

Layer Enable Control Source list On

Enable Sense Enable Min Enable Max

Opaque Layer Off, On Off

Sustain Pedal Off, On, On2 On

Sostenuto Pedal Off, On On

Freeze Pedal Off, On On

Ignore Release Off, On Off

Hold Through Attack Off, On Off

Hold Until Sustain Off, On Off

Normal, Reversed ± 127 ± 127

Normal 64 127

6-17

Program Mode

The LAYER Page

Low Key (LoKey)

High Key (HiKey)

Low Velocity (LoVel)

High Velocity (HiVel)

This sets the lowest active note for the current layer. This parameter’s value cannot be set higher than the value for HiKey. The standard MIDI key range is C 1—G 9 (0-127). Middle C is C 4.

Here you set the highest active note for the current layer. This parameter’s value cannot be set lower than the value for LoKey.

With this parameter you dene the lowest attack velocity at which the layer will be enabled

(generate a sound). The values for this parameter and the next are expressed in the standard musical dynamics markings, similar to the values available for the velocity maps. Attack velocities that are below this threshold will not trigger notes. If you set this parameter’s value higher than the HiVel value, the layer will not play at all.

Similarly, this will set the highest attack velocity at which the layer will be enabled. Attack velocities above this threshold will not trigger notes in this layer.

Using LoVel and HiVel, you can set up velocity switching between up to eight layers. If you need even more, you can do it using the Enable and Enable Sense (S) parameters (page 6-19).

Pitch Bend Mode (Bend)

This determines how Pitch bend control messages will aect the current layer. A value of All bends all notes that are on when the Pitch bend message is generated. A value of Key bends only those notes whose triggers are physically on when the Pitch bend message is generated (notes held with the sustain pedal, for example, won’t bend). This is great for playing guitar solos on top of chords—play a chord, hold it with the Sustain pedal, then play your licks and bend them all you want; the chord won’t bend with it. A value of O disables Pitch bend for the current layer. To apply the same Pitch Bend Mode setting to the entire program, make sure to set the same setting for each layer.

Trigger (Trig)

Set Trig to Rvrs to have notes of the current layer triggered on key-up. The initial velocities of notes triggered this way are determined by the release velocities of the keys that trigger them. The default setting is Norm.

Delay Control (DlyCtl)

Here you select, from the Control Source list, a control source that will delay the start of all notes in the current layer. The length of the delay is determined by MinDly and MaxDly (described

below). You’ll assign a continuous control like MWheel for the DlyCtl parameter when you want to vary the delay time, and a switch control if you want the delay to either be its minimum value

(switch o), or its maximum (switch on). The delay control will aect only those notes triggered

after the delay control source is moved; the delay time is calculated at each note start, based on the status of the delay control source at that time.

Minimum Delay (MinDly), Maximum Delay (MaxDly)

The length of the delay is determined by these two parameters. When the control source assigned to DlyCtl is at its minimum, the delay will be equal to the value of MinDly. The delay will be equal to the value of MaxDly when the control source is at its maximum. If DlyCtl is set to OFF, you get the minimum delay. If it’s set to ON, you get the maximum delay. This doesn’t change the note’s attack time, just the time interval between the Note On message and the start of the attack. The delay is measured in seconds.

6-18

Program Mode

The LAYER Page

Enable

This assigns a control source to activate or deactivate the layer. When the value of the assigned control source is between the minimum and maximum thresholds set by the Sense (S) parameter, the layer is active. When the value of the assigned control source is below the minimum or above the maximum, the layer is inactive. By default, many layers have the Enable parameter set to ON, so the minimum and maximum thresholds don’t matter. They’re relevant only when Enable is set

to a specic control source (like MWheel).

Some local control sources (KeyNum and AttVel, for example) are not valid for the Enable parameter. In these cases, you should use the global equivalent (GKeyNum and GAttVel in this example).

Enable Sense (S)

This parameter determines how and when a layer is enabled by the control source assigned for the Enable parameter. Enable Sense has three values: orientation, minimum, and maximum.

Suppose for a moment that you’re editing a program, and in the current layer you’ve set the value of Enable to MWheel, which causes the Mod Wheel to control whether the layer is active. The default values for Enable Sense are as follows: orientation is Norm; minimum is 64, and maximum is 127. This means that when the Mod Wheel is less than halfway up, the layer is disabled. The layer plays only when the Mod Wheel is more than halfway up.

Change the orientation to Rvrs, and the layer plays only when the Mod Wheel is less than halfway up. Change the orientation back to Norm, and change the minimum to 127. Now the layer plays only when the Mod Wheel is all the way up.

You could use this parameter to set up a two-layer program that would let you use a MIDI control to switch between layers, say a guitar sound and a distorted guitar. Both layers would have their Enable parameters set to the same control source, say MWheel. One layer would have its Enable Sense orientation set to Norm, and the other would have it set to Rvrs. Both layers

would have their Enable Sense minimums set to 64, and their maximums to 127. The rst layer

would play when your Mod Wheel was above its midpoint, and the second layer would play

when the Mod Wheel was below its midpoint. (You could achieve the same eect by having the

Enable Sense orientation in both layers set to Norm, and the minimum and maximum values set as follows: minimum 0 and maximum 63 for one layer; minimum 64 and maximum 127 for the other.)

Using this parameter in conjunction with the Enable parameter, you can easily create velocityswitching for as many layers as you have in your program. This is useful for drum programs,

since you can dene a dierent velocity-trigger level for each of the 32 layers available in drum

programs.

First, set the Enable parameter for the Layer 1 to a value of GAttVel (global attack velocity). This causes the layer to play based on the attack velocity of your keystrokes. Then set the Enable Sense (S) parameter to a value of Norm, and adjust its minimum and maximum values (the two numerals to the right of Norm) to a narrow range. Don’t use negative values, since they don’t apply when you’re using GAttVel as the layer enabler.

Repeat this for each layer in the program. Bear in mind that if you want to set up 32 dierent

velocity levels for a program, with equal intervals between each layer, then you have a range of 4 for each level (Layer 1 is 0–3, Layer 2 is 4–7, and so on). It won’t be easy to play precisely enough to trigger the layer you want. On the other hand, if you’re using Song mode or an external sequencer, you can edit attack velocity levels, and get exactly the results you want.

6-19

Program Mode

The LAYER Page

Opaque

Sustain Pedal (SusPdl)

Sostenuto Pedal (SosPdl)

An opaque layer blocks all higher-numbered layers in its range, allowing only the opaque layer to play. This is an easy way to change a small range of notes in a program, leaving the original sound playing above and below the new sound.

Start with a one-layer program, and create a new layer (Layer 2) with the NewLyr soft button. On the KEYMAP page for Layer 2, select the keymap you want to use, then on the LAYER page, set Layer 2’s range (say, C 3 to D 3), and set its Opaque parameter to On. Then go to Layer 1, and duplicate it (with the DupLyr soft button); the duplicate layer becomes Layer 3. You now have a three-layer program. Delete Layer 1 (the original layer); Layer 2 (the new layer you created) becomes Layer 1, and Layer 3 becomes Layer 2. Now Layer 2 blocks out Layer 3 (the duplicate of the original layer) at the notes C 3–D 3.

When this parameter is on, the layer will respond to all sustain messages (Controller destination 64, Sustain). When o, the current layer will ignore sustain messages. On2 means that the sustain pedal will not catch the release of a note that is still sounding when the sustain message is received; this can be very useful in a program that uses amplitude envelopes with a long release time.

When Sostenuto is on, the layer will respond to all sostenuto messages (Controller destination 66,

Sostenuto). When o, the layer ignores sostenuto messages. Sostenuto, as you may know, is a

feature found on pianos that have three pedals. Pressing the Sostenuto pedal on a piano (usually the middle pedal) sustains the notes whose keys you were holding down when you pressed the pedal. Notes played after the pedal is already down do not get sustained.

Freeze Pedal (FrzPdl)

This parameter activates or deactivates the layer’s response to Freeze pedal messages (Controller destination 69, Freeze). The Freeze pedal control causes all notes that are on to sustain without

decay until the Freeze pedal control goes o. If a note is already decaying, it will freeze at that

level.

Ignore Release (IgnRel)

When IgnRel is o, the layer responds normally to Note O messages. When on, the layer will ignore all Note O messages that it receives. This should be used only with sounds that decay to

silence when a note is held, otherwise the sounds will sustain forever (press the Cancel and Enter buttons simultaneously to stop sustained notes.) This parameter can come in handy when your PC3A is slaved to a drum machine or sequencer, which sometimes generates Note Ons and Note

Os so close together that the envelope doesn’t have time to play before the note is released. If

used in combination with ThrAtt or TilDec (see below,) IgnRel allows you play staccato, yet still hear the entire length of the attack and decay sections of the amplitude envelope.

Hold Through Attack (ThrAtt)

When on, this parameter causes all notes in the layer to sustain through the entire rst attack

segment of their amplitude envelopes, even if the notes have been released. If you have a sound with a slow attack, or an attack that’s delayed with the delay control, setting this parameter to On will make sure your notes reach full amplitude even if you’re playing fast. When set to O, notes

will release as soon as you release the note (generate a Note O). If the rst attack segment of the layer’s amplitude envelope is very short, you probably won’t notice a dierence between values

of On and O.

6-20

Program Mode

The AMP Page

Hold Until Decay (TilDec)

When on, this parameter causes all notes in the layer to sustain through all three attack segments in their amplitude envelopes even if the notes have been released. Looped amplitude envelopes

will not loop, however, if the notes are released before reaching the end of the nal attack

segment. Notes will go into their normal releases if they are released after the envelope has looped. When set to O, notes will release as soon as a Note O message is generated.

The PITCH Page

Pressing the PITCH soft button takes you to the DSPCTL page with the Pitch function highlighted. See The DSP Control (DSPCTL) Page on page 6-29 for more information on the Pitch function.

The AMP Page

Pressing the AMP soft button takes you to the DSPCTL page with the Amp function (labeled as “Level”) highlighted. See The DSP Control (DSPCTL) Page on page 6-29 for more information on

the Amp function.

6-21

Program Mode

The Algorithm (ALG) Page

Press the ALG soft button to call up the Algorithm (ALG) page. The top line of the display gives you the usual mode reminder, and tells you which layer you’re looking at, as well as how many

layers are in the current program. You can view the ALG pages of any other layers in the program by using the Chan/Layer buttons.

The basic denition: an algorithm is the “wiring” (signal path) of a sample to the audio outputs,

through a series of digital signal processing (DSP) functions that you select. The PC3A’s algorithms are the core of Variable Architecture Synthesis Technology. The DSP functions are

synthesis tools (lters, oscillators, etc.) that you assign to the various stages of the algorithm. The

DSP functions you choose determine the type of synthesis you use.

The central portion of the page shows the algorithm for the currently selected layer. You see the

number of the algorithm (from 1 to 28, 101 to 131, and the IDs for any user-dened algorithms)

and a graphic representation of the signal path, as well as the currently selected DSP functions within the signal path.

To use a dierent algorithm, select the Algorithm parameter and use any data entry method to select a dierent one. To change the DSP function within an algorithm, move the cursor to the

block you want to change, then use the Alpha Wheel or Plus/Minus buttons. There’s a staggering number of combinations of algorithms and DSP functions alone, not to mention the numerous controls that can be used to modify the DSP functions.

Note:Changingalayer’salgorithmcanaectthelayer’ssounddrastically.It’sagoodideatobringdown

the volume of your PC3A or your sound system before changing algorithms.

See Algorithm Basics below for information on editing algorithms.

6-22

Program Mode

The Algorithm (ALG) Page

Algorithm Basics

Each of the 59 available algorithms represents a preset signal path. With our new Dynamic VAST feature, you can edit any preset signal path and make your own, unique algorithms, but that will

be explained further on in this section. Take a look at Algorithm 1 in the diagram below. It’s one of the simplest algorithms.

The DSP functions are represented by the rectangular blocks. The lines connecting the blocks

together indicates the ow of the digital signal from left to right; they represent what we call the

“wire” of the algorithm: the actual physical path that the signal follows through the algorithm.

Selecting dierent algorithms can be compared to connecting dierent DSP functions with dierent wiring diagrams.

Think of the left side of each block as its input, and the right side as its output. Depending on the algorithm, the signal may split into two wires, enabling part of the signal to bypass certain portions of the algorithm. Split wires may rejoin within the algorithm, or they may pass all the way through as split signals. If the last block has two wires at its output, we call it a doubleoutput algorithm. If it has one wire, it’s a single-output algorithm, even if there are two wires in earlier portions of the algorithm.

Each block of the algorithm represents a certain function in the signal path. In every noncascaded algorithm (see Alt Input for Algorithms (Cascade Mode) below), the signal ows rst through a one-stage DSP function that controls the pitch of the samples in the keymap (this function is represented as a block labeled PITCH in the upper right-hand corner of the display).

In fact, the rst DSP function in each algorithm always controls pitch, even though it doesn’t

apply in every instance and, as will be explained later in this section, it is bypassed in cascaded

algorithms. Similarly, the last DSP function always controls the nal amplitude of the signal (this

function is represented as a block labeled AMP in the upper right-hand corner of the display).

The number of function-parameters a DSP function can have depends on the relative size of its function-block on the Algorithm page (four slots is the largest block size.) For instance, a function-block that is three slots long can have up to three function-parameters, whereas a function-block that is two slots long can have up to two function-parameters. For each functionparameter, there’s a corresponding “subpage” on both the DSPCTL and DSPMOD pages. On the DSPCTL subpages, there are neadjust and hard-wired parameters with which you can make xed adjustments to the function-parameter. On the DSPMOD subpages, there are programmable parameters that you can assign to any control source in the Controller List to modulate the function-parameter. The above italicized parameter-types are described in Common DSP Control

Parameters on page 6-24. More information on the subpages can be found in The DSP Control (DSPCTL) Page on page 6-29 and The DSP Modulation (DSPMOD) Page on page 6-30.

Highlighting any of the function-blocks on the ALG page and pressing the Edit button takes you to the DSPCTL page.

6-23

Program Mode

The Algorithm (ALG) Page

Common DSP Control Parameters

The type of DSP function available for any function block depends on the algorithm. Some of the

specialized functions like the PANNER are always located just before the nal AMP function.

Others, like the two-input functions, appear only in algorithms that are structured for two-input functions.

You can change the nature of each layer of a program simply by assigning dierent DSP

functions to the layer’s algorithm. Your level of control goes much deeper than that, however. Each DSP function has one or more parameters to which you can patch a variety of control sources to modify the behavior of the DSP functions themselves.

The parameters on the various control-input pages are very similar; in fact, there are six parameters that appear on almost every page. Consequently we refer to them as the common

DSP control parameters. Although the parameters on the control-input pages dier slightly from

function to function, you can expect to see some or all of the common DSP control parameters whenever you select the control-input page for any of the DSP functions.

You’ll recognize the common DSP control parameters, along with several other parameters. Keep in mind that there’s a set of common control parameters for each of the DSP functions; in this case we’re describing them only as they apply to the pitch control function.

Function-parameter

Unlike the other ve common DSP parameters, the function-parameters are accessible on both

the DSPCTL page and the DSPMOD page. They are listed along the left-hand side of each page;

any changes made to them on one page are reected in the other. The label of each function-

parameter depends on its function in the current program’s algorithm. For example, the Pitch function’s function-parameter is labeled Pitch; whereas the two-block Lopass function’s function-parameters are labeled LP Frq and LP Res.

By adjusting the function-parameter, you can add a xed amount of adjustment to any DSP

function. For the Pitch function, adjusting the function-parameter will change the pitch in semitone increments. Use this as a starting point to set the pitch where you want it to be normally.

This will shift the pitch of the currently selected layer, and will aect the playback rate of sampled

sounds. Sampled sounds have an upper limit on pitch adjustment. It’s normal for the pitches of sampled sounds to “pin” (stop getting higher) when you adjust the pitch upward in large amounts. The oscillator waveforms can be pitched higher. Any sound can be pitched downward without limit.

The primary use of adjusting the function-parameter or ne adjust parameter (which will be explained under the next heading) is to oset the cumulative eects of the other DSP function parameters. For example, you might set a high value for key tracking (dened below) for a dramatic change in eect across the keyboard. The eect might be too much at one end of the

keyboard, however, so you could use one of the adjust parameters to reduce the initial amount of

that eect.

6-24

Program Mode

The Algorithm (ALG) Page

The PC3A always uses real values of measurement, rather than just arbitrary numbers, for adjustable parameters. This means that you specify pitch in semitones (ST) and cents (ct), and amplitude in decibels (dB).

Remember that the parameters on the control-input pages are cumulative—they can add to or

subtract from the eects of the other parameters on the page, depending on their values. For example, even if you’ve adjusted the pitch of a sample so high that it pins, the eects of the other

parameters may bring the pitch back down to a workable range.

Fine Adjust Parameter

You can add slight detuning to the pitch with the ne adjust parameters. Notice that there are

actually two ne adjust parameters for the Pitch function: one that changes the pitch in cents (100ths of a semitone), and one that changes it according to its frequency (in increments of Hertz—cycles per second). Since we’re discussing the universal control sources here, and not

specically pitch, we’ll move on for now, as the Hz parameter applies only to pitch-related

functions. See The PITCH Page on page 6-21 for a more thorough description of Hz.

Hard-wired Parameters

Key Tracking

This is a quick way to get additional control based on the MIDI note number of each note you trigger. Key tracking applies a dierent control signal value for each note number. In the case of pitch, key tracking enables you to change the tuning of each note relative to its normal pitch.

Middle C is the zero point. Regardless of the key tracking value, there is no eect on Middle C. If you set a nonzero value for key tracking, the eect increases for each note above or below Middle

C. In the case of pitch, for example, say you assign a value of 5 cents per key for the key tracking parameter. Triggering Middle C (C 4 on the PC3A) will play a normal C 4. Triggering C

4 will play a note 5 cents higher than C# 4. Triggering D 4 will play a note 10 cents higher than D 4, and so on. Notes below Middle C will be tuned lower than their normal pitches. If you set a negative value for key tracking, notes above Middle C will be tuned lower than their normal pitches.

Keep in mind that key tracking on the PITCH page works in conjunction with the key tracking parameter on the KEYMAP page. This is why you can set the KeyTrk parameter on the PITCH page to 0ct/key, and notes still increase in pitch by 100 cents/key as you go up the keyboard. It’s because the KeyTrk parameter on the KEYMAP page is already set at 100 cents per key.

Velocity Tracking

A positive value for velocity tracking will raise the pitch as you trigger notes with higher attack velocities. This is great for getting a trace of detuning based on your attack velocity, especially in drum programs, where you can make the pitch of the drum samples rise slightly with highervelocity Note Ons, just as drums do when you strike them harder. Negative values will lower the pitch as you increase the attack velocity.

Programmable Parameters

Source 1 (Src1)

This parameter takes its value from a long list of control sources including every MIDI control number, a host of LFOs, ASRs, envelopes and other programmable sources.

Src1 works in tandem with the parameter beneath it on the page: Depth. Choose a control source from the list for Src1, then set a value for Depth. When the control source assigned to Src1 is at its maximum, the pitch will be altered to the full depth you set. For example, if you set Src1 to MWheel, and set Depth to 1200 ct, the pitch will rise as you push the Mod Wheel up on your PC3A or MIDI controller, reaching a maximum of 1200 ct (12 semitones, or one octave).

6-25

Program Mode

The Algorithm (ALG) Page

Source 2 (Src2)

This one’s even more programmable. Like Src1, you choose a control source from the list. But instead of setting a xed depth, you can set a minimum and maximum depth, then assign another control source to determine how much depth you get. Try this example. (Make sure Src1 is set to OFF rst, so the two sources don’t interact.) Start with Program 199, and press Edit. Press the PITCH soft button to select the PITCH page. Set the Src2 parameter to a value of LFO1, then set the Minimum Depth parameter to 100 ct, and Maximum Depth to 1200 ct. Then set the Depth Control parameter to MWheel. This lets you use the Mod Wheel to vary the depth of the oscillation in pitch generated by the LFO.

Now, when the Mod Wheel is down, the pitch will oscillate between a semitone (100 ct) up and a semitone down (the default waveform for LFO1 is a sine wave, which goes positive and negative). With the Mod Wheel up, the pitch will oscillate between an octave up and an octave down.

Since the Mod Wheel is a continuous control, you can achieve any amount of depth control between the minimum and maximum. If you had set the Depth Control to Sustain, for example, then you’d get only two levels of depth control: the maximum (1200 cents) with your MIDI controller’s sustain pedal down, or the minimum (100 cents) with the sustain pedal up.

6-26

Program Mode

The Algorithm (ALG) Page

Alt Input for Algorithms (Cascade Mode)

Cascade mode is a particularly powerful feature of the PC3A that allows you to create unique

algorithms of previously unattainable levels of complexity. The following three gures show the signal path of a program congured using the PC3A’s new Cascade mode:

On the ALG (Algorithm) page of every layer, the Alt Input parameter lets you select any other layer to go through the current layer’s DSP. You can set it up so that layer 1 goes into layer 2 into 3 (as shown above). If you turn down the volume on layers 1 and 2, then you are hearing true cascading—it’s like a big chain with each algorithm feeding into the next, and what you hear is layer 3’s output. You can also have the volumes of all three layers turned up, which will mix the signal of all three layers. You could, in the same program, also decide to run layer 4 into 5 into 6 into 13 into 25 if you wanted. Any of the 32 layers can go into any other layer.

6-27

Program Mode

The Algorithm (ALG) Page

The Cascade mode algorithms (very much like triple mode on a K2600) start at ID 101. Note in

the above gures how algorithm 101 looks very similar to algorithm 1. Each Cascade mode

algorithm corresponds to its non-cascade equivalent, which has the same ID number minus 100. For example, algorithm 105 is a cascade mode version of algorithm 5. On the Alg page, select which layer you want to have running through your cascade layer with the Alt Input parameter. Make sure to turn down the Amp volume on your source layers if you only want to hear what’s

coming out of the nal cascade layer.

Dynamic VAST

The Dynamic VAST editor is yet another particularly powerful feature of the PC3A that allows you to edit the wiring of an algorithm. With Dynamic VAST, literally thousands of wiring schemes are possible. Using Cascade mode in conjunction with Dynamic VAST gives you almost

innite control over your program’s sound and behavior by enabling you to create your own

unique, complex algorithms.

To enter the Dynamic VAST editor, select the ALG (Algorithm) page by pressing the ALG soft button. Highlight the Algorithm parameter, select an algorithm, and press the edit button. This action calls up the Edit Algorithm (EditAlg) page in which you can edit the wiring of the selected algorithm.

6-28

Parameter Range of Values Default

Inputs 1, 2 1

Outputs 1, 2 1

Number of Blocks 1 to 4 2

Output Mode Normal, Sep. L/R Normal

In addition to having a selectable function, each function block has three editable parameters: number of inputs, number of outputs, and block size (the Output Mode parameter is an editable

parameter of the algorithm as a whole). When you rst enter the EditAlg page, there will be a cursor in the parameter eld, and the rst block of the algorithm will be highlighted. To select a block for editing, move the cursor down the display until no parameter eld is highlighted; then,

using the < and > buttons, highlight the block you wish to edit. Press the ^ button to move the

cursor back into the parameter elds, and then select the parameter you wish to edit.

The Output Mode parameter determines the number of outputs from the algorithm. With Output Mode set to Normal, the algorithm has one output. With Output Mode set to Sep. L/R, the algorithm has two outputs, each of which is sent to a separate stereo channel.

To edit the signal path, select either an input of a block or an output of the entire algorithm. By scrolling with Alpha Wheel or the - and + buttons, you can see every possible conguration for that selected signal path.

Program Mode

The DSP Control (DSPCTL) Page

Before reading further, be sure to read Algorithm Basics on page 6-23 and Common DSP Control Parameters on page 6-24.

Press the DSPCTL soft button to call up the DSP Control (DSPCTL) page, which is displayed below:

Function Parameter Range of Values Default

Pitch -128 to 127 semitones 0

Fine Adjust ± 100 cents 0

Pitch

(Function) (Function-Parameter) (Depends on Function) (Depends on Function)

Level

Hertz Adjust ± 10.00 Hertz 0

Key Tracking ± 2400 cents/key 0

Velocity Tracking ± 7200 cents 0

Level -96 to 24 decibels -6

Key Tracking ± 2.00 decibels/key 0

Velocity Tracking ± 96 decibels 35

Each eld in the left-hand column of the page is a function-parameter of the current layer’s algorithm. You can coarsely adjust the function-parameter in these left-hand elds—as noted in

Common DSP Control Parameters, any adjustments made to the function-parameters on the

DSPCTL page are reected in the corresponding function-parameters on the DSPMOD page. The

right-hand side of the DSPCTL page is the subpage of the highlighted function-parameter—on

the subpage are the ne adjust parameters and hard-wired parameters. To access the parameters

on the subpage, highlight the function-parameter you wish to edit, and then press the > button to move the cursor into the subpage.

6-29

Program Mode

The DSP Modulation (DSPMOD) Page

The label of a function-parameter depends on its corresponding function-block in the current layer’s algorithm. The above DSPCTL page corresponds to the following algorithm:

The DSP Modulation (DSPMOD) Page

Before reading further, be sure to read Algorithm Basics on page 6-23 and Common DSP Control Parameters on page 6-24.

Press the DSPMOD soft button to call up the DSP Modulation (DSPMOD) page, which is displayed below:

6-30

Parameter Range of Values Default

Source 1 Control Source List Off

Depth (Depends on Function) 0

Source 2 Control Source List Off

Depth Control Control Source List Off

Minimum Depth (Depends on Function) 0

Maximum Depth (Depends on Function) 0

Each eld in the left-hand column of the page is a function-parameter of the current layer’s algorithm. You can coarsely adjust the function-parameter in these left-hand elds—as noted in

Common DSP Control Parameters, any adjustments made to the function-parameters on the

DSPMOD page are reected in the corresponding function-parameters on the DSPCTL page. The

Program Mode

The OUTPUT Page

right-hand side of the DSPCTL page is the subpage of the highlighted function-parameter—on the subpage are the programmable parameters. To access the parameters on the subpage, highlight the function-parameter you wish to edit, and then press the > button to move the cursor into the subpage.

Each function-parameter’s subpage contains the programmable parameters of the highlighted function-parameter. By assigning control sources to modulate a function-parameter, you can enable real-time control of your program’s sound and behavior. You can assign Src1 to any

control source, and can specify its maximum value with the Depth parameter. Src2 is dierent—

you can assign it to any control source, but can also assign a control source to its maximum value with the DptCtl parameter. You can then specify the range of Src2’s depth with the MinDepth and MaxDepth parameters.

Note: The PC3A features an easy shortcut for quickly assigning any of the PC3A’s realtime controllers (sliders, wheels, buttons, etc.) to a currently selected parameter (such as the Src1 and Src2 parameters above.) Simply hold the Enter button and move the desired controller.

The label of a function-parameter depends on its corresponding function-block in the current layer’s algorithm. The above DSPMOD page corresponds to the following algorithm:

The OUTPUT Page

Press the OUTPUT soft button to get to the OUTPUT page, where you set the layer’s pre- and

post-FX panning. There are actually four dierent congurations of the OUTPUT page; which

one you see depends on whether the current layer uses a stereo keymap, and whether it uses

program FX or layer-specic eects (more on this in The Program FX (PROGFX) Page on page 6-47

and The Layer FX (LYR_FX) Page on page 6-49).

Regardless of the page’s conguration, there are parameters for adjusting the pan position, the

pan mode, the pan table (if any), the crossfade control, and the crossfade sense. Layers that use

stereo keymaps, or that use layer-specic FX, have additional parameters on their OUTPUT

pages. The following page is for a mono keymap program that uses program FX:

6-31

Program Mode

The OUTPUT Page

Pan

Parameter Range of Values Default

Pan (or Pan 1) ± 64 0

(Pan 2) ± 64 63

Pan Mode Fixed, +MIDI, Auto, Reverse +MIDI

(Output Pan) ± 64 0

(Output Gain) -96 to 48 decibels 0

(Output Pan Mode) Fixed, +MIDI +MIDI

Pan Table Pan Table List 0 None

Crossfade Control Control Source List Off

Crossfade Sense Normal, Reversed Norm

Drum Remap Off, Kurz1, Kurz2 Off

Exclusive Zone Map Zone Map List 0 None

Use this parameter to position the current layer’s pre-FX signal. Negative values pan the signal to the left channel, positive values pan to the right, and a value of zero pans to the center. To adjust

the post-FX, nal-stage gain and panning of the current program, go to the COMMON page and adjust the Output parameters (see The COMMON Page on page 6-35); or to adjust a layer’s post-FX audio signal individually, go to the LYR_FX page and set the Layer FX Mode parameter to Layer-Specic FX (see The Layer FX (LYR_FX) Page on page 6-49), and then return to the OUTPUT page and adjust the output parameters.

An additional pan parameter (Pan2) appears if you have the Stereo parameter on the KEYMAP page set to a value of On.

Pan Mode

When the mode is Fixed the pan position remains as dened with the Pan parameter, ignoring MIDI pan messages. When the mode is +MIDI, MIDI pan messages (MIDI 10) will shift the sound to the left or right of the Pan parameter setting. Message values below 64 shift it left, while those above 64 shift it right. A setting of Auto assigns the pan setting of each note based on its MIDI note number. In this case, Middle C (MIDI note number 60) is equivalent to the Pan parameter’s setting. Lower notes shift increasingly left, while higher notes shift increasingly right. A setting of Reverse shifts low notes right, and high notes left. MIDI pan messages will also

aect the pan position when values of Auto and Reverse are selected.

6-32

Program Mode

The OUTPUT Page

Output: Pan, Gain, and Mode

When the Layer FX Mode parameter is set to Layer-Specic FX on the LYR_FX page, three additional parameters appear on the OUTPUT page: Out Pan, Out Gain, and Out Pan Mode.

These parameters are analogous to the output parameters on the COMMON page, but are

layer-specic—the COMMON output parameters apply to all layers. You can use the output

parameters on the OUTPUT page to adjust the panning and gain of the post-FX signal of the current layer.

Pan Table

The factory preset pan tables are key-specic panning schemes by which the note that each key

produces is uniquely panned. These tables are particularly useful for producing the stereo image of a drum set when creating percussion programs, or for producing the stereo image of a piano when creating piano programs.

Crossfade and Crossfade Sense (XFadeSense)

The Crossfade parameter lets you select a control source to fade the current layer’s amplitude from zero to maximum. When XFadeSense is Normal, the layer is at full amplitude when the Crossfade control is at minimum. With XFadeSense set to Reverse, the layer is at zero amplitude when the Crossfade control is at minimum.

This parameter is similar to the Src1 and Depth parameters for the Amp function on the DSPCTL and DSPMOD pages, but the attenuation curve for the Crossfade parameter is optimized

specically for crossfades.

To crossfade two layers in the same program, assign the same control source for the CrossFade parameters in both layers, then set one of their XFadeSense parameters to a value of Norm, and the other’s to Rvrs.

Drum Remap

The Drum Remap parameter should generally not be changed. This parameter lets the PC3A know how drum programs are mapped so that drum sounds can be properly remapped when using the General MIDI (GM) drum map (see below.) Kurz1 designates that the current drum program was originally a PC2 program, and that it uses the PC2 drum map (programs 113-119 use this map.) Kurz2 designates that the current drum kit uses the new PC3A drum map (all other factory drum programs use this map: 120, 241-248, 369-376.) The new drum map is similar to that of the PC2, except tom-tom sounds have been moved into octave C3-C4, so they are more easily playable with the main kick and snare drum sounds in that octave. When editing a kit, make sure to follow the layout of the drum map being used if you want to be able to properly

remap the kit to the GM drum map. Programs that have the Drum Remap parameter set to O will not be viewed by the PC3A as drum programs and will not be aected when remapping to

the GM drum map.

6-33

Program Mode

The OUTPUT Page

Exclusive Zone Map

In most keyboards and synthesizers, drum programs are mapped as dictated by the General MIDI (GM) industry standard. The GM drum map isn’t optimally intuitive in terms of playability, so we developed our own unique keymap that is more intuitive and lends better to performance. However, the GM drum map is so commonplace that many players feel most comfortable playing drum programs with the GM drum map. So, we designed the PC3A such that you can remap drum programs to the GM drum map. You can set drum programs to remap to the GM drum map in Master Mode. On the Master Mode MAIN page set the drum remap parameter to GM. To return drum programs to their original maps, set this parameter to None. See Drum Remap on page 11-2 in the Master Mode chapter for more information.

The Exclusive Zone Map is another parameter that applies principally to drum programs. When

using a drum program, you may want the closed hi-hat sounds to “cut o” open hi-hat sounds. Since you can remap the keymaps of drum programs, this parameter remaps “cut o keys”

accordingly.

Like Drum Remap, you can use this parameter on any program, but you probably won’t want to do this.

6-34

Program Mode

The OUTPUT Page

The COMMON Page

The COMMON page is reached by pressing the COMMON soft button in the Program Editor.

Here’s where you nd 12 frequently-used parameters that aect the entire current program, not

just the current layer.

Notice that when the Monophonic parameter is set to its default value of O, the ve monophonic parameters do not appear on the page.

Parameter Range of Values Default

Pitch Bend Range Up ± 7200 cents 200

Pitch Bend Range Down ± 7200 cents -200

Monophonic Off, On Off

(Legato Play) Off, On Off

(Portamento) Off, On Off

(Portamento Rate) 1 to 3000 keys per second 70

(Attack Portamento) Off, On On

(Mono Sample XFade) Off, On Off

Globals Off, On Off

Output Gain -96 to 24 decibels 0

Output Pan ± 64 0

Output Pan Mode Fixed, +MIDI +MIDI

Demo Song Demo Song List 0 None

Pitch Bend Range Up and Down

Use these parameters to dene how much the pitch will change when you move your Pitch

Wheel. For both Pitch Bend Range parameters, positive values will cause the pitch to bend up, while negative values will cause the pitch to bend down. Large positive values can cause samples to bend to their maximum upward pitch shift before the Pitch Wheel is fully up (or down). This will not happen when bending pitch down.

Monophonic

When o, the program is polyphonic—it can play up to 128 notes at a time. Notice that when the Monophonic parameter is o, the LegatoPlay parameter and the three Portamento parameters

do not appear on the COMMON page. This is because only monophonic programs can use portamento.

6-35

Program Mode

The OUTPUT Page

Legato Play

When On, the program will play only one note at a time. This makes it possible to use and to determine the behavior of the portamento feature. Do not set Ignore Release On (page 6-20) when

you are using Monophonic programs, since the lack of Note O messages will prevent you from

switching programs properly.

When Legato Play is on, a note will play its attack only when all other notes have been released. This is useful for realistic instrumental sounds.

Portamento

This parameter is either on or o. The default value of O means that portamento is disabled for the current program.

Portamento is a glide between pitches. On actual acoustic instruments like violin and bass, it’s

achieved by sliding a nger along a vibrating string. On most keyboards that oer portamento,

it’s achieved by holding down a key that triggers the starting note, then striking and releasing other keys. The pitch glides toward the most recently triggered note, and remains at that pitch as long as the note remains on. The PC3A gives you two ways to get portamento. See the Attack Portamento parameter below.

When applying portamento to multi-sampled sounds (Acoustic Guitar, for example), the PC3A will play more than one sample root as the pitch glides from the starting pitch to the ending pitch. This may cause a small click at each sample root transition. You can eliminate clicks by using the Mono Sample XFade parameter (see below.)

Portamento Rate

The setting for Portamento rate determines how fast the current note glides from starting pitch to ending pitch. The value of this parameter tells you how many seconds the note takes to glide one semitone toward the ending pitch. At a setting of 12 keys/second, for example, the pitch would glide an octave every second. The list of values is nonlinear; that is, the increments get larger as you scroll to higher values.

Attack Portamento

This parameter toggles between two types of portamento. When set to On, the PC3A remembers the starting pitch so you don’t have to hold a note on to achieve portamento. The pitch always glides to each new note from the previously triggered note. When set to O, the pitch will glide to the most recently triggered note only when the previous note is still on (in other words, you

must use legato ngering).

6-36

Program Mode

The OUTPUT Page

Mono Sample XFade

Globals

This is another toggle, which aects LFO2, ASR2, FUNs 2 and 4. When o, these three control sources are local; they aect each individual note in the layers that use them as a control source.

They begin operating each time a note in that layer is triggered.

When the Globals parameter is set to On, these control sources become global, that is they aect

every note in every layer of the current program, they’re not specic to any one layer. When these

control sources are global, they begin operating as soon as the program is selected. When Globals are on, LFO2, ASR2, and FUNs 2 and 4 will appear on their respective pages preceded by the letter G to indicate that they’re global.

You’ll use global control sources when you want to aect all notes in a program uniformly, and local control sources when you want to aect each note independently. For example, you’d use a

global LFO controlling pitch to create a Leslie eect on an organ sound, since you want the eect applied to all the notes you play. You’d use a local LFO controlling pitch to create a vibrato for a solo violin, since you want to be able to vary the rate and depth of the vibrato for each note.

Output: Gain, Pan, and Pan Mode

The Output parameters on the COMMON page allow you to adjust the nal-stage gain and

panning of the post-FX signal. Use the OutGain parameter to cut or boost the signal. Use the OutPan parameter to pan the signal; negative values pan the audio signal to the left channel, positive values to the right, and a value of zero pans to the center.

When the OPanMode is set to Fixed the pan position remains as dened with the OutPan parameter, ignoring MIDI pan messages. When the OPanMode is set to +MIDI, MIDI pan messages (MIDI 10) will shift the sound to the left or right of the Pan parameter setting. Message values below 64 shift it left, while those above 64 shift it right.

Demo Song

The Demo Song parameter allows you to choose the demo song for the current program. The demo song is a short, pre-programmed song that gives you a demonstration of the program in a musical context. You can play a program’s demo song in any page in the Program mode by pressing the Play/Pause button, and stop the song by pressing the Stop button (both buttons are located under the MODE buttons on the front panel).

When in the Program mode entry-level page, you can hear a demo song in whatever program you want by pressing the Play/Pause button with one program selected, and then selecting another program. None of the KB3 programs have demo songs, but by this method, you could, for example, hear the demo song for program 83 Big Old Jupiter played with the KB3 program 53 Testify.

Note: You can also trigger and stop demo songs with a simultaneous double button press of the up and down cursor buttons.

6-37

Program Mode

The OUTPUT Page

The LFO Page

LFOs are low-frequency oscillators. LFOs are used to automate the modulation of a parameter

based on the shape and frequency of an audio waveform. You’ll use the LFO page to dene the

behavior of the two LFOs available to each layer. LFOs are periodic (repeating) control sources.

The basic elements are the rate, which denes how frequently the LFO repeats, and shape, which denes the waveform of the modulation signal it generates.

With the PC3A, you can set upper and lower limits on each LFO’s rate, and assign a control source to change the LFO’s rate in realtime, if you wish.

Because of its periodic nature, the LFO is perfect for creating eects like vibrato (cyclic variation

in pitch) and tremolo (cyclic variation in amplitude). When you’re editing LFOs, or any control source, remember that it must be assigned to control some parameter before you’ll hear the

eects of your edits.

LFO1 is always local, meaning that it’s triggered with each Note On event, and runs independently for each note in the layer. LFO2 is local by default, but can be made global. This is done on the COMMON page, by setting the Globals parameter to On, which causes LFO2, ASR2,

FUN2 and FUN4 all to become global. Global controls uniformly aect every note in each layer.

6-38

Parameter Group (Available for each of LFO1 and LFO2)

Minimum Rate 1/4 note, 1/8 note, 1/8 triplet, 1/16 note, 0

Maximum Rate 0 to 24 Hz 0.00

Rate Control Control Source List Off

LFO Shape LFO Shape List (Ref. Guide) Sine

LFO Start Phase 0, 90, 180, 270 Degrees 0

Range of Values Default

0.00

to 24 Hz

Program Mode

The OUTPUT Page

Minimum Rate

This is the slowest rate at which the LFO runs. When its Rate Control is set to OFF, or when the control source assigned to it is at its minimum, the LFO runs at its minimum rate. As previously mentioned, the values 1/4 note, 1/8 note, 1/8 triplet, and 1/16 note sync the Minimum Rate with the PC3A’s system tempo. Of course, if you choose to tempo sync your LFO, then the LFO rate is

xed, and you can specify neither Maximum Rate nor Rate Control. The display changes thusly:

Maximum Rate

This is the fastest possible rate for the LFO. When its Rate Control is set to ON, or when the control source assigned to it is at its maximum, the LFO runs at its maximum rate.

Rate Control

Assign any control source in the list to modulate the LFO’s rate between its minimum and maximum. A continuous control like the Mod Wheel is a natural choice, enabling you to get just about any rate between minimum and maximum. But you can use a switch control too, to get just the minimum or maximum with nothing in between. Assigning MPress (aftertouch) as the rate control for an LFO vibrato gives you an easy way to increase the vibrato rate in realtime, as you can on many acoustic instruments.

LFO Shape

The shape of the LFO waveform determines the nature of its eect on the signal its modulating. An easy way to check the eects of the dierent LFO shapes is to set LFO1 as the value for the

Src1 parameter on the PITCH page, and set the Depth for Src1 to 400 cents or so. Then go to the LFO page, set the Min and Max rates for LFO1 at 0.00 Hz and 4.00 Hz or so, and set the Rate control to MWheel. Now play your MIDI controller and you’ll hear the LFO’s rate change when

you move its Mod Wheel. Select dierent LFO Shapes and check out the eect on the pitch.

LFO Phase

Use this parameter to determine the starting point of the LFO’s cycle. One complete cycle of the LFO is 360 degrees. 0 degrees phase corresponds to a control signal value of 0, becoming positive. Each 90-degree increment in the phase represents a quarter-cycle of the LFO.

When an LFO is local, the phase parameter gives you control over the starting point of the LFO for each note (for example, you could make sure every vibrato started below the pitch you played

instead of at the pitch you played). The LFO’s phase also aects global LFOs, although it’s often

indistinguishable, since global LFOs start running as soon as the program containing them is selected, even if you don’t play any notes.

6-39

Program Mode

The ASR Page

ASRs are three-section unipolar envelopes—attack, sustain, and release. The PC3A’s ASRs can be triggered by a programmable control source, and can be delayed. ASR1 is always a local control. ASR2 is local by default, but becomes global if the Globals parameter on the COMMON page is set to On. ASRs are frequently used to ramp the depth of pitch or amplitude in a vibrato or

tremolo, enabling delays in those eects. The ASR page consists of two rows of ve parameters,

one row for each of the ASRs.

Trigger

Mode

Parameter Range of Values Default

Trigger Control Source List Off

Mode Normal, Hold, Repeat Normal

Delay 0 to 30 seconds 0 seconds

Attack 0 to 30 seconds 0 seconds

Release 0 to 30 seconds 0 seconds

This denes the control source that starts the current layer’s ASRs. The ASR starts when the trigger switches from o to on. If the Trigger parameter is set to ON, a global ASR starts running

immediately when you select a program that contains it. A local ASR starts running as soon as you trigger a note in the layer that contains it. Switch controls are better suited for ASR triggers

because of their binary (on/o) nature. A continuous control will trigger the ASRs when its

signal value is above its midpoint.

This parameter sets the sustain section of the ASR. The ASR’s mode determines what the ASR does when it nishes its attack section. If the Mode parameter is set to Normal, the ASR will run directly from its attack section to its release section (no sustain). At a setting of Repeat, the ASR will cycle through the attack and release sections, then loop forward and cycle through again

until the ASR’s trigger switches o. If the mode is set to Hold, the ASR maintains its position at the end of the attack section until the ASR’s trigger switches o. The ASR then goes into its release section. If the ASR’s trigger switches o before the attack section is complete, the ASR

goes directly to its release section.

6-40

Delay

When the ASR’s trigger switches on, the ASR will start immediately if this parameter is set to zero. Nonzero values will cause a corresponding delay between the ASR trigger and the start of the ASR.

Program Mode

The Function (FUN) Page

Attack

This denes how long the ASR takes to ramp up from minimum to maximum eect on whatever

it’s patched to.

Release

This denes how long the ASR takes to fade to minimum from its maximum. If the ASR’s trigger switches o before the ASR has reached maximum, the ASR releases from that level.

The Function (FUN) Page

FUN is short for function. The PC3A’s four FUNs greatly extend the exibility of the control

sources. Each FUN accepts input from any two control sources, performs a selectable function on the two input signals, and sends the result as its output, which can be assigned like any other

control source. Using the FUNs involves dening them on the FUN page, then assigning one or

more of them as control sources. The FUN page looks like this:

There are three parameters for each FUN. Inputs a and b can be any control source from the Control Source list. The control sources you want to combine are the ones you’ll assign as the values for these parameters.

The Function parameter determines what mathematical function is applied to the two inputs. When a FUN has been assigned as a control source, the PC3A reads the values of the two control sources dened as Inputs a and b. It then processes them according to the setting for the Function parameter, and the resulting value is the FUN’s output.

6-41

Program Mode

The Amplitude Envelope (AMPENV) Page

Amplitude envelopes have three sections: attack, decay, and release. The attack section determines how long each note takes to reach its assigned amplitude level after you trigger a Note On event. The decay section determines how quickly and how much a sustained sound

fades before a Note O is triggered. The release section determines how quickly a sound fades to

silence after a Note O is triggered.

Press the AMPENV soft button to reach the Amplitude Envelope page. For many programs, it will look like the diagram below, which tells you that the amplitude envelope for the current layer is the sample’s default “natural” envelope. Many factory ROM programs use the natural envelope, which is custom designed for each sample and waveform during its original development process. A natural envelope usually contains more detail than a user envelope, and may make samples of acoustic instruments sound more realistic.

If you want to build your own amplitude envelope, just turn the Alpha Wheel a click. The value Natural will change to User, and a set of AMPENV parameters will appear. The sound will change when you do this, because the default settings for the User envelope, as shown in the

diagram below, take eect as soon as you leave Natural mode. Returning to Natural mode

applies the original amplitude envelope once again.

You’ll tweak the parameters on the AMPENV page when you want to shape the amplitude characteristics of your sounds. A graphic view of the amplitude envelope will appear on the display to give you a visual sense of the envelope’s characteristics. The dots along the envelope graphic indicate the breakpoints between the envelope’s various segments.

The AMPENV page’s top line gives you the usual location reminder, points out the currently selected layer, and tells you the relative scale of the envelope’s graphic view. The envelope graphic shrinks in scale as the segment times get longer. This auto-zoom feature maximizes the available display space. Try lengthening one of the segment times. The envelope graphic will

stretch to ll the display from left to right. When it lls the display, it will shrink to half its size,

and the top line will indicate that the scale has changed (from [1/1] to [1/2], for example).

6-42

Program Mode

The Amplitude Envelope (AMPENV) Page

Each parameter on this page has two values, as listed below. For the envelope segments, the rst

(upper) value is the duration of the segment, and the second is the amplitude level at the

completion of the segment. For the Loop parameter, the values dene how the envelope loops,

and how many times the loop cycles.

Parameter Group Parameter Range of Values

Attack Segment 1, 2, 3

Decay Segment

Release Segment 1, 2, 3

Loop

Time 0 to 60 seconds

Level 0 to 100%

Time 0 to 60 seconds

Level 0 to 100%

Time 0 to 60 seconds

Level

Type Off, Forward, Bidirectional

# of loops Innite, 1 to 31 times

0 to 150% (Release Segment 3 is always set to 0%)

Attack Segment Times

These indicate how long it takes for the current layer ’s amplitude to reach its nal level from its

starting level.

Attack Segment Levels

These are the nal levels that each segment achieves at completion. The levels are expressed as

percentages of the maximum possible amplitude for the current layer. Attack segment 1 always

starts at zero amplitude, and moves to its assigned level in the time specied by its time value. So

the default settings of 0 seconds and 100% mean that the rst segment of the attack section moves instantly from zero amplitude to 100% amplitude. Increase the time of Attack segment 1 if you want the sound to ramp up more slowly.

Attack segments 2 and 3 aect the sound only when you set a nonzero value for time. They will then move to their assigned levels in the time specied. Their starting levels are equal to the nal

levels of the preceding segment.

Decay Segment

The decay section has only one segment. It has values for time and level, just as for the attack section. The decay section begins as soon as the attack section has been completed. It starts at the same amplitude level as the attack segment preceding it, and moves to its assigned level in the

time specied. You’ll hear a note’s decay section only when the attack section is completed before a Note O message is generated for that note.

To create a sustaining envelope, simply set the Decay segment’s level to a nonzero value.

Release Segments

Like the attack and decay sections, each of the three segments in the release section has values for

time and level. Each segment reaches its assigned level in the time specied for that segment. Release segment 1 starts at the Note O event for each note, at the current amplitude level of that

note—whether it’s in the attack section or the decay section. It then moves to its assigned level in

the time specied. Release segments 2 and 3 start at the nal levels of the segments before them.

6-43

Program Mode

The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages

Release segments 1 and 2 can be set to any level from 0 to 150%. Release segment 3 always has a level of 0%, so you can’t adjust its level. In place of its Level parameter you see a parameter that lets you toggle between User envelopes and the sound’s preprogrammed natural envelope.

Loop Type

There are seven dierent values for Loop type.

A value of O disables looping for the current layer’s amplitude envelope.

Values of seg1F, seg2F, and seg3F are forward loops. In each case, the amplitude envelope plays

through the attack and decay sections, then loops back to the beginning of the rst, second, or

third attack segments, respectively.

Values of seg1B, seg2B, and seg3B, are bidirectional loops. The amplitude envelope plays through the attack and decay sections, then reverses and plays backward to the beginning of the

rst, second, or third attack segment, respectively. When it reaches the beginning of the assigned

attack segment, it reverses again, playing forward to the end of the decay section, and so on.

Number of Loops

A value of Inf makes the amplitude envelope loop until a Note O is generated. Values of 1 through 31 indicate how many times the loop will repeat after the amplitude envelope has played once through its normal cycle.

Regardless of the loop type and the number of loops, each note goes into its release section as soon as its Note State goes o (that is, when a Note O is generated). The envelope will continue to loop as long as Note State remains on, whether it’s held on by a pedal, by the IgnRel parameter (described in the section entitled The LAYER Page on page 6-17), or anything else.

The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages

The PC3A oers two envelopes in addition to AMPENV. Like AMPENV, ENV2 and ENV3 can be

assigned like any other control source. Unlike AMPENV, however, ENV2 and ENV3 can be bipolar. This means that you can set negative values for them. (Obviously, you can’t have an amplitude less than zero, so AMPENV is unipolar—the values range from either 0 to 100% or 0 to 150%.) A bipolar envelope controlling pitch, for example, could modulate the pitch both above and below its original level.

Another dierence is that AMPENV always controls the amplitude of the layer, so even if you use it as a control source for other functions, it will still aect the layer’s amplitude. ENV2 and ENV3 aect only those layers that have them assigned as a control source. Also, AMPENV uses an

exponential attack (the amplitude rises much faster at the end of the attack segment than it does at the beginning), while ENV2 and ENV3 use linear attacks (the attack segment increases at the

same rate from start to nish).

6-44

Program Mode

The Envelope Control (ENVCTL) Page

The pages for Envelopes 2 and 3 are reached with the soft buttons ENV2 and ENV3. When you

select these pages, you’ll nd a display that looks very much like the AMPENV page. The only dierences are that you can program an amount for Rel3; the Rel1 and Rel2 limits, which are

±100%; and in the envelope graphic, which has a dotted line running horizontally across the display. This is the zero level line; negative level values for the various envelope segments will cause the envelope graphic to dip below this line.

The Envelope Control (ENVCTL) Page

The Envelope Control page gives you realtime control over the rates of each section of the amplitude envelope for both natural and user envelopes (see The Amplitude Envelope (AMPENV)

Page on page 6-42.) Press the ENVCTL soft button to reach the ENVCTL page.

The display’s top line reminds you of the current layer. The column on the left lists the three

section types of the amplitude envelope, and each corresponding line lists the values for the ve

DSP control parameters that are available for each section type. The DSP control parameters are: Adjust, Key tracking, Velocity tracking, and Source/Depth, which are listed at the top of each corresponding column. When AMPENV is set to User mode, the Attack and Release sections on this page apply to the attack and release sections on the AMPENV page. It’s important to keep in mind that the values for the various parameters are cumulative, meaning that if for example you

set attack to be controlled by Keytrk and VelTrk, the resulting change on Attack would be aected

by the combination of the values produced by KeyTrk and VelTrk. Also note that unlike previous Kurzweil models, ENVCTL does aect the attack sections of natural envelopes. Additionally, the bottom line of this page lets you make use of the Impact feature, which lets you boost or cut the

amplitude of the rst 20 milliseconds of a note’s attack.

The parameters and values in the following parameters list (see below) apply to each of the three envelope sections—attack, decay, and release. We’ll describe them only once, since their

functions are largely the same for each envelope section. The only dierence is with velocity

tracking, which is only available as a parameter to control attack sections of the amplitude envelope (however, you can assign attack velocity as the value for the Source parameter in each of the sections).

The values of each of these parameters multiply the rates of the envelope sections they control. Values greater than 1.000x make the envelope sections run faster (they increase the rate), while values less than 1.000x make the envelope sections run slower. Say for example that on the current layer’s AMPENV page you had set the Decay section’s time at 2.00 seconds, and its level at 0%. This sets the layer’s amplitude to fade to silence two seconds after the completion of the last attack segment. The decay time is two seconds; the decay rate is 50% per second. Now if you select the ENVCTL page and set the Decay Adjust parameter to a value of 2.000x, you’ve increased the decay rate by a factor of two, making it twice as fast. The rate increases to 100% per second, and the decay time is now one second instead of two.

6-45

Kurzweil PC3A6, PC3A7, PC3A8 User Manual [ru]

Specifications and Main Features

Frequently Asked Questions

User Manual

Kurzweil International Contacts

Table of Contents

Introduction

Keeping Current

Overview of the PC3A

VAST Synthesis

KB3 Tone Wheel Emulation

VA-1 Programs

How to Use This Manual

Do I Have Everything?

Boot Loader

Battery

Options

Sound ROM Expansion Card

Pedals

Ribbon Controller

Breath Controller

USB Storage Device

Startup

Make Connections

Make Music

Startup—the Details

Before You Start...

Connecting the Power Cable (Line Cord)

Connecting Audio Cables

Connecting MIDI

Pedals

Breath

Ribbon

Switching On the Power

USB Storage Port

USB Computer Port

Setting the Clock

PC3A Programs

Selecting Programs

Easy Audition

Program Mode Display

VAST Programs

KB3 Programs

Setups

Quick Access

Software Upgrades

The Other Modes

User Interface Basics

Mode Selection

Bank Buttons

Mode Buttons

Sliders

Program and Category Buttons

Picking favorites

Pitch Wheel and Mod Wheel

Navigation

The Display

Pages

The Top Line

The Bottom Line

The Soft Buttons

The Cursor Buttons

The Chan/Layer Buttons

The Edit Button

The Exit Button

Data Entry

The Alpha Wheel

The Plus/Minus Buttons

The Alphanumeric Pad

Double Button Presses

Intuitive Data Entry

Changing the Current Layer in Multi-Layer Programs

Quick Song Recording and Playback

Search

The Operating Modes

What the Modes Are

Selecting Modes

Using the Modes

Program mode

Setup mode