Kurzweil PC3A6, PC3A7, PC3A8 User Manual [ru]

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

ii

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: [phone]
Fax: [phone]
Email: [e-mail]

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: [phone]

iv

[e-mail]

www.facebook.com/kurzweilmusicsystems/

www.twitter.com/KurzweilMusic

www.youtube.com/user/KurzweilTutorials

Table of Contents

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

i

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

ii

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

iv

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

v

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

vi

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

ix

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

x

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

xi

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

SW

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

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,

1

/

-inch tip-sleeve plug

4

1

/

-inch tip-ring-sleeve plug

4

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.

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