Kurzweil Music Systems ExpressionMate User's Guide

xpression

ate

ser’s Guide

©1999 All rights reserved. Kurzweil is a product line of Young Chang Co.; V. A. S. T. is a registered trademark, and Kurzweil, ExpressionMate, MIDIScope, K2500, and K2000 are trademarks of Young Chang Co. All other products and brand names are trademarks or registered trademarks of their respective companies. Product features and speciÞcations are subject to change without notice.

Part Number: 910308 Rev. B

IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS

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

WARNING

1. Read all of the Safety and Installation Instructions before using the product.

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

3. This product, in combination with external equipment that is connected to an amplifier and speakers or headphones, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, consult an audiologist.

4. Place the product so that its location or position does not interfere with its proper ventilation.

5. Keep the product away from heat sources such as radiators, heat registers, or other products that produce heat.

6. Connect the product to a power supply only of the type described in the operating instructions or as marked on the product.

7. If the product will be unused for a long time, unplug the power supply cord from the outlet. When unplugging the power supply cord, do not pull on the cord, but grasp it by the plug.

8. Make sure that objects do not fall and that liquids do not spill into the enclosure through openings.

9. This product is 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. This product should be serviced by qualified service personnel when:

11. Do not try to service the product beyond what is described in the user maintenance instructions. Refer all other servicing to qualified service personnel.

12. position where anyone could trip over, walk on, or roll anything over cords of any type. Do not let the product rest on or be installed over cords of any type. Improper installations of this type create the possibility of a fire hazard and/or personal injury.

WARNING:

could void your authority to operate the instrument.

IMPORTANT:

quality shielded cables.

NOTE:

vice, 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 to 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.

- When using electric products, always follow basic precautions, including the following:

A. The power supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has been spilled into the product; or C. The product has been exposed to rain; or D. The product does not appear to be operating normally or exhibits a marked change in perfor-

mance; or

E. The product has been dropped, or the enclosure damaged.

WARNING

- Do not place objects on the product's power supply cord, or place the product in a

RADIO AND TELEVISION INTERFERENCE

Changes or modifications to this instrument not expressly approved by Young Chang

When connecting this product to accessories and/or other equipment use only high

This instrument has been tested and found to comply with the limits for a Class B digital de-

INJURY TO PERSONS

SAVE THESE INSTRUCTIONS

Contents

Young Chang Distributors.....................................................................ix

1: Introducing the ExpressionMate......................................1

Welcome!................................................................................................1

ExpressionMate Overview......................................................................1

The Ribbon......................................................................................1

Other Cool Stuff..............................................................................1

The Arpeggiator...............................................................................2

MIDI Merging.................................................................................2

K2000 and K2500 Users .................................................................2

How to Use This Book....................................................................2

2: Getting Started................................................................... 3

Unpacking the Unit.................................................................................3

Quick Start..............................................................................................3

Placement and Connections....................................................................5

Placing the ExpressionMate............................................................5

On a Flat Surface......................................................................5

On a Microphone Stand with the Bracket................................5

Placing and Connecting the Ribbon Controller...............................6

The Rear Panel ................................................................................7

Power Switch............................................................................7

Breath Jack...............................................................................7

SP1/CC Jack.............................................................................7

SP2 Jack ...................................................................................7

MIDI Ports................................................................................7

Power Jack................................................................................7

Connecting Pedals...........................................................................8

A Special Note About Switch Pedals.......................................8

Connecting a Breath Controller.......................................................8

Connecting the ExpressionMate to Your MIDI Gear......................9

Basic MIDI Hookup.................................................................9

Connecting Two MIDI Devices.............................................10

Connecting Several MIDI Devices ........................................10

Connecting the Power Supply.......................................................11

Powering Up.........................................................................................11

Setting the MIDI Channels...................................................................11

User Interface Basics............................................................................12

The Front Panel .............................................................................12

The Display ............................................................................12

Data Knob, - and + Buttons....................................................12

Cursor Buttons........................................................................13

Exit Button .............................................................................13

Store Button............................................................................13

iii

Contents

Learn Button...........................................................................13

Controller Button....................................................................13

Arpeggiator Button.................................................................13

Global Button.........................................................................14

SW1 and SW2........................................................................14

Panic Button...........................................................................14

Front Panel LEDs...................................................................14

Setups....................................................................................................15

Selecting Setups.............................................................................16

Basic Selection.......................................................................16

Using Setup Lists ...................................................................16

Changing Setups with MIDI ..................................................17

Playing Setups...............................................................................17

Basic Technique.....................................................................17

Touching The Ribbon At More Than One Point....................18

Getting Back to Play Mode...................................................................19

Troubleshooting....................................................................................20

But It Still Doesn’t Work .......................................................20

3: Editing and Creating Setups .......................................... 21

The Controller Editor............................................................................21

Getting Around.....................................................................................22

Jump Selection .......................................................................23

Intuitive Entry ........................................................................23

Changing the Current Zone...........................................................24

Compare ........................................................................................24

Setting a Zone’s MIDI Channel............................................................24

Stacking Zones ..............................................................................25

Ribbon Configuration Parameters ........................................................25

Split ........................................................................................26

Mode.......................................................................................27

Spring (Sprg)..........................................................................27

Controller Editing.................................................................................28

Continuous Controllers ..........................................................30

Switch Controllers..................................................................31

Virtual Controllers..................................................................31

Continuous Controller Parameters........................................................32

Destination (Dest)..........................................................................33

Curve (Curv)..................................................................................33

Curve Amount (CrvAm)................................................................33

Scale (Scal)....................................................................................34

Offset (Offs) ..................................................................................35

Resolution (Res)............................................................................37

Entry (Entr) and Exit Values.........................................................37

Contents

Entry Value ............................................................................37

Exit Value...............................................................................38

Ribbon Assignment Parameters............................................................38

AuxD......................................................................................39

Breath (BRTH) Parameters...................................................................39

Continuous Control Pedal (CCPD) Parameters....................................40

Switch Controller Parameters...............................................................40

Switch Type (Type).......................................................................40

On Destination (On D), Off Destination (Off D) ..........................41

On Value (On V)...........................................................................41

Off Value (Off V)..........................................................................42

Entry (Entr) and Exit States...........................................................42

Switch Pedal (SP) Parameters ..............................................................42

Panel Switch (SW) Parameters.............................................................43

Virtual Controllers................................................................................43

Fixed Controller (FIX) Parameters.......................................................43

MIDI Remap Controller (MAP) Parameters ........................................44

Note Processing Parameters .................................................................45

Note Velocity Features...........................................................45

Continuous Controller Note Parameters ................................46

ROM Scales...................................................................................47

About The Harmonic Scale....................................................47

About The Arpeggiator Latch Scales.....................................47

The MIDI Destination List ...................................................................48

Special Function Controllers ................................................................52

Pitch Bend (PBend+).....................................................................52

Reverse Pitch Bend (PBend-)........................................................52

Pitch Bend Up or Down (PBend / and PBend\) ............................53

Channel Pressure (ChnPrs)............................................................53

Program Change (PrgChg)............................................................53

Zone Transpose (ZnXpos).............................................................54

Note Controller Destinations

(13Note, 37Note, SclLen, Note #).................................................54

Controller 40 (13Note / Note #) and

Switch or Fixed Controllers ...................................................55

Note Offset (NotOfs).....................................................................55

Note Velocity (NotVel).................................................................55

Note Switch (NoteSw)...................................................................56

Arpeggiator Controllers.................................................................56

MIDI Message Strings (MMsg1–6) ..............................................56

Controller Order....................................................................................56

Saving Your Work and Exiting ............................................................57

Naming, Storing, and Exiting...............................................................57

The Store Button............................................................................57

Contents

The Exit Button .............................................................................58

Editing Hints and Suggestions..............................................................59

Do These Parameters Always Mean Something? .........................59

Do I Need All Those Controllers?.................................................59

Assigning a Message to Multiple Controllers...............................60

4: The Arpeggiator...............................................................61

Arpeggiator Quick Start........................................................................61

The Arpeggiator Editor.........................................................................61

Arpeggiator parameters ........................................................................62

Real Time Control of Arpeggiator Parameters..............................63

Tempo (Tempo).............................................................................63

Key range (Low Key, High Key) ..................................................64

Enable Switch (Enable Sw)...........................................................64

Note Source (Note Src) .................................................................64

Beats (Beats)..................................................................................65

Note Duration (Note Dur) .............................................................65

Latch Mode (LatchMode)..............................................................66

Latch Modes that use controller #49:.....................................67

Latch Modes that do not use controller #49:..........................67

Latch Modes that Resync the Clock:......................................67

Latch Modes that do not Resync the Clock: ..........................67

Ctlr#49 and Latch Modes.......................................................68

Note Order (NoteOrder) ................................................................71

Shift Amount (Shift Amt)..............................................................72

Shift Limit (ShiftLimt)..................................................................72

Limit Option (Limit Opt)...............................................................72

Glissando (Glissando) ...................................................................73

Note Velocity (Note Vel) ..............................................................73

Rhythm Select (RhythmSel)..........................................................74

Transpose (Transpose)...................................................................74

5: Global Functions.............................................................75

Getting Around.....................................................................................76

Global Parameter Set............................................................................76

Contrast..........................................................................................77

Drum Sync.....................................................................................77

RBN Dir.........................................................................................78

MIDI Merging...............................................................................79

MainMrgTo and Aux MrgTo.................................................79

MainMgOpt and AuxMrgOpt ................................................80

A Word About SysEx and Merging.......................................80

Merge Unprocessed (MergUnPro) ................................................81

Arp Clock ......................................................................................81

Contents

Send Clock (Send Clks).................................................................81

Program Change Parameters .........................................................81

Ext PgmCh .............................................................................81

Pgm BkLSB, Pgm BkMSB....................................................82

ZxNotesIn...............................................................................82

ZxMCtlsIn..............................................................................82

SYS EX ID....................................................................................82

SysEx Ers.......................................................................................83

Exiting Global Edit Mode .............................................................83

Other Global Objects............................................................................83

User Scales............................................................................................83

User Rhythms .......................................................................................84

Entering the Rhythm Editor ...................................................86

Setup Lists ...........................................................................................87

Setup Map.............................................................................................88

Saving and Reloading Setups ...............................................................88

Saving Setups (SysEx Dumps)......................................................89

Cancelling a SysEx Dump......................................................90

Loading Factory Setups.................................................................90

Loading User Setups......................................................................91

MIDIScope ...........................................................................................92

MIDIScope: Overview...........................................................92

MIDIScope: Detailed Operation & Screens...........................93

Exiting a Global Editor or Utility..................................................96

6: Messages, Troubleshooting, and Diagnostics .............97

Warning and Error Messages................................................................97

Low Battery...................................................................................97

Memory Failure.............................................................................97

Diagnostics ...........................................................................................98

Before You Begin..........................................................................98

Entering Diagnostics .....................................................................98

User Controls Diagnostic ..............................................................99

Buttons Test............................................................................99

Spinknob Test.......................................................................100

SP1/CC Test (CC Pedal or Switch Pedal)............................100

SP2 Test (Switch Pedal Only)..............................................101

Breath Controller Test..........................................................102

Ribbon Test ..........................................................................102

MIDI Test....................................................................................103

Battery Replacement...........................................................................105

Before You Begin........................................................................105

Opening the Unit .........................................................................105

Removing the Cover....................................................................106

vii

Contents

Replacing the Battery..................................................................106

Replacing the Cover....................................................................107

Powering Up................................................................................107

A: Sending MIDI Messages............................................... 109

Special Function Bytes................................................................111

Data Format Codes......................................................................112

Using the MIDI String Editor......................................................112

B: ExpressionMate ROM Setups...................................... 115

Editing Program Change Messages....................................................116

Programming Conventions for Setups................................................117

Setup Descriptions..............................................................................118

viii

Young Chang Distributors

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

Young Chang America, Inc.

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

Young Chang Co.

Kang Nam P.O.Box 998 Seoul, Korea Tel: 011-82-2-3451-3500 Fax: 011-82-2-3451-3599

Young Chang Akki Europe GmbH

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

Contents

Young Chang Canada Corp.

250 Shields Court, Unit 11 Markham, ONT L3R 9W7 Tel: (905) 948-8052 Fax: (905) 948-8172

Contents

Introducing the ExpressionMate

ExpressionMate Overview

Chapter 1 Introducing the ExpressionMate

Welcome!

Congratulations, and thank you for purchasing a Kurzweil/ Young Chang ExpressionMate. YouÕve got your hands on a powerful and fun MIDI controller, arpeggiator, and MIDI merger.

This manual will get you started with your new instrument. YouÕll deÞnitely want to keep the manual handy as you become an advanced user, too.

ExpressionMate Overview

The ExpressionMate lets you be more expressive with your MIDI instruments, in live performances and in the studio.

The Ribbon

For starters, the ExpressionMate has a MIDI Ribbon controller. You may already own MIDI instruments that have wheels, joysticks, and pedals. These let you add lots of expressive touches to your sounds, including vibrato, volume swells, and pitch bends, to name a few.

The ExpressionMateÕs Ribbon lets you do all of that, plus has its own unique abilities. For instance, you can create realistic pitch bends when imitating instruments like trombone or violin, because the Ribbon resembles a slide or a string. The Ribbon is also great when you want to ÒjumpÓ to a certain point, rather than moving a wheel or pedal through its entire range. You can even use the Ribbon to play notes on your instrument.

Other Cool Stuff

The ExpressionMate has other controls too, including jacks for pedals and a breath controller. The ExpressionMate can also change incoming MIDI Controller messages into different kinds of Controller messages. It even has ÒvirtualÓ controllers that send MIDI messages automatically.

Introducing the ExpressionMate

ExpressionMate Overview

The Arpeggiator

If you miss having an arpeggiator on your MIDI instrument, youÕll have a blast with the ExpressionMateÕs Arpeggiator. It can turn MIDI notes into simple broken chords, wild rhythmic patterns, and anything in between.

MIDI Merging

The ExpressionMate has two MIDI interfaces. You can use these to merge two incoming streams of MIDI data with the data generated in the ExpressionMate. For example, you could connect two keyboards to the ExpressionMate, play notes on either keyboard while using the ExpressionMateÕs Ribbon, and send all the information into a sequencer or a MIDI sound module.

K2000 and K2500 Users

K2000 users can create 5 Zone Setups with an ExpressionMate or use the ExpressionMate to add Setup features previously available only to K2500 users, such as velocity remapping and note mapping. K2500 users will be interested to learn that the ability to play notes from the ribbon is more versatile on the ExpressionMate.

How to Use This Book

The ExpressionMate and running quickly. If you know MIDI already, and you know pretty much what you want to do with the ExpressionMate, read Quick Start on page 3. If you need some more help on using the ExpressionMateÕs many advanced features, you should read all of Chapter 2 and Chapter 3. The remaining two chapters deal with some global functions, plus advanced troubleshooting and diagnostics.

Also, donÕt forget to check our web site:

http://www.youngchang.com/kurzweil

for any late-breaking information on the ExpressionMate and other Kurzweil products.

Above all, have fun, and make lots of great music with your ExpressionMate!

UserÕs Guide

is designed to help you get up

Chapter 2 Getting Started

This chapter will help you hook up your ExpressionMate and learn its basic functions.

Unpacking the Unit

The box that your ExpressionMate ships in contains the following:

The ExpressionMate

•

Ribbon controller

UserÕs Guide

•

AC adapter

•

Microphone stand mounting bracket

Adhesive-backed foam strip

•

Hook-and-loop fastener (three pads)

Getting Started

Quick Start

Be sure to keep the box and packing materials, in case you need to ship the unit for any reason.

Quick Start

We recommend that you read through this whole chapter at some point. However, if you want to start exploring your new instrument right away, follow these steps:

1. Carefully remove all the contents of the box.

2. Place the ExpressionMate and the Ribbon controller on a table or other ßat, stable surface. Plug the RibbonÕs cable into the ÒControllerÓ jack on the ExpressionMateÕs right end.

3. Plug one end of a MIDI cable into the ExpressionMateÕs rearpanel ÒMain OutÓ port. Plug the other end of the cable into the MIDI In port of the device or instrument that you want to

Getting Started

Quick Start

play. Then plug one end of a second MIDI cable into the ExpressionMateÕs rear-panel ÒMain InÓ port. Finally, plug the other end into your instrumentÕs MIDI Out port.

4. Use the AC adapter to plug the ExpressionMate into an electrical outlet. Then press the rear-panel power switch to turn the ExpressionMate on. DonÕt be alarmed if you see ßashing LEDs when you turn the ExpressionMate on, they just indicate that the Arpeggiator is active on the current Setup.

5. Turn the receiving MIDI instrument on, make sure that itÕs in Multi Mode, and make sure that there are programs on MIDI channels 1 through 3. If your instrument doesnÕt have a Multi Mode, set it to receive on channel 1.

6. If you are using a MIDI instrument as both the controller and the sound source (that is, you are not sending the ExpressionMateÕs output to an external sound module), turn Local Control Off on your keyboard. Otherwise you will get double note events on some Setups.

7. Set your MIDI instrument to General MIDI (GM) mode. If your instrument is not GM compatible, some of the Setups will call up ÒrandomÓ programs on channels 1 Ð 3. In this case, you may want to turn off the receiving of program changes on those channels.

8. Start playing! Touch the Ribbon and buttons while you play some notes on your MIDI instrument.

To try different Setups, turn the data knob or press the - and + buttons on the front panel. A complete list of the Setups starts on page 115 of this manual. For starters, check out Setup 3, ÒBig Strum.Ó Play a chord on your MIDI instrument, then run your Þnger up and down the ribbon to hear the effect. You do not need to hold the notes on the keyboard. They are remembered until you strike a new chord. Simply strike a chord, play the ribbon, then strike another chord and play the ribbon again.

For more in-depth instructions on setting up and using the ExpressionMate, keep reading this chapter.

Getting Started

Placement and Connections

Placing the ExpressionMate

On a Flat Surface

You can place the ExpressionMate on a table, an equipment rack, or on any keyboard with a ßat, open area on its front panel (such as a PC88 or a K2000 keyboard).

On a Microphone Stand with the Bracket

The ExpressionMate includes a bracket for mounting the unit on top of a microphone stand. Follow these steps to use the bracket:

1. Screw the bracket onto the top of the mic stand.

2. Fit the ExpressionMateÕs left bracket holes onto the bracketÕs two left-hand tabs. Then lower the right end onto the remaining tab.

3. Tighten the bracketÕs thumb screw so that it holds the ExpressionMate Þrmly in place on the bracket.

Screw Hole

ExpressionMate

MADE IN KOREA 12VDC

0.4A

SERIAL #

Product of: Young Chang Co., Ltd.

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

Mounting Holes

Attach Bracket to Top of Mic Stand

Figure 2-1. Mounting Bracket assembly.

Getting Started

Placement and Connections

Placing and Connecting the Ribbon Controller

The Ribbon controller can rest on any ßat surface, but you may Þnd it easiest to play if itÕs right in front of you. If your keyboard has enough space on its front panel, you can place the Ribbon just above the keys.

Note:

By default, the Ribbon sends higher values toward its right end (the end with the cable). If you want the cable on the left, and you still want the same response, read ÒRBN DirÓ on page 78.

You can use the included adhesive-backed foam strip (which attaches to the bottom of the ribbon), or the hook-and-loop fastener pads to hold the Ribbon in place. However, donÕt attach these to surfaces that become damaged easily, such as painted or Þnished wooden surfaces. Also, we suggest that you attach the hook half of the hook-and-loop pads to the bottom of the ribbon and the loop (softer) half to the mounting surface. This will prevent small mammals from becoming stuck to your keyboard.

When the Ribbon is where you want it, plug the unconnected end of the cable into the ÒControllerÓ jack on the ExpressionMateÕs right side.

ontroller

Figure 2-2. Connecting the Ribbon.

Getting Started

Placement and Connections

The Rear Panel

Here are brief descriptions of the rear panel connectors.

1 / CC

reath witch / CC Pedals

ain

Thru

Out In

MIDI

Power Switch

Press this to turn the ExpressionMate on or off.

Breath Jack

Plug a breath controller into this jack.

SP1/CC Jack

Connect either a CC (continuous control) pedal or a switch pedal to this jack.

Out

12VDC

0.4A

SP2 Jack

Plug a switch pedal into this jack.

MIDI Ports

Use these ports to connect the ExpressionMate to other MIDI devices or instruments.

Power Jack

Plug the included AC adapter into this jack.

Getting Started

Placement and Connections

Connecting Pedals

The ExpressionMate has two rear-panel jacks for connecting pedal controllers. You can connect a switch pedal to SP2, and either a switch pedal or a CC (continuous control) pedal to SP1/ CC. To work correctly, the CC pedal must be one that uses a 10K linear potentiometer.

A Special Note About Switch Pedals

The ExpressionMate works with both normally-open switch pedals, and normally-closed pedals (such as those made by Roland, Yamaha, and other Japanese manufacturers). If a pedal is plugged in when you turn the power on, the ExpressionMate detects which kind of pedal it is.

If you hold down a switch pedal while the ExpressionMate powers up, you will reverse the ExpressionMateÕs response to the pedal. In other words, you might end up sustaining notes when your foot is Therefore, you should avoid touching the pedals until the startup screen disappears.

off

the pedal, instead of when you push down.

1 / CC

witch / CC Pedals

Turning the power off and back on again will set the pedals back to normal, as long as you donÕt touch them.

Connecting a Breath Controller

If you have a Yamaha or equivalent breath controller, connect it to the rear-panel Breath jack.

reath

Getting Started

Placement and Connections

Connecting the ExpressionMate to Your MIDI Gear

There are lots of ways to connect the ExpressionMate to your MIDI devices. WeÕve chosen to show two simple, effective conÞgurations that should give you ideas for your own MIDI studio or rig. You can use the conÞgurations as printed, or modify them for your own needs. (If you play MIDI guitar or some other instrument besides the keyboard, donÕt be offended. Just use your axe as the master controller.)

ain

Thru

Out In

MIDI

Basic MIDI Hookup

Connect the ExpressionMateÕs Main Out jack to the MIDI In jack of the device that you want to control (such as a keyboard, sound module, or computer). Then connect the other deviceÕs MIDI Out jack to the ExpressionMateÕs Main In jack. Turn Local Control Off on your keyboard.

Out

Main Out

xit

tore

earn

Sections

Section

onfiguration

ibbon

onesEdit

13 23

ontroller

rpeggiator

Compare

Main In Out In

Jump Value

ate

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istLtep

Jump Param

xternal

nternal

I E

MIDI

Panic

ExpressionMate MIDI Keyboard

Figure 2-3. Connecting the ExpressionMate to one MIDI device.

Getting Started

Placement and Connections

Connecting Two MIDI Devices

You can connect a master controller, a MIDI sound module, and the ExpressionMate as shown here.

Out

Sections

xit

tore

earn

ibbon

ontroller

Main

Section

onfiguration

onesEdit

13 23

rpeggiator

Out

Compare

lobal

xpression

Jump Param

istLtep

Main In

Jump Value

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xternal

nternal

I E

MIDI

Panic

Thru

Master Controller

ExpressionMateModule

Figure 2-4. Connecting the ExpressionMate to two MIDI devices.

Connecting Several MIDI Devices

You might have sound modules and a computer with a MIDI interface. HereÕs one arrangement that lets you play everything in your studio from a master controller and the ExpressionMate.

Etc.

Out

Thru

Master Controller

Module B

InOut

Thru

Computer

ExpressionMateModule A

Figure 2-5. Connecting the ExpressionMate to several MIDI devices.

xit

tore

earn

Sections

ibbon

Section

onfiguration

ontroller

Main

Out

onesEdit

13 23

rpeggiator

Main In

Jump Value

ate

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Jump Param

xternal

nternal

I E

istLtep

MIDI

Compare

Panic

lobal

Getting Started

Setting the MIDI Channels

Connecting the Power Supply

Use the included AC adapter to plug the ExpressionMate into an electrical outlet.

Powering Up

Once you have everything hooked up properly, press the power switch to turn the ExpressionMate on. The screen will display a message similar to this one for four seconds:

ExpressionMate P1=V P2=O C=RBBN

HereÕs what the bottom line means:

• P1 is Pedal 1. It will equal V if a CC Pedal is plugged into the

SP1/CC jack, O if a normally-open switch pedal is plugged in, or C if a normally closed switch pedal is plugged in. If nothing is plugged in, V will be displayed.

• P2 is Pedal 2. It will equal O if a normally open switch pedal

is plugged into the SP2 jack, or C if a normally closed (Roland type) pedal is plugged in. If nothing is plugged in, O will be displayed.

• C is the controller plugged into the Controller jack on the right

side of the unit. It will always read RBBN, unless Kurzweil introduces other controller types in the future. If nothing is plugged in, RBBN will also be displayed.

If you see a different message, such as ÒLow BatteryÓ or ÒMemory FailureÓ, refer to Chapter 6 for more information.

Setting the MIDI Channels

Every Setup has three Zones that send out MIDI information when you play the Ribbon or use the Panel Switches and pedals. In many of the Factory Setups, each Zone is set to a separate MIDI channel. To take advantage of all three Zones, make sure that the receiving instrument is in ÒMulti Mode,Ó (which is the default mode for most modern instruments) and that there are programs on channels 1 through 3. You can choose any programs you want of course, but you might have more fun if each channel plays a different sound.

Getting Started

User Interface Basics

If you have two or more instruments, you can set each one to receive on its own channel, so that each ExpressionMate Zone controls a different instrument. You can also set several instruments to the same channel, so that a single Zone can control multiple programs on different instruments.

If the receiving instrument can only play on one MIDI channel at a time, set it to receive on channel 1, 2, or 3.

User Interface Basics

The Front Panel

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The Display

The display shows you what Setup youÕre playing, what parameter youÕre editing, or what options you can choose during certain tasks. It displays other information too.

Data Knob, - and + Buttons

Use these to scroll through Setups in Play mode, and to change values when you edit Setups.

xternal

Getting Started

User Interface Basics

Cursor Buttons

The cursor buttons (< and >) just below the display let you choose Setups from Setup Lists. While editing Setups, you can press these buttons simultaneously to jump to the next group of parameters.

The cursor buttons also function as ÒsoftÓ buttons. Options like Yes, No, OK, and Reload will appear above the buttons at certain times, like when loading and saving Setups. When this happens, press the cursor button thatÕs under the option you want.

Exit Button

When youÕre editing the ExpressionMate parameters, you can press the Exit button to leave the editor and return to Play mode.

Store Button

When youÕre editing Setups, you can press Store at any time to name and save the Setup youÕre working on. If youÕre in Play mode, pressing Store lets you rename or move the current Setup.

See page 57 for more information on naming and saving Setups. See page 89 for more information on SysEx dumps.

Learn Button

The Learn button lets you perform ÒIntuitive Entry,Ó which speeds up certain editing tasks. See page 23 for details on using Intuitive Entry and the Learn button.

Controller Button

Pressing this button takes you into the Controllers Editor, where you change how the Ribbon, pedals, buttons, and breath controller behave in the current Setup.

Arpeggiator Button

Pressing this button takes you into the Arpeggiator Editor, where you deÞne how the Arpeggiator will play in the current Setup.

Getting Started

User Interface Basics

Global Button

While in Play mode, pressing this button brings up the Global Select screen. You can then edit Global parameters (which affect all Setups) or perform several utilities. While editing a Setup, the Global button works as a Compare button, letting you switch between the original, unedited Setup and the newly-edited Setup.

SW1 and SW2

These are the two panel switches. You can use them to start and stop the Arpeggiator, play notes, send program changes, or to do other things.

Panic Button

When you press SW1 and SW2 simultaneously, they act as a Panic button, which clears up stuck notes, reinitializes the arpeggiators, and resets the Ribbon and other controllers. The ÒInternalÓ LED will light for about 5 seconds (or until you release the buttons) and the ExpressionMate will send the following messages:

• All Notes Off, All Sound Off, and Reset All Controllers

messages on each channel of the Main Out port, then the same for Aux Out port.

• Note Off messages for every note of every channel of the

Main Out port, then the same for the Aux Out port.

Front Panel LEDs

Every time you choose a new Setup, youÕll see the various LEDs on the front of the unit lighting up. Here is a description of each:

• The ÒInternalÓ LED lights up when the ExpressionMate

generates MIDI messages. This can happen when you play the Ribbon, buttons, pedals, or the Breath controller, or when you send Entry and Exit values by changing Setups.

• The ÒExternalÓ LED shows that the ExpressionMate is

receiving MIDI messages at either of its two MIDI In ports, Main or Aux. It should light up when you send external controllers, or notes to the Arpeggiator.

• The Ò3 SectionsÓ and Ò1 SectionÓ LEDs show whether the

Ribbon is conÞgured as one or three sections.

Getting Started

Setups

• The Zone LEDs above the Controller button light when you

press the button to enter the Controller Editor. They show which one of the ExpressionMateÕs three Controller Zones youÕre working with. (Some edit parameters affect all three Zones, in which case all three LEDs will light up.)

• The Zone LEDs above the Arpeggiator button light when you

press the button to enter the Arpeggiator Editor. They show which one of the ExpressionMateÕs three Arpeggiators youÕre working with. (Some edit parameters affect all three Arpeggiators, in which case all three LEDs will light up.) These LEDs also ÒwinkÓ for each beat if that zoneÕs Arpeggiator is active.

• The SW1 and SW2 LEDs light whenever you press the

buttons to turn them on. If a buttonÕs mode is Toggle, the LED will stay lighted until you press the button again to turn it off. If the buttonÕs mode is Momentary, the LED will stay lighted until you release the button.

Note that the LED will only show the buttonÕs mode, Toggle or Momentary, for Zone 1 of the current Setup.

Setups

With the ExpressionMate, you play what are called Setups. Each Setup contains information that tells the Ribbon, buttons, pedals, breath controller, and Arpeggiator how to behave.

The ExpressionMate comes with several Factory Setups that you can use right away. Factory Setups are stored permanently in ROM (Read-Only Memory) so you never have to worry about losing them.

Setups that you create and save are User Setups. These are stored in battery-backed memory, so they wonÕt be erased when you turn the ExpressionMate off. When youÕre ready to create your own User Setups, read Chapter 3.

Note: A memory failure or a drained battery can erase User

Setups, so you should back them up regularly. See page 89 for steps on doing this.

Getting Started

Setups

Selecting Setups

Basic Selection

After the ExpressionMate starts up for the Þrst time, youÕll see a screen such as this:

SU 3 Big Strum

This is the main ÒPlay modeÓ screen. At the top-left is the number of the currently selected Setup. Below that is the Setup name. You use the data knob and the - and + buttons to change Setups.

Jump Value

Using Setup Lists

Pressing the < or > buttons lets you choose a Setup from one of three Setup Lists.

Jump Param

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If you press either button while in Play mode, the screen will change to this:

SU 3 LS1 STEP1 Big Strum |

The top line now shows the Setup number on the left, followed by the current List and the current Step within that List. Press the < and > buttons together to go to the next List, and press either < or > to change the current Step.

Setup Lists let you organize Setups so that theyÕre easier to Þnd during live performances. For instance, if you use the same Þve Setups every time you play out, you could create a list containing those Þve Setups. (See page 87 for steps on doing this.)

Moving the data knob or pressing the - and + buttons takes you out of the Setup Lists.

Getting Started

Setups

Changing Setups with MIDI

You can use MIDI program changes to select the ExpressionMate Setups. When you send a program change, the Play mode screen will show the program change number in the upper-right hand corner:

SU 3 MIDI123 Big Strum |

To be able to change Setups with program changes, you need to set the Ext PgmCh parameter in the Global Menu to a speciÞc MIDI channel, and then send your program changes on that channel. For more on receiving MIDI program changes, see ÒProgram Change ParametersÓ on page 81 and ÒSetup MapÓ on page 88.

Playing Setups

As you go through the Factory Setups, try out the Ribbon and the front-panel buttons to hear what they do. Many of the Factory Setups were programmed to send modulation and Pitch Bend messages, among others. Depending on how your MIDI instrument is conÞgured, you may hear changes in pitch, brightness, or volume.

Basic Tec hnique

There is no correct way to play the ExpressionMate, but youÕll probably Þnd yourself playing your instrument with one hand, and playing the ExpressionMate with the other.

If you have connected pedals or a Breath controller, youÕll have some other controls too. You can also use the ExpressionMate with a sequencer to control tracks during playback or while recording.

Refer to the list of Setups near the end of this manual to see how the buttons and Ribbon function in each setup.

Getting Started

Setups

Touching The Ribbon At More Than One Point

You can touch the Ribbon in two or more places at once. However, there are a few things to realize when you do this:

1. When the Ribbon is in single-section mode, play only in one of the three marked smaller sections at any time. In other words, if you press down on the left end and slide up and down the entire Ribbon with the other hand, the Ribbon wonÕt respond correctly.

Right

Wrong

2. When there are three or more points of contact, any points in the center will have no effect on the RibbonÕs output. For instance, if you touch the Ribbon with the Þrst, second, third, and fourth Þngers on one hand, only the Þrst and fourth Þngers will have any effect.

Only Outside Points of Contact Respond

Getting Started

Getting Back to Play Mode

3. The two outside points of contact should be less than about 5 inches apart. If your Þngers are more than 5 inches apart, the other two sections wonÕt work properly.

5” or less

Getting Back to Play Mode

If while exploring you get lost in the ExpressionMateÕs editing menus, press the Exit button several times to get back to Play mode. If youÕre really stuck, you can always turn the ExpressionMate off and back on again (though you might lose changes you made to the current setup).

Getting Started

Troubleshooting

If youÕre not getting sound from your instrument, or if the ExpressionMate doesnÕt seem to be doing anything, try the following:

Problem Solution

No sound from the receiving instrument(s).

Ribbon, pedals, or breath controller behave strangely or don’t respond at all.

Sound comes out of receiving devices, b ut they don’t respond to the ExpressionMate.

W arning message (such as “Replace Battery!” or “Memory Failure”) appears on startup.

But It

If you connected everything properly and went through all of the Troubleshooting steps, but things still arenÕt working right, donÕt panic. Your MIDI instrument may be conÞgured in such a way that the ExpressionMate does unpredictable things to it, or has no effect at all. Read Chapters 3 and 4 to learn how to change the ExpressionMateÕs settings so that your instrument responds exactly as you choose.

Still

Doesn’t Work

Make sure that the ExpressionMate, the other instruments, and your mixer and speakers or headphones are all plugged in and turned on. Check the volume on the receiving instrument and on your mixer or speakers.

Check that the Ribbon, pedals, and breath controller are all connected properly. Make sure that the Ribbon’s cable comes out of the right end as you face it. If pedals are plugged in, don’t press on them while the startup screen is displayed.

Make sure that you’ve connected the ExpressionMate’s Main MIDI Out to the MIDI In port on the ﬁrst receiving device in the chain, and that this device is set to receive on MIDI channels 1 through 3 (or channel 1 only). If the problem continues, try a new MIDI cable.

See Chapter 6 for steps on clearing up the problem.

You can also use the built-in diagnostic software to check you pedals, breath controller, and ribbon for proper operation. See Chapter 6.

Editing and Creating Setups

The Controller Editor

Chapter 3 Editing and Creating Setups

ItÕs possible that many of the Factory Setups will suit your needs perfectly. However, you might want to customize some Setups, or you may have a MIDI instrument that only responds to certain messages. Therefore, you can edit every parameter of the ExpressionMateÕs Setups by using two editors: The Controller Editor and the Arpeggiator Editor. The Controller Editor section starts below; the Arpeggiator Editor section starts in the Arpeggiator chapter, on page 61.

The Controller Editor

While in Play mode, press the Controller button at the left of the front panel. This brings you into the Controller Editor, where you conÞgure the Ribbon, buttons, and other controllers for the current Setup.

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The Controller Editor parameters deÞne what each of a SetupÕs Zones sends to the two MIDI Out ports, and to the Arpeggiator. They also determine how the ExpressionMate responds to devices connected to the MIDI In ports.

Editing and Creating Setups

Getting Around

Parameters

MIDI Channel MIDI Chan None, Mn 1–16, Aux 1–16 Ribbon

conﬁguration parameters

Controller assignment parameters

Controller Editor

Names

RBN Split, RBN Mode, RBN Sprg

RBN (or RBN1, 2, &3), BRTH, CCPD, SP1&2, SW1&2, FIX1, 2, &3, MAP1, 2, &3, Hi/Lo Key Range, ZnXpos, NtVl curve, CCnote scales, ZnNoteMap

Values

(see page 25)

(see pages 28-56)

Getting Around

The upper line shows the Setup number and the current Zone. It also shows the parameter number (left of the :) and value number for those who really like numbers. The bottom line shows the parameter name and value name or number for the rest of us. An underline below the bottom lineÕs : signals that the parameter has the same value in all zones.

Setup

Number

Param:Value

Number

Zone

SU 1 1:1|||Z1| MIDI Chan:Mn 1|

|||

Parameter

Name

Value Name or

Number

The cursor buttons (< and >) below the display select parameters. To change the value of a parameter, use the data knob or the - and + buttons on the front panel. If you hold a button down, it keeps scrolling. Each controller has several parameters, so even scrolling can get pretty tedious. For example, if you are looking at RBN and you want to get to BRTH, you have to scroll through all of the RBN parameters Þrst. Therefore, you have two other options: Jump selection and Intuitive Entry.

Editing and Creating Setups

Getting Around

Jump Selection

Jump selection moves you to the Þrst parameter for each controller. For instance, if you are working on RBN parameters, as shown here:

SU 1 15:40 Z1 RBN| Scale:100|

and you want to check the BRTH parameters, press both cursor buttons (< and >) and youÕll get the Þrst parameter for BRTH:

SU 1 47:2 Z1 BRTH|Dest:Breath

Press both cursor buttons again to go to the control pedal parameters and so forth to visit each controller. You can use a similar method to change values: press the - and + buttons simultaneously to change a value by large increments, such as 32 or 100.

While youÕre in the Controller Editor, you can also press and hold the Controller button then press the Global button to jump to the Fixed and Map controllers as well as note processing feature, ribbon scale select, the note map, and MIDI channel parameters.

Intuitive Entry

Intuitive Entry gives you an even quicker way to enter values. When youÕre in the Controller Editor, press and hold the Controller button, then move the physical controller that you want to adjust. The display will change to show the controller youÕve selected and its initial parameter (ÒDestÓ or ÒTypeÓ). You can choose other parameters for that controller by using the < and > buttons.

Once youÕve selected a parameter, you can change its value by holding the Learn button and moving the controller.

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Editing and Creating Setups

Setting a Zone’s MIDI Channel

Changing the Current Zone

While in the Controller Editor, press the Controller button (at the lower left of the front panel) to move among the three Zones, each having its own Controller Editor parameters. The LEDs above the Controller button will light to show which Zone youÕre on. (Some parameters, such as RBN Split, affect all three Zones at once, in which case all three LEDs will light up.)

You can easily set a parameterÕs value the same in all 3 zones without having to visit each separately. Simply set the value desired in one of the zones (doesnÕt matter which one) then hold Learn then press Store to copy the last changed value to the other 2 zones. Be sure to press and hold Learn Þrst.

Compare

While youÕre in the Controller Editor, the Global button acts as a Compare button. Press it at any time to temporarily revert to the unedited Setup. The Zone LEDs will ßash to show that the original parameters are in effect. Parameters can still be selected for review while comparing but they cannot be changed. Push Global again to return to the edited Setup, and the ßashing will stop.

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Setting a Zone’s MIDI Channel

The MIDI Chan parameter (#1 located just before RBN Split) deÞnes the MIDI transmit channel for the currently selected Zone. You can set it to any of the 16 MIDI channels on either the Main Out or Aux Out port. You can also set it to None, which is a handy way to keep a Zone from sending anything. All of the ZoneÕs other parameters will stay intact, so you can switch the Zone on and off using the MIDI Chan parameter.

Normally, you will want each Zone on a separate MIDI channel. This is necessary if you want to control different programs on the same MIDI instrument. For instance, if you use multiple Zones to send program changes, and all the Zones have the same MIDI channel (and Destination), there will be conßicts: no MIDI device, including the ExpressionMate, can respond correctly to two or

Editing and Creating Setups

Ribbon Configuration Parameters

more different simultaneous Program Change commands on one channel. The result will be that only one Program Change will be recognized.

If the MIDI Chan parameter of a zone is set to -NONE-, none of the controls are processed for that zone, including those that send to special destinations that don't involve MIDI. So, for example, you can't set the MIDI Chan for Zone 3 to -NONE- and then use notes from, say, a ribbon in that zone as the source for an arpeggiator. If you really want to use control values in a zone but don't want to send any MIDI from it, consider directing the output to the Aux port or to an unused channel.

Stacking Zones

There will be times when ÒstackingÓ Zones on the same MIDI channel will come in handy. Suppose you want to send two different MIDI Controllers to the same program on your synth. In this case, you can assign two Zones to the same channel, but with different controller assignments.

HereÕs one example: say your synth uses Modulation (01) to open a Þlter, and Data (06) messages to increase the ÞlterÕs resonance. If you want to do both at the same time, you could use a single CC pedal to send both messages. First, assign the CC pedal in Zone 1 to ModWhl, and in Zone 2 to Data. Then assign both Zones to the same MIDI channel. Now moving the CC pedal opens or closes the Þlter and adds or removes resonance.

Keep in mind that the Factory Default settings will look at MIDI notes coming in on Main MIDI channel 1 and process them through the each zoneÕs parameters. This will double or triple the number of notes going to your MIDI out channel. The most versatile way to prevent this is to set the Low Key range to a note that is higher than the High Key range (for example, NtLowKey: C3 and NtHighKey: C2). You can also set the Global MergUnPro to Neither (see page 81), which will affect all of your Setups, disabling the Note processing features in the controller editor.

Ribbon Conﬁguration Parameters

These parameters tell the Ribbon how to respond when you touch it. When the Ribbon is in single-section mode, there are three parameters for conÞguring the Ribbon: Rbn Split, Rbn

Editing and Creating Setups

Ribbon Configuration Parameters

Mode, and Rbn Sprg. In three section mode, there are seven parameters in all (the RBN Split parameter, plus a Mode and Sprg parameter for each section).

The Ribbon ConÞguration parameters deÞne how the section responds to Þnger position.

PARAMETER RANGE OF VALUES DEFAULT

SPLIT One Section/Three Sections One Section MODE Relative/Absolute Absolute SPRING 0–127, None None

Split

This selects a one- or three-section conÞguration of the Ribbon. You can use the Ribbon as one controller, or divide it up into three smaller sections, each with its own controller assignments.

Along the edges of the Ribbon are several white arrows; these arrows divide the Ribbon into sections, point to each sectionÕs center, and show smaller divisions within the sections. The arrows are especially helpful when Split is set to Three-Sections, though theyÕre also handy when using the Ribbon as a singlesection controller.

The Þgure below assumes that the Global RBN Dir parameter is set to Right, meaning that values get higher toward the end with the cable. To learn how to change this parameter, see ÒRBN DirÓ on page 78.

Section 1 Section 2 Section 3

Figure 3-1. Ribbon sections.

Note that you can set one group of parameters for the Ribbon in single-section mode, and different parameters for three-section mode. Both sets of parameters will be there when you save the Setup, but only one set of parameters will take effect at a time. In other words, if the Ribbon is in single-section mode, youÕll be using only the single-section parameters.

Editing and Creating Setups

Ribbon Configuration Parameters

Mode

Each Ribbon section can interpret your ÞngerÕs position as a relative or an absolute value.

Relative means that the RibbonÕs travel will begin from wherever you put your Þnger. Therefore, if you set the Ribbon to bend pitch, and Mode is Relative, putting your Þnger on the Ribbon will mark a starting place. Subsequently moving your Þnger left or right will bend pitch relative to your initial Þnger position, until you lift your Þnger away. You can press down at any other place on the Ribbon, and get the same results by moving your Þnger the same distance.

Setting Mode to Absolute means that the RibbonÕs travel will start from its center, no matter where you put your Þnger. Every point on the Ribbon marks a set value, and putting your Þnger at various points on the Ribbon will give you the same values each time. For example, if a RibbonÕs Destination is Volume and Mode is Absolute, pressing on the left-most end of the Ribbon will always set the ZoneÕs volume to the same value.

Spring (Sprg)

You can set each Ribbon to have a Spring, so that when you lift your Þnger, the Ribbon returns to a speciÞed value automatically.

The value you set for Spring deÞnes the Òcenter,Ó or starting point of travel, for each section on the Ribbon. You can choose any point between 0 and 127. A value of 64 puts the center physically in the middle of each Ribbon section. Values of 0 or 127 place the center at the sectionÕs extreme left or extreme right, respectively.

If Mode is Relative, the Ribbon will return to the point where you initially placed your Þnger. If Mode is Absolute, the Ribbon will return to its center.

When Spring is ÒNoneÓ, the Ribbon will ÒfreezeÓ when you lift your Þnger. If you then leave the Setup, the Ribbon remembers its current position; when you select a new Setup, the RibbonÕs travel will begin where you last pressed down. If you want to avoid being surprised by unexpected controller values (such as unruly pitch changes), go to the RBN Entry parameter, and select an entry value other than ÒNoneÓ for each Ribbon section.

Editing and Creating Setups

Controller Editing

Controller editing lets you create custom ExpressionMate Setups for use in your MIDI studio or on stage. In this section, weÕll talk about two different types of ÒcontrollersÓ as they apply to the ExpressionMate.

One is the physical controllers: the Ribbon, buttons, pedals, and breath controller that you move with your Þngers, feet, or breath. The other is MIDI Controllers, which are the MIDI commands that the ExpressionMate sends. For our purposes, ÒMIDI ControllersÓ includes the complete set of Controllers deÞned by the MIDI SpeciÞcation, as well as pitch bend, aftertouch, and a few other useful MIDI commands. To avoid confusion, weÕll refer to the ExpressionMateÕs physical controllers with a lower-case ÒcÓ, and MIDI Controllers with an upper-case ÒCÓ.

You can assign any physical controller, in any Zone, to transmit any MIDI Controller. You can also adjust each controller in each Zone, just like the parameters on many synths and samplers.

The ExpressionMateÕs physical controllers include:

• the Ribbon, which you can deÞne as a one- or three-section

controller.

• the two Panel Switches, SW 1 and SW 2.

• the Breath jack, which accepts a Yamaha (or equivalent)

breath controller.

• the two Pedal jacks, SP 1/CC and SP 2 (SP 1/CC accepts

either a switch pedal or a continuous control pedal).

There are also two sets of ÒvirtualÓ controllers, which behave much like physical controllers. These are:

• Fixed controllers, FIX1, FIX2, and FIX3, which automatically

send values when you select Setups.

• MIDI Remap controllers, MAP1, MAP2, and MAP3, which

can take incoming MIDI Controllers and change them into other MIDI Controllers.

Editing and Creating Setups

Controller Editing

The pictures and tables that follow give an overview of the controllers and their parameters.

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0.4A

reath witch / CC Pedals

MIDI

Pedal jacks

Breath controller jack

Ribbon controller

Figure 3-2. The ExpressionMate physical controllers.

Editing and Creating Setups

Controller Editing

Continuous Controllers

Physical

Controller

Ribbon controller RBN (in single-

Breath controller BRTH (same as Ribbon, except no

Controller

Editor Name

section mode) or RBN1, RBN2, and RBN3 (in threesection mode)

Parameter:Values

Destination: None, 0–127

Aux Destination: None, 0–39, 43–127

Curve: 0 – 12 (see picture for shapes)

Curve Amount: 0 – 8 Scale: -300% to 300% Offset: -127 to 127 Resolution: 7-Bit, 14-Bit Entry Value: None, 0–127,

Current Exit Value: None, 0–127

Aux Destination)

CC Pedal CCPD (same as Ribbon, except no

Aux Destination)

Switch Controllers

Editing and Creating Setups

Controller Editing

Physical

Controller

Switch Pedals 1 & 2 SP1, SP2 Type: Toggle, Momentary

Panel Switches 1 & 2 SW1, SW2 (same as Pedals)

Controller

Editor Name

Parameter:Values

Destination: None, 0–40, 43–127 On Value: None, 0–127, Current Off Value: None, 0–127 Entry Value: None, Off, On,

Current Exit Value: None, Off, On

Virtual Controllers

Virtual

Controller

Fixed controllers FIX1, FIX2,

Controller

Editor Name

FIX3

Parameter:Values

Destination: None, 0–40, 43-127

Entry Value: None, 0–127

MIDI Remap controllers

MAP1, MAP2, MAP3

Exit Value: None, 0–127 Destination: None, 0–39, 43-127

Source: None, 0–32, 64–119, PBend, ChnPrs

Curve: 0 – 12 (see picture for shapes)

Curve Amount: 0 – 8 Scale: -300% to 300% Offset: -127 to 127 Entry Value: None, 0–127 Exit Value: None, 0–127

Editing and Creating Setups

Continuous Controller Parameters

After youÕve selected which Zone and which controller to work with, use the Destination parameter to choose what this controller will do. Some of the controllers have default settings that are pre-programmed in some of the Factory Setups (of course, you can change them). You can select from the entire list of numbered MIDI controllers, as well as other MIDI commands and some ÒSpecial Functions.Ó To move through the list, use the data knob and the - and + buttons, or hold the Learn button and move any continuous controller.

Continuous Controller Parameters

The continuous (physical) controllers are those that have a range of values: the Ribbon, the continuous control pedal, and the breath controller. As the table on page 30 shows, all of them use mostly the same parameters. Each parameterÕs function is described below.

The illustration below shows the processing order that the ExpressionMate uses to create Continuous Controller messages from your input.

Input from Ribbon, CC pedal, and Breath controller

Zone

Curve

Scale

Offset

Destination

MIDI Output

Editing and Creating Setups

Continuous Controller Parameters

Destination (Dest)

Use this parameter to choose a Destination from the MIDI Destination List (see page 48). The Destination tells the physical controller what MIDI Controller to send. Such messages include Modulation (01) and Volume (07), plus others. The ExpressionMate also has some ÒSpecial FunctionÓ Controllers, which can send MIDI notes, control the arpeggiator, and do some other things.

Curve (Curv)

This lets you taper the controller response. The default setting is Linear, which means that it follows a straight line as you move the controller.

Curve Amount (CrvAm)

Enter a value from 0 through 8 to specify how pronounced you want the curve to be.

Editing and Creating Setups

Continuous Controller Parameters

0 Linear 1 Expand 2 Compress (Cmpres)

Curve Examples

(Amount = 3)

(XFade)

6 Reverse Linear

(RevLin)

9 Reverse CrossFade

(RevXfd)

4 CrossSwell

(XSwell)

7 Reverse Expand

(RevExp)

10 Reverse CrossSwell

(RevXsw)

5 Bump3 CrossFade

8 Reverse Compress

(RevCmp)

11 Reverse Bump

(RevBmp)

Scale (Scal)

Scale lets you amplify or diminish the action of the controller. No change is 100%. Higher values will make the controller more sensitive, and lower values will make it less so. Setting the scale to a negative number makes the controller action work in reverse. You can use a controller to crossfade between two Zones by setting the scaling for one Zone positive and the other negative. (Or you could accomplish the same thing by having one zone set

Editing and Creating Setups

Continuous Controller Parameters

to a normal curve and the other zone set to the corresponding reverse curve- itÕs up to you!)

Maximum scale values are +300% and -300%.

The picture below shows what happens when you change Scale. Note that Scale is the only parameter changed in this example; the other parameters are set to their defaults (Offset = 0 and Curve = none).

127

Scale: 200%

MIDI Controller reaches maximum on medium controller value

Scale: 100%

Controller Output

As you increase the controller input, MIDI Controller increases proportionally

Scale: 50%

MIDI Controller never

127

reaches maximum, even on maximum controller value

Controller Input

Offset (Offs)

This adds or subtracts a constant to the scaled controller, and at the same time sets minimum or maximum values. If the offset is 25, the minimum value of the controller will be 25. If it is -25 (and scale is 100%) the Þrst one-Þfth of the controllerÕs movement (25/ 127 = about 1/5) will send value of 0, and the maximum value of the controller will be 102 (= 127-25). The maximum values for Offset are ±127.

You can think of Scale as being a proportional change to the Controller, while Offset is an up or down shift. The picture below shows the effects of Offset. Note that Offset is the only parameter

Editing and Creating Setups

Continuous Controller Parameters

changed in this example; the other parameters are set to their defaults (Scale = 100% and Curve = none).

127

Controller Output

0 127

Offset: +64

Low controller values produce medium MIDI Controller and greater

Offset: 0

No Offset is applied to controller

Offset: -64

Low controller values result in MIDI Controller of 0; maximum MIDI Controller reduced

Controller Input

Offset and Scale work together. If scaling takes the controller out of the ballpark Ñ for example, you want to set it to 300% but that puts all of the controllerÕs readings at their maximum values Ñ using a negative offset, say around -60, still lets you send different values, though your curve will be a lot steeper than normal.

If you use a negative scaling, then you must use an offset, or all of your Controller messages will end up as zeroes. So to get true inverse scaling (that is, minus 100%) with the full range of values, you must set Offset to 127 and Scale to -100%. Doing so produces a slope like this (which is identical to the Reverse Linear curve):

Controller Output

127

Controller Input

Editing and Creating Setups

Continuous Controller Parameters

Resolution (Res)

Resolution lets you Òsmooth outÓ continuous controller response on some instruments.

Setting Resolution to 7-Bit will cause the controller to send only MSB (Most SigniÞcant Byte) messages. This means that the controller will transmit up to 128 different values, which is what many instruments expect.

A setting of 14-Bit will send both MSB and LSB (Least SigniÞcant Byte) Controllers, meaning that the controller can potentially transmit up to 16,384 (128x128) values. On some instruments, this gives you Þner control over parameters like Pitch Bend and Modulation, thus making things like pitch bends and volume swells sound smoother. If your instrument doesnÕt use the LSB Controller messages, it will just ignore them, and youÕll hear no difference with 14-Bit resolution. Most of the time, however, youÕll be better off if you donÕt use 14-bit resolution, since it can use quite a bit of your bandwidth and sequencer memory.

Entry (Entr) and Exit Values

Entry Value

Entry Value lets you specify an initial value for a controller that will be sent whenever you select that Setup. LetÕs say that you assigned the CC pedalÕs Destination to ModWhl in Zone 1. If you want to make sure that all of the modulation in Zone 1 is turned off when you select the Setup, set the CC pedalÕs Entry Value to 0.

Entry Values ignore the current position of the physical controller when the Setup is selected. In fact, if the physical controller is above or below the Entry Value when the Setup is selected (which it often is), moving the controller will have no effect until it passes through its Entry Value. In the modulation example, moving the CC pedal wonÕt turn on any modulation until you push it all the way down, and then up again.

An Entry Value of None is quite different from a value of Ò0Ó. ÒNoneÓ means that there will be no initial controller command when you select the Setup, and moving the physical controller will have an immediate effect. (The position of the physical controller when the Setup is Þrst selected, however, is still

Editing and Creating Setups

Ribbon Assignment Parameters

ignored.) It also means that when you select the Setup, the controllerÕs value will initially be the same as it was in the last Setup.

Current means that the current position of the control is sent even though it has not changed. This may be needed as an entry value if, for example, the previous setup sent the physical controller to a different MIDI controller than the current setup.

Exit Value

Exit Value tells the ExpressionMate to send a value for that controller whenever you leave the Setup. It can be very useful when a controller is doing something special to the sound which you donÕt want to continue after you leave the Setup. For example, if you want to make sure a ZoneÕs pitch returns to normal whenever you leave a Setup, you would give an Exit Value of 64 to any controller whose Destination is PBend+. Again, ÒNoneÓ means that no command is sent.

Ribbon Assignment Parameters

This section explains how to change which messages the Ribbon sends. To change how the Ribbon responds to Þnger movement, see ÒController EditingÓ on page 28.

The Ribbon assignment parameters let you deÞne controller assignments for the Ribbon controller. Each Ribbon section senses movement when you press on it and move your Þnger left or right. This creates numerous possibilities for controlling pitch, volume, panning, crossfades between zones, and other uses you might imagine.

As we mentioned earlier, the Ribbon can be used as a single long controller, or it can be divided into three separate sections, each with its own controller assignments. These sections and their centers are indicated by the smaller arrows above the strip. There are also arrows directly in the center to give you a visual indication of the center point when you are using the Ribbon as one long strip.

Look over the various parameters. Since all the continuous controllers work in a similar way, CCPD and BRTH have most of the same parameters.

Editing and Creating Setups

Breath (BRTH) Parameters

AuxD

There is one exception: the Ribbon has an Auxiliary Destination (AuxD) letting you send a total of two controller messages from each Ribbon section in each Zone. AuxD takes effect whenever you move away from the initial point of contact on the Ribbon. AuxD will always spring to a value of 64; when it is active, it is controlled by Curves, Entry, and Exit values. You must scale it to send something like modulation from 0 to 127 from the Þrst point where you place your Þnger.

Note: AuxD is only meaningful when the normal

destination is one of those that plays notes (40-42). See the description of the Note Controllers on page 54 for more information on playing notes from the ribbon and continuous controllers.

PARAMETER RANGE OF VALUES DEFAULT

DESTINATION MIDI Destination List None AUX DESTINATION 0–39,43–127, None None CURVE Curve List (See Text) None CURVE AMOUNT 0–8 0 SCALE -300% to +300% +100% OFFSET -127 to +127 0 RESOLUTION 7-Bit, 14-Bit 7-Bit ENTRY VALUE None, 0–127, Current None EXIT VALUE None, 0–127 None

Breath (BRTH) Parameters

You can plug a breath controller into the rear-panel Breath jack. If youÕre not familiar with breath controllers, they usually resemble the headsets worn by telephone operators. Blowing into the controllerÕs mouthpiece sends Controller data. You can imitate ßutes, saxophones, and other wind or brass instruments more easily this way, because youÕre using your breath pressure to control the sound.

Editing and Creating Setups

Continuous Control Pedal (CCPD) Parameters

Remember that you donÕt have to send just Breath (02) messages with a breath controller. The ExpressionMate lets you send any of the available Controllers in the Destination list.

PARAMETER RANGE OF VALUES DEFAULT

DESTINATION MIDI Destination List Breath CURVE Curve List (See Text) None CURVE AMOUNT 0–8 0 SCALE -300% to +300% +100% OFFSET -127 to +127 0 RESOLUTION 7-Bit, 14-Bit 7-Bit ENTRY VALUE None, 0–127, Current None EXIT VALUE None, 0–127 None

Continuous Control Pedal (CCPD) Parameters

The rear-panel ÒSP1/CCÓ jack lets you connect a CC (Continuous Control) pedal.

PARAMETER RANGE OF VALUES DEFAULT

DESTINATION MIDI Destination List None CURVE Curve List (See Text) None CURVE AMOUNT 0–8 0 SCALE -300% to +300% 100% OFFSET -127 to +127 0 RESOLUTION 7-Bit, 14-Bit 7-Bit ENTRY VALUE None, 0–127, Current None EXIT VALUE None, 0–127 None

Switch Controller Parameters

Switch (physical) controllers have only two states: on and off. The the ExpressionMateÔs switch controllers are:

• Panel Switches 1 and 2 (SW1 and SW2)

• Switch Pedals 1 and 2 (SP 1 and SP 2)

Switch T ype (T ype)

The parameters for switch controllers are slightly different from those for continuous controllers. The Þrst parameter is Switch Type (Type). The choices are Momentary in which a switchÕs action lasts only as long as you are pressing it, and Toggle, in which the switchÕs action lasts until you press it again. The Momentary mode works best for functions like sustain or

Editing and Creating Setups

Switch Controller Parameters

portamento, while the Toggle mode works best for functions like turning the Arpeggiator on and off.

The LED above each Panel Switch shows that switchÕs state. In Momentary mode, an LED lights only as long as you are holding the switch. In Toggle mode, the light stays on until you press the Panel Switch again. Keep in mind that one Panel Switch can do something different in each Zone, and since thereÕs only one light per switch, the light only shows the switchÕs state for Zone 1. However, when you press the Panel Switch, it executes its assignments for all Zones that use the switch.

On Destination (On D), Off Destination (Off D)

On Destination and Off Destination determine what message will be sent when you turn a switch on or off, respectively. The list of available Destinations on page 48 is almost the same as for the continuous controllers, and can be accessed the same way.

ItÕs typical to set the same Destination for both, so that you can turn a Controller on or off. You could also send two different messages. For example, you could set Switch Type to momentary, On Destination to a Bank Select Controller (BkSelM or BkSelL) and Off Destination to Program Change. Then you can use a switch or a pedal to call up a program on another instrument that uses Bank Select to access more than 128 programs.

On Destination and Off Destination can also be set to Ònone,Ó so that pressing on the switch has no effect at all in a Zone.

On V alue (On V)

On Value sets the value of the Controller when you turn the switch on. For some functions the On Value should be 127. For example, the default On Destination for SP1 is Controller #64 Ñ Sustain Ñ with an On Value of 127. In other cases, you might want a different On Value. For instance, you could use a button or pedal as a ÒsoftÓ switch to lower a soundÕs volume only partway. In this case, you might set the On Destination to Volume (07) and the On Value to 50.

Editing and Creating Setups

Switch Pedal (SP) Parameters

Off V alue (Off V)

Off Value is the value of the Controller when you turn the switch off. The default value is 0. Continuing the Òsoft switchÓ example above, letÕs say you want to bring the Zone up to full volume when you release the switch. Set the Off Destination to Volume (07) and set the Off Value to 127.

Entry (Entr) and Exit States

Entry State can send an initial value for the switch when you select the Setup. There are four choices: None (no change), Off (the Off Value), On (the On Value), and Current. Current sends the current state of the switch without changing it. It is different than None, which speciÞes that nothing is to be sent on entry and exit.

If a Panel SwitchÕs Entry State is ÒOn,Ó the switch will light as soon as you select the Setup.

Exit State can send a value for the switch when you leave a Setup. The choices On, Off, and None are available. This is very useful for turning off Sustain when changing Setups, so you can avoid ÒstuckÓ notes.

Switch Pedal (SP) Parameters

On the back of the instrument, there are two jacks for switch pedals.

PARAMETER RANGE OF VALUES DEFAULT

SWITCH TYPE Momentary, Toggle Moment ON/OFF DESTINATION MIDI Destination List SP1: Sustain

SP2: SostPd ON VALUE 0–127 127 OFF VALUE 0–127 0 ENTRY VALUE None, On, Off, Current None EXIT VALUE None, On, Off None

Editing and Creating Setups

Fixed Controller (FIX) Parameters

Panel Switch (SW) Parameters

The ExpressionMate has two Panel Switches on the right side of the unit. Each of these functions exactly like the switch pedals; you can choose between momentary and toggle switches, and set on and off values for each one.

PARAMETER RANGE OF VALUES DEFAULT

SWITCH TYPE Momentary, Toggle Moment ON/OFF DESTINATION MIDI Destination List SW1: ARP1

SW2: ARP2 ON VALUE 0–127 127 OFF VALUE 0–127 0 ENTRY VALUE None, On, Off, Current None EXIT VALUE None, On, Off None

Virtual Controllers

Every Zone has six ÒvirtualÓ controllers; that is, they arenÕt physical controllers like Mod Wheels or buttons, but they can act in very similar ways. The ExpressionMateÕs virtual controllers are:

• Fixed Controllers (FIX1, FIX2, and FIX3)

• MIDI Remap Controllers (MAP1, MAP2, and MAP3)

Fixed Controller (FIX) Parameters

The Fixed controllers each send a Þxed value automatically, whenever you choose a new Setup. Though you can do this with any controller (by setting Entry and Exit values), you may prefer to use the Fixed Controllers instead, leaving the Ribbon and other controllers free for more complex uses.

Note that with the Fixed controllers, the Entry and Exit Values determine the On and Off Values. Also note that when you choose a Setup, the ExpressionMate sends FIX1 Þrst, then FIX2, then FIX3. This is especially useful for sending Bank Select and Program Change messages when selecting a Setup. (For an example of how to do this, see the discussion of the PrgChg Special Function on page 53.)

Editing and Creating Setups

MIDI Remap Controller (MAP) Parameters

PARAMETER RANGE OF VALUES DEFAULT

DESTINATION 0–40, 43–127 None ENTRY VALUE None, 0–127 None EXIT VALUE None, 0–127 None

MIDI Remap Controller (MAP) Parameters

The ExpressionMate includes three MIDI Remap Controllers. These take incoming MIDI data, such as Modulation messages, and turn the data into some other Controller message.

For instance, your MIDI keyboard might transmit only Modulation (01) and Channel Pressure (Aftertouch) messages. You might want to control the volume on a sound module, but that device wonÕt change Mod Wheel or Channel Pressure messages into Volume (07). In this case, you could set MAP1Õs Source to ModWhl, and its Destination to Volume. Now the ExpressionMate will change incoming Mod Wheel messages to Volume messages. There are lots of other possibilities too.

The Source parameter lets you choose many of the Controllers found in the Destination list (see page 48). The Special Functions (33-63) and MIDI Controllers 120Ð127 arenÕt available as sources. This is because most of the Special Functions are only found on the ExpressionMate, and because remapping Controllers 120-127 (which send messages like ÒOmni OffÓ and ÒAll Notes OffÓ) isnÕt useful. However, you can set Source to Pitch Bend (128) and Channel Pressure (129), because you may want to remap these Controllers.

One more thing: you can use a remap controller as a Þxed controller by assigning None as the Source.

PARAMETER RANGE OF VALUES DEFAULT

DESTINATION 0–39, 43–127 None SOURCE MIDI Destination List None

(with exceptions) plus

PBend and ChnPrs CURVE Curve List (See Text) Linear CURVE AMOUNT 0–8 0 OFFSET -127 to +127 0 SCALE -300 to +300 100 ENTRY VALUE None, 0–127 None EXIT VALUE None, 0–127 None

Editing and Creating Setups

Note Processing Parameters

Controller parameters 124Ð134 allow you to set note values, note velocity values, and how notes will be played by physical controllers.

PARAMETER RANGE OF VALUES

124 Note Low Key (NtLowKey) C-1 – G9 125 Note High Key (NtHighKey) C-1 – G9 126 Note Transpose (Nt Xpose) -64 – 63, Ctlr #39 127 Note Velocity Curve (NtVl Curv) Curve List (See Text) 128 Note Vel. Curve Amount (NtVlCrvAm) 0–8 129 Note Velocity Scale (NtVlScale) -300 – 300 130 Note Velocity Offset (NtVlOffst) -127 – 127 131 CC Note Scale (CCNoteScl) ROM scales (described in follow-

ing section), Arp latch, 8 User,

Ctlr #46 132 CC Note Velocity (CCNoteVel) 0-127, Ctlr #44 133 CC Note Transpose (CCNoteXpo) -64 - +63, Ctlr #43 134 Zone Note Map (Note Map) Off, Linear, Inverse, Constant, 1-

of-2, 2-of-2, 1-of-3, 2-of-3, 3-of-3,

1-of-4, 2-of-4, 3-of-4, 4-of-4

The Keyrange parameters (NtLowKey, NtHighKey) let you set the key range that will be processed by the Controller Editor functions. Notes below or above the keyrange will not be audible, and will not be sent to the Arpeggiator. It is also possible to set the Note Low Key to a value above the Note High Key. This can be used to block the merging of unprocessed notes when more than one Arpeggiator Zone is using the same note source. For more on this read the Note Source section in the Arpeggiator chapter, and the MergeUnPro section in the Global Functions chapter.

Note Transpose (Nt Xpose) allows you to transpose a ZoneÕs note output up or down a little more than 3 octaves. A value of zero is the original pitch.

Note Velocity Features

The next group of parameters Ð Note Velocity Curve (NtVl Curv), Note Velocity Curve Amount (NtVlCrvAm), Note Velocity Scale (NtVlScale), and Note Velocity Offset (NtVlOffst)

Editing and Creating Setups

Note Processing Parameters

Ð affect note velocity. The curves used are the same as Ribbon, Breath, CCPD, and Remap Controllers. This allows you to switch sounds by how hard you press the keys or tailor the ÒfeelÕ of a controller to a sound module, so the sound responds well to your playing style. You can reverse the velocity so that when you play harder the notes are quieter or to limit the ranges so that when you play softly a sound from one Zone is heard and when you play harder a sound from another Zone is heard. See page 33 for detailed description of how the curve parameters work.

Continuous Controller Note Parameters

These parameters are used to set how controllers 40, 41, and 42 play notes from a physical controller. Continuous Controller Note Scale (CCNoteScl) assigns the scale that will be played. You can set it to one of the 17 ROM scales or the 8 User scales. The list of ROM scales is on page 47.

Continuous Controller Note Velocity (CCNoteVel) sets the note velocity at which the CC note will play. You can set it from 0-127 or use controller 44 to change it in real time.

Continuous Controller Note Transpose (CCNoteXpo) transposes CC notes up or down 3 octaves. This parameter works in conjunction with controller 43 Note Offset (see page 55). Remember that the 13 Note controller (40) and Scale length controller (42) center around C4 while controller 41, 37 Note, centers on C3. If you create a User scale, the starting pitch can be any note within a 2 octave range. With controller 40 and 42, however, it will always be between C4 and C6; in 37 Note the scale will be between C3 and C5 (when the Note Transpose is set at 0).

Zone Note Map (ZnNoteMap) allows you to change the way notes are sent from the ExpressionMate. The Default is Linear, which plays notes from low to high as a keyboard would normally play. Inverse (Invrse) will play the notes opposite of the Linear setting, so high notes will play from the left to low notes on the right. Constant (Const) will play one note; set the note with the Zone Transpose. The next 10 values are alternating Note maps and these can be used in a variety of ways. If you have two of the same sound module you can double your polyphony by setting one Zone to send 1 of 2 to one module and another Zone to send 2 of 2 to the other module. The Þrst Zone will Play C, skip C# then play D then skip D# and so on. Zone 2 will skip C play

Editing and Creating Setups

Note Processing Parameters

C# and so on. The rest of the maps work in the same fashion but will skip two or three notes respectively. You can also use this to add rhythmic holes in arpeggiations or play alternate sounds from one key to the next. When set to Off, no notes will be sent. Note that this will disable the ability for a Zone to send notes to the arpeggiator.

ROM Scales

CCNoteScl allows you to choose from the following scales:

Chromatic (Chrom) Major (Major) Minor (Minor) Melodic Minor (MelMin) Harmonic Minor (HarMin) Major Pentatonic (MjPent) Minor Pentatonic (MnPent) Expand Pentatonic 1(ExPnt1) Expand Pentatonic 2(ExPnt2) Blues (Blues) Whole Tone (WholeT) (W/HDim) (H/WDim) Harmonic (Harmon) see description that follows Arpeggiator Latch Ascending (ArLchA)

see description that follows

Arpeggiator Latch Played (ArLchP) see description that follows

About The Harmonic Scale

The Harmonic Scale is a 14-note scale that spans 4 octaves and contains those equal-tempered notes that most closely match the Þrst 16 harmonics of the root pitch. After running past the 14 notes, the scale repeats at octave intervals. This scale sounds great when setting a ribbon to play notes with -None- for the aux destination (so it'll strum), holding the sustain pedal down, and wailing away on the ribbon. Set another ribbon section to send to CC note transpose (dest #43, NotOfs) so the scale can be transposed.

About The Arpeggiator Latch Scales

These allow you to play unsorted, latched arpeggiator notes. When Note Order is set to -None-, notes held in the arpeggiator

Editing and Creating Setups

The MIDI Destination List

are copied to two scale tables, one in ascending pitch order (ArLchA) and the other in as played order (ArLchP). The copying takes place every arpeggiator clock beat rather than at the rate you play the notes.

The MIDI Destination List

Here are the Destinations, or ÒtargetsÓ for each controller, in scrolling order.

MIDI

Controller

Destination

Number

None Off No value is sent 0 BkSelM Bank Select MSB – sends a

1 ModWhl Sends Modulation (Mod Wheel)

2 Breath Default assignment for breath

3 MIDI 03 MIDI Controller #3 4 Foot Sends Foot controller messages 5 PortTm This changes portamento time on

6 Data Some instruments use this as the

7 Volume MIDI Volume

Function in a Typical

Instrument (e.g., K2500)

Controller 0 Bank Select message

messages

controller

some monophonic sounds (if portamento is turned on)

default destination for a Data slider, and respond with changes in brightness or effects levels

8 Balanc MIDI Balance 9 MIDI 09 MIDI Controller #9 10 Pan MIDI Pan 11 Expres MIDI Expression – a “subset” of

MIDI Volume

Editing and Creating Setups

The MIDI Destination List

MIDI

Controller

Destination

Number

12, 13 FXCtl1 and

FXCtl2

14, 15 MIDI 14 and 15MIDI Controllers #14 and #15

16-19 GPCtl 1–4 General-purpose Controllers 1–4 20–31 MIDI 20–31 MIDI Controllers #20–31 32 BkSelL Bank Select LSB – sends a Controller

Special Function Controllers This shaded section lists the ExpressionMate’s Special Functions. Note that these do not appear when you choose a Source for one of the MIDI Remap (MAP) Controllers. For full descriptions of these Special Functions, see page

52. 33 PBend+ Normal Pitch Bend 34 PBend- Reverse Pitch Bend 35 PBend / Pitch Bend up only

Function in a Typical

Instrument (e.g., K2500)

Control effects depth on some devices

32 Bank Select message

36 PBend\ Pitch Bend down only 37 ChnPrs Sends Channel Pressure (also called

Mono Pressure and Aftertouch) 38 PrgChg MIDI Program Change 39 ZnXpos Zone transposition 40 13Note or

Note #

41 37Note Sends one of 37 notes 42 SclLen Sends as many notes as are in current

43 NotOfs Offsets the Note Controllers from C4 44 NotVel Sets key velocity for Note Controllers

Sends one of 13 notes for a

continuous controller or a speciﬁc

note for a switch controller

scale (selected with parameter 131:

CCNoteScl)

Editing and Creating Setups

The MIDI Destination List

MIDI

Controller

Destination

Number

45 NoteSw Enables or disables the Note

46 NotScl Controls parameter 131 CCNoteScl 47 ArXpos Arpeggiator transpose. Controls

48 Arp On Controls Arpeggiator parameter 4

49 Latch Arpeggiator Latch Controller 50 Gliss Arpeggiator Glissando Controller 51 Tempo Arpeggiator Tempo Controller 52 Beats Arpeggiator Clocks/Beat Controller 53 NotDur Arpeggiator Note Duration Controller 54 ShfAmt Arpeggiator Shift Amount Controller 55 ShfLmt Arpeggiator Shift Limit Controller

Function in a Typical

Instrument (e.g., K2500)

Controllers

parameter 16 transpose in

Arpeggiator editor.

Enable Sw.

56 ArpVel Arpeggiator Note Velocity Controller 57-62 Strng1-Strng6 For sending arbitrary MIDI strings

(MMsg1–MMsg6) 63 TTempo K2500 T ap Tempo 64 Sustan MIDI Sustain – holds notes that you

play, like a piano’s sustain pedal does 65 PortSw Enables portamento on some

monophonic sounds 66 SostPd Holds notes that are currently

down, but not notes played

subsequently 67 SoftPd On some synths lowers the volume

by a pre-set amount and may

soften the timbre as well

68 Legato Forces mono playback

Editing and Creating Setups

The MIDI Destination List

MIDI

Controller

Destination

Number

69 FrezPd Envelopes freeze at current state 70 SndVar Sound variation 71 Timbre Timbre 72 RelTim Release time 73 AtkTim Attack time 74 Bright Brightness 75-79 SCtl 6–10 Sound Controllers #6–10 80-83 GPCtl 5–8 General purpose Controllers #5–8 84 PortCt Portamento control 85–90 MIDI 85–90 MIDI Controls #85–90 91 FX1 Dp Controls wet/dry mix of FX1 92 FX2 Dp Controls wet/dry mix of FX2 93 FX3 Dp Controls wet/dry mix of FX3

Function in a Typical

Instrument (e.g., K2500)

94 FX4 Dp Controls wet/dry mix of FX4 95 FX5 Dp Controls wet/dry mix of FX5 96 Data+ Data Increment 97 Data- Data Decrement 98 NRPLSB NRPN (Non-Registered Parameter

Number) LSB 99 NRPMSB NRPN (Non-Registered Parameter

Number) MSB 100 RP LSB RPN (Registered Parameter Number)

LSB

101 RP MSB RPN (Registered Parameter Number)

MSB 102–119 MIDI 102–119 MIDI Controls #102–119

Editing and Creating Setups

Special Function Controllers

MIDI

Controller

Destination

Number

120 SndOff Sends “All Sound Off” message 121 CtlOff Resets all controllers 122 LocCtl Sends “Local Control On” or “Local

123 AllOff Sends “All Notes Off” message 124, 125 OniOff Sends “Omni Off” message 125 OmniOn Sends “Omni On” message 126 MonoOn Sends “Mono On’ message 127 PolyOn Sends “Poly On” message

Function in a Typical

Instrument (e.g., K2500)

Control Off” message

Special Function Controllers

This section describes the Special Function Controllers listed on page 49, and gives some examples of how to use them. Most of these control internal functions of the ExpressionMate as described (and thus do not send any MIDI) but a few allow sending other kinds of MIDI messages that are not true ÒControl ChangeÓ messages.

Pitch Bend (PBend+)

This sends pitch bend messages, which let you raise or lower the pitches of notes. Values above 64 will raise a noteÕs pitch, while values below 64 will lower the pitch.

Keep in mind with all the pitch bend controllers, you must set the bend range on the receiving instrument, not on the ExpressionMate.

Reverse Pitch Bend (PBend-)

PBend- does the same thing as PBend+, but works in reverse. Values above 64 will lower a noteÕs pitch, while values below 64 will raise the pitch.

Editing and Creating Setups

Special Function Controllers

Pitch Bend Up or Down (PBend / and PBend\)

PBend/ and PBend\ will only raise or lower a noteÕs pitch, respectively. A value of 0 equals no change in pitch, while 127 is full pitch bend. You may Þnd that PBend/ and PBend\ make it easier to bend notes with controllers that have no obvious center, like breath controllers and CC pedals.

Channel Pressure (ChnPrs)

This sends Channel Pressure (also called Mono Pressure or Aftertouch). Many keyboards and sound modules will respond to Channel Pressure by adding vibrato or another effect to the sound.

Program Change (PrgChg)

This sends a MIDI Program Change, letting you use the Ribbon or another controller to change programs on the receiving instrument. You can also use Fixed controllers to link the Setup with a particular program on your synth, so that choosing the Setup on the ExpressionMate brings up the same sound every time.

On some synths, you actually have to send two messages to call up a program. First you send a Bank Select message (Controller 0 or Controller 32), followed by a Program Change. For instance, say you want to call up program 17 in set1, bank 2 on an instrument that uses Controllers 0 and 32 to select banks. You could set the Fixed controllers as shown below:

CONTROLLER DESTINATION ENTRY VALUE

FIX 1 BkSelM 1 FIX 2 BkSelL 2 FIX 3 PrgChg 17

When you select the Setup in Play mode, the ExpressionMate will send the Bank Select messages, followed by the Program Change.

Not all instruments respond as described above. Read your instrumentÕs manual to Þnd out which Bank Select and Program Change methods it uses.

Editing and Creating Setups

Special Function Controllers

Zone T ranspose (ZnXpos)

Zone Transpose (ZnXpos) transposes the Zone. No transposition is a value of 64. To transpose up or down an octave, add or subtract 12 to 64. All of the ExpressionMateÕs transpose controllers work in a similar way.

Note Controller Destinations (13Note, 37Note, SclLen, Note #)

These Controller destinations, 40Ð42, let a Controller send a range of notes (13Note and 37Note), a user-deÞned number of notes (SclLen), or a single note (Note #).

Try setting the RibbonÕs Destination to any of these Controllers, then create atonal music or Òpercussion jamsÓ by randomly touching different points on the Ribbon. If you have a stage lighting system that uses MIDI notes to turn lights on and off, you can use the Ribbon or another controller to ÒplayÓ your lights in time with the music, creating a killer stage show.

You can also use scales other than the default chromatic scale. You can even program your own scales (see page 83 for information on the Scale Editor) or use notes latched into the Arpeggiator as a temporary scale.

SclLen will play as many notes as are in the current scale; note lengths on the ribbon are determined by the scale selected with parameter 131: CCNoteScl. If youÕre using a User scale, then the length is determined by the Notes/Octave parameter in the scale editor. SclLen will only play the number of notes in the scale and the Þrst note determined by the scaleÕs Octave Size. The untransposed root pitch for SclLen is C4.

The quickest way to the Scale Editor from the Controller Editor, by the way, is to hold down the Learn button, then press Global.

Here are the normal, untransposed ranges for 13Note and 37Note:

CONTROLLER MIDI NOTES UNTRANSPOSED PITCHES

13Note 60–72 C4–C5 37Note 48–84 C3–C6

Editing and Creating Setups

Special Function Controllers

Controller 40 (13Note / Note #) and Switch or Fixed Controllers

You can send Controller 40 from a Switch or Fixed Controller, in which case its name is Note # (instead of 13Note). The On value is the note on and the Off value is the note off. To avoid unpredictable results, you should set the On value and the Off value to the same note number.

Velocity is determined by the CCNoteVel parameter or the NotVel controller. The value of CCNoteVel will be used until a NotBel controller is sent.

Note Offset (NotOfs)

This offsets the pitches of all Note Controllers in a Zone. A value of 64 sets the Controller to its normal range. If you want to shift the pitch up one octave (12 semitones) send a NotOfs value of 76 (= 64 + 12). To transpose down one octave, send a value of 52 (= 64-12).

HereÕs a more detailed example. Say youÕve set the RibbonÕs Destination in Zone 1 to 13Note, but you want the notes to start on F4 and continue up to F5. In Zone 1, set SW1Õs On and Off Destinations to NotOfs, its On Value to 69, its Off Value to 64, and its Mode to Toggle. Now pressing SW1 will send the NotOfs value, and 13Note will send MIDI notes 65-77 (F4ÐF5). The button will stay on so that you can use two hands to play notes. When you turn the button off, 13Note moves back down to its normal range (C4ÐC5).

Note Velocity (NotVel)

NotVel sets the key velocity for all Note Controllers in a Zone. For instance, you might be using the Ribbon in Zone 1 to play notes, but you need the notes to play more loudly or softly in certain sections of a tune. You could set NotVel as the On and Off Destinations for a Panel Switch. You could then set the switchÕs On Value to 127 (full velocity), and its Off Value to something like 50 or 60. That way, you can switch between two dynamic levels.

If you want to vary the velocities as you play, try this: Go to Zone 1, and set Rbn Split to 3-SECT. Next, set Rbn 1Õs Destination to a Note Controller, and Rbn 2Õs Destination to NotVel. Then you can play notes with one hand, and change velocities with the other. If

Editing and Creating Setups

Controller Order

you prefer to free up both hands for playing notes, you can assign NotVel as a Destination for the CC pedal or breath controller in Zone 1.

If a sound doesnÕt change at all when you send NotVel messages, make sure that the sound youÕre using responds to velocity. Most piano and other acoustic instrument sounds should respond by getting louder or softer. On some instruments, sounds that imitate synths and organs are programmed to ignore velocity, so you may need to edit those sounds, if possible.

Note Switch (NoteSw)

NoteSw turns all Note Controllers in a Zone on or off. HereÕs an example: Go to Zone 1, and set a controllerÕs Destination to 13Note. Then assign SW2Õs On and Off Destinations to NoteSw, its On Value to 127, its Off Value to 0, and its Mode to Toggle. Now you can use that switch to enable or disable the playing of notes from the controller. This parameter does not affect the ribbon, which is always enabled, because touching the ribbon does that.

Arpeggiator Controllers

These Destinations control the Arpeggiator parameters: off/on, latch, glissando, tempo, clocks/beat, note duration, shift amount, shift limit, transpose, and note velocity. See Chapter 4.

MIDI Message Strings (MMsg1–6)

See page 109 for information about these parameters.

Controller Order

The ExpressionMate sends Controller messages in speciÞc orders. The Fixed controllers are sent FIX1 Þrst, FIX2 second, and FIX3 third. All Controller values, including Entry Values, are sent from Zones 1, 2, and 3, in that order. You canÕt change this, but you can take advantage of it, as shown in the Program Change example on page 53.

Editing and Creating Setups

Naming, Storing, and Exiting

Saving Your Work and Exiting

If you want to save the changes you made in the Controller Editor, or exit the editor entirely, read the section below. If you want to continue to the Arpeggiator Editor instead, read the next section.

A quick shortcut for updating within an editor is to press the Store button twice. Alternatively, you can press Store, then the right cursor button (>) to save the changes youÕve made to a new location.

Naming, Storing, and Exiting

Once youÕre done using the Controller Editor or Arpeggiator Editor, you can name and store your changes as a User Setup. You can also exit without saving changes.

The Store Button

xit

tore

earn

If you want to name and store your work without leaving the editor, press Store, and youÕll see this screen:

SU 3: Rename? Big Strum |OK

Note: You can also name and save Setups from Play mode,

by pressing the Store button, to bring up name and store dialogs. Press the Store button after reviewing and/or changing each screen.

If you want to rename the Setup, use the < and > buttons to move the cursor, and the data knob or - and + buttons to enter a name of up to 12 characters. While naming, you can use the following buttons for editing the name at the cursor position:

Controller swap upper/lower case Arpeggiator insert a blank character Global delete character

Editing and Creating Setups

Naming, Storing, and Exiting

When youÕre done, press Store again or move the cursor right until it reaches OK. YouÕll then see a screen similar to this:

SU 3: Store At? Big|Strum *|OK

Now you can renumber the Setup, or replace it in its current location. A star (*) next to the Setup number means that thereÕs a User Setup in that location. Pressing Exit will cancel and return you to the editing page you were on. Press OK (>) or Store to save the Setup. When youÕre done, youÕll return to the editing page that you were on.

The Exit Button

xit

tore

earn

If you want to leave the editor, press Exit, and youÕll return to Play mode. If you edited the Setup without saving the changes, there will be a star (*) next to the Setup name:

SU |3 Big Strum |||*

The star means that youÕre still using the edited Setup, giving you a chance to play it and decide whether to keep the changes. To erase any edits youÕve made, hold down the Learn button, then press Exit again (while continuing to press Learn). Otherwise, if you try to choose a new Setup, you will be asked if you want to name and save the edited Setup Þrst:

SAVE CHANGES? NO |||||| YES

Press Yes (>) to rename it and save it to a new location, or press No (<) if you donÕt want to save it. Press Exit to cancel the new

Setup selection and keep playing the edited Setup. Press the Controller or Arpeggiator buttons if you want to do some more editing.

You can reload and send all the Entry values by pressing and holding Store then pressing Exit. The ExpressionMate will reload and send the setting from the last time you saved; it will not reload the ROM Setup.

Editing and Creating Setups

Editing Hints and Suggestions

Do These Parameters Always Mean Something?

Be careful not to set up parameters that will do crazy things. When in doubt, leave things off, or at the factory default settings. On some of the higher-numbered MIDI controllers and Special Function controllers, the On and/or Off values donÕt have any meaning, because the controllers have very limited functionality. The following list shows these. Ò>0Ó means you can use any value thatÕs greater than zero. Ò=0Ó means the value should be 0. ÒxÓ means you can use any value. ÒÖÓ means that you must use a speciÞc value:

MIDI Controller On Value Off V alue

120 All Sound Off xx 121 Reset All Controllers xx 122 Local Control >0 =0 123 All Notes Off xx 124 Omni mode Off xx 125 Omni mode On xx 126 Mono mode On* Ö x 127 Poly mode On xx

* The On Value, in some synths, speciÞes the number of MIDI channels

to respond to, with one voice on each.

Do I Need All Those Controllers?

You donÕt have to plug in a physical controller to take advantage of it. Even if a physical controller isnÕt there, you can use its parameters to create additional ÒFixedÓ controllers.

If you want to send commands that you know wonÕt change while youÕre playing, assign Destinations and Entry and Exit values to physical controllers that arenÕt in use. When you choose

Editing and Creating Setups

Editing Hints and Suggestions

the Setup, the ExpressionMate will send those values as if the controller was in fact plugged in. (If the commands must go out in a speciÞc order, read ÒController OrderÓ on page 56.)

Assigning a Message to Multiple Controllers

Sometimes you will want to assign the same Controller number to more than one physical controller. For example, you might want to control modulation depth with either the Ribbon or a CC pedal. You can assign a particular MIDI message to as many controllers as you want. (You can also assign multiple messages to one physical controller. See ÒStacking ZonesÓ on page 25.)

The Arpeggiator

The Arpeggiator Editor

Chapter 4 The Arpeggiator

The ExpressionMateÕs Arpeggiator is a powerful tool for spicing up your performances. The Arpeggiator creates arpeggio patterns based on notes that youÕve played. By using the many options of the Arpeggiator, and taking advantage of the fact that you can arpeggiate separately on the ExpressionMateÕs three zones, the possibilities are uncountable. You can use it with a sequencer, or you can use it completely live. The ExpressionMateÕs Arpeggiator is also fully interactive; you can choose how you want it to respond to the notes that you play.

Arpeggiator Quick Start

1. Start with one of the Factory Default Setups.

2. Double press the cursor buttons (one or more times) to jump to Arpeggiator parameter 4 ÒEnable SWÓ. Turn the data knob to set this On.

3. Press the Arpeggiator button one or more times until the Ò1Ó light above the Arpeggiator button comes on. Notice also ÒZ1Ó on the top line of the display indicates the current zone.

4. Play a chord on your MIDI instrument and listen to the ArpeggiatorÕs effect.

5. Press the right cursor button until the screen displays parameter 15 ÒRhythm SelectÓ. Scroll through the list of rhythms and choose one youÕd like to try.

6. Now go to the Shift Amount parameter (#10) and listen to its effect on your arpeggiations. Try changing the Shift Limit parameter and listen to its effect on the Shift Amount.

7. Finally, read the rest of this chapter to Þnd out just how amazing the Arpeggiator really is.

The Arpeggiator Editor

Pressing the Arpeggiator button at the left of the front panel brings you into the Arpeggiator Editor. Its parameters are shown in the chart that follows.

The Arpeggiator

Arpeggiator parameters

Parameter Values

Tempo Ctrl51, 30 to 600BPM Low and High

Key Range Enable Switch Ctrl48, Off, On Note source In arp Zone 1 - MidiZ1, MidiZ2, MidiZ3, CCNot1,

Beats Ctrl52, 1-Clk, 1/32T, 1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T,

Note Duration Ctrl53, 3% to 400% Latch Mode Keys1, Keys2, OverPlay, Arpeggiation, Add, Auto1, Auto2,

Note Order Played, Reverse, Invert, Played and Reverse, Played and

Shift Amount Ctlr54, -12 to 12

C-1 to G#9

CCNot2, CCNot3, ArpOZ2, ArpOZ3.

In arp Zone 2 - MidiZ1, MidiZ2, MidiZ3, CCNot1, CCNot2, CCNot3, ArpOZ1, ArpOZ3.

In arp Zone 3 - MidiZ1, MidiZ2, MidiZ3, CCNot1, CCNot2, CCNot3, ArpOZ1, ArpOZ2.

1/4, 1/2T, 1/2, 1/1T, 1/1

Auto3, Auto4, Toggle, Key Transpose 1, Key Transpose 2, Key Transpose 3, Key Transpose 4.

Invert, Up, Do wn, Up and Do wn, Up and Down+, Random Note, Random Order, Random Walk, Fractal Walk, Bin W alk, All, None.

Shift Limit Ctlr55, 0 to 88 Limit Option Stop, Reset, Unipolar, Bipolar, Floating Reset, Floating

Unipolar, Floating Bipolar. Glissando Ctlr50, Off, On Note Velocity Ctlr56, 1 to 127, Played, Last. Rhythm Select None, Funk 1, Funk 2, Rave 1, Rave 2, Dance 1, Dance 2,

Beladi, Maqsum, User 1 to 64. Transpose Ctlr47, -64 to 64

The Arpeggiator

Arpeggiator parameters

Real Time Control of Arpeggiator Parameters

If you look at the chart above, you will see that many of the parameters can be set to a controller number, allowing you to change the value of the parameter in real time. These controller numbers (47-56) correspond to some of the special function controllers listed on the chart on page 48.

It is important to understand that these controllers are internal functions only - you must assign these functions to one of the ExpressionMateÕs physical Controllers (e.g., ribbon or pedal). The ExpressionMate will not respond to these controller numbers sent from an external source.

These controller numbers are Òhard wiredÓ to a speciÞc function. If you assign a function to a Controller, and move that Controller, it will immediately affect the speciÞc parameter. In other words, you do not need to assign an Arpeggiator parameter to its speciÞc controller number in order for that parameter to respond to the controller. For example, If you assign Tempo to the ribbon, pressing the ribbon will immediately change the tempo - you do not need to assign the Tempo parameter to Ctlr #51.

So why do we give you the ability to assign a parameter to a controller number? This allows you to have the Controller determine the value of Tempo as soon as the Setup is called up. If you have set an Entry value for that controller, it will be sent when you call up the Setup. If there is no entry value, then the last known value (or Exit Value from the previous Setup) will be used.

There is one special exception to this feature of the controllers being Òhard wiredÓ, and that is the Note Velocity parameter. If Note Velocity is set to a value of 0-127 or Ctlr #56, it will respond to real time control. But if it is set to Played or Last, it will NOT respond to real time control.

Tempo (Tempo)

Sets the Tempo for all three Zones. You can also change the Tempo using Ctlr51.

The Arpeggiator

Arpeggiator parameters

Key range (Low Key, High Key)

The low and high key determine the note range the Arpeggiator will see. You can set it so that one area of the keyboard will arpeggiate notes while the other will play normally. You can split the keyboard so each area arpeggiates one zone.

One thing to understand is that transposing the notes within a zone will affect how the key range parameters in the Arpeggiator function. Here is an example:

Start with Factory Setup 1, ABS Bend. Press the Arpeggiator button and scroll to the Key Range parameters, setting Low Key to C4 and High Key to C5. Now turn the SW2 button On. Play your keyboard and you will notice that the keys between C4 and C5 arpeggiate, while any other keys just play a single note.

Now press The Controllers buttons until the Zone 2 LED is lit. Scroll to parameter 1, MIDI Channel and set it to Mn2. Make sure that channel 2 on your sound source has a valid program assigned. Now when you play the keyboard between C4 and C5, you hear the zone 1 arpeggiating while zone 2 plays single notes. Next press the Controllers button until Zone 1 is highlighted and scroll to parameter 126 Nt Xpos. Set it to -7. Now if you play the keyboard, you will see that Zone 1 arpeggiates From G4 to G5 AND the pitch has been transferred down so that Zone 1 plays a 5th down in pitch from Zone 2.

Finally, press the Arpeggiator button and scroll to parameter 16 Transpose and set it to 7. Note the pitches of Zone 1 have been transposed back so that they are the same as Zone 2, but the arpeggiation still happens between G4 and G5.

Enable Switch (Enable Sw)

Turns on the Arpeggiator. It can also be turned on by Ctlr48.

Note Source (Note Src)

This determines where the Arpeggiator gets its note input from. Each Zone can see notes from any of the three Controller Zones note output, CC Notes or from another Arpeggiator Zone (Cascading Zones). The ExpressionMate cannot send notes from an arpeggiator Zone to itself nor can it see notes sent from the

The Arpeggiator

Arpeggiator parameters

panel switches or switch pedals. When cascading Zones, keep in mind the Note Duration of your Master Zone will have a great effect on the Cascaded Zones.

Another thing to note, if you have all three arpeggiator Zones set to MIDIZn1, not only will the ExpressionMate Arpeggiate the notes in Zones 2 and 3 it will play them normally if the MergUnPro parameter is set to Notes. This may not be what you want, however. To prevent this from happening set the Note Low Key to a value above the Note High Key in the Controller Editor. For more info on why this happens see the section on the MergUnPro parameter on page 81.

Keep in mind you might have to do some transposition in the Arpeggiator to put things just where you want them. This is because the Arpeggiator sees the incoming notes after the ExpressionMateÕs note processing in the Controller section, so remember that key ranges and transposition in the Controller Editor affect the ArpeggiatorÕs note input.

Beats (Beats)

Sets the beat division the arpeggiation will be in. This ranges from whole notes to 1 clock pulse. If you send Ctrl52, you can set the ExpressionMate to arpeggiate in-between what is selectable in the Beats window, i.e., just a little longer that a 1/4 note. When a User Rhythm is selected the beats setting has no effect.

Note Duration (Note Dur)

This sets the length of time a note will sustain. You can set it to sustain up to 400% of beat value so if your Arpeggiator is playing 1/4 notes, each 1/4 note will sustain for four beats. This can have a dramatic effect when cascading the Zones. If you are using a User Rhythm then Note Duration scales durations set in the Rhythm Editor keeping the character of the Rhythm.

You can also use Ctlr53. A value of 32 is 100% if not using a rhythm, or no change from programmed durations if using a rhythm. Higher values lengthen the durations while lower values shorten them.

The Arpeggiator

Arpeggiator parameters

Latch Mode (LatchMode)

Latch Mode tells the Arpeggiator which of notes that you play should arpeggiate.

There are two main features of each Latch Mode. The Þrst is whether or not it uses controller #49. Some Latch Modes will start arpeggiating as soon as you press the keys, while others will only start arpeggiating when you send controller #49 (the Latch controller) with an On value, and then will stop arpeggiating if you turn that controller Off. You can then assign controller 49 to a switch pedal or button in a Setup to Latch and Unlatch notes for the arpeggiator. (Most of the Factory Setups have Pedal 2 and SW2 assigned to controller 49. In addition, MAP1 remaps incoming sustain messages to latch, so you can use the sustain pedal on your keyboard to latch.)

The second main feature is whether or not the arpeggiator will resync the clock when you Þrst strike a key. If the Latch Mode does resync the clock, then the arpeggiating will start the moment you strike a key and any subsequent keys will be arpeggiated in time with the clock. But once all keys are let up (or the latch controller is turned off), then the clock wonÕt start again until the next key is pressed. But if the Latch Mode does NOT resync the clock, then the clock begins when you select the Setup and is always running whether or not you are playing any keys. Therefore, if you strike the key between the clock pulses, the ExpressionMate will wait until the next clock pulse to start arpeggiating the note. This allows you to play the keys less accurately but still have the notes triggered exactly in time.

One important thing to note: If you have the Arp Clock parameter in the Global Parameters menu set to an external clock, the all Latch Mode parameters will sync to that clock and will therefore the modes which normally resync on key start will NOT resync.

It is possible to Latch up to 16 notes. Once you start arpeggiating, each note you play is added to an internal list which the ExpressionMate remembers. In some latch modes, they will be removed from the list when you let go of the key, and in others, they will remain part of the list as long as the latch controller is turned On. If you play more than 16 notes, any extra notes will simply be ignored. If you press the same key more than once, each key press is remembered as a separate event in the list and

The Arpeggiator

Arpeggiator parameters

will be included in the arpeggiation parameter. Keep in mind that the Arpeggiator parameters may generate more than 16 different notes, based on the setting of the Shift and/or Glissando parameters. The 16 note limit applies to the actual notes that you play.

Latch Modes that use controller #49:

• Keys1*

• Keys2*

• Overplay

• Arpeggiation

• Add

• Auto3

• Auto4

• Toggle*

• KeyXp1 - KeyXp4

* These modes can also be used without the Latch Controller

Latch Modes that do not use controller #49:

• Auto1

• Auto2

Latch Modes that Resync the Clock:

• Keys1

• Overplay

• Arpeggiation

• Add

• Auto1

• Auto4

• Toggle

• KeyXp3

• KeyXp4

Latch Modes that do not Resync the Clock:

• Keys2

• Auto2

• Auto3

• KeyXp1

• KeyXp2

The Arpeggiator

Arpeggiator parameters

Ctlr#49 and Latch Modes

As explained in the preceding section, to Latch is basically to grab notes for the Arpeggiator. This section explains how Latch controller #49 affects the different Latch Modes.

Keys1 - This latch mode can be used with or without the latch controller (#49). If the latch controller is turned off, then it works very simply. If you press one or more keys, they will be arpeggiated. As long as a key is held, it will be included in the arpeggio. Once you let go of the key, it is no longer arpeggiated. This means you can play a four note chord and have all four notes arpeggiated, then let go of one key, it will drop out of the arpeggio but the remaining three notes will continue to arpeggiate. If you let go of all keys, then the clock is resynced as soon as you press a new key.

If you use Ctlr #49 with this mode, then the following applies:

Any keys that you are holding when Ctlr #49 is turned On will continue to arpeggiate when you let go of the keys. If you then turn Ctlr #49 Off (after having let go of the keys), all arpeggiation stops. This feature allows you to start arpeggiating by playing a chord, step on a pedal assigned to Latch, then let go of the keys and get ready to play a new chord, then let go of the pedal and play the new chord to start a new arpeggio. (This assumes the pedal is set to be a Momentary switch instead of Toggle.)

Any notes played after the Ctlr #49 is turned On will play normally and not be arpeggiated. This means that if you turn the latch On before playing any notes, you wonÕt hear any arpeggiation. This also allows you to start a chord arpeggiating, turn on the latch, then play a melodic line on top of the arpeggio.

Another feature of this mode is that the note order is reset to the Þrst note when Ctlr #49 is turned Off. So again, using our example of a momentary pedal being set to Latch, you can hold a chord, and then press and release the pedal. Each time you let go of the pedal, the pattern of the notes will begin from the Þrst note in the pattern. If you are using one of the Preset or User Rhythms, this allows you to change the order of notes within the rhythm.

The Arpeggiator

Arpeggiator parameters

Ctlr#49 Off->On while keys are held then releasing the keys:

This will arpeggiate the pattern being played up to 16 notes. Keep in mind, you can hear a lot more than 16 depending on how the Arpeggiator is set, but its pattern is built from those 16 notes. As long as Ctlr#49 is on added notes you play will sound normally and will not be arpeggiated. When Ctlr#49 is turned On->Off and you are not playing any keys, the pattern stops. If you hold keys down and turn off Ctlr#49 the notes you are playing will begin to arpeggiated.

Ctlr#49 Off->On while keys are played and held:

Play a chord and turn on and off Ctlr#49 without releasing the keys. Each time you turn Ctlr#49 on and off, upon the release of Ctlr#49, the Arpeggiator resets the note order to the Þrst note seen. This allows you to change the order of the notes within the rhythm being arpeggiated.

Keys 2 - Works the same way as Keys1 except the clock is never resynced.

OverPlay - This mode requires Ctlr #49 in order to hear the arpeggiation. When you play notes with Ctlr #49 turned Off, they sound normal and are not arpeggiated. When you turn Ctlr #49 On, the clock is resynced, and any notes currently being held will be arpeggiated. Any notes played after Ctlr #49 is turned On will be played normally and will not be arpeggiated, allowing you to Òplay overÓ the arpeggio. This Overplay feature is very similar to the Keys 1 and Keys 2 modes - the difference is that notes played when Ctlr #49 is Off are not arpeggiated whereas in the Keys modes, they are.

Arpeggiation - No sound is heard until the Ctlr#49 is turned on. Once Ctlr#49 is on any keys held will begin to arpeggiate and the clock is resynced. Added notes will join the arpeggiation but will not latch into the pattern. When you release the added notes they will no longer play in the arpeggiation.

Add - Notes Þrst played sound normal. Notes held when Ctlr#49 is turned on will begin to arpeggiate. Added notes will be added and latched into the arpeggiation up to 16 notes. Turn off Ctlr#49 to stop the arpeggiation.

The Arpeggiator

Arpeggiator parameters

Auto1 - The Þrst notes you play resync the clock. As long as one key is held, up to 16 notes can be arpeggiated. When you release all keys the arpeggiation stops. The next key played will then resync the clock. Ctlr#49 has no effect on Auto1.

Auto2 - is the same as Auto1 except the clock is never resynced.

Auto3 - The clock is never resynced in this mode. Any keys

played are arpeggiated and continue to arpeggiate even when keys are released. Look mom no hands. Those keys will sound until the next note, or group of notes up to 16, are played. Once the new group is played, they begin to arpeggiate. Ctlr#49 must be turned Off to stop the arpeggiation.

Auto4 - Same as Auto3 except the clock is resynced when a note is played. Ctlr#49 stops the arpeggiation.

Toggle - When you strike a note it arpeggiates even if the key is not being held. To stop the arpeggiation play the same note again. Each note is its own on/off switch to the arpeggiator. You can arpeggiate up to 16 notes. Ctrl#49 will resync the clock. If a Latch controller is connected and assigned, turning it off will also stop notes that have been toggled on.

KeyXp1 - KeyXp means Key Transpose. If you play a chord and turn on Ctlr #49, the intervals between the notes are remembered by the arpeggiator. The Þrst key you played becomes the root; when you play a different note, the Arpeggiator will transpose the intervals to the new root.

For example, play a C major chord making sure you play the C Þrst; keep in mind you wonÕt hear anything. Turn on Ctlr #49 as you hold the C E and G and you will hear the arpeggiation. Now release the keys and keep Ctlr#49 on. Play a G note a fourth below the C. The ExpressionMate will begin arpeggiating G B D and stop when the key G is released. To enter a new set of notes, turn off Ctlr#49 and play a new chord and turn Ctlr#49 on again.

KeyXP2 - The clock is never resynced and the notes arpeggiate like Auto3. Turn off latch to stop arpeggiation.

KeyXP3 - Like KeyXP1 but the clock is resynced like Keys1.

KeyXp4 - Like KeyXP2 but the clock is resynced like Keys1.

The Arpeggiator

Arpeggiator parameters

Note Order (NoteOrder)

Note Order tells the ExpressionMate what order it will arpeggiate notes.

Played (Played): Notes play out same order as played in.

Reverse (Revrse): Notes play out reverse of order played in.

Invert (Invert): First note played sets Òreference pitch.Ó

Subsequent notes play out ÒmirroredÓ around the reference. For example, playing a C major triad (C, E, and G) will give you the C chord plus the A ßat and F below the C.

Play and Reverse (Ply&Rv): As played and reverse orders alternate.

Play and Invert (Ply&Iv): As played and inverted pitches alternate.

Up (Up): Upwards arpeggiation.

Down (Down): Downwards arpeggiation.

Up and down (Up&Dn): Upwards and downwards arpeggiation

with no repeat of top and bottom notes.

Up and Down Plus (Up&Dn+): Upwards and downwards arpeggiation with repeat of top and bottom notes.

Random Note (RndNot): Any latched note may be played out with equal probability.

Random Order (RndOrd): No note will be replayed until a cycle completes. A ÒcycleÓ is after N notes are played (N=number latched). If you are using a shift of an octave then it will play the notes in the Þrst octave in a random order then play the new random pattern in the second octave.

Random Walk (RndWlk): Random direction and step from last note played, with uniform distribution of step size. Bounces at highest and lowest note latched. The cycle ends when a low bounce has followed a high bounce.

Fractal Walk (FrcWlk): Random direction and step from last note played, with short steps more likely.

The Arpeggiator

Arpeggiator parameters

Binary Walk (BinWlk): Random direction from last note played. Step is always 1.

All: Plays all notes simultaneously on each beat, up to a maximum of 6 notes. Be careful, since this can overrun maximum MIDI speed, slowing everything down.

None: Notes in the list are not played. Typically used in conjunction with the Arpeggiator scale selection for playing notes on the ribbon.

When set to none you can use the CC Note scales ArLchP and ArLchA to set a temporary scale of the notes latched in the Arpeggiator. This can be used to create strumming type effects or to feed this zone to another Arpeggiator zone to add rhythmic elements to CC notes that relate to what you are playing on your keyboard.

Shift Amount (Shift Amt)

This sets the amount the Arpeggiator will transpose the pitch of its pattern. Set to 0 it will arpeggiate only the pitches you play. You can set it over a range of plus or minus one octave.

The Shift Amount is added after each cycle (that is, each full run through the speciÞed note order) completes. If the Shift Amount is set to a value higher than the Shift Limit and the Limit Option is set to Stop then the ExpressionMate will arpeggiate the notes played at the original pitch and stop.

Shift Limit (ShiftLimt)

The brakes for the shift amount. It tells you how far from the original note the arpeggiator will play. When the limit is reached the limit option comes into play.

Limit Option (Limit Opt)

Stop: If this option is set to Stop, then once the Shift limit is reached the Arpeggiation stops.

Reset: When the Limit is reached, the Arpeggiation goes back to the original pitch and plays the pattern again.

The Arpeggiator

Arpeggiator parameters

Unipolar (UniPlr): Unipolar plays the pattern up to the limit and then turns around and plays it the from the Limit to the original note using the same interval. This pattern will repeat until you stop.

Bipolar (BiPlr): is similar to UniPolar. It goes from the original pitch to the limit and back to the original pitch, but here it will continue past the original pitch until it reaches the limit in the opposite direction and then cycle back to the original pitch.

Float Reset (FltRes): Adds a bit of apparent randomness to the process. "Flt" stands for Float, and it means that when the Arpeggiator reaches the Shift Limit, it doesn't necessarily reset to the original pitch. Instead, it looks at the Þrst note that would exceed the Shift Limit, and calculates the interval between it and the Shift Limit. It then starts the cycle over again, but instead of starting with the Þrst original pitch, it transposes that pitch by the interval it just calculated and continues from there.

The range of "Float" is bound with in the shift limit. The ExpressionMate will cycle from the original pitch once the Float has hit the Shift Limit.

Float Unipolar (FltUni): Applies the "Float" to the Unipolar option.

Float Bipolar (FltBip): Applies the "Float" to the Bipolar option.

Glissando (Glissando)

When the Glissando is turned on either in the Editor or by Ctlr#50 it will play notes chromatically from the original pitch to the limit. The limit option will affect the order of the notes. Try using ÒPlayedÓ for the arpeggiated note velocities when using Glissando.

Note Velocity (Note Vel)

This sets the volume of the notes being played by the arpeggiator. Played will arpeggiate the notes at the velocity played on your controller, Last will play the Arpeggiator at the velocity of the last key struck. You can also control volume using Ctlr56.

The Arpeggiator

Arpeggiator parameters

Rhythm Select (RhythmSel)

This selects one of the 8 ROM Rhythms or one of the 64 User Rhythms. You can also set this parameter to -None-.

The ROM Rhythms are:

Funk 1 Funk 2 Rave 1 Rave 2 Dance1 Dance2 Beladi Maqsum

User Rhythms 1 Ð 8 are copies of the ROM Rhythms that you can use as starting points for your own creations. See page 84 for information on using the Rhythm Editor to do this.

The quickest way to the Rhythm Editor from the Arpeggiator, by the way, is to hold down the Learn button, then press Global.

Transpose (Transpose)

This transposition is for the Arpeggiator only. You can play in a group of notes and have the Arpeggiator play its arpeggiation an interval higher or lower than the notes it receives from the Controller editor. It can be adjusted real time with Ctlr47.

Global Functions

Chapter 5 Global Functions

Besides the parameters for each Setup, there are numerous parameters that affect all Setups. They are divided into two groups:

• Global Objects Ð These include Global Parameters, User Scales,

User Rhythms, Setup Lists, Setup Map, and MIDI Messages.

• Global Utilities Ð These include commands for reloading

factory Setups, saving Setups with MIDI System Exclusive dumps (commonly called SysEx dumps), and MIDIScope¨.

Refer to the chart below whenever you need to Þnd a Global function.

Setup Select Mode

(Press Global Button)

Global Select

Edit Utility

Select

Parameters

Scales

Rhythms

Setup Lists

Setup Map MIDI Msgs

Edit

Select

Load Save

MIDIScope

Execute

Global Functions

Getting Around

You use the < and > buttons to scroll through parameter lists, and to choose options from some menus. You use the data knob and the - and + buttons to change or enter values. In some cases, you can also hold the Learn button, and enter values using the Ribbon or another continuous controller. Changes to Global parameters take effect immediately; you donÕt have to save them.

Global Parameter Set

onesEdit

While in Play mode, press the Global button, and youÕll see this screen:

-GLOBAL SELECTEDIT UTILITY

Press Edit (<) then press Select (<) to scroll through the list of objects. When ÒEDIT Globl ParmsÓ appears on the top line of the display, press Edit (>) to begin editing Global parameters. The Þrst parameter is Contrast, as shown here:

ontroller

13 23

rpeggiator

Compare

lobal

GLOBAL 1:25 CONTRAST :25

The table below summarizes the Global parameters:

Parameter Range of Values

Contrast 0Ð64

Drum Sync Off, 5 to 50 milliseconds

RBN Dir Left, Right

MainMrgTo Off, Main, Aux

MainMgOpt Neithr, SysEx, RealTm,All

Aux MrgTo Off, Main, Aux

AuxMrgOpt Neithr, SysEx, RealTm,All

MergUnPro Notes, Cntrls, Both, Neithr

Arp Clock Int, Main, Aux

Global Functions

Global Parameter Set

Parameter Range of Values

Send Clks Off, Main, Aux

Ext PgmCh None, Main1-16, Aux1-16

Pgm BkLSB 0Ð127, Ignore

Pgm BkMSB 0Ð127, Ignore

ZxNotesIn Off, M1-16, X1-16

ZxMCtlsIn Off, M1-16, X1-16

SYS EX ID 0Ð127, none

SysEx Ers 0-255

Contrast

This sets the LCD contrast. The range of values is 0Ð64, with 0 lightest and 64 darkest. The default value is 25.

Drum Sync

Pedal 1 can be connected to a drum trigger or a footswitch and either can be used to control the tempo of the internal arpeggiator clock. The ExpressionMate automatically detects which kind of sensor by the kind of 1/4" plug used.

If you use a mono plug (just tip and sleeve), a normally-open switch pedal is assumed to be connected to it. The trigger point is a transition from open to closed (pedal downstroke). Note that normal Pedal 1 functions are still available even when triggering the arpeggiator.

If you use a stereo plug (tip, ring, and sleeve), then an analog drum trigger is assumed connected between the tip (+) and sleeve (-) with the ring open-circuited. A positive pulse greater than 1.5 volts and wider than 2 milliseconds to the tip will trigger. Note that most independent drum trigger units are probably equipped with a mono plug. So to work with the ExpressionMate, a 2X1/4" mono female to 1/4" stereo male Yadapter will be needed and the trigger should be plugged into the Left (tip) member of the Y.

Global Functions

Global Parameter Set

The ÒDrum SyncÓ parameter has a range of 5-50ms and OFF. To use drum sync, select a value other than OFF (10-20ms is a good start), set the Arp Clock (Global Parameter 8) to Int., and plug a sensor or pedal into Pedal 1 as described above. As long as there are no trigger events, the internal clock will run just as before with its tempo set by Arpeggiator parameter 1 and values sent to destination #53.

Once two trigger events closer together than 2.5 quarter-note beats are seen, the tempo will change to track the trigger events. If there is a pause in the triggers greater than 2.5 beats, the tracking stops until another pair of events is seen. Convergence to the tap tempo is fairly rapid - the maximum adjustment per trigger is 50% either way.

The ÒDrum SyncÓ parameter value actually controls the duration of a Òdead timeÓ after each trigger. During the dead time, another trigger cannot be recognized. This can be used to eliminate double-triggering due to noise and echoes when using the drum trigger.

RBN Dir

You can set the RibbonÕs direction to Right or Left. If the direction is Right, you send higher Controller values toward the Right end of the Ribbon (the end with the cable). If the direction is Left, you send higher Controller values toward the left end of the Ribbon.

WeÕve assumed that you will place the Ribbon so that as you face it, its cable comes out of the right end. However, you can turn the Ribbon the other way, in which case you may want to set RBN Dir to Left.

Section 1 Section 2 Section 3

0 127

RBN Dir = Right

Section 3 Section 2 Section 1

Global Functions

Global Parameter Set

127

RBN Dir = Left

Figure 5-1. RBN Dir settings.

MIDI Merging

If you look at the back of the ExpressionMate, youÕll see that it has two MIDI interfaces: the Main interface and the Aux interface. Each interface lets you send incoming data to either MIDI Out port, along with any internal messages that you generate with ExpressionMate Setups.

There are lots of uses for this; for instance, you might want to send several sets of messages to an instrument with only one MIDI In port. You could also send messages from different instruments to just one track on a sequencer. There are other possibilities too.

The ExpressionMate can merge all kinds of MIDI messages, including Realtime messages and SysEx.

MainMrgTo and Aux MrgTo

The MainMrgTo and Aux MrgTo parameters tell the ExpressionMate where to send messages that it receives at the Main In port or Aux In port, respectively. You have three choices for each:

• Choosing Off disables merging for the input. The

ExpressionMate will respond to messages received at the

Global Functions

Global Parameter Set

MIDI In port, but wonÕt send them directly to either MIDI Out port. (There are exceptions: see the MergUnPro, ZxNotesIn, and ZxCtlsIn parameters below.)

• Choosing Main will take all of the messages coming to the

interfaceÕs MIDI In port, and send them to the Main Out port.

• Choosing Aux will take all of the messages coming to the

interfaceÕs MIDI In port, and send them to the Aux Out port.

HereÕs one example: say you have a keyboard connected to Main In, and MIDI drums connected to Aux In. You want play from both instruments, merge all the notes with the ExpressionMate messages, and send everything to a MIDI sound module thatÕs connected to Main Out. Set both MainMrgTo and Aux MrgTo to Main. Now the ExpressionMate sends all external and internal MIDI data to the Main Out port, which in turn sends everything to the module.

MainMgOpt and AuxMrgOpt

These parameters let you choose whether the Main and Aux interfaces will merge Realtime messages (Clock, Start, Continue, Stop, Active Sensing, Reset) and SysEx. There are four choices:

• Neithr prevents the interface from merging both Realtime

and SysEx messages.

• SysEx allows the interface to merge SysEx messages.

• RealTm allows the interface to merge Realtime messages.

• All lets the interface merge all MIDI messages.

Remember that these options act only on merging; MIDI clock data still passes through to the Arpeggiator, and SysEx is still recognized when you reload Setups.

A Word About SysEx and Merging

Long SysEx messages (those longer than 250 bytes or so) cannot be merged simultaneously. Also, while a SysEx message is being merged into an output, other ExpressionMate messages are blocked at that output. For SysEx messages under 250 bytes, you probably wonÕt notice this.

Global Functions

Global Parameter Set

Merge Unprocessed (MergUnPro)

MergUnPro lets you choose what to do with notes that are intercepted by the Arpeggiator and/or note processor. When you merge notes and/or controllers, both the processed and the unprocessed notes will be output. When you do not merge, only the processed notes are sent to the output.

You can merge notes, controllers, both or neither. The default is Notes which lets you take full advantage of the ExpressionMateÕs velocity curves and note mapping features. Keep in mind that if you are remapping pitch bend to another controller and the MergUnPro is set to Cntrls or Both, the pitch bend will be sent as well as the remapped controller.

Arp Clock

This is where you set the source of the ArpeggiatorÕs clock. It can receive the clock over the Main or Aux MIDI In; the default is the ExpressionMateÕs internal clock.

Send Clock (Send Clks)

Use this option to send the ExpressionMateÕs internal tempo clock (at 24 clocks per beat) to either the Main or Aux Out. The default is Off, which is generally a good setting, since sending clocks can use up almost 10% of MIDIÕs bandwidth.

Program Change Parameters

You can change Setups by sending Program Change messages from an external device, such as a sequencer or keyboard. Several parameters determine how the ExpressionMate will respond to these program changes.

Ext PgmCh

This option determines whether the ExpressionMate will respond to external Program Change messages, and on which channel (Main 1-16 or Aux 1-16). The available values are None, Main1-16, and Aux1-16.

Global Functions

Global Parameter Set

Pgm BkLSB, Pgm BkMSB

Pgm BkLSB and Pgm BkMSB tell the ExpressionMate how to respond to MIDI Bank Select messages. Each may have a value of 0Ð127 or Ignore.

• When both are set to Ignore, the ExpressionMate will

respond to program changes from 0 to 127, on the channel speciÞed by Ext PgmChg.

• When Pgm BkLSB is set to Ignore but Pgm BkMSB is set to a

number, Þrst send a Controller 0 message with the same value as Pgm BkMSB. Then send the program change.

• When both Pgm BkLSB and Pgm BkMSB are set to values,

Þrst send a Controller 0 message with the same value as Pgm BkMSB, and a Controller 32 message with the same value as Pgm BkLSB. Then send the program change.

In most cases you will want both of these parameters set to Ignore.

ZxNotesIn

These parameters set the channel on which the zone receives MIDI note information.

ZxMCtlsIn

These parameters set the channel on which the zone receives MIDI controller information. This must be set to a channel to use the ExpressionMateÕs controller remapping features.

SYS EX ID

This sets the SysEx Device ID for the ExpressionMate. The range of values is 0Ð127, or none.

You must set the Device ID of the ExpressionMate to the same number both when dumping and reloading Setups. The same is true when sending Setups from one ExpressionMate to another: they must have the same Device ID.

You can sometimes avoid problems by setting the Device ID to

127. In MIDI-speak, this means Òbroadcast to all units,Ó so any ExpressionMate on the MIDI cable will receive the Setup data. (You might not want to do this if you have multiple ExpressionMates that you want to keep different from each other.)

Global Functions

SysEx Ers

This parameter is set to zero on power-up and is incremented whenever a SyxEx message is rejected because of a checksum error. You can manually edit the value back to zero at any time. Check the value of this parameter after a SysEx load to verify that all data was received correctly.

Exiting Global Edit Mode

You can leave Global Edit mode at any time by pressing the Exit button. This returns you to the Global Select menu where you can select a different object to edit. Press Exit again to return to Play Mode. Changes to Global parameters take effect immediately, so you donÕt need to save them.

Other Global Objects

These include the User Scales, User Rhythms, Setup Lists, Setup Map, and MIDI Messages. MIDI Messages are discussed in Appendix A. The remaining Global Objects are described in this chapter.

User Scales

The ExpressionMate offers you 8 user-editable scales in addition to the 16 standard scales described on page 47.

To enter the Scale Editor from Play mode, press the Global button, then press Edit (<) followed by Select (<) to scroll through the list of objects. When ÒEDIT ScalesÓ appears on the top line of the display, press Edit (>). Press the left cursor (<) to select the scale you want to edit and then press the right cursor (>) to begin editing that scale. Remember that the scales, like all of the global parameters and tables, are edited ÒliveÓ. This means that the changes you make will take effect immediately.

When you enter a scale you will see

Notes/Octave= 7 PREV NEXT

Use the left and right Cursor buttons to move though the editor, using the +/- buttons, the Spin knob, or Intuitive entry to change the values.

Global Functions

User Rhythms

The Notes/Octave parameter sets the number of notes in the scale. You can choose from 1 to 16. As examples, 12 could be a chromatic scale, 5 a pentatonic, and 7 a major or minor scale.

Octave size determines the transposition of the scale. Technically this is the transposition, in semitones, that is added after all of the notes in an octave are used. Typically it is 12 but can be from 0 to

24. For example, if you use a scale that is three notes long and set the Octave size to 7 with CC Note Ctlr#41 37Note, the Þrst three notes will be at the bottom end of the ribbon. As you slide your Þnger along the ribbon, every three notes will transpose up the Þfth. So if the scale is playing C E G, the next three notes would be G A D followed by D F A and so on up to 37 notes.

The next window is one of the 16 Step windows.

Step |1 Intvl| 0 PREV NEXT

The top left tells you what step you are editing and the top right tells you the interval you have chosen. You can select from 0 to 24; two octaves, in other words. With no transposition, 0 is C4. 1 would be the half step above that, C#4. Intervals can be put in any order in the I6 steps. For example, a major scale would have the values:

0, 2, 4, 5, 7, 9, 11

Press Exit and the display goes back to the CC Note scale select screen. Press Exit again or the Global button to return to the Global edit select screen and one more time to the Setup select screen.

To hear changes to a Scale you are editing, setup a RBN section to one of the CCNote controllers and Select the CCnote User scale you want to work with. You can exit to the Globals or use the Shortcut to the Scale Editor from the Controller Editor (press Learn and then the Global button to enter the Scale Editor; press the global button to exit back to the Controller Editor; Press Exit to go back to Play Mode).

User Rhythms

In addition to the eight ROM Rhythms provided with the ExpressionMate, you can also create your own User Rhythms to use with the Arpeggiator. For your convenience, User Rhythms 1 Ð 8 are copies of the ROM Rhythms. ThereÕs a complete list of these rhythms on page 74.

Global Functions

User Rhythms

An ExpressionMate Rhythm has a Beat Value parameter, Number of Steps parameter, and up to 16 steps, each consisting of a Length and a Duration.

The Beat Value speciÞes how many clocks constitute a beat. Possible values are 1 - 96. The standard value of 24 displays as "1/4" and other "round" values display as other musically meaningful time values including dotted durations and triplet (T) durations. Odd clock values, like 15, are displayed as "15Clk".

The Number of Steps speciÞes how many of the following steps constitute a rhythm cycle. From 1 to 16 may be speciÞed. Set this Þrst before editing the steps because steps beyond the speciÞed number are hidden by the editor.

When you select a step for editing, the screen shows 4 things about the step:

1. The step number, "Stp XX"

2. The cumulative total beats from step 1 up to and including this step, "Tot=xx.xx"

3. The length of this step in beats, "X.XX".

4. The duration of notes started by this step, also in beats, "X.XX".

Length speciÞes how long before the next step starts. Duration speciÞes how long notes begun when this step starts will sound and can be either shorter or longer the length of the step.

Both length and duration are stored as a number of clocks, from 1 to 96. The length and duration display is in terms of beats to reduce the amount of mental arithmetic one must do. Thus if the Beat Value is 24 and a step's length is 12, then that step's length will be displayed as 0.50.

The "Tot=XX.XX" display lets you know how many beats have been "accounted for" up through this step. If you want 4 beats per rhythm cycle for example and you've speciÞed 8 steps, then the "Tot=" Þeld should show "4.00" when the 8th step is displaying for the rhythm's timing to be correct. Nothing enforces this rule however so it is easy to get some very whacky sounding rhythms.

Note that the Beat Value DOES NOT inßuence the sound in any way. If you change it, you will not hear an effect. All the Beat Value does is to help display the length and duration of steps in a more meaningful way. So if you want to make a given rhythm go

Global Functions

User Rhythms

double-time, for example, Þrst change the Beat Value to half its original value (likely to 1/8 from 1/4), then re-edit each step to restore the original length and duration.

Entering the Rhythm Editor

To enter the Rhythm Editor from Play mode, press the Global button, then press Edit (<). Press Select (<) several times to scroll through the list of objects. When ÒEDIT RhythmsÓ appears on the top line of the display, press Edit (>), then press the Select and Edit buttons again to begin editing the desired rhythm.

The ExpressionMate will brießy display:

Global = Toggle Length/Duration

This is a reminder that the Global button toggles between editing a stepÕs length or duration.

The Þrst window is:

Beat Value 1/4 PREV NEXT

You can adjust this with +/ - or the spin knob. The cursor buttons will take you though the other windows.

The Beat Value only affects how your rhythms are displayed, it makes no change in how your rhythm will sound. The Default is 1/4, meaning a value of 1.00 is equal to one quarter note. If the Beat value was set to 1Clk then 1.00 would be equal to one clock pulse.

The next window is:

# of Steps 4 PREV NEXT

This is where you enter the # of steps for your rhythm; you can have up to 16.

The next window is:

Stp 1 Net = 1.00 L=1.00 D=0.75

Stp tells you what step of the rhythm you are editing.

Global Functions

Setup Lists

Net tells you the total length of time your rhythm takes up to the step you are editing. In this example we are looking at step 1 which has a length value of 1.00 so that is the Net. If Steps 2 and 3 had length values of 0.50 then the Net in Step 3 would be 2.00.

L= displays the length of time the rhythm will wait before playing the next step.

D= tells you the duration of that stepÕs note. It can be up to 4 times the Length.

Example

Beats: 1/4

# of steps: 3

Step 1: L= 0.25 D= 0.03

Step 2: L= 0.25 D= 0.50

Step 3: L= 0.50 D= 0.25

Step 1 will play a staccato 16th note.

Step 2 will play a 16th note with a duration that holds the length of an 1/8th note.

Step 3 will play a 1/8th note with the duration of a 1/16th note.

Both steps 2 and 3 will stop their notes at the same time.

Ctlr53 scales the rhythm duration from 3% to 400% of the D values. A value of 32 plays the duration speciÞed in the rhythm editor. If you increase the value above 32, the ExpressionMate will scale each duration for each step, keeping the character of the rhythm. The maximum duration of any note after scaling, however, is 255 clocks.

Setup Lists

To edit the Setup Lists from Play mode, press the Global button, then press Edit (<) followed by Select (<) to scroll through the list of objects. When ÒEDIT Setup ListsÓ appears on the top line of the display, press Edit (>). As we mentioned in Chapter 2, Setup Lists are a way to organize Setups so that theyÕre easier to Þnd during live performances. Choosing this command lets you edit

Global Functions

Setup Map

these lists so that they contain the Setups you want. There are three lists containing 16 Setups each, for a total of 48 Setups.

SETUP LIST 1:12 3 Mono-Poly Sw

The top line shows which Setup List youÕre editing, followed by the Step within that list. The bottom line shows which Setup is in the current Step. Press the < and > buttons together to choose which list to edit. Press either the < or > button to scroll through the 16 Steps in each list. Use the data knob and -/+ buttons to change the Setup in each Step.

Setup Map

The Setup Map routes incoming MIDI program changes to ExpressionMate Setups. To edit the Setup Map from Play mode, press the Global button, then press Edit (<) followed by Select (<) to scroll through the list of objects. When ÒEDIT Setup MapÓ appears on the top line of the display, press Edit (>).

MIDI PROG CH 111 48 Iceblink

Each of the 128 possible program changes (0-127) has an associated ExpressionMate Setup number, or None. To access them using an external MIDI device, you send program changes to the port, channel, and program bank set in Global Parameters. With Setup Map, you can synchronize the ExpressionMateÕs Setups with sound setups on a synthesizer, then use an external program change command to call up the appropriate ExpressionMate Setup when you select a sound on your synthesizer.

Also, some older instruments canÕt send enough program change commands for you to access all the Setups in the ExpressionMate. For instance, your keyboard might only transmit program changes 0 through 63. If you want to use that keyboard to call up Setup 64, assign the Setup to MIDI PROG CH 63 or lower:

MIDI PROG CH 63 64 SlowDrive

Note that the ExpressionMate will respond to program changes only when youÕre in Play mode.

Saving and Reloading Setups

Global Utilities let you load and save Setups and view MIDI operation with MIDIScope (described on page 92). Loading

Global Functions

Saving and Reloading Setups

SysEx (e.g., Setups youÕve saved to another MIDI device) does not require a special a Global Utility. For your convenience, however, weÕve included the procedure in this section.

Saving Setups (SysEx Dumps)

Even though ExpressionMateÕs memory is battery-backed, itÕs still a good idea to regularly save the Setups that you edit and create. You may also need to free up memory for creating and storing more Setups.

You can use SysEx (System Exclusive) dumps to save Setups to an external storage device, such as another ExpressionMate or a sequencer that can record SysEx messages. You can then recall the Setups at a later time.

Make sure that ExpressionMateÕs Main MIDI Out is connected to the storage deviceÕs MIDI In. Also, if dumping from one ExpressionMate to another ExpressionMate, check that the SysEx ID is set correctly for both devices (see ÒSYS EX IDÓ on page 82 for details on doing this). Regardless of the device you are dumping to, however, make note of the ExpressionMateÕs SysEx ID, because you will need it when you reload the SysEx. The default SysEx ID is 1.

Each Setup uses a separate SysEx message, so that each message is as short as possible.

To save Setups as system-exclusive messages, press the Global button when in Play mode. First youÕll see this screen:

-GLOBAL SELECTEDIT UTILITY

Then press Utility, followed by Select to scroll through the list of the ExpressionMateÕs utilities. When Save Setups is displayed on the top line, press Execute.

You will be presented a screen such as the following:

-SYSEX SAVE SEL*Globl, SU XX-YY

The bottom line shows the objects currently selected for saving. If there is an asterisk (*) beside ÒGloblÓ then the globals have been selected. Sysex dumps of the globals include all global parameters and everything else that may be edited with the global editors including Scales, Rhythms, Setup Lists, the Setup Map, and MMsg strings.

Global Functions

Saving and Reloading Setups

The number range, ÒXX-YYÓ speciÞes which Setups have been selected to save. The left and right buttons move the cursor to any of these 3 Þelds and the Þeld's value may be changed with the spinknob and inc/dec buttons in the usual way.

To save just a single Setup, set both XX and YY to that number. To not save any Setups at all (for example to save just the globals), make the range backward, i.e., Ò20-10Ó.

When the cursor runs off the screen to the right or the Store button is pressed, system-exclusive messages are sent out the Main MIDI port and a progress screen is displayed. The data is broken up into messages of 32 memory bytes each sent at about half MIDI speed so as to not overload sequencers, mergers, etc., that may be in the system. Speed is about 1 Setup per second. When the save is completed, you are returned to Play mode.

Cancelling a SysEx Dump

If you need to cancel the dump for some reason, press Exit. Dumping will stop after the current Setup is dumped, and you will return to the SysEx Select Setups screen.

Loading Factory Setups

You may selectively reload Factory Setups from the ExpressionMateÕs ROM. To start, press the Global button when in Play mode to see this screen:

-GLOBAL SELECTEDIT UTILITY

Then press Utility, followed by Select to scroll through the list of the ExpressionMateÕs Global Utilities. When Load Setups is displayed on the top line, press Execute.

A screen such as the following will be displayed:

-RELOAD SELECT*Globl,|SU||1-64

Notice that this screen is similar to that for SysEx Save. The selection procedure is the same for either operation. See ÒSaving Setups (SysEx Dumps)Ó on page 89 for details on using this screen to specify what you want to reload.

Kurzweil Music Systems ExpressionMate User's Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Young Chang Distributors

Introducing the ExpressionMate

ExpressionMate Overview

Welcome!

The Ribbon

Other Cool Stuff

The Arpeggiator

MIDI Merging

K2000 and K2500 Users

How to Use This Book

Unpacking the Unit

Getting Started

Quick Start

Placement and Connections

Placing the ExpressionMate

On a Flat Surface

On a Microphone Stand with the Bracket

Placing and Connecting the Ribbon Controller

The Rear Panel

Power Switch

Breath Jack

SP1/CC Jack

SP2 Jack

MIDI Ports

Power Jack

Connecting Pedals

A Special Note About Switch Pedals

Connecting a Breath Controller

Connecting the ExpressionMate to Your MIDI Gear

Basic MIDI Hookup

Connecting Two MIDI Devices

Connecting Several MIDI Devices

Setting the MIDI Channels

Connecting the Power Supply

Powering Up

User Interface Basics

The Front Panel

The Display

Data Knob, - and + Buttons

Cursor Buttons

Exit Button

Store Button

Learn Button

Controller Button

Arpeggiator Button

Global Button

SW1 and SW2

Panic Button

Front Panel LEDs

Setups

Selecting Setups

Basic Selection

Using Setup Lists

Changing Setups with MIDI

Playing Setups

Basic Tec hnique

Touching The Ribbon At More Than One Point

Getting Back to Play Mode

Troubleshooting

Editing and Creating Setups

The Controller Editor

Getting Around

Jump Selection

Intuitive Entry

Setting a Zone’s MIDI Channel

Changing the Current Zone

Compare

Ribbon Configuration Parameters

Stacking Zones

Split

Mode

Spring (Sprg)

Controller Editing

Continuous Controllers

Switch Controllers

Virtual Controllers