Quasimidi Raven User Manual

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

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

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

IMPORTANT SAFETY INSTRUCTIONS

WARNING - When using electric products, basic precautions should always be followed, including the following:

Read all the intructions before using the product.

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

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

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

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

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

Avoid using the product where it may be affected by dust.

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

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

10.

Do not tread on the power-supply cord.

11.

Do not pull the cord but hold the plug when unplugging.

12.

When setting up with any other instruments, the procedure should be followed in accordance with instruction manual.

13.

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

14.

The product should be serviced by qualified service personnel when:

The power-supply cord or the plug has been damaged; or

Objects have fallen, or liquid has been spilled into the product; or

The product has been exposed to rain; or

The product does not appear to operate normally or exhibits a marked change in performance; or

The product has been dropped, or the enclosure dammaged.

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

SAVE THESE INSTRUCTIONS

The CE-Sign on our products declares that our electrical devices are in conformity with the EN 55014 and EN 50082-1(in accordance with 89/336 EMC- and EEC directive). The manufacturer also declares the conformity of above mentioned product with the actual required safety standards.

NOTICE

This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordances with the manufacturer's instructions, may causes interference to radio and television reception. It has been type tested and found to comply with the limits for a class B computing device in accordance with the specifications in Subpart J of Part 15 of FCC Rules, which are designated to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment OFF and ON, the user is encouraged to try to correct the interference by one or more of the following measures:

Reorient the receiving antenna Relocate the computer with respect to the receiver Move the computer away from the receiver Plug the computer into different outlet so that the computer and receiver are on different branch circuits.

If necessary, the user should consult the dealeror an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful:

"How to Identify and Resolve Radio-TV Interference Problems."

This booklet is available from the U.S. Government printing Office, Washington, D.C. 20402, Stock No. 004-000-00345-4.

Technical Specifications:

Keyboard: 61 keys, 5 octaves

Velocity and Aftertouch sensitive

Sound Synthesis: MASS (Multi Algorithm Sound Synthesis)

21 voice polyphonic, 16 part multi-timbral 512 Single Sounds, 250 Performances

Front Panel-

Dials: VALUE-TEMPO, PAGE, F1-F4, VOLUME Buttons: SONG/BANK-SELECT, SOFT-buttons, TRACK-Buttons, SOLO-button, PLAY, STOP,

MODE, TAB, EDIT, WRITE.

Display: 2x40 character LCD

Rear Panel-

Connector Output L, R (6,3 mm mono jack), Footswitch (6,3 mono jack), Headphone (6,3 mm

stereo jack) MIDI In, Out, Thru (5 pin DIN), Europe, Japan : Power (standard 3 pin IEC-320)

USA: DC Power Adapter plug PowerRequirement: Japan: 100VAC/ 18 VAC, 60 Hz

Europe: 230VAC/ 18 VA, 50 Hz

USA: 12VDC/ 2A *

* Please only use the AC-Adapter, which is shipped by manufacturer. Consumption: 11 watts maximum PhysicalDimensions: 1025mm (width) x 102mm (height) x 388mm (depth) Weight: 12,5 kg

Table of Contents

Connections and first switch on................................................................................................................................................... 6

Introduction................................................................................................................................................................................... 6

The RAVEN's User Interface...................................................................................................................................................... 8

Tutorial 1: Getting to know The RAVEN .................................................................................................................................. 9

Tutorial 2: Creating new Patterns by random selection of preprogrammed Motives ......................................................... 13

Random creation of new Patterns ....................................................................................................................... 14

Selecting sounds..................................................................................................................................................... 15

The creation of Breaks .......................................................................................................................................... 15

Muting Tracks ....................................................................................................................................................... 16

Realtime Transpose ............................................................................................................................................... 17

Adjusting Volumes ................................................................................................................................................ 17

User Motives in the Create Pattern section......................................................................................................... 17

The Solo Part ......................................................................................................................................................... 17

Writing Patterns to Song memory ....................................................................................................................... 17

Tutorial 3: Playing live on Stage............................................................................................................................................... 19

Realtime Control of Synth parameters ............................................................................................................... 20

Tempo control ........................................................................................................................................................ 20

Realtime Transpose and Muting with the keyboard .......................................................................................... 20

Adding the Motivator ........................................................................................................................................... 21

More Realtime access............................................................................................................................................ 21

Tutorial 4: Production of complete Songs ................................................................................................................................ 21

Create Song function............................................................................................................................................. 22

Song Editing .......................................................................................................................................................... 23

Editing an existing Songstep ................................................................................................................................ 24

Part Editing ................................................................................................................................................................................. 25

Sound selection and Part mode ............................................................................................................................ 26

Output Routing ..................................................................................................................................................... 27

Tuning Parts .......................................................................................................................................................... 28

Synthesis Filters..................................................................................................................................................... 28

Envelope section .................................................................................................................................................... 29

Pitch Modulation ................................................................................................................................................... 29

Modulation amount............................................................................................................................................... 29

Key Velocity, Portamento Time and Hold .......................................................................................................... 30

Common menu: Performance programming .......................................................................................................................... 31

Selecting the Performance Type: ......................................................................................................................... 31

Footswitch functions: ............................................................................................................................................ 33

Modulation Matrix................................................................................................................................................ 33

Editing the Motivator ................................................................................................................................................................. 35

Groove Quantize.................................................................................................................................................... 37

Note Directions ...................................................................................................................................................... 37

Global Song parameters

Editing Play and Groove parameters in Sequencer mode................................................................................. 38

Changing the Repetition Point ............................................................................................................................. 39

Pattern Editing............................................................................................................................................................................ 40

Selecting the Edit Pattern menu .......................................................................................................................... 40

Loading a ROM Pattern ....................................................................................................................................... 41

Changing the Motive Assignment of Patterns .................................................................................................... 41

Setting Track Volumes .......................................................................................................................................... 42

Deleting Tracks and Controller data, Adjusting Motive lengths, and the Metronome .................................. 42

Recording User Motives ....................................................................................................................................... 42

Realtime Recording............................................................................................................................................... 43

Drum programming (TR-909 style) .................................................................................................................... 44

Global Song parameters

Step-by-Step programming .................................................................................................................................. 45

Grooves and breaks............................................................................................................................................... 45

The RAVEN's Effects Processors ............................................................................................................................................. 46

Table of Contents

Reverb .................................................................................................................................................................... 48

Gated Reverb ......................................................................................................................................................... 48

Early Reflection programs ................................................................................................................................... 49

Delay ....................................................................................................................................................................... 50

Chorus .................................................................................................................................................................... 51

Flanger ................................................................................................................................................................... 52

Phaser ..................................................................................................................................................................... 52

Panning .................................................................................................................................................................. 52

Delay ....................................................................................................................................................................... 53

Gated Delay ........................................................................................................................................................... 54

Special-FX .............................................................................................................................................................. 55

Equalizer ................................................................................................................................................................ 55

Wah-Wah ............................................................................................................................................................... 56

Auto Wah-Wah ...................................................................................................................................................... 56

Distortion ............................................................................................................................................................... 57

Rotary ..................................................................................................................................................................... 58

Tremolo .................................................................................................................................................................. 58

Ring Modulation ................................................................................................................................................... 59

No Effect................................................................................................................................................................. 60

Realtime Effects Control ............................................................................................................................................................ 60

Realtime parameters of FX-2 ............................................................................................................................... 62

Editing the Percussion Drumpart ............................................................................................................................................. 63

System parameters ..................................................................................................................................................................... 64

Master Tune ........................................................................................................................................................... 64

Keyboard parameters ........................................................................................................................................... 64

Key Velocity curves ............................................................................................................................................... 64

MIDI parameters .................................................................................................................................................. 65

MIDI Input handling ............................................................................................................................................ 65

MIDI Output handling ......................................................................................................................................... 65

Write menu ................................................................................................................................................................................. 66

Write menu in Sequencer mode ........................................................................................................................... 66

Storing Song and Pattern data ............................................................................................................................. 66

Initializing the Temporary Song .......................................................................................................................... 67

Initializing Part parameters ................................................................................................................................. 67

Dumping Temporary Song data .......................................................................................................................... 68

Copying Part parameters ..................................................................................................................................... 68

Write menu Dump functions ................................................................................................................................ 68

Dumping Song and Pattern data of all 10 songs................................................................................................. 69

Write menu in Performance mode ...................................................................................................................... 69

Storing a Performance .......................................................................................................................................... 69

Initializing the current Performance ................................................................................................................... 69

Initializing Single Parts......................................................................................................................................... 70

Copying Part parameters ..................................................................................................................................... 70

Dumping all Performances................................................................................................................................... 71

Dumping current Performance data (Temporary Dump)................................................................................. 71

Important notes if using an external sequencer ....................................................................................................................... 71

Selecting Single Sounds via MIDI ............................................................................................................................................. 74

Single Sound list .................................................................................................................................................... 74

Selecting Performances via MIDI ............................................................................................................................................. 75

Performance Sound list......................................................................................................................................... 75

Drumset list ................................................................................................................................................................................. 76

System Exclusive data ................................................................................................................................................................ 80

MIDI Implementation Chart ..................................................................................................................................................... 86

Initializing The RAVEN / Reload Factory set .......................................................................................................................... 87

Warranty and Registration Card .............................................................................................................................................. 88

Introduction

Congratulations for purchasing The RAVEN. You have purchased an instrument which offers you enormous speed and flexibility in music production. The RAVEN combines all the necessary components of a ‘TECHNO’ or ‘DANCEFLOOR’ studio in one product. From the first day, this “studio” allows you to produce complete songs with the huge number of included pre-programmed patterns in the form of Sequence motifs and Drum grooves. You can edit existing patterns as well as creating your own, or just play The RAVEN in Sound mode, thus allowing you to decide how to spend your first “Studio-Day”:

1) Getting started with sound generation of The RAVEN

2) Combining Grooves and Motives into new patterns.

3) Playing live on stage

4) The production of complete songs.

Because of the huge number of pre-produced motifs and sounds included in The RAVEN, you can get started with production right away without having to learn every aspect of the instrument. Instead, just pick out the pattern you want to work with and get started. For that reason, we have split this manual in two sections. The first section is like walking around in a “virtual studio”. After several sessions you will learn all about The RAVEN through various studio activities. It is of minor importance which room of the studio you enter first. You can enter any room you like. The second section of this manual contains details about all events in this virtual studio. It is for those who have already looked in all the rooms in the studio. We hope you enjoy your new instrument and that with The RAVEN you become a hit-making techno or dancefloor producer.

Connections and first switch on

On the rear of The RAVEN are two 6.3mm mono jacks for stereo audio output. These jacks should be connected to your amplifier or mixer. There are also MIDI IN, OUT and THRU jacks to send and receive MIDI data. In this chapter you get a detailed description of how to connect The RAVEN to other audio equipment:

1) Connection with a home stereo amplifier

First, make sure power is switched off on both the amp and The RAVEN. You will need two audio cables (1/4” male to RCA-type male x 2) to make this connection. Not all the inputs of an amp can be used in combination with The RAVEN. Use an input described as followed:

1) AUX or auxiliary

2) LINE

3) CD

4) DAT

5) TAPE IN or TAPE PLAY The PHONO input should not be used because it will distort the audio signal.

Before connecting The RAVEN to your amp, turn the volume of the amp to minimum and the volume The RAVEN to maximum. Switch The RAVEN on first, then the amp. Switch the amp input to which The RAVEN is connected and press the “EDIT-FX” and the “EXIT” button at the same time. You should now hear the DEMO-song. Carefully turn up the volume of your amp until you are satisfied with the volume. After your settings are done, go to the description of the front panel of The RAVEN.

Connecting other devices and first switch on

2) Connection with a mixer-console

When working with a mixing console use LINE inputs. MIC inputs are too sensitive to be used with The RAVEN. Before connecting, switch off all equipment. Connect the audio outputs of The RAVEN with two of the mixer’s line inputs. Turn the volume of The RAVEN to maximum and the input gain of the mixer channel to minimum. To benefit from The RAVEN’s stereo sound, make sure the two mixer channels’ faders are set the same and their panning controls are opposite - one hard right, one hard left. The master fader should also be set to minimum. Switch on The RAVEN and the mixer now. Press the “EDIT-FX” and the ”EXIT” buttons of The RAVEN at the same time to start the DEMO-song. Turn the gain of the mixer to a point which is under the level of distortion. If your mixer has no metering for the audio level, slowly bring up the gain until distortion, then turn it down until the distortion stops. Mixers with MIC/LINE switches should be set to LINE. If the signal distorts with the gain all the way down, lower the volume of The RAVEN. The RAVEN sounds best when its’ volume is set to maximum and the volume of the connected audio gear is set accordingly.

3) Connection with a professional amp

When using a keyboard amplifier, switch off all equipment before connecting it. Connect the audio outputs of The RAVEN to the inputs of the amp. Turn the volume of the amp to minimum, and the volume of The RAVEN to maximum. Switch on The RAVEN first, then the amp. Press the “EDIT-FX” and the “EXIT” buttons on The RAVEN at the same time to start the DEMO-song. Carefully raise the gain of the amp to a level that is just under distortion of the audio signal. Then raise the volume knob of the amp to the desirable level. If the settings are to your satisfaction, go to the next part of the manual “THE FRONTPANEL OF THE RAVEN”.

4) Working with headphones

The jack for connecting a headphone is on the right part of The RAVEN’s front panel, right next to the volume knob. To avoid damage to your headphones, switch The RAVEN off before plugging phones in. *Prolonged headphone listening at high volume levels could damage your hearing.

Audiooutputs

Footswitch

MIDI Power-

supply

Powerswitch

The RAVEN's User Interface

section

function

TheButtonshavedifferentfunctionsdependinguponwhetherTheRAVENisinSequencermodeorinPerformancemode.Performancemodefunctionsareprintedinred.

„SOFT“buttonsan

dialsfordataentry

Thedialscorrespondtothemenuparametersshowninthedisplay.

Courseadjustmentofparametersisbestdonewiththe"SOFT"dials,whereasfineadjustmentismoreeasilydonewiththe"VALUE"dial(see#10).Toeditaparameterwiththe"VALUE"dial,pressthe"SOFT"button.(Theyarecalled"SOFT"buttonsbecausetheirfunctionsarecontrolledbythesoftware).Theparameteravailableforeditingisshowninthedisplay.Besidesparameterseditedwiththe"VALUE"dial,the"SOFT"buttonsarealsousedincertainmenustoanswerpromptsorforotheractions.InSongPlaymodeyoucanchangethefunctionofthe"TRACK"buttons,(#3),withthe"SOFT"buttons.2„SONG/BANK-SELECT“-buttonsWiththesebuttonsyouselectdifferentSongandPerformancebanks.IntheEdit-part-menue,youselecttheparts,whicharenotpresentedwith"track"-buttons.(parts10-16)3„TRACK“-buttonsThe"TRACK"buttonshavediferentfunctionsindifferentmodes.InSequencermodethefunctionscanbechangedwiththe"SOFT"buttons.Thefunctionsareprintedinredunderthebuttons.InPerformancemod

thePerformancesofabankcanbeselectedwiththe"TRACK"buttons.

InbothPartandPerformanceEditmodeyoucanselecttheParts.4„SOLO“-buttonInSequencermodepressthisbuttontoaccesssoundswhileaccompanyingplayingsequence

.5„PLAY“-an

„STOP“-button

ThesebuttonsstartandstoptheSequencerorMotivator

The RAVEN's User Interface

The DEMO-song you have heard may have interested you to start walking around in the virtual studio. To prevent you from going the wrong way you should first learn about the front panel and the functions of the different sections.

The RAVEN's User Interface

"TAP" button, "SEQ"

button and "PERF"

button

Repeatedly pess the "TAP " button in rhythm to set the Sequencer's tempo.

Pressing the "SEQ" button enters Sequencer mode. Pressing the "PERF"

button enters Performance mode.

"EDIT" button

"WRITE" button and

"EXIT" button

The "EDIT" button accesses The RAVEN's Edit modes. Pressing "EDIT FX"

and "EXIT" simultaneously starts The RAVEN's Demo Song. Pressing the

"EXIT" button leaves the current menu. The "WRITE" button selects the Save

function.

Display

The display shows detailed information about parameter settings, modes and

"SOFT button & dial functions.

"PAGE" dial

The "PAGE" dial scrolls through the submenus while in Edit mode. It is

indicated in the display if there is more than one menu page with the following

symbols: |1 > => Page one is selected, scroll right for more pages. < 2 > =>

Page two is selected, scroll either left or right for more pages. < 8| => Page

eight is selected, scroll left for more pages.

"VALUE/TEMPO"

dial

With the "VALUE/TEMPO" dial you can edit parameters in fine increments or

adjust the tempo of the Sequencer. The "SOFT buttons select which

parameter to edit. The selected parameter flashes.

Getting to know The RAVEN

It doesn’t matter if there are chapters or terms you don’t completely understand. At first it is important to know a little bit of the basic structure. When we first looked in our virtual studio and you were told to press the “EXIT” button, you only needed to know where to find it. As we progress through different chapters we will give more information about the data entry-buttons and dials. We will now start looking around in our virtual studio. As was stated on the first few pages of this manual, you decide which part of The RAVEN you want to learn about first.

In this part of our virtual studio we tend to the synthesizers of The RAVEN. We say ‘synthesizers’ because The RAVEN offers a true “Multimode”. The RAVEN is able to produce several different synthesizer sounds at the same time. This is important for producing complete songs. To become familiar with the synthesizers of The RAVEN we will not use Sequencer-mode; we will use Performance-mode. To be get into Performance-mode, press the “EXIT” button several times, then press the “PERF” button. In the Performance-mode, you are able to select different “Performances”. Think of a Performance in our virtual studio as programmable and routable studio settings. A Performance selects the desired Synthesizer modules, connects them with the Effects units and regulates all parameters of the setup. There are 200 ROM Performances and 50 user programmable Performances implemented in The RAVEN. The Performance-mode is a great way to demonstrate the possibilities of The RAVEN because many aspects of our virtual studio are used in the Performance-sounds. When a Performance is selected, the Effects associated with that Performance are also selected. The on-board Effects processor adds room simulations and modulation to the sounds. Up to 4 of the 16 synthesizers in The RAVEN can be used in the Performancemode. All setups and parameters of these synthesizers are saved in a Performance. Besides the sound generation and effects processing, another important tool has been added to our virtual studio. This tool is called the “Motivator”. This tool triggers the synthesizers of The RAVEN in many ways and adds some additional powerful effects. The Performances of a Performance-bank are chosen with the “TRACK” buttons. Ten Performances are in every bank. With the “SONG/BANK SELECT” button you can choose from the 25 banks.

Tutorial 1: Getting to know The RAVEN

PERFORMANCE

NUMBER

NAME

DESCRIPTION

A-00

Diary

In this Performance several 'synthesizers' of The RAVEN sound at once.

This type of Performance is called a "LAYER". One 'synthesizer' of The

RAVEN is called a "PART".

A-01

Blow-

Job

This Performance uses different Parts on the left and the right side of the

keyboard. In The RAVEN this setup is called a "SPLIT" sound.

A-02

Slappy

In this Performance the key velocity is used to determine which of two Parts

will sound.

A-03

Slidox

This Performance uses the Motivator function. In this case the Motivator

works as an arpeggiator. The Motivator is a feature of The RAVEN which

generates rhythmic models by using played notes. The arpeggiator, for

example, plays the notes of a chord one after another.

A-04

Polysynt

The Motivator is also used in this Performance. The function used here is

called Chord-Rhythmizer. The Motivator adds a rhythmic structure to the

chord.

A-05

Gate

Instead off simply playing a chord, the motivater chops it up. This happens

by using a rhythmic change of the volume.

A-06

Matrix

As in the Performance "Slidox", the Motivator works as a arpeggiator. But in

this case, the notes of the arpeggiator are played on using all four Parts of

The RAVEN. All Parts use the same sound in "Unisono" mode, but are

slightly detuned, for a 'richer' sound.

A-07

SoloPort

This Performance also uses the "Unisono" mode. Four 'synthesizers' are

played at the same time, but in this case, the Motivator is disabled. The

Portamento function is enabled.

A-08

Roto-Drum

The arpeggiator function of the Motivator can play the notes of a chord one

after another. The arpeggiator can also act this way on up to four Parts.

This function is called "TRACK-ROTATE" mode. If each Part of The RAVEN

plays with a different tone colour it generates a 'wavesequence' -like sound.

A-09

Hadjuk

This Performance is a good example of how to combine several different

Performance possibilities. The keyboard is assigned to the "Split" function

and also the Motivator. This makes it possible to use the Motivator (in this

Performance, as an arpeggiator) on a specific part of the keyboard.

To show the possibilities of the factory programmed Performances, the first 10 ROM Performances show the flexibility of our virtual studio in many different . To be able to play these Performances press the left “SONG/BANK-SELECT” button until you reach the first bank of Performances (A-00 - A09). After that you can select the Performances by pressing the “TRACK” buttons. The following Performances are found in the first bank A-00 - A-09:

Tutorial 1: Getting to know The RAVEN

DESIRED PARAMETER

PAGE

DESCRIPTION

Selection of the desired

sound-group

|1>

With selecting the sound-group you can make a basic sound

selection. In the "Sound-Group" menu, select the sound category

(Bass, Synth etc...).

Selection of the desired

sound

<2>

Use the appropriate "SOFT" dial, located under the display, to

select a sound from the Sound-Group selected on Menu Page 1.

Adjusting the volume of

each Part

<3>

The "SOFT" dials act as volume controls for each of the Parts.

This feature is very effective for mixing the selected 'Layer-Sound',

when using The RAVEN during live performance.

Selecting the mode of

the Parts

<4>

The Part mode of the active Parts can be changed. The Part

mode determines how each 'synthesizer' is played. For more

details, refer to the Chapter, "Part Editing", located in the second

part of this manual.

Adjusting the pan

settings of each Part

<5|

The "SOFT" dials act as pan controls for each of the Parts. You

can also disconnect each Part's output from appearing at the main

output. When "—" is shown in the display, that Part's output only

reaches the main output after passing through the effects

processors. For more details refer to the Chapter, "Part Editing",

located in the second part of this manual.

For added flexibility, you can use The RAVEN’s Realtime controllers in addition to being able to play the Performances from the keys. The Realtime controllers of The RAVEN are used as remote control for the internal Synthesizers, Effects and Motivators. The RAVEN’s controllers are assigned to specific functions and you can choose which functions to assign to the controllers. A-00 is set up as an example Performance to show how The RAVEN uses Realtime controllers. The display should look as follows:

PrfA-00:Diary |1> Soundgroup __ Synpads2 Synpads1 Synpads1

This display shows information about the selected Performance. In the upper left corner, the name and the number of the Performance is shown. In this case it is “Prf-A-00”. The next parameter to the right is the menu number. The symbol next to the number indicates where in the menu-scroll you are. In this case, the arrow points to the right, indicating there are more pages in that direction. If the display doesn’t show menu page 1, use the “PAGE” dial to select it. Written to the right of the menu number is which data is available on this menu. In this case you are able to select the Sound Group of the synthesizers. The RAVEN offers 512 different synthesizers catalogued into “Sound Groups”. The Sound-groups selected for the active parts are shown in the second line of the display. In this particular Layered sound only three of four parts are used. In almost every menu of The RAVEN the parameters that can be changed are shown in the second line of the display. The parameters are changed with the dials located under the display. Each menu of The RAVEN contains different parameters. The functions of the dials are software controlled so that a large number of functions can be changed with only a few dials. In Performance mode up to five menu pages are available. Each of the five pages contain different parameters which are described in the following chart:

Let’s try out the Performance functions. You will likely use Volume control in your live playing. At the right side of the upper display line you will find a bargraph which stands for the usage of the played parts. In our example, there are three usage bars because in this Performance we have only 3 synthesizerparts assigned. Playing with increased velocity increases the length of the bargraphs.

Tutorial 1: Getting to know The RAVEN

"SOFT" BUTTON

FUNCTION

DESCRIPTION

[OK]

If you confirm with [OK] all edits made on the active Performance will be lost, and The

RAVEN will proceed to the newly selected Performance. This is usually the 'default'

button, unless you want to save your edits, which is not always the case after a 'Live-

Mix'.

[CANCEL]

This button takes you back one page and recalls the active Performance. The

Performance will contain your recent edits, allowing you to decide if you want to save

the edited Performance.

[SAVE]

This button proceeds to the "WRITE" menu where you can rename the Performance

and store it in one of the 50 User locations. For more details, refer to the Chapter,

"Write menu".

If you edit parameters while in a Performance and then want to change to a different Performance, the following message will appear:

Performance Changes will be lost! [ok] [cancel] [save...]

This display is informing you that all edited parameters will be lost if the Performance is changed without being saved first. (This is similar to the way a computer works with files.) The “Soft” buttons are now used to control the save-to-memory functions.

The functions of the “SOFT” buttons are displayed in the brackets [ ]. These are the functions that are assigned to the knobs, not the functions that are printed on The RAVEN’s front panel. Until now, we have seen some of the programming techniques in the Performance-mode, which are available for live sessions without entering the edit-section. The parameters described until now can all be saved. During a liveperformance there can also be changes that are not saved, but are used to make continuous changes to parameters while playing. These parameters are controlled with the wheels (realtime controller). The following realtime controllers are available:

1) Wheels 1 & 2

The wheels located to the left of the keys are available for Modulation or other assignable realtime controllers. By rotating the wheels while playing, you can hear changes to the sound. Data generated by the wheels can be edited in the common menu

2) Aftertouch

You can’t see this realtime controller because it is located beneath the keyboard! You can hear it by pressing down on the keys after initially playing them. For this reason aftertouch is the best realtime controller to use when you don’t have any hands free. Aftertouch data can also be edited in the common-menu.

3) Footswitch

Footswitches control the on/off status of functions as opposed to continuous parameter changes. The jack for connecting a footswitch is located at the backside of The RAVEN. Footswitch data can also be edited in the common-menu.

If you experiment with these realtime controllers you will notice that they have different assignments in different Performances. In the selected Performance “Diary” you can control the cutoff-frequency of 2 parts from the Performance with wheel 2. As you go through the huge number of different Performances, remember to use the realtime controllers! It is a great way to get used to The RAVEN synthesizers.

Tuturial 2: Creating new Patterns

INSTRUMENT

GROUP

FUNCTION

Kick Drum-Track

Here the rhythmic foundation of dance tracks, the bassdrum, is located. 400 different

motifs, from the quarter note bassdrum to complex rhythmic figures is located here.

Snare Drum-Track

Contains 400 snare-drum motifs from simple off-beat hits to shuffled whirls which are

useful in creating interesting snare patterns. Handclaps and similar instruments are

also part of the snare drum repertoire.

HiHat Drum-Track

After the Kick and Snare patterns, the most important rhythm-track.

Percussion Drum-

Track

An 'accessory' to decorate the grooves. 400 different motifs are available.

Bass Melody-

Track

On this track you will find Bass sequences. These 400 motifs are important in

complimenting the first 3 drum-tracks. After combining Drum and Bass melody-tracks

a complete groove is created.

Sequence 1

Melody-Track

The 2 Sequencer tracks are responsible for the backgroud melody. This adds an

interesting element to a groove and can be used to vary arrangements. In each track

there are 400 motifs with complete sequences.

Sequence 2

Melody-Track

Chord Chord-Track

400 harmony sequences are located on this track. This can be used to add that

'finishing touch' to a production, and can also be switched on and off. A harmonic

structure is what makes the song interesting and can really bring out a melody.

Creating new Patterns by random selection of preprogrammed Motives

Imagine you are in the tape vault of our virtual studio. Inside this archive you find a lot of tapes each with a lot of musical tracks on each one. The tapes are sorted by different groups of instruments. There are basslines, drumgrooves, accompaniment sequences and effects. Also there is a tape recorder that has the ability to play eight different tracks off eight different tapes into The RAVEN with all tracks playing in sync. You would be able to create new patterns and songs by combining the tracks into new ‘grooves’. The following instrument groups each have 400 ‘tape tracks’:

Tutorial 2: Creating new Patterns

The tapes of The RAVEN’s archive (tape vault) can be combined into patterns. The RAVEN offers a function which can be compared to a tape player that can play up to 8 different tapes at one time. You can take 1 of the 400 kickdrum tapes and put it into The RAVEN (tape player). Then you can take 1 of the 400 snaredrum tapes, and insert it also. When you press ‘play’, you will hear both tapes - in sync. This can be done until you insert all 8 tapes. You are able to easily create new patterns by selecting the different tapes. The selection of different tapes from the archive is called a ‘pattern’.

To illustrate the number of new pattern possibilities, let’s do a little math! Everyone knows the low chances of winning a lottery. This is because of the huge number of variations caused by 6 from 49. If you want to check it out, type the following problem into your calculator:

49*48*47*46*45*44=

The answer will show practically unwinnable odds, but in comparison, the whopping number of variations with our tapes is ridiculous. The calculation for the number of possible combinations our tape vault provides is as follows:

400*400*400*400*400*400*400*400=

When calculating through the 2 math problems you will recognize how ridiculous it is. Math 101 has shown that possibility of selecting the same combination twice is very small.

Random creation of new Patterns

Now for the interesting part! With this demonstration we have only touched the basics. The tapes in our vault are special. It is possible to change the various instruments of the parts. Now we see that the word ‘tape’ is incorrect; from now on we will call them ‘motives’. A motive is a combination of the played notes, tones or hits of a tone color. The chosen tone colors can be changed at every time. There are 8 different kinds of motives, which handle a specified function of a pattern and are described in a table located in the appendix. To create new patterns, we will mess with some motives now.

To begin combining new patterns, press the “EXIT” button several times, until the display stops changing menus. If a menu is shown that edits will be lost, you should save if you don’t want to loose your changes, otherwise press ok.. After that press the “SEQUENCER MODE” button, then the “EDIT-SONG” button. The following menu will appear:

Create Edit Create Edit Pattern Pattern Song SONG

In this menu use the “SOFT” buttons again. Press the [CREATE-PATTERN] button. The following display should appear:

(STOP) ******** Give me a groove! |1> [clear] [break] [undo] [keep] to P0

If the motives have a meaning in this pattern, press the “SOFT” button [CLEAR] to clean up the selections. The display should now look like the one above except for the tempo-value. On the left of the display the current status of The RAVEN is shown. If the pattern is played, <PLAYnn> will appear. When it’s stopped, <STOP> will appear. (In place of “nn”, the current number of the pattern will be shown.) Right beside the status display the trackmonitor is located. The 8 signs are placed right under the numbers 1-8. Each sign stands for one of the 8 motives. Under the “TRACK” buttons on the front panel is written which number belongs to which motive. Ex: Number 1 belongs to the kick-drum motive, number 5 to the bass-motive, etc_ The stars in the display show the tracks that are empty at the moment.

Tutorial 2: Creating new Patterns

The right side of the display shows the current tempo-value. If you want to change the tempo, press the “TAP” button and adjust the tempo by rotating the “VALUE” dial. You can also change the tempo value by tapping on the “TAP” button in quarter-notes. Don’t be too concerned with the “SOFT” buttons at the moment. After the pattern is completed, we will use them! Press one of the 8 “TRACK” buttons to select a motive. If you want to start with a kickdrum, use the “KICK” button. The motive will start playing when the button is pressed. If you want to change the selected motive press the “TRACK” button until you find one that works. Then, start layering different instruments by pressing the other “TRACK” buttons. The playing motives will be shown in the display right under the selected numbers.

Selecting Sounds

If you like the motive but not the instrument, you can change it by pressing the “EDIT-PART” button. The following menu will appear:

Edit Part Kick |1> Soundselect Drumset 010:Modular2 Mode: ON

If the display is on another page, go to the 1st page of Part-edit by using the “PAGE” dial. Your display might not show the same parameters if a different track or sound is selected, but this doesn’t matter for the moment. Use the “TRACK” buttons to select the track which contains the instrument to be changed. The name of the Motive will be shown in the display beside the Edit-part. With the third “SOFT” dial under the display scroll through the instruments until you find one you like. When editing the “MELODY” or “CHORD” track you can also use the second “SOFT” dial to select the Sound-bank . If you want to edit other Part parameters, refer to the chapter “The Soundediting”. To listen to the basic sound of the Motive, press the “SOFT” button F3 twice, located under the dials for Sound selection. By various selection of Motives from “Sequence 1, Sequence 2 and Chord”, the instrument changes are done automatically. You will hear the sound assigned to the Motive by the composers. To go to the 1st menu after changing instruments, press the “EDIT-SONG” button. The Create-Pattern menu will appear again:

[PLAY0] ________ Give me a groove! 142 [clear] [break] [undo] [keep] to P0

The creation of Breaks

(Now the “SOFT” buttons will be used!) If you are satisfied with the generated pattern save it now by pressing the “F4” button [KEEP]. The RAVEN will save the pattern to the selected pattern-number (In this case P0 of the current song). The pattern-number will automatically increment by one to prevent you from writing over the previously edited pattern. You can also select the pattern by adjusting the fourth “SOFT” dial. Unused tracks are shown with a star in the display.

In the Create-pattern menu you can store 10 different patterns which can be combined into a song later. The pattern-numbers read from 0-9. After you have created a groove, press the second “SOFT” button [BREAK]. In Break-mode The RAVEN selects motives appropriate for Breaks rather than Grooves. Breaks use the Percussion instruments. A Break can be saved into Pattern-RAM. If you want to select a different Groove, press the “SOFT” button 1 [groove]. When jamming around, you could change a motive by accident. In this case, press the “SOFT” button 3 [UNDO], to recall the last entry.

Tutorial 2: Creating new Patterns

With the procedures described so far, you can create complete patterns. The edits made are stored as part of the pattern by using the [KEEP] function. There are also functions that are not stored with the Pattern, such as the realtime transposing and muting of Motives. With these realtime functions, you can test the variations of a pattern within a song, without permanently affecting it.. In certain musical styles, such as Techno or Dancefloor, many realtime variations are possible (and fun!). Transposing and Muting of Tracks or Breaks are two possibilities. Often you might start off with a sequence and add Motives one-by-one such as hihat, percussion, etc... The kickdrum might begin after the intro. Then the bassline might come in. This is called the arrangement of the song.

Muting Tracks

In the Create-pattern menu you can see if the selected pattern is available for the arrangement. The motives can be muted in two ways :

1) While holding down the “MUTE” button, press the button of the track you want to switch off. Pressing the button again will switch the instrument back on. Pressing the “TRACK” button without holding down the “MUTE” button will cause the Tracks selection to change.

2) Muting can also be selected by using The RAVEN’s keyboard. The Track-mute keys are located in the lowest octave. In non-musical terms, the lowest octave on The RAVEN is the set of 8 white keys located on the far left side of the keyboard. (the keys with 1-8 printed on the front panel) The functions of the keys are as follows:

Pressing the “TRACK” key once switches the track off, pressing it a second time switches it back on.

Tutorial 2: Creating new patterns

Realtime transpose

Adjusting Volumes

User Motives in the Create Pattern section

Another realtime function available by pressing keys on with the keyboard is Transposing. The next octave (to the right of the mute-selection) transposes the Pattern in realtime. All melodic tracks can be transposed up or down. By using the Mute and Transpose functions you can arrange a complete song with only one pattern!

Adjusting the volume of a Motive is done in the “MIX” page. While in the Create-pattern menu access page 2 with the “PAGE” dial. The following submenu will appear:

________ Give me a groove! <2> MIX: Kick Snare HH Prc M: ON

The “SOFT” dials under the display are used to adjust the levels of Tracks 1-4 on MIX page 2 and Tracks 5-8 on MIX page 3. Use the “PAGE” dial to switch between pages.

The selection of the stored Motives is on Create-pattern page 4 and 5. Use the “PAGE” dial to switch between pages.

1) ROM Motives

2) User Motives

3) All Motives

(Stop) ________ Give me a groove! +<4> Kick:USR Snare:ROM Hihat:All Perc:ROM

The Solo Part

Writing Patterns to Song memory

With the 4 “SOFT” dials you can select the basic choice. “ROM” selects ROM motives from the ROM board. “USR” selects User motives. “ALL” selects all types of motives.

You can also add a solo-part accompaniment on a track which is not played by the sequencer and is reserved for the right hand. For this purpose a “SOLO” track exists. The parameter changes of the “SOLO” track are done with the “PART-EDIT” button (refer to page 24 of the manual).

All changes to the Motive combinations are held in The RAVEN’s temporary RAM. This RAM is held even when The RAVEN is powered down. Selecting another song will transfer that song into temporary RAM and overwrite the previous song patterns. Therefore if you are satisfied with your edited patterns save them into Song RAM. Song RAM is permanent until overwritten.

Pattern/Song Changes will be lost! [ok] [cancel] [save...]

Tutorial 2: Creating new Patterns

ACTION

"SOFT"

BUTTON

DESCRIPTION

Delete Temporary

RAM and select a

new Song.

[OK]

All edited parameters will be lost and the newly selected song will

be loaded.

Recall the edits

and go back to the

active settings.

[CANCEL]

Pressing this button will allow you to save you edits before

selecting a new Pattern. The Temporary RAM will retain its data as

it was before you selected a new or other Pattern.

The edited Patterns

will be stored.

[SAVE]

After selecting "SAVE", The RAVEN automatically proceeds to the

Write Menu. There you name the newly created Pattern and save

it by selecting a Song number.

Use the “SOFT” buttons for the appropriate action:

If you have chosen the “SOFT” button [SAVE] or pressed the “WRITE” button while editing, the following message will appear:

|1> Write Pattern/Song? [ok]

Press the “SOFT” button [OK]. The following message appear:

Name: "Untitled " [ok] [cancel]

The new song can also be named at this time. The name can contain up to 16 characters. Longer names can be abbreviated. Enter letters by using the keyboard or the “VALUE” dial. Use the “SONG/BANKSELECT” button to move the cursor. After entering the name, press [OK] to save the song or [CANCEL] to abort the procedure. To prevent an accidental overwrite, a confirmation warning will appear:

to 1 "Wahnsinnsteil " [ok] [cancel]

Use the “VALUE” dial when prompted for a memory location. Blank locations are marked in the display with stars. After you have chosen a memory location, press the [OK] button. The following warning will appear:

Overwrite "Wahnsinnsteil "? [ok] [cancel]

After pressing the [OK] button again, the new song will be saved to the selected location. After saving you can exit the write-menu by pressing the “EXIT”-button.

Tutorial 3: Playing live on Stage

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Playing live on Stage

The RAVEN can store 10 complete songs. These songs can contain up to 10 patterns. In the previous tutorial you learned to create new patterns by using preprogrammed Motives. If you select one of the preset patterns you can change them during a live-performance, transpose them and switch the tracks on and off. You can change all of the song-parameters during a live performance. In this way The RAVEN can be used to test a production in a live situation. If you need to make changes in the arrangement, you can call up new patterns and mix them on-the-fly. Press the “EXIT” button several times until the display stops changing pages. Enter Sequencer-mode by pressing the “SEQ-MODE” button. Select the song to play with the “SONG/BANK-SELECT” button. (If you have made any edits in the existing song, a message will appear about loosing data. Save it or select the [OK] button if the edits are not valuable.) The following message will then be displayed:

<STOP> ________ 1:Songname 143 |1> Cut: Bass Seq1 Seq2 Chord M:OFF

The selected song is ready to be played. There are 2 ways to play a song.:

1) The song edits (transpose, muting, etc_) will be done in realtime. All Pattern and Transpose changes are done “Live”.

2) The song is played with the arrangement from studio day (tutorial) 4. In a live Performance entries and modulations can be made, but the basic structure is given.

In the following chapter the main focus is on this one variation. Sometimes when playing live, only a few Pattern changes are necessary to get things happening. The first variation is shown on studio day 4 where we will copy the REMIX to a digital or analog tape deck.

Live Performance:

There are a number of Demo songs already recorded into The RAVEN. You can use these as a starting point for your own compositions. Select these songs with the “SONG/BANK-SELECT” buttons. (Demo songs that have been deleted for any reason can be recalled at any time from the ROM board. Refer to the chapter “Initializing The RAVEN” on page 87). In the current mode several functions can be assigned to the “TRACK” buttons by using the “SOFT” buttons. The meaning of the selected functions are printed in red under the buttons. The following functions are possible:

Tutorial 3: Playing live on Stage

Realtime Control of Synth parameters

In the Song play mode, the functions assigned to the “SOFT” dials depends upon which of the 4 menu pages is currently active. The menu pages are accessed with the Page dial. The current menu page is shown in the lower left of the display. The following functions are available:

Menu page 1: Cutoff-frequency-modulation

|1> Cut: Bass Seq1 Seq2 Chord M:OFF

This menu allows you to modulate the cutoff-frequency of the sequencer-motives. The dials control filters of the synthesizers in realtime.

Menu page 2: Level-control drum-tracks

<2> Mix: Kick Snare HH Perc M:OFF

Two pages are used to mix the tracks in realtime. The 8 tracks are split into two pages with 4 tracks on each. On this page, The RAVEN’s drum sounds can be adjusted. The level of the 4 tracks are displayed with a beam.

Menu page 3: Level-control melodic-tracks.

<3> Mix: Bass Sq1 Sq2 Chord M:OFF

The volume of the drum-tracks is mixed on menu page 2. The volume of the melodic-tracks is mixed on the menu page 3.

Tempo control

Menu page 4: Setup of the Solo-Part.

<4| Basses: MoogBas2 Level:100 M:OFF

On this menu page, three of the four “SOFT” dials have a specified meaning. The first dial selects the Sound group of the SOLO instrument. The second dial selects the tone from the selected Sound group. The third dial adjusts the volume of the SOLO part.

In this mode, the “VALUE” dial adjusts the tempo. The current tempo is shown in the upper right of the display. The “TAP” button offers an intuitive way to adjust the tempo by tapping it in quarter notes beat values. The RAVEN will automatically adjust the tempo accordingly. You can also use the “TAP” tempo function while the sequencer is playing. This function is ideal for matching tempos when performing live.

Tutorial 4: Production of complete Songs

Realtime Transpose and Muting with the keyboard

As in Create Pattern mode, you can also make parameter changes of the Transposing and Muting, when working in the Realtime mode. When transposing, the melodic tracks (not the drum and percussion parts) are pitched up and down.

Adding the Motivator

More Realtime access

Production of complete Songs

The Motivator can also be used in the SOLO track to change the structure of played notes. For example, the Motivator builds wild sequences out of a played chord, or chops them up to create synth-pads. Refer to the chapter “Editing the Motivators” for more information. While playing live it is important to be able to turn the Motivator on and off. “SOFT” button 4 [MOT-ON/OFF] is assigned to this function. The next tutorial, studio day 4, introduces applying finishing touches to a production.

Now comes the fun! From the Preset or User patterns included in The RAVEN, we will now create a complete song arrangement which can be recorded to a tape deck or DAT. You will determine which pattern starts in the intro of the song, which tracks will be muted or played at which bar/beat and when the patterns will change. Transpose changes are also done now. For the creation of a complete song, some more things can added. The volumes of the instruments, settings of the Effect processors, the mix and tuning of the drum sounds, as well as the sound parameters of the synthesizers can all be saved within a song. See the Reference Chapters in this manual for a complete description of the Effect processors, Part parameters and drum instrument parameters. With this in mind, it is to your benefit to familiarize yourself with these features to get the maximum out of The RAVEN. Saving these parameters with the song can lead to a truly polished production.

Besides creating patterns from scratch, as in tutorial (Tutorial 2), you can create Patterns in a very short time by using the Create Pattern function. For this tutorial it works best to use User Patterns - and is a lot of fun. Preset Patterns can be used, but in this case all you would be doing is creating a “Remix-version” of a Song that already exists.

Tutorial 4: Production of complete Songs

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Create Song function

For this tutorial we need some patterns from the Song RAM. Even if you don’t know how the song will be created with the patterns or how to make an song intro or how to add melodic changes, it doesn’t matter. To get started we will let The RAVEN create a song out of the selected patterns. You might think the QUASIMIDIOTS are completely crazy, but we’ve included this feature as a creative tool. The quality of the songs depends upon the quality of the selected patterns. Ugly themes and discordant pattern changes might create a tasteless song. (cool!) Study tutorial 2 and create some new patterns. Then, try the "Create song" functions of The RAVEN. Sometimes the results are surprising.

The functions are selected as follows:

The following menu will appear:

<Stop> ________ Create your Song! [clear] [create]

To monitor what you and The RAVEN have composed, press “SOFT” button F2. To do a different mix using the same patterns, press the [create] button and The RAVEN will do a “Remix”. If you are satisfied with the results, save it or record it to tape. Hints for saving a song are in the chapter: “The Write menu”. It is also possible to arrange the song yourself in Step mode.

Tutorial 4: Production of complete Songs

INFORMATION SAVED WITH EACH SONG-STEP

Pattern Number

A Pattern Number can be entered for each Song-Step.

Beat counts

The length (in beats) can be entered for each Song-Step.

Transposing

The pitch transpose can be set for each Pattern.

Muting

The track mute status (on/off) can be set for each Pattern.

INFORMATION DISPLAYED IN THE SONG EDIT MENU

(PLAY0)

The upper left corner of the display shows which pattern is playing at

the current Song-Step. If the Sequencer not currently playing, "(STOP)"

is displayed. When "(PLAYX)" is shown, and there is no sound, you

may have chosen an empty Pattern or muted all tracks.

___x_-__

The Track-Monitor. The active tracks are shown by a beam, (like an

underline). An "X" indicates an empty track. A line raised to the middle

of the display, (like a hyphen), indicates that the track is muted.

EDIT S1

The active Song-Step, currently available for editing.

(BAR 1)

The Beat position of the selected Song-Step.

|1>

This indicates the display is currently showing Menu Page 1. It also

indicates there are more Menu Pages available by scrolling to the right.

Song Editing To leave the Create Song function, press the “EXIT” button. The display will show the following menu to

select which edit mode to enter:

[Create ] [Edit ] [Create] [Edit] |1> [Pattern] [Pattern] [Song ] [Song]

Choose the [EDIT SONG] function by pressing the “SOFT” button [F4]. The Song will start playing and the following display will appear:

(Play0) ________ Edit S1 (Bar 1) |1> Pattern:0 Trans: +0 Bars: 4 [keep] S1

Each Song can contain up to 10 patterns and each song can contain up to 99 different steps. Each Song contains the following parameters:

All these parameters can be edited while the current Song step is playing. In the Edit mode, the current Song step is played in a loop, enabling you to monitor edits in realtime. The upper line of the LCD displays information about the Song step currently playing:

The lower line of the display is where you enter the pattern number, the transpose amount and beats per minute. This can be done with the “SOFT” dials located under the parameters, or with “SOFT” buttons [F1]-[F3]. The selected parameter is indicated by the flashing cursor. Tracks are muted or enabled by holding the “MUTE” button and simultaneously pressing the appropriate “TRACK” button. This action will toggle between On and Off states.

Tutorial 4: Production of complete Songs

"Pattern"

Here you select the Pattern Number for the selected Song-Step.

Parameters can also be edited with the "VALUE" dial by selecting the

according parameter with the "SOFT" button.

"Trans"

A transpose value, (-12 to +12 steps), can be entered with each

songstep.

"Bars"

Here you enter the length of the step, (in beats).

"[keep]"

With "[keep]" you can save the Song-Step. Whenever you use

"[keep]", the step-number is incremented by 1, enabling you to edit the

next step.

"Mute"

This function is displayed on the Track-Monitor. Using the "MUTE"

button in combination with the "TRACK" button, allows the Motives to

be switched on and off.

'[insert]"

With "[insert]" a Song-Step will be inserted at the current Song-position.

Steps occurring after the current playback location will be moved in

their entirety after the inserted Song-Step.

"[delete]"

With "[delete]" the selected Song-Step will be erased. Steps occurring

after the current playback location will be moved in their entirety to

begin where the Song-Step was deleted.

"[copy to SX]"

The settings of the current Song-Step can be copied to another Song

position. The target position is selected with the dial under the

parameter. If the selected position is not located at the end of the

Song, the Song-Step of the current position will be decremented by

one step. In addition to the target Song-Step, the beat-position is

shown, and this is where the copy will be stored.

Editing an existing Songstep

If you are satisfied with the first song-step, press [keep], (“SOFT” button [F4]). This saves the settings of the selected Song step into Temporary memory. To speed up the process, The RAVEN automatically copies the data and increments the location number by one. The [keep] function enables you to edit the following step without having to select it.

In case you wish to change the settings of an existing song-step without having The RAVEN automatically change to the next song-step, you must select another song-location with the “SONG/BANK””-SELECT buttons. To edit a songstep after it has been saved, select it with the “SONG/BANK-SELECT” buttons and make your edits. Press [keep], (“SOFT” button [F4]). To jump to the end of the current song, press the right “SONG/BANK-SELECT” button until the step numbers stop changing.

To access more functions to change the song’s structure, use the “PAGE” dial and go to menu page 2:

(Play0) ________ Edit S1 (Bar 1) <2| [insert] [delete] [copy to S1] (Bar 1)

After the arrangement is done, play the song. Pressing the “EXIT” button twice will get you back to the Sequencer mode’s main page. Then press the play button.

Tutorial 4: Production of complete Songs

Pattern

The Motive settings of the Pattern will be saved.

Regulation of the

tones

All edited synthesizer parameters will be saved. Parameters such as

Volume, Pan, Sound-Selection and Sound-Group can be different for

each Pattern.

Effect-Parameters

The parameters of the assigned effects.

Motivator-settings

The settings of the Motivator.

Song arrangement

The arrangement with all settings in the play-list.

Drum settings

Changes made to the Drumset are saved with the Song.

Play parameters

The play parameters "Groove" and "Repetition-Point" are saved with

the song.

At this point it’s a good idea to save the song to RAM. The Write Song procedure can be found in the Chapter: “Writing Patterns to Song memory” on page 17. This will save the settings as well as the arrangement. After you are satisfied with the Song, proceed to mixdown. The reference section of this manual contains information for all of The RAVEN’s parameters. All parameters which affect the sound of your final mix, are stored in the Song memory. The RAVEN has a 10 Song memory capacity. The following table shows which parameters are stored in Song memory:

Klaus Schulze himself with QUASIMIDI CYBER-6 and RAVEN

Part Editing

Group

The many sounds of The RAVEN are grouped into catagories, or

'Sound-Groups', such as Basses, Organs, Drums, etc... .

Sound

Select the sound from the Sound-Group chosen with [F1].

Mode

The Parts can be used in different 'playmodes', such as polyphonic and

monophonic modes. The following table explains the different modes.

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Sound Editing

Sound selection and Part mode

The sounds of the single Parts can be changed and edited. Sound changes are stored in the Performance section as well as the Song section. When a new song is stored, the Sequence-Part settings are also stored. Song mode has another useful feature. Certain Part parameters are stored separately for each individual pattern. Below is a list of the stored parameters followed by an explanation of all Part parameters.

Part parameters stored within the patterns:

The remaining Part parameters are stored with the song only. They affect the entire song. Both Song and Performance modes allow access to the Part parameters with the “Edit Part” button. Parts to be edited are selected with the “Track” buttons. Channels 1-16 can also be selected by the “SONG/BANK-SELECT” buttons. In the Performance mode 1 to 4 parts can be used. These are selected by “Track” buttons 1 through 4. Unused Parts of a Performance are marked in the display.

Press the “Edit-Part” button, then turn the “PAGE” dial counterclockwise. The display shows the following:

Edit Part 1 |1> Soundselect Group: SynLead A128:PercBana Mode: ON

Menu page 1> is for selecting the sound of the Part and setting the Part mode.

In all menu tables, the display controllers ([F1]-[F4]) of the corresponding parameter are shown in the first column. This makes it is easy to tell which controller belongs to which parameter. Following are all Part mode settings:

Part Editing

"Mode:" off

This mode setting switches off the corresponding voice. This setting is

particularly useful when controlling The RAVEN from an external

sequencer and need to use some of the 16 MIDI channels for another

MIDI device. If a Part is turned off, an "X" is shown in the MIDI

monitor.

"Mode:" on

This mode setting is the normal polyphonic playmode. The RAVEN

works with up to 21 voices. These are dynamically allocated among

the individual Parts.

"Mode:" mono

=> enables

portamento

Parts using this mode setting are monophonic, meaning you can only

play one tone at a time. The voices have a "Last Note Priority".

"Mode:" Lead

=> enables

portamento!

The "Lead" mode is also monophonic, but has "Highest Note Priority".

Lead and mono modes also use the single trigger principle: Hitting a

second key without releasing the first key will not generate a new

envelope.

"Mode:" ext

This mode setting can be used in Sequencer mode. With this function

you can control external synthesizers or drum machines using The

RAVEN's sequencer. Instead of an internal synthesizer Part, an

external MIDI device is triggered. The MIDI channel numbers

correspond to track button 1-8. Some Part parameters can also be

sent to external devices, such as Bank Select, Program Changes and

Volume and Pan controllers.

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Output Routing

When the “PAGE” dial is turned one position to the right, the next menu page appears:

Edit Part 1 <2> Output-Assign Level:127 Pan: >C< FX1: 63 FX2: 0

Menu page <2> contains parameters to adjust the Volume, Pan, and the Effects.

The following list shows the various pan positions. In addition to fixed positions, The RAVEN offers some special panorama effects.

Part Editing

DISPLAY

PAN POSITION OR EFFECT

"---"

The selected Part is only sent to the Effect Processors

"> C <"

Positioned in the center of the stereo field

"L < 7" - "L < 1"

Various degrees of Left panning

"R > 1" - "R > 7"

Various degrees of Right panning

"RND"

Randomly controlled stereo positions for each individual voice

"KEY"

The Note number determines the pan position. Lower notes send

voices to the Left; higher notes send voices to the Right. The amount

of panning depends on how low or high the note is

"YEK"

A reversed version of the "Key" effect

"DYN"

The Key Velocity determines the pan position. Lighter key velocities

send voices to the Left; harder key velocities send voices to the Right.

The amount of panning depends on how light or hard the key is played

"NYD"

A reversed version of the "Dyn" effect

"Coarse-Tune"

Adjusts the course tuning in semi-tones over a range of 4 octaves

"Fine-Tune"

Adjusts the tuning in fine increments. A value of 63 is equal to one

semi-tone

Tuning Parts

Synthesis Filters

Menu page <3> contains parameters to tune the Parts by steps or cents.

Edit Part 1 <3> Transpose/Tune Coarse-Tune: +0 Fine-Tune: +0

Menu page <4> contains parameters for adjusting the Low Pass Filter (LPF). Filters are the most important element of Subtractive Synthesis. In addition, The RAVEN offers FM and Additive Synthesis. (The LPF has no affect with FM and Additive Synthesis.)

Edit Part 1 <4> DCF-Offsets Cutoff-Freq.: +0 Resonance: +0

Hint: Reduce the volume of a Part when using high Resonance values. This will prevent the sound from going into self-oscillation and causing digital distortion. A more dramatic effect of filter-modulation can be achieved with the Modulation Matrix. Realtime controllers can be used effectively to modulate these parameters.

Part Editing

"EG-Attack"

Sets the rate at which the envelope rises to its maximum level when a

note is struck.

"Decay"

Sets the rate at which the level drops to the sustain level once the

maximum level has been reached.

"Release"

Sets the rate at which the level falls to zero once the note has been

released.

"LFO-Depth"

The maximum amount of pitch modulation that can be applied to the

sound.

"Rate"

The rate that the pitch modulates once modulation takes place.

"Delay"

How long after the note is struck before the LFO begins to take effect.

"Cutoff-Freq"

Adjusts the starting point of the Cutoff Frequency. At lower values the

filter will not let as many high frequencies pass, and a "darker" sound

results. At higher values the filter allows more high frequencies to pass

resulting in a "brighter" sound. The filter effect corresponds with the

preprogrammed value.

"Resonance"

Controls the feedback strength of the filter. This can be used to

emphasize frequencies around the cutoff frequency. High settings

produce self-oscillation: You can create new tones with this parameter.

Envelope section

Pitch Modulation

Menu page <5> contains parameters for editing the envelopes. They are used to shape the sound over time. The display shows the following:

Edit Part 1 <5> EG-Offsets EG-Attack: +0 Decay: +0 Release: +0

Menu page <6> contains parameters for editing the Low Frequency Oscillator (LFO).

Edit Part 1 <6> LFO-Offsets LFO-Depth: +0 Rate: +0 Delay: +0

Modulation amount

Menu page <7> contains parameters for connecting the Modulation matrix in the Common menu to the various Parts. It also controls the modulation amount of the selected parameter. For example: To use the modulation wheel for controlling the Cutoff-frequency, set up the parameter “Tone” in the belonging part. In the Common menu increase the modulation amount for the Modulation Wheel and the parameter “tone”. The Chapter “The Modulation Matrix” on page 33 for more information. The settings are Part-independent.

Edit Part 1 <7> Modulation-Depth Lfo: 76 Vol: +0 Pitch: +2 Tone: -64

Part Editing

"LFO"

The intensity of the LFO effect controlled by the modulation source.

"Vol"

The depth or amount of volume change applied during modulation.

"Pitch"

The amount of pitch change applied during modulation.

"CutFreq"

The intensity of how much the sound changes. For sounds based on

subtractive synthesis this parameter controls the cutoff-frequency. For

sounds based on FM synthesis this parameter effects the feedback of

the operators.

"VeloCurve"

Determines which Velocity Curve is used while playing the keyboard.

Velocity types are explained in the following table.

"Porta-time"

Adjusts the rate at which the portamento effect is applied.

"Hold"

Determines whether or not the selected Part uses the Hold pedal for

sustain, etc... .

1 - 8

prefix of "-"

The result of the velocity curve will be inverted. This function is useful

when creating 'cross-fade' sounds in Performance mode. Sounds of

two Parts must be active and they must be provided with opposite

velocity-curves.

"LIN"

The standard setting; no velocity curve processing.

"LIN-"

A 'compressed/expanded' curve. Quiet passages will be louder than

they are played, louder passages will be quieter.

"LIN+"

Sensitivity is increased overall, but the curve stays linear.

"Exp-"

This compressed curve has an exponential response.

"Ex—"

The same as "Exp-", but with more compression.

"Exp+"

This expanded curve has an exponential response.

"Ex++"

The same as "Exp+", but with more expansion.

"FIX"

The velocity value is fixed (85/127), independent of the dynamics

played on the Keyboard.

These parameters have only an effect if at least one MIDI Controller is assigned to the above mentioned parameters. For example, if there are no Controllers assigned to the Filter, changing the modulation-depth (intensity) of the chosen part has no effect.

Key Velocity, Portamento Time and Hold

Menu page <8 contains the Keyboard-Control parameters. On this page the Velocity Curve, Portamento Time and Hold Pedal settings are made.

Edit Part 1 <8| Keyboard-Control VeloCurve: LIN PortTime: 0 Hold: On

The following table lists the different key Velocity Curves.

Common menu: Performance programming

Common parameters

The type of Performance, Controller assignment, Controller Matrix,

Master Volume and Footswitch function.

Part parameters

The sound parameters of all Parts included in this Performance.

Effect parameters

The selected Effect algorithms, including all parameters of FX-1 and

FX-2.

Motivator parameters

The operating mode of the Motivator, including all Motivator

parameters

Parameters of the

Main Page

The Main Page in Performance mode is similar to the Main Page in

Sequencer mode, except that there is the advantage of being able to

edit a particular parameter on all four Parts simultaneousl. For

example, you can change the four Pan values of a Layer-4

Performance on Menu Page 5. (refer to: Tutorial 1, "Getting to know

The RAVEN").

Performance programming

In addition to the Part parameters which are stored in both the Song memory and the Performances, the Common parameters offer additional functions in Performance mode. The Edit Common menu is where you decide how the various parts of The RAVEN are controlled. The keyboard can be split into two independent zones or single sounds can be layered to trigger different sounds simultaneously. Additionally, controllers can be assigned to different parameters of The RAVEN and the function of the footswitch can be programmed. There are a number of parameters controlling Performance sounds that are stored in Performance memory. The following parameter groups are stored with the Performances:

Selecting Performance Types:

This chapter introduces the parameters of the Common-Edit menu and explains the method of creating a Performance. Because Common parameters are associated only with Performances, first select the Performance mode. You must be in Performance mode in order to enter the Common section. Store any unsaved patterns or songs before entering the Common-Edit menu by using the “Write” menu. As an example, go to the Performance named “DIARY”. Press the left “SONG/BANK-SELECT” buttons repeatedly until the display shows User-Bank 0. Select performance 00 by pressing Track button “0”. The selected Performance is composed of three sounds which are layered over the entire keyboard. The three bars in the top right corner of the display, indicates the sounds being triggered and their velocity.

USER-00:Diary |1> Soundgroup ___ SynPads2 SynPads1 SynPads1

Enter the Common menu by pressing the “EDIT-COMMON” button. Menu page 1> contains parameters for the selected Performance. The display will show the following:

Edit Common |1> Performance-Parameter PerfType: Layer3 Level:127

On this menu page you select between several Performance Types and adjust the master Level (volume) of the Performance. In our example the Type is a “Layer-3” Performance. The Performance Type is selected with the [F2] controller.

Common menu: Performance programming

PERFORMANCE TYPE

DESCRIPTION

"Single"

Individual Single-sound. Assigned to Part number 1.

"Double"

Two sounds are layered. Assigned to Parts 1 and 2.

"Layer-3"

Three sounds are layered. Assigned to Parts 1, 2 and 3.

"Layer4"

Four sounds are layered. Assigned to Parts 1, 2, 3 and 4.

"Split 1+1" "Split 1+2"

"Split 1+3"

One sound is to the left of the splitpoint, the others are to the right. The

parameter, "Key: C3" determines the splitpoint. Sounds to the left of the

splitpoint are assigned to Part 1. Sounds to the right are assigned to

Parts 2 - 4.

"Split 2+2" "Split 2+1"

"Split 3+1"

Two or three sounds are to the left of the splitpoint, the others are to the

right. The parameter, "Key: C3" determines the splitpoint. Sounds to the

left of the splitpoint are assigned to either; Parts 1 and 2 or Parts 1, 2,

and 3. Sounds to the right are assigned to either; Part 3 or Parts 3 and 4.

“DynSplit”

Two sounds are mapped across the entire keyboard, and are switched by

Velocity. Only one sound can be heard at a time. The parameter, "Dyn:

0-127" determines the switch-point. Sounds are assigned to Parts 1 and

“DynSplit2”

Similar function to "DynSplit", except two sounds can be "stacked" for

each Velocity zone. For example: Two sounds triggered from velocity 0-

60 and two different sounds triggered from 61-127.

"SndRotate"

Four keys played one after the other will trigger the sounds that are

assigned to Parts 1 - 4. When you use the arpeggiator function you can

produce a 'wave-sequence'-type effect

"Unisono"

Layered Performance with all four Parts playing the same sound. Each

Part is slightly detuned against the others by default. The detune

parameter can be adjusted between values 0 and 127.

"PerfMode"

Selects the type of Performance.

"Level"

Adjusts the overall Volume level of the Performance.

"Detune", "Key" or

"Dyn"

Adjusts 'special function' parameters associated with the selected

Performance type.

The number of parameters in each menu depends on the type of Performance you have selected. The controllers [F1] & [F2] have the same functions in every Performance menu.

The Performance Type and other parameters can be edited without loosing Performance data in memory. Edits are stored in a temporary buffer. Edited Performances are not permanent until stored in a memory location.

The Common menu: Performance programming

Hold-Pedal

Selecting this setting will 'Hold' played keys when the footswitch is

depressed. For example: A percussive sound will take longer to decay

and the volume will stay louder, longer. This function can be different

for each individual Performance.

Motivator-Freeze

Selecting this setting adds a unique feature to the Motivator. A

generated arpeggio or 'wave-sequence' can be stored temporarily by

pressing and holding the footswitch. You can then transpose the

sequence in realtime by pressing a new key on the keyboard. (Refer

to the Chapter, "Editing the Motivator").

Footswitch functions:

Modulation Matrix

Menu page <2> contains parameters for control of the connected footswitch.

Edit Common <2> Footcontrol-Parameter Footswitch-Function: Holdpedal

Controller [F3] selects between two possibilities:

The Modulation matrix is where you assign the realtime controllers of The RAVEN or incoming MIDI data to several parameters in different menus. The following diagram illustrates some of the various possibilities. There are 4 possible sources and up to 8 destinations.

Modulation-sources

Modulation-destinations

Menu page <3> contains parameters for assigning Modulation Sources to the first 4 of 8 destinations. The display shows the following:

Edit Common <3> Mod.Source: PitchBend Lfo: 0 Vol: 0 Pitch: 63 CutFrq: 0

The top right corner displays the name of the Modulation source. The second line displays destinations 1

- 4 to which the controller is assigned. The adjustable parameter is the ‘depth’ or the amount of how much the Modulation source will affect that destination. Menu page <4> contains parameters for assigning Modulation Sources to the second 4 of 8 destinations. The display shows the following:

Fx2A: +0 Fx2B: +0 ArpDy: +0 ArpGat: +0

Common menu: Performance programming

"LFO "

The intensity of the LFO effect controlled by the modulation source.

"Vol"

The depth or amount of volume change applied during modulation.

"Pitch"

The amount of pitch change applied during modulation.

"CutFreq"

Adjusts the starting point of the Cutoff Frequency. At lower values the

filter will not let as many high frequencies pass, and a "darker" sound

results. At higher values the filter allows more high frequencies to pass

resulting in a "brighter" sound. The filter effect corresponds with the

preprogrammed value.

"Fx2A"

Fx2A and Fx2B select parameters to be controlled for Effects

Processor FX2, with a value range of -63 to +63. The function

depends on the selected Effect algorithm. (refer to the Chapter,

"Realtime Effects Control).

"Fx2B"

"MotDy"

This parameter adjusts the amount of 'dynamic' change of the Motivator

sequence, with a value range of -63 to +63. It can be thought of as an

offset which is added or subtracted to single notes of a playing

sequence or arpeggio.

"MotGat"

This parameter controls the length, or 'gate-time', of the notes played

by the Motivator, with an effective range from staccato to legato.

Select a Performance type

Before you start programming, it is often a good idea of the

sound or effect you want to create. For example: To program

a 'fat' sound, select a Layer-3 or Layer-4 Performance type. To

program a 'wave-sequence'-type sound, select a Sound-Rotate

Performance type.

Select the Single-sounds

and adjust the volumes

On the Main Page of the Common Menu, select the sounds that

will make up the Performance, adjust the volumes and pan

positions. This is an important step in programming

Performances, because it is often a good representation of the

final sound.

The following two tables explain the destinations. Menu pages <3>, <5>, <7> and <9> contain Part parameters and the Menu pages <4>, <6>, <8> and <10> contain parameters for Effect processor 2 (FX2) and the assignable functions of the Motivator.

The RAVEN is capable of having up to four single sounds play together in a Performance. The Common menu contains modulation parameters that affect the Performance globally. The Edit Part menu contains modulation parameters for individual Parts. Modulation parameters saved with a Part retain their settings even when used in a Performance, giving you the option of using modulation with only certain Parts in the Performance or on the Performance as a whole.

This Chapter covered the parameters of the Common menu. A Performance can be created from scratch or by altering an existing Performance. The following table summarizes the creation of Performances.

Fine tune the Single-

sounds

If you would like to change sounds or adjust certain parameters

this is a good point to do so. You can fine tune Single-sounds

by switching to the EDIT PART Menu.

Select Effects

Now it is a good time to assign some or all of the Parts in the

Performance to one or both of the built-in Effects Processors.

Remember to adjust the FX-sends for each of the Parts. Then,

switch to the EDIT-FX menu and adjust the parameters of the

selected algorithm.

Add some Modulation ?

To use The RAVEN's real-time features while playing, assign

realtime- or MIDI-controllers in the Modulation Matrix. This is

done in the COMMON Menu for the whole Performance and the

EDIT PART Menu for individual Performance Parts.

Using the Motivator

To use the Motivator to generate amazing bass-lines or thrilling

sequences (!), select the EDIT MOTIVATOR Menu. Access this

menu by first entering the EDIT-FX Menu, then select [F3].

Store the Performance:

After you are satisfied with your Performance, you should save

it to a free User memory location. This is done in the WRITE

Menu. Press the WRITE button and follow the prompts.

Editing the Motivator

MOTIVATOR MODE

DISPLAY

DESCRIPTION

Arpeggiator

ARPEG

The Arpeggiator produces sequences based on

the notes and chords you play on the keyboard.

When you play a chord on the, the notes are not

sounded simultaneously, but one after the other in

a rhythmic sequence.

Gater

GATER

The Gater switches played notes or chords on and

off rhythmically. This is done by controlling the

sound's volume with MIDI controller #11,

"expression". This setting is especially effective

when used with the Sequencer.

Chord-Rhythmizer

CHORD

In contrast with the Arpeggiator, the Chord-

Rhythmizer retriggers entire chords rhythmically.

When used in conjunction with the "Track-Rotate"

function it produces a 'wave-sequence'-like effect.

Editing the Motivator

The Motivator arranges notes that are played on The RAVEN’s keyboard in multiple ways. This enables easy production of machine-like rhythms and sequences. The Motivator has three basic modes of operation:

The Motivator can be used in Performance mode as well as Sequencer mode. Settings of the Motivator are stored in each Performance and in each Song. When used in Sequencer mode, the Motivator plays the sound assigned to the solo track. When used in Performance mode it can be routed to any of the Parts, with one exception: In the Performance modes “Unison” and “Track Rotate”, the Motivator is routed to all four performance parts. The Edit Motivator menu is accessed from the Edit FX submenu. Press the “EDIT FX” button, then the “SOFT” button under Edit Motivator ; [F3].

[Edit] [Edit] [Edit ] [Fx1 ] [Fx2 ] [Motivator]

Editing the Motivator

"Mode"

Selects the Motivator mode.

"Trig"

This parameter is only available in Sequencer mode and is used in

conjunction with "Gater" or "Chord". Select the track which triggers the

Motivator.

"Part"

This parameter is only available in Performance mode. Select the

Performance Part to be controlled by the Motivator.

"Hold: ON/OFF"

When turned on, the notes are still played after the keys are released.

The Motivator 'theme' changes only after all keys have been released

and new keys are played. When turned off, keys that are released will

be removed from the Motivator theme, too.

"M: ON/OFF"

This parameter turns the Motivator function on or off.

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Menu page 1> of the Edit Motivator menu will differ depending upon which mode The RAVEN is in. In Song mode, the display will show the following:

Edit Motivator |1> Mode-Parameter Mode: Arpeg Hold: ON M:ON

In Performance mode the menu contains an additional parameter allowing you to select which Part the Motivator is routed to:

Edit Motivator |1> Mode-Parameter Mode:Arpeg Part: 1 Hold: ON M:ON

Only Parts used in the current Performance can be selected, except when using the “gater” or “chord” function in Sequencer mode. In this case a Sequencer track can be selected to trigger the Motivator. For example, the rhythm of the chords in gater mode controlled by the hihat track. The chords that are played, have the rhythm of the hihat Motive. The display will show the following:

Edit Motivator |1> Mode-Parameter Mode: Gater Trig:HIHAT Hold: On M:ON

Any of the eight can be selected with “SOFT” knob [F3]. The table below explains the parameters of the Edit Motivator menu:

Menu page <2> contains parameters for adjusting the Motivator’s rhythmic timing and whether or not note data is sent to the MIDI out.

Edit Motivator <2> Timing/Switches Resol: 16 Gate: 64 Dyn:OFF Midi-Out:OFF

Editing the Motivator

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"Groove"

Selects which note values are affected by the groove.

"Depth"

Controls the depth of the timing variation. Hint: Smaller values are

recommended for faster tempos.

"Dir"

This changes the order of the notes played by the Arpeggiator. The

possible values are expained in the next table.

"Octaves"

Sets the number of octaves, through which the arpeggio is transposed.

A value of "2" plays the theme once in original pitch and then once one

octave higher.

"Doubl"

The Arpeggiator plays each note twice.

Groove Quantize

Note Directions

Menu page <3> contains a unique parameter. As opposed to normal arpeggiators that generate machinelike patterns, the Motivator on The RAVEN can ‘groove’! The Motivator achieves this by playing the notes in the first half of the pattern a little slower and playing the second half of the pattern a little faster while maintaining correct timing for each quarter note. This parameter can be used with 8th or 16th notes . When the resolution is set to 16th notes, the Groove parameter should also be set to 16th notes, otherwise, it might sound very strange! In Sequencer mode the groove is controlled by the song’s setting. Only one Groove setting can be used at one time. Following is the display containing the Groove parameters:

Edit Motivator <3> Groove-Parameter Groove: 16tel Depth: 0%

Menu page <4> contains parameters only available in Arpeggiator mode. Since these parameters have no effect in other modes, lines are displayed instead of values.

Edit Motivator <4> Motiv-Generator Dir: UP Octaves:1 Doubl:OFF LngFit: ON

Global Song parameters

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"UP"

Notes are played in ascending order.

"DOWN"

Notes are played in descending order.

"UPDW"

Notes are played first ascending and then descending.

"RND"

Notes are played in a random order. The theme will always change.

"ASGN"

Notes are played in the order as played.

"Transpose:"

ON/OFF

Switches the Motivator transposition on or off.

Possible values for the Arpeggiator’s ‘Direction’ parameter are explained below:

Menu page <5 is only available in Sequencer mode. It contains parameters that determine whether or not arpeggios and rhythmic chords are transposed when the Sequence is transposed. For example, when turned on and the sequence is transposed from the key of Cmin to the key of F#min, the Motivator will be transposed also and will stay in key. The display will show the following:

Editing Play & Groove parameters in Sequencer mode

Edit Motivator <5| Transpose Transpose: OFF

The RAVEN’s patterns are normally played in fixed quantize grids. This is appropriate for certain styles of music, but some situations call for a different feel such as a groove or a shuffle. The RAVEN’s Groove function, 8th and 16th notes in the first half of the pattern are played first a little slower and in the second half a little faster. The effect of the Groove function is more audible with slower tempos than with faster tempos, and typically sound very good at tempos between 90 to 110 BPM. The Groove parameters are Sequencer Play-Parameter menu. To access this menu, enter Sequencer mode, The display will show Sequencer menu page 1>.

[Create ] [Edit ] [Create] [Edit] |1> [Pattern] [Pattern] [Song ] [Song]

Press “SOFT button [F4] under “EDIT SONG” to enter menu page <2:

[Edit ] <2| [Play-Parameter]

Press “SOFT” button [F1] to enter the Sequencer Play-Parameter” menu page:

Sequencer Play-Parameter

Groove: 16th Depth: 0% RepPoint: G

Global Song parameters

"Groove"

Selects in which note grid the groove function will operate.

"Depth"

Controls the depth of the timing variation. Hint: S maller values are

recommended for faster tempos.

"RepPoint"

Select the highest key in the theme, above which transposition goes

downwards.

Following is an explanation of the two parameters which are adjusted with “SOFT” knobs [F2] and [F3]:

The Groove parameters can be programmed and stored for each song individually.

Changing the Repetition Point

As stated in an earlier Chapter, patterns can be transposed by pressing keys on the keyboard. The transposition range is always one octave but you can set the point above which The RAVEN moves the transposition to the lower octave. This is done by changing the high note in the octave, known as the ‘Repetition Point’, above which the transposition works downwards. This parameter can also be accessed in the Play Parameter menu. To access the Repetition Point parameter, enter Sequencer mode. The display will show the following:

[Create ] [Edit ] [Create] [Edit] |1> [Pattern] [Pattern] [Song ] [Song]

Turn the “PAGE” dial to enter go to page <2>:

[Edit ] <2| [Play-Parameter]

Press the “SOFT” button [F1] to enter the Play Parameter menu. The display will show the following:

Sequencer Play-Parameter Groove: 16th Depth: 0% RepPoint: G

The Repetition Point value can be changed with the knob [F4]:

This parameter value is saved with the song data. To exit this menu press the “EXIT” button.

Pattern Editing

This Chapter is one of the most extensive Chapters in this manual. The Pattern Edit menu offers the following possibilities:

1) direct selection of complete ROM patterns

2) create Motives to build new patterns

3) create User Motives realtime or in Step by Step

4) drum programming similar to as on TR-909 or 808

The Edit menu offers some useful and powerful tools for creating your own Motives. And as compared to standard computer/software combinations there are some unique features available in The RAVEN’s pattern editing section that make production work even easier. This Chapter approaches the Edit Pattern menu one step at a time. To demonstrate the examples, make an empty song by pressing the red “WRITE” button. Select menu page <2>, “Init Pattern/Song” with the “PAGE” dial:

Press [ok] (“SOFT” button [F1]) to initialize the song memory. The RAVEN will ask for confirmation:

<2> Init Pattern/Song? [ok]

Init... Sure? [ok] [cancel]

Selecting the Edit Pattern menu

Press [ok] (“SOFT” button [F1]) again to proceed with the initialization. At this point, there is an empty song in the temporary memory. All edits will be held in this memory even when The RAVEN is powered down. If a different song is selected or if the memory is re-initialized, all edits will be lost. Therefore it is a good idea to save the song to memory location. This procedure is explained in the Chapter “The Write menu”. After clearing the temporary song memory, press “EXIT” to leave the Write menu.

Press the “EDIT SONG” button. The following menu of Sequencer edit functions appears:

[Create ] [Edit ] [Create] [Edit] |1> [Pattern] [Pattern] [Song ] [Song]

Select [Edit Pattern]. The display will show the following:

Select... [Load ] Pattern:0 [ok] [Rom Pattern]

Select a Pattern to edit. Each song of The RAVEN consists of up to 10 different Patterns, numbered 0 to 9. If the Song was not cleared, you would now be able to press play and hear the selected Pattern. This simplifies the search a Pattern when making changes to a Song during the arrangement process. Since the Song is empty, playing the Pattern is not possible. Patterns are selected with the knob [F1] and the Pattern number will be displayed. You can either load one of the ROM Patterns into RAM or proceed right to the Edit menu. Listen to some the ROM Patterns first to get some ideas for your own creations.

Pattern Editing

"Mtv"

Selects the Motive Bank for the current track.

"Motiv"

Selects the Motive Number from the selected Motive Bank.

"Trans" On/Off

Turns transposition for the selected track on or off. Only available for

'tonal' tra cks.

"keep"

Copies changes made to the Pattern to the Song's Pattern memory.

The functions listed below are available in all PATTERN EDIT menu pages.

"TRACK" Buttons

Selects the track to be edited.

"MUTE"button

When holding down this button, you can mute and demute each track

with the corresponding track button.

Loading a ROM Pattern

The RAVEN’s ROM patterns are combinations of pre-produced Motives. To hear the Motives in their original combinations select [Load ROM Pattern] on the Edit Pattern menu page <1> .

Any motive-combinations in the selected song pattern will be replaced with the ROM pattern.

Load ROM-Pattern Bnk: MtvA ROM-Pattern: 0 [keep]

The ROM patterns are located in 6 Motive banks named banks A to F. Each bank contains 64 patterns. Pattern numbers 0 to 51 contain grooves and numbers 52 to 63 are fills and breaks. Knob [F1] selects the Motive bank and knob [F3] selects the pattern. Selections can be made with greater accuracy by first pressing the “SOFT” button [F1] or [F3] and then changing the associated value with the “VALUE” dial. The pattern can be played immediately. To change the tempo press the “TAP” button and change the tempo with the “VALUE” dial. The tempo is displayed in Beats Per Minute (BPM) in the upper right part of the display. After setting the tempo you can continue auditioning patterns by pressing “SOFT” button [F3] and selecting patterns again.

To place a pattern in your song press [keep] (“SOFT” button [F4]). This copies the ROM pattern into song memory and returns The RAVEN to the first page of the Edit Pattern menu:

Select... [Load ] Pattern:0 [ok] [Rom Pattern]

The newly loaded pattern can now be processed by pressing [ok] (“SOFT” button [F2]), which changes the display to:

Changing the Motive Assignment of Patterns

(Play0) ________ Edit P0 Bass-Track+|1> Bnk: MtvA Motiv: 1 Trans: ON [keep]

Menu page 1> contains parameters allowing you to select Motives for the individual tracks. This page is similar to the Pattern selection page previously explained. The main differences on this page is that Motives can be changed for one track at a time and also whether or not the tonal tracks (bass, sequence 1, etc..) shall be transposable in the song. Additionally, you can access the User Motives if there are any in memory. This will be covered in greater detail in an upcoming Chapter.

Pattern Editing

“TAP”-button

With the TAP button you can change the tempo by tapping quarter

notes. After having pressed the tap-button once, the tempo can also be

changed with the value-dial. To return to normal parameter editing,

press one the corresponding soft buttons F1 to F4.

"Length"

This sets the length of the Motive in multiples of 4/4. Each Motive in a

Pattern may have an individual length. This parameter is not available

for already recorded tracks, since the Motive length can only be

changed on empty tracks.

"clear"

Clears all data, including notes, in the selected track. Select the

desired track with the Track buttons.

"del-ctrl"

Deletes all data, other than notes, on the selected track. Data, such as

Pitch Bend, Aftertouch and MIDI Contrillers are deleted with this

function.

"Click"

Turns the metronome click on or off.

Setting Track Volumes

Deleting Tracks and Controller data, Adjusting Motive lengths, and the Metronome.

Menu pages <2> and <3> contain Mix parameters for setting the volume levels of the tracks. These pages can be accessed with the “PAGE” dial.

(Play0) ________ Edit P0 Kick-Track*<2> Mix:____ Kick Snare HH Prc

(Play0) ________ Edit P0 Kick-Track*<3> Mix: ____ Bass Sq1 Sq2 Chrd

These menu pages allow you to adjust the volume of the drum sounds (page <2>) and the melody instruments (page <3>) with the four knobs under the display. The adjustment of the other pertinent settings (pan, FX levels, etc_)can be done from the Part Edit menu. All of these parameters are saved in each pattern.

Menu page <4> contains other track editing functions and can be selected with the “PAGE” dial:

(Play0) ________ Edit P0 Bass-Track+<4> [clear] [del-ctrl] Click: ON

Recording User Motives

This display offers the following possibilities:

The next section contains information for recording User Motives. There are a number of different approaches to this. Drums can be programmed in a mode inspired by older Roland_ drum machines. Complex lines and hooks can be created in a brand-new way by first recording the notes step-by-step and then editing the rhythm of the notes in realtime. This allows the creation of tracks which would otherwise require a lightning-acrobatic-finger technique! Furthermore, you can record directly in realtime. On to the next tutorial.

Pattern Editing

"Mode"

Select the realtime recording mode here.

"Mode: NORM" 'Replace' recording; old notes and data are replaced.

"Mode: DUB" Newly recorded notes and data are added to the track's

existing data.

"Mode: DYN" Replaces only the dynamics, (key velocity) data while

leaving note data intact. Wheel 2 is assigned to control the dynamics.

Useful with sounds that have velocity-controlled envelopes. Although

this effect can be achieved by using MIDI controllers, this method uses

very little m emory.

[record]

Starts recording after a countoff of 4 quarter notes.

[ — ] or [undo ]

Erases the most recent action, whether it was recording or

quantization. This is only available if data exists on the track.

[quant]

Quantizes the notes of the selected track. The grid size can be

changed with knob [F4]. The note placement will be moved to this

grid.

Realtime Recording

Before creating User Motives, select an empty Song-pattern. To do this, exit the Edit menu and on the first page displayed after selecting the Edit pattern menu, select an empty pattern. To leave the Edit pattern menu, press the “EXIT” button. The display shows the following:

[Create ] [Edit ] [Create] [Edit] |1> [Pattern] [Pattern] [Song ] [Song]

Select the Edit pattern again menu by pressing the appropriate “SOFT” button.

Select... [Load ] Pattern:0 [ok] [Rom Pattern]

Select an empty Song-pattern, press [ok], and select Pattern Edit menu page <5> with the “PAGE” dial:

(Play1) ******** Edit P1 Kick-Track+<5> Mode:Norm [record] [  ] [quant]:16

Pattern Edit menu page <5> contains parameters and action-buttons for selecting the recording mode and quantizing notes:

For quantization to obtain useful results, play with the metronome. Otherwise, quantization will move notes to beats that do not necessarily relate to the song. Recording is done on the currently selected track.

Pattern Editing

DESIRED ACTION

NAME

DESCRIPTION

Listening without recording

Play

This mode offers no editing possibilities, although

you can play along with the Pattern as it plays.

Realtime recording

Real

Records drum notes in realtime. Quantization is

applied, according to the "Grid" parameter,

during recording.

Entering the rhythm in realtime using the

full keyboard for one instrument.

roll

Maps the selected drum instrument across the

entire keyboard. Useful for easily recording

drums rolls and fills.

Drum programming (TR-909 style)

Edit Pattern menu page <6> contains two available recording modes and can be selected with the “PAGE” dial:

(Play1) _******* Edit P1 Perc-Track+<6> [drumgrid] Grid: 16 [step-rec] Mode:NOTE

The first two parameters or action buttons are for the drum program mode (similar to the older Roland drum machines) and the second two parameters are for the step-by-step recording. The Drumgrid method is explained next. First, select the grid size for the drum programming function with the knob [F2]. This selects the note values (8th, 12th, 16th, 24th or 32nd) notes. Press [drumgrid],(“SOFT” button [F1]), and the display will show a series of dots. Each dot represents a step with the resolution you have selected.

| 1/2 | ................................

Drumgrid-Mode: Play Instr: C2 Bassdrum

If Start/Stop is pressed, the Sequencer starts and a star sign marks the current position in the grid. Knob [F2] selects the edit mode and Knob [F4] selects the drum instrument to be displayed and edited. If the track contains more steps than will fit in the display, the track can be moved with the “SONG/ BANK-SELECT” buttons. The window number which is currently displayed is shown in the upper left corner. For example: When editing a track that is four bars long with 16th notes, only 2 bars (32 steps) can be displayed at a time. Use the “SONG/BANK-SELECT” buttons to toggle between the first screen (1/2) and the second screen (2/2) in order to view the track as needed. The lower right part of the display shows the current selected drum instrument (here: C2, bassdrum). You can leave the drumgrid mode simply by pressing the EXIT button. In the table below the different edit modes are explained:

Pattern Editing

Selecting the drum instrument and pitch

Inst

Selects the drum instrument and contains the

pitch parameter.

Editing step by step

Step

The familiar mode offered on many older drum

machines. You can set or clear steps of the grid

with the white keys. Key velocity is recognized

and displayed as a bar with its height relative to

how hard the key was played. The numbers

printed above the white keys and display

represent the steps in the drumgrid.

Subsequent changing of dynamics

Dyn

Use this mode if you are satisfied with the

rhythm, but would like to change some of the

velocities. Press the key on the step to be

edited, until satisfied with the velocity. You can

also hold down the key and use Wheel 2 for

adjusting the dynamics.

deleting single steps

clr

In contrast with the step function, steps can only

be deleted here. To delete all steps, hold all the

keys down.

While in Drumgrid mode, you cannot select a different track. To select another track, leave the editor using the “EXIT” button. Remember that using the Drumgrid with different resolutions might result in moved notes since notes are automatically quantized. A solution is to use multiple tracks when working with multiple grid resolutions. When satisfied with drum beat, leave the Drumgrid mode by using the “EXIT” button. The Step Recording mode is explained next.

Step-by-Step programming

Grooves & Breaks

Enter the Step Recording mode from Edit Pattern menu page <6>. It allows the recording of notes independent of their timing. You then record the timing in a second take. The last two parameters on page <6>deal with this function:

(Play1) _******* Edit P1 Chord-Track+<6> [drumgrid] Grid: 16 [step-rec] Mode:NOTE

For learning this function, select a tonal track (e.g. chord-track). With the knob [F4] you can select the recording of notes or timing. Timing is only available after notes have been recorded. Note: The parameter record-mode (normal/overdub) of menu page <5> is also active here. Select Mode [note], then [step-rec] (“SOFT” button [F3]). Now play single notes or chords without paying attention of the timing. Then set the Mode to [time] with the knob [F4] and restart the step-record function with the “SOFT” button [F3]. The RAVEN will start playing the metronome, play the keys. Don’t worry about which notes you are playing, The RAVEN is recording only the timing and the note lengths, then combines them with the pre-recorded notes.

In the last Edit Pattern menu page you can assign the pattern to one of 2 types:

1. Grooves

2. Breaks

The main purpose of these two types is when using the “Create Song” function. Since The RAVEN expects a song to consist of Grooves and Breaks it therefore searches for these types of Patterns, so remember to set the type.

The RAVEN's Effects Processors

LOVE-PARADE 1995, Berlin

The RAVEN includes two Effects Processors. These produce Effects ranging from Room Simulations like Reverb or Echo to special effects like Flanging and Phasing and even Distortion, Overdrive and Rotary. Any effect needed for modern music production is built into The RAVEN.

The RAVEN's Effects Processors

FX-1

FX-2

1.) Room

1.) Chorus

2.) Small Room

2.) SlwChorus

3.) Warm Room

3.) FatChorus

4.) Chamber 1

4.) JetFlange

5.) Chamber 2

5.) Flanger

6.) Plate 1

6.) Phaser

7.) Plate 2

7.) SlowPhase

8.) Hall

8.) Panning

9.) Large Hall

9.) ShortDely

10.) Cathedral

10.) LongDelay

11.) Gated Reverb 1

11.) HQ-Delay

12.) Gated Reverb 2

12.) Ping-Pong

13.) Gated Reverb 3

13.) GatedDely

14.) Early Reflection 1

14.) SpecialFX

15.) Early Reflection 2

15.) Equalizer

16.) Early Reflection 3

16.) Deep-EQ

17.) Early Reflection 4

17.) WahWah+Ov

18.) Raindrops

18.) AutoWhawa

19.) HQ-Delay

19.) WarmOverdrv

20.) LongDelay

20.) Distortn

21.) NoEffect

21.) Rotor

22.) Tremolo

23.) RingMod

24.) NoEffekt

The effects are divided between two independent Effect Processors. While FX-1 produces mainly reverb and echo, FX-2 is responsible for the special effects. With the S-FEED parameter of FX-1, the output of FX-2 can be directed to the input of FX-1. This makes it possible to apply reverb to the special effects. Effect algorithms available in The RAVEN:

The effect amount can be individually adjusted for each of The RAVEN’s parts with the Part Edit parameters FX1-send and FX2-send. When using the modulation effects of FX-2, such as flanger, phaser, panning, chorus, etc_, a more intense effect can be obtained by routing the part through the Effect Processor only. This is done by turning off the original (dry) signal. Set the Pan parameter on Edit Part menu page <2> (“Output-Assign”) to “—”. The correct setting for this is shown below. The most important parameter is here “Pan”, which mutes the dry signal when set to “—”.

Edit Part 1 <2> Output-Assign Level:127 Pan: ___ FX1: 0 FX2: 63

FX-1 Effect Algorithms

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the FX Processor.

"SFeed"

Sets the amount of FX-2's output signal fed into FX-1's input. This is

independent of the "normal" input level.

"Decay"

Adjusts the decay time of the reverb.

The parameters of the Effect Processors are stored in each Song and in each Performance. Whenever a Song or Performance is saved, the Effect parameters are stored, too. Access the Effect parameters by pressing the “EDIT-FX” button. The display will show the following:

[Edit] [Edit] [Edit ] [Fx1 ] [Fx2 ] [Motivator]

FX-1 Effect Algorithms

Reverb Effects

Here you select an Effect processor or the Motivator for editing. To edit [FX-1], press “SOFT” button [F1]. The display shows the Edit FX1 menu. The display varies depending upon the selected Effect algorithm.

Edit FX1: Room Page: I1I FX-Typ: 1 InLev: 60 SFeed: 0 Decay: 50

All FX Edit menus have one thing in common: the first knob beneath the display always selects the Effect algorithm. When the algorithm is changed, what is shown in the display often changes, because the various effect algorithms offer different parameters. Algorithms with more parameters than can fit in one display are divided among multiple pages, which can be accessed with the “PAGE” dial. The page number is shown in the upper right corner of the display.

The first 10 algorithms produce reverb effects. While they differ from each other in predelay amount and intensity of the early reflections, the editable parameters are the same for all of them:

1 Room 2 Small Room 3 Warm Room 4 Chamber 5 Chamber 2 6 Plate 1 7 Plate 2 8 Hall 9 Large Hall 10 Cathedral

Gated Reverb

Edit FX1 menu page 1:

Edit FX1: Room Page: I1I FX-Typ: 1 InLev: 60 SFeed: 0 Decay: 50

The following three programs generate gated reverb. This is reverb in which the ‘tail’ of the reverb is automatically cut off after a selected time. Gated reverb is often used with the gate time set to a specific note length. That way the reverb is kept in time with the music. The effect of gating is

FX-1 Effect Algorithms

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the Effects Processor.

"SFeed"

Sets the amount of FX-2's output signal fed into FX-1's input. This is

independent of the "normal" input level.

"TrsH"

Sets the threshold level, above which the gate opens (Gated Reverb

Effects 1 - 3).

"FX-Typ"

Selects the Effect algorithm.

"HoldT"

Adjusts the time the gate stays open after the threshold level is

exceeded.

"OpSpd"

Adjusts the rate it takes for the gate to switch "on".

"ClSpd"

Adjusts the rate it takes for the gate to close after the Hold-time is over.

minimized if too many tracks are routed through the gated reverb, because the gate will not close if it is being triggered constantly. A good effect is achieved when there are rests long enough to let the level detector close the gate. The level detector monitors the input level of FX-1 and reacts if the level is above or below the sensitivity mark and after the programmed time opens or closes the gate. Effect algorithms 11 to 13 select among three gated reverb effects:

11 GatedRev1 12 GatedRev2 13 GatedRev3

When selecting one of these algorithms, the display will show:

Edit FX1: GatedRev1 Page: I1> FX-Typ:11 InLev: 60 SFeed: 0 TresH: 16

As the “>” next to the menu page number indicate, there is more than one display page with parameters available for this algorithm.

Early Reflection programs

Edit FX1 menu page <2 contains additional effect parameters. It can be accessed by turning the “PAGE” dial one position to the right:

Edit FX1: GatedRev1 Page: <2| FX-Typ: 11 HoldT: 2 OpSpd:16 ClSpd: 30

Algorithms 14 to 17 generate early reflection effects. When an acoustic source sounds in a room, the sound is reflected off of the walls. Because the distances from the sound source to the walls, the ground and the ceiling differ, the signals take different amounts of time to reach the listener’s ear. It is these characteristics that are simulated with FX1 algorithms 14 to 17. Algorithm 18, “Raindrops”, provides a mixture of reverb and echo effect.

14 EarlyRfl1 15 EarlyRfl2 16 EarlyRfl3 17 EarlyRfl4 18 Raindrops

FX-1 Effect Algorithms

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the Effects Processor.

"SFeed"

Sets the amount of FX-2's output signal fed into FX-1's input. This

makes it possible to connect the Effects Processors in series.

"Dly"

Adjusts the delay time, (the amount of time between repeats).

"FX-Typ"

Selects the Effect algorithm.

"Feedb"

Adjusts the amount of times the echo will repeat.

Select Effect algorithm 14 with the knob [F1] to experiment with the Early Reflection parameter. The parameters of this algorithm correspond with those of Reverb algorithms 1-10, and can be found earlier in this chapter. The same applies for algorithm 18, “Raindrops”.

Delay Effects

Algorithms 19 and 20 produce echo-effects. Parameters available in this algorithm are: Input Level (signal level sent to the effect processor), Delay Time (amount of time between repeats) and Feedback (number of times the echo repeats). Although algorithms 19 and 20 contain the same parameters, the value range of these parameters differ between the two algorithms, allowing two very different echo effects. Effect processor FX 2 also can produce echo-effects. To apply Reverb to an Echo, use FX 2 for the echo effect and then route it to FX 1set to a Reverb effect. This is done with the S-Feed parameter available in the Edit FX1 menu on page 1>.

19 HQ-Delay 20 LongDelay

Edit FX1 menu page 1> contains different parameters for the echo-effects 19 and 20:

Edit FX1: HQ-Delay Page I1> FX-Typ: 19 InLev: 90 SFeed: 0 Dly:100ms

FX-2 Effect Algorithms

Edit FX1 menu page <2 contains additional parameters:

Edit FX1: HQ-Delay Page <2| FX-Typ: 19 Feedb: 64

This concludes the description of the first Effect Processor, FX 1. The following section describes the second Effect Processor 2, FX 2.

Love-Parade 95

FX-2 Effect Algorithms

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the Effects Processor.

"Depth"

Adjusts the intensity or 'width' of the chorus effect.

"Rate"

Adjusts the speed at which the chorus effect modulates.

"FX-Typ"

Selects the Effects algorithm.

"Center"

Sets the average delay time.

"OutLv"

Sets the output-level of the chorus effect.

If in the FX 1 Edit menu, press the “EXIT” button, otherwise press the “EDIT-FX”-button. The display shows the following:

[Edit] [Edit] [Edit ] [Fx1 ] [Fx2 ] [Motivator]

Here you select an Effect processor or the Motivator for editing. To edit [FX 2], press “SOFT” button [F2]. The display shows the Edit FX2 menu. The display varies depending upon the selected Effect algorithm. Turn the knob [F1] to the left to start with the same algorithm as shown in the manual.

Chorus Effects

Effect algorithms 1-3 provide different chorus-effects. The chorus produces a full and spatial sound suitable for pads or chords of all kind. When using the modulation effects of FX-2, such as flanger, phaser, panning, chorus, etc_, a more intense effect can be obtained by routing the part through the Effect Processor only. This is done by turning off the original (dry) signal. Set the Pan parameter on Edit Part menu page <2> (“Output-Assign”) to “—”. The relevant parameter is here “Pan”, which mutes the dry signal when set to “—”. Algorithms 1-3 provides three chorus variations:

1 Chorus 2 SlwChorus 3 FatChorus

After selecting the Chorus effect, Edit FX2 menu-page 1> appears in the display:

Edit FX2: Chorus Page: |1> FX-Typ: 1 InLev: 80 Depth: 10 Rate: 20

Chorus has a second page, which is selected with the “PAGE” dial:

Edit FX2: Chorus Page: <2| FX-Typ: 1 Centr: 30 OutLv: 64

Effect Algorithms of FX-2

"FX-Typ"

Selects the Effect algorithm.

"Center"

Sets the average delay time of the flanger effects.

"Feedb"

Sets the amount of FX-2's output signal fed into FX-1's input. At high

settings the typical jet-flanger sound results.

"OutLv"

Sets the output-level of the flanger effect.

Flanger Effects

The Flanger produces a more drastic effect than the Chorus. The Flanger effect produces a delay in the range of milliseconds, whose delay time is modulated. With the Feedback parameter this effect can be adjusted to self-oscillation. The Flanger was invented in recording studios of the sixties and has remained one of the most popular effects. Algorithms 4 and 5 provide Flanger effects.

4 JetFlange 5 Flanger

Select one of the two Flanger algorithms with knob [F1]. The display will show the following menu page:

Edit FX2: JetFlange Page: |1> FX-Typ: 4 InLev: 80 Depth:100 Rate: 8

The Flanger algorithms offer two display pages of parameters. Menu page 1> is identical to the Chorus menu. Refer to the section in this manual describing the Chorus for an explanation of Flanger edit page 1> parameters. Menu page <2 of the Flanger menu provides an additional parameter, [Feedback]:

Edit FX2: JetFlange Page: <2| FX-Typ: 4 Centr: 16 Feedb: 90 OutLv: 64

Phaser Effects

Panning Effect

Phaser effects emphasizes and deletes different overtones of the input signal by shifting the phase. Since the degree of phase shifting can be modulated, a ‘comb-filter’ effect is produced, which changes the sound cyclically. If the modulation frequency is set to zero, the phaser can be used as a sort of ‘comb filter’ that can be tuned with the [Centr] parameter. Both menu pages correspond completely, refer to the Chorus section for a parameter description. Algorithms 6 and 7 provide Phaser effects.

6 Phaser 7 SlowPhase

Algorithm 8 provides a Panning effect. The panning effect automatically and inversely varies the level of the signal in each speaker, and gives the impression of the sound moving from speaker to speaker.

8 Panning

The Panning menu is selected with knob [F1].

Edit FX2: Panning Page: |1> FX-Typ: 8 InLev:80 Depth:127 Rate: 40

FX-2 Effect Algorithms

"FX-Typ"

Selects the Effects algorithm.

"InLev"

Adjusts the input level of the FX Processor.

"Depth"

Sets the amount of movement (width) in the stereo panorama.

"Rate"

Sets the rate at which the sound moves in the panorama.

"FX-Typ"

Selects the Effect algorithm.

"Phase"

Sets the phase-offset between left and right channels. With a value of

"127", right is loud when left is soft and vice versa. With a value of "0",

both channels change volume simultaneously; (Tremolo).

"MnPan"

A manual adjustment for the panorama position. The parameter "Rate"

should be set to "0".

"OutLv"

Sets the output-level of the flanger effect.

"FX-Typ"

Selects the Effects algorithm.

"InLev"

Adjusts the input level of the FX Processor.

"Dly"

Adjusts the delay time, (the amount of time between repeats).

"Feedb"

Adjusts the amount of times the echo will repeat.

The Panning algorithm offers two display pages of parameters:

Edit FX2: Panning Page: <2| FX-Typ: 8 Phase: 80 MnPan: 64 OutLv: 64

Delay Effects

Algorithms 9-12 contain Echo effects. Number 12, ‘Ping-Pong’, requires an explanation. With this effect, the echo alternates between the left and right sides. This type of echo gets its name from Ping-Pong balls which, in the paddles of good players, change sides for several times.

9 ShortDelay 10 LongDelay 11 HQ-Delay 12 Ping-Pong

Edit FX2: ShortDely Page: |1> FX-Typ: 9 InLev: 64 Dly:229ms Feedb: 96

Echo has a second page, which is selected with the “PAGE” dial:

Edit FX2: ShortDely Page: <2| FX-Typ: 9 OutLv: 64

FX-2 Effect Algorithms

"FX-Typ"

Selects the Effects algorithm.

"OutLv"

Sets the output-level of the flanger effect.

"FX-Typ"

Selects the Effects algorithm.

"InLev"

Adjusts the input level of the FX Processor.

"Dly"

Adjusts the delay time, (the amount of time between repeats).

"Feedb"

Adjusts the amount of times the echo will repeat.

"FX-Typ"

Selects the Effect algorithm.

"TrsH"

Sets the threshold level, above which the gate opens.

"Hold"

Adjusts the time the gate stays open after the threshold level is

exceeded.

"OpSpd"

Adjusts the rate it takes for the gate to switch "on".

"FX-Typ"

Selects the Effect algorithm.

"ClSpd"

Adjusts the rate it takes for the gate to close after the Hold-time is over.

"OutLv"

Sets the output-level of the gated delay effect.

Gated Delay Effect

Algorithm 13 provides a Gated Delay. This effect only produces a delay when the volume of the signal exceeds a preset threshold level. For signal levels under the threshold, a gate suppresses the effect signals. The times for opening, closing and holding the gate can be adjusted. Algorithm 13 provides a Gated Delay effect.

13 GatedDelay

The Gated Delay offers 3 different menu-pages:

Edit FX2: GatedDely Page: |1> FX-Typ:13 InLev: 50 Dly:691ms Feedb: 50

The second menu page can be accessed with the “PAGE” dial:

Edit FX2: GatedDely Page: <2> FX-Typ:13 TrsH: 5 Hold: 10 OpSpd: 16

The third menu page can be accessed with the “PAGE” dial:

Edit FX2: GatedDely Page: <3| FX-Typ:13 ClSpd: 10 OutLv: 64

FX-2 Effect Algorithms

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the Effects Processor.

"Depth"

Adjusts the intensity or 'width' of the Special-FX effect.

"Rate"

Adjusts the speed at which the Special-FX effect modulates.

"FX-Typ"

Selects the Effect algorithm.

"Delay"

Sets the delay-time. (in milliseconds)

"Feedb"

Adjusts the amount of times the echo will repeat. Too high of a value

can cause self-oscillation.

"OutLv"

Sets the output-level of the Special-FX effect.

"FX -Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level o f the Effects Processor.

"OutLv"

Sets the output-level of the equalizer effect.

Special FX

Algorithm 14 provides a unique 'Special FX' effect and is designed for those who like to experiment with effects. It contains a Stereo Echo with a Delay Time that can be modulated.

14 SpecialFX

The Special FX algorithm offers two menu-pages:

Edit FX2: SpecialFX Page: |1> FX-Typ:14 InLev: 64 Depth:120 Rate: 30

The second menu page can be accessed with the “PAGE” dial:

Edit FX2: SpecialFX Page: <2| FX-Type:14 Dly: 2ms Feedb:120 OutLv:127

Equalizer Effects

Algorithms 15 and 16 contain two 3 band graphic equalizers. They differ in the frequency ranges which can be boosted or cut. In algorithm 16, (Deep-EQ), the low frequency range is centered at 80 Hz. By boosting this frequency range, a very powerful low end can be achieved. (FAT!)

15 Equalizer 16 Deep-EQ

The Equalizer menu page 1> is selected with knob [F1]:

Edit FX2: Equalizer Page: |1> FX-Typ:15 InLev: 64 OutLv: 64

FX-2 Effect Algorithms

"FX-Typ"

Selects the Effect algorithm.

"Low"

Boosts or cuts low frequencies.

"Mid"

Boosts or cuts mid frequencies.

"High"

Boosts or cuts high frequencies.

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the Effects Processor.

"Freq"

This parameter controls the Cutoff frequency of the filter. It is most

effective to control this effect in real-time with the regulators.

"Drive"

Adjusts the amount of 'overdrive' added.

"FX-Typ"

Selects the Effect algorithm.

"Clip"

Sets the level where the overdrive starts working.

"OutLv"

Sets the output-level of the wah-wah/overdrive effect. It is

recommended to use relatively high input level and low output level, in

order for the overdrive to respond properly.

The second menu page displays the frequency ranges which can be boosted and cut:

Edit FX2: Equalizer Page: |1> FX-Typ:15 Low: +0 Mid: +0 High: +0

Wah-Wah+Ov Effect

Although mostly used by guitarists, the Wah-Wah effect can be used on synthesizers and other instruments very effectively. The Wah-Wah effect on The RAVEN is composed of a filter that can be tuned and an adjustable overdrive effect. Algorithm 17 provides a Wah-Wah effect combined with an Overdrive.

17 Wahwah+Ov

The Wah-Wah+Ov menu page 1> is selected with knob [F1]:

Edit FX2: Wahwah+Ov Page: |1> FX-Typ:17 InLev: 80 Freq: 64 Drive:100

Wah-Wah+Ov menu page <2 contains additional parameters:

Edit FX2: Wahwah+Ov Page: <2| FX-Typ:17 Clip: 100 OutLv:127

Auto Wah-Wah Effect

The filter frequency at which the AutoWah-Wah effect operates cannot be shifted manually, because operation of the filter is controlled by signal level, as it is on an ‘envelope-follower’. In this case, the filter frequency is controlled by the level of the input signal. Effect algorithm 18 provides the AutoWah-Wah effect.

FX-2 Effect Algorithms

"FX-Typ"

Selects the Effect algorithm.

"InLev"

This parameter controls the input-level of the effect. In this effect-type

the input level has an important function: The filter of the "Auto-Wah-

Wah" is related to the parameter "InLev". Set this parameter according

to personal taste.

"Drive"

Adjusts the amount of overdrive added.

"Clip"

Sets the 'clip-level' off the overdrive.

"FX-Typ"

Selects the Effect algorithm.

"OutLv"

Sets the output-level of the auto wah-wah effect.

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the Effects Processor.

"OutLv"

Sets the output-level of the distortion effect. This is a good place to

compensate for the changes in level that a distortion effect often

produces.

"Drive"

Adjusts the amount of 'overdrive' added.

18 AutoWahWah

The AutoWah-Wah menu page 1> is selected with knob [F1]:

Edit FX2: AutoWahwah Page: |1> FX-Typ:18 InLev: 80 Drive:100 Clip: 100

AutoWah-Wah menu page <2 :

Distortion Effects

Edit FX2: AutoWahwah Page: <2| FX-Typ:18 OutLv:127

Algorithms 19 and 20 provide Distortion and Overdrive. Algorithm 19, [WarmOvrdrv], has one overdrive circuit and algorithm 20, [Distortn], has two overdrive circuits. The Distortion algorithm can produce more distorted sounds than can be achieved with the Warm-Overdrive algorithm. The [Drive] parameter shown below is only available in the Distortion algorithm. The intensity of the distortion in the Warm Overdrive algorithm is only controlled by the input level of the effect.

19 WarmOvdrv 20 Distortn

The display as shown in the Distortion algorithm:

Edit FX2: Distortn Page: |1| FX-Typ:20 InLev: 64 Drive: 4 OutLv: 64

FX-2 Effect Algorithms

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the Effects Processor.

"RotLo"

Adjusts the slow 'leslie' speed.

"RotHi"

Adjusts the fast 'leslie' speed.

"FX-Typ"

Selects the Effect algorithm.

"Decay"

Determines the acceleration and deceleration speed.

"RotLv"

Sets the intensity of amplitude modulation.

"Switch"

Choose between two values of slow (0) or fast (1).

"FX-Typ"

Selects the Effect algorithm.

"Drive"

Adjusts the amount of 'overdrive' added.

"OutLv"

Sets the output-level of the rotary+overdrive effect.

Rotary Effect Algorithm 21 provides the Rotary effect which gives the impression of rotating speakers. The Rotary

effect was and still is a very important effect for electronic organs. Algorithm 21 provides the Rotary effect:

21 Rotary+Ovr

The Rotary+Ovr menu page <1> contains the following parameters:

Edit FX2: Rotary+Ovr Page I1> FX-Typ:21 InLev: 64 RotLo: 8 RotHi: 48

The Rotary+Ovr menu page <2> contains the following parameters:

Edit FX2: Rotary+Ovr Page <2> FX-Typ:21 Decay: 46 RotL: 90 Swtch: 0

Tremolo Effect

The Rotary+Ovr menu page <3> contains an overdrive circuit that can be added to the Rotor effect:

Edit FX2: Rotary+Ovr Page <3I FX-Typ:21 Drive: 90 OutL: 127

Algorithm 22 provides a Tremolo effect that modulates the volume of the part. This effect was first used on electric pianos to produce a sound similar to a vibraphone. Algorithm 22 provides the Tremolo effect and is accessed with knob [F1].

22 Tremolo

The Tremolo menu page 1> contains the following parameters:

Edit FX2: Tremolo Page I1> FX-Typ:22 InLev: 80 Depth:127 Rate: 15

FX-2 Effect Algorithms

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the Effects Processor.

"Depth"

Adjusts the intensity of the tremolo effect. (volume modulation).

"Rate"

Adjusts the speed at which the tremolo effect modulates.

"FX-Typ"

Selects the Effect algorithm.

"Phase"

Adjusts the phase-shifting between left and right channels.

"MnPan"

A manual adjustment for the pan position.

"OutLv"

Sets the output-level of the tremolo effect.

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the Effects Processor.

"OutLv”

Sets the output-level of the ring-mod effect.

The Tremolo menu page <2 contains the following parameters:

Edit FX2: Tremolo Page <2> FX-Typ:14 OutLv: 64

Ring Modulation Effect

Although it has been one of the most popular tools for creating alien-like sounds since the beginning of electronic music, the Ring Modulator effect has unfortunately seen little use recently. The adding and subtracting of two audio frequencies routed to the two inputs of the Ring Modulator causes the output signal to have many dissonant overtones, that can be used very effectively for all kinds of noises and belllike sounds. A suggestion when first using the Ring Modulator is to use relatively neutral, basic sounds, such as those from the Sound group, “Waves”. From the Performance macro, “Double”, select two different sounds and assign one to FX Send 1 and the other to FX Send 2. The setting of the Pan parameter for both sounds should be set to “—” to mute the ‘dry’ signal. To hear the effect the of the Ring Modulator, both sounds must be detuned in opposite directions. At first play monophonically since as multiple notes are sent to the Ring Modulator, more frequencies are generated making the final result resemble a noise wave, which does not represent the classic Ring Modulator effect. Initially set FX 1 to BYPASS. If FX 1 is set up as a reverb, turning on the S-FEED parameter will cause the Ring Modulator signal to the reverbed also.

23 RingMod

The Ring Mod menu page 1> contains the following parameters:

Edit FX2: RingMod Page I1I FX-Typ:23 InLev: 64 OutLv: 64

Although the Ring Modulator can be used to vary the sound in many different ways, it only contains volume parameters. The overtones of the two selected sounds, as well as their degree of detuning, are what cause the alien-like sound of the Ring Modulator.

Realtime Effects Control

"FX-Typ"

Selects the Effect algorithm.

"InLev"

Adjusts the input level of the Effects Processor.

"OutLv"

Sets the output-level of the 'no-effect' effect.

No Effect

Realtime Effects Control

The last effect provides a good segue to the next section of this manual, realtime control of the effects. The Effect Processor FX 2 is the primary destination of realtime parameter control via MIDI control change messages. By using Effect algorithm 24 (No Effect), controlling the intensity of FX 1 is possible if the SFeed parameter of FX 1 is turned up. In the Part in which the Effect level is to be controlled, only FX 2 Send must be turned up. If you have selected a reverb algorithm on FX 1, realtime control of the reverb level is possible by controlling the input level of FX 2 (also available via MIDI). For more information refer to the chapters “The Modulation Matrix” and “Realtime Control of the Effects”. Algorithm 24 allows realtime control of FX 1.

24 No Effect

Edit FX2: no Effect Page: |1| FX-Typ:24 InLev: 64 OutLv: 0

The RAVEN allows Realtime control of the parameters of Effect Processor FX 2. This provides a means for more expressive Performances. To enable Realtime control, the intensity parameter of the effect Modulation for one or several regulators have to be turned on in the Common menu. Realtime modulation of the Effect Parameters is only accessible in Performance Mode. These settings are saved with the Performances. Each Performance can be programmed with different routings. To use Realtime effect control, switch into Performance mode. Store any previous edits from Write menu so they are not lost. Enter Performance mode by pressing the “PERF MODE” button, then press the “WRITE” button to enter the Write menu. Select the following submenu with the “PAGE” dial, to initialize the current Performance:

<2> Init Performance? [OK]

Initialize the Performance [OK], (“SOFT” button). When prompted by the next menu, confirm the operation, again with the [OK] button. After initializing the Performance, press the “EXIT” button to leave the Write menu. We now have a ‘clean slate’ for learning Realtime effect control. The display now shows the following, with the User program number and default name:

USER-00:Untitled |1> Soundgroup _ Synlead1

Initialized Performances default as a “Single” Performance. Only one individual sound is played in this Performance. To enable the FX 2 Effect Processor, turn to the Pattern Edit menu page <2> and set the value for FX 2 Send to 63.

Realtime Effects Control

REALTIME CONTROLLER

MIDI DATA

CONTROLLER NUMBER

Pitch-Bend

Wheel 1

Controller

1 (modulation)

Wheel 2

Controller

2 (breath controller)

Aftertouch

Edit Part1 <2> Output-Assign Level:100 Pan: >C< FX1: 63 FX2: 63

The sound is now routed to the second Effect Processor. Select effect algorithm HQ-Delay, from the FX 2 Edit menu page 1>. Press the “EDIT FX” button multiple times, then the “SOFT” button to select [FX2]. You achieve the HQ-Delay effect with the knob [F1]. Also select an appropriate Delay time:

Edit FX2: HQ-Delay Page: |1> FX-Typ:11 InLev: 64 Dly:229ms Feedb: 50

With the HQ-Delay you can edit the feedback (the number of echo repeats) and the effect Output level. To enable these controls, press the “EDIT COMMON” button, to enter the Edit Common menu. Menu pages <4> (Pitchbend); <6> (Wheel 1); <8> (Wheel 2) and <10> (Aftertouch) allow controllers to be routed to effect control. For example, select menu page <8> with the “PAGE” dial, to route the effect-control for the Effect Processor to Wheel 2:

Edit Common < 8> Mod.Source: Wheel 2 Fx2A: +0 Fx2B: -63 ArpDy: +0 ArpGat: +0

The parameters as set above allow lowering the output level of the HQ-Delay effect by rotating Wheel 2. Conversely, you can control the level of the effect. When doing this you must lower the output level of the effect in the FX2 Edit menu and set the Modulation intensity in the Common menu to +64. Turning up Wheel 2 increases the volume of the echo. Feedback can be controlled in Realtime on HQDelay by setting parameter “FX2A” to +64. You can then change the number of the echo repeats, from no repeats to an infinite amount, with Wheel 2. Using this method you can use any available regulator for Realtime control. It is also possible to control both Realtime controls with different regulators. When using MIDI, The RAVEN’s regulators are represented by MIDI controllers. These MIDI controllers are sent to the MIDI output when moving the corresponding regulators. This way all effect modulations can be recorded to an external sequencer. Upon playback of the sequence, the controller data received at the MIDI input is sent via the Modulation matrix to the appropriate destinations. The following MIDI data is sent by the regulators to the MIDI out and received by Modulation matrix at the MIDI in:

Realtime Effects Control

FX-2 ALGORITHM

FX-2A CONTROL

FX-2B CONTROL

Chorus

Depth

Rate

SlowChorus

Depth

Rate

FatChorus

Depth

Rate

JetFlange

Depth

Rate

Flanger

Depth

Rate

Phaser

Depth

Rate

SlowPhase

Depth

Rate

Panning

Rate

ManualPan

ShortDelay

Feedback

OutLevel

LongDelay

Feedback

OutLevel

HQ-Delay

Feedback

OutLevel

Ping-Pong

Feedback

OutLevel

GatedDelay

Feedback

Treshold

SpecialFX

Rate

Delaytime

Equalizer

LowLevel

HighLevel

Deep-EQ

MidLevel

HighLevel

Wahwah+Ov

Frequenz

ClipLevel

AutoWahwa

Drive

OutLevel

WarmOvdrv

InLevel

OutLevel

Distortn

InLevel

OutLevel

Rotor

Rate

Switch

Tremolo

Depth

Rate

Ringmod

InLevel

OutLevel

Bypass

InLevel

OutLevel

Realtime parameters of FX-2

The following page shows which parameters of the Effect Processor FX 2 can be controlled with the regulators or via MIDI.

Editing the Percussion Drumpart

"Level"

Adjusts the volume level of the selected drum sound.

"Pan"

Adjusts the stereo positioning, (pan). Selecting "RND" will give each

new drum hit a randomly selected placement in the stereo field,

providing constant movement.

"FX1"

Adjusts how much of the sound will be sent to FX-1.

"FX2"

Adjusts how much of the sound will be sent to FX-2.

"Pitch"

Adjusts the "Pitch" of the selected drum-instrument.

Editing the Percussion Drumpart

In Sequencer mode the Drumset selected on the Percussion Part can be edited. For each drum sound mapped across The RAVEN’s keyboard you can program the volume and pan settings, the tuning, as well as the Effect send values. Drum sound parameters are stored in each song. Press the “Edit PART” button to enter the Edit mode. Select the Percussion part with the “Track” button. After selecting the Percussion part, press the “Edit-PART” button again. The display will show as follows:

Edit Drum C2 TR808Bs |1> Output-Assign Level:127 Pan: >C< FX1: 0 FX2: 0

Select the drum sound to be edited by pressing the appropriate key on the keyboard. - Remember that in order to hear edits while the sequence is playing, the according sound must be used in the current motive! The Edit drum menu page 1> contains the following parameters:

Remember that when turning up the value of FX 1 and FX 2 in Edit drum menu page 1>, the signal is routed to an Effect Processor only when the according Effect sends in the Part Edit menu are also up. Access to the Part Edit menu from this page can be done quickly by pressing the “EXIT” button once. Then scroll to menu page <2> to set the Effect sends in the Part settings.

Edit Drum menu page <2> contains the tuning parameter for the selected drum instrument:

Edit Drum C2 TR808Bs |1> Tuning Pitch: +0

System parameters

"Master-Transpose"

Sets the global transpose of The RAVEN; in semi-tones.

"Master-Tune"

A global fine-tuning adjustment. A value of (0) tunes The RAVEN to

the standard frequency of 440 Hz at note A4.

"Velocity-Curve"

Determines which Velocity Curve is used while playing the keyboard.

Velocity types are explained in the following table.

"Aftertouch"

Turns the Aftertouch function of The RAVEN's keyboard on or off. With

this parameter set to "off", modulation cannot be triggered with

Aftertouch.

1 - 8

prefix of "-"

The result of the velocity curve will be inverted. This function is useful

when creating 'cross-fade' sounds in Performance mode. Sounds of

two Parts must be active and they must be provided with opposite

velocity-curves.

"LIN"

The standard setting; no velocity curve processing.

"LIN-"

A 'compressed/expanded' curve. Quiet passages will be louder than

they are played, louder passages will be quieter.

"LIN+"

Sensitivity is increased overall, but the curve stays linear.

"Exp-"

This compressed curve has an exponential response.

"Ex—"

The same as "Exp-", but with more compression.

"Exp+"

This expanded curve has an exponential response.

"Ex++"

The same as "Exp+", but with more expansion.

"FIX"

The velocity value is fixed (85/127), independent of the dynamics

played on the Keyboard.

System parameters

Master Tune

Keyboard parameters

The Edit System menu contains parameters that affect all operating modes of The RAVEN. In this menu, MIDI filter settings, selecting MIDI operating mode, synchronization options and the main tuning of the instrument are located. Access the System Edit menu by pressing the “SYSTEM-Edit” button (SYS). Edit System contains 5 different menu-pages which are selected with the “PAGE” dial.

Edit System menu page <1>:

Edit System |1> Master-Parameter Master-Transpose: C Master-Tune: +0

Edit System menu page <2>:

Edit System <2> Keyboard-Parameter Velocity-Curve: Exp+ Aftertouch: On

Key Velocity curves

System parameters

"Prg.Change"

Sets whether or not Program Change commands can be transmitted.

"ParametrCtrl"

Sets whether or not Parameter Changes (MIDI controllers) can be

received. When set to "Off", the following MIDI controllers are filtered

out: 0, 1, 2, 5, 11. Sys-Ex data is also filtered .

"Start"

Sets whether or not The RAVEN can receive "START" and "STOP"

Realtime messages. When set to "Off", The RAVEN does not respond

to external devices start messages.

"Channel"

Sets the MIDI channel of The RAVEN. This is the basic MIDI channel

for transmitting or receiving MIDI data in Performance mode. This is

also the channel used when transmitting or receiving Sys-Ex data, and

it also defines the ID number. In Sequencer mode The RAVEN

transmits note information only on the Solo-Part, MIDI channel 9.

"Omni"

When Omni-Mode is "On", The RAVEN receives MIDI data on all 16

MIDI channels. (In Performance mode). When "Off", MIDI data is

received on the basic channel only.

"Sync"

When set to "Int", The RAVEN uses its internal clock for Sequencer

and Motivator timing. When set to "Ext", timing information is supplied

by an external source, such as another sequencer or drum machine.

This allows The RAVEN's Sequencer and Motivator to be 'slaved' to

other devices.

"Local"

When set to "Off", notes played on the keyboard are transmitted from

the MIDI output only; and do not trigger the internal sounds directly.

The internal sounds can be triggered via the MIDI input. This is the

normal set-up for working with an external sequencer.

MIDI parameters

Edit System menu page <3> contains parameters for the transmission and the reception of MIDI data:

Edit System <3> Midi-Parameter Channel: 1 Omni: On Sync: Int Local: ON

MIDI Input handling

MIDI Output handling

Edit System menu page <4> contains parameters which control the incoming MIDI data.

Edit System <4> Midi-Input-Handling Prg.Change:ON Param.Ctrl:ON Start:ON

Edit System menu page <5> contains parameters which control the outgoing MIDI data.

Edit System <5> Midi-Output-Handling PrgChg:OFF Cntrl: On Param:Off Clock:OFF

Write menu

"PrgCh"

Sets whether or not Program Change commands can be transmitted.

"Cntrl"

Sets whether or not The RAVEN's Control Regulator messages,

(Wheels, "SOFT" knobs, etc... ), can be transmitted.

"Param"

Sets whether or not Parameter Changes (MIDI controllers) can be

transmitted.

"Clock"

Sets whethe r or not timing information, ( MIDI sync, S tart, Stop, etc... ) ,

can be transmitted. When enabled, an external sequencer can be

synchronized with The RAVEN, for example.

"ok"

If you confirm with [OK] all edits made on the active Performance will be lost,

and The RAVEN will switch to Sequencer mode.

"cancel"

This button takes you back one page and recalls the active Performance. The

Performance will contain your recent edits, allowing you to decide if you want

to save the edited Performance.

"save..."

This button proceeds to the "WRITE" menu where you can rename the

Performance and store it in one of the 50 User locations. (For details refer to

the Chapter, "Write menu").

Write menu

Write menu in Sequencer mode

Storing Song and Pattern data

The Write menu contains submenus for storing, copying and initializing (deleting) data. It is also where the ‘bulk dump’ parameters of The RAVEN are located. “Dump” means the transmitting of Sound and Sequencer data via MIDI so that all data of The RAVEN can be saved on external data storage media. In order to do this you need: a computer with a suitable software, a MIDI File player or a Hardware sequencer that can record System Exclusive data. Depending upon the current operating mode, the Write menu will contain different submenus. First to be covered are the menus pertaining to Sequencer mode and subsequently those of Performance mode. Enter Sequencer mode with the “SEQ-MODE” button. If there are unsaved Performance mode edits, you are prompted to save the Performance:

Performance Changes will be lost! [ok] [cancel] [save...]

There are three selection possibilities:

After this procedure The RAVEN enters Sequencer mode. If the “WRITE” button is pressed, the display shows the following:

|1> Write pattern/Song? [ok]

If a different menu page appears select menu page <1> with the “PAGE” dial. In this menu all Song data is stored including the accompanying Pattern. Pressing [ok] (“SOFT” button [F1]) initiates storing. The display then shows the following prompt:

Name: ”Untitled ” [ok] [cancel]

In this submenu the new song can be named. The letters are selected with the “VALUE” dial or by pressing keys on the keyboard. The “SONG/BANK-Select” buttons moves the cursor. After naming the song, press either [ok] (“SOFT” button [F1]) to keep the name or [cancel] (“SOFT” button [F2]) to leave the submenu with the song name unchanged.

Write menu

After pressing the [ok] button to accept the new song name, select a song number with the “VALUE” dial. Pressing the [ok] button again displays a prompt to confirm the storage of the song at the selected number. Pressing [cancel] displays the previous submenu to select a different song number:

This is the last possibility to interrupt the storing. Pressing the [ok] button once again,stores the Song and all the data it contains.

Overwrite ”Untitled ”? [ok] [cancel]

Initializing Temporary Song memory

Initializing Part parameters

The Write menu page <2> allows you to delete a song and its associated patterns. This function only clears the temporary buffer memory and does not delete songs stored in a memory location. However if a song is initialized in this manner and then stored from the Write menu, the selected song number will then be empty. The Write menu page <2> is accessed with the “PAGE dial:

<2> Init Pattern/Song? [ok]

Pressing [ok] (“SOFT” button [F1]) starts the initialization process and prompts you with a confirmation display:

Init..., Sure? [ok] [cancel]

The temporary buffer is cleared after pressing [ok]. Pressing [cancel] interrupts the procedure.

Write menu page <3> allows you to reset the Sound parameters of a Part to their default values. If you have edited parameters within the song, such as: to envelopes, filters, intensities of the modulations or other parameters, they are reset to the factory default values. The Motive running on this Part is not affected. The initialization affects only the Temporary buffer. If the song is not stored after initializing the Part, when the song is called up the next time the parameters stored in the song are restored. The Write menu page <3> is accessed with the “PAGE” dial:

<3> Init Kick-Part? [ok]

You can select the Part for initializing with the “VALUE” dial or the “TRACK” buttons. Pressing [ok] (“SOFT” button [F1]) displays a confirmation prompt:

Init..., Sure? [ok] [cancel]

Pressing [ok] again initializes the selected part and [cancel] leaves the menu without initializing.

Write menu

Copying Part parameters

Write menu Dump functions

Write menu page <4> allows you to copy the parameters of one Part to another Part. All Sound parameters and FX Sends are copied. The Write menu page <4> is accessed with “PAGE” dial:

<4> Copy Kick-Part? [ok]

You can select the Part for copying with the “VALUE” dial or the “TRACK” buttons. After selecting the Part to be copied, press [ok] (“SOFT” button [F1]). The display then allows you to select a destination Part where the data will be copied to:

Copy Kick-Part to Snare [ok] [cancel]

Use the “VALUE dial or the “TRACK” buttons to select which Part will receive the copied data. Pressing [ok] executes the copying and [cancel] interrupts the procedure without change.

The Write menu pages <5> and <6> contain the ‘Dump’ functions. The ‘Dump’ function tramsmits The RAVEN’s parameter settings via MIDI in the form of System Exclusive data. Therefore, the MIDI output of The RAVEN must be connected to the MIDI input of a MIDI recorder. The Dump function transmits different parameters when in Performance mode than when in Sequencer mode. This section applies to Sequencer mode.

The Write menu page <5> is for sending a Dump containing parameter settings for the Song in Temporary memory, including Pattern, Sound, Effects and Motivator parameters. Recording this data to a MIDI recorder provides a safe, effective way to store valuable Song data. All data contained in Temporary memory, even User Motives, are included in the Dump. This allows you to store personalized Sounds and organize banks of Songs in a simple, effective manner.

Dumping Temporary Song data

The Temporary data is sent as System Exclusive data, often reffered to as SysEx. SysEx can be recorded by most MIDI recorders. Examples of commonly used MIDI recorders include: a computer/MIDI interface with sequencing software, a dedicated hardware sequencer or MIDI data recorder, such as the STYLEDRIVE by QUASIMIDI which records SysEx directly to floppy disk. Floppy disks are an excellent medium for storing The RAVEN’s data. You can store up to 100 complete Songs on one economical Double-Density floppy disk. User Motives and other User edits are saved in their entirety, but when Songs contain either all or some of the pre-programmed Motives, The RAVEN uses a unique, economical method of storing the data. By saving to Floppy disk only a ‘pointer’ which indicates which pre-programmed Motive(s) are used in the Song, and not saving the pre-programmed Motive(s) parameters, much less disk space is needed. An additional benefit of this method is faster Dump/Load times, which is useful when loading multiple Songs while using The RAVEN in live performance.

The Write menu page <5> is for initiating a Dump of the Temporary memory:

<5> Send Temporary Dump? [ok]

To send a Temporary memory Dump, first set up the computer sequencer or other MIDI filer/recorder to record MIDI SysEx data, which on a computer sequencer might include changing the settings of the Input Filter, which prohibits selected MIDI data from getting recorded, to allow for the recording of SysEx. Put the computer/MIDI recorder into ‘Record’. To start the Dump, press [ok], (“SOFT” button [F1]. Computer sequencers are often set up to include a ‘countoff’ and if so, be sure to start the Dump after Bar 1, otherwise important data might get lost. ‘Librarian’ programs are available in the form of computer software, that are specifically designed for the recording and storage of MIDI System Exclusive data. Presently there are a number of commercially available Librarian programs that support The RAVEN with either factory or user programmed ‘modules’.

Write menu

Dumping Song and Pattern data of all 10 songs

Write menu in Performance mode

Storing a Performance

Write menu page <6> is for sending a Dump containing all Song and Pattern data to a MIDI recorder. This storage capability provides unlimited, safe back-up of The RAVEN’s parameter settings. It is also a great feature to have in live a performance situation, where an enexpected power-outage can scramble or erase the memory of ANY computer-based instrument. You can load a complete liveset, consisting of several songs, from an computer or MIDI-file player, such as the STYLE-DRIVE, into The RAVEN’s memory with one Dump. The Write menu page <6 is accessed with the “PAGE” dial:

<6| Send all Pattern/Songs? [ok]

Set up the computer/MIDI recorder as described in the Sequencer mode Dump section. Put the computer/ MIDI recorder into ‘Record’. To start the Dump, press [ok], (“SOFT” button [F1]).

The Write menu in Performance mode also contains 6 menu pages. In Performance mode, access this menu with the “WRITE” key. The pages are selected with the “PAGE” dial.

The Write menu page 1> is for storing an edited Performance. Stores settings of Performance parameters, including: the Operation mode, Modulation matrix settings, Effect settings, Part parameters, and Motivator parameters to a user-selected Performance memory location. The Write menu page 1> is accessed with the “PAGE” dial:

|1> Write Performance? [ok]

Press [ok], (“SOFT” button [F1]), and the display will show the following:

Name: ”Untitled” [ok] [cancel]

This page allows you to name the Performance. The “SONG/BANK-SELECT” buttons move the cursor. The “VALUE” dial, or keys of the keyboard, select the letters or symbols. After naming the Performance, press [ok], (“SOFT” button [F1]) once more. The display then shows the following:

to X ”Untitled” [ok] [cancel]

”X” indicates the storage number to which the edited Performance will be saved. A different location can be selected with the “VALUE” dial. To the right of the storage number is the name of the Performance that will be overwritten by the storing procedure. Pressing [ok] displays a confirmation prompt. Pressing [cancel] interrupts the storing procedure:

Overwrite ”Untitled”? [ok] [cancel]

Pressing [ok] stores the Performance at the selected location. Pressing [cancel] interrupts the storing procedure.

Initializing the current Performance

The Write menu page <2> is for initializing a Performance. This process resets the parameters in the currently active Performance in Temporary memory to their default values. Initializing does not erase the Performance stored in memory until it is saved using the ‘Store’ function. This is useful when programming a Performance ‘from scatch’, then storing the new Performance to a new location. The Write menu page <2> is accessed with the “PAGE” dial:

Write menu

Pressing [ok], (“SOFT” button [F1]), begins the initialization process and displays a confirmation prompt.

Pressing [ok] initializes the selected Performance. Pressing [cancel] interrupts the initialization procedure.

<2> Init Performance? [ok]

Init..., Sure? [ok] [cancel]

Initializing Single Parts

Copying Part parameters

The Write menu page <3> is for initializing an individual Part in a Performance. Only Parts used in the current Performance can be selected for initializaing. Thw Write menu page <3> is accessed with the “PAGE” dial:

<3> Init Part 1? [ok]

The “VALUE” dial selects desired part. Pressing [ok] begins the procedure and displays a confirmation prompt:

Init..., Sure? [ok] [cancel]

Mit [cancel] können Sie diesen Vorgang abbrechen und mit [ok] ausführen. Ooops! - Pressing [ok] initializes the selected Part. Pressing [cancel] interrupts the Part initialization procedure.

The Write menu page <4> is for copying Sound parameters of one Part in a Performance to another Part in the same Performance. This function is particularly useful in the programming of Layer-Sounds. By programming a Part, copying its parameters to another Part and then slightly altering one of the Parts parameters, such as detuning, is an easy way to produce a fatter Sound. The Write menu page <4> is accessed with the “PAGE” dial:

<4> Copy Part 1? [ok]

Select the Part to be with the “VALUE” dial. Pressing [ok], (“SOFT” button [F1]), copies the source Part to buffer memory. The display then shows the following, where the destination Part is selected with the “VALUE” dial:

Copy Part to 2 [ok] [cancel]

Pressing [ok] copies the selected source Part to the selected destination Part. Pressing [cancel] interrupts the procedure.

Important notes if using an external sequencer

Dumping the current Performance data (Temporary dump)

Dumping all Performances

The Write menu pages <5> and <6> contain the ‘Dump’ functions. The ‘Dump’ function tramsmits The RAVEN’s parameter settings via MIDI in the form of System Exclusive data. Sent with this function are Performance parameters, such as Part settings, Modulation matrix and Motivator programming. The Dump function transmits different parameters when in Sequencer mode than when in Performance mode. This section applies to Performance mode. The Write menu page <5> is for sending the Performance in Temporary memory and is selected with the “PAGE” dial:

<5> Send Temporary Dump? [ok]

Put the computer/MIDI recorder into ‘Record’ and press [ok] to initiate transmitting the Dump of the Performance in Temporary memory.

The Write menu page <6 is for sending all the Performances stored in RAM. The Write menu page <6 is accessed with the “PAGE” dial:

<6| Send all Performances? [ok]

Put the computer/MIDI recorderinto ‘Record’ and press [ok] to initiate transmitting the Dump of all Performances.

Important notes if using an external sequencer

The Raven offers 16 MIDI-channels for sequenzing with external sequencers. It means that you can useup to 16 different sounds in an arrangement at the same time. The external sequencer can be a stand-alone device or a computer with sequencer-software (Creator, Logic, Cubase, Studio vision etc.*) The 16 part multimode is only available at the ravens sequenzer-mode. For playing notes into the external sequenzer you connect the MIDI-Output of the RAVEN with the MIDI-In of your sequencing device. For using the synthesizers by the external sequencer connect also the MIDI-output of the sequencer with the MIDI-input of the RAVEN. For better results you can set the Local-function of the raven to "local-off". You'll find further informations concerning the local-function at chapter "midi-parameters" on page 65.

You don't have to change any MIDI-channels for fit the raven for the external sequencer usage. The MIDI- channel-numbers are fixed to the 16 parts, the synthesizer of the RAVEN offers. In other words track one, the kick-drum track is assigned to the MIDI-channel one, the Snare-drum-track to MIDI-channel two and so on. If you want to mute one or more of the 16 tracks you can switch the part-mode of the unused track to "off". This is necessary when you work with mor then one synth at only one MIDI-output. You can select the sounds of the different tracks with program-changes and bank-changes from the external sequencer. If you want to change sound-parameters of the tracks or if you want to change the programs directly at the raven, you will miss the Track-buttons 10 - 16 because the raven has only track-buttons for parts, which are used by the internal sequencer. To reach also the parts 10-16 of the raven synthesizer press the "edit-part"-button and select the desired part with the "song/bank-select"-buttons. Above the solo-part you can select the ext-parts 10-16 by pressing the right "song/bank-select"-button.

Single Sound list

Basses

A001 _19_19bs A002 Acbassfm A003 AjaxPad A004 Ana_Akai A005 BallsBas A006 Basriser A007 Bassland A008 BassReso A009 Bassslow A010 BassSolo A011 BauchBs A012 BobsBall A013 BsSh101a A014 Citybass A015 Conbasso A016 Coupler A017 CptBlaub A018 CutoffBs A019 DeepBas1 A020 DeepBas2 A021 DeepBas3 A022 DeepLine A023 DJAxyl A024 DukeBass A025 Ecu_Bass A026 FloorBs A027 Formant1 A028 FunkyArp A029 Gide303 A030 Glide303 A031 Glidebas A032 Glider A033 Hacke A034 HighLow A035 HipBass A036 Kramer A037 Line303a A038 Line303b A039 Line303c A040 Line303d A041 Line303e A042 Line303f A043 MC202bs A044 MC202seq A045 Melomoog A046 Miamibs A047 Micromog A048 Microrav A049 Minideep A050 MKS_50_1 A051 MKS_50_2 A052 MKS_50_3 A053 MoogBas1 A054 MoogBas2 A055 MoogVox A056 MoogSynt

A057 Mr_Moog1 A058 Mr_Moog2 A059 MS20Bass A060 MS50Bas1 A061 MS50Bas2 A062 Opener A063 Passive A064 Percmoog A065 Rasputin A066 Ratbass A067 Raverbas A068 ShrtBass A069 Sinusbas A070 Slapper A071 Swepbas A072 TB_303_1 A073 TB_303_2 A074 TB_303_3 A075 TB_303_4 A076 Tec_Bass A077 Velocity A078 VX_600 A079 Weichbas A080 Wetlook A081 Wharp

LeadSynts 2

A082 Anabrss A083 ArpQadra A084 Axiszero A085 Banasync A086 Biotop A087 Biscin A088 Brassel A089 Brassmix A090 Cherries A091 Cinnamon A092 Cutter A093 Cybersix A094 Cyclone A095 Dominate A096 Don_buch A097 Doom_II A098 Dumpfo A099 E_Breit A100 EasySequ A101 Echoes A102 Elgaucho A103 El_brass A104 Fanfarex A105 Flexi A106 Fressban A107 Fullpad A108 Funkybrs A109 Fuzzicat A110 Gummi

A111 Kingsley A112 Korg_MS A113 L_Man A114 Lead_303 A115 LeadSyn1 A116 LuckyEye A117 MaxSwep A118 Mirror1 A119 Mirror2 A120 MoveThat A121 NeoRave A122 OBX_1 A123 OBX_2 A124 OBX_3 A125 P_Meier A126 PadVX600 A127 Paladon A128 Percbana B001 Percobi B002 Percswep B003 Percuter B004 Pitcdown B005 Pitch_Up B006 Pitcher B007 Poly61 B008 ProOne1 B009 ProOne2 B010 PulsDeep B011 Rave_1 B012 Rave_2 B013 Rave_3 B014 Rave_4 B015 Rave_5 B016 Rave_8mm B017 Ravemit B018 Resobrs1 B019 Resobrs2 B020 Schluri B021 Sec_Out B022 Segagame B023 Sequ_UK1 B024 Sequ_UK2 B025 Sequenz2 B026 Sequenz3 B027 Sequenz4 B028 Sequenz5 B029 Sequenz6 B030 ShrtPoly B031 SideWalk B032 SoftSolo B033 SoftSqua B034 Solaris B035 Sonator B036 Sparta B037 Supersol B038 Syntbrss B039 SyntFick

B040 Synthasi B041 Texastec B042 Voiccod1 B043 Voiccod2 B044 Voiccod3 B045 VX_Dom1 B046 W_Apart B047 Walker B048 Watrbrd B049 Wolfram

Natural

B050 Att_Chor B051 Booh B052 Clavinet B053 Cleangt1 B054 Cleangt2 B055 Dooh B056 El_Piana B057 Flasche B058 Flutpad B059 Fullchor B060 ItaloKey B061 Jazzy_FM B062 Klampfe B063 Mellotrn B064 NatVoice B065 NoPiano1 B066 NoPiano2 B067 Orchhit B068 Panflute B069 Perc_Bam B070 Piccolo B071 StopdPia B072 Wers_Mag B073 Wurlitzr

Organs

B074 Denerlin B075 FarfisaA B076 FarfisaB B077 Hammond1 B078 MKSlikeO B079 MKSOrgan B080 Organ1 B081 Organ2 B082 Organ3 B083 Organ4 B084 Organ5 B085 PigOrgn1 B086 PigOrgn2 B087 RaveOrg1 B088 RaveOrg2 B089 RaveOrg3 B090 RaveOrg4

Single Sound list

B091 RaveOrg5 B092 RaveOrg6 B093 SchneidO

SyntPads

B094 Angels1 B095 Angels2 B096 Atmopad B097 Banabell B098 Chaser B099 Cloc_voc B100 Clockyvs B101 Cloudy B102 CMIVoice B103 Crumarst B104 Diamonds B105 Easypad B106 Eight_v B107 El_Cello B108 EQ_Zone B109 Europa B110 Expressn B111 FastBamb B112 FastPoly B113 FastVoc B114 Feelings B115 Filt_Vox B116 FlanginC B117 FlangVoc B118 Fluid_X B119 Glide_X B120 GlideSwp B121 Horns_El B122 HugeOBX B123 Imagina B124 JunoSwel B125 JXString B126 Kasper B127 KorgSwep B128 Long_JX C001 LoopSwep

C002 MixedRes C003 Mixpad C004 Mixpoly C005 Nie_Ohne C006 Oberhpad C007 Obi_One C008 OBX_4 C009 OBXClean C010 Oh_Carol C011 Oingpad C012 Percpad C013 Pitglide C014 Povray C015 Psychosi C016 Pupilpad C017 Raumstr

C018 Releaser C019 Rev_Pad C020 Revvoice C021 Sawpad C022 Sequenz1 C023 Shadows C024 Shrt_CMI C025 Smplswep C026 Softie C027 Starpad1 C028 Starpad2 C029 Stringer C030 Stringfm C031 Strngmix C032 Strngmk5 C033 Sunny C034 Sweeper1 C035 Sweeper2 C036 Sweeper3 C037 Sweeper4 C038 Sweepup C039 Swelbody C040 Swep_OBX C041 SwepDbl C042 SwepSolo C043 SynSaege C044 T_D_Pad1 C045 TagTraum C046 Talos_5 C047 Teppich C048 Vox_Echo C049 VoxObi C050 VoxSwell C051 VS_Pad C052 VS_Voice C053 Vulgaris C054 WarmBlas C055 Windy C056 MKS_Poly

Waves

C057 Pulse_30 C058 Pulse_50 C059 Pulse_60 C060 Pulse_75 C061 Rechteck C062 Resonato C063 Resowav1 C064 Resowav2 C065 Resowav3 C066 Resowav4 C067 Resowav5 C068 Resowav6 C069 Resowav7 C070 Saegezan C071 Sinewave C072 Specwav

FM_Percussion

C073 Chimes_1 C074 Chimes_2 C075 Glas_FM C076 Gloeckle C077 Klinklan C078 Mallet C079 Metallsp C080 Plong C081 Spieluhr C082 Tinkler C083 Tremvib1 C084 Tremvib2 C085 Tremvib3 C086 VibesFM

Effects

C087 Ash2Ash C088 Arnold C089 Autumn C090 Battle C091 Blobby C092 Butcher C093 Checov C094 Daemmrg C095 Deeper C096 Dreckig C097 Effect_1 C098 Effect_2 C099 Experie1 C100 Experie2 C101 Experie3 C102 Experie4 C103 Experie5 C104 Experie6 C105 Experie7 C106 Experie8 C107 Factory C108 Falling1 C109 Falling2 C110 Ferrochr C111 Frogger C112 Gateshot C113 Gremlin C114 Heartbat C115 Humbler C116 Hyper C117 Innuendo C118 ItsClosd C119 Kreuzmod C120 Log_Out C121 MR_Dirty C122 Nuggets C123 Racer_FM C124 Refresh C125 RepairIt

C126 Ringer C127 Sitar C128 Spec_FX D001 Special1 D002 Special2 D003 Special3 D004 Special4 D005 Special5 D006 Special6 D007 Special7 D008 Stahl D009 Stepper D010 Target_Y D011 Wriggley D012 Zappmoog

Tuned Drums

D013 A_Cymb_T D014 A_Elec_T D015 A_Gui1_T D016 A_Klok_T D017 A_Perc_T D018 A_SFX_T D019 Agogo_T D020 Ankick1T D021 Ankick2T D022 AnKick3T D023 AnKick4T D024 AnKick5T D025 AnaTomT D026 BassDrmT D027 BellTreT D028 BongoHiT D029 CabasaT D030 CastanT D031 China_T D032 Clave_T D033 ClsdHH_T D034 CowbellT D035 Conga_T2 D036 Conga_T1 D037 CR78CymT D038 CR78Cn_T D039 CR78Bd_T D040 CR78Gu_T D041 CR78Ta_T D042 CR78SnrT D043 CR78RimT D044 CR78HH_T D045 Crash2T D046 Crash1T D047 Cuica_T D048 DrumFX1T D049 DrumFX2T D050 EffShakT D051 Gated_T D052 Guiro_T

Selecting Single Sounds with MIDI

D053 GuiroT2 D054 LinnSn_T D055 LinnTomT D056 LongWh_T D057 MaracasT D058 MS20P_T D059 OpenHH_T D060 Reso_T D061 Ride_T D062 Scrtch1T D063 Scrtch2T D064 SinusKic D065 Slap_T D066 Snare_T D067 Snare2T D068 Stick_T D069 Sticks_T D070 SynTom1 D071 SynTom2 D072 SynTom3

D073 Trian_T D074 Tamb_T D075 TimbalT D076 Tom_T D077 TR606BsT D078 TR606CyT D079 TR606HHT D080 TR606OHT D081 TR606SnT D082 TR606TmT D083 TR808BsT D084 TR808HHT D085 TR808C_T D086 TR808C1T D087 TR808C2T D088 TR808CwT D089 TR808CrT D090 TR808OHT D091 TR808RmT D092 TR808SnT

D093 TR808TmT D094 TR909BsT D095 TR909HHT D096 TR909C_T D097 TR909OHT D098 TR909SnT D099 TR909StT D100 TR909TmT D101 Vibra_T D102 VocHit_T D103 VocokikT D104 VocopopT D105 CocoZisT D106 Yeti D107 Zap_T D108 ZappnGt D109 Zilp_T D110 Zip_T D111 Zipup_T

Drumsets

D112 Standard D113 TR808Set D114 TR909Set D115 Analog D116 TR606Set D117 CR78_Set D118 Linn_set D119 Rock_Set D120 Modular1 D121 Modular2 D122 VntgeSet D123 Dry_Set D124 DanceSet D125 Old_Box D126 Kick_Snr D127 NoisySFX

D128 NoSound

Selecting Single Sounds with MIDI

The are 512 single sounds in The RAVEN. They are organized into 4 banks with 128 single sounds in each bank. Since MIDI Program Change messages can access a maximum of 128 sounds, The RAVEN uses Bank Select messages in addition to Program Change messages to access all 512 sounds. The Bank Select command is MIDI Controller number 0 and must be given before the Program Change message. Bank Select commands not accompanied by a Program Change message are ignored. Program Banks A D correspond with Bank Select numbers 0 - 3:

1. Controller 0, Value X; X = Bank-number

X = 0 = Bank A X = 1 = Bank B X = 2 = Bank C X = 3 = Bank D

2. Program-change, Value Y; Y = Program-number

Y = 0 - 127

The sound will be changed after both messages are received. The program will not change with only a Bank Select message. The Bank Select command must always be terminated by a Program Change.

All parameters of The RAVEN can be changed via MIDI System Exclusive messages. Computer programmers will find the following informations useful in programming Dump or Editor Programs for The RAVEN. For Realtime control it is generally better to use Continuous Controller data because it often achieves the same result, sends less MIDI data, and is easier to use.

Performance list

A00 Diary A01 Blow_Job A02 Slappy A03 Slidox A04 Polysynt A05 Gate A06 Matrix A07 Soloport A08 Rotodrum A09 Hadjuk A10 2000Deep A11 5thHouse A12 Aladdin A13 Alhazred A14 Ali_Baba A15 Amalgam A16 Apricosy A17 Arielle A18 Artus A19 Atomsmog A20 Aztekiae A21 Babayaga A22 Babybox A23 Bachus A24 Barbara A25 Bassarps A26 BassLine A27 BellVox A28 BritePad A29 Brutus A30 CaveLine A31 Chinese A32 Cholera A33 Chor A34 Chordula A35 Chorstrg A36 Cicero A37 Clichy A38 Clopsy A39 CMI_Vox A40 Cocktail A41 Cujamara A42 DeepBooh A43 Deviled A44 DieHard A45 DX_7 A46 EasySeq A47 EchoDrin A48 Echolyt A49 ElHakim

B00 Equinox B01 Eunova B02 Europa B03 EvilLine B04 FastChor B05 FatBass B06 FatLead B07 FatStrng B08 FatSynth B09 Fit B10 Flaeche B11 Flange B12 Flokati B13 Floorbss B14 Floppy B15 Flutlite B16 Funky B17 Futurbss B18 Gabber B19 GenError B20 Gitarre B21 Gliders B22 GruvReso B23 Gwendoly B24 HaloWahn B25 Hamburg B26 HardCore B27 Harrison B28 Horrible B29 House B30 HouseOrg B31 HugSynt B32 Ibis B33 IceCold B34 Image B35 ItalPian B36 Ivanhoen B37 Japanese B38 Jungfer B39 Klaus B40 Kniteful B41 Kreta B42 K_Houser B43 Lancelot B44 Lead_303 B45 Leaders B46 Legalize B47 Little15 B48 LoveAge B49 LoveBody

C00 LowPass C01 Luigi C02 Maldoror C03 MC202 C04 Mellotrn C05 Memories C06 Merkur C07 Message C08 Miami C09 Milrahm C10 Mittig C11 MKS50 C12 MKSOrgan C13 Mobilnet C14 ModuBass C15 MonoMoog C16 MoogBass C17 MoogSome C18 Moogy C19 MotoKing C20 Move_It C21 Mumpfel C22 Murmel C23 Mutantor C24 NiteMare C25 Noister C26 Noisy C27 NoSchool C28 No_Talos C29 Oberheim C30 Okzident C31 Orchestr C32 Orgel C33 Oriental C34 OutDoors C35 Palmin C36 Panners C37 Paradox C38 Patent_X C39 Petshop C40 Phasers C41 Polygon C42 Propper C43 Pulsar C44 PulsArp C45 Pulseful C46 Pupils C47 Quasar C48 Rachel C49 Radium

D00 RandyRnd D01 RatBass D02 RaveBrss D03 RaveLead D04 Raveress D05 Raverin D06 Ravesign D07 Raviera D08 Restore D09 Rhythms D10 Ritenite D11 RudeBass D12 RunAway D13 Sarungi D14 Satelite D15 SeaQuest D16 SeqAngel D17 SLowPad D18 SoftClck D19 Sojus7 D20 Solid D21 Spartas D22 Splittig D23 SpltHaus D24 Stargate D25 Starwars D26 Steely D27 Stormed D28 Suckers D29 Supersol D30 Sweeper D31 Synbrass D32 Syncers D33 SynSign D34 SyntiPop D35 TimTaler D36 Torture D37 Tribally D38 TriebTat D39 TriplSeq D40 Ullyses D41 UniLine D42 Up‘nDown D43 WarmStrg D44 WetLook D45 Wibbler D46 Witched D47 Wurlitz D48 Xantier D49 Zombied

How to select the performances with midi

The selection of performances works in the same way we have explained it in the last chapter. Every performance-bank contains 50 performances. The performances are organized in 5 banks 0- 4. For that reason you have only 50 program-changes from 0 - 49 for each bank. Send first the desired bank-number and than the program-change number.

Bank 0: User-Bank (RAM-Performances) Bank 1-4 ROM-Bänke A-D

Drumset list

Standard Set

C 2 Bassdrum C#2 Stick D 2 Snare D#2 TR808Clp E 2 SnreDrum F 2 Tom_2 F#2 ClsdHHat G 2 Tom_2 G#2 FootHHat A 2 Tom_2 A#2 OpenHHat H 2 Tom_1 C 3 Tom_1 C#3 Crash1 D 3 Tom_1 D#3 Ride E 3 ChinaCrs F 3 RideBell F#3 Tamburin G 3 Splash G#3 Cowbell A 3 Crash2 A#3 VibraSlp H 3 Ride C 4 BongoHi C#4 BongoLo D 4 CongaSlp D#4 CongaHi E 4 CongaLo F 4 Timbale F#4 Timbale G 4 HiAgogo G#4 LoAgogo A 4 Cabasa A#4 Maracas H 4 ShrtWhis C 5 LongWhis C#5 GuiroSht D 5 Guiro D#5 Clave E 5 Woodblok F 5 Woodblok F#5 CuicaLo G 5 CuicaHi G#5 Mt_Trngl A 5 Triangle A#5 Shaker H 5 Tamburin C 6 BellTree C#6 Castanet D 6 SinusKic D#6 ResoHard E 6 Slap F 6 Scratch1 F#6 Scratch2 G 6 Sticks G#6 CasioDr3 A 6 Casiodr1 A#6 CasioDr2 H 6 TR808Rim C 7 Stick

TR808 Set

C 2 TR808Bs C#2 TR808Rim D 2 TR808Sn D#2 TR808Clp E 2 TR909Sn F 2 TR808Tom F#2 TR808CHH G 2 TR808Tom G#2 RaveHat A 2 TR808Tom A#2 TR808Ohh H 2 TR808Tom C 3 TR808Tom C#3 TR808Crs D 3 TR808Tom D#3 Ride E 3 ChinaCrs F 3 RideBell F#3 Tamburin G 3 Splash G#3 TR808Cow A 3 Crash2 A#3 VibraSlp H 3 Ride C 4 BongoHi C#4 BongoLo D 4 Tr808CLo D#4 TR808Cmi E 4 TR808CHi F 4 Timbale F#4 Timbale G 4 HiAgogo G#4 LoAgogo A 4 Cabasa A#4 TR808Mrs H 4 ShrtWhis C 5 LongWhis C#5 GuiroSht D 5 Guiro D#5 TR808Cla E 5 Woodblok F 5 Woodblok F#5 CuicaLo G 5 CuicaHi G#5 Mt_Trngl A 5 Triangle A#5 Shaker H 5 Tamburin C 6 BellTree C#6 Castanet D 6 SinusKic D#6 ResoHard E 6 Slap F 6 Scratch1 F#6 Scratch2 G 6 Sticks G#6 CasioDr3 A 6 Casiodr1 A#6 CasioDr2 H 6 TR808Rim C 7 Stick

TR909 Set

C 2 TR909Bs C#2 TR909Stk D 2 TR909Sn D#2 TR909Clp E 2 TR808Sn F 2 TR909Tom F#2 TR909CHH G 2 TR909Tom G#2 RaveHat A 2 TR909Tom A#2 TR909OHH H 2 TR909Tom C 3 TR909Tom C#3 Crash2 D 3 TR909Tom D#3 Ride E 3 ChinaCrs F 3 RideBell F#3 Tamburin G 3 Splash G#3 TR808Cow A 3 Crash1 A#3 VibraSlp H 3 Ride C 4 Tr808CLo C#4 TR808Cmi D 4 TR808CHi D#4 BongoHi E 4 BongoLo F 4 HiAgogo F#4 LoAgogo G 4 Timbale G#4 Timbale A 4 TR808Mrs A#4 Cabasa H 4 ShrtWhis C 5 LongWhis C#5 GuiroSht D 5 TR808Cla D#5 Guiro E 5 Woodblok F 5 Woodblok F#5 CuicaHi G 5 CuicaLo G#5 Triangle A 5 Mt_Trngl A#5 Tamburin H 5 Shaker C 6 BellTree C#6 Castanet D 6 ResoHard D#6 SinusKic E 6 Slap F 6 Scratch2 F#6 Scratch1 G 6 Sticks G#6 Casiodr1 A 6 CasioDr2 A#6 CasioDr3 H 6 TR808Rim C 7 Stick

Analog Set

C 2 ResoHard C#2 CR78Rim D 2 CR78Snre D#2 TR909Clp E 2 NoiseSnr F 2 Anatoms1 F#2 TR606HH G 2 Anatoms3 G#2 RaveHat A 2 Anatoms1 A#2 TR606OHH H 2 Anatoms3 C 3 Anatoms1 C#3 AnlgCymb D 3 Anatoms3 D#3 Ride E 3 ChinaCrs F 3 ZipUp F#3 Tamburin G 3 Zapping G#3 TR808Cow A 3 Crash1 A#3 AnlgElec H 3 Ride C 4 CasioDr2 C#4 CasioDr3 D 4 AnlKlock D#4 AnlKlock E 4 HiAgogo F 4 LoAgogo F#4 Tr808CLo G 4 TR808Cmi G#4 TR808CHi A 4 AnlPerc1 A#4 AnlPerc2 H 4 Zilp C 5 AnlGuir1 C#5 TR808Cla D 5 ShrtWhis D#5 LongWhis E 5 AnlPerc3 F 5 AnlPerc4 F#5 Pudding G 5 Pudding2 G#5 DrumSFX1 A 5 DrumSFX2 A#5 VocoKick H 5 Vocopop C 6 VocoZish C#6 MoogTom D 6 ResoHard D#6 Slap E 6 Scratch1 F 6 Scratch2 F#6 Sticks G 6 CasioDr3 G#6 Casiodr1 A 6 CasioDr2 A#6 TR909Bs H 6 TR808Rim C 7 Stick

Drumset list

TR606 Set

C 2 TR606Bs C#2 CR78Rim D 2 TR606Snr D#2 TR808Clp E 2 CR78Snre F 2 TR606Tom F#2 TR606HH G 2 TR606Tom G#2 RaveHat A 2 TR606Tom A#2 TR606OHH H 2 TR606Tom C 3 TR606Tom C#3 TR606Cym D 3 TR606Tom D#3 Ride E 3 ChinaCrs F 3 RideBell F#3 Tamburin G 3 Splash G#3 TR808Cow A 3 Crash2 A#3 VibraSlp H 3 Ride C 4 GuiroSht C#4 CR78Guir D 4 BongoHi D#4 BongoLo E 4 CongaSlp F 4 CongaHi F#4 CongaLo G 4 Timbale G#4 Timbale A 4 HiAgogo A#4 LoAgogo H 4 Cabasa C 5 TR808Mrs C#5 ShrtWhis D 5 LongWhis D#5 TR808Cla E 5 Woodblok F 5 Woodblok F#5 CuicaLo G 5 CuicaHi G#5 Mt_Trngl A 5 Triangle A#5 Shaker H 5 Castanet C 6 ResoHard C#6 Slap D 6 Scratch2 D#6 Scratch1 E 6 Sticks F 6 SinusKic F#6 CasioDr3 G 6 Casiodr1 G#6 CasioDr2 A 6 Tamburin A#6 BellTree H 6 TR808Rim C 7 Stick

CR78 Set

C 2 CR78Bass C#2 CR78Rim D 2 CR78Snre D#2 TR909Clp E 2 TR808Sn F 2 TR808Tom F#2 CR78HHat G 2 TR808Tom G#2 RaveHat A 2 TR808Tom A#2 CR78HHat H 2 TR808Tom C 3 TR808Tom C#3 CR78Cymb D 3 TR808Tom D#3 RideBell E 3 ChinaCrs F 3 Ride F#3 CR78Tamb G 3 Splash G#3 TR808Cow A 3 Crash1 A#3 VibraSlp H 3 RideBell C 4 BongoHi C#4 BongoLo D 4 CR78Cnga D#4 CR78Cnga E 4 CR78Cnga F 4 Cabasa F#4 TR808Mrs G 4 Timbale G#4 Timbale A 4 HiAgogo A#4 LoAgogo H 4 ShrtWhis C 5 LongWhis C#5 GuiroSht D 5 CR78Guir D#5 CR78Clav E 5 CuicaHi F 5 CuicaLo F#5 Woodblok G 5 Woodblok G#5 Mt_Trngl A 5 Triangle A#5 Shaker H 5 SinusKic C 6 ResoHard C#6 Scratch1 D 6 Slap D#6 Scratch2 E 6 Sticks F 6 Casiodr1 F#6 CasioDr2 G 6 CasioDr3 G#6 TR808Bs A 6 Tamburin A#6 BellTree H 6 TR808Rim C 7 Stick

Linn Set

C 2 LinnKick C#2 Stick D 2 LinnSnre D#2 TR808Clp E 2 LinnSnre F 2 LinnTom F#2 ClsdHHat G 2 LinnTom G#2 FootHHat A 2 LinnTom A#2 OpenHHat H 2 LinnTom C 3 LinnTom C#3 Crash1 D 3 LinnTom D#3 Ride E 3 ChinaCrs F 3 RideBell F#3 Tamburin G 3 Splash G#3 Cowbell A 3 Crash2 A#3 VibraSlp H 3 Ride C 4 ResoHard C#4 Slap D 4 Scratch1 D#4 Scratch2 E 4 Sticks F 4 CasioDr3 F#4 Casiodr1 G 4 CasioDr2 G#4 BongoHi A 4 BongoLo A#4 CongaSlp H 4 CongaHi C 5 CongaLo C#5 Timbale D 5 Timbale D#5 HiAgogo E 5 LoAgogo F 5 Cabasa F#5 Maracas G 5 ShrtWhis G#5 LongWhis A 5 GuiroSht A#5 Guiro H 5 Clave C 6 Woodblok C#6 Woodblok D 6 CuicaLo D#6 CuicaHi E 6 Mt_Trngl F 6 Triangle F#6 Shaker G 6 Tamburin G#6 BellTree A 6 Castanet A#6 Solid H 6 TR808Rim C 7 Stick

Rock-Set

C 2 Solid C#2 Stick D 2 Gated_SD D#2 TR808Clp E 2 Snare F 2 Tom_2 F#2 ClsdHHat G 2 Tom_2 G#2 FootHHat A 2 Tom_2 A#2 OpenHHat H 2 Tom_1 C 3 Tom_1 C#3 Crash1 D 3 Tom_1 D#3 Ride E 3 ChinaCrs F 3 RideBell F#3 Tamburin G 3 Splash G#3 Cowbell A 3 Crash2 A#3 VibraSlp H 3 Ride C 4 CongaSlp C#4 CongaLo D 4 BongoHi D#4 CongaHi E 4 BongoLo F 4 Cabasa F#4 Maracas G 4 Timbale G#4 Timbale A 4 HiAgogo A#4 LoAgogo H 4 ShrtWhis C 5 LongWhis C#5 GuiroSht D 5 Guiro D#5 Clave E 5 Woodblok F 5 Woodblok F#5 CuicaLo G 5 CuicaHi G#5 Slap A 5 Sticks A#5 Shaker H 5 Tamburin C 6 Scratch1 C#6 Scratch2 D 6 ResoHard D#6 Mt_Trngl E 6 BellTree F 6 Castanet F#6 Triangle G 6 CasioDr3 G#6 Casiodr1 A 6 CasioDr2 A#6 Bassdrum H 6 TR808Rim C 7 Stick

Drumset list

Modular 1 Set

C 2 An_Kick4 C#2 AnlgRim D 2 AnlPerc2 D#2 TR808Clp E 2 TR909Sn F 2 Anatoms2 F#2 AnlgHHat G 2 Anatoms2 G#2 RaveHat A 2 Anatoms2 A#2 AnlgHHat H 2 Anatoms2 C 3 Anatoms2 C#3 AnlgCymb D 3 Anatoms2 D#3 TR606Cym E 3 ChinaCrs F 3 RideBell F#3 CR78Tamb G 3 Splash G#3 TR808Cow A 3 AnlgSFX A#3 VibraSlp H 3 Ride C 4 AnlPerc3 C#4 AnlPerc4 D 4 Casiodr1 D#4 CasioDr3 E 4 CasioDr2 F 4 BongoHi F#4 BongoLo G 4 HiAgogo G#4 LoAgogo A 4 Cabasa A#4 TR808Mrs H 4 ShrtWhis C 5 LongWhis C#5 AnlGuir1 D 5 Anlguir2 D#5 TR808Cla E 5 AnlPerc5 F 5 Woodblok F#5 CuicaLo G 5 CuicaHi G#5 Mt_Trngl A 5 Triangle A#5 El_Shako H 5 MoogTom C 6 Ms20Perc C#6 Castanet D 6 Zip D#6 Slap E 6 Scratch1 F 6 Scratch2 F#6 Sticks G 6 Tr808CLo G#6 TR808Cmi A 6 TR808CHi A#6 Zapping H 6 TR808Rim C 7 Stick

Modular 2 Set

C 2 An_Kick5 C#2 AnlPerc1 D 2 TR909Sn D#2 FiltClap E 2 FiltSnre F 2 Anatoms3 F#2 TR909CHH G 2 Anatoms3 G#2 AnlgHHat A 2 Anatoms3 A#2 TR909OHH H 2 Anatoms3 C 3 Anatoms3 C#3 CR78Cymb D 3 Anatoms3 D#3 TR606Cym E 3 Ms20Perc F 3 AnlgSFX F#3 CR78Tamb G 3 AnlgCymb G#3 TR808Cow A 3 Crash2 A#3 AnlgElec H 3 Ride C 4 BongoHi C#4 BongoLo D 4 Tr808CLo D#4 TR808Cmi E 4 TR808CHi F 4 AnlKlock F#4 AnlKlock G 4 AnlPerc4 G#4 AnlPerc5 A 4 Cabasa A#4 TR808Mrs H 4 ShrtWhis C 5 LongWhis C#5 GuiroSht D 5 Guiro D#5 TR808Cla E 5 Woodblok F 5 Woodblok F#5 CuicaLo G 5 CuicaHi G#5 Mt_Trngl A 5 Triangle A#5 Shaker H 5 Ms20Perc C 6 BellTree C#6 Castanet D 6 ZipUp D#6 Zapp E 6 Zilp F 6 Zip F#6 Zapping G 6 MoogTom G#6 MoogTom A 6 MoogTom A#6 909_F_Ki H 6 TR808Rim C 7 Stick

Vintage Set

C 2 An_Kick1 C#2 CR78Rim D 2 CR78Snre D#2 CR78Snre E 2 TR606Snr F 2 TR909Tom F#2 CR78HHat G 2 TR606Tom G#2 TR606HH A 2 TR909Tom A#2 TR606OHH H 2 TR606Tom C 3 TR909Tom C#3 TR606Cym D 3 TR606Tom D#3 TR606Cym E 3 CR78Cymb F 3 AnlgCymb F#3 CR78Tamb G 3 Ms20Perc G#3 AnlgSFX A 3 AnlgRim A#3 AnlPerc5 H 3 AnlPerc4 C 4 AnlPerc3 C#4 AnlPerc2 D 4 CR78Cnga D#4 CR78Cnga E 4 CR78Cnga F 4 AnlPerc1 F#4 AnlKlock G 4 AnlgHHat G#4 AnlGuir1 A 4 Anlguir2 A#4 AnlgElec H 4 AnlgCymb C 5 AnlgCymb C#5 CR78Guir D 5 TR909Bs D#5 TR909Stk E 5 TR909Sn F 5 TR909CHH F#5 TR909OHH G 5 TR808Bs G#5 TR808Rim A 5 TR808Sn A#5 TR808Clp H 5 TR909Clp C 6 Crash1 C#6 Crash2 D 6 RideBell D#6 AnlgCymb E 6 AnlgCymb F 6 AnlgCymb F#6 AnlgCymb G 6 AnlgElec G#6 AnlgElec A 6 AnlgElec A#6 AnlKlock H 6 TR808Rim C 7 Stick

Kick & Snare Set

C 2 DanceKik C#2 TR808Rim D 2 TR808Sn D#2 TR808Clp E 2 SnreDrum F 2 An_Kick1 F#2 TR909CHH G 2 An_Kick2 G#2 TR808CHH A 2 An_Kick3 A#2 TR909OHH H 2 An_Kick4 C 3 An_Kick5 C#3 Crash1 D 3 Bassdrum D#3 CR78Bass E 3 CR78Cymb F 3 LinnKick F#3 Tamburin G 3 TR606Cym G#3 TR909Bs A 3 Crash2 A#3 909_F_Ki H 3 CR78Snre C 4 Snare C#4 Gated_SD D 4 LinnSnre D#4 TR909Sn E 4 TR606Snr F 4 FiltClap F#4 TR909Clp G 4 Stick G#4 TR909Stk A 4 CR78Rim A#4 Sticks H 4 TR808Ohh C 5 ClsdHHat C#5 OpenHHat D 5 TR808Bs D#5 KickDrum E 5 TR606Bs F 5 Maracas F#5 Cabasa G 5 CongaSlp G#5 CongaHi A 5 CongaLo A#5 BongoHi H 5 BongoLo C 6 Cowbell C#6 TR808Cow D 6 ZipUp D#6 Zapp E 6 Zilp F 6 Zip F#6 Zapping G 6 TR909Tom G#6 TR909Tom A 6 TR909Tom A#6 AnlKlock H 6 TR808Rim C 7 Stick

Drumset list

Dry Set

C 2 Solid C#2 Stick D 2 SnreDrum D#2 TR808Clp E 2 SnreDrum F 2 Tom_2 F#2 ClsdHHat G 2 Tom_2 G#2 FootHHat A 2 Tom_2 A#2 OpenHHat H 2 Tom_1 C 3 Tom_1 C#3 Crash1 D 3 Tom_1 D#3 Ride E 3 ChinaCrs F 3 Triangle F#3 Tamburin G 3 Splash G#3 Cowbell A 3 Crash2 A#3 VibraSlp H 3 Ride C 4 BongoHi C#4 BongoLo D 4 CongaSlp D#4 CongaHi E 4 CongaLo F 4 Timbale F#4 Timbale G 4 HiAgogo G#4 LoAgogo A 4 Maracas A#4 Cabasa H 4 ShrtWhis C 5 LongWhis C#5 GuiroSht D 5 Guiro D#5 Shaker E 5 Woodblok F 5 Woodblok F#5 Scratch1 G 5 Scratch2 G#5 Mt_Trngl A 5 RideBell A#5 Clave H 5 Tamburin C 6 BellTree C#6 Castanet D 6 ResoHard D#6 Slap E 6 CuicaLo F 6 CuicaHi F#6 Sticks G 6 CasioDr3 G#6 Casiodr1 A 6 CasioDr2 A#6 LinnKick H 6 TR808Rim C 7 Stick

Dance Set

C 2 DanceKik C#2 TR808Rim D 2 TR909Sn D#2 TR808Clp E 2 SnreDrum F 2 TR909Tom F#2 TR909CHH G 2 TR808Tom G#2 RaveHat A 2 TR909Tom A#2 TR909OHH H 2 TR808Tom C 3 TR909Tom C#3 Crash1 D 3 TR808Tom D#3 Ride E 3 VocHit F 3 RideBell F#3 Tamburin G 3 Splash G#3 TR808Cow A 3 Crash2 A#3 VibraSlp H 3 Ride C 4 Scratch1 C#4 Scratch2 D 4 CongaSlp D#4 CongaHi E 4 CongaLo F 4 Timbale F#4 Timbale G 4 HiAgogo G#4 LoAgogo A 4 Cabasa A#4 Maracas H 4 ShrtWhis C 5 LongWhis C#5 GuiroSht D 5 Guiro D#5 Clave E 5 Woodblok F 5 Woodblok F#5 CuicaLo G 5 CuicaHi G#5 Mt_Trngl A 5 Triangle A#5 VocoKick H 5 Vocopop C 6 VocoZish C#6 Castanet D 6 ResoHard D#6 Slap E 6 BongoLo F 6 BongoHi F#6 Sticks G 6 Zip G#6 Zilp A 6 Ms20Perc A#6 TR808Bs H 6 TR808Rim C 7 Stick

Old-Box

C 2 An_Kick3 C#2 CR78Rim D 2 CR78Snre D#2 TR808Clp E 2 TR606Snr F 2 TR606Tom F#2 TR606HH G 2 TR808Tom G#2 CR78HHat A 2 TR606Tom A#2 TR606OHH H 2 TR808Tom C 3 TR606Tom C#3 CR78Cymb D 3 TR808Tom D#3 Ride E 3 TR808Crs F 3 Ride F#3 CR78Tamb G 3 Splash G#3 TR808Cow A 3 TR606Cym A#3 VibraSlp H 3 RideBell C 4 CR78Cnga C#4 CR78Cnga D 4 Tr808CLo D#4 TR808Cmi E 4 TR808CHi F 4 Timbale F#4 Timbale G 4 HiAgogo G#4 LoAgogo A 4 TR808Mrs A#4 Cabasa H 4 ShrtWhis C 5 LongWhis C#5 CR78Guir D 5 GuiroSht D#5 CR78Clav E 5 Woodblok F 5 Woodblok F#5 CuicaLo G 5 CuicaHi G#5 Mt_Trngl A 5 Triangle A#5 Shaker H 5 CongaSlp C 6 CongaHi C#6 CongaLo D 6 ResoHard D#6 Slap E 6 Scratch1 F 6 Scratch2 F#6 Sticks G 6 CasioDr3 G#6 Casiodr1 A 6 CasioDr2 A#6 TR606Bs H 6 TR808Rim C 7 Stick

Noisy SFX

C 2 An_Kick2 C#2 AnlPerc1 D 2 AnlPerc2 D#2 AnlPerc3 E 2 AnlPerc4 F 2 AnlPerc5 F#2 AnlgRim G 2 AnlgCymb G#2 AnlgRim A 2 AnlgRim A#2 AnlgCymb H 2 AnlgRim C 3 AnlgSFX C#3 AnlgSFX D 3 AnlgSFX D#3 AnlKlock E 3 AnlKlock F 3 AnlKlock F#3 AnlgElec G 3 AnlgElec G#3 AnlgElec A 3 AnlgHHat A#3 AnlgHHat H 3 AnlgHHat C 4 DrumSFX1 C#4 DrumSFX2 D 4 Eff_Shak D#4 MoogTom E 4 MoogTom F 4 MoogTom F#4 Pudding G 4 Pudding2 G#4 VocoKick A 4 Vocopop A#4 VocoZish H 4 Zapp C 5 Zapping C#5 ResoHard D 5 Zip D#5 Zilp E 5 ZipUp F 5 Ms20Perc F#5 Ms20Perc G 5 Ms20Perc G#5 El_Shako A 5 Crash1 A#5 Crash2 H 5 TR909Sn C 6 TR808Clp C#6 TR808Sn D 6 Anatoms1 D#6 Anatoms2 E 6 Anatoms3 F 6 Anatoms1 F#6 Anatoms2 G 6 Anatoms3 G#6 Anatoms1 A 6 Anatoms2 A#6 Anatoms3 H 6 TR808Rim C 7 Stick

System Exclusive data

All of The RAVEN's parameters can be changed via MIDI System Exclusive messages. Computer programmers will find the following informations useful in programming Dump or Editor Programs for The RAVEN. For Realtime control it is generally better to use Continuous Controller data because it often achieves the same result, sends less MIDI data, and is easier to use.

RAVEN-System-Exclusive Format

Request Data from device:

Byte No. Value Remarks 0 F0 System Exclusive start command 1 3F Quasimidi id number 2 dv device number = RAVEN System channel 3 23 RAVEN id number 4 52 (R)equest data 5 ah adress high 6 am adress mid 7 al adress low 8 dh data count high (2 bit) 9 dm data count mid (7 bit) 10 dl data count low (7 bit) 11 F7 end of System Exclusive

Dump Data to device:

Byte No. Value Remarks 0 F0 System Exclusive start command 1 3F Quasimidi id number 2 dv device number = RAVEN System channel 3 23 RAVEN id number 4 44 (D)ump data 5 ah adress high 6 am adress mid 7 al adress low

8... dt data (7 bit) ... F7 end of System Exclusive

System Exclusive data

RAVEN Adress Map: (third byte is Adress-Offset)

00 00 00 system parameter 01 00 00 temporary common parameter 01 01 00 temporary part parameter (part 1) 01 02 00 -“- (part 2)

... ...

01 10 00 -“- (part 16) 01 11 00 temporary performance name

02 00 00 temporary drum parameter (drum instr 1) 02 01 00 -“- (drum instr 2)

... ...

02 3C 00 -“- (drum instr 61) 02 3D 00 reserved ... 02 7F 00 -“-

03 00 00 temporary track parameter (pattern 0, track 0) 03 01 00 -“- ( -“- , track 1)

... ...

03 07 00 -“- ( -“- , track 7) 03 08 00 -“- (pattern 1, track 0)

... ... ...

03 4F 00 -“- (pattern 9, track 7) 03 50 00 reserved ... 03 7F 00 -“-

04 00 00 temporary song event (step 1) 04 01 00 -“- (step 2)

... ...

04 63 00 -“- (step 100) 04 64 00 reserved ... 04 7F 00 -“-

05 00 00 performance 1 Name 05 01 00 -“- common 05 02 00 -“- part 1 05 03 00 -“- part 2 05 04 00 -“- part 3 05 05 00 -“- part 4 06 00 00 performance 2 name

... ...

36 05 00 performance 50 part 4 370000 song 1 name 37 00 00 song 1 COMMON 37 02 00 -“- part 1 (KICK)

37 03 00 -“- part 2 (... ...

37 0A 00 -“- part 9 (SOLO) 370000 song 1 name 37 00 00 song 1 COMMON 37 02 00 -“- part 1 (KICK)

37 03 00 -“- part 2 (... ...

37 0A 00 -“- part 9 (SOLO)

System Exclusive data

38 00 00 song 1 drumset parameter (drum instr 1) 38 01 00 -“- (drum in str 2)

... ...

38 3C 00 -“- (drum instr 61) 39 00 00 song 1 track parameter (pattern 0, track 0) 39 01 00 -“- ( -“- , track 1)

... ...

39 07 00 -“- ( -“- , track 7) 39 08 00 -“- (pattern 1, track 0)

... ... ...

39 4F 00 -“- (pattern 9, track 7) 3A 00 00 song 1 song event (step 1) 3A 01 00 -“- (step 2)

... ...

3A 63 00 -“- (step 100) 3B 00 00 song 2 name

... ...

3F 00 00 song 3 name

... ...

5E 63 00 song 10 song event (step 100)

5F 00 00 reserved ... 76 7F 00 -“-

77 00 00 user motiv block 0 77 01 00 -“- 1

... ...

77 63 00 -“- 99

77 64 00 reserved ... 77 7F 00 -“77 7F 7F command: clear all user motives!!

78 00 00 sound name bank 0, sound 0 (only request!) 78 01 00 -“- sound 1 -“-

... ...

78 7F 00 -“- sound 127 -“79 00 00 sound name bank 1, sound 0 -“-

... ...

7B 7F 00 sound name bank 3, sound 127 -“7C 00 00 sound name bank 4, sound 0 (only with Expansion-Board)

... ...

7F 7F 00 sound name bank 7, sound 127 -“-

System Exclusive data

Adress Offsets:

———————-

SYSTEM-Parameter

00 transpose /* 0..12 (-6..+6) */ 01 tune /* 0..127 (-64..+63) * 02 system channel /* 0..15 (1..16) */ 03 sequencer mode /* 0..1 (OFF,ON) */ 04 extern sync /* 0..1 (OFF,ON) */ 05 program change input /* 0..1 (OFF,ON) */ 06 keyboard aftertouch /* 0..1 (OFF,ON) */ 07 extern start /* 0..1 (OFF,ON) */ 08 parameter control input /* 0..1 (OFF,ON) */ 09 local /* 0..1 (OFF,ON) */ 0A omni mode /* 0..1 (OFF,ON) */ 0B master velocity curve no. /* 0..7 (LIN, LIN-,LIN+,..FIX ) */ 0C program change out /* 0..1 (OFF,ON) */ 0D parameter control out /* 0..1 (OFF,ON) */ 0E controller out /* 0..1 (OFF,ON) */ 0F midi clock out /* 0..1 (OFF,ON) */

COMMON-Parameter

00 performance level /* 0..127 */ 01 performance mode /* 0..13 (SINGLE,DOUBLE...) */ 02 performance value /* 0..127 (SPLITKEY/DETUNE) */ 03 groove type /* 0..1 (8th,16th) */ 04 groove depth /* 0..3 (0%..100%) */ 05 foot function /* 0..1 (SUSTAIN,MOT.FREEZE) */ 06 reserved 07 repetition point /* 0..12 (C3..C4) */ 08 reserved

Modulations-Matrix

mod.depth[SOURCE1][DEST1]

/* 0..127

(-64..63) */ 0A mod.depth[SOURCE1][DEST2] /* 0..127 (-64..63) */

... ...

28 mod.depth[SOURCE4][DEST8]

FX Parameter

29 fx1 activity /* 0..1 (OFF,ON) */ 2A fx1 type /* 0..22, (FX1-Effect#) */ 2B fx1 parameter[PAGE1][PAR1] /* 0..127 (FX1-Parameter1) */ 2C fx1 parameter[PAGE1][PAR2] /* 0..63 (FX1-Parameter2) */

... ... ...

30 fx1 parameter[PAGE2][PAR3] 31 fx2 activity /* 0..1 (OFF,ON) */ 32 fx2 type /* 0..29, (FX2-Effect#) */ 33 fx2 parameter[PAGE1][PAR1] /* 0..127 (FX2-Parameter1) */ 34 fx2 parameter[PAGE1][PAR2] /* 0..127 (FX2-Parameter2) */

System Exclusive data

Motivator Parameter

3C mot pak1

3D speed /* 0..127 speed bit 1..7 (in BPM) */ 3E gate /* 0..127 (127 = legato) */ 3F mot pak2 /* bit 6mot double (OFF,ON) */

40 mot pak3 /* bit 3..6 mot track 0..15 (1..16) */

/* bit 5..6 mot mode 0..2

ARPEG,GATER,CHORD) */ /* bit 3..4 mot oct 1..4 */ /* bit 2 mot activity (OFF,ON) */ /* bit 0..1 mot resolution 0..3

(4,8,16,32) */

/* bit 3..5 mot dir 0..4

(UP,DOWN,UPDW,RND,AS

SIGN) */ /* bit 2 mot lenght fit (OFF,ON) */ /* bit 1 mot hold (OFF,ON) */ /* bit 0 mot dyn (OFF,ON) */

/* bit 2 reserved */ /* bit 1 mot out (OFF,ON) */ /* bit 0 speed bit 0 */

PART-Parameter

00 bank no. /* 0..3 (4..7 extension board) */ 01 sound no. /* 0..127 */ 02 trackmode /* 0..4 (OFF,ON,MONO/Drums:EXT,

LEAD, EXT) */

03 level /* 0..127 */ 04 panorama /* 0..20 (OFF,<7L..7R>,RND,KEY,

YEK, DYN, NYD) */

05 fx1 send /* 0..63 */ 06 fx2 send /* 0..63 */ 07 transpose /* 0..48 (-24..+24) */ 08 tune /* 0..127 (-64..+63) */ 09 cutoff frequency /* 0..127 (-64..+63) */ 0A resonance freq. /* 0..127 (-64..+63) */ 0B eg attack /* 0..127 (-64..+63) */ 0C eg decay /* 0..127 (-64..+63) */ 0D eg release /* 0..127 (-64..+63) */ 0E vibrato rate /* 0..127 (-64..+63) */ 0F vibrato depth /* 0..127 (-64..+63) */ 10 vibrato delay /* 0..127 (-64..+63) */ 11 velocity curve no. /* 0..14 (LIN,LIN-,LIN+,..-EX++) */ 12 holdpedal /* 0..1 (OFF,ON) */ 13 modulation depth /* 0..127 */ 14 pitch sensitivity /* 12..36 (-12..12) */ 15 volume mod. sens. /* 0..127 (-64..+63) */ 16 tone mod. sens. /* 0..127 (-64..63) */ 17 portamento time /* 0..127 */

DRUM-Parameter

00 level /* 0..127 */ 01 pan /* 0..16 (OFF,<7L..7R>,RND) */ 02 fx1 send /* 0..63 */ 03 fx2 send /* 0..63 */ 04 pitch /* 0..48 (-24..+24) */

System Exclusive data

TRACK-Parameter

00 bank nb /* bit 6 on track 7 pattern-typ (BREAK/NORM) */

01 sound nb /* 0..127 */ 02 motiv nb /* 0..63 */ 03 level /* 0..127 */ 04 pan /* 0..20 (OFF,<7L..7R>,RND,KEY,YEK,

05 fx1 send /* 0..63 */ 06 fx2 send /* 0..63 */ 07 transpose /* bit 6 track-trans 0..1 (OFF/ON) */

SONG-EVENT-Parameter

00 bars no. /* 1..127, (0 = end of song)*/ 00 pattern nb /* 0..9 */ 00 transpose /* 0..48 (-24..+24) */ 00 mutes /* 0..255 (1bit/Track) */

/* bit 3..5 motiv bank 1..7 (USER..) */ /* bit 0..2 sound bank 0..3 */

DYN,NYD) */

/* bit 0..5 part-transpose 0..48 */

Identity Request

Byte No. Value Remarks 0 F0 System Exclusive start command 1 7E Common Non-Real-Time message 2 cc channel number = RAVEN system channel * 3 06 general information 4 01 identity request 5 F7 end of System Exclusive

Identity Reply

Byte No. Value Remarks 0 F0 System Exclusive start command 1 7E Common Non-Real-Time message 2 cc channel number = RAVEN system channel * 3 06 general information 4 02 identity reply 5 3F Quasimidi id 6 23 RAVEN id 7 xx Extension Board exists flag (00=no, 01=yes) 8 00 reserved 9 00 reserved

10..13 vv vv vv vv Version no. (4 ascii characters, i.e ‘1.00’) 14 F7 End of System Exclusive

* note that if cc = 7F the RAVEN responds regardless of what

master channel it is set to.

MIDI Implementation Chart

Function Transmitted Recognized Sequencer

Transmitted Recognized

Basic Channel

Default Changed

1 1-16

1-16 1-16

1-8 x

Mode

Default Messages Altered

x x

x * x x x

Note Number

True Voice

36-96 x

0-127 12-108

36-96 36-96

Velocity Note On

Note Off

0 0

0 x

After Touch

Keys Channel

x 0

Pitch Bend MSB (7 bit)

LSB (1 bit)

0 x

0 0

0 x

Controller Continuous MSB 0-31

Continuous LSB 32-63 Control Change 64-95 120 all sounds off 121 reset all controller

0,1,2,5,11

x 64 x 0

0,1,2,5**,7**,10**,11

x 64,65 0 0

1,2,7**, 10**,11 x 64,65 x x

1,2,11

x 64,65 x x

Program Change 0** 0** 0** 0**

System Exclusive 0*** 0*** x x

System

Common

Song Position Song Select Tune Request

x x x

System Real Time

Clock Commands

x x

0** 0**

Aux Messages

Local On/ Off All Notes Off Active Sens. System Reset

x x x x

0 0 x x

x 0 x x

x x x x

x = No 0 = Yes * = always poly mode, in sequencer multi-mode 3b ** = can be set to on/off in SYSTEM-Edit *** = Dump-Functions

Initializing The RAVEN memory / Reload Factory Set

The Initialization function will erase ALL User Motives, RAM Performances and Song memory. Use the function to clear the internal memory. Make sure that any valuable data is off-loaded to an external MIDI dump recorder like a sequencer, Style-Drive, etc. To perform an Initialization: Switch The RAVEN off, and while holding the "WRITE" button down, switch The RAVEN on. The display will show the following:

Initialize All? [yes] [no]

After pressing [yes], ("SOFT" button [F1]), the Initialization will be confirmed. Pressing [no], ("SPFT" button [F2]), will interrupt the procedure without changes to the internal memory. After Initializing, you should re-calibrate the Realtime controllers. If you want to return to Performance or Sequencer mode without recalibrating, press "EXIT". Otherwise, the display will show the following Calibrate menu:

Calibrate Wheels (min:Tap/0, max:Tap/1) 1 1

Follow Steps 1 through 6 to Calibrate The RAVEN's Realtime controllers.

1) Hold all three Wheels (Pitch Wheel and Wheels 1 & 2) in their minimum position.

2) While holding the Wheels at minimum, press and hold the "TAP" button and press the "MUTE" button (0) once.

3) Then hold all three Wheels in their maximum position.

4) While holding the Wheels at maximum, press and hold the "TAP" button press the "KICK" button (1).

5) Confirm the calibration. The display will show the parameter values as the Wheels are turned. Also the 4 Realtime knobs and Aftertouch will be displayed.

6a) Press the "EXIT" button to return The RAVEN to its normal mode of operation, or...

6b) Repeat the procedure from Step 1

Warranty and Registration Card

Fill out the Registration Card and send to:

QUASIMIDI GmbH Bahnhofstr. 44 35282 Rauschenberg Germany

How to Validate the Warranty

To validate your Warranty, fill out the Warranty card and return it to QUASIMIDI within ten days from date of purchase. By returning the card the Warranty period will be extended from 6 months to a full 12 months.

What is covered and what is not covered ?

This Warranty covers all defects in material and workmanship for six (or twelve) months from the date of original purchase. This Warranty does not cover damage to, or deterioration of the external cabinet or internal circuitry resulting from accident, misuse, neglect, attempted unauthorized repair or failure to follow instructions in this Owners Manual. This Warranty does not cover units that have been modified or altered (except an authorized QUASIMIDI modification which includes its own Warranty coverage). This Warranty does not cover damage that may occur during shipping. Software/Firmware are sold as is and are not covered by this Warranty.

How to obtain Warranty servicing

Return your unit to an Authorized QUASIMIDI Service Center. If you are unable to locate one, write or call the QUASIMIDI Factory Service Department. We will either refer you to an Authorized Service Center or issue a Return Authorization number for Factory service. Units returned to QUASIMIDI for Factory service must display the Return Authorization number on the outside of the shipping carton and on all related documents, or units will be returned freight collect. The owner must pay all shipping costs to and from the Factory. Shipment of the product to QUASIMIDI is the responsibility of the owner, and should be insured by the owner for the full value of the product.

NO CLAIM FOR WARRANTY WILL BE HONORED WITHOUT PROOF OF PURCHASE

Limitations of implied Warranties and exclusion of certain damages

Any implied Warranties, including Warranties of usefulness for a particular purpose are limited in duration to the lenghth of the Warranty. QUASIMIDI´s liability for any defective product is limited to repair or replacement of the product.

QUASIMIDI shall not be liable under any circumstances for:

1) Damages based upon inconvenience, loss of use of the unit, loss of time, interrupted operation or commercial loss.

2) Any other damages, whether incidental, consequential or otherwise, except damages which may not be excluded under applicable law.

Please answer the following questions, this will used in the development of new QUASIMIDI products. All comments and suggestions will be read by a real person!

Warranty and Registration Card

Your RAVEN's Serial Number: Date of Purchase: Place of Purchase:

Name:

Company Name:

Address:

Age:

What style of music do you make ?

Which other keyboards and expanders do you use in addition to The RAVEN ?

What is the main purpose of your RAVEN ? Studio work ? Live Performance ?

Do you use a computer for making music ?

How much importance do you place on the internal sequencer ?

Which are your favorite RAVEN sounds ?

Which are your not-so-favorite RAVEN sounds ?

How much importance do you place on the MOTIVATOR ?

What sounds would you like included on future ROM Expansion boards ?

General comments and suggestions:

Quasimidi Raven User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual