Studiologic SL-161, SL-61 User Manual

SECTION 1.

Introduction:

Why and how do we use MIDI Controllers? What are Zones? Uses and Applications.

Congratulations on your new purchase of

the

SL-161/SL-61

Studio Logic Master Controller by

FATAR.
In this manual we will explain the concepts and techniques of using Master MIDI Controllers
to greatly expand your flexibility, creativity, control and productivity in your live or studio
keyboard setup. Whether you are using one multi-timbral sound module or a rack full of them,
this

Master Controller Keyboard and all

the

other Studio Logic Controllers by

FATAR

will

grea-

tly expand your professional and creative abilities.
The concept of a controller is to centralize your accessibility to your MIDI modules. It gives

you a central point of control over your slave modules in a given setup.

Have you ever tried to line up patches in your sound modules so that when you selected a
patch on your keyboard your other sound modules called up the right patch? Ever tried to
locate a patch position to write over a sound that you hopefully won't need later? Tired of
bending down to squint and see the display and program a module at the bottom of your rack?

All of these scenarios are greatly reduced when using a Master Controller.
The concept of ZONES, SPLITS and LAYERS is as follows:

A ZONE

consists

of a specified range of keys on your keyboard. That range of

notes

is

assigned

parameter messages that are communicated to your slave module(s), this reduces the need to
write and store patches on your module. These parameters may consist of the following infor­mation: patch number, volume setting, velocity curve, transposition value, pedal enable,
wheels enable,

etc....

When

a patch

is

selected

on your Master Controller all of

this

informa-

tion

is

sent

to

your modules instantly. The Studio

Logic

SL-161/SL-61

Master Controller by

FATAR

has
two (2) completely independent zones, meaning each zone can transmit all of its own infor­mation on any given MIDI channel. The range of notes in each zone can be setup to be adja­cent

to

another

ZONES

range of

notes

( one

ZONE

ends, going up

the

keyboard,

as

another

ZONE

starts)

or assigned

to

overlap each

other

or

any

part

of each

other's

ranges.

Thus we

introduce

the

concept

of

LAYERS

and SPLITS.

A

SPLIT

is

when

one

ZONE'S

range of

notes

ends

and another

ZONE'S

begins. A simple

exam-

ple

would

be

Bass in

the

left

hand and Piano in

the

right hand.

A ZONE'S

range of

notes

can

be

any amount of consecutive

notes

regardless of where another

ZONE'S

notes

begin.

When

two

or more

ZONE'S

range of

notes

overlap we call

this a LAYER.

LAYERS

are

the

way we can build

fat

lush

patches

using

the

full

potential

of

what

your

synths
and modules have to offer. Let's say we have a big pop ballad that needs your special touch?
We

want

to

create

a "Pad

Piano"

sound

to

cover

the

song. Assign each

ZONE

to

cover

the

enti-

re keyboard's range of

notes.

Using

the

two

ZONES,

assign each of them

to

play a different

patch:

(1)

dark rich Electric Piano, (2)

slow

attack

String Pad
with the release rate up slightly. If one or more patches are not in the same octave as the
others

it's

easy

to

fix.

Go

to

that

ZONE'S

transpose feature and move

it

up or down 12

steps
to line it up properly with the others. Something sounds a little mushy when playing Piano
parts

using

the

SUSTAIN PEDAL?

Try

going

to

the

ZONE

for

the

"non Piano" sound and

expe-

riment with disabling

the

SUSTAIN PEDAL

for

that

zone.

Within

moments you should have

a
deep, rich, rather large and musically useful sounding patch to use on your ballad.
Are you beginning to see the possibilities here? Please step inside the manual and we'll take

you through the simple yet versatile features of the Studio Logic 610 Master Controller by

FATAR.

SECTION 2.

Features:

A

guided

tour

through

the

Studio

Logic

161/61's

Controls and Features,

THE KEYBOARD

The

Studio

Logic

161/61

has a

61

key

FATAR

semi-weighted

piano

action.

It

is a new,

improved

version

of

the

classic

FATAR

action.

It

is

an extremely

musical

feeling

piano

style

action

that

has a very dynamic yet quick response to it. The velocity sensitive action can be modified with

several

VELOCITY

CURVE

response

settings

that

will

be discussed

later

in

this

manual.

The

61

key

action

of

the

SL-161/SL-61

will

transmit

channel

AFTERTOUCH

on

all

ZONES.

THE WHEELS

The PITCH and MODULATION WHEELS are the standard style, however, they are made with a

new rubberized

texture.

They have been designed

to

give

the

player a more

solid

tactile

sen-

sation during performing and programming for a more musical response.

THE ZONES

The

SL-161/SL-61

has

(2)

two

independent

ZONES

with

each

of

them

capable

of

being

assigned

to

any range

of

keys across

the

SL-161/SL-61's

keyboard.

As

discussed

in

the

introduction

to

this

manual,

the

ZONES

are

the

heart

of

creating

musically

useful

Layers and

Splits.

Each

of

the

(2)

ZONES consists of:

1. ZONE ENABLE/DISABLE BUTTON: Located on the front panel above the keyboard itself.

These are used

to

turn

the

ZONES

on and

off

in

PERFORMANCE

mode.

Each

switch

functions

independently of each other. In other words, you can have any combination of ZONES on or

off

at

any

point

by accessing these

ZONE

switches.

While

in

EDIT mode,

the

ZONE BUTTONS

are used

to

select

the

desired

ZONE

to

be

edited.

While

editing,

only

one

ZONE

at a time

can be selected and

the

buttons

now

toggle

on and

off

as

you

select

each

ZONE

SWITCH

for

editing.

2.

MIDI

CHANNEL

SELECT:

While

in

EDIT mode each

ZONE

can be

set

to

transmit

on any

of

the

16

MIDI

channels

available.

Only one

MIDI

channel

can be

transmitted

at a time

per

ZONE.

3.

BANK

SELECT:

After

selecting a MIDI

channel

to

transmit

on,

and

while

in

EDIT

mode,

you

can

initiate

or select

BANK

Changes. The commands are

different

depending

on

the

external

sound

module

you

are accessing. More on

BANK

SELECT

later

in

this

manual.

4. PROGRAM CHANGE: Patch selection can be made for each ZONE while in the EDIT mode.
Each ZONE can be set to select (send) patch changes 1 to 128 (some manufacturers use a numbe­ring scheme 0 to 127, so you may need to add (1) to each patchtt to achieve the desired results).

5.

SPLIT or

KEY

NOTE

RANGE:

This

edit

function

allows

you

to

select

the

range

of

active

notes

(keys)

for

each

ZONE.

The

ZONES

are

completely

independent

of

each

other

and

their

split

points can overlap thus creating LAYERS.
6 .TRANSPOSE: Each ZONE can be set to transpose its key range up or down 24 semitones. In

other words, up or down 2 octaves from the synth module's original setting.

7 .SUSTAIN PEDAL ENABLE / DISABLE SELECT: You can set each ZONE to respond or not

respond

to

sustain

pedal

information.

This

is

done

in

the

EDIT mode

for

each

ZONE.

8. WHEELS ENABLE / DISABLE SELECT: You can set each ZONE to respond or not respond to
PITCH and MODULATION WHEEL information. This is done in the EDIT mode for each ZONE.

9. AFTERTOUCH ENABLE / DISABLE SELECT: You can set each ZONE to respond or not respond
CHANNEL AFTERTOUCH information. This is done in the EDIT mode for each ZONE.

10.

SHAPE:

Velocity

curve

settings

specific

to

each

ZONE.

These

setting

will

alter

the

way

velocity

information

from

the

keyboard

will

be

transmitted

to

the

receiving

MIDI

channel.

There are 8 preset velocity curves to choose from that vary the dynamic response of the key-

board. Again, these settings are specific to each ZONE and are accessed while in the EDIT
mode.

GLOBAL

VELOCITY

CURVE:

This

VELOCITY

CURVE

setting

is a global

one, meaning

it

affects
the dynamic response of the entire keyboard across all (2) ZONES. There are 8 global settings
to choose from. Again, these setting are accessed while in the EDIT mode.

SUSTAIN

PEDAL:

The

Studio

Logic

SL-161/SL-61

has a connection

jack

on

the

rear panel for

a

SUSTAIN

PEDAL

input.

The

VP-26

by Fatar

is

recommended.

VOLUME

PEDAL:

The

Studio

Logic

SL-161/SL-61

has a connection

jack

on

the

rear panel for a stan-

dard

VOLUME

PEDAL

input.

POWER

INPUT:

The

Studio

Logic

SL-161/SL-61

has a

connection

jack

on

the

rear

panel

for

the

sup-

plied

POWER

SUPPLY

input.

MEMORY

STORAGE:

The

Studio

Logic

SL-161/SL-61

will

remember

all

of

your preset information when
powered down. All programmed settings are transmitted when the unit is powered up. There
is no need to store edited information, simply exiting the edit mode causes the information

to be stored.

SECTIONS.

Rear Panel Connections and Features:

Powering up. Connecting Pedals and hooking up with your other gear.

POWER INPUT

The

Studio

Logic

SL-161/SL-61

has a connection jack on

the

rear

panel for

the

AC

POWER

SUPPLY

INPUT.

The

AC

adapter

POWER

SUPPLY

supplied

with

this

unit

is a positive

tip

9V

DC

with

a

minimum current of 200 mA.

POWER SWITCH

The

Studio Logic

SL-161/SL-61

has

its

POWER

SWITCH

located on

the

back

panel next

to

the

POWER

SUPPLY

INPUT.

There

is

also a red

LED

to

indicate

the

unit

is on.

Upon

powering up

the

key-

board all preset data is transmitted out through the MIDI OUT connections.

SUSTAIN PEDAL

The

Studio Logic

SL-161/SL-61

has a connection jack on

the

rear

panel for a SUSTAIN

PEDAL

input.

This jack

will

function

properly

with

either

type of "normally closed" or "normally open"

SUSTAIN

PEDALS.

Upon

powering up

the

Studio Logic

SL-161/SL-61

will

recognize whichever type

of

pedal is presently connected to the keyboard, regardless of polarity (e.g. PS100 or VFP1). Note:

SUSTAIN

PEDAL

must

be

plugged

in

prior

to

powering up

to

properly

sense

polarity.

VOLUME PEDAL

The

Studio

Logic

SL-161/SL-61

has a connection jack on

the

rear

panel for a standard

VOLUME

PEDAL

input

that

uses a stereo or balanced jack

(e.g.

VP-26

by Fatar).

This

volume

control

will

chan-

ge

the

volume

equally

across

all

four

ZONES

simultaneously.

MIDI OUT CONNECTIONS

MIDI OUT

Connections: The

MIDI OUT

jacks

are

where you

connect

your

Studio

Logic

SL-161/SL-61
Master Controller to your various MIDI sound sources. Using a standard 5 pin DIN MIDI cable,
connect the Studio Logic MIDI OUT to your MIDI input jack on your synthesizer, sound modu­le or other MIDI equipped keyboard. You may use the THRU (daisy chain) feature on your MIDI
gear to connect to other MIDI modules if you like. Avoid daisy chaining more than 2 modu­les, if possible, to reduce the possibility of MIDI log jam or timing delays. The Studio Logic
SL-161/SL-61

conveniently

is

supplied with

two

parallel (identical)

MIDI OUT

jacks on

the

rear panel
to help reduce the possibility of timing delays when connecting to multiple MIDI sound modu­les.

When

connecting multiple

devices

to

your

SL-161/SL-61

allocate

them equally

across

the

two

MIDI OUT connections on this keyboard.

SECTION 4.

Description of Front Panel Controls and Features:
What are they, what do they do and how do I use them?

ZONE SELECT

Located on

the

top

panel

there

are

the

(2)

ZONE

buttons

for

the

(1)

enabling and disabling of

the

three

keyboard

ZONES

while in play mode and (2)

selecting

the

ZONES

while in

EDIT

MODE.

The LED indicators will be lit up when its corresponding zone is active or selected for editing.
In PLAY mode any combination of ZONES may be on or off at any point in time. However, in

EDIT

mode

the

ZONE

switches may only

be

used

to

select

one

ZONE

at a time.

Only

one

ZONE

at a time

may

be

edited

and

therefore

only

one

ZONE

light may

be

lit

at a time

while in

EDIT

mode.

You

are

able

to

jump from

ZONE

to

ZONE

while in

edit

mode by depressing

the

corre-

sponding ZONE BUTTONS.

Please note that you may only press a zone button and disable or^nable a zone while no notes

are depressed on the keyboard or while the sustain pedal is being depressed.

UP, DOWN, ENTER/EDIT

The

UP

and

DOWN

buttons

are

used

to

scroll

through

the

FUNCTION

selections

while

in

edit

mode.
Depressing

the

ENTER/EDIT

button

enters and

exits

the

EDIT

mode.

While

in

edit

mode a LED

is

lit

next

to

the

corresponding

FUNCTION

that

is presently selected

for

editing.

Using

the

UP/DOWN

buttons

will

cause

the

LED

to

scroll through

the

FUNCTION

selections.

10

KEY

PAD;

(H)

AND

(-),

(ON)

AND

(OFF)

This is the area where you enter desired parameters for selected FUNCTIONS being edited. The
numerical keypad, (H) and (-), (on) and (off) are assigned to correspond to the keys of the
central octave of the KEYBOARD.
While

in

EDIT

MODE

these

keys

now

function

as

our data entry method and

will

not

transmit
note information.
In

other words, while

in

EDIT

MODE

the

entire keyboard is

disabled

and

will

not

transmit

note

information

until

you

exit

the

EDIT

MODE.

MIDI

CHANNEL

Used

to

select which

MIDI

channel each

of

the

(2)

ZONES

will

transmit

its

information

on.

To

access

this,

parameter

enter

EDIT

mode

by selecting

ENTER/EDIT.

Select desired

ZONE

for

editing

by depressing

its

corresponding

ZONE

switch.

Use

the

UP/DOWN

buttons

to

select

MIDI

CHANNEL

function.

You

now

enter a one or

two

digit

value

using

the

10

key keypad

to

set

the

ZONE'S

MIDI

transmit

channel. Exit

the

EDIT

mode by
depressing the EDIT/ENTER button. In exiting the EDIT mode you store the new information
automatically

in

the

SL-161/SL-61

Master Controller's memory and enable

the

keyboard

ZONE

to

play
and transmit information on the new selected MIDI channel. In order to play and transmit on
a

desired

ZONE,

select

the

corresponding

ZONE

switch

while

in

play

mode

so

that

its

LED

is

lit.

The

ZONE

switch

will

toggle

to

turn

ZONE

on and

off.

BANK SELECT

Used

to

transmit

or

initiate a BANK

CHANGE

message

on a given

zone.

After

selecting

and
assigning

the

MIDI

CHANNEL,

press

DOWN

button

to

switch

to

BANK

SELECT.

This mode allows
you to change the sound bank of your synth module or external sound source.
The

reception

protocol

for

BANK

SELECT

depends on

the

type

and

make

of

the

sound module
you are transmitting to and can vary from manufacturer to manufacturer. If the synth module
you

are

using requires only "Control

32"

then you

will

have

to

only enter

the

bank number you

wish to select. If your module requires a more complete protocol (Control 32+ Control 0) then

you need to enter Control 32 and then press the key corresponding to the "H" (represents

Higher part of Bank Change Byte) symbol (same as minus key). Then enter the desired num­ber for Control 0. The key sequence would be as follows: enter 32, then the (-) minus key
which also has the (H) symbol labeled above it, then the bank number to change to.

PROGRAM CHANGE

Used

to

select a PATCH

NUMBER

or

PROGRAM

CHANGE

for a specific

ZONE.

To

access

this

para-

meter you

first

turn

on

the

desired

ZONE

by selecting and pressing

its

corresponding

ZONE

switch, then enter EDIT mode by selecting ENTER/EDIT.
Select desired

ZONE

for

editing

by depressing

its

corresponding

ZONE

switch.

Now

use

the
UP/DOWN buttons to select the PROGRAM CHANGE function. Enter the desired number of your
patch selection on the keypad (MIDI Program change messages are from 1 to 128). Exit the
EDIT mode by depressing the EDIT/ENTER button. In exiting the EDIT mode you store the new
information

in

the

SL-161/SL-61's

Master

Controllers memory,

transmit

the

selected patch number

and enable the keyboard to play the new selected PROGRAM CHANGE.

SPUn-

Used to select the range of keys to be active for a specific ZONE. To set the Key Range or SPLIT

for a ZONE,

enter

the

EDIT

MODE

by pressing

ENTER/EDIT,

toggle

up or down

till

the

light

next

to

SPLIT

is

lit.

Press

the

ZONE

button

for

the

ZONE

you wish

to

set,

now

press

the

desired

lowest key on the KEYBOARD and then the highest key on the KEYBOARD to define the range

of

keys

to

be active

in

that

ZONE.

Exiting

the

EDIT

MODE

stores

the

information

and

all

other

edit

parameters

that

were changed.

The

ranges

of

keys

can be any one note (by

hitting

the

same

key

twice)

or

the

entire length of the

KEYBOARD

by

hitting

the lowest and then the
highest key. The range can be any contiguous combination of notes in between the highest
and lowest note on the keyboard and completely independent and different for each zone. You
can ovelap any amount of notes from ZONE to ZONE. '

TRANSPOSE

Used to TRANSPOSE the range of keys on a ZONE up or down a specific amount of half steps

from

middle

C.

Normally

the

"4"

ZONES

have a TRANSPOSE

value of

"O".

This

means

that

the
middle C corresponds to the central middle "C" on the Grand Staff, (providing the stored patch
in your synthesizer module is set to the same value).

Let's say you want to transpose and raise the tone of a ZONE by 4 semitones. Enter EDIT
mode, select

the

desired

ZONE

to

be

edited,

select

the

TRANSPOSE

function

using the

UP/DOWN keys. Now hit 4 on the numerical keypad and exit the EDIT mode. Let's say you wan­ted to lower the tone by an octave. Follow the same procedure as above but instead of hit­ting

(4) on

the

10

key

keypad,

first

hit

the

minus

key

then

enter

12

and

exit

EDIT

mode.

You
can TRANSPOSE a maximum of +/" 24 semitones (or two octaves) by entering a positive or
negative number up to 24 (+ or -). Positive values are entered by depressing the desired num­ber

keys

and negative values

are

entered by

first

hitting

the

(-)

key

then

the

desired number

key(s).

SUSTAIN

This FUNCTION allows you to enable or disable the SUSTAIN PEDAL for each zone. For an exam­ple, if you want to disable the SUSTAIN PEDAL for ZONE 2: While in the EDIT MODE press
UP/DOWN

again

to

select the

SUSTAIN

function.

Now

that

SUSTAIN

is selected

(LED

switched

on),

press

the

ZONE

#2

button

to

select

ZONE 2 or

editing

and then

OFF

key

which corresponds

to

"E

flat"

on

the

numerical keypad. After

that,

all

the other

ZONES

will

be affected

by

the

SUSTAIN

PEDAL,

while

ZONE

no. 2 will

be

excluded.

To

regain

SUSTAIN

PEDAL

control

on the

excluded ZONE, select EDIT, SUSTAIN and then press ON.
An obvious application

for

this

FUNCTION

would be

to

disable

the

Sustain

Pedal

on

a ZONE

set

to

the

lower end of

the

KEYBOARD

that

is set

to a Bass

patch.

In

addition,

now

use

the

other

ZONES

to

play a Piano or Pad/String sound layer leaving

the

SUSTAIN

PEDAL

functional

for

them.
Hopefully you are starting to see even more of the possibilities now becoming available to you

using a Studio Logic Master Controller. With just a bit of creative thought on your part you
should be coming up with interesting and useful patches for your own musical needs.

WHEELS

This FUNCTION allows the user to disable or enable the two WHEELS for each of the four ZONES.
Again, as an example, if you wanted to disable the two WHEELS for ZONE 1: enter the EDIT
mode, select

ZONE 1 for

editing

(pressing

ZONE 1 button),

now

use

the

UP/DOWN

buttons

to
scroll to the WHEELS parameter selection (making sure its corresponding LED is lit,) then
select the OFF key (corresponding to middle Eb on the keyboard.) Now exit the EDIT mode by
depressing

the

ENTER/EDIT

button.

With

this

edit

all

the

other

ZONES

will

be

affected by the

WHEELS

while

ZONE 1 will

be

excluded.

To

reverse

this

edit

follow

the

same

instructions

as
above but instead select the ON button on the keyboard (corresponding to middle Db on the

keyboard.)

A

possible application

for

this

feature would

be

to

have a ZONE

or

ZONES

assigned

to

the

lower

part of

the

keyboard set

to

sustaining or

"Pad"

sounds,

with

the

top

ends

of these

ZONES

ending somewhere in the middle of the keyboard, leaving room for a split above it.

Perhaps

you

can

transpose

the

lower

ZONES

up

an

octave

so

that

you would play chords on
the lower part of the keyboard but sounding in the middle range closer to middle "C". Leave
the

SUSTAIN

PEDAL

enabled

but

disable

the

WHEELS

for

this

ZONE

or

ZONES.
Now use remaining ZONES to create a layer using the upper unused remaining notes on the
keyboard. Assign

this

ZONE

or

ZONES

to a lead patch or patches,

disable

the

SUSTAIN

PEDAL

for these ZONES but leave the WHEELS enabled.

Now you can perform and hold down chords in the lower part of the keyboard using and hol­ding down the SUSTAIN PEDAL to "latch" the sustained chords.
Now, using both hands to play lead over the top, using the right hand to play melody and the
left

to

use

the

PITCH

and

MODULATION WHEELS,

Release

the

SUSTAIN

pedal

to

change chords
then SUSTAIN and "latch" again on the next chord and continue playing two handed leads over
the new chord.

AFTERTOUCH

This FUNCTION allows you to enable or disable the AFTERTOUCH for each ZONE. .For an exam-

ple, if you want to disable the AFTERTOUCH for zone 3: While in the EDIT mode select ZONE 3

for

editing

then

press

UP/DOWN

buttons

to

scroll

to

and select the

AFTERTOUCH

function..

Then

press

OFF

key which corresponds

to E flat

on the numerical keypad. After

that,

all

the

other

ZONES

will

be

affected by

the

AFTERTOUCH

while

ZONE

no. 3 will

be excluded.

To

regain

AFTERTOUCH control on the excluded ZONE, select EDIT, AFTERTOUCH and then press ON.
An application for this might be as follows: Refer to the patch set up from the preceding exam-

ple

in

the

WHEELS

section above.

In

your lead patch

in

the

right

hand you

may

be

using

AFTERTOUCH

for

volume swells or vibrato modulation. While doing

this

you

may

find

that

unde-

sirable

vibrato

messages

are

being

sent

to

your sustaining chords

in

the

lower

ZONES

in

this

patch.

Use

the

AFTERTOUCH

disable feature

in

these lower

ZONES

to

eliminate

aftertouch

mes-

sages from your lead performance being sent to your sustaining chords.

SHAPE

This function allows the user to change the dynamic cutves which control the velocity respon­ses for each of the four ZONES. This FUNCTION allows you to adapt your Master Keyboard
Controller to the dynamic response of your expander or external MIDI device. It also allows
you

to

adjust

the

keyboard's reaction

to

your specific

touch.

The

Studio Logic

SL-161/SL-61's

SHAPE

FUNCTION offers you 8 different preset curves to select from, 4 positive and 4 negative. Each

ZONE

can

have

its

own

SHAPE

setting.
To select a specific SHAPE for a ZONE follow the normal EDIT operation. Enter EDIT mode,
select a desired

ZONE

for

editing

by

hitting

its

corresponding

ZONE

switch.

Now

select

edit

function

SHAPE

using

the

UP/DOWN

buttons and

finally

select 1,2,3 or 4

for

SHAPE

selection.

Selecting a (-)

before

hitting

the

number

will

select

an

inverted version or

NEGATIVE SHAPE
of that curve. By negative shape we mean that the curve has an opposite affect with respect
to

the

touch.

Therefore, a light

touch brings about a high response and vice versa. This

SHAPE

FUNCTION is useful when you have two different curves (one + and one -) on two ZONES, as

this

results

in a velocity

crossfade

effect.

As

one sound gets lower

the

other gets

louder.

SHAPE

(-) 1 corresponds to the inverted SHAPE 1, and so on.

SHAPE

no. 1 has a linear

response, which is compatible

with

most

of

the

MIDI

devices pre-

sent on the market. This is the default setting for each of the (2) ZONES..

SHAPE

no. 2 has a less

sensitive

response,

so

it

requires a stronger

touch.

This

setting

is

use-

ful

to

gain a wider dynamic response.

Try

this

SHAPE

on a Piano

or

Electric

Piano

while

playing

a ballad or softer piece of music for a more expressive feel to the keyboard. You may also like

this

setting

while

using

the

SL-161/SL-61

to

program Hi

Hats

or

Drums

into a sequencer,

it

makes

it

easier to "pump" a part or vary the accents. It is also useful when the input MIDI device is

too sensitive and you want to lower the relative velocities being transmitted.
SHAPE

no. 3 has a more

sensitive

response

than

Shape

no. 1.

You

will

be able

to

transmit

higher

velocities

with a lighter

touch.

This

SHAPE

may

be useful

to

you

if

you

are

playing

a
Rock Piano or Honky-tonk Blues style and need to be heard over a loud band. This SHAPE sca­les the relative velocities up.

SHAPE no. 4 has an even more sensitive response than SHAPE no. 3. Useful for removing some
or all of the dynamic response to the keyboard. Use it when you want to trigger Samples, Loops
or Sound FX easily so that they play at their maximum volume without having to hit the key
as hard.

VELOCITY

The

VELOCITY

is

similar

in

function

and

application

to

the

SHAPE

feature

in

that

they

are

both
dynamic response settings for the keyboard and the MIDI velocity information that is tran­smitted.

The difference

is

that

the

VELOCITY

parameter

is

a GLOBAL

setting.

While

in

EDIT

mode when you select

VELOCITY,

the

LED's

for

all 3 ZONES

light

up simultaneously

indicating
you are changing a GLOBAL setting covering all three ZONES. While in the previous section you
could

select a dynamic curve

for

each

ZONE,

now you have 8

different

curves

that

affect

the
response of the entire keyboard. This VELOCITY parameter can help adapt your Controller
Keyboard to your MIDI modules and to your specific touch and feel preferences so as to give
you the most expressive control available.
To select a VELOCITY curve enter the EDIT mode, use the UP/DOWN buttons to select VELO­CITY,

then

chose 1 through

8 on

the

10 key keypad

to

select

your

VELOCITY

setting.

Exit

EDIT

mode to play and audition each of these curves.

10 KEYPAD,

(H)

AND

(-),

(ON) AND (OFF):

As

you have most

likely

figured

out

by

this

point

the

Studio

Logic Master Controller

SL-161/SL-61

uses

the

keyboard

itself

in

EDIT

mode

as

the

10

KEY

KEYPAD

and data entry source.

The

keys
in the central octave, starting at the middle C, are assigned to specific functions for data entry
in EDIT mode and are clearly labeled as indicated in the diagram below. While you are in the

EDIT

mode

and using

the

numerical keypad

the

keyboard

itself

does

not

transmit

MIDI

notes

and performance information. You must exit the EDIT mode to play notes from the keyboard.

SECTION 5.

Programming

the

Studio

Logic

SL-161/SL-61

Master

Controller:

Creating musically useful Patches and how to do it.

Before we

get

into

some

programming examples and

tips,

the

following

information

is

about

the

design architecture and how

the

Studio

Logic

SL-161/SL-61

Master

Controller operates.

DEFAULT SETTINGS

When

your Master

Controller

is

switched

on

for

the

first

time

it

will

transmit

the

following

default settings: ^

ZONE

#1

ON,

Zones

#2,#3

OFF.

The

three

zones

are

set

to

transmit

on

MIDI

channels

1

through 3 respectively,

their

SPLIT

is set

to

the

full

extension

of

all

61

keys and

all

switchable commands are in the ON position.
All ZONES set to SHAPE #1, VELOCITY = 4, TRANSPOSE = 0.

VOLUME SETTINGS OF 127 if no VOLUME PEDAL is connected. If a VOLUME

PEDAL

is connected whatever

position

the

pedal

is

in

will

be

transmitted.

SUSTAIN OFF. (PEDAL is enabled but in the off position, CC 64 - 0)

PITCH BEND value = 0, MODULATION WHEEL value =0

GENERAL RESET

To reset the unit to the above factory settings:

Power up the keyboard while holding down all three UP-DOWN-ENTER buttons, hold for a few

seconds then release all three buttons, c

GENERAL PROGRAMMING

INFORMATION

When the Master Controller is powered up it always transmits the contents of the program

memory.

After programming any parameters, the contents of the memory is transmitted when exiting

EDIT mode.

To transmit the contents of the memory while in play mode press the ENTER/EDIT button twice.

Exiting the EDIT mode automatically stores the newly changed parameters, if any, into the
memory.

When powering down

the

unit

all

information

in

memory

is

retained

and

then

transmitted

again upon power up.

You can

not

enter

the

EDIT

MODE

if

you

are

holding

down

keys

or pressing

the

sustain

pedal.

You must release all pedals and keys before entering into the edit mode.

When

re-entering

the

EDIT

MODE

it

will

be

on

the

parameter

setting

and ZONE

selection

as

it

was

left

when

previously

in

the

EDIT

MODE.
When EDIT MODE is selected, the keyboard does not sound. To test the programmed variations
and

play

the

keyboard

exit

the

EDIT

MODE.

APPLICATIONS USES AND

USER TIPS

These suggestions are

designed

as a starting

point

to

help

stimulate

your

own

creative

usage

of these features for your own musical applications and needs.

THE ZONES

The

ZONES

are

the

heart

of

the

SL-161/SL-61

Master

Controller.

Creative

use

of

the

ZONE'S

parame-

ters and

the

ZONES

themselves gives

the

player

new

found

flexibility

and

control

over

their

sounds and modules. We've already discussed how to operate the ZONES.

Now we apply them to musical applications. You can use the three (2) ZONES in a number of
different ways: Here are some options and possible applications using the features of this key­board.

THE BIG LAYER

Set

all

three

ZONES

to

the

same range

of

notes and assign each

of

them

to

three

similar

String
patches or three similar Piano patches.Try two piano patches and a string patch. Experiment
with

disabling

some

of

the

features on some

of

the

ZONES

such as,

AFTERTOUCH

or SUSTAIN.

While playing one section of a song, leave some of the layers turned off and then switch them

on

during

the

"Chorus" by pressing

their

ZONE SWITCHES

to

build

dynamics

in

the

song.

On
your module try setting and storing your PIANO patches to not respond to MIDI volume (CC#7)
then using a Volume Pedal on your Master Controller you can bring up the Strings behind the

Piano when needed.

THE SPLIT

Set

two

ZONES

in

your

left

hand

for

an

Electric

Piano/Pad

layer

and set

ZONE

(2)

in

the

right

hand

for a string

or horn

part.

Use

the

TRANSPOSE

feature

to

bring

these

ZONES

into a useful

range.

ANOTHER SPLIT?

Try a Bass patch using one ZONE in the lowest two octaves of the keyboard, disable the
SUSTAIN

PEDAL

and

TRANSPOSE

up an octave or

two

to

place

it

in

the

range

of a bass

guitar.

Now create a SPLIT

in

the

middle

range

with

ZONE

(2)

set

to a Breathy Synth or Comping

patch,

and

the

last

ZONE

for

the

top

octave or

so

on a Brass

patch

with

the

SUSTAIN PEDAL

disabled.

You

can

play a bass

line

with

your

left

hand, sustain chords you've

played

on

the

Pad

sound using the Sustain Pedal and now play Horn stabs or lines above it with your right hand.

*Note

On

Splits:

Always remember

to

use

the

TRANSPOSE

feature

to

place your parts

in

pro­per performance range no matter where on the 61 keys you may place a ZONES upper and lower
limits.

Think

of

the

whole keyboard

as

61

keys

or

triggers

available

rather

than

the

traditio-

nal note placement and tuning as on an Acoustic Piano.

A FEW OTHER TIPS

INCLUDED FOR YOUR

CONSIDERATION:

Live and Studio Applications.

Live

application:

Try

using the

different

SHAPES

in

each

ZONE

to

manipulate

and

balance the

elements in your layers.

Studio application: Connect your MIDI out from your Master Controller to the MIDI in on your
Sequencer and the MIDI out of your sequencer to your Modules. Set your sequencer input fil­ter to Direct Echo or the appropriate setting to pass all information through (non channeli­ze). If you come up with an interesting layered patch set your sequencer to multi-record and

hit edit enter twice while your sequencer is recording to record your patch changes to the
sequencer and then continue and play while recording a performance for all your layers. For
another section of your track you can do the same with another patch and record and auto­mate your patch

changes

along

with

your performance. Using the layers

on

the

SL-161/SL-61

you

may come up with patches and parts you might not have conceived programming the tradi-

tional one track at a time way.

Live

application:

Use

the

inverted

or

(-)

SHAPES

to

experiment

with

velocity

crossfades.

Live

application:

Set a ZONE

to

only

one note.

When

editing

SPLIT parameter

in

setting

up

ZONE

hit

the

same

note twice

at

either

the lowest note or

highest

note on the

keyboard

to

set a range

of (1) one note for

that

ZONE.

Assign

that

Zone

to a MIDI

channel

that

goes

to

your sampler

to

trigger a Loop

or

trigger a Sound

FX.

Use

the

TRANSPOSE

feature

to

bring

the
sample up or down to a useful range for triggering. If the (+) or (-) 24 steps of transposition
is not enough, assign the Sample trigger note to an appropriate one in the sampler and save
it that way.

Live or Studio

application:

Using

the

BANK SELECT

feature

get

to

those often

useful

and

alternate patches not stored in the first 127 patch positions on your synth.

Live

application:

Use

the

(2)

ZONES

to

set up three

different

patches,

use

the

ZONE

SWIT-

CHES

to

toggle and play one

ZONE

at a time

for

particular

songs

or

sections of songs.

Live or Studio

application:

Use

the

TRANSPOSE

feature

to

create

intervals

from layered

ZONES

in octaves or harmonies.
Studio application: Again, use multi-record on your sequencer but this time with a split patch

set up on your

SL-161/SL-61

record two or

more

parts

at

once.

Bass

and

comp

or chords and melody.

The point is, get creative and innovative using all your new possibilities.
Studio, Scoring to Picture application: Perhaps your sequencer might be locked to video via

SMPTE.

Set up a split

patch

with

all

Orchestral elements on the

SL-161/SL-61,

perform and play

in

a
more live sense while watching picture. Jump to another sound as the picture inspires you
while recording all your performances simultaneously to the sequencer in multi-record. After
recording you'll have each of your instruments parts recorded on it's own track, now you can
go back and edit or elaborate on your improvisation to picture. If your sequencer doesn't
record

separate

MIDI

channels

to

separate tracks simultaneously you

can

always

filter

by chan-

nel parts after recording to separate your to individual tracks for editing.

SECTION 6.

Charts:

Useful Charts and Graphics

Included on the following two pages are 2 identical copies of a template for you to write down
the settings for the patches you come up with. These are included so you can build a library
of your favorite patches and settings. Carefully tear or cut out one of the copies and feel free
to run it through a copy machine to make more blanks for yourself. If you require more copies
call, in

the

USA,

Music

Industries

Corp.

at 1(800)431-6699.

PATCH PARAMETER CHART

ModelSL-161/SL-61

Studio Logic

Master Controller

PATCH PARAMETER CHART

ModelSL-161/SL-61

Studio Logic

Master Controller

ZONE VELOCITY

CURVES (SHAPE)

The

following

charts

are

graphic displays

of

the

ZONE

specific

(SHAPE)

velocity

curves.

They
are here to help you conceptualize and understand how these CURVES affect the dynamic
response of your ZONES.

GENERAL

MIDI

PATCH LIST

The following charts show the standard General MIDI patch locations. If you are using a

General

MIDI

Module or Keyboard

this

will

come

in

handy. When you are programming your

ZONE'S

PATCH

CHANGES

you can refer

to

this

chart

for

entering

numbers

of

desired Patches.

1. Piano 1

2. Piano 2

3. Piano 3

4. Honky Tonk

5. Electric Piano 1

6. Electric Piano 2

7. Harpsichord

8. Clavinet

9. Celesta

10. Glockenspiel

11. Muic Box

12. Vibraphone

13. Marimba

14. Xylophone

15. Tubular Bell

16. Dulcimer

17. Electric Organ 1

18. Electric Organ 2

19. Electric Organ 3

20. Church Organ

21. Reed Organ

22. Accordion

23. Harmonica

24. Bandonion

25. Nylon Guitar

26. Steel Guitar

27. Jazz Guitar

28. Clean Guitar

29. Muted Guitar

30. Drive Guitar

43. Cello

44. Contra Bass

45. Tremolo Strings

46. Pizzicato Strings

47. Harp

48. Timpani

49. Strings

50. Slow Strings

51. Synth Strings 1

52. Synth Strings 2

53. Choir Aahs

54. Voice Oohs

55. Synth Voice

56. Orchestra Hit

57. Trumpet

58. Trombone

59. Tuba

60. Muted Trumpet

61. French Horn

62. Brass Section

63. Synth Brass 1

64. Synth Brass 2 '

65. Soprano Saxophone

66. Alto Saxophone

67. Tenor Saxophone

68. Baritone Saxophone

69. Oboe

70. English Horn

71. Bassoon

72. Clarinet

86. Solo Vox

87. Fifths

88. Bass Lead

89. Fantasia ,

90. Warm Pad

91. Poly Synth

92. Space Vox

93. Bow Glass

94. Metal Pad

95. Halo Pad

96. Sweep Pad

97. Ice Rain

98. Sound Track

99. Crystal

100. Atmosphere

101. Brightness

102. Goblin

103. Echo Drop

104. Star Theme

105. Sitar

106. Banjo

107. Shamishen

108. Koto

109. Kalimba

110. Bagpipe

111.

Fiddle

112. Shanai

113. Tinkle Bell

114. Agogo

115. Steel Drum

31. Lead Guitar

32. Harmonic Guitar

33. Acoustic Bass

34. Finger Bass

35. Pick Bass

36. Fretless Bass

37. Slap Bass 1

38. Slap Bass 2

39. Synth Bass 1

40. Synth Bass 2

41. Violin

42. Viola

73. Piccolo

74. Flute

75. Recorder

76. Pan Flute

77. Bottle Blow

78. Shakuhachi

79. Whistle

80. Ocarina

81. Square

82. Sawtooth

83. Calliope

84. Chiffer

85. Charang

116. Wood Block

117. Taiko

, 118. Melody Tom

119. Synth Drum

120. Reversed Cymbal

121. Guitar Noise ,

122. Key Click

123. Seashore

124. Birds .

125. Telephone

126. Helicopter

127. Applause

128. Gunshot

SECTION 7.

TROUBLE SHOOTING

GUIDE

Appendix

PROBLEM Keyboard does not power up?

POSSIBLE

SOLUTIONS • Make

sure

the

power supply

is

connected

to

the

wall

outlet

• Make sure the power supply is properly connected to the keyboard

PROBLEM Keyboard does not seem to be sending MIDI notes to my modules

POSSIBLE SOLUTIONS Make sure you are not in the EDIT MODE.

Make sure the ZONE switch of the ZONE you are trying to play is on.
Make sure the MIDI channel you are playing on is enabled on your sound source.

Make sure your sound modules audio outputs are connected properly to your mixer or amp.

Make sure your mixer amp or sound system is on and the volume settings are up.

PROBLEM I have made changes in EDIT MODE but the changes do not seem to be present when I

return to PLAY MODE?

POSSIBLE

SOLUTION • This can happen very

easily.

When

you

enter EDIT

MODE

make sure you are

editing

the

ZONE

that

you were

playing

before

hitting

EDIT. When

entering

edit

mode

you

will

be on

the

ZONE

you

last

edited

not

necessarily

the

ZONE

you

have on

in

PLAY

MODE.

PROBLEM I know I am sending

MIDI

to

my

module

because I see

the

MIDI

indicator

light

up when

I play but I hear nothing?

POSSIBLE SOLUTIONS

•

Make

sure

the

VOLUME

PEDAL

is

depressed forward

to

send

full

volume!

• Make sure your sound modules audio outputs are connected properly to your mixer or amp.

• Make sure your mixer amp or sound system is on and the volume settings are up.

PROBLEM The SUSTAIN PEDAL does not seem to work?

POSSIBLE SOLUTIONS • Make sure it is plugged in properly to the SUSTAIN PEDAL INPUT

•

Make sure

the

SUSTAIN

PEDAL

is

enabled

for

the

ZONE

you

are

playing

PROBLEM The SUSTAIN PEDAL seems to work in reverse?

POSSIBLE SOLUTION • Power the keyboard down. With the SUSTAIN PEDAL plugged in to the SUSTAIN PEDAL INPUT

power

the

keyboard

up.

This

will

cause

the

SL-161/SL-61

to

sense

the

proper

polarity

set-

ting for the type of pedal you are using and adjust properly.

PROBLEM The WHEELS or AFTERTOUCH do not seem to work?

POSSIBLE SOLUTIONS

•

Make

sure

they

are enabled on

the

ZONE

you

are

playing

• Make sure they are enabled in the Patch in your module you are sending to.

PROBLEM I am playing a ZONE that I know is on but nothing is happening?

POSSIBLE

SOLUTIONS • Make

sure

you

are

playing

within

the

SPLIT range

of

notes set up

for

that

ZONE

• Make sure that the MIDI channel is set correctly.

•

Make

sure

the

VOLUME

PEDAL

is

depressed

and

all

other

volume

setting

are

up.