More On Keyboard Splits; Changing Setups: Special Considerations - Kurzweil sp88x User Manual

More on Keyboard Splits

The example given earlier described the simplest possible keyboard split where one
section of the keyboard controls one sound and an adjacent section controls a different
sound but there are other possibilities too.
Split-with-transpose is one of these possibilities. The Piano/Bass split discussed
earlier might be modiÞed to make the split between E 2 and F 2 thus giving the piano
an octave more downward range. Then to permit the bass to reach notes above E 2,
you could set Transpose in Zone L to +12 which will raise its pitch by one octave. Note
that although the keyboard sections donÕt overlap, the instrument pitches do for notes
between F 2 and E 3. This is only a problem if both zones send on the same MIDI
channel.
Another application of transpose is rationalizing the score written for a transposing
instrument. For example, a B
correct pitch if transpose for the trumpet zone is set to +2.
The note ranges for zones can overlap. In that case, a key played within the overlap
area will be sent twice, once for Zone L with its instrument sound and transpose, and
again for Zone R with possibly a different sound and transposition. This means you
can play an interval within the overlap region and single notes outside it. The overlap
region can even cover the entire keyboard when the Low Key/Hi Key parameter pair
values are the same.
One more possibility is a sort of 3-way split. By swapping Low Key and Hi Key
parameter values, you can specify a keyboard region that does not play within a zone.
For example, if Hi Key = 48 (C 3) and Low Key = 72 (C 5), then keys below C 3 or
above C 5 will play while keys from C 3ÐC 5 inclusive will not play. You can then set
the other zone for Low Key = C 3 and High Key = C 5 so that it Þlls the ÒholeÓ and
gives you 3 keyboard regions. Finally, if you have an external module that also can
split the keyboard and you assign the zone having the hole to it, the low and high
halves of the zone could have different instrument sounds.
Velocity crossfading two sounds is another application of overlapping zones. The idea
is to make the proportion of two different sounds dependent on the keystroke velocity.
First, partially or completely overlapping zones are set up. Then the Velocity Curve
parameter for the zone with the sound you wish to be dominant when keys are lightly
struck is changed from 1 (Normal) to 5 (Reverse). Now light keystrokes will be
predominantly the sound with the reverse curve; heavy mostly the sound with the
normal curve; and intermediate, a mixture. Note that all keystrokes will create a loud
sound in this case. (Try Reverse Expand, #6, and Compress, #3 if intermediate
keystrokes are not loud enough.) You can combine other curves as well, like Bump and
Expand, to get a varying mixture that also has dynamics.

Changing Setups: Special Considerations

When you change from the current setup to a new one, several messages may be sent
as the change is made before any new notes or control changes are transmitted using
the new setup. One example is the Program Change messages sent to external
modules that specify the sounds they are to play for the setup. These messages are
only sent at setup change time. That is why editing the MIDI Program parameter has
no immediate effect.
Another example is the effects settings associated with the sound speciÞed by the
setup. The effect number, reverb mix value, and chorus mix value speciÞed by the
b
trumpet part can be played as written and sound the
MIDI Setups Mode
More on Keyboard Splits
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