E-Mu B-3 Operation Manual
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E-Mu B-3 Operation Manual

E-Mu B-3 Operation Manual

64-voice tone wheel organ
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OPERATION
M A N U A L
64-Voice Tone Wheel Organ

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Summary of Contents for E-Mu B-3

  • Page 1 OPERATION M A N U A L 64-Voice Tone Wheel Organ...
  • Page 2 In order to obtain warranty service on your B-3 unit, the serial number sticker must be intact and you must have a sales receipt or other proof of purchase. If there is no serial number sticker on the B-3, please contact E-MU Systems at once.

  • Page 3: Table Of Contents

    Selecting and Quick Editing Presets ..18 Bank Select Commands ....20 3 E-MU Systems...
  • Page 4 Master FXB Algorithm ....41 FXB Parameters: Feedback/LFO Rate Delay Time 42 FXB Send Amounts ..... . 42 4 E-MU Systems...
  • Page 5 Preset Name ......84 Four Layer Architecture ....85 B-3 Operation Manual 5...
  • Page 6 Troubleshooting ......138 Linking Presets ......139 6 E-MU Systems...
  • Page 7 Preset Listing ......167 B-3 Preset Suffixes ..... . 168 Riff Listing .
  • Page 8 B-3 Instrument Suffixes ....170 Velocity Curves ......171 PatchCord Amount Chart .

  • Page 9: Introduction

    Introduction Congratulations on your purchase of the E-MU B-3 - 64 voice tone wheel organ sound module. This custom module was carefully engineered to capture the sound and feel of the original legendary B-3. The rotating speaker effects can be spun-up and spun-down independent of note-on events and a single trigger, polyphonic harmonic percussion generator perfectly simulates the playing behavior of the original.

  • Page 10: Overview

    B-3. To get the most out of this extremely powerful instrument please refer to the complete B-3 manual, which is provided for you in PDF format (PC and Mac formats) on the supplied CD-ROM.

  • Page 11: Important Safety Instructions

    fit the outlet, have a proper outlet installed by a qualified technician. Caution! If your B-3 (Model Number 9112) is rack mounted, you must use a standard 19 inch open frame rack. Screw-on rack mount ears are provided for this purpose.

  • Page 12: User Maintenance Instructions

    Important Safety Instructions User Maintenance Instructions User The B-3 should be kept clean and dust free. Periodically wipe the unit with a clean, lint free cloth. Do not use solvents or cleaners. Maintenance There are no user lubrication or adjustment requirements.

  • Page 13: Radio And Television Interference

    • Move B-3 to one side or the other of the television or radio. • Move B-3 farther away from the television or radio. • Plug B-3 into an outlet on a different circuit than the television or radio. • Consider installing a rooftop antenna with a coaxial lead-in between the antenna and television set.

  • Page 14: Warnings - German

    Ändern Sie den mitgelieferten Stecker nicht. Sollte er nicht in die Steckdose passen, soll die einwandfreie Installation durch einen qualifi- zierten Techniker erfolgen. Vorsicht Wird der B-3 (Modell Nummer 9112) in einem Rackgestell montiert, muss ein offener 19-Zollrahmen verwendet werden. 6 E-MU Systems...

  • Page 15: Unterhaltsinstruktionen Für Anwender

    Vorschriften in den beilieg- schaltetem B-3 sorgfältig überwacht werden. enden Drucksachen. B-3 nicht in der Nähe von Wasser in Betrieb nehmen -- z.B. in der Nähe von Badewannen, Waschschüsseln, auf nassen Gestellen oder am Swimmingpool. B-3 stets so aufstellen, dass seine Belüftung nicht beeinträchtigt wird.
  • Page 16 B. Gegenstände oder Flüssigkeit in das Gerät gelangten, C. das Gerät Regen ausgesetzt war, oder D. das Gerät nicht normal oder einwandfrei arbeitet, oder E. das Gerät stürzte oder sein Gehäuse beschädigt wurde. Servicearbeiten sollten nur qualifizierten Fachleuten anvertraut werden. DIESE INSTRUKTIONEN AUFBEWAHREN 8 E-MU Systems...

  • Page 17: Warnings - French

    Attention Si le B-3 (Model 9112) est installé dans un rack, utilisez un rack standard ouvert de 48.25cm. Instructions le B-3 doit être maintenu propre et sans poussière. Nettoyez-le périodiquement à...
  • Page 18 Protégez cet appareil de tout liquide, éclaboussure ou fuite. Ce symbole vous alerte de la Le B-3 doit être placé de façon à ce que sa position n’interfére pas avec présence d’instructions importantes d’opération et sa propre ventilation.

  • Page 19: Interférences Radio Et Télévision

    • Tournez l’antenne de la télé ou de la radio jusqu’à ce que les inter- férences disparaissent. • Déplacez le B-3 d’un côté ou de l’autre de la télé ou de la radio. • Eloignez le B-3 de la télé ou de la radio.

  • Page 20: Declaration Of Conformity

    Test information is contained in a report by Atlas Compliance and Engineering dated November 15, 1999. Report No.: 9949EMU2KCR103 Under 73/23/EEC as amende by 93/68/EEC In accordance with EN 60950 with amendments A1, A2, A3, A4, A11 This Declaration is made November 15, 1999 12 E-MU Systems...

  • Page 21: Setup

    Setup This section thoroughly describes how to set up your new B-3 for use. Setup includes unpacking instructions and how to connect the cables. Unpacking Carefully remove B-3 from the packaging material. Take care to save the packing materials in case you need to transport the unit. Check to make sure all components are included and in good condition.

  • Page 22: Connection Instructions

    MIDI Out of a controller such as a MIDI keyboard to the jack serves as a mono output MIDI In jack of B-3. Be sure to connect a Footswitch and Control Pedal to when the Left Main plug is not your MIDI keyboard to take advantage of the factory presets.

  • Page 23: Studio Setup

    Mixer MIDI In In this setup, B-3 is controlled by MIDI messages, received at the MIDI input, which are routed by the MIDI interface. The MIDI interface allows any MIDI controller, such as a MIDI keyboard or a computer, to control the module.

  • Page 24: Power Up

    The power switch is located on the right side of the front panel. You can turn on the B-3 and its MIDI controller in any order. When power is applied the liquid crystal display will light, indicating that B-3 is operating. You may have noticed that there is no 110/220 Volt power selector switch on B-3.

  • Page 25: Instant Gratification

    Exit the demo sequence mode. Auditioning Presets The front panel audition button allows you to hear any preset in B-3 without even hooking up a MIDI keyboard! When the Audition button is pressed, the LED next to the button will illuminate and a short “Riff”...

  • Page 26: Selecting And Quick Editing Presets

    Press the Audition button again to turn Audition mode off. The LED will extinguish. Selecting and Quick The first thing you’ll do with the B-3 is select and play the factory provided presets. B-3 comes standard with 7 banks containing 128 presets each. Editing Presets...
  • Page 27 ROM card you have installed. So with the B-3 ROM installed, the USER banks will go from 0-3, then start over from 0-2 for the B-3 ROM banks. To the right of the preset number and bank is the preset Category name followed by the Preset Name.

  • Page 28: Bank Select Commands

    B-3 remembers the MSB and the LSB that were last sent (or last changed from the front panel). For example, if you have already set the Bank MSB to 06, you need only send the LSB to change banks within the B-3 sound set. See the MIDI Bank Select chart below.

  • Page 29: Basic Operations

    Functions are grouped logically and the controls are arranged for ease of use. Precisely because B-3 is so simple to use, you might be tempted to skip this section. If you just can’t help yourself, at least read the Real-time Controller information beginning page 23.

  • Page 30: Audition Button

    The LED to the right of the button illuminates to indicate that you are in the Save/Copy menu. The LED also illuminates when any preset parameter has been changed in the Edit menu (or if the front panel knobs have been moved with Quick-Edit mode enabled). 22 E-MU Systems...

  • Page 31: Home/Enter Button

    This section describes each of the three uses. Real-time Control The Real-time controller knobs provide direct control of the B-3’s synthe- sizer parameters. They are always active when on the Preset Select (main) screen. They can optionally be used to transmit MIDI controller messages to other MIDI devices.

  • Page 32: Quick Edit

    Press the right cursor button to select the bottom row. Optional: Select a new preset location if you don’t want to overwrite the current preset, or if the current preset is a ROM preset. Press the Enter button to save the preset. 24 E-MU Systems...

  • Page 33: Deep Edit Mode

    (preset layers), press the left cursor to get to the layer field, then change layers with the Data Entry Control. • Use the Data Entry Control to move through menus (horizontally) or layers (vertically). • Use the Controller Knobs to change parameter values within each page. B-3 Operation Manual 25...

  • Page 34: Main Screen

    Main Screen Main Screen The Preset Select screen is B-3’s default screen (also called the main screen) and is active when you have not selected any of the other button-activated menus. From this screen you can change or examine the Preset, Volume, Pan Position and Preset Location for each of the 16 MIDI channels.

  • Page 35: Channel Volume

    128 User Presets 128 ROM Presets 128 User Presets The Bank numbers start at zero for each ROM sound set installed in B-3. Channel Volume Channel Volume sets the volume of the selected MIDI channel in relation to the other channels. This is the same parameter as MIDI volume control #7, and changes made over MIDI are shown in the display.

  • Page 36: Channel Pan

    Press either cursor key until the cursor is underneath the pan field. Rotate the Data Entry Control to select a pan value. 64 indicates a hard left pan, 63 indicates a hard right pan. With a setting of “00,” the sound is centered in the stereo field. 28 E-MU Systems...

  • Page 37: Sound Navigator

    Field changes to show the first instrument in each category. Move the cursor back to the instrument number to select instruments in the selected category. INSTRUMENT ROM:B3 0043 dir: 8 8 6 3 2 2 5 8 8 B-3 Operation Manual 29...

  • Page 38: Multitimbral Operation

    Data Entry Control in the Preset Select screen. Volume PRESET Channel 01 Volume PRESET Channel 02 Volume PRESET Channel 03 Volume PRESET Channel 04 Volume PRESET Channel 16 Each of the 16 MIDI channels can be assigned to play a specific B-3 preset. 30 E-MU Systems...

  • Page 39: Multisetup

    To Enable the Multisetup Menu Press the Multi button, lighting the LED. The Multisetup screen displays the menu page most recently selected since powering up B-3. The cursor appears below the first character of the screen heading on line one.

  • Page 40: Restoring Multisetups

    To Return to the Main Screen Press the Multi button, turning off the LED. Restoring B-3 contains 64 Multisetup locations. These are all User locations which you can use to store your own Multisetups. Multisetups Multisetups can also be restored using a MIDI Bank Select command.
  • Page 41 Press either cursor button to move the cursor to the bottom line of the screen. Now, use the Data Entry Control to select the destination location. The Enter LED will be flashing. Press the Enter button to save the Multisetup. B-3 Operation Manual 33...

  • Page 42: Multitimbral Sequencing

    Multisetup Multitimbral Sequencing Multitimbral “Multitimbral” means that B-3 can play multiple sounds at the same time. For a multitimbral sequence to play back correctly, the proper preset must Sequencing be selected for each MIDI channel. This could be done by inserting preset changes into each track of your sequence before the sequence starts.

  • Page 43: Master Menu

    To enable the Master menu Press the Master button, lighting the LED. The Master Menu screen displays the menu page most recently selected since powering up B-3. The cursor appears below the first character of the screen heading on line one.

  • Page 44: Defining Master Parameters

    The Transpose parameter transposes the key of all presets, in semitone intervals. The transpose range is ± 24 semitones. Master Tune adjusts the fine tuning of all presets so that you can tune B-3 to other instruments. The master tuning range is ± 1 semitone in 1/64th semitone increments (1.56 cents).

  • Page 45: Velocity Curve

    MIDI channel. For each of the 16 MIDI channels, you can select Send 1-4, or Preset. When Preset is selected, the output assignment defined in the Preset Edit menu is used. B-3 Operation Manual 37...

  • Page 46: Midi Channel

    Send 3 0% Send 4 0% MIDI Channel 3 MIDI Channel 4 FX Sends Chorus Send 1 0% MIDI Channel 5 Effect Send 2 0% Send 3 20% MIDI Channel 6 Send 4 15% MIDI Channel 16 MIDI CHANNEL 38 E-MU Systems...

  • Page 47: Master Effects

    FX MULTIMODE CONTROL preset on channel 1 If you are in Omni or Poly modes this parameter is disabled and the message in parentheses explains that Proteus is currently in Omni mode. FX MULTIMODE CONTROL (using Omni mode) B-3 Operation Manual 39...

  • Page 48: Master Fxa Algorithm

    DelayVerb 1 Perfect Room DelayVerb 2 Tiled Room DelayVerb 3 Hard Plate DelayVerb 4 Pan Warm Hall DelayVerb 5 Pan Spacious Hall DelayVerb 6 Bright Hall DelayVerb 7 Bright Hall Pan DelayVerb 8 Bright Plate DelayVerb 9 40 E-MU Systems...

  • Page 49: Fxa Parameters: Decay/Hf Damping Fxb -> Fxa

    FXA SEND AMOUNTS 1:100% 2: 50% 3: 10% 4: 0% Master FXB This parameter selects the type of effect used for the “B” effect. The following effect types are available. Algorithm MASTER FXB ALGORITHM Chorus 1 B-3 Operation Manual 41...

  • Page 50: Fxb Parameters: Feedback/Lfo Rate Delay Time

    FEEDBK LFORATE DELAY FXB Send Amounts These parameters set the effects amounts for each of the four stereo effects busses. See the Effects chapter for detailed information. FXB SEND AMOUNTS 1:100% 2: 50% 3: 10% 4: 0% 42 E-MU Systems...

  • Page 51: Midi Parameters

    This page defines the MIDI system exclusive (SysEx) device ID number. The SysEx ID lets an external programming unit to distinguish between multiple B-3 units connected to the same preset editor. In this case each unit must have a unique SysEx ID number.

  • Page 52: Midi Enable

    MIDI Enable lets you turn each MIDI channel on and off independently when in Multi mode. This feature is helpful when you have other devices connected to the same MIDI line and do not want the B-3 unit to respond to the MIDI channels reserved for the other devices.

  • Page 53: Receive Program Change

    In this chart, program changes 10-29 have been remapped to new preset numbers. All other presets are selected normally. Receive Program Use this function to instruct the B-3 to utilize or ignore incoming MIDI preset changes or Bank Select commands for each channel. Use the cursor Change buttons to select the channel number field, then use the Data Entry...

  • Page 54: Midi Footswitch Assign

    The Real-time Controller assignment also specifies which controller numbers are transmitted when the “Knobs MIDI Out” is enabled (see “Knobs/Riff MIDI Out” on page 48). O O O O B-3 factory presets have certain synth parameters assigned to each controller letter REALTIME CONTROLLER # and so these are “Global”...

  • Page 55: Tempo Controller

    Pitch Wheel can be assigned to both the up and down parameters to vary the tempo up and down from a single controller. If any other controller is assigned to both the up and down parameters, B-3 redefines the center of the controller’s range as zero.

  • Page 56: Knobs Deep Edit

    Because this feature can be confusing to the beginning programmer, it can be disabled here in the Master menu. Check this feature out when you’re ready. It’s great! PRESET EDIT ALL LAYERS enabled 48 E-MU Systems...

  • Page 57: Front Panel Knob Calibration

    flashes, “Reading Values…,” then displays: Turn all knobs to MAX Press Enter when ready Turn all knobs to their maximum value (pegged in the clockwise position), then press the Enter button. The display shows, “Reading Values… Done.” Calibration is complete. B-3 Operation Manual 49...

  • Page 58: Midi Sysex Packet Delay

    Send MIDI System This command transmits MIDI System Exclusive (SysEx) data to the MIDI Out port of B-3. The MIDI data can be sent to a computer, sequencer or to Exclusive Data another B-3. When transferring data between two B-3s be sure both units have the same SysEx ID number! See “MIDI SysEx ID”...

  • Page 59: User Key Tuning

    Transmits only the selected preset. The Enter LED will be flashing. Press the Enter button to confirm the operation. To receive MIDI data, simply send the MIDI data into B-3 from another Proteus or from a computer/sequencer. SEND MIDI SYSEX DATA...

  • Page 60: Base Tempo

    Master Menu MIDI Parameters Base Tempo B-3 contains an internal master clock which can be used to: synchronize the LFOs when in Tempo-based mode, control the times of Tempo-based envelopes or used as a modulation source in the PatchCords section. There are two tempo values shown in the display.

  • Page 61: Programming Basics

    This module will do far more than make organ sounds, especially if you add another sound ROM. It is actually a powerful synthesizer in B-3’s clothing. There are 512 user locations (USER Banks 0-3) available to store your own creations or edited factory presets.

  • Page 62: Modulation

    Turning the volume control back and forth on your home stereo is an example of Amplitude Modulation. B-3 is designed so that each of the variable parameters, such as the volume, has an initial setting which is changed by a modulation source. Therefore in the case of volume, we have an initial volume that we can change or modulate with a modulation source.

  • Page 63: Modulation Sources

    The following is a list of the modulation sources used in B-3. Keyboard Key Which key is pressed.

  • Page 64: Random Sources

    This source is designed to be used for cross- fading and cross-switching layers, although you may find other uses. Modulation When setting up modulation with the B-3, you define a modulation source and a modulation destination. Then, you connect the source to the desti- PatchCords nation using “PatchCords.”...

  • Page 65: Envelope Generators

    Decay 2, it simply waits there for you to release the key. When you release the key, the envelope continues into the Release 1 and Release 2 stages, stopping at the end of the Release 2 stage. B-3’s envelope generators provide great flexibility for programming both complex and simple envelopes.
  • Page 66 Attack 1 stage and repeats the first four stages. It continues to loop through these four stages until the key is released where it immediately jumps to the Release 1 stage. 58 E-MU Systems...

  • Page 67: Low Frequency Oscillators (Lfos)

    Programming Basics Low Frequency Oscillators (LFOs) A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The B-3 has two multi-wave LFOs for each channel. The LFO Frequency waveforms are shown in the following illustration.

  • Page 68: Clock Modulation

    LFO will be mildly or radically altered. The tempo of the master clock is set in the Master menu. Triggered LFO LFO Wave Clock LFO Trigger causes the LFO to reset each time the clock waveform goes low. 60 E-MU Systems...
  • Page 69 (such as pitch) to create complex patterns. (Hint: Adjust the PatchCord Amounts.) Eighth Note Quarter Note Adding these two clocks together in equal amounts produces a stairstep waveform. 16th Note Note Quarter Note Adding multiple clocks with unequal amounts produces complex repeating patterns. B-3 Operation Manual 61...

  • Page 70: Modulation Destinations

    LFOs, envelope generators and modulation wheels output continuously changing values. The possible modulation routings are completely flexible as shown in the diagram above. Multiple sources can control the same destination, or a single source can control multiple destinations. 62 E-MU Systems...

  • Page 71: Modulation Processors

    1. Lag 1 has a longer lag time than Lag 0. Processor Absolute Value This function inverts negative input values and outputs only positive values. This device is also called a full wave rectifier. Absolute Value B-3 Operation Manual 63...
  • Page 72 Lag in destination. The summing amp is located before where you want to control a the lag processor as shown in the following illustration. combination of modulation signals with a single patchcord. Sum Node Lag 0 Lag 0 sum 64 E-MU Systems...

  • Page 73: Preset Modulation Processors

    A MIDI controller (front panel knob) is commonly used to control lag amount. In the B-3, the preset lag is often used to “spin-up” and “spin-down” the rotating speaker effect. A MIDI footswitch is commonly used as the input to the lag which acts to slow down the instantaneous change of the switch.
  • Page 74 Multiple inputs can be connected to the ramp rate (just like all the other destinations in B-3). Why do we want this? The original B-3 organ has a key percussion feature which only sounds on the first note played. While this undoubtedly resulted from the technical shortcomings of the day, many players have adopted and embraced this unique feature.

  • Page 75: Using The Modulation Processors

    If the input PatchCord amount were a negative value however, the action of the velocity would be reversed and velocities less than 64 would raise the pitch and velocities equal or greater than 64 would play the original pitch. B-3 Operation Manual 67...
  • Page 76 Setting the DC value to a positive value would bring the velocity switch point down. The PatchCord screens for this patch are shown below. PATCHCORD Vel+- -> Switch +100 PATCHCORD -> Switch -021 PATCHCORD Switch -> Pitch +022 68 E-MU Systems...

  • Page 77: More Examples

    (or interval) of the steps. Try setting up the following patch exactly as shown below using your favorite preset as a starting point. LFO1 SHAPE SYNC sawtooth key sync LFO1 RATE DELAY 0.35Hz B-3 Operation Manual 69...
  • Page 78 You can start to see some of the possibilities (and there are many). Whenever you find yourself wishing for some esoteric type of control, take a minute to think and see if there is a way to achieve the desired result using the modulation processors. 70 E-MU Systems...

  • Page 79: Dynamic Filters

    Programming Basics Modulation Processors Dynamic The block diagram of the B-3’s signal path is shown below. Filters Z-Plane Instrument Filter Freq. To understand how a filter works, we need to understand what makes up a sound wave. A sine wave is the simplest form of sound wave. Any waveform, except a sine wave, can be analyzed as a mix of sine waves at specific frequencies and amplitudes.

  • Page 80: What Is A Filter

    160 360 720 1440 2880 Frequency A filter that lets only the high frequencies pass is called a high-pass filter as illustrated in the following diagram. Initial Frequency Filter Output High Pass Filter 160 360 720 1440 2880 Frequency 72 E-MU Systems...
  • Page 81 “picked out” of the sound and amplified as the resonant peak sweeps over them. Bells and gongs are real world examples of sounds which have a high Q. Low Q Med Q High Q Frequency B-3 Operation Manual 73...
  • Page 82 For these filters, think of the order as the complexity of the filter. _ _ _ _ B-3 has the processing power to produce 64 filters of up to 6th order or 32 Important: 12th order filters of 12th order complexity. Therefore, if you decided to use all 12th filters use twice as many voices!

  • Page 83: Parametric Filters

    15,000 20,000 Linear Frequency - Hertz Many natural instruments have complex resonances which are based on their soundboard or tube size. The resonance shown above would be impos- sible to create using a normal synthesizer filter. B-3 Operation Manual 75...

  • Page 84: The Z-Plane Filter

    ROM for your use. You simply select and use the filters in a manner similar to choosing an instrument. Because there are so many types of instruments and filters to choose from, the number of possible permutations is staggering. 76 E-MU Systems...

  • Page 85: Signal Flow

    Velocity is often used as a modulation source for the DCA so that the harder you play, the louder the sound becomes. Adjusts the balance of sound to the left and right channels. Pan can be modulated by any modulation source. B-3 Operation Manual 77...

  • Page 86: Midi Channels & Real-Time Controls

    16 MIDI channels per MIDI cable. Each MIDI channel uses three basic Real-time types of messages; note on/off, preset changes, and continuous controller messages. Your MIDI keyboard, in addition to telling B-3 which note was Controls played, can also send real-time control information, which simply means control occurring in real-time or “live.”...
  • Page 87 MIDI A-L are internal connections which simultaneously carry front panel controller knob data and MIDI continuous controller data. The four controller knobs on the B-3 front panel work just like MIDI real- time controllers. The four controller knobs are permanently assigned to controllers A-L.

  • Page 88: Bank Select Commands

    For example, if you have already set the Bank MSB to Audition button, the Bank Select 06, you need only send the LSB to change banks within the B-3 sound set. MSB and LSB are displayed on See the MIDI Bank Select chart below.

  • Page 89: Stereo Mix Outputs

    This feature allows you to get the most out of two effects since you can have eight different mixes. For more information, refer to the diagram on the following page or, See “Mix Output” on page 37. B-3 Operation Manual 81...
  • Page 90 The Mix Output screen in the Master menu assigns each MIDI channel to a Send (1-4) or to “Preset”. The Mix Output screen in the Edit menu is ONLY used if the Master Mix Output is set to “Preset”. Otherwise the Edit menu Mix Output settings are ignored. 82 E-MU Systems...

  • Page 91: Edit Menu

    Press the Edit button, lighting the LED. The Edit Menu screen displays the activated, all incoming MIDI menu page most recently selected since powering up B-3. The cursor preset changes on the selected appears below the first character of the screen heading on line one.

  • Page 92: Preset Name

    The keyboard can also be used to select character. The charts below show the keyboard character assignments. -> & " < <- > ¥ C C# D D# E F# G G# A A# B Pitch " % & blank < > ¥ Octave 84 E-MU Systems...

  • Page 93: Four Layer Architecture

    Edit Menu Four Layer Architecture Four Layer B-3 provides a 4 layer instrument structure. Each layer is a complete synthe- sizer voice with 50 filter types, over 64 modulation sources, more than 64 Architecture modulation destinations and 24 patchcords to connect everything together.

  • Page 94: Defining Layer Parameters

    The Name Field will change to show the first instrument in each category. Move the cursor to the instrument name to select instruments in the selected category. INSTRUMENT ROM: CMPSR 0135 org: Stab 1. Choose Category 2. Scroll through Instruments Selecting Categories of Instruments using Sound Navigator. 86 E-MU Systems...
  • Page 95 Layer 1 Layer 2 Layer 3 Switch Layer 4 With a High Fade value of zero (as in layer 3 of the diagram), the layer simply switches off at the high key. B-3 Operation Manual 87...
  • Page 96 field n the display. KEY: FADE HIGH FADE KEY: LO FADE HIGH FADE KEY: LO FADE HIGH FADE If two layers do overlap, both will play as shown in the next example. 88 E-MU Systems...
  • Page 97 Layers assigned to a key sound when the key is played. This is shown in the following diagram. It’s very easy to stack layers. Simply duplicate the key ranges for any layers you want to stack. Layer 1 Layer 2 KEY: LO FADE HIGH FADE KEY: LO FADE HIGH FADE B-3 Operation Manual 89...
  • Page 98 Layer 2 Layer 3 Layer 4 Fade Fade Switch With soft playing, Layer 1 sounds. As you play harder, Layer 1 gradually fades out and Layer 2 fades in. When the keyboard is played hard, Layer 3 plays. 90 E-MU Systems...
  • Page 99 You may want to adjust the fade in and fade out points to achieve a natural sounding crossfade. These parameters vary depending on the sounds. Increasing Velocity Layer 1 Layer 2 Layer 1 Layer 2 VEL: LO FADE HIGH FADE VEL: LO FADE HIGH FADE B-3 Operation Manual 91...
  • Page 100 Refer to the screen diagrams below. RT: LO FADE HIGH FADE RT: LO FADE HIGH FADE Select a preset. Press the Edit button to access the Edit menu. Go to the Instrument page and select instruments for Layers 1 and 2. 92 E-MU Systems...
  • Page 101 To set up a four layer Cross-Switch, simply assign each of the four layers to a different Real-time Crossfade range, then assign XfdRnd to RTXfade in the PatchCords for each layer. Realtime Control Value Layer 1 Layer 2 Layer 3 Layer 4 Switch Switch Switch B-3 Operation Manual 93...
  • Page 102 Press Home/Enter and use the Data Entry Control to advance to the PatchCord page. Select Layer 1. Select XfdRnd as the modulation source and RTXfade as the desti- nation. Set the Cord Amount to +100. Repeat step 6 for the remaining three layers. 94 E-MU Systems...

  • Page 103: Transposing The Instrument

    For example, by transposing one layer by +7 semitones, it will track other layers at a perfect fifth interval. The range of transposition is -36 to +36 semitones. TRANSPOSE +36 semitones B-3 Operation Manual 95...

  • Page 104: Tuning

    Preset Select screen (see “Channel Pan” on page 28). So, if you, for example, set the Pan value in the Preset Select screen to 64L and set this Pan value to 63R, the actual pan amount would be 0 as these two pan parameters are relative to each other. 96 E-MU Systems...

  • Page 105: Volume Envelope

    Master Tempo set- ting, keeping the envelopes in sync with the sequence or arpeggio. Tempo-Based Envelopes = Initial Setting = Increase Master Tempo = Decrease Master Tempo Tempo-based envelope rates change according to the Master Tempo rate. B-3 Operation Manual 97...
  • Page 106 Sustain time Key Down Key Released On the Volume Envelope, levels can only be set to positive values. The value range is from 0 to +100. 98 E-MU Systems...

  • Page 107: Chorusing The Layer

    Delay values below zero are Tempo-based values, meaning the time is based on the Master Tempo setting. Note values are displayed by adjusting the Delay Time value below zero. The sound will be delayed by the selected note value based on the master clock. B-3 Operation Manual 99...

  • Page 108: Non-Transpose Mode

    Synth (last): Similar to Melody (last) but this mode has key-up action. When you release the currently sounding solo key while holding other keys down, the highest held solo key sounds in a Legato fashion. 100 E-MU Systems...

  • Page 109: Assign Group

    Four bins of 2 channels each. Notes are played polyphonically with dynamic channel assignment using no more than 2 channels each. Mono A-I: Nine monophonic channels, Any layers assigned to the same letter interrupt each other without affecting other layers. B-3 Operation Manual 101...

  • Page 110: Glide

    Eight exponential curves are provided. Choose one that suits your style. Linear Exp1 Exp8 Last Last Last Note Note Note Note Note Note Glide can be either polyphonic or monophonic depending of the state of Solo Mode. 102 E-MU Systems...

  • Page 111: Z-Plane Filters

    2 to 12 order. Higher order filters have more sections and can produce more complex formants. B-3 can produce 64 filters of up to 6th order or 32 filters of 12th order complexity. Therefore, if you decided to use all 12th order filters, B-3 would be limited to 32 voices.

  • Page 112: Dst Distortion

    “Oo” sound, through “Oh” sound to “Ah” sound at maximum frequency setting. Q varies the apparent size of mouth cavity. MultiQVox Multi-Formant, Map Q To velocity. Ooh-To-Eee Oooh to Eeee formant morph. TalkingHedz “Oui” morphing filter. Q adds peaks. 104 E-MU Systems...
  • Page 113 Midway between wah & vowel. Strong mid-boost. Nasty at high Q settings. FuzziFace Nasty clipped distortion. Q functions as mid-frequency tone control. BlissBatz Bat phaser from the Emulator 4. KlangKling Ringing Flange filter. Q “tunes” the ring frequency. B-3 Operation Manual 105...

  • Page 114: Filter Envelope

    Master Tempo setting, keeping the envelopes in sync with the music. See the illustration on page 58. FILT ENV RATE LEVEL Attack 1 100% 106 E-MU Systems...
  • Page 115 Release 2 level. The default PatchCord settings connect the Filter Envelope to Filter Frequency but Sustain +100 the envelope can be routed to any real-time control destination using a PatchCord. time -100 Key Down Key Released B-3 Operation Manual 107...

  • Page 116: Auxiliary Envelope

    Low Frequency A Low Frequency Oscillator or LFO, is simply a wave that repeats at a slow speed. B-3 has two LFOs per layer, identified in the display as LFO1 and Oscillators (LFOs) LFO2. An LFO can be routed to any real-time control destination using a PatchCord.
  • Page 117 S ine 1 ,3, 5 Note: References to musical intervals in the pattern LFO shapes are with the LFO routed to pitch and a Sine + No i s e PatchCord amount of +38 He mi - qu ave r B-3 Operation Manual 109...
  • Page 118 LFO Synced to 1/4 Note Clock double whole note dotted whole note 1/1d double note triplet 2/1t whole note dotted half note 1/2d whole note triplet 1/1t half note dotted quarter note 1/4d half note triplet 1/2t 110 E-MU Systems...
  • Page 119 Delay down All Delay values equal to or greater than zero specify absolute time rates from 0 to 127. Values less than zero specify Tempo-based mode. Refer to the previous table for times and tempo-based rates. B-3 Operation Manual 111...
  • Page 120 LFO. The Variation value range is from 0 through 100. _ _ _ _ Variation is disabled when a Tempo-Based LFO is selected. LFO variation changes the rate of each note to create an “ensemble” effect. 112 E-MU Systems...

  • Page 121: Patchcords

    (negative amounts invert the signal). In addition, the PatchCord amounts themselves can be controlled by any modulation source. B-3 provides 24 patches for each layer. There are three permanently connected control routings: volume envelope to amplifier, pitch wheel to pitch and key to pitch. All other connections must be made using the PatchCords.
  • Page 122 +3 dB and you patched Vel < to AmpVol, the volume would be at +3 dB only when maximum key velocity were applied. Lower key velocities would scale back the volume. In general, < modulation is the proper choice when modulating Volume. 114 E-MU Systems...
  • Page 123 Edit Menu PatchCords Refer to the following table for a list of modulation sources and destinations available in the B-3. Modulation Sources: Modulation Destinations Key (+, +) KeySust (Key Sustain) Velocity (+, +, <) FinePtch (Fine Pitch) RlsVel (Release Velocity)

  • Page 124: Pitch Bend Range

    Move the cursor until it is underneath the FX Send Routing field and change the Send (1-4) using the Data Entry Control. Locate the MIX OUTPUT screen in the Master menu. Set the MIDI channel you are using to “use preset”. 116 E-MU Systems...

  • Page 125: Common Preset Parameters

    Parameters Preset Effects B-3 has two stereo effects processors. When playing presets one at a time, the two processors can be programmed as part of the preset. The diagram below shows how the effects are integrated into the signal path using a parallel effects send/return model, similar to a mixing console.

  • Page 126: Effects Processors

    MASTER MENU The Mix Output setting in the Master Menu determines if the Preset’s Mix Output routing will be used. This allows the Sends to be programmed by either MIDI Channel or by Preset, whichever you prefer. 118 E-MU Systems...

  • Page 127: Fxa Algorithm

    DelayVerb 1 Perfect Room DelayVerb 2 Tiled Room DelayVerb 3 Hard Plate DelayVerb 4 Pan Warm Hall DelayVerb 5 Pan Spacious Hall DelayVerb 6 Bright Hall DelayVerb 7 Bright Hall Pan DelayVerb 8 Bright Plate DelayVerb 9 B-3 Operation Manual 119...

  • Page 128: Fxa Parameters

    Dual Tap 1/4 Chorus 5 Symphonic Vibrato Doubling Ensemble Distortion 1 Slapback Delay Distortion 2 Flange 1 Delay Stereo Distorted Flange Flange 2 Delay Stereo 2 Distorted Chorus Flange 3 Panning Delay Distorted Double Flange 4 Delay Chorus 120 E-MU Systems...

  • Page 129: Fxb Parameters

    Effect A Send 2 will crossfade from FXA to FXB. Pedal Effect A Send 3 MIDI Volume (Controller 7) Effect A Send 4 MIDI Pan (Controller 10) Effect B Send 1 MIDI A-L Effect B Send 2 B-3 Operation Manual 121...
  • Page 130 Modulation Destinations Footswitch 1 Effect B Send 3 Flip-Flop Footswitch 1 Effect B Send 4 Footswitch 2 Preset Lag In Flip-Flop Footswitch 2 Preset Lag Amount Footswitch 3 Preset Lag Rate Flip-Flop Footswitch 3 Preset Ramp Rate 122 E-MU Systems...

  • Page 131: Initial Controller Amount

    first selected. The front panel Control Knobs can be thought of as front Amount panel MIDI controllers because in the B-3, they are treated just as if they originated from an external MIDI device. Refer to the following diagram.

  • Page 132: Keyboard Tuning

    Edit Menu Keyboard Tuning Keyboard Tuning In addition to the standard equally divided octave tuning, B-3 contains twelve factory programmed tunings and 12 user-definable tunings. The Keyboard Tuning parameter selects which tuning is used by the current preset. The User Tuning tables are defined in the Master menu.
  • Page 133 However, in Just tunings you are limited to playing certain chords and if you play the wrong chord it may sound very BAD! B-3 allows you to modulate between keys by providing you 12 user tuning B-3 implements the tables.

  • Page 134: Preset Links

    • By adjusting the Velocity for the link, you can bring in the link by playing hard. • Transposing the Link can radically change the sound. • The delay parameter lets you create surprise effects, echoes or cascades of sound as you continue to hold the keys. 126 E-MU Systems...

  • Page 135: Preset Tempo Offset

    A Riff can also be a single note. The Riffs themselves cannot be modified. Listening to the Riffs is a quick way to learn the sounds in B-3. Riffs allow the Sound Designers to demonstrate what they had in mind when they designed the preset.
  • Page 136 Edit Menu Play Solo Layers 128 E-MU Systems...

  • Page 137: Programming Tutorial

    Programming Tutorial There is so much you can do with the B-3 it’s impossible to describe it all. This chapter is will give you some ideas for programming your own custom sounds and contains step-by-step instructions to help you get started. In order to get the most from this chapter, we recommend you actually try each example.

  • Page 138: Changing The Tuning Of An Instrument

    For example, if you tune a bass guitar up 2 octaves, it's going to sound rather petite. On the other hand, if you tune it down 2 octaves, you can probably rattle plaster off the walls! Experiment with radical pitch shifting. You'll be surprised at the results. 130 E-MU Systems...

  • Page 139: Chorus

    An envelope shapes the sound or volume of the sound over time. The envelope generators in B-3 all have six stages to the contour: Attack 1, Attack 2, Decay 1, Decay 2, Release 1 and Release 2. When you press a key on the keyboard, the envelope goes through each of the first four stages,...
  • Page 140 Piano Key Down Key Released Every instrument in B-3 has it's own predetermined volume envelope which is used when the Volume Envelope parameter is set to “factory.” By setting the Volume Envelope to “time-based” or “tempo-based,” we can Organ reshape the instrument's natural volume envelope any way we want.

  • Page 141: Working With Filters

    “lets the low frequencies pass.” A high-pass filter removes the low frequency components from the sound letting only the high frequencies pass. See “Filter Types” on page 103 for a complete list of B-3’s filters and their descriptions. In preparation for the next tutorial, select a user preset and go through and turn EVERYTHING OFF.

  • Page 142: Cutoff Frequency

    This is the Source field. Use the Data Entry Control to change the Source to “FiltEnv” as shown in the following illustration. Advance the cursor to the next field. This is the Destination field. Use the Data Entry Control to change the destination to “FiltFreq.” 134 E-MU Systems...
  • Page 143 Advance to the Filter Envelope parameter page. FILT ENV RATE LEVEL Attack1 100% Move the cursor underneath the time field and change the value to about +50. Now when you press a key the filter slowly sweeps up. B-3 Operation Manual 135...
  • Page 144 Envelope (PatchCord) Amount, Q and/or the Filter Frequency to get the right sound for each filter and instrument. These three controls, coupled with the Filter Envelope, are perhaps the most important controls on B-3. Take the time to learn how they interact with each other and you will be able to create sounds beyond imagination.

  • Page 145: Practice Modulating

    • Examine the Factory presets to learn how they’re constructed. There are lots of cool synthesis tricks you can use in your own presets. • Think of ten of your own modulation routings, then try them out. The key to learning B-3 is to experiment. B-3 Operation Manual 137...

  • Page 146: Troubleshooting

    (the filter is already wide open and can't open any more). Learning to play any instrument takes a little patience and practice. Referring to the diagram below which shows the B-3 signal flow, notice that the DCA comes after the Filter. The DCA controls the final volume of the sound, so if the filter's release is longer than the release for the DCA, you...

  • Page 147: Linking Presets

    Press Enter and use the Data Entry Control to go to the Key Range page (It’s one of the first Edit menu pages). L1 KEY:LO FADE HIGH FADE Set the range of the original preset so it fills the remaining keyboard area. Save the preset. B-3 Operation Manual 139...
  • Page 148 Programming Tutorial Linking Presets 140 E-MU Systems...

  • Page 149: Effects

    Effects Effects B-3 has two stereo effects processors. When playing presets one at a time, the two processors can be programmed as part of the preset. When the Overview MIDI Mode is set to “multi,” the Proteus uses a global effects assignment (Master Effects).
  • Page 150 The Mix Output function is also useful when sequencing since it lets you route specific MIDI channels (and thus sequencer tracks) to specific Sub outputs (on the back panel) where there they can be processed with EQ or other outboard effects. 142 E-MU Systems...

  • Page 151: Effect Types

    In addition to the effect type, there are user adjustable parameters for each effect. The “A” effects have programmable Decay and High Frequency Damping. The “B” effects have user programmable Feedback, LFO Rate, and Delay Time. B-3 Operation Manual 143...
  • Page 152 This parameter specifies the how much time passes before you hear the delayed signal. On some effects, this value cannot be changed. In this case, the field contains a dash. The Delay value range is from 0ms to 635ms. 144 E-MU Systems...

  • Page 153: Effects Programmed In The Preset

    Effects are normally programmed as part of the preset allowing you to have a different effect for each. This section describes how to program and Programmed modify B-3’s preset effects. in the Preset To Program the Effects as Part of the Preset: Press the Edit button.

  • Page 154: Master Effects

    Use the Data Entry Control to select the FXA parameter screen. DECAY HFDAMP FxB>FxA The FxB -> FxA parameter lets you route the B effect through the A effect. See “Effect B Into Effect A” on page 150. 146 E-MU Systems...
  • Page 155 Poly mode in order to select the FXA ALGORITHM effects in the preset. Master Effect A Repeat step 11 for the FXB Algorithm Save the preset. The Master effects routing will be saved along with the preset. B-3 Operation Manual 147...

  • Page 156: Effects Mode

    Control channel, then use either single presets (preset Effect Type set to “Master”) or standard MIDI Program Change when in Multi Mode. commands to switch effects during sequence playback. Programmed from the designated control preset when in Multi Mode. 148 E-MU Systems...
  • Page 157 To Program the Effects Globally for all Presets in Multi Mode: Press the Master menu button. The LED illuminates and the Master menu screen appears. Use the Data Entry Control to select the MIDI mode page. Choose “multi” for the mode. MIDI MODE CHANGE multi accepted B-3 Operation Manual 149...

  • Page 158: Effect B Into Effect A

    To Send the Output of Effect B through Effect A: In this example, 100% of Effect B will be sent into Effect A. Access the FXA parameter screen (in either the Master or Edit menus) that contains the FXB –>FXA parameter. 150 E-MU Systems...
  • Page 159 Advance to the FXB submix routing page and set the Main FXB send percentage to zero. Play the keyboard and you should hear the B Effect running through Effect A. This patch is shown below. Main Send Main Send Effect B Effect A 100% B-3 Operation Manual 151...

  • Page 160: General Effect Descriptions

    Reverb Reverberation is a simulation of a natural space such as a room or hall. The reverb algorithms in B-3 simulate various halls, rooms and reverberation plates. In addition, there are several other reverb effects such as Gated Reverbs, Multi Tap (early reflections), Delay and Panning effects. There are two adjustable parameters on the reverb effects - Decay Time and High Frequency Damping.

  • Page 161: Doubling

    This is the frequency response of a Comb Filter. Flanging was originally created using two tape recorders playing identical recordings. By exactly synchronizing the two decks and then slowing the speed of one by grasping the tape reel flanges, the flanging effect was born. B-3 Operation Manual 153...

  • Page 162: Delay

    Effects General Effect Descriptions The B-3 flanger is a stereo device consisting of two separate delay lines controlled by a single set of controls. A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound.

  • Page 163: Save/Copy Menu

    Destination Preset work. To Save a Preset Press the Save/Copy menu button. Move the cursor to the bottom line on the display. Select the new preset location using the Data Entry Control. Press the Enter/Home button. B-3 Operation Manual 155...

  • Page 164: Copying Information

    The layer information in the source location (the layer location from which you want to copy) is not deleted from the original location, just copied to the destination location. L1 -> L4 COPY LAYER User Source Preset 156 E-MU Systems...

  • Page 165: Copy Patchcords

    Move the cursor to the top line in the display. Select the layer of the source preset in the first field on the right. Select the destination layer in the second field. Press the Enter/Home button. B-3 Operation Manual 157...

  • Page 166: Copy Preset Bank

    Move the cursor to the bottom line on the display and press Enter. using the Edit menu. A new random preset will be created. Don’t like the sound? Press Enter again and a new random sound will be generated. 158 E-MU Systems...

  • Page 167: Copy User Bank To Flash

    FLASH ROM SIMMs created on an EOS Ultra sampler can be used to Flash with B-3 as custom banks. Presets are then created in one of the B-3 User banks. When the bank of presets is finished, it can be copied, using this function, to the FLASH ROM bank.

  • Page 168: Rename Flash Simm

    This utility allows you to rename the Flash SIMM and change its ROM ID number. Flash SIMMs can have any five letter name you choose. Each Flash SIMM in a B-3 unit must have a unique ROM ID number (106-119). The field in the upper right corner selects between multiple Flash SIMMs. If only one Flash SIMM is installed, the field cannot be modified.

  • Page 169: Duplicate Flash

    B-3 before removing the top panel. Replace the top panel before restoring power to the unit. The two sound SIMM sockets in B-3 are marked 0 and 1. These are located behind the controller knobs on the circuit board. The Flash SIMM you want to copy MUST be placed into SIMM Socket 0.
  • Page 170 Save/Copy Menu Copying Information 162 E-MU Systems...

  • Page 171: Appendix

    Appendix This section provides some of the more technical information about B-3. In this appendix, you will find information about velocity curves, MIDI commands and PatchCord charts. Front Panel The front panel knob functions are standardized for most of the factory presets.

  • Page 172: Presets

    Appendix Presets Presets B-3 comes standard with 384 ROM presets and 512 editable USER preset locations. Presets are organized into banks of 128 presets each. USER banks 0-2 are duplicates of B-3 banks 0-2. B-3 Preset B-3 preset names show the drawbar settings used on the original B-3.Each drawbar controls the volume of its associated harmonic or overtone.

  • Page 173: Preset Listing

    Appendix Preset Listing Preset Listing User Bank 0, B-3 Bank 0 ORGAN W/ROTOR org:888000000 2 org:888888888 org:888-HShoe f org:888000000 3 org:8888-8888vmw org:AllOut-888 f org:888888888mw org:888888888vmw org:AllOut-8888 org:886311588 v org:888811580 v org:AllOut-888 f org:888800000 2 org:686311586 org:AllOut-8888v org:888800000 3 org:886311588 cmb:Ped/Swl/Gt 1...

  • Page 174: Preset Listing

    Appendix Preset Listing Preset Listing User Bank 1, B-3 Bank 1 DIRECT OUT dir:800000000 2 dir:886322588 dir:858040030 mx dir:800000000 3 dir:876400566 dir:888000040 mx dir:880000000 2 dir:888766000 3 dir:788800240 mx dir:880000000 3 dir:888800230 3 dir:888844440 mx dir:888000000 2 dir:808808008 dir:Ped/Grt1 mx...

  • Page 175: Preset Listing

    Appendix Preset Listing Preset Listing User Bank 2, B-3 Bank 2 WILDCARDS var:1st3PlyPerc2 var:1st4 Dist lnk:000008000 var:1st3PlyPerc var:1st4 Ultra lnk:000000800 var:1st 5 Phase lnk:000000080 var:1st4PlyPerc2 var:1st6 Slow mw lnk:000000008 var:1st4PlyPerc3 var:1st9 Slow mw lnk:008800000 var:Cathedral var:1st5PrsPlay lnk:008080000 var:Bi Phase var:AllOutWhlWah...

  • Page 176: Riff Listing

    Appendix Riff Listing B-3 Preset Suffixes The one or two character suffixes after the drawbar numbers furnish additional information about the preset. 2nd harmonic 3rd harmonic d Distortion ds Direct sound fades to slow rotor v Vibrato df Direct sound fades to fast rotor...

  • Page 177: Instrument Listing

    Appendix Instrument Listing Instrument This section lists the raw instruments in the B-3 ROM set. The instruments are almost exclusively multisamples. Listing None org:16’Fast S Fb org:16’ Fast S org:1st3 Slow S org:16’Fast M Fb org:16’ Fast M org:1st3 Slow M org:5-1/3’FstSFb...

  • Page 178: Instrument Listing

    1 136. org:Percy 2 137. org:Percy 3 138. org:Percy 4 139. org:No-Tone 140. B-3 Instrument The one or two character suffixes furnish additional information about the Instruments. Suffixes M Mono FB Foldback - upper octaves repeat Stereo 170 E-MU Systems...

  • Page 179: Velocity Curves

    Appendix Velocity Curves Velocity This section provides diagrams and descriptions of the B-3 velocity curves. Curves Linear Curve 1 80 100 80 100 Played Velocity Played Velocity Linear, no change to velocity. Compresses velocity range. Curve 2 Curve 3 80 100...
  • Page 180 Extreme dynamic range emphasis on the middle range. compression. Curve 11 Curve 10 80 100 80 100 Played Velocity Played Velocity Extreme dynamic range compress Extreme dynamic range but doesn't output low values compression. Outputs low values. 172 E-MU Systems...

  • Page 181: Patchcord Amount Chart

    The following chart shows the PatchCord “Amount” settings in order to get semitone intervals when modulation sources are connected to pitch. Amount Chart Semitone PatchCord Semitone PatchCord Amount Amount approx. 9 approx. 72.5 approx. 12 approx. 76 approx. 95 approx. 31 approx. 53 B-3 Operation Manual 173...

  • Page 182: Midi

    (Chan. Fine Tune) RPN 02 (Chan Coar. Tune) RPN 03 (Tuning Prog Sel.) RPN 04 (Tuning Bank Sel.) RPN 05 (Mod Depth Rang) MIDI Timing & Sync MIDI Clock Song Position Pointer Song Select Start Continue Stop 174 E-MU Systems...
  • Page 183 NOTES: Pan: -64 = hard left, +63 = hard right Product ID for B-3 = 0F (15) There is only one edit buffer which is used by the current preset (the preset shown in the display). You can edit only one preset at a time via SysEx commands, although these presets can be edited independently of the current preset edited using the Front Panel.

  • Page 184: Received Channel Commands

    SysEx.) Because of the size and technical nature of the System Exclusive specification, it is beyond the scope of this manual. The complete SysEx specification for B-3 is available on the official E-mu Systems, Inc. web site: www.emu.com...

  • Page 185: Technical Specifications

    < 0.05% Stereo Phase Phase Coherent +/- 1º at 1 kHz Power Consumption: 15 Watts Voltage Input: 90VAC-260VAC at 50Hz-60Hz Dimensions H: 1.75 inches W: 19 inches L: 8.5 inches Weight 6 lb., 14 oz. (3.1 Kg) B-3 Operation Manual 177...

  • Page 186: Warranty

    EMU service center. If you are unable to locate a service center in your area, please contact EMU’s Service Department at (831) 438-1921. They will either refer you to an authorized service center in your area or ask that you return your unit to the EMU factory. 178 E-MU Systems...

  • Page 187: Personnel

    EMU suggests you carefully and securely pack your unit for return to the factory. (Do not send the power cord or operation manual.) Send the unit to E-mu Systems, Inc., 1600 Green Hills Road, Scotts Valley, CA 95066. You must pre-pay shipping charges to EMU;...
  • Page 188 Appendix Warranty 180 E-MU Systems...

  • Page 189: Index

    Control Pedal 14 bandwidth 75 controller Bank Number 19 assigning real-time 45 bank number 19, 26 footswitch 46 Bank Organization 19 knobs 23, 25, 45, 79 Bank Select Display 22 MIDI 45, 78 banks MIDI #10 28 B-3 Operation Manual 181...
  • Page 190 154 reverb 152 double and detune 99, 131 send amounts 141 doubling 153 sends 141 doubling, effect 153 slapback 153 drawbar chart 164 stereo delay 154 dual tap, delay 154 submix routing, A 41, 120, 121 182 E-MU Systems...
  • Page 191 EQ 75 sysex 43 troubleshooting 138 implementation chart, MIDI 174 tutorial 71 initial pan position 96 type 133, 136 initial volume 96 type, changing 136 Instrument Z-plane 76, 77, 103 category 29 filter order 74 B-3 Operation Manual 183...
  • Page 192 #7 27 layers device ID 43 instrument 53 enable 44 layers, definition 85 external clock 60 legato 100 footswitches 46 LFO 108 implementation chart 174 effect B 42 in 14 flanger 154 inputs A & B 15 184 E-MU Systems...
  • Page 193 55 amount 78 mono A-I, assign group 101 pedal 55 mono mode 176 performance controllers 55 morph filter 76 pink noise, example 69 multi mode 43, 141, 176 pitch wheel 55, 137 control, effects 148 B-3 Operation Manual 185...
  • Page 194 53 rotating speaker 14 rotating speaker effect 65 routing Q 73, 104, 105, 106, 133, 134, 136 FXA submix 41, 120, 121 quantizer 64, 70 FXB submix 42 quantizer, example 69 modulation 113 quick edit output 116 186 E-MU Systems...
  • Page 195 124 Summing 54 variation, LFO 112 summing amp 63, 64 velocity mod processor 63 crossfade 90 summing amp processor 63 curve 37, 171 Summing Nodes 54 key 55 swept EQ filter 75 preset link 126 switch B-3 Operation Manual 187...
  • Page 196 126 volume envelope 57 volume, channel 27 volume, initial 96 waveform inverting 60 waveforms LFO 59 weight 177 Werkmeister tuning 124 wheel modulation 46, 55 pitch 55, 137 width, chorus 131 Z-plane filter 76, 77, 103 188 E-MU Systems...

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