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Korg HAVIAN 30 User Manual

Korg HAVIAN 30 User Manual

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Page 2 CE mark which is attached to our company’s DECLARATION OF CONFORMITY (FOR USA) products of AC mains operated apparatus Responsible Party: KORG USA INC. until December 31, 1996 means it conforms Address: 316 SOUTH SERVICE ROAD, MELVILLE to EMC Directive (89/336/ EEC) and CE mark Directive (93/68/EEC).
Page 3 Important safety ▪ Refer all servicing to qualified service per- sonnel. Servicing is required when the appa- instructions ratus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been ex- ▪...
Page 4 ©2007 “The FreeType Project” (www. freetype.org). All rights reserved. Automatic power-off To avoid wasting power, Havian 30 will by de- Disclaimer fault automatically enter standby mode after The information contained in this manual have two hours of non-active use (playing, pressing been carefully revised and checked through.
Page 5: Table Of Contents
Contents Part I Let’s start! Introduction Welcome to Havian 30! Before starting to play… Overview of the instrument Setting up the accessories Connecting the damper pedal Connecting the audio outputs Assembling the music stand Powering Turning the instrument on Calibrating the touch screen...
Page 6 Lyrics, chords, score and markers Reading lyrics and chords Reading the music score Moving through a Song with the markers Searching for files and other items Using the Search function Part III The SongBook Using the SongBook Choosing the SongBook Entries Using the Custom Lists Editing the SongBook Creating and editing the SongBook Entries...
Page 7 Setting the Style controls Writing the Style Settings Writing the Style Settings Recording the Styles Overview on the Styles Accessing the Style Record mode Preparing to record Recording a Style in Realtime Record Recording a Style in Step Record Recording a Guitar track Editing the Styles Editing the individual MIDI events Editing the Style patterns...
Page 8 Saving MIDI Songs Saving the MIDI Song Recording MP3 Songs Recording and saving an MP3 Song Part VII Customizing and editing the Sounds Listening and customizing the Sounds Accessing the Sound Edit mode Listening to individual Sounds Customizing the Sound Editing the Sounds Setting the Sound’s basic parameters Setting the oscillator’s basic parameters...
Page 9 Quick settings using MIDI Presets MIDI communication settings Synchronizing Tempo with other instruments Programming the MIDI channels Installing the Korg USB MIDI Driver Connecting Havian 30 to a personal computer or tablet Control Change messages Controlling the Styles and Player via MIDI...
Page 10 Part XI File management Managing files Overview on file management Loading musical resources and settings Saving musical resources and settings Copying files and folders Deleting files and folders Selecting more items at once Formatting storage devices Backing up and restoring musical resources Connecting the internal drive to a personal computer Storage device management Exporting playlists...
Page 11 Part I: LEt’S Start!
Page 12 Introduction...
Page 13: Introduction
The real piano experience So much of the Havian 30 digital ensemble piano has been designed to give you a great piano experience. The high-quality, weighted piano-like keybed gives you a completely authentic feel and touch. The grand piano, recorded in multiple dynamic levels, sounds absolutely natural.
Page 14 Easy to use, like a real piano Using your Havian 30 is easy, thanks to the touch screen and the clean, clearly laid-out user interface. This easy-to-use, handy technology, driving every aspect of the instrument, will make advanced features seem as easy as touching real objects in the real world.
Page 15 Your music book What is a huge collection of Styles and Songs, without an effective form of organization? The Havian 30 has the one most known to musicians: the SongBook, a music database allowing for fast song retrieving based on name, artist, genre or tempo.
Page 16: Before Starting To Play
Before starting to play… What’s in the box After you get your Havian 30, please check that all the following items are included in the package. If any of the following items is missing, please con- tact your Korg dealer immediately.
Page 17: Loading The Operating System
Warning: Do not install an OS other than the official OS supplied by Korg for the Havian 30. Trying to install an OS created for different models or downloaded from unofficial web sites may cause data loss and permanent damage to the instrument.
Page 18: Overview Of The Instrument
Use the keyboard to play notes and chords. Depending on the SPLIT indica- tor, the keyboard may be joint or split between different sounds. Music stand holes A music stand comes standard with your Havian 30. Use these holes to insert the supplied music stand, as shown on page 15.
Page 19: Control Panel
Overview of the instrument |15 Control panel The control panel is the part of the front panel where you can find the instru- ment’s controls. Metronome and Display Navigation area Tempo area Styles area Player area Sounds area Display Use this touchscreen display to interact with the instrument. Display navigation aids for blinds and visually impaired Marks on the border of the display will help you build a virtual grid of refer- ences, to quickly locate objects on the screen with your fingers.
Page 20 Introduction Styles area Styles supply the automatic Accompaniment with a virtual band (see page 59). Player area Songs can be played and controlled by the Player (see page 71). Sounds area Sounds, organized in Performances and STSs, are what you can play on the keyboard (see page 48).
Page 21: Rear Panel
USB connectors Phones/Line Out Power cable connector holder Pedal connector Power supply connector USB connectors Use these connectors to connect your Havian 30 to a personal computer (DEVICE) or to connect an USB memory device, like an USB pendrive (HOST).
Page 22 Introduction Pedal connector This is where you will connect the supplied DS2H damper pedal, or any other pedal or footswitch. Phones/Line Out connector This connector will serve as an Headphone connector (default setting) or a Line Out connector (see page 20). Power supply connector and Power cable holder Use this port to connect the power supply unit, and the cable holder to keep the cable in order.
Page 23: Setting Up The Accessories
Sounds. As an alternative, you can connect any other footswitch pedal like the (op- tional) Korg PS1, PS3 or DS1H, or a continuous pedal like the (optional) Korg XVP-10 Volume pedal or EXP-2 Expression pedal. By default, this connector will work as a Damper (Sustain) pedal. If you want to change the assigned function, or you need to change the pedal’s polarity...
Page 24: Connecting The Audio Outputs
Setting up the accessories Connecting the audio outputs Connecting the headphones Connect a pair of headphones to the PHONES/AUDIO OUT connector. You can use headphones with an impedance of 16-200 Ohms (50 Ohms sug- gested). When connecting the headphones, the speakers are automatically deactivated.
Page 25 Connecting the audio outputs |21 Set the output level to Line Out (or back to Headphones) Go to the Global > Audio & EQ > MP3/Speakers page. Choose the output level by using the Phones/Audio Out > Level pop-up menu. Press the EXIT button to return to the previous page.
Page 26: Assembling The Music Stand
Setting up the accessories assembling the music stand To assemble the music stand, insert its legs into the dedicated holes on the back of the instrument.
Page 27: Powering
Turning the instrument on |23 Powering turning the instrument on Connecting the power adapter Plug the supplied power adapter AC cable into a wall power socket, and the DC power adapter cable into the DC IN 15V connector on the back of the instrument.
Page 28: Calibrating The Touch Screen
Powering Calibrating the touch screen Calibrating the screen From time to time (for example, after loading a new operating system), cali- brating your Color TouchView™ display may be necessary to make pointing more precise. To be more accurate, use a tablet stylus or the tip of a pen cap. Warning: Do not use sharp objects, or you will damage your screen! Keep the...
Page 29: Listening To The Demo Songs
Listening to the Demo Songs |25 Listening to the Demo Songs Playing the Demo Songs Access the Demo mode ▪ Press the DEMO buttons together. Listen to all the Demo Songs ▪ After accessing the Demo mode, do not press any button. All the Demo Songs will be played back.
Page 30 Powering Exit from the Demo mode ▪ Press any of the MODE buttons.
Page 31: Interface Basics
The main page |27 Interface basics the main page Main page of the Style Play mode appears when turning the instrument on. You can return to this page by pressing the EXIT button while in Style Play mode, or the STYLE PLAY button when in a different mode.
Page 32: The User Interface In Detail
Operative modes The pages of Havian 30 are grouped in various operating modes. Each mode is accessed by pressing the corresponding button in the MODE section on the control panel.
Page 33 The user interface in detail |29 Edit menus and sections Pages are grouped in sections, to be selected by touching the corresponding buttons in the edit menu that opens up when you press the MENU button. Pages and tabs Parameters are grouped into separate pages, to be selected by touching the corresponding tabs on the lower area of the display.
Page 34 Interface basics Dialogs Similar to selecting windows, dialogs overlap the underlaying page. Touch one of the button on the display to give Havian 30 an answer, and the dialog will close. Page menus Touch the down-pointing arrow icon on the upper right corner of each page, and a menu with suitable commands for the current page will appear.
Page 35 The user interface in detail |31 Lists and scrollbars Files on storage media, as well as other kinds of data, are shown as lists. Use scrollbar to scroll the list content. Also, you can use the VALUE dial to scroll. When the Name label is selected on top of a list, keep the...
Page 36 Interface basics Parameters Checkboxes This kind of parameters are on/off switches. Touch them to change their status. Editable names When the Text Edit ( button appears next to a name, touch it to open the Text Edit window and edit the name. virtual keyboard works exactly as a personal computer’s keyboard.
Page 37 The user interface in detail |33 virtual numeric keypad works exactly as the numeric keypad of a per- sonal computer. As an alternative, touch a numeric field and keep it held. Then move your fingers up (or right) to increase the value, or move it down (or left) to de- crease it.
Page 38 Interface basics Virtual controllers Virtual sliders To change a virtual slider’s position, touch it and keep it held, then slide up or down to change its position. As an alternative, touch it, then use the VALUE dial to change its position. Virtual knobs To change a virtual knob’s position, touch it and keep it held, then slide your finger up (or right) to rotate it clockwise, or slide it down (or left) to rotate...
Page 39: Navigating Through The Pages
Navigating through the pages |35 Navigating through the pages Going to a page Through this manual, page addresses are shown as in the following example: Style Play > Mixer/Tuning > EQ Gain Mode Edit section Page Here is how the above works: Press the STYLE PLAY button to go to the...
Page 40 Interface basics Touch the Mixer/Tuning button in the edit menu to choose the Mixer/Tuning section. The selected edit section is always shown in the title bar: Mode Edit section If the page is not yet shown in the display, touch the EQ Gain tab to choose EQ Gain...
Page 41 Navigating through the pages |37 Try a different page in the same edit section. Touch the Volume/Pan tab to go to the Volume/Pan page, and edit the parameters. Press the EXIT button to return to the main page of the Style Play mode.
Page 42: Selecting The Musical Resources
Pages You can always exit from this window by pressing the EXIT button. In Havian 30, Select windows automatically close after a few seconds, or af- ter you select something. If you prefer they stay always open until you press...
Page 43 Selecting the musical resources |39 Using the display navigation aids If you are blind or visually impaired, you can explore and use the Select win- dows with your fingers, thanks to the reference marks around the display. We suggest you to leave the Display Hold parameter on.
Page 44 Interface basics Choosing the element When you are in the desired page, you can choose the element with the help of the grid created intersecting the lines coming from the small linear marks around the display.
Page 45 Part II: PLaYING aND SINGING...
Page 46 The Easy Mode...
Page 47: The Easy Mode
Turning the Easy Mode on or off |43 the Easy Mode turning the Easy Mode on or off You can turn the Easy Mode on or off by using the page menu. Turn the Easy Mode on Touch the little down-pointing arrow on the top right corner of the display to open the...
Page 48: The Easy Style Play Page
The Easy Mode the Easy Style Play page Title bar Page menu Selected Style Right-hand/ Upper Sounds Selected Performance Left-hand/ (may change to Lower Sound Selected STS) Touch to set Touch to open the split point the Mixer page Touch to open the Effects page STSs...
Page 49 The Easy Style Play page |45 Play/Mute icon Mute ) icon may appear on the right of the Sound’s name. Touch the instrument family icon to turn the Sound on (Play) or off (Mute). Mixer Touch the Mixer button to adjust the Sound volume and pan. Effects Touch the Effects...
Page 50: The Easy Song Play Page
The Easy Mode the Easy Song Play page Play the Songs in the Easy Mode. Title bar Page menu Selected Song Right-hand/ Upper Sounds Selected Performance Left-hand/ (may change to Lower Sound Selected STS) Touch to set Touch to open the split point the Mixer page Touch to open...
Page 51 The Easy Song Play page |47 Play/Mute icon Mute ) icon may appear on the right of the Sound’s name. Touch the instrument family icon to turn the Sound on (Play) or off (Mute). Mixer Touch the Mixer button to adjust the Sound volume and pan. Effects Touch the Effects...
Page 52: Playing The Sounds
Playing the Sounds Playing the Sounds Playing Grand Piano Choosing the Grand Piano Sound ▪ Press the GRAND PIANO ) button to choose the Grand Piano Sound. Choosing the Sounds Choosing a Performance You can choose a Performance from the control panel or from the display. Open the Performance Select window from the control panel ▪...
Page 53 Choosing the Sounds |49 Open the Performance Select window from the display ▪ While in the Main page, touch the name of the selected Performance. Select a Performance As soon as you press the button or touch the display, the Performance Select window appears.
Page 54 Playing the Sounds In case you want to choose a different group of Performances, either press a different button in the PERFORMANCE section, or touch one of the tabs the sides of the Performance Select window. To choose one of the available pages in the selected Performance group, either touch one of the P1…P5 tabs at the bottom of the window, or re-...
Page 55 Choosing the Sounds |51 Touch the name of the Performance you want to choose. If you want to close the Performance Select window (and it does not close by itself), press the EXIT button. In the end, you will see the name of the selected Performance in the dedi- cated area of the Main page.
Page 56 Playing the Sounds Choosing an STS You can choose an STS from the control panel or from the display. Choose an STS from the control panel ▪ Press one of the buttons in the section. Select an STS from the display While in the Main page, be sure the...
Page 57 Choosing the Sounds |53 Sound, Performance, STS Sounds are the basic element of what you hear from your instrument. A set of Sounds can be memorized into a Performance or STS. A Performance is a single memory location that can remember the Keyboard Sounds and all their transposition, effects, etc…...
Page 58: Tempo And Metronome
Tempo and Metronome tempo and Metronome tempo Setting the Tempo value While an optimal Tempo value is saved with each Style or Song, you can freely adjust it at your will. This will also set the Tempo for the Metronome. Adjust the Tempo value from the control panel ▪...
Page 59 Tempo |55 Beating (‘tapping’) the Tempo value In Style Play mode, you can beat the Tempo value. Activate the Tap Tempo function ▪ While the Accompaniment is not playing, keep the SHIFT button pressed and press the METRO button. The Tap Tempo window will open.
Page 60 Tempo and Metronome Let the Style or Song change the Tempo value ▪ Press the TEMPO > LOCK ( button again to turn its indicator off. When choosing a different Style or Song, the memorized Tempo value will be re- called.
Page 61: Metronome
Metronome |57 Metronome Turning the metronome on and off Turn the metronome on ▪ Press the METRONOME ) button to turn its indicator on. The Metronome window will open, and the metronome will start playing, beating the current Tempo. Turn the metronome off ▪...
Page 62 Tempo and Metronome Turn the accent on or off ▪ Choose the accent by using the Accent parameter. Metronome Mode Meaning Normal No accent. Accent The first beat of each measure is accented. Bell A bell sound is heard at the first beat of each measure. Adjust the metronome volume ▪...
Page 63: Playing The Styles
Choosing the Styles |59 Playing the Styles Choosing the Styles Choosing a Style You can choose a Style from the control panel or from the display. Go to the Style Play mode ▪ When turning the instrument on, you are already in Style Play mode.
Page 64 Playing the Styles Open the Style Select window from the display ▪ Touch the name of the Style in the display. Choose a Style Browse through the Styles in the Style Select window. ▪ To choose one of the available types of Styles, touch the buttons...
Page 65 Choosing the Styles |61 ▪ To choose a different group of Styles, touch one of the tabs on the sides of the window. ▪ To choose one of the available pages in the selected Style group, touch one of the P1…P5 tabs at the bottom of the window.
Page 66 Different sections can be selected to let you create a complete song in realtime. Accompaniment parts Accompaniment parts are like the members of a band. With Havian 30 you get five pitched instrument players (for example: guitar, piano, strings, synthesizers), a bass player, a percussion player, and a drum player.
Page 67 Choosing the Styles |63 The Piano Styles To enjoy a very light accompaniment, choose the Styles in the Piano Style bank. These will offer a simple left hand Piano accompaniment for those times when you just want to practice your right hand; or the classic jazz trio, with just bass, drums, and a Piano.
Page 68: Playing A Style
Playing the Styles Playing a Style Starting and stopping the Style You can manually start and stop the Accompaniment. Start the Accompaniment Press the START/STOP button. Play some chords with your left hand, while playing a melody with your right hand.
Page 69 Playing a Style |65 Make the Accompaniment start and stop automatically (Synchro Start and Stop) Press the SYNCHRO > START/STOP button again, to light up both the START STOP indicators. Play a chord to start the Accompaniment, and keep the keys pressed. Lift your hands from the keyboard, and see how the Accompaniment will automatically stop.
Page 70 While the Accompaniment is going, you can see the Intro or Variation’s length in the display (‘L’ parameter). Automatically choosing a Fill If you like, you can let Havian 30 automatically choose a Fill when you choose a Variation. Style Element...
Page 71 Playing a Style |67 Automatically play a Fill, then a Variation ▪ Press one of the VARIATION buttons. The Fill with the same number of the previous Variation will be automatically selected. For example, if you are go- ing from Variation 2 to Variation 3, Fill 2 will be automatically selected. Turn the Autofill function off ▪...
Page 72 Playing the Styles Looping sections If you feel that an Intro or an Ending should last longer than the recorded pattern, you can put it in a cycling loop. Set a Style Element to loop ▪ Press twice the button of the Intro or Ending to put in loop. The indicator on the button will start flashing, and the pattern will start re- peating.
Page 73: The Chord Sequencer
The Chord Sequencer |69 the Chord Sequencer Recording a Chord Sequence You can record a Chord Sequence, that will remain in memory until you turn the instrument off. Record a Chord Sequence Press the START/STOP button to start the Accompaniment. Press the CHORD SEQUENCER >...
Page 74 Playing the Styles Playing back a Chord Sequence You can play back the Chord Sequence in memory. The chords driving the automatic accompaniment will be performed by the recorded sequence. Play the recorded Chord Sequence Press the CHORD SEQUENCER > PLAY/STOP ( buttons together to start playback.
Page 75: Playing The Songs
Choosing the Songs |71 Playing the Songs Choosing the Songs Choosing a Song from the list Switch to the Song Play mode Press the SONG PLAY button. Title bar Page menu Selected Song Right-hand/ Upper Sounds Selected Style Left-hand/ Selected Lower Sound Performance (may change to...
Page 76 Playing the Songs Open the Song Select window from the display ▪ Touch the name of the Song on the display. Browse through the Songs While in the Song Select window, browse through the files to find the Song you are looking for. Current path Storage device ▪...
Page 77 Choosing the Songs |73 Jump to a different alphabetical section If it is not selected, touch the Name label on top of the list. Keep the SHIFT button pressed and touch one of the arrows of the scrollbar to jump to the previous or next alphabetical section. Change the list ordering ▪...
Page 78 MIDI Songs’ jargon name is Standard MIDI File, often abbreviated as SMF. The filename extension is .mid. The Standard MIDI File is the industry stan- dard format for songs, and is used by Havian 30 as the native file format when playing and recording MIDI Songs.
Page 79 Choosing the Songs |75 Choosing a Song by number Open the numeric keypad. ▪ While in the Song Select window, press the SONG button. ▪ While in any page of the Song Play Style Play) mode, press the SONG button twice. Enter the ID number (included in the 0001~9999 range) corresponding to...
Page 80: Playing A Song
Playing the Songs Playing a Song Starting, stopping and controlling the Player Start the Player ▪ Press the PLAY/STOP ( button. The button’s indicator will light up. While the Song is playing, the indicators on the display will show the current position.
Page 81 Playing a Song |77 Balancing the Song against the keyboard While playing, you may want to balance the Keyboard Sounds against the Song, to make the soloist stand out of the background or go back in the mix. Balance the Song against the keyboard ▪...
Page 82: Playing Along With The Song
Playing the Songs Playing along with the Song Play along with the Song ▪ While the Song is playing, play on the keyboard. Choose different Sounds ▪ Choose a different Performance from the PERFORMANCE section of the control panel. ▪ Choose a different from the section of the control panel, or from...
Page 83: Playing All The Songs In A Folder
Playing all the Songs in a folder |79 Playing all the Songs in a folder Open the Song Select window from the control panel ▪ Press the SONG button. Open the Song Select window from the display ▪ Touch the name of the Song on the display.
Page 84 Playing the Songs ▪ Press the HOME ( button to go back to the beginning of the current Song. Save the list as a Jukebox file ▪ If you want to save the list, go to the Song Play > Jukebox Editor edit page and save it as a JBX file.
Page 85: Playing A Jukebox List
Playing a Jukebox list |81 Playing a Jukebox list Creating and editing a Jukebox list Create a Jukebox list Go to the Song Play > Jukebox Editor page. If a list of Songs already exists (because you selected an existing Jukebox file, or used the Song Select >...
Page 86 Playing the Songs ▪ Touch the Delete button to delete the selected Song from the list. ▪ Touch the Del All button to delete all Songs from the list. Save the Jukebox list Touch the Save button to open the Write Jukebox File dialog.
Page 87 Playing a Jukebox list |83 The selected Jukebox list contains pointers to Songs residing in the same folder as the Jukebox file. Please do not move nor delete the Songs, nor dis- connect any connected USB storage device containing the Songs. Play the Jukebox list While in the main...
Page 88 Lyrics, chords, score and markers Lyrics, chords, score and markers reading lyrics and chords Where are lyrics and chords contained? Inside the MIDI Songs Lyrics and chords may be contained inside MIDI Songs. They are included as MIDI events. Inside the MP3 Songs Lyrics may be contained into MP3 Songs.
Page 89 Reading lyrics and chords |85 Reading the lyrics and chords contained in a Song Open the Lyrics page ▪ Press the LYRICS button on the control panel. The Lyrics page will appear. Read the lyrics ▪ While the Song is playing, lyrics contained in a MIDI or MP3 Song will auto- matically scroll in the display, in time with the music.
Page 90 Lyrics, chords, score and markers Chord transposition When transposing the Song, chord abbreviations will usually be automati- cally transposed. However, be sure Transpose is activated on the Player, but not on the keyboard. Activate the chord transposition Go to the Global >...
Page 91 Reading lyrics and chords |87 same folder as the ‘MySong.mid’ file or ‘MySong.mp3’ file, loading this latter will load the TXT Lyrics file as well. Text files have be formatted with monospaced, non-proportional fonts (like Courier, Courier New, Letter Gothic, Lucida Sans, Menlo, Monaco, Vera Sans, or any other monospaced font).
Page 92 Lyrics, chords, score and markers Reading the lyrics and chords loaded as a CDG file CDGs are graphic files that change in time with the associated MP3 Song. Read the lyrics and chords in the CDG file ▪ Be sure the button is pressed in the Lyrics page.
Page 93 Reading the music score |89 reading the music score Creating and reading the music score Create the music score While in Song Play mode, choose a MIDI Song to play. Press the SCORE button to open the Score page. A score of the selected track will be generated.
Page 94 Lyrics, chords, score and markers Clef Meaning Treble Standard Treble clef. Treble+8 Treble clef with transposition one octave upper. Treble-8 Treble clef with transposition one octave lower. Bass Standard Bass clef. Bass-8 Bass clef with transposition one octave lower. Exit from the Score page ▪...
Page 95 Reading the music score |91 Show lyrics, chords, note names Read the Lyrics ▪ Touch the Lyrics button to make the lyrics (if available) appear or disappear. Read the chords ▪ Touch the Chord button to make the chord symbols (if available) appear or disappear.
Page 96 Lyrics, chords, score and markers Muting a Song’s Sound with a footswitch You can mute the melody track of a Song by assigning the Melody Mute func- tion to a footswitch. This function mutes a track defined as the melody track. If the Song has the melody part assigned to the same track number, you can mute or unmute it by using the assigned footswitch.
Page 97 Moving through a Song with the markers Using the markers Song Marker events contained in a MID file (that is, a MIDI Song) can be read by Havian 30. They are immediately shown in the Markers page. Jump to a marker...
Page 98 Lyrics, chords, score and markers Creating and editing markers You can add your own marker points to a MIDI Song, then save them into the MID file. Open the Markers page ▪ While in Song Play mode, press the MARKER buttons.
Page 99 Moving through a Song with the markers |95 Edit the name an position of a marker Touch the marker to be edited in the markers list. Touch the Edit button to start editing the marker. The Edit Marker window will appear. While in the Edit Marker window, edit the position and name of the selected...
Page 100 Searching for files and other items Searching for files and other items Using the Search function Searching Depending on the page, you can search for different types of data. For ex- ample, while in the Media pages you can only search for files, while in Style Play or Song Play mode you can search for several different types of data (Styles, Songs, Lyrics…).
Page 101 Using the Search function |97 Choose the type of file to look for ▪ If needed, use the Type menu to choose the type of item you are looking for. Choose a storage device and folder When searching for Files, Songs or Lyrics, you can choose a storage device and folder where to focus your search.
Page 102 Searching for files and other items Type the name and start searching Type the name of the file you are looking for. There is no difference between upper and lower cases (“LOVE” is the same as “Love” or “love”). When finished entering the name, touch the Search button.
Page 103 Using the Search function |99 Exit from the Search window without stopping the Search operation ▪ Touch the Cancel button in the display, or press the EXIT SEARCH ( button on the control panel, to exit from the Search window and carry on other operations.
Page 104 100| Searching for files and other items A note about searching: the wildcards While searching, the string entered will be searched as a whole word or as part of a word. For example, if you entered “love”, the function will find “Love”...
Page 105 |101 Part III: SONGBOOK...
Page 106 102| Using the SongBook...
Page 107 Styles. You can add your own Entries to the SongBook, as well as edit the ex- isting ones. Korg already supplies some hundred Entries as standard. Furthermore, the SongBook allows you to create various custom lists, that...
Page 108 104| Using the SongBook Choosing the SongBook Entries from the Book list A large database is already included with the instrument. You may browse through this database and choose a SongBook Entry. Choose a SongBook Entry While you are in Style Play Song Play mode, press the...
Page 109 Choosing the SongBook Entries |105 The associated Style or Song will be recalled. STSs will also be recalled. STS #1 will be selected. Any TXT file associated with the Entry will be shown in Lyrics page. Use the START/STOP PLAY/STOP ( button to start and stop play- back of the selected Style or Song.
Page 110 106| Using the SongBook Choose between Song Number and Key ▪ Touch the page menu icon to open the menu, then choose either the Show Song Number (now Key) Show Key (now Song Number) option (depend- ing on the current selection). Filtering the Entries When you are looking for a particular artist, genre or other categories, you may ‘filter’...
Page 111 Choosing the SongBook Entries |107 When done editing the name, confirm by touching the button under the virtual keyboard. Repeat the above step for all the fields you want to include in your filter. If you like, select a Meter and/or a range of Tempo values to be included in...
Page 112 108| Using the SongBook Getting information on the SongBook Entries You can see some statistical information on the selected SongBook Entry, to see the name of the Entry, the associated Style or Song, the total number of Entries in the SongBook database, the number of filtered Entries in the Book page, the number of available Custom Lists, and the number of Entries in the selected list.
Page 113 SongBook Entries can be remotely selected via MIDI. In addition, MIDI mes- sages can be sent via MIDI when choosing a SongBook Entry. This is useful to synchronize Havian 30 to an external editor or digital music sheet reader. Setting the special Control MIDI channel...
Page 114 When you are ready to remotely select SongBook Entries, switch to the Style Play or Song Play mode. At this point, Havian 30 must receive on the special Control channel the NRPN Control Change messages #99 (MSB, with value 2) and #98 (LSB, with value 64) in fast succession, as an initialization string.
Page 115 Choosing the SongBook Entries |111 ▪ Send the following string to select SongBook Entry #2563: Initialization string (CC#99, 98) Thousands and hundreds (25xx) Tens and units (xx63) Sending MIDI messages when selecting SongBook Entries When the special Control channel is assigned to one of the MIDI OUT chan- nels, MIDI messages are sent on this channel when choosing a SongBook Entry.
Page 116 112| Using the SongBook Using the Custom Lists What are Custom Lists? Custom Lists are selections from the full Book list. They allow for smaller, customized lists, suitable for a single gig or your own music preferences. We already included some example lists, that you can use for your own shows.
Page 117 Using the Custom Lists |113 Move to the next song by touching the Next button, or by touching a differ- ent Entry in the list and touching the Select button.
Page 118 114| Editing the SongBook Editing the SongBook Creating and editing the SongBook Entries Creating a new SongBook Entry You can add your own Entries to the SongBook database. Choose the Style or Song Go to the Style Play Song Play mode, depending on the type of Entry you want to add to the SongBook database.
Page 119 Creating and editing the SongBook Entries |115 As an alternative, go to a SongBook > Book Edit page and touch the Song button. While in the Write Song dialog, touch the Text Edit ( icon to assign a name to the Entry, then touch to save the Entry to the SongBook data- base.
Page 120 116| Editing the SongBook Save over the existing SongBook Entry Go to one of the SongBook > Book Edit pages, and touch the Write button to save the settings into the selected SongBook Entry. Touch to Write the SongBook Entry Choose the Rename/Overwrite option to write over the selected Entry.
Page 121 Creating and editing the SongBook Entries |117 Resource area shows the resource saved in the selected Entry (Entry), and the one you just selected (Current). Select the Resource > Write Current checkbox to save the new resource instead of the older one. Touch the Write button to save over the exiting SongBook Entry.
Page 122 118| Editing the SongBook Go to the SongBook > Book Edit 1 page. Select the STS > Write Current checkbox to save the new STSs instead of the older ones. ▪ Choose All STS to save all four STSs. ▪ Choose a single STS location to save the selected STS, or the current set of...
Page 123 Creating and editing the SongBook Entries |119 Edit the Song Selection Number ▪ Go to the SongBook > Book Edit 1 page, and edit the Number field. Assigning a number is not mandatory, but may help in organizing the Entries. For example, you may use the different 100s to create a different way of cat- egorizing your entries by genre or age.
Page 124 120| Editing the SongBook Edit the SongBook Entry’s database parameters. Parameter Style-based Entry MID-based Entry MP3-based Entry Genre Music genre associated with the Entry. Artist Name of the artist of the song associated with the Entry. Key Info Original key of the Entry. The first field is the Root, the second one is the Major/minor mode.
Page 125 Creating and editing the SongBook Entries |121 Editing the Style controls (Synchro/Memory) With Style-based Entries, you can memorize the status of the Style’s Synchro and Memory function status. Choose the SongBook Entry to be edited. Go to the SongBook > Book Edit 3 page.
Page 126 122| Editing the SongBook Linking a text file to the SongBook Entry You can add Lyrics to any Entry as a linked TXT file. Since there is no auto- matic synchronization between this type of Lyrics and the associated Style or Song, you must scroll them manually (as explained in Reading the lyrics and chords loaded as a text file...
Page 127 Creating and editing the Custom Lists |123 Creating and editing the Custom Lists Enabling Custom List editing SongBook > List Edit page, where you can edit Custom Lists, is not usu- ally available, to protect Custom Lists from accidental changes. Enable Custom List editing ▪...
Page 128 124| Editing the SongBook Use the List pop-up menu to select the Custom List to edit. Add Songs to the selected Custom List Go to the SongBook > Book page. Browse through the songs in your SongBook database. When you see the song you are looking for, touch it, then touch the Add to...
Page 129 Creating and editing the Custom Lists |125 Move or delete songs from the selected Custom List Go to the SongBook > List Edit page, and touch the song you want to move or remove from the list. Edit the list. ▪...
Page 130 126| Editing the SongBook Deleting a Custom List While in the SongBook > Custom List page, use the List pop-up menu to select the Custom List to delete. Go to the SongBook > List Edit page, then touch the Del List button to delete the selected Custom List (the songs it contains will not be deleted from the Book list).
Page 131 Custom Lists on a Windows PC. With SongBook Editor you can comfortably view and edit a SongBook file on your PC. Using a tablet as a SongBook extension You can synchronize Havian 30 to an external editor or digital music sheet reader (like BauM Software’s SongBook+ for the iPad or Zubersoft’s...
Page 132 128| Editing the SongBook...
Page 133 |129 Part IV: CUStOMIZING aND EDItING tHE SOUND SEtS...
Page 134 130| Customizing the Sound sets...
Page 135 Playing different Sounds with the left and right hand |131 Customizing the Sound sets Playing different Sounds with the left and right hand Splitting the keyboard Split the keyboard into a Lower (left hand) and Upper (right hand) part ▪ Press the SPLIT button on the control panel to light up its indicator.
Page 136 132| Customizing the Sound sets SPLIT in- Keyboard Left hand (Lower) Sounds Right hand (Upper) Sounds dicator mode Full No Lower Sound Up to three Upper Sounds as- signed to the full extension of the keyboard Split A single Lower Sound as- Up to three Upper Sounds as- signed to the left hand signed to the right side of the...
Page 137 Playing different Sounds with the left and right hand |133 Changing the global split point The global split point is both the general setting you use when there is no ‘local’ split, and a ‘template’ from which to start setting the various local split points saved into the Performances and STSs.
Page 138 (Upper, Lower). Linked to a part there is a track. In Styles and MIDI Songs, Sounds are directly assigned to tracks. Tracks are the equivalent of re- corder tracks (with the associated mixer channels). In fact, Havian 30 does include a recorder and a digital mixer! Assigning single Sounds to tracks simplifies the way you can mix and record them.
Page 139 Playing two or three Sounds at the same time |135 Playing two or three Sounds at the same time Turning the Keyboard Sounds on or off You can play up to three layered Sounds on the keyboard. This is useful to add, for example, a layer of Strings or Synth Pads to the Grand Piano sound.
Page 140 136| Customizing the Sound sets Choosing different Sounds Choosing Sounds You can assign different Sounds to the keyboard. The new combination of Sounds can then be written into a Performance or STS. Select the Sound to be replaced Be sure to be in the main page of the Style Play...
Page 141 Choosing different Sounds |137 ▪ To choose one of the available types of Sound, touch the buttons at the top of the window. Type of Sound Meaning Factory Standard Sounds, that cannot be modified. Legacy Standard Sounds allowing for greater compatibility with older Pa- Series instruments.
Page 142 Mixing the Keyboard Sounds Adjusting the Sound’s volume At its core, Havian 30 is a mixer. As with any mixer, you can adjust the vol- ume level of each Sound, therefore changing the balance between the differ- ent Sounds on the keyboard.
Page 143 Mixing the Keyboard Sounds |139 Turn a channel on (Play) Touch the Mute icon ) in the mixer channel corresponding to the Sound to play ( Soloing a Sound You can listen to a single Sound in solo, to understand how it sounds out of the mix.
Page 144 140| Customizing the Sound sets transposing the Sounds to a different octave Transposing all the Upper Sounds All Upper Sounds can be transposed to an upper or lower octave at the press of a single button. Transpose the Upper Sounds one octave up ▪...
Page 145 Transposing the Sounds to a different octave |141 Touch the Oct. Transpose virtual knob corresponding to the Sound you want to transpose, then slide your finger to change the transpose value. As an alternative, touch the parameter and use the VALUE dial to change the transpose value.
Page 146 142| Customizing the Sound sets Using the Ensemble to add harmony There are several types of Ensemble, but with most of them the right-hand playing will be harmonized with the chords you play with your left hand. Turning the Ensemble on or off Turn the Ensemble function on Be sure the SPLIT...
Page 147 Using the Ensemble to add harmony |143 Use the Type parameter to choose an Ensemble type. Ensemble type Meaning Duet Adds a single note to the melody. Close Adds a closed-position chord to the melody. Open 1 Adds an open-position chord to the melody. Open 2 As the above, but with a different chord shape.
Page 148 144| Customizing the Sound sets If they appear, adjust the additional parameters. Additional How it works Value parameters Note Velocity Velocity (dynamics) difference between the melody played -10…0 with your right-hand and the added harmonization notes. Tempo Note duration for the Trill, Repeat or Echo Ensemble options. This is in sync with the Metronome Tempo.
Page 149 The editing procedure |145 advanced editing of the Sound sets the editing procedure A – Choose a Sound set Choose a Performance whose Sounds and settings to edit ▪ Press either the STYLE PLAY SONG PLAY button, then choose the Performance whose Sounds you want to edit.
Page 150 146| Advanced editing of the Sound sets B – Access editing Press the MENU button to access editing and see the edit menu. Choose an edit section edit page to access the parameters. C – Choose a Sound to edit Most editing is to be done on selected Sounds.
Page 151 Mixing the Sounds |147 Mixing the Sounds Volume/Pan page is the internal digital mixer of the instrument. Setting the Volume and Play/Mute status Access the Volume/Pan page ▪ Go to the Mixer/Tuning > Volume/Pan page. Set the individual Sound’s Volume ▪...
Page 152: Setting The Pan
148| Advanced editing of the Sound sets Linking the Upper Sound volume sliders The Upper Sound volume sliders can be linked together, to proportionally change all Upper Sounds with a single slider. Go to the Mixer/Tuning > Volume/Pan page. Select or deselect the Upper Volume Link checkbox.
Page 153: Adding Effects
Modulating FX processor for the Keyboard Sounds Effects Havian 30 include a powerful multi-effect processor for the internal Sounds. These effects contribute to make the final sound of the instru- ment, adding vibe and a sense of the space. There are four effects, to which the Sounds can be sent from their internal mixer channel.
Page 154 150| Advanced editing of the Sound sets Choosing the FX group and setting the FX Send level Each Sound can send its audio signal to a group of FX processors. The amount of signal sent is called the FX Send level. Access the FX Send page ▪...
Page 155 Adding effects |151 Including or excluding the dry (direct) signal The dry (or ‘direct’) signal is the raw sound, without the effects. It should be normally included in the output signal to give a sense or presence of the source Sound. Go to the Mixer/Tuning >...
Page 156 152| Advanced editing of the Sound sets Choosing the effects and setting their controls Access the FX A/B Config page Go to the Effects > FX A/B Config page. Use the side tabs on the right to choose an Group. Choose an effect for each FX processor ▪...
Page 157 Adding effects |153 Feed the FX2 output back to the FX1 input You can send the output of the processor (modulating effect) to the input of the processor (reverb). This is preferred, for example, to send a guitar amp simulator to the reverb. ▪...
Page 158 154| Advanced editing of the Sound sets Copying the Effects To speed up programming, you can copy a single effect (Master 1, Master 2), or both effects of an FX group (A or B). You can copy them between differ- ent elements (for example, between Styles and Performances, or STSs and Songs or Sounds).
Page 159 Equalization |155 Equalization The Channel Equalizer Havian 30 includes three-band equalization (EQ) on each individual mixer channel. Each Sound can be individually equalized. Setting the EQ gain Go to the Mixer/Tuning > EQ Gain page. Keep the Gain knob held on the screen, and move it to the desired level.
Page 160 156| Advanced editing of the Sound sets Input sensitivity and bypassing EQ Control page lets you set the input sensitivity and bypass EQ on each channel. Track Reset Access the EQ Control page ▪ Go to the Mixer/Tuning > EQ Control page.
Page 161: Resetting The Eq
Equalization |157 Resetting the EQ Still in the EQ Control page, you can reset the EQ to the default (that is, ‘flat’) status. Reset the EQ on a single channel ▪ Touch the Track Reset button corresponding to the channel whose EQ you want to reset.
Page 162 158| Advanced editing of the Sound sets Octave and fine tuning Tuning page lets you set the octave and fine tuning on each channel. Setting each Sound’s octave transpose and fine tuning Access the Tuning page ▪ Go to the Mixer/Tuning >...
Page 163 Using internal or external Sounds Usually, the Keyboard, Arranger and Player play the internal Sounds. However, you can choose to let them play an external sound generator. Connect Havian 30 to the internal or external sound generator Go to the Track Control > Mode page.
Page 164 160| Advanced editing of the Sound sets External Sounds and Program Change messages A track set to the External status cannot play the internal sounds. Instead of the assigned Sound name, the <E: aaa.bbb.ccc> indicator is shown on a track’s area in the Main page: Control Change/ Program Change area This indicator begins with a remark saying the track is in External (‘E’) mode,...
Page 165 Sound routing, polyphony, key and velocity range |161 Use the Type parameter to choose the track type. Type Meaning Drum Drum/Percussion track. Set a Keyboard Sound to Drum mode, if you don’t want it to be transposed (it will behave as a Drum Kit, even if it is an ordinary Sound).
Page 166 162| Advanced editing of the Sound sets Access the Key/Velocity Range page ▪ Go to the Keyboard/Ensemble > Key/Velocity Range page. Set the Key Range ▪ Use the Top Key Bottom Key parameters to set the Top and Bottom limits of the track’s Key zone. Meaning C-1 …...
Page 167 Easy editing of Drum Kits |163 Easy editing of Drum Kits You can adjust the volume and edit the main parameters for each family of Drum and Percussion instrument for the selected track. A list of families is shown below. These parameters can be accessed only on tracks set to the Drum mode in the Track Controls >...
Page 168 164| Advanced editing of the Sound sets Select one of the Drum families, by using the Drum Family icons on top of the page. Drum family icon Drum family Kick drums Snare drums Toms Hi-Hat cymbals Ride, Crash and other cymbals Low-pitched percussions High-pitched percussions Special effects...
Page 169 Easy editing of Drum Kits |165 Sound parameter Meaning Value Volume Instrument’s family volume. 0 … 127 Attack Attack time. This is the time during which the sound -64 … +63 goes from zero (at the moment when you strike a (offset) key) to it’s maximum level.
Page 170 166| Advanced editing of the Sound sets Easy editing of Sounds You can edit the main Sounds parameters. Edit the Sounds Go to the Track Controls > Easy Edit page. If you like, start the Style or Song to listen to the changes during playback. If you like, solo the Sound you are editing, to isolate it from the other tracks.
Page 171 Easy editing of Sounds |167 Setting Portamento Portamento is a smooth sliding transition from a note to the following one. ▪ Use the Portamento > Time knob to adjust the speed of portamento. ▪ Select the Portamento checkbox to turn portamento on, or uncheck it to turn it off.
Page 172 168| Writing the Sound sets Writing the Sound sets Writing a Performance Performances can save the Keyboard Sounds and settings. Writing Performances Open the Write Performance dialog from the control panel ▪ While in Style Play Song Play mode, keep of the PERFORMANCE but-...
Page 173 Writing a Performance |169 choosing a Performance. Blank locations are shown as a series of dashes (‘–––’). When back at the Write Performance dialog, you may change the name the Performance. Touch the Text Edit ( icon to open the virtual key- board and edit the name.
Page 174 170| Writing the Sound sets Writing an StS STSs (Single Touch Settings) can save Keyboard Sounds and settings, inside a Style. When choosing a Style, four STSs matching the selected Style are automatically selected. Four STSs are associated to each Style. Note: Changes can only be saved onto Favorite and User Styles, and onto SongBook Entries.
Page 175 Writing an STS |171 You may change the name of the STS. Touch the Text Edit ( icon to open virtual keyboard and edit the name. When done editing the name, confirm by touching the button under the virtual keyboard. When back at the Write Single Touch Setting dialog, confirm the Write op-...
Page 176 172| Writing the Sound sets Save STSs to an existing SongBook Entry You can edit or replace the STSs of the selected SongBook Entry. While you are in Style Play Song Play mode, go to the SongBook > Book page, and choose a SongBook Entry.
Page 177 Writing an STS |173 ▪ Choose the single STS, assign it a name, and choose one of the four loca- tions inside the SongBook Entry where to save it. This will only overwrite the selected STS, and leave all the others untouched. Touch the Write button to make the...
Page 178 174|...
Page 179 |175 Part V: CUStOMIZING, rECOrDING aND EDItING tHE StYLES...
Page 180 176| Customizing the Styles...
Page 181 Setting the Chord Recognition |177 Customizing the Styles Setting the Chord recognition Choosing where to play chords (Chord Scan area) You can play chords with your left or right hand separately, or with both hands. You can choose the recognition area, depending on the song you are playing and your preferred playing style.
Page 182 178| Customizing the Styles Choosing how to play chords (Chord Recognition mode) You can play chords in the simplest (even simplified), or the most sophisti- cate way. It’s at you how chords have to be played to be recognized. Go to the Global >...
Page 183 Setting the Chord Recognition |179 Chord Recognition How to play chords Advanced When the SPLIT indicator is turned on, play two or more notes for a chord to be recognized. When the SPLIT indicator is turned off, play at least three notes to compose a chord.
Page 184 180| Customizing the Styles Mixing the grouped accompaniment Sounds Grouped Accompaniment Sounds As in a mixer, the Accompaniment Sounds can be grouped together. For example, instead of separately muting the guitar and the strings parts in the Accompaniment, you can mute the Accompaniment (ACCOMP) group by touching a single button.
Page 185 Mixing the grouped Accompaniment Sounds |181 Adjusting the (global) Accompaniment groups volume Groups volume is a global setting, that is not meant to change when you select a different Style. To avoid abrupt change in the volume level of the Accompaniment Sounds during a show, we moved the volume settings to a safer area than the Main page.
Page 186 182| Customizing the Styles If you like, you can finely mix the various groups. For example, if you prefer Drums and Bass to be more prominent to let them have more ‘punch’, you can lower the grouped Accompaniment Sounds to leave more room to the other Sounds.
Page 187 Mixing the individual Accompaniment Sounds |183 Editing the Style Settings Mixing the individual accompaniment Sounds Adjusting the volume of the individual Accompaniment Sounds As you can do with the Keyboard Sounds, you can adjust the volume of the individual Accompaniment Sounds. This will allow for finer balancing be- tween Accompaniment Sounds.
Page 188 184| Editing the Style Settings Adjust an Accompaniment Sound’s volume level Touch the mixer channel whose volume level you want to change. Separate part name Meaning DRUM Drum part (real channel volume) PERC Percussion part (real channel volume) BASS Bass part (real channel volume) ACC1-5 Five separate Accompaniment parts (Acc1-5).
Page 189 Mixing the individual Accompaniment Sounds |185 See the Accompaniment parts mixer ▪ While in the Main page, touch the Volume tab to select the Volume pane, then press the TRACK SELECT button to switch to the Accompaniment Sounds. Accompaniment parts Turn a channel on (Play) or off (Mute) ▪...
Page 190 186| Editing the Style Settings Changing the Sounds of the accompaniment parts Style Settings vs. Style Pattern Sounds can be assigned to the Accompaniment parts in two ways, depend- ing on the status of the Original Style Sounds parameter. Switch between Style Settings and Style Pattern Sounds While in the Main page, press the...
Page 191 Changing the Sounds of the Accompaniment parts |187 Changing Sounds in the Style Settings You can assign different Sounds to the Accompaniment parts of the entire Style. These Sounds will not change when choosing a different Style Element (Intro, Variation…). The new combination of Sounds can be written into the current Style Settings.
Page 192: Drum Kits
188| Editing the Style Settings Changing Sounds in the Style Pattern You can assign Sounds to each Accompaniment part of each Style Element (Intro, Variation…). This option requires editing the Style, since the events are recorded into the Style Pattern. Please see the relevant chapter. Drum Kits Drum Kits (including Percussion Kits) are special Sounds, where each note of the keyboard is a different percussive instrument.
Page 193 Setting the Style controls |189 Setting the Style controls Remapping Drum Kit instruments You can remap Drum Kit instruments to add variety to the percussive part. Select different Maps and Designations while listening to the Style, and see how they affect the final result. Go to the Style Play >...
Page 194 190| Editing the Style Settings Setting a key range and wrap-around Go to the Style Play > Style Controls > KbdRng/Wrap page. Use the Kbd Range On/Off checkbox to turn the Key Range on/off. While in Style Record you can set a Key Range for each track of each Style Element.
Page 195 Writing the Style Settings |191 Writing the Style Settings Writing the Style Settings Style Settings can save Accompaniment Sounds and settings into a Style. Note: Changes can only be saved onto Favorite and User Styles, and onto SongBook Entries. They cannot normally be saved onto Factory Styles. To write changes onto a Factory Style, you must first remove the Factory Style protection (in the Global >...
Page 196 Style Elements The term ‘Style’ relates with music sequences automatically played by the Havian 30’s arranger. A Style consists of a predefined number of Style Elements (Intro, Variation, Fill, Ending…). When playing, most of these Style Elements can be directly selected by using the corresponding buttons on the control panel.
Page 197 Overview on the Styles |193 Which Chord Variation corresponds to each scanned chord is decided by the Chord Variation Table. Each Style Element contains a Chord Variation Table, whose prototype is the following: Chord Chord Variations (CV) Variation 1-4 Intro 1-2, Count-In, Fill 1-4, Break, Ending 1-3 Major M7, M7...
Page 198 194| Recording the Styles What happens when you play a chord… To summarize, when you play a chord on the chord recognition area, the arranger determines which Style Element is used, then determines which Chord Variation should be used for the played chord, then Style sequenc- es for every track of that Chord Variation are transposed from the original chord to the recognized chord, and so on every time you play a chord.
Page 199 Overview on the Styles |195 The Style structure To explain the Style structure, we can use a tree structure, as shown in the following diagram: Pop Ballad Variation 1 Variation 2 Variation 3 Drum Perc Variation 4 Bass Acc1 Intro1 Acc2 Acc3 Acc4...
Page 200 196| Recording the Styles accessing the Style record mode Accessing Style Record Press the STYLE PLAY button to go to the Style Play mode. If you want to edit an existing Style, choose a Style to edit. You can only edit Favorite or User Styles. To edit Factory Styles, you must first unprotect them, or copy them to a Favorite or User location.
Page 201 Accessing the Style Record mode |197 The Style Record 1 page Beat counter Measure counter Record parameters Track info Chord and transposition table Mixer The Style Record 2/Cue page Record parameters Sounds Cue mode Mixer...
Page 202: Preparing To Record
198| Recording the Styles Preparing to record Choosing the Chord Variation and settings the recording parameters ▪ Go to the Style Record > Record 1 Record 2/Cue page to choose the Chord Variation to be recorded, and set the recording parameters. The parameters are in the Style Record Parameters box.
Page 203 Preparing to record |199 Setting the total Chord Variation length ▪ Use the CV Length (Chord Variation Lenght) parameter to set the lenght of the Chord Variation (in measures). The overall length of the selected Chord Variation can be 32 measures. When playing a Style, this will be the overall length of the accompaniment pattern, when the corresponding chord is recognized on the keyboard.
Page 204 200| Recording the Styles Setting the Style Record Tempo While recording, you might want to use a different Tempo than the one saved in the Style Settings. This alternative value will allow you, for example, to re- cord at a slower speed, or to experiment with different values while listening what you recorded.
Page 205 Preparing to record |201 Selecting a track and getting information Selecting the track to record Go to the Style Record > Record 1 Record 2/Cue page. Touch the track to be recorded in the mixer area. The selected track will exhibit the Record icon ( Getting information on the selected track ▪...
Page 206 A7th chord will be recognized. Key/Chord doesn’t apply to Guitar tracks, controlled by different transfor- mation rules. Hint: To conform to Korg specifications, it is advisable to record both the “Major” and “minor” Chord Variations for the Intro 1 and Ending 1 Style Elements.
Page 207 Chord Variation. An NTT is a set of sophisticated algorithms that allows Korg arrangers to convert recognized chords into musical patterns. The NTT determines how the arranger will transpose pattern notes, when a chord is recognized that does not exactly match the original chord of a Chord Variation.
Page 208 All original patterns must be programmed on the “Maj7” or “min7” NTT = i-Series When you play a C When you play a C7 chords. When loading old Korg i-Series Styles, this option is au- (Key/Chord = CM7 ) with NTT = i-Series with NTT = i-Series tomatically selected.
Page 209 The programmed notes can only be transposed by the Master Transpose. They are never transposed when chords are changed. To conform to Korg specifications, it is advisable to set the NTT to “No Transpose” on the Intro 1 and Ending 1.
Page 210 206| Recording the Styles Cue mode for the Style Element Cue mode parameter lets you decide how the current Style Element has to enter after having been selected. This setting is only available for the Variation and Fill Style Elements. Go to the Style Record >...
Page 211: Using The Metronome
Recording a Style in Realtime Record |207 recording a Style in realtime record After having chosen the Style Element (Record 1 > E) and Chord Variation (Record 1 > CV) to record, go on recording. Using the metronome ▪ Press the METRONOME ) button to turn the metronome on or off while recording.
Page 212 208| Recording the Styles At any subsequent cycle, you can add notes and overdub the previous re- cording. This is very useful, for example, to record different percussive in- struments at any cycle on a Drum or Percussion track. When finished recording, press START/STOP to stop the arranger.
Page 213 Recording a Style in Realtime Record |209 Saving the Style ▪ When finished recording the new Style, choose the Write Style command from the page menu to save the Style. Exiting the Style Record mode without saving ▪ To exit the Style Record mode without saving any change, choose the Exit from Record command from the page menu, or press the...
Page 214: Step Recording
210| Recording the Styles recording a Style in Step record Step Recording allows you to create a new Style by entering single notes or chords in each track one step at a time. This is very useful when transcribing an existing score, or in need of a higher degree of detail, and is particularly suitable to create drum and percussion tracks.
Page 215 Recording a Style in Step Record |211 Choose the relative note duration ▪ Use the Duration parameter to set the relative note duration. The percent- age is always referred to the step value. Duration Meaning Staccato Ordinary articulation 100% Legato Choose the note velocity ▪...
Page 216 212| Recording the Styles Press the first note and keep it pressed. Edit the second note’s Velocity value. Press the second note and keep it pressed. Edit the third note’s Velocity value. Press the third note, then release all notes. Insert a second voice You can insert passages where one note is kept pressed, while another voice moves freely.
Page 217: Overdub Recording
Recording a Style in Step Record |213 Step Time = Step Time = Step Time = Press G Press F and C Release F (continue holding C) (continue holding C) Step Time = Step Time = Step Time = Press D Release G Release D (continue holding C)
Page 218 214| Recording the Styles At this point, you may go on, inserting new events in overdub mode (the previously inserted events will not be deleted). This is very useful when re- cording a drum or percussion track, where you may want to record the bass drum on a first cycle, the snare drum on the second cycle, and the hi-hat and cymbals during the following cycles.
Page 219 Recording a Guitar track |215 recording a Guitar track Simulating a real guitar Guitar Mode allows for easy creation of realistic rhythm guitar parts, without the artificial, unmusical playing typical of MIDI programming of guitar parts. Just record a few measures, and you will end up with realistic rhythm guitar tracks, where each chord is played according to its real position on the gui- tar, and not generated by simply transposing a written pattern.
Page 220 216| Recording the Styles Go the Style Record > Guitar Mode page. Choosing a Key/Chord for Intro 1 and Ending 1 The pattern is recorded in the key indicated by the Key/Chord pair of param- eters. However, this parameter is only used for playback by the Intro 1 and Ending 1 Style Elements.
Page 221 Recording a Guitar track |217 Vel. Chord Type Vel. Chord Type Major Major 6th Major 7th Major 7th flatted 5th Suspended 4th Suspended 2nd Major 7th suspended 4th Minor Minor 6th Minor 7th Minor 7th flatted 5th Minor major 7th Dominant 7th 7th flatted 5th 7th suspended 4th...
Page 222 218| Recording the Styles Recording strummings ▪ Press one of the keys in the octave from C1 to B1 to select a strumming type. By pressing these keys, you play fast strumming samples. Note Strum Full Down Full Down Mute Full Up Full Up Mute Full Down Mute Body...
Page 223 Recording a Guitar track |219 Note String(s) VI String (E) Recognized Chord Root V String (A) Recognized Chord Fifth IV String (D) III String (G) All Mute II String (B) Power Chord I String (e) Full Down/Up 88-keys Down/Up 4-Strings 76-keys 61-keys Recording RX Noises...
Page 224 220| Recording the Styles Recording a regular pattern Together with strums and arpeggios, you can record regular patterns, ex- actly as if the track was of the Acc type. This will save an Accompaniment track, when all you need is just to record some short melodic passages (for example, the closing of a strumming pattern).
Page 225 Recording a Guitar track |221 Vel. Range from Str. to Str. Position 4 Strings Bass 4 Strings Bass 4 Strings Bass 4 Strings Bass 4 Strings Bass 4 Strings Bass 4 Strings Middle 4 Strings Middle 4 Strings Middle 4 Strings Middle 4 Strings Middle 4 Strings Middle 4 Strings Treble...
Page 226 222| Recording the Styles Vel. Range from Str. to Str. Position 3 Strings MiddleTreble 3 Strings Treble 3 Strings Treble 3 Strings Treble 3 Strings Treble 3 Strings Treble 3 Strings Treble 2 Strings Bass 2 Strings Bass 2 Strings Bass 2 Strings Bass 2 Strings Bass 2 Strings Bass...
Page 227 Recording a Guitar track |223 Vel. Range from Str. to Str. Position 2 Strings Treble 2 Strings Treble Listening to the recorded pattern When in Stye Play mode, the recorded Guitar pattern is transposed accord- ing to the chord recognized on the keyboard. The way it is transposed de- pends on the programmed pattern, with the chosen positions, strumming mods, etc…...
Page 228 224| Editing the Styles Editing the Styles Editing the individual MIDI events The Event Edit is the page where you can edit each single MIDI event of the selected Chord Variation. You can, for example, replace a note with a differ- ent one, or change its playing strength (i.e., velocity value).
Page 229 Editing the individual MIDI events |225 The Event Edit procedure Here is the general procedure to follow for the event editing. Choose the Style and access editing While in Style Play mode, select the Style to edit, press the RECORD button and select the Current Style...
Page 230 Tempo and Meter (time signature) changes (Master Track only). Pitch Bend Pitch Bend events. Pa Controls Messages exclusive to the Havian 30 and Pa-Series instruments. Edit the events Go back to the Style Record > Event Edit > Event Edit page.
Page 231 Editing the individual MIDI events |227 Touch the event to be edited, and edit it. Measure/Position Type Value 1 Value 2 Duration/Lenght ▪ Select the (Measure), and use the VALUE dial to change event’s position. ▪ Select the Type parameter, and use the VALUE to change the event type. ▪...
Page 232 228| Editing the Styles Editing the Style patterns You can edit the Style pattern data in the Style Record > Style Edit section. Quantizing The quantize function may be used to correct any timing mistake after re- cording, or to give the pattern a “groovy” feeling. Go to the Style Record >...
Page 233 Editing the Style patterns |229 Use the Start Tick End Tick parameters to set the beginning and ending of the passage to be quantized. If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.
Page 234 230| Editing the Styles Use the Value parameter to choose the transpose value. Value Meaning -127 … 127 Transpose value (in semitones) Use the Start Tick End Tick parameters to set the beginning and ending of the passage to be transposed. If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.
Page 235 Editing the Style patterns |231 Go to the Style Record > Style Edit > Velocity page. Select the Track, Style Element (E) and Chord Variation (CV) to edit. Track Meaning All tracks selected. The velocity for all notes of the whole selected Chord Variation will be changed.
Page 236 232| Editing the Styles ▪ Use the Curve parameter to select one of the six curves, and specify how the velocity will change over time. Start Value = 0%, End Value = 100% Curve 1 Curve 2 Curve 3 Velocity Velocity Velocity Start...
Page 237 Editing the Style patterns |233 Cutting out measures You can delete a selected measure (or a series of measures) from the se- lected Chord Variation. All following events will be moved back, to replace the cut measure(s). Go to the Style Record >...
Page 238 234| Editing the Styles Deleting data from measures Delete page is where you delete MIDI events out of the Style. This func- tion does not remove measures from the pattern. To remove whole mea- sures, use the Cut function instead. Go to the Style Record >...
Page 239 Editing the Style patterns |235 Use the Event pop-up menu to choose the transpose value. Event Meaning All events. The measures are not removed from the Chord Variation. Note All notes in the selected range. Dup.Note All duplicate notes. When two notes with the same pitch are en- countered on the same tick, the one with the lowest velocity is deleted.
Page 240 236| Editing the Styles Deleting Style Elements, Chords Variations or a whole Style You can delete a selected Style Element or Chord Variation, or the whole Style. Go to the Style Record > Style Edit > Delete All page. Select the Track to delete.
Page 241 Editing the Style patterns |237 Copying from a Style You can copy a track, Chord Variation or Style Element from the same or a different Style. Also, you can copy a complete Style to make a duplicate to be used as a starting point. Be warned that copying will overwrite all data at the target location.
Page 242 238| Editing the Styles After having set the various parameters, touch Execute. If you copy too many events on the same tick, the “Too many events!” mes- sage appears, and the copy operation is aborted. When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Sounds unchanged for that Chord Variation.
Page 243 Editing the Sounds and controls |239 Editing the Sounds and controls You can choose the Sounds, and edit various track parameters, in the Style Record > Style Element Track Controls section. Style Element original Sounds Each Style Element can use different Sounds. These Sounds are used when Original Style Sounds parameter found in the Style Play >...
Page 244 240| Editing the Styles Copying the Style Element original Sounds Choose the Copy Sounds command from the page menu to open the Copy Sounds dialog. Use the Style Element pop-up menu to choose the target Style Element. Style Element Meaning Settings will be copied to all Style Element of the Style in edit.
Page 245 Editing the Sounds and controls |241 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 … ENDING3). Use the Expression Monitor indicators to check if Expression (CC#11) mes- sages are contained in the tracks. Press the START/STOP button to start playback, and look at the indicators.
Page 246 242| Editing the Styles Copying the Expression values Choose the Copy Expression command from the page menu to open the Copy Expression dialog. Use the Style Element pop-up menu to choose the target Style Element. Style Element Meaning Settings will be copied to all Style Element of the Style in edit. Var1 …...
Page 247 Editing the Sounds and controls |243 Go to the Style Record > Style Element Track Controls > Sound/Expression page. Selected Style Element Keyboard Range Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 … ENDING3). Use the Bottom parameters to set the bottom and top limit of the...
Page 248 244| Editing the Styles Use the Style Element pop-up menu to choose the target Style Element. Style Element Meaning Settings will be copied to all Style Element of the Style in edit. Var1 … CountIn Single Style Element. RX Noise/Guitar In the Noise/Guitar page you can set the RX Noise level and the ‘human feel’...
Page 249 Editing the Chord Table |245 Editing the Chord table You can link chords and Chord Variations in the Style Record > Chord Table section. Editing the Chord Table You can assign a Chord Variation to each of the main recognized chord. When a chord is recognized, the assigned Chord Variation will be automati- cally selected by the arranger to play the accompaniment.
Page 250 246| Editing the Styles Copying the Chord Table to other Style Elements Once you have set the Chord Table for the selected track, you can copy and paste it onto other Style Elements of the Style. Choose the Copy Key/Chord command from the page menu, to open the Copy Key/Chord dialog box.
Page 251 Editing the Style tracks |247 Editing the Style tracks You can edit the Track type and its response to retriggering and dissonances in the Style Record > Track Controls section. Track type, Trigger, Tension You can set the Track type, the Trigger mode, and activate/deactivate the Tension.
Page 252 248| Editing the Styles Use the Trigger Mode parameter to define how Bass and Acc-type tracks are retriggered when the chord is changed. Trigger Mode Meaning Each time you play a new chord, current notes will be stopped. The track will remain silent until a new note will be encountered in the pattern.
Page 253 MIDI File (SMF) created on your preferred external sequencer, and transform them in a Chord Variation. The Standard MIDI File to be imported must be programmed as if it was one of Havian 30’s Chord Variations. Importing Style Element / Chord Variation parameters When importing an SMF, parameters like CV Length, Meter, Tempo Changes, Program Changes and Expression are recognized.
Page 254 250| Importing and exporting the Styles Sounds Sounds assigned to each track are imported, provided the Program Change, Bank Select MSB and LSB events are on the first ‘tick’ of the SMF. These will be the ‘original’ Sounds of the Style Element, that you can access from the Style Record >...
Page 255 Importing from a Standard MIDI File |251 Importing a Standard MIDI File into a Chord Variation Go to the Style Record > Import > Import SMF page. Use the From Song parameter to choose a MID file to import. Touch the Select button to open the file selector.
Page 256 252| Importing and exporting the Styles Havian 30 can only handle SMF format 0 (Zero). If you are in trouble import- ing your file, maybe your sequencer (or DAW) is exporting using SMF format 1. Please refer to the software’s user’s manual.
Page 257 Importing from a Standard MIDI File |253 The following events are stripped off the pattern, and automatically trans- ferred to the Style Element header during the import procedure: ▪ Time signature (this event is mandatory) ▪ Control Change bundle #00-32 (Bank Select MSB/LSB) ▪...
Page 258 254| Importing and exporting the Styles different in other applications like Digital Performer, Logic Pro, Pro Tools or Sonar.
Page 259 Export |255 Export You can export a Chord Variation as a Standard MIDI File (SMF), then edit it on your preferred external sequencer. Exporting a Chord Variation to a Standard MIDI File Go to the Style Record > Export > SMF page.
Page 260 256| Importing and exporting the Styles Assign a name to the Standard Midi File where to save the Style in edit. This operation will create, in the selected device, an SMF format 0 (Zero), containing all the MIDI data included in the selected Style, with each Chord Variation starting from a different Marker (named as per the naming conven- tion explained in the Import section above).
Page 261 Saving the edited Style |257 Saving the new/edited Style Saving the edited Style Writing Styles While in Style Record mode, choose the Write Style command from the page menu to open the Write Performance dialog. Style name Style bank Touch to open the Style Select window Style location You may change the...
Page 262 258| Saving the new/edited Style a location as if you were choosing a Style. Blank locations are shown as a series of dashes (‘–––’). When back at the Write Style dialog, confirm the Write operation by touch- ing the button.
Page 263 The Favorite Styles |259 Managing the Styles the Favorite Styles Favorite Style are User Styles, whose bank name you can customize. Creating the Favorite Style banks Load Styles into the Favorite Style locations ▪ While in the Media > Load page, you can load any Style into the Favorite banks.
Page 264 260| Managing the Styles Renaming the Favorite Style banks Open the Style Select window. Choose the Rename Favorite command from the page menu to open the Rename Favorite Banks dialog. Assign the Favorite Style tabs any name you like. Touch the Text Edit ( icon next to the bank to be renamed, and use the virtual keyboard...
Page 265 Copying the Styles |261 Copying the Styles You can copy any Style onto a Favorite or User Style location. Copying Factory Styles would make them editable. Select the Style to copy While in Style Play mode, open the Style Select window.
Page 266 262| Managing the Styles Writing over the Factory Styles (and StSs) Factory Styles (and the Factory STSs they contain) are normally protected, to avoid overwriting the standard musical resources. You can, however, re- move this protection and use any Factory Style location as if they were User locations.
Page 267 |263 Part VI: CUStOMIZING, rECOrDING aND EDItING tHE SONGS...
Page 268 264| Customizing the Songs...
Page 269 Customizing a Song |265 Customizing the Songs Customizing a Song Song Play vs. Sequencer mode The Player is just that – a player. So, to prevent undesired changes to the file, no changes made in Song Play mode can be saved. To save changes to a MIDI Song, load and edit it in Sequencer mode.
Page 270 266| Customizing the Songs Adjust a Sound’s volume level While in the main page of the Song Play mode, touch the Volume tab to se- lect the Volume pane. Here, you can adjust the volume of the Keyboard Sounds. Press the TRACK SELECT button to switch to Song tracks 01-08.
Page 271 Customizing a Song |267 Muting the individual MIDI Song Sounds As you can do with the Keyboard Sounds, you can mute/unmute the indi- vidual MIDI Song Sounds. Mute the Song track that you will want to play on the keyboard or sing live (the melody track in a MIDI Song is usually #04), or that you will play live.
Page 272 268| Customizing the Songs Muting a Song’s Sound with an assignable switch or footswitch You can mute the melody track of a Song by assigning the Melody Mute function to the footswitch. This function mutes a track defined as the melody track.
Page 273 Customizing a Song |269 Touch the name of the Song track whose Sound you want to change. Sounds Touch a Sound icon to select the corresponding track. Touch it again, to open the Sound Select window and choose the Sound for the corresponding Song track, and choose a Sound.
Page 274 ▪ EQ settings for the Song tracks ▪ Internal/External status of the Song tracks When loading MIDI Songs created on Havian 30 or on a Korg Pa-Series in- strument, these settings might be changed by the special data they contain.
Page 275: In Sequencer Mode
Loading and listening a MIDI Song |271 Listening the MIDI Songs in Sequencer mode Loading and listening a MIDI Song Listening MIDI Songs in the Sequencer mode is especially useful when you want to check the results of any editing carried on on the Song tracks, with- out having to switch to the Style Play mode.
Page 276 272| Listening the MIDI Songs in Sequencer mode Touch the name of the Song to open the Song Selection window. Current path Storage device Browse through the files and folders. When you see the MIDI Song (.mid) you want to load, touch it, then touch the Select button to load it.
Page 277 Loading and listening a MIDI Song |273 Alternative starting position Set the Start from measure number to choose the alternative starting posi- tion from where to start playback. Select the Start from checkbox to activate the alternative starting position. When pressing the HOME ( button, or using the REWIND (...
Page 278 274| Recording MIDI Songs recording MIDI Songs Multitrack recording a Song Multitrack Sequencer mode, you will record a MIDI Song by playing live over up to 16 MIDI tracks. Accessing the Multitrack Sequencer Record Press the SEQUENCER button to switch to the Sequencer mode.
Page 279 Multitrack Recording a Song |275 Measure and Beat counter Record parameters Track info Sounds and Octave trasnposition Mixer Setting the recording parameters When you enter the Multitrack Sequencer mode, you could simply start re- cording. However, there are some additional settings that you might want to do.
Page 280 276| Recording MIDI Songs Set a starting point (left locator) ▪ Set the Start from measure number to choose the alternative starting posi- tion from where to start playback. Select the Start from checkbox to activate the alternative starting position. When pressing the HOME ( button, or using the...
Page 281 Multitrack Recording a Song |277 ▪ Use the Meter parameter to set the basic meter (or time signature) of the Song. You can edit this parameter only when the Song is empty, that is, be- fore you begin recording anything. To insert a meter change in the middle of the Song, use the Sequencer >...
Page 282 278| Recording MIDI Songs Recording Turn on the metronome ▪ Press the METRONOME ) button to turn the metronome on or off while recording. Select the track to record Use the TRACK SELECT button to switch between Song Tracks 1-8 and Song Tracks 9-16.
Page 283 Multitrack Recording a Song |279 Second-take recording You may want to record additional events, or replace a previously recorded track. If so, repeat recording. Prepare to record Press the RECORD button to enter Record mode again. When the Song Record Mode Select dialog box appears, select Multitrack Sequencer again.
Page 284 280| Recording MIDI Songs Use the Start locators to choose the start and end points for re- cording. Touch a track to record to select it. The Record icon ( ) will appear. Press the PLAY/STOP ( button to start playing back the selected track. Recording will automaticaly begin and end at the Start points.
Page 285 Step Recording a Song |281 Step recording a Song Step Recording allows you to create a new Song by entering single notes or chords to each track. This is very useful when transcribing an existing score, or in need for a higher grade of detail, and is particularly suitable to create drum and percussion tracks.
Page 286 282| Recording MIDI Songs Choose a step value ▪ Use the Step Time values to choose the step value. Choose the relative note duration ▪ Use the Duration parameter to set the relative note duration. The percent- age is always referred to the step value. Duration Meaning Staccato...
Page 287 Step Recording a Song |283 Insert a chord made of notes with different velocity values You can make the upper or lower note of a chord, for example, louder than the remaining ones, to let the most important note stand out from the chord. Edit the first note’s Velocity value.
Page 288 284| Recording MIDI Songs Step Time = Step Time = Step Time = Press G Press F and C Release F (continue holding C) (continue holding C) Step Time = Step Time = Step Time = Press D Release G Release D (continue holding C) (continue holding C)
Page 289 Step Recording a Song |285 Exit from Record When finished recording, touch the Done button to exit the Step Record mode. A dialog box will appear, asking you to either cancel, discard or save the changes. Touch Cancel to continue editing, to exit from the Step Record without saving, or to save and exit Step Record.
Page 290 286| Recording MIDI Songs Quick recording a Backing Sequence Song What is a Backing Sequence Song? MIDI Songs are made of up to sixteen ‘tracks’ – that is, separate parts, each one with a different Sound. Usually, MIDI Songs are recorded one track per time: the drums first, then the bass, then the Accompaniment guitar, then the strings…...
Page 291 Quick Recording a Backing Sequence Song |287 Choose the Backing Sequence (Quick Record) option and touch to ac- cess the Backing Sequence Record page. Measure and Beat counter Record parameters Track info Tracks Mixer Setting the recording parameters When you enter the Backing Sequence Record mode, the latest selected Style and Sounds are already selected, and all recorder’s tracks are armed and ready to record.
Page 292 288| Recording MIDI Songs Choose a quantize resolution for recording ▪ Set the recording Resolution. Resolution Meaning High No quantization applied Grid resolution, in musical values. For example, when you select (1/32) … (1/8) 1/16, all notes are moved to the nearest 1/16 division. When you select 1/8, all notes are moved to the nearest 1/8 division.
Page 293 Quick Recording a Backing Sequence Song |289 Recording Turn on the metronome ▪ Press the METRONOME ) button to turn the metronome on or off while recording. Select the tracks to record ▪ Select deselect the Backing Sequence grouped tracks (Kbd and Ch/Acc).
Page 294 290| Recording MIDI Songs When finished recording your Song, press the START/STOP button to exit recording, and return to the main page of the Sequencer mode. While in the main page of the Sequencer mode, press the PLAY/STOP ( button to listen to the recorded Song. Backing Sequence and MIDI Songs After finishing recording, the Backing Sequence Song will be converted to an ordinary MIDI Song.
Page 295 Quick Recording a Backing Sequence Song |291 Second-take recording (Overdubbing) You may want to record an additional ‘grouped’ track, or replace a previously recorded track. A good idea may be to record all chords and Style Element changes during the first take, then record Keyboard tracks during the sec- ond take.
Page 296 292| Recording MIDI Songs Step recording a Backing Sequence Song The Step Backing Sequence mode allows you to enter single chords, to cre- ate or edit the Style (Ch/Acc) part of a Song. This mode lets you enter chords even if you are not a keyboard player, or fix any error made playing chords or selecting Style controls, during a Backing Sequence (Quick Record) record- ing.
Page 297 Step Recording a Backing Sequence Song |293 Choose the Step Backing Sequence option and touch to access the Step Backing Sequence page. Position indicator Event list Step controls Recording While in edit, the events at the current position are shown by the right-point- ing arrowheads ( ) on the left of the event.
Page 298: Event Types
294| Recording MIDI Songs When finished editing, touch the Done button to exit from the Step Backing Sequence recording mode. While in the main page of the Sequencer mode, press the PLAY/STOP ( button to listen to the recorded Song. Event types There are the events you can enter or edit.
Page 299 Step Recording a Backing Sequence Song |295 Event type Meaning Style Element This is the Style Element (i.e., a Variation, Fill, Intro, or Ending). The length of the selected Style Element is always shown by the “Length” parameter (see below). “Off ”...
Page 300 296| Recording MIDI Songs Deleting selected types of events ▪ To delete all events of a specified type starting at the current position, choose from the page menu Delete All … from Selected command cor- responding to the type of event to delete (Styles/Perfs, Style Elements, Chords, Tempos).
Page 301 Editing the individual MIDI events |297 Editing the MIDI Songs Editing the individual MIDI events The Event Edit is the page where you can edit each single MIDI event of the selected track. You can, for example, replace a note with a different one, or change its playing strength (i.e., velocity value).
Page 302 Tempo and Meter (time signature) changes (Master Track only) Pitch Bend Pitch Bend events Pa Controls Messages exclusive to the Havian 30 and Pa-Series instruments. Edit the events Go back to the Sequencer > Event Edit > Event Edit page.
Page 303 Editing the individual MIDI events |299 ▪ Select the Value 1 Value 2 parameters, and use the VALUE dial to edit them. In case of numeric values, you can also touch them twice to open the numeric keypad. Eventy Type Value 1 Value 2 Ordinary tracks (1-16)
Page 304 300| Editing the MIDI Songs Jump to a different measure Touch the Go Meas. button to go to a different measure. The Go To Measure dialog will appear: Enter a target measure and touch to confirm The first event available in the target measure will be selected.
Page 305 Editing the Song tracks |301 Editing the Song tracks You can edit the Song data in the Sequencer > Song Edit section. After modifying something, press the PLAY/STOP ( button to listen to the edited Song. Use the transport controls to move through the Song. Quantizing The quantize function may be used to correct any timing mistake after re- cording, or to give the pattern a “groovy”...
Page 306 302| Editing the MIDI Songs Use the Resolution pop-up menu to choose the the quantize resolution. Resolution Meaning Grid resolution after recording, in musical values. For example, (1/32) … (1/8) when you select 1/16, all notes are moved to the nearest 1/16 divi- sion.
Page 307 Editing the Song tracks |303 Transposing The transpose function may be used to transpose the selected track(s). Go to the Sequencer > Song Edit > Transpose page. Select the Track to edit. Track Meaning All tracks selected, apart for the tracks set in Drum mode (like the Drum and Percussion tracks).
Page 308 304| Editing the MIDI Songs Editing Velocity data You can change the velocity (dynamics) value of notes in the selected track(s). When an RX Sound is assigned to the track being edited, the resulting sound may change, since this kind of Sounds is made of several different layers triggered by different velocity values.
Page 309 Editing the Song tracks |305 ▪ Use the Intensity parameter to specify the degree to which the velocity data will be adjusted toward the curve you specify with Curve. Intensity Meaning 0 … 100% Intensity value. With a setting of 0%, the velocity will not change. With a setting of 100%, the velocity will be changed the most.
Page 310 306| Editing the MIDI Songs Cutting or inserting measures You can delete a selected measure (or a series of measures), or insert new ones in the middle of the Song. Go to the Sequencer > Song Edit > Cut/Insert page. Use the Start parameter to select the first measure to be cut or inserted.
Page 311 Editing the Song tracks |307 Select the Track to edit. Track Meaning All tracks selected Track 1 … 16 Selected track Master Master track. This is where the Tempo, Scale and Effect events are recorded. Use the Event pop-up menu to choose the the transpose value. Event Meaning All events.
Page 312 308| Editing the MIDI Songs Copying data You can copy tracks or phrases. Go to the Sequencer > Song Edit > Copy page. Use the Mode parameter to choose a Copy mode. Copy Mode Meaning Merge Copied data are merged with the data at the target position. Overwrite Copied data replace all data at the target position.
Page 313 Editing the Song tracks |309 Moving data You can shift a track forward or backward by just a few ticks or whole mea- sures. Go to the Sequencer > Song Edit > Move page. Use the Track parameter to choose the track to edit. Track Meaning All tracks will be moved.
Page 314 310| Editing the MIDI Songs Converting notes to RX Noises You can use the RX Convert page to convert notes of a Standard MIDI File into RX Noises, and vice-versa. This will help programming Songs on an ex- ternal sequencer. Go to the Sequencer >...
Page 315 Saving the MIDI Song |311 Saving MIDI Songs Saving the MIDI Song The Song will be lost when the instrument is turned off, or you switch to a different mode. Save it after recording. While in the main page of the Sequencer mode, choose the Save Song...
Page 316 312| Saving MIDI Songs At this point, press the EXIT button if you prefer to exit without saving the Song. Touch the Save button to save the Song into the current folder. The Save Song dialog box will appear. You may change the name of the Song.
Page 317 Recording and saving an MP3 Song |313 recording MP3 Songs recording and saving an MP3 Song Recording an MP3 Song Enter MP3 Record mode ▪ While in Style Play Song Play mode, keep the SHIFT button pressed and press the RECORD button.
Page 318 314| Recording MP3 Songs for the temporary file, by checking the Free space parameter. The current file size is always shown by the File length parameter. Record the MP3 Song Touch the button in the display to start recording. button will change to Stop, and the Idle label will change to Recording.
Page 319 Recording and saving an MP3 Song |315 What can you record into an MP3 Song? ▪ Everything you play on the keyboard, the Styles and the MIDI Songs performed by the Player will be recorded. ▪ You will not be able to load or play MP3 Songs while recording an MP3 Song.
Page 320 316|...
Page 321 |317 Part VII: CUStOMIZING aND EDItING tHE SOUNDS...
Page 322 318| Listening and customizing the Sounds...
Page 323: Accessing The Sound Edit Mode
Accessing the Sound Edit mode |319 Listening and customizing the Sounds accessing the Sound Edit mode Accessing Sound Edit While in the main page of the Style Play Song Play mode, or in any page where you can select a Sound, touch the name of the Sound to open the Sound Selection...
Page 324 320| Listening and customizing the Sounds main page of the Edit Sound mode will appear. Sound name, bank, Octave Transpose, Program Change Voice Mode Quick edit data Effects Exiting Sound Edit ▪ While in the Sound Edit mode, choose the Exit From Edit command from the page menu...
Page 325 Browse through the Sounds, and touch the Sound to select. Playing via MIDI Sound mode, Havian 30 receives and transmits on the same channel as the Upper 1 part. If the Global channel is assigned to a MIDI channel, notes can also be received on this channel.
Page 326 322| Listening and customizing the Sounds Customizing the Sound While in the main page of the Sound mode, you can edit some Sound pa- rameters in realtime. This is useful both for on-the-fly adjustments, and for realtime sound manipulation. Using the Realtime Controls ▪...
Page 327 Customizing the Sound |323 Realtime Control Meaning Attack Attack time. This is the time during which the sound goes from zero (at the moment when you strike a key) to it’s maximum level. Decay Decay time. Time to go from the final Attack level to the beginning of the Sustain.
Page 328 324| Listening and customizing the Sounds Setting the Voice mode ▪ Use the Poly Mono radio buttons to choose whether the Sound will play polyphonically (playing chords) or monophonically (one voice at a time). ▪ Use the Legato checkbox to activate legato to a mono voice. Legato will make the second note’s attack smoother.
Page 329 Customizing the Sound |325 Editing the Sounds You can edit each single parameter of a Sound. Havian 30 is, at its core, a powerful sample-based synthesizer, with advanced analogue-like sound shaping features. Sound generation At the base of each Sound there are Samples, that are recordings of real sounds.
Page 330 Sound, these buttons are dimmed, and cannot be selected. Sounds, Drum Kits Havian 30 features different types of Sounds: ▪ Ordinary Sounds. These are normal instrument Sounds, like pianos, strings, basses.
Page 331 Setting the Sound’s basic parameters |327 Setting the Sound’s basic parameters Before editing the oscillators, choose the number of oscillators in the Sound, the Sound’s mono/poly mode, and the transpose and legato ranges. ▪ Go to the Sound > Basic > Sound Basic page.
Page 332 328| Editing the Sounds Limiting the number of oscillators when polyphony is low ▪ Use the Low priority parameter to allow the highest-numbered oscillators to be turned off when the instrument is short on voices. Keep in mind that, with a dense polyphony, missing oscillators might not even be heard.
Page 333 Setting the Sound’s basic parameters |329 Polyphony, triggering, legato Voice Assign Mode section is where you choose polyphony, triggering and legato. Choosing the mono/poly mode ▪ Use the Poly Mono radio buttons to choose whether the Sound will play polyphonically (playing chords) or monophonically (one voice at a time). Choosing triggering mode ▪...
Page 334 330| Editing the Sounds Choosing the Mono note priority ▪ When the selected mode is Mono, use the Priority pop-up menu to specify which note will be given priority when two or more notes are played simul- taneously. Priority Meaning The lowest note will take priority.
Page 335 Setting the Sound’s basic parameters |331 Detecting Legato Two notes can be considered legato when there is very little or no time be- tween them (and they can even be overlapping). You can adjust the instru- ment’s sensitivity to detect legato. Legato can be used as an oscillator trigger, when you assign one of the Legato triggers to the...
Page 336 332| Editing the Sounds Setting the oscillator’s basic parameters Each of the oscillators can play one or two different multisamples (High and Low layers), separated by a velocity switch. ▪ Go to the Sound > Basic > OSC Basic page. The multisamples OSC Multisample section contains the basic parameters of the assigned...
Page 337 Setting the oscillator’s basic parameters |333 Bank Meaning Factory multisamples, supplied by Korg as standard. User multisamples, loaded when loading some User Sounds. (Only available on some models). The High multisample will be triggered by velocities higher than the Velocity SW L–>H...
Page 338 334| Editing the Sounds Setting the velocity switch between the Low and High layers ▪ Use the Vel SW L–>H parameter to set the velocity value dividing the High and Low multisamples for the selected oscillator. Notes struck harder than this value will be played by the High multisample.
Page 339 Setting the oscillator’s basic parameters |335 Trigger Mode Meaning Sound Controller 1 The Oscillator only plays when a CC#80 (Sound Controller 1) mes- sage is received. Press and release the corresponding physical controller, and the next note will also trigger the selected Oscillator. If you keep it pressed, the Oscillator will continue to be triggered until you release the controller.
Page 340 336| Editing the Sounds Trigger Mode Meaning Legato Down Like Legato, but this is only activated when the second note is out of the “Max Range” value (as set in the Basic > Sound Basic page) and it is lower than the first one. Choosing a delay before note start ▪...
Page 341 Setting the oscillator’s basic parameters |337 Setting the velocity and key zone You can limit the selected oscillator to play inside a defined velocity zone and key range. This will allow for creating different key and velocity layers. ▪ Go to the Sound >...
Page 342 338| Editing the Sounds Programming the Damper pedal Programming the pedal Havian 30 carefully recreates the way an acoustic piano Damper pedal works. ▪ Go to the Sound > Basic > Damper Mode page. Choosing a Damper pedal mode ▪...
Page 343 Programming the Damper pedal |339 Damper Mode Meaning Repedaling This mode acts as the Normal mode, but also enables the Damper pedal effect when the pedal is pressed after the note has been released (Note Off). In this case, the Damper effect starts from the current Release level, and decays slowly.
Page 344 340| Editing the Sounds Triggering notes when pressing or releasing the Damper pedal Special effects can be achieved by triggering notes with the Damper pedal. ▪ Go to the Sound > Basic > Damper Trigger page. The parameters in this page apply to the Sound as a whole, and not to a single oscillator.
Page 345 Programming the Damper pedal |341 Playing a note when releasing the Damper pedal Damper Off Trigger parameters allow to play a note when releasing the Damper pedal (Damper Off). Releasing the Damper pedal can play a special sample assigned to a particu- lar note (for example, Damper pedal release noise in the ‘Grand Piano RX’...
Page 346 342| Editing the Sounds Equalizing the Sound You can use a three-band, semi-parametric equalizer on each oscillator. ▪ Go to the Sound > Basic > EQ page. Activate EQ ▪ Select the Enable checkbox to activate the equalizer on the selected oscil- lator.
Page 347 Setting the Drum Kit’s basic parameters |343 Setting the Drum Kit’s basic parameters When editing a Drum Kit, you first choose and set the percussive samples assigned to each key and velocity layer. ▪ Go to the Sound > DrumKit > Sample Setup page.
Page 348 344| Editing the Sounds Layer and velocity switch After having selected a key to edit, choose the velocity layer. Choosing the layer to edit ▪ Use the radio buttons in the Layer Selector & Velocity Sample Switch area to select the layer to edit. The available number of layers depend on the Layers pop-up menu above.
Page 349 Bank Meaning Factory samples, supplied by Korg as standard. User samples, loaded when loading some User Drum Kits. (Only available on some models). The sample you select for the current layer will be triggered by velocities higher than the value of the velocity switches.
Page 350 346| Editing the Sounds ▪ Use the Int(ensity) parameters to choose the AMS modulation source and its intensity. When the Intensity parameter has a positive value, the selected Offset point will depend on the AMS value. For example, with the Velocity AMS, playing softly will select the Off or 1st Offset, while playing loudly will select the 6th or No Attack Offset.
Page 351 Equalizing the Drum Kit |347 Equalizing the Drum Kit Each of the drum samples can be processed with a three-band, semi-para- metric equalizer. ▪ Go to the Sound > DrumKit > EQ page. Choosing the key to edit ▪ Use the parameter to select a key.
Page 352 348| Editing the Sounds ▪ Use the EQ controls to create the equalization curve. EQ Control Meaning Value Low Gain Low frequencies equalization. This is a shelv- -18…+18dB ing curve filter. Mid (Middle) Gain Middle frequencies equalization. This is a bell -18…+18dB curve filter.
Page 353 Mixing and retriggering the drum samples |349 Mixing and retriggering the drum samples You can choose a triggering mode, and mix the key (usually a percussive sound with its different velocity layers) with the other keys. All layers of the selected key will get the same settings.
Page 354 350| Editing the Sounds Creating exclusive groups Exclusive Groups are sets of mutually exclusive keys, stopping each other. For example, if the Open Hi-Hat and Closed Hi-Hat are assigned the same Exclusive Group, playing an Open Hi-Hat will stop the Closed Hi-Hat playing. Exclusive Group Meaning None...
Page 355: Controlling Pitch
Modulating pitch |351 Modulating pitch Pitch can change depending on the note and the activated controllers. Havian 30 also includes LFO generators that can modulate the pitch. ▪ Go to the Sound > Pitch > Pitch Mod page. Controlling pitch The oscillator’s pitch can follow the natural scale, or a different pitch ‘slope’.
Page 356 352| Editing the Sounds The diagram shows how the Pitch Slope and pitch are related: Pitch 2oct 1oct 1oct –1 C4 C5 Controlling the pitch with physical controllers ▪ Use the Pitch Mode pop-up menu to set the Pitch Bend direction. Pitch Mode Meaning Normal...
Page 357 Modulating pitch |353 to simulate the downward swoops that a guitarist produces using the trem- olo arm. Choosing a pitch modulation source ▪ Use the Pitch > AMS (Alternate Modulation Source) pop-up menu to select a modulation source for the pitch of the selected oscillator. A list of the avail- able AMS sources is in the Appendix.
Page 358 354| Editing the Sounds Pitch EG > AMS Pitch EG > Intensity will be summed to determine the depth and direction of the pitch modulation applied by the pitch EG. Pitch change (level) Note-on Note-on Note-on Note-off Note-off Note-off Softly played Strongly played with Strongly played with a (Intensity (Pitch EG) setting)
Page 359 Modulating pitch |355 Controlling the LFO Use the LFO 1/2 parameters to controls the LFO (Low Frequency Oscillation) on the selected oscillators. LFO generators are programmed in the Sound Edit > LFO > LFO 1 LFO 2 pages. ▪ Use the LFO 1/2 Int parameter to set the intensity (-12…0…+12) of the cor- responding LFO.
Page 360 356| Editing the Sounds Programming the pitch envelope (Pitch EG) Havian 30 includes a pitch envelope generator (Pitch EG) that can vary the pitch over time. ▪ Go to the Sound > Pitch > Pitch EG page. You can see the shape of the envelope in the diagram on top of the page.
Page 361 Programming the pitch envelope (Pitch EG) |357 The actual amount of pitch change will depend on the Pitch EG > Intensity parameters (see the Sound > Pitch > Pitch Mod page). For example, with an Intensity setting of +12.00, a Level setting of +99 would raise the pitch one octave, and a Level setting of –99 would lower the pitch one octave.
Page 362 358| Editing the Sounds If the Intensity is a positive (+) value, a setting of + will increase the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change. Pitch EG change (level) (AMS=JS-Y/Velocity, Intensity= positive (+) value Note-on Note-on Note-on...
Page 363 Programming the pitch envelope (Pitch EG) |359 time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change. Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value) Note-on Note-on Note-on...
Page 364 360| Editing the Sounds Programming the filters As in a subtractive analogue synthesizer, filters are the main agents of the sound’s timbre quality. Envelope and modulation allow for timbral shift over time, making the sound alive. Choosing the filters You can choose one of two filters for the selected oscillator. ▪...
Page 365 Programming the filters |361 Trimming the filter input ▪ Use the Trim parameter (00…99) to adjust the level at which the audio signal generated by the selected oscillator is input to filter A. If this value is too high, the sound may distort when Resonance is set to a high value, or when you play a chord.
Page 366 362| Editing the Sounds With positive (+) values, the resonance will increase as you play more strong- ly, and as you play more softly the resonance will approach the level speci- fied by the Resonance setting. With negative (–) values, the resonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level specified by the Resonance setting.
Page 367 Modulating the filters |363 Modulating the filters You can modulate the filter cutoff frequency of the selected oscillator. Modulation will add dynamic timbre variation. Programming realtime filter modulation ▪ Go to the Sound > Filter > Filter Mod page. When the filter type is Low Pass Resonance, the parameters for filter B will not be editable (dimmed).
Page 368 364| Editing the Sounds ▪ Use the Ramp Low/High parameters to specify the slope of the keyboard tracking (-99…+99). Cutoff frequency High Ramp=+99 High Ramp=+62 High Ramp=0 High Ramp=–43 Low Ramp=+99 High Ramp=–99 Low Ramp=+43 Low Ramp=0 Low Ramp=–62 Low Key High Key Low Ramp=–99 ▪...
Page 369 Modulating the filters |365 ▪ Use the pop-up menu to select a modulation source for the filter EG applied to the cutoff frequency of filters A and B. ▪ Use the Int to A/B parameters (-99…+99) to specify the depth and direction of the effect that the AMS will have on filter A/B.
Page 370 366| Editing the Sounds Applying LFO to the filters You can use LFO to apply cyclic modulation to the cutoff frequency of the filters. This will create cyclical changes in tone on the selected oscillator. ▪ Go to the Sound > Filter > Filter LFO Mod page.
Page 371 Modulating the filters |367 For example if the AMS is Joystick Y+, higher settings of this parameter will allow greater change to be applied to LFO 1/2 when you move the Joystick up in the Y axis.
Page 372 368| Editing the Sounds Programming the filter envelope (Filter EG) You can create an envelope to vary over time the cutoff frequency of the filters on the selected oscillator. ▪ Go to the Sound > Filter > Filter EG page. You can see the shape of the envelope in the diagram on top of the page.
Page 373 Programming the filter envelope (Filter EG) |369 ▪ Use the Level parameters (-99…+99) to specify the amount of cutoff fre- quency change. EG Level Meaning Start Change in cutoff frequency at the time of note-on. Attack Change in cutoff frequency after the attack time has elapsed. Break (Break Point) Change in cutoff frequency after the decay time has elapsed.
Page 374 370| Editing the Sounds Modulating the Filter EG Modulating the Filter EG levels ▪ Use the Level Modulation > AMS parameter to select the source that will control the Level parameters of the filter EG. ▪ Use the Level Modulation > Intensity parameters (-99…+99) to specify the depth and direction of the AMS.
Page 375 Programming the filter envelope (Filter EG) |371 Modulating the Filter EG times ▪ Use the Time Modulation > AMS 1/2 parameters to select a modulation source for the Time parameters of the filter EG. ▪ Use the Time Modulation > Intensity parameters (-99…+99) to specify the depth and direction of the effect that the AMS will have on the Time param- eters.
Page 376 372| Editing the Sounds Programming amplitude and pan You can program the amplitude and pan of each oscillator. Amplitude is the volume of the oscillators. Pan is the position of the oscillators in the stereo panorama. With amplitide envelope you can make the sound volume vary over time.
Page 377 Programming amplitude and pan |373 Setting the pan’s basic position ▪ Use the Pan parameter to set the stereo position (panorama) of the selected oscillator. This parameter is not available when editing a Drum Kit. Use the individual Pan control for each key instead. Meaning Random The sound will be heard from a different location at each note-on.
Page 378 374| Editing the Sounds Modulating amplitude Modulating the amplitude level of each oscillator makes the sound alive and ever-changing. ▪ Go to the Sound > Amp > Amp Mod page. Tracking the amplitude across the keyboard Use the Keyboard Track parameters to adjust the volume of the selected oscillator across the keyboard.
Page 379 Modulating amplitude |375 Here is an example of volume changes produced by keyboard location and Ramp settings: Volume Ramp Low=+99 Ramp High=+99 Ramp Low=0 Ramp High=0 Ramp Low=–99 Ramp High=–99 Key Low Key High Modulating amplitude Use the Amp Modulation parameters to specify how the volume of the se- lected oscillator will be affected by velocity.
Page 380 376| Editing the Sounds axis. However if the EG settings etc. have already raised the volume to its maximum level, the volume cannot be increased further. With negative (–) values of this parameter, the volume will decrease when pressure is applied to the keyboard. Modulating amplitude with the LFOs LFO is a cyclic modulation.
Page 381 Programming the amplitude envelope (Amp EG) |377 Programming the amplitude envelope (amp EG) You can create time-varying changes in the volume of the selected oscillator. ▪ Go to the Sound > Amp > Amp EG page. The diagram on top of the page shows the Amplitude envelope line. Setting the Amp EG levels and times Amp EG can be programmed by setting the Level...
Page 382 378| Editing the Sounds ▪ Use the Time parameters (0…99) to specify the time over which the volume level is reached. EG Time Meaning Attack Time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound.
Page 383 Programming the amplitude envelope (Amp EG) |379 When Intensity has a positive (+) value, a setting of + for this parameter will allow the AMS to raise the EG level, and a setting of – will allow AMS to lower the EG level.
Page 384 380| Editing the Sounds With positive (+) values of Intensity, a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a set- ting of 0 there will be no change. Amp 1 EG changes ( Time) (AMS=Amp K Trk +/+, Intensity = a positive (+) value ) (When Amp Keyboard Track “Low Ramp”= a positive (+) value, and...
Page 385 Programming the LFO |381 Programming the LFO LFO (Low Frequency Oscillation) can be used to cyclically modulate the Pitch, Filter, and Amp of each oscillator. There are two LFO units for each oscillator (LFO 1 ▪ Go to the Sound > LFO > LFO 1 LFO 2 page, depending on the LFO to pro- gram.
Page 386 382| Editing the Sounds Choosing the LFO waveform and frequency ▪ Use the Waveform parameter to choose the LFO waveform. The numbers appearing on the right of some of the LFO waveforms indicate the phase at which the waveform will begin. Triangle Step Triangle –...
Page 387 Programming the LFO |383 Synchronizing the LFO with the key strokes ▪ Select the Key Sync checkbox to synchronize the LFO to the key strokes. Key Sync Meaning The LFO will restart each time you play a note, and an indepen- dent LFO will operate for each note.
Page 388 384| Editing the Sounds Modulating LFO frequency Use the Frequency Modulation parameters to set the two alternate modula- tion sources to adjust the speed of the LFO for the selected oscillator. ▪ Use the AMS 1/2 pop-up to choose the modulation sources that will adjust the frequency of the selected oscillator’s LFO.
Page 389 Programming the LFO |385 Synchronizing the LFOs Use the Frequency MIDI/Tempo Sync parameters to synchronize the LFO to the Player’s Tempo. ▪ Select the MIDI/Tempo Sync checkbox to synchronize the LFO to the Player’s Tempo. The values specified in Frequency and Frequency Modulation will be ignored.
Page 390 386| Editing the Sounds adding effects to the Sound You can send the Sound to the effects of the FX B Group (usually reserved to the Keyboard Sounds). Adding the effects ▪ Go to the Sound > Effects > FX B Config page.
Page 391 Sound Edit utilities |387 Sound Edit utilities Listening to a single oscillator ▪ Choose the Solo Oscillator command from the page menu to solo the se- lected oscillator, and mute the other oscillators. ▪ Choose it again to unmute all oscillators. When this function is activated, the Solo OSC [n] indicator (n = oscillator...
Page 392 388| Editing the Sounds Copying the effects To speed up programming, you can copy a single effect, or both effects, to a different Sound. The procedure is the same explained for the Sound sets. Copying Drum Kits You can copy the Drum Kit from a different Drum Kit. Choose the Copy Drum Kit command from the...
Page 393 AMS (Alternate Modulation Sources) |389 aMS (alternate Modulation Sources) When the AMS abbreviation is encoutered, a, Alternate Modulation can be applied to the corresponding parameter. Alternate Modulation allows for re- altime control of the effect. The following table shows the available modula- tion sources.
Page 394 390| Editing the Sounds Description Note JS+Y & AT/2 (Joy Stick Joystick +Y (vertical upward) The effect will be controlled by +Y & After Touch/2) direction and After Touch (re- the joystick +Y (vertically up- ceived/transmitted MIDI ward) and by after touch. In this or contained in Standard MIDI case, the effect of after touch Files)
Page 395 AMS (Alternate Modulation Sources) |391 Diagrams of the AmpKTrk sources follow. example of Amp Keyboard Track settings Ramp Low Ramp High = +50 = +50 Note Number Key Low Key High + max AMS = Amp K Trk +/ + AMS Intensity = positive (+) value zero Depth and direction of modulation...
Page 396 392| Writing the Sounds Writing the Sounds Writing the edited Sound After editing, you can save all the edited parameters into a User Sound loca- tion in memory. While in Sound Edit mode, choose the Write Sound command from the page menu to open the...
Page 397 Writing the edited Sound |393 a location as if you were choosing a Sound. Blank locations are shown as a series of dashes (‘–––’). When back at the Write Sound dialog, confirm the Write operation by touch- ing the button. Some notes about writing the Sounds ▪...
Page 398 394| Writing the Sounds...
Page 399 |395 Part VIII: EFFECtS...
Page 400 396| Effects for the MIDI Sounds...
Page 401 Sounds adapting reverb to the room size Havian 30 includes a master offset for all the reverbs. Use it to adjust reverb tails to the room where you are playing. Use negative values when you are in a very reverberant room, positive values if the room is too dry.
Page 402: Effects List
398| Effects for the MIDI Sounds Effects list The following list contains all the Factory Effects. Detailed information on each effect’s parameter are contained in the following pages. Master FX 1/2 No Effect 35 St. Env. Flanger 70 Tape Echo BPM Stereo Compressor 36 Stereo Phaser 71 Reverb Hall...
Page 403 Effects list |399 105 Decimator - Comp 107 Cho/Flng - Mt.Dly 109 Reverb - Gate 106 AmpSim - Tremolo 108 Phaser - Cho/Flng Master FX 2 only 110 St.Mltband Limiter 116 Multitap Cho/Delay 122 Hold Delay 111 PianoBody/Damper 117 St. Pitch Shifter 123 LCR BPM Long Dly 112 OD/HyperGain Wah 118 St.
Page 404 400| Effects for the MIDI Sounds DMS (Dynamic Modulation Sources) When the DMS abbreviation, or the symbol is encoutered, a Dynamic Modulation can be applied to the corresponding parameter. Dynamic Modulation allows for realtime control of the effect. The following table shows the available modulation sources.
Page 405 DMS (Dynamic Modulation Sources) |401 Gate1, Gate1+Dmpr (Gate1+Damper) The effect is at maximum during note-on, and will stop when all keys are re- leased. With Gate1 + Dmpr, the effect will remain at maximum even after the keys are released, as long as the damper (sustain) pedal is pressed. Gate1,Gate1+Dmpr Dmpr Note...
Page 406 402| Effects for the MIDI Sounds Dynamics (Dynamic) 0: No Effect Select this option when you do not use any effects. 1: Stereo Compressor This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for guitar, piano, and drum sounds. This is a stereo compressor.
Page 407 Dynamics (Dynamic) |403 Output Level 0…100 Sets the output level of the compressor Off…Tempo Selects the modulation source for the compressor output level –100…+100 Sets the modulation amount for the compressor output level Wet/Dry Dry, Sets the Balance between the wet and 1:99…99:1, dry signal Off…Tempo...
Page 408 404| Effects for the MIDI Sounds c: Attack This parameter controls the attack level. Compressor - Attack Level Attack=80 Attack=20 Time 2: Stereo Limiter The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter compresses only signals that exceed the specified level to lower unnecessary peak signals.
Page 409 Dynamics (Dynamic) |405 Gain Adjust [dB] –Inf, –38…+24 Sets the output gain Off…Tempo Selects the modulation source for the output gain –63…+63 Sets the modulation amount of the output gain Side PEQ Insert Off, On Toggles between on/off of the trigger signal’s EQ Trigger Monitor Off, On...
Page 410 406| Effects for the MIDI Sounds Adjust the output level using the “Gain Adjust” parameter, since compres- sion causes the entire level to be reduced. Limiter - Threshold / Ratio Ratio=1.0 : 1 Output Level Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 Ration=Inf : 1 Louder Input Level...
Page 411 Dynamics (Dynamic) |407 f: Trigger Monitor Setting this parameter On will cause the trigger signal to be output, instead of the effect sound. Use this parameter to check the trigger signal with EQ applied. Usually, set this to Off. f: Side PEQ Insert g: Side PEQ Cutoff [Hz] g: Q g: Gain [dB]...
Page 412 408| Effects for the MIDI Sounds High Offset [dB] –40…0 Gain of the high-range trigger signal Gain Adjust [dB] –Inf, Sets the output gain –38…+24 Off…Tempo Selects the modulation source for the output gain –63…+63 Sets the modulation amount of the out- put gain Wet/Dry Dry, 1:99…99:1,...
Page 413 Dynamics (Dynamic) |409 Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source 5: Stereo Gate This effect mutes the input signal when it falls below a specified level. You can also invert the on/off status of the gate, or use note-on/off messages to turn the gate on/off directly.
Page 414 410| Effects for the MIDI Sounds Side PEQ Cutoff [Hz] 20…12.00k Sets the center frequency of the equal- izer for the trigger signal 0.5…10.0 Sets the bandwidth of the equalizer for the trigger signal Gain [dB] –18.0…+18.0 Sets the gain of the equalizer for the trigger signal Wet/Dry Dry,...
Page 415 Dynamics (Dynamic) |411 c: Polarity This inverts the polarity of the gate on/off operation. With the “–” setting, the gate will close when the input signal exceeds the specified level. The direction in which the modulation source opens or closes the gate will also be reversed.
Page 416: Dynamic Modulation
412| Effects for the MIDI Sounds EQ and Filters (EQ/Filter) 6: St.Parametric4EQ (Stereo Parametric 4-Band EQ) This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation.
Page 417 EQ and Filters (EQ/Filter) |413 Band4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4 0.5…10.0 Sets the bandwidth of Band 4 Gain [dB] –18.0…+18.0 Sets the gain of Band 4 Wet/Dry Dry, Balance between the wet and dry sig- 1:99…99:1, Off…Tempo (Dynamic...
Page 418 414| Effects for the MIDI Sounds 7: St. Graphic 7EQ (Stereo Graphic 7-Band EQ) This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, accord- ing to the sound.
Page 419 EQ and Filters (EQ/Filter) |415 You can configure a 21-Band Graphic EQ ranging from 80 Hz to 18 kHz if you route three Graphic 7-Band EQ effects in series, with a setting of 7:Low, 9:Mid, and 11:High for each EQ. 8: St.Exciter/Enhncr (Stereo Exciter/Enhancer) This effect is a combination of the Exciter, which adds a punch to the sound and the Enhancer, which adds spread and presence.
Page 420 416| Effects for the MIDI Sounds Pre LEQ Fc Low, Selects the cutoff frequency (low or Mid-Low mid-low) of the low-range equalizer Pre HEQ Fc High, Selects the cutoff frequency (high or Mid-High mid-high) of the high-range equalizer Pre LEQ Gain [dB] –15.0…+15.0 Gain of the Lo EQ Pre HEQ Gain [dB]...
Page 421 EQ and Filters (EQ/Filter) |417 9: Stereo Isolator This is a stereo effect that separates the input signal into low, mid, and high- frequency bands, and controls the volume of each band independently. For example you can separately boost or cut the kick, snare, and hi-hat sounds from a drum signal in realtime.
Page 422 418| Effects for the MIDI Sounds Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Off…Tempo (Dynamic Modulation Source) –100…+100 Amount of modulation source 10: St. Wah/Auto Wah (Stereo Wah/Auto Wah) This stereo wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings.
Page 423 EQ and Filters (EQ/Filter) |419 MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI, MIDI syncs to the system tempo; 40– 40.00… 300 sets the tempo manually for this 300.00 individual effect Base Note...
Page 424 420| Effects for the MIDI Sounds a: Frequency Bottom a: Frequency Top The sweep width and direction of the wah filter are determined by the “Frequency Top” and “Frequency Bottom” settings. Sweep Mode=D-mod Frequency Frequency Top=75 Bottom=60 Top=30 Bottom=25 -mod -mod Higher Higher...
Page 425 EQ and Filters (EQ/Filter) |421 c: Envelope Shape This parameter determines the sweep curve for auto-wah. Envelope Shape Level Envelope value = 0...+100 value = 0...–100 Time d: LFO Frequency [Hz] e: MIDI Sync When “MIDI/Tempo Sync”=Off, the LFO speed uses the LFO Frequency pa- rameter setting.
Page 426 422| Effects for the MIDI Sounds 11: St. Vintage Wah (Stereo Vintage/Custom Wah) This effect simulates the tonal character of a vintage wah pedal. You can customize the tone and range settings. Stereo In - Stereo Out Left FX Amt Envelope Sens Sweep Mode Shape / Invert...
Page 427 EQ and Filters (EQ/Filter) |423 MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI, MIDI syncs to the system tempo; 40– 40.00… 300 sets the tempo manually for this 300.00 individual effect Base Note...
Page 428 424| Effects for the MIDI Sounds 12: St. Random Filter (Stereo Random Filter) This stereo band pass filter uses a step-shape waveform and random LFO for modulation. You can create a special effect from filter oscillation. Stereo In - Stereo Out Left FX Amt Filter...
Page 429 EQ and Filters (EQ/Filter) |425 Manual 0…100 Sets the filter center frequency Off…Tempo Selects the modulation source for the filter center frequency –100…+100 Sets the modulation amount for the filter center frequency Depth 0…100 Sets the modulation depth of filter cen- ter frequency Off…Tempo Selects the modulation source of filter...
Page 430 426| Effects for the MIDI Sounds When “LFO Waveform” is set to Random, the “LFO Step Freq” parameter uses a random LFO cycle. Random Filter LFO LFO Frequency Step Frequency Step Frequency Step-Tri Random d: BPM e: Step Base Note e: Times The width of an LFO step, or a cycle of random LFO, is obtained by multiply- ing the length of a note ( …...
Page 431 EQ and Filters (EQ/Filter) |427 13: St. MultiModeFilter (Stereo Multi Mode Filter) This is a multi-mode filter with four types; low pass, high pass, band pass, and band reject. You can use LFO or dynamic modulation to vary the cutoff frequency or resonance.
Page 432 428| Effects for the MIDI Sounds MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI, MIDI syncs to the system tempo; 40– 40.00… 300 sets the tempo manually for this 300.00 individual effect Base Note...
Page 433 EQ and Filters (EQ/Filter) |429 harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver. Stereo In - Stereo Out Left FX Amt Envelope Shape Envelope Sens Pre LPF Sine Oscillator Fixed -mod Fixed Frequency...
Page 434 430| Effects for the MIDI Sounds a: OSC Mode b: Note Interval b: Note Fine The “OSC Mode” parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator’s frequency is determined based on the note number, allowing you to use it as an octaver. The “Note Interval” parameter sets the pitch offset from the original note number by semitone steps.
Page 435 EQ and Filters (EQ/Filter) |431 Voice Bottom A, I, U, E, O Selects a vowel sound at the bottom end of control Formant Shift –100…+100 Sets the frequency to which the effect is applied Resonance 0…100 Sets the Level of resonance of the voice pattern LFO Frequency [Hz] 0.02…20.00...
Page 436 432| Effects for the MIDI Sounds If Sweep Mode is set to LFO, the sound will change cyclically from “a” to “i,” “u,” “i,” then “a.” Talking Modulator Control Voice Bottom Voice Center Voice Top JS X -mod + Max Zero Ribbon –...
Page 437 EQ and Filters (EQ/Filter) |433 16: Stereo Decimator This effect creates a rough sound like a cheap sampler by lowering the sam- pling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing). Stereo In - Stereo Out Left FX Amt High Damp Output Level...
Page 438 434| Effects for the MIDI Sounds Depth 0…100 Sets the depth of the sampling frequen- cy LFO modulation Off…Tempo Selects the LFO modulation source of the sampling frequency –100…+100 Sets the LFO modulation amount of the sampling frequency Resolution 4…24 Sets the data bit length Output Level 0…100...
Page 439 EQ and Filters (EQ/Filter) |435 17: St. Analog Record (Stereo Analog Record) This effect simulates the noise caused by scratches and dust on analog re- cords. It also reproduces some of the modulation caused by a warped turn- table. Stereo In - Stereo Out Left FX Amt EQ Trim...
Page 440 436| Effects for the MIDI Sounds b: Flutter This parameter enables you to set the depth of the modulation caused by a warped turntable. e: Click Level This parameter enables you to set the level of the click noise that occurs once every rotation of the turntable.
Page 441 Overdrive, Amp models, and Mic models (OD Amp Mic) |437 Overdrive, amp models, and Mic models (OD amp Mic) 18: OD/Hi.Gain Wah (Overdrive/Hi.Gain Wah) This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the wah effect, the 3-band EQ, and the amp simulation will allow you to create versatile distortion sounds.
Page 442 438| Effects for the MIDI Sounds Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ (shelving type) Gain [dB] –18…+18 Sets the gain of Low EQ Mid1Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/High EQ 1 (peaking type) 0.5…10.0 Sets the band width of Mid/High EQ 1 Gain [dB]...
Page 443 Overdrive, Amp models, and Mic models (OD Amp Mic) |439 b: Wah Sweep Range b: Wah Sweep Src This parameter sets the sweep range of the wah center frequency. A nega- tive value will reverse the direction of sweep. The wah center frequency can be controlled by the modulation source specified in the “Wah Sweep Src”...
Page 444 440| Effects for the MIDI Sounds 19: St. Guitar Cabinet (Stereo Guitar Cabinet) This simulates the acoustical character of a guitar amp’s speaker cabinet. Stereo In - Stereo Out Left FX Amt Cabinet Simulator Trim Trim Cabinet Simulator Right FX Amt Trim 0…100 Sets the input level...
Page 445 Overdrive, Amp models, and Mic models (OD Amp Mic) |441 20: St. Bass Cabinet (Stereo Bass Cabinet) This simulates the acoustical character of a bass amp’s speaker cabinet. Stereo In - Stereo Out Left FX Amt Cabinet Simulator Trim Trim Cabinet Simulator Right FX Amt...
Page 446 442| Effects for the MIDI Sounds Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source 21: Bass Amp Model This simulates a bass amp. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Volume...
Page 447 Overdrive, Amp models, and Mic models (OD Amp Mic) |443 Treble 0…100 Sets the treble (high range) level Presence 0…100 Sets the presence (high-frequency tone) Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source 22: Bass Amp+Cabinet (Bass Amp Model+Cabinet)
Page 448 444| Effects for the MIDI Sounds Cabinet Off, On Switches the cabinet simula- Simulater tor on/off Cabinet LA - 4x10, MODERN - 4x10, Selects the cabinet type Type METAL - 4x10, CLASSIC - 8x10, UK - 4x12, STUDIO - 1x15, JAZZ - 1x15, VOX AC100 - 2x15, US - 2x15, UK - 4x15,...
Page 449 Overdrive, Amp models, and Mic models (OD Amp Mic) |445 23: Tube PreAmp Model (Tube PreAmp Modeling) This effect simulates a two-stage vacuum tube preamp. You can make indi- vidual settings for two vacuum tubes connected in series. This lets you cre- ate the warm sound typical of vacuum tubes.
Page 450 446| Effects for the MIDI Sounds b, f: Saturation [%] With higher settings of this value, the waveform will change at high gain levels, tending to cause distortion. Lower settings of this value will produce linear response. Mic/Pre Amp - Saturation Saturation = 0 Saturation = 50 Saturation = 100...
Page 451 Overdrive, Amp models, and Mic models (OD Amp Mic) |447 24: St. Tube PreAmp (Stereo Tube PreAmp Modeling) This is a stereo vacuum tube preamp simulator (Tube PreAmp Model (Tube PreAmp Modeling)). Stereo In - Stereo Out Left Left FX Amt FX Amt Tube Pre Amp1 Tube Pre Amp2...
Page 452 448| Effects for the MIDI Sounds Mic Type Vintage Dynamic, Selects the type of mic Multi Condenser, Percussion Condenser, Drums Dynamic, Vocal Dynamic, Multi Dynamic, Vocal Condenser, Vocal Tube, Kick Dynamic Mic Position Close, On, Off, Far Sets the mic placement dis- tance Tube Low Cut [Hz] Thru, 21…8.00k...
Page 453 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |449 Chorus, Flanger, and Phaser (Cho/Fln Phaser) 26: Stereo Chorus This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
Page 454 450| Effects for the MIDI Sounds Depth 0…100 Sets the depth of LFO modulation Off…Tempo Selects the modulation source for the LFO modulation depth –100…+100 Sets the modulation amount of the LFO modulation depth EQ Trim 0…100 Sets the EQ input level Pre LEQ Fc Low, Selects the cutoff frequency (low or...
Page 455 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |451 27: Black Chorus/Flanger This models a Danish-made stereo chorus + pitch modulator & flanger. Although this effect was originally intended for guitar, it was also used by numerous keyboard players. Used with electric piano, it produces a distinc- tive tone.
Page 456 452| Effects for the MIDI Sounds 28: St.HarmonicChorus (Stereo Harmonic Chorus) This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use this chorus block with feedback as a flanger. Stereo In - Stereo Out Left Low Level...
Page 457 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |453 Feedback –100…+100 Sets the feed back amount of the chorus block High Damp [%] 0…100 Sets the high range damping amount of the chorus block Low Level 0…100 Sets the low range output level High Level 0…100 Sets the high range (chorus) output level...
Page 458 454| Effects for the MIDI Sounds 29: St. Biphase Mod. (Stereo Biphase Modulation) This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog- type, unstable modulated sound.
Page 459 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |455 L Pre Delay [msec] 0.0…50.0 Sets the delay time for the left chan- R Pre Delay [msec] 0.0…50.0 Sets the delay time for the right channel Feedback –100…+100 Sets the feedback amount High Damp [%] 0…100 Sets the damping amount in the high range...
Page 460 456| Effects for the MIDI Sounds LFO Frequency [Hz] 0.02…13.00 Sets the speed of the LFO Tap1 (000) [msec] 0…1000 Sets the Tap1 (LFO phase=0 degrees) delay time Depth 0…30 Sets the Tap1 chorus depth Level 0…30 Sets the Tap1 output level L6…L1, C, Sets the Tap1 stereo image R1…R6...
Page 461 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |457 31: Ensemble This Ensemble effect has three chorus blocks that use LFO to create subtle shimmering, and gives three dimensional depth and spread to the sound, because the signal is output from the left, right, and center. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt...
Page 462 32: Polysix Ensemble This models ensemble effect built into classic Korg PolySix programmable polyphonic synthesizer. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Polysix Ensemble Right...
Page 463 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |459 33: Stereo Flanger This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo flanger.
Page 464 460| Effects for the MIDI Sounds Feedback –100…+100 Sets the feedback amount High Damp [%] 0…100 Sets the feedback damping amount in the high range Wet/Dry -Wet, -1:99… Balance between the wet and dry sig- Dry…99:1, Off…Tempo (Dynamic Modulation Source) –100…+100 Amount of modulation source g: Feedback...
Page 465 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |461 34: St. Random Flanger (Stereo Random Flanger) The stereo effect uses a step-shape waveform and random LFO for modula- tion, creating a unique flanging effect. Stereo In - Stereo Out Left FX Amt Flanger Feedback High Damp...
Page 466 462| Effects for the MIDI Sounds Step Base Note Selects the type of notes to specify the … LFO step speed Times x1…x32 Sets the number of notes to specify the LFO step speed Depth 0…100 Sets the depth of LFO modulation Feedback –100…+100...
Page 467 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |463 R Dly Bottom [msec] 0.0…50.0 Sets the lower limit of the right-channel delay time R Dly Top [msec] 0.0…50.0 Sets the upper limit of the right-chan- nel delay time Sweep Mode EG, D-mod Determines whether the flanger is con- trolled by the envelope generator or by the modulation source...
Page 468 464| Effects for the MIDI Sounds d: EG Attack d: EG Decay Attack and Decay speed are the only adjustable parameters on this EG. 36: Stereo Phaser This effect creates a swell by shifting the phase. It is very effective on elec- tric piano sounds.
Page 469 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |465 Manual 0…100 Sets the frequency to which the effect is applied Off…Tempo Selects the modulation source for the LFO modulation –100…+100 Sets the modulation amount of the LFO modulation Depth 0…100 Sets the depth of LFO modulation Off…Tempo Selects the modulation source for the LFO modulation depth...
Page 470 466| Effects for the MIDI Sounds 37: St. Random Phaser (Stereo Random Phaser) This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. Stereo In - Stereo Out Left FX Amt Phaser Resonance...
Page 471 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |467 Step Base Note Selects the type of notes to specify the LFO … step speed Times x1…x32 Sets the number of notes to specify the LFO step speed Manual 0…100 Sets the frequency to which the effect is ap- plied Off…Tempo Selects the modulation source for the LFO...
Page 472 468| Effects for the MIDI Sounds 38: St. Env. Phaser (Stereo Envelope Phaser) This stereo phaser uses an envelope generator for modulation. You will ob- tain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source.
Page 473 Chorus, Flanger, and Phaser (Cho/Fln Phaser) |469 Wet/Dry -Wet, -1:99… Balance between the wet and dry signal Dry…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source...
Page 474 470| Effects for the MIDI Sounds Modulation and Pitch Shift (Mod./P.Shift) 39: Stereo Vibrato This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed. Stereo In - Stereo Out Left FX Amt Vibrato...
Page 475 Modulation and Pitch Shift (Mod./P.Shift) |471 MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI, MIDI syncs to the system tempo; 40–300 40.00… sets the tempo manually for this individual 300.00 effect Base Note...
Page 476 472| Effects for the MIDI Sounds on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher. AutoFade AUTOFADE Source=Gate1 LFO Freq. Mod=AUTOFADE LFO Frequency[Hz]=1.0 Gate1 Signal Amount=+3.0 All Note Off Note On...
Page 477 Modulation and Pitch Shift (Mod./P.Shift) |473 AUTOFADE Src Off…Tempo Selects the modulation source that starts AutoFade Fade-In Delay [msec] 00…2000 Sets the fade-in delay time Rate 1…100 Sets the rate of fade-in LFO Frequency Mod D-mod, Switches between D-mod AUTOFADE AUTOFADE for the LFO frequency modulation Wet/Dry Mod...
Page 478 474| Effects for the MIDI Sounds 41: 2Voice Resonator This effect resonates the input signal at a specified pitch. You can set the pitch, output level, and pan settings for two resonators individually. You can control the resonance intensity via an LFO. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt...
Page 479 Modulation and Pitch Shift (Mod./P.Shift) |475 Voice1: –100…+100 Sets the intensity of resonance when Resonance Control Mode = Manual High Damp 0…100 Sets the damping amount of resonant sound in the high range L6…L1, C, R1… Sets the Voice1 stereo image Voice2: Pitch C0…B8 Sets the voice 2 Pitch for resonance...
Page 480 476| Effects for the MIDI Sounds has a positive value), Voice 2 will resonate at a pitch an octave below (Reso- nance has a negative value). f: Voice 1: Pitch f: Fine [cents] h: Voice 2: Pitch h: Fine [cents] The Pitch parameter specifies the pitch of resonance by note name.
Page 481 Modulation and Pitch Shift (Mod./P.Shift) |477 LFO Mode Loop, 1-Shot Switches LFO operation mode Off…Tempo Selects the modulation source of LFO reset LFO Sync Off, On Switches between LFO reset on and off when LFO Mode is set to Loop LFO Frequency 0.02…20.00 Sets the speed of the LFO...
Page 482 478| Effects for the MIDI Sounds When “LFO Mode” is set to 1-Shot, the Doppler effect is created only once when the modulation source specified in the “Src” field is turned on. At this time if you do not set the “Src” parameter, the Doppler effect will not be cre- ated, and no effect sound will be output.
Page 483 Modulation and Pitch Shift (Mod./P.Shift) |479 43: Scratch This effect is applied by recording the input signal and moving the modula- tion source. It simulates the sound of scratches you can make using a turn- table. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Direct...
Page 484 480| Effects for the MIDI Sounds a: Scratch Source b: Response The Scratch Source parameter enables you to select the modulation source that controls simulation. The value of the modulation source corresponds to the playback position. The Response parameter enables you to set the speed of the response to the modulation source.
Page 485 Modulation and Pitch Shift (Mod./P.Shift) |481 44: Grain Shifter This effect cuts extremely short samples (“grains”) from the input signal waveform and plays them repeatedly, giving a mechanical character to the sound. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Grain Shifter...
Page 486 482| Effects for the MIDI Sounds Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source a: Duration c: LFO Sample Cycle [Hz] Duration sets the length of the sampled grain, and the LFO Sample Cycle controls how often a new grain is sampled.
Page 487 Modulation and Pitch Shift (Mod./P.Shift) |483 45: Stereo Tremolo This effect modulates the volume level of the input signal. The effect is ste- reo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right. Stereo In - Stereo Out Left FX Amt...
Page 488 484| Effects for the MIDI Sounds Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source a: LFO Waveform This parameter sets the basic shape of the LFO. The Vintage waveform mod- els classic guitar-amp tremolo.
Page 489 Modulation and Pitch Shift (Mod./P.Shift) |485 46: St. Env. Tremolo (Stereo Envelope Tremolo) This effect uses the input signal level to modulate a stereo tremolo (LFO volume modulation). For instance, you can create a tremolo effect that be- comes deeper and faster as the input gets more quiet. Stereo In - Stereo Out Left FX Amt...
Page 490 486| Effects for the MIDI Sounds d: LFO Frequency [Hz] d: Envelope Amount [Hz] e: Depth e: Envelope Amount The graphic below shows an example of tremolo modulation with negative modulation of both Depth and Frequency. At the start of the note, the input is at maximum volume.
Page 491 Modulation and Pitch Shift (Mod./P.Shift) |487 LFO Waveform Triangle, Sine Selects the LFO Waveform LFO Shape –100…+100 Changes the curvature of the LFO Waveform LFO Phase [de- –180…+180 Sets the LFO phase difference between the gree] left and right LFO Frequency 0.02…20.00 Sets the speed of the LFO [Hz]...
Page 492 488| Effects for the MIDI Sounds You’ll only hear the effect of this parameter if the input is true stereo, with different signals in the left and right channels. Stereo Auto Pan - LFO Phase LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees L-In...
Page 493 Modulation and Pitch Shift (Mod./P.Shift) |489 LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Off…Tempo Selects a modulation source for LFO speed –20.00… Sets the LFO speed modulation +20.00 amount MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI,...
Page 494 490| Effects for the MIDI Sounds a: Type a: LFO Phase [degree] Select the type of phaser LFO and tremolo LFO for the “Type” parameter. How the effect sound moves or rotates depends on the type of LFO. Select- ing “LFO Phase” enables you to offset the timing of the phaser peak and control a subtle movement and rotation of the sound.
Page 495 Modulation and Pitch Shift (Mod./P.Shift) |491 OSC Mode Fixed, Note Switching between specifying the oscilla- (Key Follow) tor frequency and using a note number Pre LPF 0…100 Sets the damping amount of the high range input to the ring modulator Fixed Frequency 0…12.00k Sets the oscillator frequency when OSC...
Page 496 492| Effects for the MIDI Sounds a: OSC Mode This parameter determines whether or not the oscillator frequency follows the note number. a: Pre LPF This parameter enables you to set the damping amount of the high range sound input to the ring modulator. If the input sound contains lots of har- monics, the effect may sound dirty.
Page 497 Modulation and Pitch Shift (Mod./P.Shift) |493 50: Detune Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt...
Page 498 494| Effects for the MIDI Sounds d: Input Level Dmod [%] d: Src This parameter sets the dynamic modulation of the input level. Input Level Dmod Input Level Input Level x1.0 x1.0 Input Level Dmod= –50 Input Level Dmod= –100 Input Level Dmod= +50 Input Level Dmod= +100 x0.5...
Page 499 Modulation and Pitch Shift (Mod./P.Shift) |495 Feedback Pre, Post Switches the feedback connection Position Feedback –100…+100 Sets the feedback amount High Damp [%] 0…100 Sets the damping amount in the high range Input Level –100…+100 Sets the modulation amount of the input level Dmod [%] Off…Tempo Selects the modulation source for the input...
Page 500 496| Effects for the MIDI Sounds Feedback Position is set to Post, the feedback signal will not pass through the pitch shifter again. Even if you specify a higher value for the Feedback parameter, the pitch-shifted sound will be repeated at the same pitch. 52: Pitch Shifter BPM This pitch shifter enables you to set the delay time to match the song tempo.
Page 501 Modulation and Pitch Shift (Mod./P.Shift) |497 Feedback –100…+100 Sets the feedback amount High Damp [%] 0…100 Sets the damping amount in the high range Input Level Dmod [%] –100…+100 Sets the modulation amount of the input level Off…Tempo Selects the modulation source for the in- put level Wet/Dry Dry,...
Page 502 498| Effects for the MIDI Sounds 53: Pitch Shift Mod. (Pitch Shift Modulation) This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right.
Page 503 Modulation and Pitch Shift (Mod./P.Shift) |499 Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source a: Pitch Shift [cents] e: Depth These parameters set the amount of pitch shift and amount of modulation by means of the LFO.
Page 504 500| Effects for the MIDI Sounds 54: Organ Vib/Chorus (Organ Vibrato/Chorus) This effect simulates the chorus and vibrato circuitry of a vintage organ. The modulation speed and depth can be customized. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Vibrato/Chorus...
Page 505 Modulation and Pitch Shift (Mod./P.Shift) |501 Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source b: Control Mode c: Preset Type d: Custom Mix e: Custom Depth f: Custom Speed [Hz] If Control Mode=Preset, you can use c: Preset Type to select the effect.
Page 506 502| Effects for the MIDI Sounds 55: Rotary Speaker This effect simulates a rotary speaker, and obtains a more realistic sound by simulating the rotor in the low range and the horn in the high range sepa- rately. The effect also simulates the stereo microphone settings. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt...
Page 507 Modulation and Pitch Shift (Mod./P.Shift) |503 Mic Distance 0…100 Sets the distance between the microphone and rotary speaker Mic Spread 0…100 Sets the angle of left and right microphones Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source...
Page 508 504| Effects for the MIDI Sounds d: Horn Acceleration e: Rotor Acceleration On a real rotary speaker, the rotation speed accelerates or decelerates grad- ually after you switch the speed. The Horn Rotor Acceleration param- eters set the transition times between fast and slow speeds. g: Mic Distance g: Mic Spread This is a simulation of stereo microphone settings.
Page 509 Delay |505 Delay 56: L/C/R Delay This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust the left and right spread of the delay sound. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left FX Amt L Delay...
Page 510 506| Effects for the MIDI Sounds Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source e: High Damp [%] e: Low Damp [%] These parameters set the damping amount of high range and low range. The tone of the delayed sound becomes darker and lighter as it feeds back.
Page 511 Delay |507 L Feedback –100…+100 Sets the feedback amount for the left channel Off…Tempo Selects the modulation source of feedback amount Amt L –100…+100 Sets the modulation amount of the left channel feedback R Feedback –100…+100 Sets the feedback amount for the right channel Amt R –100…+100...
Page 512 508| Effects for the MIDI Sounds 58: St. Multitap Delay (Stereo Multitap Delay) The left and right Multitap Delays have two taps respectively. Changing the routing of feedback and tap output allows you to create various patterns of complex effect sounds. Stereo In - Stereo Out Left FX Amt...
Page 513 Delay |509 Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 Mode: Cross Pan2 a: Mode You can change how the left and right delay signals are panned by modify- ing the routing of the left and right delay as shown in the figure above.
Page 514 510| Effects for the MIDI Sounds 59: St. Mod Delay (Stereo Modulation Delay) This stereo delay uses an LFO to sweep the delay time. The pitch also varies, creating a delay sound which swells and shimmers. You can also control the delay time using a modulation source.
Page 515 Delay |511 MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI, MIDI syncs to the system tempo; 40–300 40.00… sets the tempo manually for this individ- 300.00 ual effect Base Note...
Page 516 512| Effects for the MIDI Sounds The “Src” parameter sets the modulation source that resets the LFO. For ex- ample, you can assign Gate as a modulation source so that the sweep always starts from the specified point. “L LFO Phase” and “R LFO Phase” set the phase obtained when the left and right LFOs are reset.
Page 517 Delay |513 High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range Spread –100…+100 Sets the width of the stereo image of the effect sound Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1,...
Page 518 514| Effects for the MIDI Sounds The “Attack” and “Release” parameters specify attack time and release time of delay level control. Dynamic Delay Level Threshold Release Envelope Attack (Ducking Delay) Target=Output Level Polarity= (–) Delay Time Target=Output Level Polarity= (+) Time 61: St.
Page 519 Delay |515 L Delay Time [msec] 0.0…1360.0 Sets the delay time for the left channel L Feedback –100…+100 Sets the feedback amount for the left channel R Delay Time [msec] 0.0…1360.0 Sets the delay time for the right channel R Feedback –100…+100 Sets the feedback amount for the right channel...
Page 520 516| Effects for the MIDI Sounds 62: Tape Echo This effect simulates a tape echo unit with three playback heads. The distor- tion and tonal change typical of magnetic tape are also reproduced. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Feedback...
Page 521 Delay |517 High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range Saturation 0…100 Sets the distortion amount Input Trim 0…100 Sets the input gain Pre Tone 0…100 Sets the tone of the input Wow Flutter [Hz]...
Page 522 518| Effects for the MIDI Sounds 63: Auto Reverse This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound). FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Direct...
Page 523 Delay |519 a: Rec Mode b: Reverse Time [msec] When “Rec Mode” is set to Single, you can set up to 2,640msec for “Reverse Time.” If recording starts during the reverse playback, the playback will be interrupted. When “Rec Mode” is set to Multi, you can make another recording during the reverse playback.
Page 524 520| Effects for the MIDI Sounds 64: Sequence BPM Dly (Sequence BPM Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left FX Amt Input Level D-mod...
Page 525 Delay |521 Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source a: BPM b: Rhythm Pattern With the tempo specified by the “BPM” parameter (or the MIDI Clock tempo if “BPM”...
Page 526 522| Effects for the MIDI Sounds MIDI, MIDI syncs to the system tempo; 40–300 sets 40.00… the tempo manually for this individual effect 300.00 Time Over? ---, OVER! Displays an error message when the delay time exceeds the upper limit L Delay Base Selects the type of notes to specify the delay …...
Page 527 Delay |523 a: Time Over? You can set the delay time up to 5,460msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.
Page 528 524| Effects for the MIDI Sounds L Feedback –100… Sets the feedback amount for the left channel +100 Off… Selects the modulation source of feedback Tempo amount Amt L –100… Sets the modulation amount of the left channel +100 feedback R Feedback –100…...
Page 529 Delay |525 67: St.BPM Mtap Delay (Stereo BPM Multi tap Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap. Stereo In - Stereo Out Left FX Amt Feedback Delay Input Level D-mod High Damp Low Damp Tap1=(1) Mode...
Page 530 526| Effects for the MIDI Sounds High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range Input Level Dmod –100…+100 Sets the modulation amount of the input level Off…Tempo Selects the modulation source for the in-...
Page 531 Delay |527 68: St.BPM Mod. Delay (Stereo BPM Modulation Delay) This is a stereo modulation delay that lets you synchronize the delay time to the tempo of the song. Stereo In - Stereo Out Left FX Amt Delay Feedback Delay Right FX Amt Tempo...
Page 532 528| Effects for the MIDI Sounds MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI, MIDI syncs to the system tempo; 40–300 40.00… sets the tempo manually for this individual 300.00 effect Base Note...
Page 533 Delay |529 i: Time Over? L, R You can set the delay time up to 2,550msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.
Page 534 530| Effects for the MIDI Sounds High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range LFO Waveform Triangle, Sine Selects the LFO Waveform Shape –100…+100 Changes the curvature of the LFO Waveform LFO Phase...
Page 535 Delay |531 70: Tape Echo BPM This is a tape echo that lets you synchronize the delay time to the tempo of the song. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Feedback...
Page 536 532| Effects for the MIDI Sounds Tap2 Level 0…100 Sets the Tap2 output level L, 1…99, R Sets the stereo image of tap2 FB Amt –100…+100 Sets the Tap2 feedback amount Tap3 Level 0…100 Sets the Tap3 output level L, 1…99, R Sets the stereo image of tap3 FB Amt –100…+100...
Page 537 Delay |533 b: Time Over? You can set the delay time up to 5,400msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.
Page 538 534| Effects for the MIDI Sounds reverb and Early reflections (reverb Er) 71: Reverb Hall This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls. 72: Reverb SmoothHall This hall-type reverb simulates the reverberation of larger halls and stadi- ums, and creates a smooth release.
Page 539 Reverb and Early Reflections (Reverb ER) |535 Pre LEQ Fc Low, Selects the cutoff frequency (low or mid- Mid-Low low) of the low-range equalizer Pre HEQ Fc High, Selects the cutoff frequency (high or mid- Mid-High high) of the high-range equalizer Pre LEQ Gain [dB] –15.0…+15.0 Sets the gain of Low EQ...
Page 540 536| Effects for the MIDI Sounds 76: Reverb BrightRoom This room-type reverb emphasizes the early reflections that make the sound brighter. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt ER Level...
Page 541 Reverb and Early Reflections (Reverb ER) |537 c: ER Level d: Reverb Level These parameters set the early reflection level and reverb level. Changing these parameter values allows you to simulate the type of walls in the room. That is, a larger “ER Level” simulates a hard wall, and a larger “Reverb Level”...
Page 542 538| Effects for the MIDI Sounds Pre LEQ Fc Low, Selects the cutoff frequency (low or Mid-Low mid-low) of the low-range equalizer Pre HEQ Fc High, Selects the cutoff frequency (high or Mid-High mid-high) of the high-range equalizer Pre LEQ Gain [dB] –15.0…+15.0 Gain of the Low EQ Pre HEQ Gain [dB]...
Page 543 Mono-Mono Serial (Mono-Mono) |539 Mono-Mono Serial (Mono-Mono) 78: P4EQ - Exciter (Parametric 4-Band EQ - Exciter) This effect combines a mono four-band parametric equalizer and an exciter. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Parametric 4Band EQ...
Page 544 540| Effects for the MIDI Sounds Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source 79: P4EQ - Wah (Parametric 4-Band EQ - Wah/Auto Wah) This effect combines a mono four-band parametric equalizer and a wah. You can change the order of the connection.
Page 545 Mono-Mono Serial (Mono-Mono) |541 [E]B4 Cutoff [Hz] 500…20.00k Sets the center frequency of Band 4 0.5…10.0 Sets the bandwidth of Band 4 Gain [dB] –18…+18 Sets the gain of Band 4 [W]Frequency Bottom 0…100 Sets the lower limit of the wah center frequency Frequency Top 0…100...
Page 546 542| Effects for the MIDI Sounds 80: P4EQ - Cho/Flng (Parametric 4-Band EQ - Chorus/Flanger) This effect combines a mono four-band parametric equalizer and a chorus/ flanger. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Parametric 4Band EQ...
Page 547 Mono-Mono Serial (Mono-Mono) |543 [F]Cho/Flng Wet/ -Wet, -1:99… Sets the effect balance of the chorus/ Dry…99:1, flanger Off…Tempo Selects the Wet/Dry modulation source for the chorus/flanger –100…+100 Sets the Wet/Dry modulation amount for the chorus/flanger [F]Output Mode Normal, Selects the output mode for the chorus/ Wet Invert flanger Wet/Dry...
Page 548 544| Effects for the MIDI Sounds [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 0.5…10.0 Sets the bandwidth of Band 1 Gain [dB] –18…+18 Sets the gain of Band 1 [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2 0.5…10.0 Sets the bandwidth of Band 2 Gain [dB]...
Page 549 Mono-Mono Serial (Mono-Mono) |545 82: P4EQ - Mt. Delay (Parametric 4-Band EQ - Multitap Delay) This effect combines a mono four-band parametric equalizer and a multitap delay. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Parametric 4Band EQ...
Page 550 546| Effects for the MIDI Sounds [D]Mt.Delay Wet/Dry Dry, Sets the multitap delay effect balance 1:99…99:1, Off…Tempo Selects the Wet/Dry modulation source for the multitap delay –100…+100 Sets the Wet/Dry modulation amount for the multitap delay Wet/Dry Dry, Balance between the wet and dry sig- 1:99…99:1, Off…Tempo (Dynamic...
Page 551 Mono-Mono Serial (Mono-Mono) |547 COMPRESSOR 1…100 Sets the sensitivity Sensitivity [C]Attack 1…100 Sets the attack level Output Level 0…100 Sets the compressor output level [C]EQ Trim 0…100 Sets the EQ input level [C]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ...
Page 552 548| Effects for the MIDI Sounds 84: Comp - Amp Sim (Compressor - Amp Simulation) This effect combines a mono compressor and an amp simulation. You can change the order of the effects. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Routing...
Page 553 Mono-Mono Serial (Mono-Mono) |549 85: Comp - OD/HiGain (Compressor - Overdrive/Hi.Gain) This effect combines a mono compressor and an overdrive/high-gain distor- tion. You can change the order of the effects. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Routing...
Page 554 550| Effects for the MIDI Sounds [O]Wet/Dry Dry, Sets the overdrive effect balance 1 : 99…99 : 1, Off…Tempo Selects the Wet/Dry modulation source for the overdrive –100…+100 Sets the Wet/Dry modulation amount for the overdrive Routing Switches the order of the compressor Comp ›...
Page 555 Mono-Mono Serial (Mono-Mono) |551 [E]B1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 0.5…10.0 Sets the bandwidth of Band 1 Gain [dB] –18…+18 Sets the gain of Band 1 [E]B2 Cutoff [Hz] 50…5.00k Sets the center frequency of Band 2 0.5…10.0 Sets the bandwidth of Band 2 Gain [dB]...
Page 556 552| Effects for the MIDI Sounds COMPRESSOR 1…100 Sets the sensitivity Sensitivity [C]Attack 1…100 Sets the attack level Output Level 0…100 Sets the compressor output level [C]EQ Trim 0…100 Sets the EQ input level [C]Pre LEQ Gain [dB] –15…+15 Sets the gain of Low EQ Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ...
Page 557 Mono-Mono Serial (Mono-Mono) |553 However, if a mono-input type effect is connected after this effect, the left and right sounds may cancel each other, eliminating the chorus/flanger ef- fects. When “Routing” is set to Flanger/Comp, “[F]Output Mode” will be set to Nor- mal.
Page 558 554| Effects for the MIDI Sounds [P]Phaser Wet/Dry -Wet, -1:99… Sets the phaser effect balance Dry…99:1, Wet Off…Tempo Selects Wet/Dry modulation source for the phaser –100…+100 Sets the Wet/Dry modulation amount for the phaser [F]Output Mode Normal, Selects the phaser output mode Wet Invert Routing Switches the order of the compressor...
Page 559 Mono-Mono Serial (Mono-Mono) |555 [C]Pre LEQ Gain –15…+15 Sets the gain of Low EQ [dB] Pre HEQ Gain [dB] –15…+15 Sets the gain of High EQ MULTITAP DELAY [D]Tap1 Time 0.0…1360.0 Sets the Tap1 delay time [msec] Tap1 Level 0…100 Sets the Tap1 output level [D]Tap2 Time 0.0…1360.0...
Page 560 556| Effects for the MIDI Sounds 90: Limiter - P4EQ (Limiter - Parametric 4-Band EQ) This effect combines a mono limiter and a four-band parametric equalizer. You can change the order of the effects. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Routing...
Page 561 Mono-Mono Serial (Mono-Mono) |557 Routing Switches the order of the limiter and Limiter › P4EQ, parametric EQ P4EQ › Limiter Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source a: [L]Ratio a: Threshold [dB] c: [L]Gain Adjust [dB]...
Page 562 558| Effects for the MIDI Sounds 91: Limiter - Cho/Flng (Limiter - Chorus/Flanger) This effect combines a mono limiter and a chorus/flanger. You can change the order of the effects. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Routing...
Page 563 Mono-Mono Serial (Mono-Mono) |559 [F]Output Mode Normal, Selects the output mode for the cho- Wet Invert rus/flanger Routing Switches the order of the limiter and Limiter › chorus/flanger Flanger, Flanger › Limiter Wet/Dry Dry, Balance between the wet and dry 1:99…99:1, signal Off…Tempo...
Page 564 560| Effects for the MIDI Sounds [P]Manual 0…100 Sets the frequency to which the ef- fect is applied Depth 0…100 Sets the depth of LFO modulation Resonance –100…+100 Sets the resonance amount [P]Phaser Wet/Dry -Wet, -1:99… Sets the phaser effect balance Dry…99:1, Wet Off…Tempo Selects the phaser’s Wet/Dry mod-...
Page 565 Mono-Mono Serial (Mono-Mono) |561 LIMITER [L]Ratio 1.0 : 1… Sets the signal compression ratio 50.0 : 1, Inf : 1 Threshold [dB] –40…0 Sets the level above which the compres- sor is applied [L]Attack 1…100 Sets the attack time Release 1…100 Sets the release time [L]Gain Adjust [dB]...
Page 566 562| Effects for the MIDI Sounds 94: Exciter - Comp (Exciter -Compressor) This effect combines a mono exciter and a compressor. You can change the order of the effects. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Routing...
Page 567 Mono-Mono Serial (Mono-Mono) |563 95: Exciter - Limiter This effect combines a mono exciter and a limiter. You can change the order of the effects. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Routing...
Page 568 564| Effects for the MIDI Sounds 96: Exciter - Cho/Flng (Exciter - Chorus/Flanger) This effect combines a mono limiter and a chorus/flanger. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Exciter...
Page 569 Mono-Mono Serial (Mono-Mono) |565 Wet/Dry Dry, Balance between the wet and dry 1:99…99:1, signal Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source 97: Exciter - Phaser This effect combines a mono limiter and a phaser. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Exciter...
Page 570 566| Effects for the MIDI Sounds [P]Phaser Wet/Dry -Wet, -1:99… Sets the phaser effect balance Dry…99:1, Wet Off…Tempo Selects the Wet/Dry modulation source for the phaser –100…+100 Sets Wet/Dry modulation amount for the phaser [P]Output Mode Normal, Selects the phaser output mode Wet Invert Wet/Dry Dry,...
Page 571 Mono-Mono Serial (Mono-Mono) |567 [D]Tap2 Time [msec] 0.0…1360.0 Sets the Tap2 delay time Feedback (Tap2) –100…+100 Sets the Tap2 feedback amount [D]High Damp [%] 0…100 Sets the damping amount in the high range [D]Mt.Delay Wet/Dry Dry, Sets the multitap delay effect bal- 1:99…99:1, ance Off…Tempo...
Page 572 568| Effects for the MIDI Sounds OD/HI-GAIN [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain distortion Drive 1…100 Sets the degree of distortion [O]Output Level 0…50 Sets the overdrive output level Off…Tempo Selects the modulation source for the overdrive output level –50…+50 Sets the modulation amount of the overdrive output level...
Page 573 Mono-Mono Serial (Mono-Mono) |569 100: OD/HG - Cho/Flng (Overdrive/Hi.Gain - Chorus/Flanger) This effect combines a mono overdrive/high-gain distortion and a chorus/ flanger. You can change the order of the effects. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Routing...
Page 574 570| Effects for the MIDI Sounds [F]Delay Time 0.0…1350.0 Sets the delay time [msec] Depth 0…100 Sets the depth of LFO modulation Feedback –100…+100 Sets the feedback amount [F]Cho/Flng Wet/ -Wet, -1:99… Sets the effect balance of the chorus/ Dry…99:1, Wet flanger Off…Tempo Selects...
Page 575 Mono-Mono Serial (Mono-Mono) |571 OD/HI-GAIN [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain distortion Drive 1…100 Sets the degree of distortion [O]Output Level 0…50 Sets the overdrive output level Off…Tempo Selects the modulation source for the overdrive output level –50…+50 Sets the modulation amount of the overdrive output level...
Page 576 572| Effects for the MIDI Sounds [P]Output Mode Normal, Selects the phaser output mode Wet Invert Routing Switches the order of the over- OD/HG › Phaser, drive and phaser Phaser › OD/HG Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation...
Page 577 Mono-Mono Serial (Mono-Mono) |573 [O]Mid1 Cutoff [Hz] 300…10.00k Sets the center frequency for Mid/ High EQ 1 (peaking type) 0.5…10.0 Sets the band width of Mid/High EQ 1 Gain [dB] –18…+18 Sets the gain of Mid/High EQ 1 [O]Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/ High EQ 2 (peaking type)
Page 578 574| Effects for the MIDI Sounds 103: Wah - Amp Sim (Wah - Amp Simulation) This effect combines a mono wah and an amp simulation. You can change the order of the effects. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Routing...
Page 579 Mono-Mono Serial (Mono-Mono) |575 Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source 104: Decimator - Amp (Decimator - Amp Simulation) This effect combines a mono decimator and an amp simulation. You can change the order of the effects.
Page 580 576| Effects for the MIDI Sounds 105: Decimator - Comp (Decimator - Compressor) This effect combines a mono decimator and a compressor. You can change the order of the effects. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Routing...
Page 581 Mono-Mono Serial (Mono-Mono) |577 106: AmpSim - Tremolo (Amp Simulation- Tremolo) This effect combines a mono amp simulation and a tremolo. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Amp Simulation...
Page 582 578| Effects for the MIDI Sounds 107: Cho/Flng - Mt.Dly (Chorus/Flanger - Multitap Delay) This effect combines a mono chorus/flanger and a multitap delay. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Chorus/Flanger...
Page 583 Mono-Mono Serial (Mono-Mono) |579 [D]Mt.DelayWet/Dry Dry, 1:99…99:1, Wet Sets the multitap delay effect balance Off…Tempo Selects the Wet/Dry modula- tion source for the multitap delay –100…+100 Sets the Wet/Dry modulation amount for the multitap delay Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Off…Tempo See DMS (Dynamic...
Page 584 580| Effects for the MIDI Sounds CHORUS/FLANGER [F]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO LFO Waveform Triangle, Sine Selects the LFO Waveform [F]Delay Time [msec] 0.0…1350.0 Sets the delay time Depth 0…100 Sets the depth of LFO modulation Feedback –100…+100 Sets the feedback amount...
Page 585 Mono-Mono Serial (Mono-Mono) |581 109: Reverb - Gate This effect combines a mono reverb and a gate. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Reverb EQ Trim Pre Delay Reverb...
Page 586 582| Effects for the MIDI Sounds [G]Polarity +, – Switches between non-invert and in- vert of the gate on/off state [G]Attack 1…100 Sets the attack time Release 1…100 Sets the release time Wet/Dry Dry, Balance between the wet and dry sig- 1:99…99:1, Off…Tempo (Dynamic...
Page 587: Double Size
Double Size |583 Double Size Double-size effects can only be assigned to the FX2 processors (either in the A or B FX group). 110: St. Mltband Limiter (Stereo Mltband Limiter) This is a stereo multiband limiter. Stereo In - Stereo Out Band-Pass Filters Left FX Amt...
Page 588 584| Effects for the MIDI Sounds 111: PianoBody/Damper (PianoBody/Damper Simulation) This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the resonance of other strings that are not being played when you press the damper pedal. It will create a very real- istic sound when applied to acoustic piano sounds.
Page 589 Double Size |585 tion source from which the damper effect is applied. Usually, select Damper #64 Pdl (Damper pedal). The effect is off when a value for the modulation source specified for the “Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher.
Page 590 586| Effects for the MIDI Sounds Drive Mode Overdrive, Hyper-Gain Switches between overdrive and hi-gain distortion Drive 1…120 Sets the degree of distortion Pre Low-cut 0…10 Sets the low range cut amount of the distortion input Output Level 0…50 Sets the output level Off…Tempo Selects the modulation source for the output level...
Page 591 Double Size |587 113: GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band This combines a guitar amp simulation (which even faithfully replicates the distortion and tone control circuitry) with a four-band equalizer. By using this in conjunction with St. Guitar Cabinet (Stereo Guitar Cabinet), you can obtain an even more realistic guitar sound that simulates a guitar amp + speaker cabinet.
Page 592 588| Effects for the MIDI Sounds Treble 0…100 Sets the treble (high range) level Presence 0…100 Sets the presence (high-frequen- cy tone) Post P4EQ Thru, On Selects through or on for the equalizer Band1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 0.5…10.0 Sets Band 1’s bandwidth...
Page 593 Double Size |589 set Post P4EQ to “Thru,” but if necessary you can turn it “On” and adjust the tone. Recommended Combinations of Guitar Amp Models and Cabinet Simulators: Amp Type Cabinet Type VOX AC15 VOX AC15 - 1x12 VOX AC15TB VOX AC15 - 1x12 VOX AC30 VOX AC30 - 2x12...
Page 594 590| Effects for the MIDI Sounds 114: BassTubeAmp+Cab. (Bass Tube Amp Model + Cabinet) This simulates a bass amp (with gain and drive) and speaker cabinet. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Volume...
Page 595 Double Size |591 Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry sig- Off…Tempo (Dynamic Modulation Source) –100…+100 Amount of modulation source a: Amp Type i: Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets: Amp Type Cabinet Type STUDIO COMBO STUDIO - 1x15 AC100...
Page 596 592| Effects for the MIDI Sounds 116: Multitap Cho/Delay (Multitap Chorus/Delay) This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by setting a different delay time and depth for each block. You can control the delay output level via a modulation source. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left Feedback...
Page 597 Double Size |593 Tap4 (240) [msec] 0…2000 Sets the Tap4 (LFO phase=240 degrees) delay time Depth 0…30 Sets the Tap4 chorus depth Status Always On, Always Selects on, off, or modulation Off, On›Off (Dm), source for the control of Tap4 Off›On (Dm) output Tap5 (120) [msec]...
Page 598 594| Effects for the MIDI Sounds b, c, d, e, f, g: Status These parameters set the output status of each Tap. Always On: Output is always on. (No modulation) Always Off: Output is always off. (No modulation) On/Off (dm): Output level is switched from on to off depending on the modu- lation source.
Page 599 Double Size |595 Fine [cents] –100…+100 Sets the pitch shift amount in steps of one cent –100…+100 Sets the modulation amount of pitch shift amount L Delay [msec] 0…2000 Sets the delay time for the left channel R Delay [msec] 0…2000 Sets the delay time for the right channel Feedback...
Page 600 596| Effects for the MIDI Sounds 118: St. PitchShift BPM (Stereo Pitch Shifter BPM) This stereo pitch shifter enables you to set the delay time to match the song tempo. Stereo In - Stereo Out Left FX Amt High Damp Pitch Shifter Delay Input Level...
Page 601 Double Size |597 R Delay Base Note Selects the type of notes to speci- … fy the right channel delay time Times x1…x32 Sets the number of notes to speci- fy the right channel delay time Feedback Position Pre, Post Switches the feedback connection Spread –100…+100...
Page 602 598| Effects for the MIDI Sounds 119: Rotary SpeakerOD (Rotary Speaker Overdrive) This is a stereo rotary speaker effect. It has an internal speaker simulator that simulates overdrive (recreating the amp distortion) and characteristics of the rotary speaker, producing a very realistic rotary speaker sound. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt...
Page 603 Double Size |599 Horn/Rotor Rotor, 1…99, Sets the volume balance between Balance Horn the high-range horn and low-range rotor Manual SpeedCtrl Off…Tempo Sets a modulation source for direct control of rotation speed Horn 0…100 Sets how quickly the horn rotation Acceleration speed changes Horn Ratio...
Page 604 600| Effects for the MIDI Sounds 120: L/C/R Long Delay This multitap delay outputs three Tap signals to left, right and center respec- tively. You can set a maximum of 5,460msec for the delay time. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left FX Amt L Delay...
Page 605 Double Size |601 Wet/Dry Dry, Balance between the wet and dry sig- 1:99…99:1, Off…Tempo (Dynamic Modulation Source) –100…+100 Amount of modulation source 121: St/Cross Long Delay (Stereo/Cross Long Delay) This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between left and right by changing the feedback routing.
Page 606 602| Effects for the MIDI Sounds Input Level Dmod [%] –100…+100 Sets the modulation amount of the in- put level Off…Tempo Selects the modulation source for the input level Spread –50…+50 Sets the width of the stereo image of the effect sound Wet/Dry Dry, Balance between the wet and dry sig-...
Page 607 Double Size |603 MIDI, MIDI syncs to the system tempo; 40– 40.00… 300 sets the tempo manually for this 300.00 individual effect Time Over? ---, OVER! An error indication that appears if de- lay time exceeds the upper limit when MIDI/Tempo Sync=On Loop Base Note Selects the type of notes to specify...
Page 608 604| Effects for the MIDI Sounds b: Loop BPM Sync c: BPM d: Loop Base Note d: Times If “Loop BPM Sync” is on, the “Times” setting is ignored; the loop time is determined by “BPM,” “Loop Base Note,” and “Times.” Even in this case, the delay time cannot exceed 10,800 msec.
Page 609 Double Size |605 e: REC Control Src g: Manual REC Control “REC Control Src” selects the modulation source that controls recording. If this modulation is on, or if “Manual REC Control” is set to On, you can re- cord the input signal. If a recording has already been carried out, additional signals will be overdubbed.
Page 610 606| Effects for the MIDI Sounds 123: LCR BPM Long Dly The L/C/R delay enables you to match the delay time with the song tempo. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left FX Amt L Delay...
Page 611 Double Size |607 High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range Input Level Dmod [%] –100…+100 Sets the modulation amount of the in- put level Off…Tempo Selects the modulation source for the input level...
Page 612 608| Effects for the MIDI Sounds 124: St. BPM Long Dly (Stereo BPM Long Delay) The stereo delay enables you to match the delay time with the song tempo. Stereo In - Stereo Out Left FX Amt High Damp Low Damp Delay Input Level D-mod Feedback...
Page 613 Double Size |609 R Feedback –100…+100 Sets the feedback amount for the right channel R Amt –100…+100 Sets the modulation amount of the right channel feedback High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100 Sets the damping amount in the low range...
Page 614 610| Effects for the MIDI Sounds 125: Early Reflections This early reflection effect has more precise early reflections with twice the maximum length of a normal-size effect (Early Reflections). You can create a very smooth and dense sound. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt EQ Trim...
Page 615 Limiter |611 Limiter, Master EQ Limiter The Limiter allows for an increased loudness of the Sounds (Keyboard, Styles and MIDI Songs), by compressing the signal exceeding a defined threshold. MP3 files are not affected by the Limiter (since they are usually already ‘pro- duced’, and do not need to pass through the Limiter again).
Page 616 612| Limiter, Master EQ Limiter Parameter Meaning Value Ratio Sets the signal compression ratio. Compression is applied only when the signal level exceeds the Threshold value. 1.0:1 means no compression. Threshold Sets the level above which compression is ap- plied. 0dB means no signal processed. Attack Sets the attack time.
Page 617 Limiter |613 Saving a Limiter Preset Open the Write Limiter Preset dialog While in the Limiter page, choose the Write Limiter Preset command from the page menu to open the Write Limiter Preset dialog. Write over the current Limiter Preset ▪...
Page 618 614| Limiter, Master EQ Master EQ A fully parametric Master EQ is placed at the end of the audio path, just before the various audio outputs (Audio Outs, Phones, integrated speakers). Both Sounds (Keyboard, Styles and MIDI Songs) and MP3 Songs are equal- ized.
Page 619 Master EQ |615 EQ Par. Meaning Value Mid- Mid- High High ‘Quality’ of the EQ filter; higher val- ues correspond to narrower, more accurate filters. Use higher values 0.5…10 for near-surgical correction on iso- lated frequencies, lower values for more musical, softer equalization. Freq Center frequency of the correspond- ing band.
Page 620 616| Limiter, Master EQ Saving a Master EQ Preset Open the Write Master EQ Preset dialog While in the Master EQ page, choose the Write Master EQ Preset command from the page menu to open the Write Master EQ Preset dialog.
Page 621 |617 Part IX: GLOBaL SEttINGS, PrEFErENCES...
Page 622 618| Customizing the user interface...
Page 623 Colors and language |619 Customizing the user interface Colors and language Choosing the chords and keyboard language Since the instrument must be restarted at the end of this procedure, be sure to first save all unsaved data. Go to the Global >...
Page 624 620| Customizing the user interface Customizing the display colors You can choose your preferred color scheme for the display. Go to the Global > General Controls > Interface page. Use the Color pop-up menu to select one of the color schemes.
Page 625 Program Change and activity indicators |621 Program Change and activity indicators Showing/Hiding the Program Change number You can make Program Change numbers be shown next to Sound names in Sound Select window. By default, this option is turned on. Please note that Program Change numbers are always shown in the various Track Info areas.
Page 626 622| Customizing the user interface Showing/Hiding the track’s activity You can turn on/off the Track Activity display. When it is turned on, you can monitor events coming from the tracks or the USB inputs. Incoming events are shown by the color changing on each track’s label. Go to the Global >...
Page 627 Automatically choosing Styles and Performances |623 auto selection and locking automatically choosing Styles and Performances Preferred Styles and Performances can be assigned to the Style and Performance bank tabs, and to the PERFORMANCE buttons. Automatically selecting the Styles When the Auto Select >...
Page 628 624| Auto selection and locking Automatically selecting the Performances When the Auto Select > Performance parameter is activated, pressing one of the PERFORMANCE buttons, or touching the name of a bank Performance Select window, automatically selects the Performance you latest selected in that bank. This way, you can assign your preferred Performance to each control panel’s button, and select it just with a single press.
Page 629 Master Transpose Prevents Master Transpose from changing when choosing a Performance, Style or SongBook Entry. It also prevents transpos- ing when loading a Standard MIDI File created by Havian 30 or an instrument of the Korg Pa-Series. Sub Scale/Quarter Prevents the Sub-Scale or Quarter Tone value from changing Tone when choosing a Performance, STS or SongBook Entry.
Page 630 626| Auto selection and locking Locking the Control parameters Go to the Global > General Controls > Lock > Control page. Select/deselect the desired locks. Control lock Meaning Upper 1 FXs When choosing the Upper 1 Sound, the FX settings contained in the Sound or those contained in the Performance/STS can be selected.
Page 631 Locking parameters to prevent changes |627 Locking the Style parameters Go to the Global > General Controls > Lock > Tuning page. Select/deselect the desired locks. Style locks Meaning Style Tracks Volume When this lock is closed, the Style Sounds’ volume do not change when a different Style is selected.
Page 632 Setting the date and time for file saving Havian 30 lets you specify a date and time to be recorded as the date & time stamp for the files being saved. This is useful for keeping track of when you created and saved your data.
Page 633 Automatic power off |629 automatic power off Havian 30 can automatically enter standby after two hours of not being used, to save power and help preserving the environment. Go to the Global > General Controls > Date & Power page.
Page 634 630| Mode preferences Mode preferences Style Play preferences Choosing the Memory Mode You can decide how the MEMORY button works. Go to the Global > Mode Preferences > Style page. Use the Memory Mode pop-up menu to choose the Memory mode. Memory Mode Meaning Chord...
Page 635 Style Play preferences |631 Bass & Lower Backing With the Bass & Lower Backing function activated, you can play a sparser accompaniment with your left hand. Activate the Bass & Lower Backing function Go to the Global > Mode Preferences > Style page.
Page 636 632| Mode preferences Song Play and Sequencer preferences Choosing the Melody track You can define a MIDI Song’s track as the Melody track. You will then be able to mute it by using the Song Melody - Mute function, that you can assign to the footswitch.
Page 637 Song Play and Sequencer preferences |633 Use the Drum & Bass Mode - Bass pop-up menu to choose one of the Song tracks to be used as the Bass track. Letting a MIDI Song start immediately MIDI Songs (MID and KAR files) may contain a silent setup measure at the beginning.
Page 638 Media page. Select the Global Protect checkbox to protect global preferences to change when loading data from disk. Please note that global preferences from compatible Korg Pa-Series instru- ments are not loaded in any case.
Page 639 Media and file preferences |635 Removing protection from Factory Styles (and Factory STSs) Factory Styles (and the Factory STSs they contain) are normally protected, to avoid overwriting the standard musical resources. You can, however, re- move this protection and use any Factory Style location as if they were User locations.
Page 640 636| Controllers Controllers Programming the Joystick Assigning the Joystick to the Sounds You can activate/deactivate Pitch Bend on each Sound. Go to the Keyboard/Ensemble > Keyboard Control page. Use the Joystick X checkbox to turn the left/right Joystick movements on/ off on each Sound.
Page 641 Programming the Joystick |637 Assigning function to the Joystick left/right (X) movement of the joystick usually controls Pitch Bend. It can however controls a Sound parameter, depending on the Sound pro- gramming. up movement (Y+) is usually Modulation, and sometimes a different Sound parameter, depending on the Sound programming.
Page 642 638| Controllers Setting the velocity curve You can define how the keyboard responds to your striking velocity. Go to the Global > Controllers > Hand Controllers page. Use the Velocity Curve parameter to set the sensitivity of the keyboard to your playing strength.
Page 643 Programming the Pedal/Footswitch |639 Programming the Pedal/Footswitch Assigning a function to the pedal/footswitch By default, the supplied DS2H pedal, connected to the PEDAL connector, works as a Damper (Sustain) pedal. You can however program it for any footswitch-type control. You can connect to this connector any other footswitch. Or, you can connect a Volume/Expression pedal for continuous-type controls.
Page 644 640| Controllers Functions assignable to a footswitch Footswitch function Meaning No function assigned Style/Player Start/Stop Same functions of the control panel buttons with the same name Player - Go to Beginning Chord Seq. Rec. Chord Seq. Play Synchro Start Synchro Stop Tap Tempo/Reset Tempo Lock Intro 1…3...
Page 645 Programming the Pedal/Footswitch |641 Footswitch function Meaning Style-Upper1…3 Mute Same functions of the same functions in the display Style-Lower Mute Style-Drum Mute Style-Perc Mute Style-Bass Mute Style-Acc1…5 Mute Style-Acc1-5 Mute Mute/Unmute all the Acc tracks Song-Melody Mute Mute of the Standard MIDI File’s track selected as the Melody track (Global >...
Page 646 642| Controllers Functions assignable to a pedal Pedal function Meaning No function assigned Master Volume Master Volume control Accompaniment Volume Volume of the Accompaniment Sounds Keyboard Expression Relative Volume of the Keyboard Sounds. All the other Sounds will not be varied. MP3 Volume Volume of the MP3 Songs.
Page 647 Programming the Pedal/Footswitch |643 Upper 2, and off on Upper 1, you can use a continuous pedal to control only the Strings’ volume, while the Piano remains unchanged. Go to the Keyboard/Ensemble > Keyboard Control page. Use the Expression checkbox to turn the Expression pedal on/off on each Keyboard Sound.
Page 648 644| Controllers Touch the Calibration button to make the Damper & Pedal/Footswitch Calibration dialog appear. Fully press the pedal down, and while continuing to press touch the Push button to confirm the maximum value. When the following dialog appears, release the pedal. Touch the Push button in the display to confirm the minimum value.
Page 649: Master Tuning
Master Tuning |645 Master transpose and tuning Master tuning You can fine tune the instrument (in cents of a semitone), to adapt it to an acoustic instrument that is not possible to tune (for example an acoustic piano without a professional tuner or the right tools, or a period instrument). Go to the Global >...
Page 650: Master Transpose
646| Master Transpose and Tuning Master transpose Transposing the whole instrument The instrument’s key can be transposed to make singing or playing together with another instrument more comfortable. The transpose value is usually shown in the page header. Transpose down from the control panel ▪...
Page 651 Master Transpose |647 MIDI Songs and Master Transpose Saving Master Transpose with the Song When saving a MIDI Song from the Sequencer mode, the Master Transpose value is saved with the Song. This value is preserved when playing back the Song in Song Play mode.
Page 652 648| Master Transpose and Tuning Transpose Meaning No Master Transpose is applied to Accompaniment and Keyboard Sounds. Chords shown in the Lyrics page are, however, trans- posed. In Sync When you press either of the TRANSPOSE buttons, the new trans- pose setting will not take effect until the first beat of the next mea- sure is reached.
Page 653 Master Transpose |649 Master Transpose and Scale You can define the relation between the Scale and the Master Transpose. Go to the Global > Tuning > Transpose Control page. Use the Scale and Transpose position pop-up menu to choose where trans- position will apply in relation to the Scale.
Page 654 650| Master Transpose and Tuning MIDI Songs and chord transpose When changing the Master Transpose, chord abbreviations contained in MIDI Songs are transposed and correctly shown in the display. Master Transpose must be applied to the Player, but not to the Keyboard. Please note that chords contained in a linked TXT file or shown in a CDG file are not transposed.
Page 655 Main Scale |651 Scale Main Scale Choosing the main scale There is a main scale for all or most the Sounds. The main scale is used wher- ever there is no sub-scale assigned. Choose the main scale Go to the Global >...
Page 656 652| Scale Scales list Scale Description Equal Equal tuning, the standard scale for modern Western music. It is made of 12 identical semitones. Pure Major Major chords in the selected key are perfectly tuned. Pure Minor Minor chords in the selected key are perfected tuned. Arabic An arabic scale, using quarters of tone.
Page 657 Sub-Scale |653 Sub-Scale Choosing a sub-scale You can assign a different scale (a sub-scale) to the Keyboard Sounds (or any other Sound). This will allow, for example, to play a solo with a Stretch tuning, while the backing tracks continue to play in the Equal tuning. A different sub- scale can be associated to each Performance or STS.
Page 658 654| Scale If needed, choose a key ▪ Use the parameter (needed by some scales) to set the preferred key. Assign the sub-scale to the Sounds Go to the Global > Mode Preferences > Style page. Use the Scale Mode parameter to choose the Sounds to which to apply the sub-scale.
Page 659 Sub-Scale |655 Choosing and editing the User sub-scale In addition to the supplied scales, you can program your own User sub-scale. Choose the User sub-scale Go to the Mixer/Tuning > Sub-Scale page. Use the Scale pop-up menu to choose the User sub-scale.
Page 660 656| Scale Quarter tone sub-scale (SC Presets) Editing a Quarter Tone sub-scale (SC Preset) Quarter Tone scales (SC Presets) are custom scales where detuning can be activated or deactivated while playing. Changing note tuning while playing is typical of Middle East/Arabic music. The detuning interval is usually next to a quarter tone.
Page 661 Quarter Tone sub-scale (SC Presets) |657 ▪ In the lower scale diagram, turn on (black dot shown) the scale degree you want to be detuned, and turn off (black dot hidden) the scale degree that will use the standard tuning. When no preset is selected, a default scale is automatically recalled.
Page 662 658| Scale Using the Quarter Tone sub-scales (SC Presets) You can instantly recall a Quarter Tone sub-scale, by just choosing one of the SC Presets. Activate the Quarter Tone sub-scale Go to the Sub-Scale pane from the main page of the Style Play Song Play...
Page 663 Quarter Tone sub-scale (SC Presets) |659 Touch the Quarter Tone button to make it appear selected. The SC Preset buttons will appear. Choose an SC Preset ▪ Touch one of the SC1…4 buttons to choose the corresponding Preset. The saved Quarter Tone sub-scale will be selected. Use the Quarter Tone sub-scale ▪...
Page 664 660| Scale Deactivate the Quarter Tone sub-scale ▪ Touch the Quarter Tone button to make it appear deselected. The SC Preset buttons will disappear. The main scale will be in use again. Activating the Quarter Tone function by using a footswitch To make realtime changes faster, you can assign the Quarter Tone function to a footswitch.
Page 665 |661 Part X: MIDI CONNECtIONS...
Page 666 662| MIDI...
Page 667 USB DEVICE port, a modern connector replacing the MIDI ports found in older musical instruments with a single port and cable. Havian 30 can be connected to a Windows or Mac computer with no need of special software. However, for full...
Page 668 Tempo is a global MIDI message, that is not tied to a particular channel. Each MIDI Song includes Tempo data. Lyrics Lyric Meta Events are intended to display text together with the music. Havian 30 can read many of the available Lyrics format on the market.
Page 669 The internal Player is compatible with SMFs format 0 (all data in one track; it is the most common format) and 1 (multitrack). Havian 30 can read SMFs in Song Play mode and modify/save them in Sequencer mode. It can save a Song in SMF format 0 from Sequencer mode.
Page 670 Special MIDI channels The Global channel Any MIDI channel set as the Global channel can simulate the Havian 30 inte- grated keyboard. When Havian 30 is connected to a master keyboard, trans- mission should take place over the Global channel of Havian 30.
Page 671 Quick settings using MIDI Presets |667 Quick settings using MIDI Presets Using the MIDI Presets Connecting an instrument to a master keyboard, a personal computer or a tablet, usually requires some programming. To help you configure the MIDI channels, we have provided some MIDI Presets, that will automatically con- figure MIDI according to your needs.
Page 672 668| MIDI Parameter Default Master Kbd Player Ext. Seq. Tablet Ply Tr 1 Global Ply Tr 1 Ply Tr 1 Ply Tr 2 Control Ply Tr 2 Ply Tr 2 Ply Tr 3 Ply Tr 3 Ply Tr 3 Ply Tr 4 Ply Tr 4 Ply Tr 4 Ply Tr 5...
Page 673 Player When using an external sound generator (an expander or a virtual instrument) External Sequencer When slaving Havian 30 to an external sequencer (for example, a software running on a computer) Tablet When connecting to a tablet Editing the MIDI Presets...
Page 674 670| MIDI Choose the Write Midi Preset command from the page menu to open the Write Midi Preset dialog. Write over the current MIDI Preset ▪ If you want to overwrite the current Preset, just touch the button. Write to a different MIDI Preset location If you want to choose a different location, use the Midi Preset pop-up menu.
Page 675 MIDI communication settings |671 MIDI communication settings Connecting the keyboard to the internal or external sounds The ‘local’ controls (keyboard, physical controllers) can be connected to the internal sounds directly, or echoed back from an external device. Go to the Global >...
Page 676 672| MIDI Receiving notes as RX Noises RX Noises are special ambience or mechanical sounds that allow Sounds to be more realistic. They are usually located above C7, depending on the Sound. Go to the Global > MIDI > General Controls page.
Page 677 MIDI communication settings |673 Use the Transpose Applies to Midi In Notes checkbox to determine if notes received on the USB DEVICE port have to be transposed. Midi In Transpose Meaning Notes received on the USB DEVICE port are transposed accord- ing to the Master Transpose.
Page 678 674| MIDI Playing muted tracks via MIDI Go to the Global > MIDI > MIDI IN Controls page. Use the Track Mute Active checkbox to determine if notes received on the USB DEVICE port will play on muted tracks. Track Mute Active Meaning No data received on the USB DEVICE port can play on muted tracks.
Page 679 Use the Midi In Velocity Value parameter to set a fixed velocity value for all the notes received via MIDI. This is useful when playing Havian 30 with an organ or a MIDI accordion. Midi In Velocity Meaning Normal Received velocity values are left unchanged.
Page 680 MIDI Clock in Song Play mode In Song Play mode, MIDI Clock is always generated by the internal Player. While in this mode, Havian 30 can’t receive MIDI Clock messages. Sending the MIDI Clock Go to the Global > MIDI > General Controls page.
Page 681 Sequencer mode, Havian 30 is slaved to an external device. The Start/Stop and Play/Stop commands, as well as the Tempo value, cannot be selected from Havian 30. Use the external device to set the Tempo and Start or Stop the Sequencer or Arranger.
Page 682 MIDI messages coming on this channel are seen as if they were generated by Havian 30’s integrated controllers. Control On this special channel, Havian 30 receives MIDI messages to remotely select Styles, Performances, STS, Style Elements and SongBook Entries. See tables in the Appendix for more informa-...
Page 683 Recognition engine to the USB DEVICE port. This is useful, for example, to control an external Harmonizer playing on the Lower part (even if the part is muted). Control On this special channel, Havian 30 sends messages correspond- ing to the selected SongBook Entry.
Page 684 680| MIDI Filtering out MIDI messages You can set up to eight filters for the MIDI data received or sent. Filters are applied to all MIDI channels at the same time. Go to the Global > MIDI > Filters page. Use the Midi In Filters pop-up menus to choose filters on the data received.
Page 685: Installing The Korg Usb Midi Driver
Installing the KORG USB-MIDI Driver on a Windows PC Please connect Havian 30 to the computer via an USB cable only after hav- ing installed the KORG USB-MIDI Driver Tools.
Page 686 Follow the instructions appearing on screen. When installation is completed, eject the virtual drive, and connect the DEVICE port of your Havian 30 to one of the USB ports of your Mac by using a standard USB cable. Driver ports...
Page 687 Play the keyboard. Notes played on the keyboard will go from the USB port of Havian 30 to the USB port of the computer or tablet. Notes generated by the computer are sent from the USB port of the computer to the USB port of Havian 30.
Page 688 The following is a table including all Control Change messages, and their ef- fect on various functions of the instrument. Note that not all controllers are available in all operative modes. CC Name Havian 30 Function Bank Select Sound selection Modulation 1 (Y+)
Page 689 Control Change messages |685 CC Name Havian 30 Function Release Release time Attack Attack time Filter cutoff Filter cutoff (Brilliance) Decay Time Decay time Lfo1 Speed Vibrato speed Lfo1 Dpt Vibrato depth Lfo1 Dly Vibrato initial delay FilterEgþ Gen.pc.5 Sound Controller 1 Gen.pc.6...
Page 690 686| MIDI (*) The following NRPN messages are recognized in Song Play and Sequencer mode only. These controls are reset when stopping a Song, or choosing a dif- ferent Song. NRPN CC#99 CC#98 CC#06 (MSB) (LSB) (Data Entry) Vibrato Rate 0…127 Vibrato Depth 0…127...
Page 691: Style Elements
Controlling the Styles and Player via MIDI |687 Controlling the Styles and Player via MIDI Style Elements You can remotely select the various Style Elements, by sending Program Change messages on the Control channel. PC Style Element PC Style Element PC Style Element PC Style Element 80 Intro 1...
Page 692 688|...
Page 693 |689 Part XI: FILE MaNaGEMENt...
Page 694 690| Managing files...
Page 695 Overview on file management |691 Managing files Overview on file management You can access Media pages by pressing the MEDIA button. Media pages are where you manage files and storage devices. Media page structure Most Media pages share some basic elements. Labels Scrollbar File list...
Page 696 692| Managing files Selecting and deselecting files ▪ Select a file or folder by touching it. ▪ Deselect it by touching an empty area in the file list, or by touching the Device pop-up menu, and choosing the current device again. Changing the list view You can touch one of the labels...
Page 697 USB [DEVICE_LABEL] USB memory device (like a memory stick) connected to the front USB HOST port. Types of files The following table describes all the file and folder types Havian 30 can read or write. Extension File/folder type All the User data. This is a reserved folder containing other re- served folders.
Page 698 694| Managing files Havian 30 can also read (but not write) the following types of data. Extension File type Operating System and Musical Resource files Karaoke file CD+Graphics file Korg Triton Programs Ordinary data and reserved data Each device (and the internal memory) can contain files and folders. Data inside Havian 30 is slightly more rigidly structured than data in a computer, due to the pre-configured type of data inside the instrument’s memory.
Page 699: Media Structure
Overview on file management |695 Media structure MYDIR.SET GLOBAL SETUP.GBL STYLE MASTEREQ.AUD LIMITER.AUD BANK01.STY MIDI.MPR 1-1 Pop 1 QTPRESET.QTP … 1-40 Pop 40 PERFORM BANK … .STY BANK01.PRF BANK15.STY 1-1 Grand Piano 15-1 Contemp. 1 … … 1-40 Full Strings 15-40 Contemp.
Page 700 696| Managing files Loading musical resources and settings Loading files or folders You can load all the memory content, a separate type of musical resources, a separate bank, or a single resource. Choose the data to be loaded Go to the Media >...
Page 701 Loading musical resources and settings |697 In this example you are choosing a target where to load a bank of Styles: Name of the Style bank being loaded Name of the target bank in memory In this example you are choosing a target where to load a single Style: Name of the Style being loaded Name of the target...
Page 702 SongBook Entries by using the Korg SongBook Editor software. Pa80, Pa60, You can load data exactly as if they were Havian 30 data – Pa50, Pa50SD (apart for the Global). The only difference is that the SOUND folder of Havian 30 is called PROGRAM in the older instruments.
Page 703 Due to the difference in Sounds, you will probably want to make some ad- justments to the old Styles, once they are loaded in Havian 30 (changing the Sound, Volume, Pan, Tempo, Drum Mapping, Wrap Around…). To make the Sound assignment to the Style tracks effective, be sure the...
Page 704 700| Managing files Merging data When loading all User data, or all data of a specified type, most data loaded from a storage device are merged with data already existing in memory. For example, if there is data in all three USER Style banks in memory (USER01, USER02, USER03), and there is only the USER01 Style bank in the storage device, the USER01 bank will be overwritten, while USER02 and USER03 banks will be left unchanged.
Page 705 You can save all the memory content, a separate type of musical resources, a separate bank, or a single resource. Havian 30’s proprietary data has to be saved into special folders with the ‘.set’ filename extension. These special folders can be saved inside ordinary folders.
Page 706 702| Managing files Choose the target device After touching Save, the target device appears: If saving to an external device, connect the device to the USB HOST port. Use the Device pop-up menu to choose the target device. Choose an existing SET folder You can save data into an existing SET folder.
Page 707 Saving musical resources and settings |703 When back at the Create New SET Folder dialog, touch the button to cre- ate the new SET folder and exit the dialog. Save all data After having selected an existing SET folder or having created a new one, touch the Save button to confirm.
Page 708 704| Managing files Save single items When saving single items, choose a target location in the storage device. In this example you are choosing a target where to save a single Style: Name of the Style being saved Name of the target location in the storage device Touch...
Page 709 You can copy inside the same device, or from a device to a different one (both devices must be connected to Havian 30 during the copy operation). To preserve data structure integrity, during Copy operations you can’t open SET folders and copy only one of the files it contains.
Page 710 706| Managing files Choose the target device After touching Copy To, the target device appears: Current path Device If copying to an external device, connect the device to the USB HOST port. Use the Device pop-up menu to choose the target device. Choose a target and confirm copying ▪...
Page 711 Overwriting existing files or folders When copying files, a file or folder with the same name of the file or folder being copied might be found in the target device. In this case, Havian 30 asks you if you want to overwrite it.
Page 712 708| Managing files Deleting files and folders Deleting files or folders You can delete files and folders from a storage device. Choose the data to be deleted Go to the Media > Delete page. If deleting from an external device, connect the device to the USB HOST port.
Page 713 Selecting more items at once |709 Selecting more items at once While in the Copy Delete pages, you can select several files or folders at the same time before executing the operation. Files or folders can be se- lected consecutively (that is, in a row), or discontinuously (that is, with other files or folders in the middle).
Page 714 710| Managing files Deselect the files or folders ▪ To deselect one or more files or folders, without deselecting everything, keep SHIFT pressed and touch the file or folder to be deselected. ▪ To deselect everything, select any other file or folder. All selected files and folders will be deselected.
Page 715 Since this is a reserved name, you cannot rename the label (name) of the in- ternal volume. When formatting the internal disk, the label cannot be edited. Also, if you try to rename the internal volume when Havian 30 is connected to a PC through the USB port, the original name is automatically restored.
Page 716 712| Managing files name, please use SongBook Editor (freely available on our web site) to edit the links. Format the device Touch the Execute button to start formatting. Confirm the following warning message(s).
Page 717 Backing up and restoring musical resources |713 Backing up and restoring musical resources A set of file backup and restore utilities can be found in the Media > Utility page. Backing up the musical resources You can backup the internal data (musical resources and settings) to a stor- age device.
Page 718 714| Managing files Choose the target device and folder After touching Execute, the target device appears: If you are making a backup to an external device, connect the device to the USB HOST port. Use the Device pop-up menu to choose the target device. Browse through the folders.
Page 719 Backing up and restoring musical resources |715 Restoring the musical resources You can restore data from a backup archive created with the Full Resource Backup command. Warning: To avoid data loss, don’t play the keyboard while restoring data, and stay in the Media mode.
Page 720 Restoring the original musical resources After an OS update, or when you want to erase all changes to your Factory and User data, and restore your Havian 30 to the same condition it was when new, use the Factory Restore operation.
Page 721 Do not try to change the label (name) of its internal drive when Havian 30 is connected to a personal computer. If you try to do it, the original name is...
Page 722 Managing files Also, do not modify the structure of the SET folders, or you will no longer be able to use them on Havian 30. Only use the USB connection for data exchange purpose, or to modify ordinary folders. Disable USB communication When finished transferring the files, you can disconnect Havian 30 from the personal computer.
Page 723 Storage device management |719 Storage device management Creating folders You can create generic folders, where to store any type of data (other fold- ers, Songs, SET folders…). While in any of the Media pages, browse through the folders to find the place where to create a new folder.
Page 724 720| Managing files To preserve consistency through the data structure, you cannot rename folders and files inside a SET folder. Also, you cannot change the 3-character extension of files and SET folders, since they are used to identify the type of file or folder.
Page 725 Storage device management |721 Getting information on the selected device, and changing its name Open the Device Info dialog ▪ While in any of the Media pages, choose the Device Info command from the page menu. Read the information While in the Device Information dialog, you can see various information on the selected device.
Page 726 722| Managing files Protecting files and folders Protect the files or folders ▪ While in any of the Media pages, select one or more items and choose the Protect command from the page menu. Choosing this command will protect the selected file(s) or folder(s) from writ- ing or erasing.
Page 727 Exporting playlists |723 Exporting playlists Exporting a list of Songs as a text file A list of the Songs contained inside a folder or a Jukebox list, or the SongBook and Custom Lists, can be exported, to be printed and be used as the playlist of the show.
Page 728 724| Managing files Exporting a Jukebox list While a Jukebox file is assigned to the Player, choose the Export Jukebox List command from the page menu to open the Write Jukebox List dialog. Use the Device pop-up menu to choose a device where to save the list as a TXT file.
Page 729 Exporting playlists |725 Exporting a SongBook Book list or Custom List While you are in the SongBook > Book SongBook > Custom List page, choose the desired list filtering. Choose the Export as Text File command from the page menu to open the Export as Text File dialog.
Page 730 You can backup your data to a personal com- puter, and from there to a backup unit. You can transfer data from the inter- nal drive of Havian 30 (DISK unit) to a personal computer by using the USB DEVICE connection.
Page 731 |727 Part XII: aPPENDIX...
Page 732 728| Musical Resources...
Page 733 |729 Musical resources The following pages list all the musical resources supplied as standard with your Havian 30.
Page 734 730| Musical Resources Styles This list shows the Styles and their position number inside the bank. Style Style Style 31 Modern Beat 25 Modern Ballad 1 32 6/4 Pop 26 Modern Ballad 2 Guitar Pop Guitar Beat 33 Cool Pop 27 Groove Ballad 34 Kool Beat 28 Folk Ballad...
Page 735 Styles |731 Style Style Style 26 Italian Fox Open Rock 2 Unplugged 8 Bt 27 Irish Fox Heavy Rock 12 Unplugged 16 Bt 28 Easy Listening Funky Rock 13 Unplugged Gtr 1 29 12/8 Slow Rock Oldie Unplugged Gtr 2 10 Rock &...
Page 736 732| Musical Resources Style Style Style Vienna Waltz Salsa 2 18 Reggae 1 Italian Waltz 15 Cool Latin Jazz 19 Reggae 2 Musette Waltz 16 Latin Big Band 20 Club Latino French Waltz Meditation Bossa 21 Andean Irish Waltz 18 Organ Bossa Jazz Laendler Waltz 19 Orch.
Page 737 Styles |733 Style Style Style 31 Stride Al Funk Greek Rumba 32 Ragtime Elektrik Funk Xasapiko 33 Slow Smooth Jazz Classic Funk Sirtaki 34 Fast Smooth Jazz Urban Funk Zouk 35 Smooth JazzWaltz Talkin’ Jazz Hawaiian 36 Smooth LatinJazz Funky Sisters 10 Mexican Waltz 37 Classic Swing Rhythm &...
Page 738 734| Musical Resources Style Style Style 3/4 ClassicPiano Pop 2 Piano 23 Shuffle Piano Waltz Piano 15 Pop 3 Piano 24 Boogie Piano Ballad Piano 16 Pop 4 Piano 25 Latin Piano RockBallad Piano Country Piano 26 Bossa Piano March Piano 18 50’s Rock Piano 27 Ballad Trio1 Pno 10 Swing Piano...
Page 739 Piano & Strings Ballad E.Piano Organ Harpsichord Phaser E.Piano Jimmy Organ V. 10 Clav Tremolo E.Piano Hot BX3 Y+ Korg M1 Piano Dyno E.Piano Gospel Organ V. 12 Electric Grand Amp. E.Piano Jazz Organ Y+ 13 Digital Grand Classic E.Piano Full Pipes Piano &...
Page 740 736| Musical Resources Performance Performance Performance 23 Blues Harmonica Moon Pad 25 Sax Section 24 Bandoneon 18 Square Pad 26 Trumpet & Sax 25 Rock Organ V. 19 Fresh Pad 27 Sax & Brass V. 26 DWB Organ V. 20 Pa800 Pad 28 Trump.&...
Page 741 Performances |737 Performance Performance Performance 19 Steel Gtr & Pad 24 Napoli Mandolin 29 Portamento Lead 20 Pedal Steel Gtr 25 Mini Lead 30 Big Lead 21 Tambra 26 Saw Lead 31 Distortion Synth 22 Sitar 27 Gliding Lead 32 Wave Cycle 23 Hawaiian Guitar 28 Hybrid Lead 33 VCF Modulation...
Page 742 738| Musical Resources Sounds and Drum Kits (Bank order) The following table lists all Factory Sounds and Drum Kits as they appear in the Sound Select window. The table also includes MIDI data used to remotely select the Sounds. CC00: Control Change 0, or Bank Select MSB.
Page 743 Sounds and Drum Kits (Bank order) |739 Sound CC32 CC00 Sound CC32 CC00 Suit E.Piano 1 Santur Suit E.Piano 2 Mallet Clock Classic Wurly 1 Factory/Accordion Classic Wurly 2 Harmonica RX Tremolo Wurly Cassotto 16’ R&B E. Piano Cassotto FM Pad EP Master Accordion White Pad EP Sweet Musette...
Page 744 740| Musical Resources Sound CC32 CC00 Sound CC32 CC00 Accordion Bass Pipe Flute 1 Acc.Voice Change Pipe Flute 2 Pipe Mixture Factory/Organ Flauto Pipes Jimmy Organ Small Pipe Perc. Organ 1 Perc. Organ 2V. Positive Organ Perc. Organ 3V. Factory/Guitar BX3 Rock 1 V.
Page 745 Sounds and Drum Kits (Bank order) |741 Sound CC32 CC00 Sound CC32 CC00 Clean Jazz 1 Mute Monster Clean Jazz 2 Disto Mute Pop Steel Gtr 1 Vox Wah Chick RX Pop Steel Gtr 2 Funky Wah RX 5th Mute Gtr 12 Strings RX Stereo Dist.Gtr Nylon Gtr RX1...
Page 746 742| Musical Resources Sound CC32 CC00 Sound CC32 CC00 Viola Expr. Vocalesque Violin & Viola Fresh Breath Slow Violin Vocalscape Strings Quartet Heaven Chamber Strings Airways Orchestra Tutti1 Factory/Trumpet & Trbn. Orchestra Tutti2 Jazz Trumpet RX Orch. & Oboe 1 Jazz Cornet RX Orch.
Page 747 Sounds and Drum Kits (Bank order) |743 Sound CC32 CC00 Sound CC32 CC00 Trumpet Pitch Brass Fall Tuba Gold Brass Impact Oberkr. Tuba Brass Hit Factory/Brass Factory/Sax Big Band Brass 1 Alto Sax RX1 Big Band Brass 2 Tenor Sax RX Trpts &Trombs Alto Sax RX2 Tight Brass Pro...
Page 748 744| Musical Resources Sound CC32 CC00 Sound CC32 CC00 Ocarina Air Clouds Flute Switch Tinklin Pad Jazz Flute RX Pods In Pad Jazz Flute Expr. Vintage Sweep Flute Dyn. 5th Money Pad Flute Frullato Tsunami Wave Clarinet Pro 1 Ravelian Pad Clarinet Pro 2 Meditate Jazz Clarinet...
Page 749 Sounds and Drum Kits (Bank order) |745 Sound CC32 CC00 Sound CC32 CC00 Dance Lead Sitar Tambou Wave Lead Kanoun 1 Sine Wave Kanoun 2 Express. Lead Kanoun Trem. 1 HipHop Lead Kanoun Trem. 2 Analog Lead Kanoun Mix Phat Saw Lead Bouzouki Glide Lead Oud 1...
Page 750 746| Musical Resources Sound CC32 CC00 Sound CC32 CC00 Finger Bass 4 Hybrid Bass Acoustic Bass 1 Stein Bass Finger Slap Organ Pedal 1 The Other Slap Organ Pedal 2 Thumb Bass Acoustic Bass 2 Pick Bass 1 Acous. Bass RX Pick Bass 2 Finger Bass RX2 Super Bass 1...
Page 751 Musette Clar. 90’s Piano Arabic Accordion 2000’s Piano Legacy/Organ Chorus Piano Classic Click Grand RX DEMO Perc.Short Decay Honky-Tonk Rock Organ 2 Harpsi Korg Dirty B Harpsi 16’ RX Killer B Clav Snap BX3 Short Decay Sticky Clav Super BX Perc.
Page 752 748| Musical Resources Sound CC32 CC00 Sound CC32 CC00 Gospel Organ Hackbrett Old Wheels Tel. Bridge Dark Organ 1 Guitarish Dark Organ 2 Stra. Gtr Slide Rotary Organ Stra. Chime VOX Legend Clean Guitar 2 M1 Organ L&R E.Guitar 2 Dirty JazzOrgan Rhythm E.Guitar Arabian Organ...
Page 753 Sounds and Drum Kits (Bank order) |749 Sound CC32 CC00 Sound CC32 CC00 Dream Voice Soft Tenor Classic Vox Tenor Growl Doolally Legacy/Woodwind Folk Clarinet Legacy/Trumpet & Trbn. Mono Trumpet Flute Warm Flugel Wooden Flute Pitch Trombone Bambu Flute Soft Trombone English Horn Trombone Recorder 1...
Page 754 750| Musical Resources Sound CC32 CC00 Sound CC32 CC00 Reso Sweep Dyna Bass Synth Sweeper Ticktacing Bass Sync Kron Fretless Bass 3 Tecno Phonic Stick Bass Band Passed Dark R&B Bass2 Cat Lead Auto Pilot 2 Pan Reso Bass4 Da Phunk Square Rez Dr.
Page 755 Sounds and Drum Kits (Bank order) |751 Sound CC32 CC00 Sound CC32 CC00 Log Drum GM/Chrom. Perc. Reverse Tom Celesta GM Reverse Snare Glockenspiel GM Reverse Cymbal Music Box GM Dragon Gong Vibraphone GM Stadium Vibraphone Wide Castanets Plus Marimba GM Timpani Marimba Wide Woodblock...
Page 756 752| Musical Resources Sound CC32 CC00 Sound CC32 CC00 Nylon Guitar 2 SynthBass Attack Steel Guitar GM SynthBass Rubber 12 Strings Gtr Attack Pulse Mandolin GM/Strings Steel Gtr & Body Violin GM Jazz Guitar GM Slow Att. Violin Pedal Steel Gtr Viola GM Clean Guitar GM Cello GM...
Page 757 Sounds and Drum Kits (Bank order) |753 Sound CC32 CC00 Sound CC32 CC00 Trombone GM GM/Syn Lead Syn Pad Trombone 2 Lead Square GM Bright Trombone Lead Square 2 Tuba GM Lead Sine Muted Trumpet GM Lead Saw GM Muted Trumpet 2 Lead Saw 2 French Horn GM Lead Saw &...
Page 758 754| Musical Resources Sound CC32 CC00 Sound CC32 CC00 Echo Drops GM Seashore GM Echo Bell Rain Echo Pan Thunder Star Theme GM Wind Stream GM/Ethnic Sitar GM Bubble Bird Tweet GM Sitar 2 Banjo GM Shamisen GM Horse Gallop Bird Tweet 2 Koto GM Telephone GM...
Page 759 Sounds and Drum Kits (Bank order) |755 Sound CC32 CC00 Sound CC32 CC00 Explosion Rock Kit XG Electro Kit XG GM/Drum Standard Kit GM Analog Kit XG Jazz Kit 1 XG Room Kit GM Jazz Kit 2 XG Power Kit GM Electro Kit GM Brush Kit XG Classic Kit XG...
Page 760 756| Musical Resources Sounds (Program Change order) The following table lists all the Factory Sounds in the Bank Select / Program Change order. The table also includes MIDI data used to remotely select the Sounds. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB.
Page 761 Harpsichord GM Tine EP Amp/Phas Harpsi OctaveMix Dist. Tine EP Harpsi Wide Wet Tine EP Harpsi Key Off Bell Tine EP Harpsi Korg Suit Case88 EP1 Harpsi 16’ RX Suit Case88 EP2 Harpsichord E.Piano RX Noise Harpsichord 8+4’ Wurly Logic...
Page 762 758| Musical Resources Sound CC00 CC32 Sound CC00 CC32 Vibraphone 2 Organ Hi V. Marimba GM Drawbars Fast V. Marimba Wide Drawbars Slow V. Marimba Key Off BX3 Jazz V. Monkey Skuls BX3 Gospel V. Log Drum Theatre Organ 1 Mallet Clock Theatre Organ 2 Balaphon...
Page 763 Sounds (Program Change order) |759 Sound CC00 CC32 Sound CC00 CC32 Dirty JazzOrgan Sweet Musette Perc.Short Decay Cassotto 16’ BX3 Jazz Pc. V. Cassotto Or.Tune Jimmy Organ V. Cassotto NorTune Rock Organ 2 Detune Accordion BX3 Rock 4 V. 2 Voices Musette Jimmy Organ 3 Voices Musette Church Organ GM...
Page 764 760| Musical Resources Sound CC00 CC32 Sound CC00 CC32 Nylon Guitar GM Steel Slide Pro2 Ukulele Steel Guitar RX1 Nylon Key Off Steel Guitar RX2 Nylon Guitar 2 12 Strings Pro Nylon Bossa 12 Strings RX Ac.Guitar KeyOff Steel Guitar Pro Spanish Guitar Steel Guitar 2 Guitar Strings...
Page 765 Sounds (Program Change order) |761 Sound CC00 CC32 Sound CC00 CC32 Processed E.Gtr Clean Funk Single Coil Disto Mute New Stra.Guitar Clean Funk RX1 Guitarish Clean Funk RX2 L&R E.Guitar 1 Funk Stein RX1 L&R E.Guitar 2 Funk Stein RX2 Country Nu Clean Guitar RX1 Funky Wah RX...
Page 766 762| Musical Resources Sound CC00 CC32 Sound CC00 CC32 Ac. Bass Buzz Bass&Gtr Double Bass & Ride 2 Pick Bass 1 Acous. Bass Pro1 Pick Bass 2 Acous. Bass Pro2 Ticktacing Bass DarkWoody A.Bass Picked Bass RX Bass & Ride 1 Picked E.Bass 3 Acous.
Page 767 Sounds (Program Change order) |763 Sound CC00 CC32 Sound CC00 CC32 30303 Square Viola Expr. Bass Square Violin & Viola Syn Bass Res Cello GM Digi Bass 1 Cello Digi Bass 2 Contrabass GM Digi Bass 3 Class.Contrabass Blind As A Bat Tremolo Str.
Page 768 764| Musical Resources Sound CC00 CC32 Sound CC00 CC32 Strings & Glock. Grand Choir Orchestra Tutti2 Choir Light Orchestra&Flute Strings Choir Strings Ens. 1 Femal&Male Scat Strings Ens. RX Femal Scat Concert Str.RX Male Scat Strings Ens.2 GM Scat V.& Bass1 Sweeper Strings Scat V.&...
Page 769 Sounds (Program Change order) |765 Sound CC00 CC32 Sound CC00 CC32 Trumpet Pitch Tuba GM Dual Trumpets Oberkr. Tuba Flugel Horn Tuba Gold Warm Flugel Dynabone BeBop Cornet Ob.Tuba&E.Bass 1 Trumpet Pro 1 Ob.Tuba&E.Bass 2 Trumpet Pro 2 Muted Trumpet GM Sweet FlugelHorn Muted Trumpet 2 Flugel Horn Pro...
Page 770 766| Musical Resources Sound CC00 CC32 Sound CC00 CC32 Brass Slow Sweet Soprano 2 Fanfare Alto Sax GM Movie Brass Alto Breath Power Brass Sax Ensemble Dyna Brass 2 Breathy Alto Sax Sforzato Brass Alto Sax Growl Double Brass Sweet Alto Sax1 Brass Hit Sweet Alto Sax 2 Brass Fall...
Page 771 Sounds (Program Change order) |767 Sound CC00 CC32 Sound CC00 CC32 English Horn GM Recorder 1 English Horn Recorder 2 Bassoon GM Pan Flute GM Bassoon Kawala Clarinet GM Pan Flute Y- Jazz Clarinet Blown Bottle GM Clarinet G Blown Bottle Section Winds 1 Shakuhachi GM Section Winds 2...
Page 772 768| Musical Resources Sound CC00 CC32 Sound CC00 CC32 Lead Double Saw OB Lead Lead Seq. Analog A Leadload Power Saw Bass Phat Saw Octo Lead New Age Pad GM Seq Lead Virtual Traveler Phat Saw Lead Arp Angeles Glide Lead Warm Pad GM Fire Wave Sine Pad...
Page 773 Sounds (Program Change order) |769 Sound CC00 CC32 Sound CC00 CC32 Korgmatose Tinklin Pad Choir Pad GM Pods In Pad Itopia Pad Noble Pad Fresh Air 1 Rave Heaven Elastick Pad Pop Synth Pad 1 Crystal GM Future Pad Synth Mallet Tsunami Wave Vs Bell Boy Fresh Breath...
Page 774 770| Musical Resources Sound CC00 CC32 Sound CC00 CC32 Sitar Sitar Garbage Mall Sitar Agogo GM Banjo GM Steel Drums GM Banjo Key Off Warm Steel Oud 2 Woodblock GM Jaw Harp Castanets Banjo RX Castanets Plus Oud 1 Woodblock Shamisen GM Taiko Drum GM Koto GM...
Page 775 Sounds (Program Change order) |771 Sound CC00 CC32 Sound CC00 CC32 Bird Tweet 2 Starship Telephone GM Burst Noise Telephone 2 Applause GM Door Creaking Laughing Door Screaming Scratch Punch Wind Chime Heart Beat Helicopter GM Footsteps Car Engine Stadium Car Stop Footstep Walk Car Pass...
Page 776 772| Musical Resources Drum Kits The following table lists all the Factory Drum Kits in the Bank Select / Program Change order. The table also includes MIDI data used to remotely select the Drum Kits. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB.
Page 777 Drum Kits |773 Drum Kit CC00 CC32 Drum Kit CC00 CC32 Trinity Perc.Kit Elektro Kit 1 i30 Perc. Kit Elektro Kit 2 Latin Perc.Kit 2 Arabian Kit 2 Standard PercKit Turkish Kit HipHop Kit RX Oriental PercKit Techno Kit RX Room Kit 1 Dance Kit RX Power Kit 1...
Page 778 774| Musical Resources Multisamples The following table contains all the Factory Multisamples. * OrigTune: Original Tune, that is, the samples use the natural tuning of the origi- nal instrument, instead of the equal tuning. Beating may occur at the extreme pitches, when the sound is used in conjunction with other sounds.
Page 779 Multisamples |775 Multisample Multisample Multisample 16’ 8’ LS R 119 E.Organ Dist 154 Flute 16’ 8’ 51/3 LF L 120 Rotary Organ 1 155 Flute Frull 16’ 8’ 51/3 LF R 121 Rotary Organ 2 156 Flute Voice 16’ 8’ 51/3 LS L 122 Super BX3 157 Flute Jazz 16’...
Page 780 776| Musical Resources Multisample Multisample Multisample 189 Tenor Sax Straight 224 Harmonica Fall 259 Trumpet Slow mp 190 Tenor Sax M1 225 Harmonica 260 Trumpet Slow f 191 Tenor Sax GM 226 Harmonica Wah 261 Trumpet GM 192 Alto Sax Vibrato1 227 Highland Bag Pipes 262 Trumpet Tonguing mp 193 Alto Sax Vibrato2...
Page 781 Multisamples |777 Multisample Multisample Multisample 294 Violin Solo Vibrato 329 Steel Gtr Noise 364 El. Guitar Le Ghost1 295 Violin Straight 330 Guitar Fret Noise Off 365 El. Guitar Le Ghost2 296 Violin GM 331 Guitar Body 366 El. Guitar Harmonics 297 Fiddle GM 332 Nylon Guitar p 367 El.
Page 782 778| Musical Resources Multisample Multisample Multisample 399 E.Bass1 Finger 434 Sitar & Tambura 469 R&B Square Bass 400 E.Bass2 P.B.1 435 Santur 470 Chrom Res 401 E.Bass2 P.B.2 436 Tambura 471 Detuned Super 402 E.Bass2 LH Stop 437 Bouzouki 472 Detuned PWM 403 E.Bass2 RH Stop 438 BouzoukiLP 473 Pop Synth...
Page 783 Multisamples |779 Multisample Multisample Multisample 504 Pulse 33% 536 Church Bell 568 Ride Edge2 505 Pulse 40% 537 Thunder 569 88 HiHat Open 506 Square 538 Stream 570 88 Cowbell 507 Square MG 539 Bubble 571 88 Tom 508 Square JP 540 Dog 572 88 Crash 509 Triangle MG...
Page 784 780| Musical Resources Drum Samples The following table contains all the Factory Drum Samples. Drum Sample Family Drum Sample Family BD 24x14 Bass Drum BD Soul1 Bass Drum BD 24x14 GM Bass Drum BD Soul2 Bass Drum BD 26 inch Open Bass Drum BD Soul3 dist Bass Drum...
Page 785 Drum Samples |781 Drum Sample Family Drum Sample Family BD Electribe02 Bass Drum SD Wood1 p Snare Drum BD Electribe03 Bass Drum SD Wood1 mf Snare Drum BD Electribe04 Bass Drum SD Wood1 f Snare Drum BD Electribe05 Bass Drum SD Wood2 pp Snare Drum BD Electribe06...
Page 786 782| Musical Resources Drum Sample Family Drum Sample Family SD Brass1 f Snare Drum SD Stereo Gate Snare Drum SD Brass2 p Snare Drum SD Stereo Gate GM Snare Drum SD Brass2 mf Snare Drum SD Processed Snare Drum SD Brass2 f Snare Drum SD Processed GM Snare Drum...
Page 787 Drum Samples |783 Drum Sample Family Drum Sample Family SD House3 Snare Drum SD Brush1 (swirl2) Snare Drum SD House4 Snare Drum SD Brush1 (swirl3) Snare Drum SD BeatBox Snare Drum SD Brush1 (swirl4) Snare Drum SD Small Snare Drum SD Brush1 Snare Drum SD Rap...
Page 788 784| Musical Resources Drum Sample Family Drum Sample Family DrumStick Hit GM Snare Drum Tom3 Floor Tom R Vintage Hi Tom4 Hi Tom R Vintage Mid Tom4 Low Tom R Vintage Floor Tom4 Floor Tom Vintage Room Hi Tom5 Hi Tom Vintage Room Mid Tom Tom5 Low Tom Vintage Room Low Tom...
Page 789 Drum Samples |785 Drum Sample Family Drum Sample Family HH1 Closed p Hi Hat HH Hip Hi Hat HH1 Closed mf Hi Hat HH Alpo Close Hi Hat HH1 Closed f Hi Hat HH Dance1 Hi Hat HH1 Foot mp Hi Hat HH Dance2 Hi Hat...
Page 790 786| Musical Resources Drum Sample Family Drum Sample Family Claps1 Latin Perc. DJ Vinyl Sliced 08 Claps2 Latin Perc. DJ Vinyl Sliced 09 Claps3 Latin Perc. DJ Vinyl Sliced 10 Claps4 Latin Perc. DJ Vinyl Sliced 11 Dance Claps1 Latin Perc. DJ Vinyl Sliced 12 Dance Claps2 Latin Perc.
Page 791 Drum Samples |787 Drum Sample Family Drum Sample Family Surdo Open GM Latin Perc. Conga2 Hi Mt Slap Latin Perc. Surdo Mute GM Latin Perc. Conga2 Hi Slap1 Latin Perc. Tumba Open1 mf Latin Perc. Conga2 Hi Slap2 Latin Perc. Tumba Open1 f Latin Perc.
Page 792 788| Musical Resources Drum Sample Family Drum Sample Family Bongo1 Hi Stick Latin Perc. Baya KaToe a Latin Perc. Bongo1 Hi StickEdge mf Latin Perc. Baya KaToe b Latin Perc. Bongo1 Hi StickEdgef Latin Perc. Baya Nail a Latin Perc. Bongo1 Hi StickBounce Latin Perc.
Page 793 Drum Samples |789 Drum Sample Family Drum Sample Family Timbales1 Lo Open mp Latin Perc. Cowbell5 Open a Ethnic Perc. Timbales1 Lo Open mf Latin Perc. Cowbell5 Open b Ethnic Perc. Timbales1 Lo Open mf GM Latin Perc. Cowbell5 Mute Ethnic Perc.
Page 794 790| Musical Resources Drum Sample Family Drum Sample Family Wood Block 3 b Latin Perc. Caxixi1 b Ethnic Perc. Wood Block 4 a Latin Perc. Caxixi1 c Ethnic Perc. Wood Block 4 b Latin Perc. Caxixi2 a Ethnic Perc. Wood Block 5 a Latin Perc.
Page 795 Drum Samples |791 Drum Sample Family Drum Sample Family Djembe L Basstone b Latin Perc. WD Ethno SD5 Snare Drum Djembe L Basstone c Latin Perc. WD Ethno SD6 Snare Drum Djembe L Open Latin Perc. WD Kangaroo1 Snare Drum Djembe L Open Slap Latin Perc.
Page 796 792| Musical Resources Drum Sample Family Drum Sample Family M.E.1 Tabla Medium Latin Perc. M.E.1 Tef3 Ethnic Perc. M.E.1 Tabla Dom Latin Perc. M.E.2 BD Kick Bass Drum M.E.1 Tabla Flam Latin Perc. M.E.2 SD Snare Drum M.E.1 Tabla Rim Latin Perc.
Page 797 Drum Samples |793 Drum Sample Family Drum Sample Family M.E.2 Tekbir Latin Perc. Heart Beat GM M.E.2 Tokat Latin Perc. Punch M.E.2 Toprgum Latin Perc. Tribe M.E.2 Toprtek1 Latin Perc. Door Creak M.E.2 Toprtek2 Latin Perc. Door Slam M.E.2 Toprtokat Latin Perc.
Page 798 794| Musical Resources Drum Sample Family Drum Sample Family Dist. Slide1 88 HH Open1 Hi Hat Dist. Slide2 88 HH Open1 GM Hi Hat E.Gtr Pick1 88 Tom1 E.Gtr Pick2 88 Tom2 Gtr Scratch1 88 Crash Cymbal Gtr Scratch2 1000 88 Crash GM Cymbal Ac.Bs-String Slap 1001 88 Congas...
Page 799: Recognized Chords
Drum Samples |795 recognized chords The following pages show the main recognized chords, when the selected Chord Recognition mode is Fingered 3-Notes. Major Major 6th 3-note 2-note 4-note 2-note Major th 4-note 3-note 2-note 3-note 2-note 3-note a t th 4-note 3-note 2-note...
Page 800 796| Recognized chords Minor Minor th 3-note -note 4-note Minor 7th Minor M or 7th 3-note 4-note 3-note 4-note i ini h i ini h i ini h or 7th 3-note 4-note 4-note Minor 7th 4-note or 7th 3-note 4-note 4-note no th -note...
Page 801: Shift Functions
Drum Samples |797 Shortcuts Shift functions You can keep the SHIFT button pressed, and press another button on the control panel to directly jump to an edit page or dialog box. Shift + Functions Any modes Dial Tempo Change Scroll Arrows When a list is shown: Goes to Next/Previous alphabetical section of the currently selected column Global...
Page 802 798| Shortcuts Shift + Functions Song Play mode Song Play Selects the Global > Mode Preferences > Song & Seq page Record Opens the MP3 Record dialog box JukeBox >> Play the next Song in the JukeBox list << Play the previous Song in the JukeBox list Lyrics Display Load a TXT file...
Page 803: Special Functions
Drum Samples |799 Special functions Other available shortcuts are the following ones. Style Play mode Tempo +/– (together) Original Tempo Transpose #/b (together) Set the Master Transpose to 0 Upper Octave +/- (togheter) Set the Upper Octave to the original setting Record While recording MP3 Song, with MP3 Record Dialog Box closed, it stops the MP3 record and open the ‘Write Song...
Page 804: Troubleshooting
At the end, the button’s LED will turn off, and the instrument will be set to standby. No sound Is the VOLUME knob of the Havian 30 set to a position other than ‘0’? Is a jack inserted into the PHONES/AUDIO OUT connector? Unplug it.
Page 805 Make sure that the external device is transmitting through MIDI channels enabled to receive in Havian 30. Make sure that the MIDI IN Filters of Havian 30 do not pre- vent the reception of messages. Percussive instruments are Make sure that the Drum track is set to Drum Mode and the not played correctly external device has not transposition applied.
Page 806 802| Specs Specs KORG Havian 30 Features Keyboard 88 Weighted Hammer keys, Velocity sensitive Sounds Factory: More than 950 including Stereo Gran Coda (with reso- nance), Stereo Upright (with resonance) and GM2 Sounds; 64 Drum Kits User: 256 Sounds, 128 Drum Kits...
Page 807 Drum Samples |803 KORG Havian 30 Features MP3 Player/ MP3 Transpose (-5/+6 semitones), MP3 Tempo Change (±30%) Recorder Records all audio, including Styles, MIDI Songs, Keyboard Sounds and Effects Sequencer Quick Record (Backing Sequence), Multitrack and Step Record functions Full featured sequencer, 16 tracks, up to 100,000 events, SMF for-...
Page 808 804| Specs KORG Havian 30 Features Options Piano stand with damper pedal support (ST-H30-BK) DS1H damper pedal (supports half-pedaling) EXP2, XVP10 expression pedal PS1, PS3 footswitch pedal Specifications and appearance are subject to change without notice for im- provement.
Page 809 Drum Samples |805...
Page 814 Address KORG ITALY SpA Via Cagiata, 85 I-60027 Osimo (An) Italy www.korg.com © KORG Italy 2015. All rights reserved PART NUMBER: MAN0010096...