Download Print this page

Advertisement

Advertisement

Troubleshooting

loading

Summary of Contents for Korg Pa4X

  • Page 2 ▪ Protect the power cord from being walked on or pinched particularly at plugs, convenience CAUTION – Pa4X is for use only with KORG receptacles, and the point where they exit ST-SV1-BK stand. Use with other stands is ca- from the apparatus.
  • Page 3 WARNING – Do not ingest bat- tery, chemical burn hazard. This product contains a coin/button cell battery. If the coin/button cell battery is swallowed it can cause severe internal burns in just 2 hours and can lead to death. Keep new and used batteries away from chil- dren.
  • Page 4 MaxxEQ, MaxxBass, MaxxTreble, MaxxStereo, Automatic power-off MaxxVolume are trademarks of Waves Audio To avoid wasting power, Pa4X will by default au- Ltd. All other trademarks or registered trade- tomatically enter standby mode after two hours marks are the property of their respective hold- of non-active use (playing, pressing buttons or ers.
  • Page 5: Table Of Contents

    Contents Part I Let’s start! Introduction Welcome to Pa4X! Before starting to play… Overview of the instrument Setting up the pedals and audio connections Connecting the pedals Connecting the EC5 multiswitch Connecting the headphones Connecting the audio outputs Powering up...
  • Page 6 Playing the Songs Choosing the Songs Playing a Song Mixing two Songs Playing along with the Song Adjusting the volume levels Playing all the Songs in a folder Playing a Jukebox list Lyrics, chords, markers and score Choosing one of the Players Reading the lyrics and chords contained in a Song Reading the lyrics and chords loaded as a text file Reading the lyrics and chords loaded as a CDG file...
  • Page 7 |iii Quick editing of Sounds Programming the key and velocity range Editing the Digital Drawbars Writing the Sound sets Writing the Keyboard Sets to the library Writing Keyboard Sets into a Style Writing Keyboard Sets into a SongBook Entry Writing Style Settings, Song Settings and MIDI Song Sounds Part V Customizing, recording and editing the Styles and Pads Customizing the Styles...
  • Page 8 Editing the MIDI events Copying the Style track settings Importing and exporting the Styles and Pads Importing a Standard MIDI File to a Chord Variation Importing a Standard MIDI File to a Style Importing a MIDI Groove to a Style or Pad Exporting a Chord Variation Converting a MIDI Song to a Style The Style Creator Bot...
  • Page 9 Customizing the Sound Editing the Sounds Setting the Sound’s basic parameters Setting the oscillator’s basic parameters Programming the Damper pedal Equalizing the Sound Setting the Drum Kit’s basic parameters Equalizing the Drum Kit Mixing the Drum Kit layers Mixing and retriggering the drum samples Modulating pitch Programming the pitch envelope (Pitch EG) Programming the filters...
  • Page 10 Sending Sounds and Drum Kits to the audio outputs Choosing the audio outputs for the metronome click Programming the MAXX mastering effects Connecting the audio inputs Connecting a line audio device Connecting a microphone Shaping the sound of the lead voice Talking with your audience Using the voice effects and harmonization Choosing a Voice Preset...
  • Page 11 |vii Choosing the KAOSS Presets KAOSS Preset list Using the KAOSS effects Part XI Controllers Hand controllers Programming the joystick Programming the keyboard’s velocity and aftertouch Programming the ribbon controller Programming the assignable sliders Programming the assignable switches Foot controllers Programming the damper pedal Programming the assignable pedal/footswitch Calibrating the pedal and setting its polarity...
  • Page 12 Programming the MIDI channels Connecting Pa4X to a personal computer or tablet Control Change messages Controlling the Arranger and Players via MIDI Part XIV File management Managing files in the internal memory Copying, renaming and deleting The Direct Styles, Keyboard Sets, SongBook...
  • Page 13 1087 Installing a microSD card 1091 Installing an additional internal drive 1095 Shortcuts 1096 Troubleshooting 1098 Specs...
  • Page 15 Part I: LEt’S Start!
  • Page 16 2| Let’s start!
  • Page 17: Introduction

    The main panel’s logical layout ensures easy access to sliders, buttons, knobs and all controls. Using your Pa4X is easy, thanks to the touch screen and the clean, clearly laid-out, modern user interface, based on icons reproducing real objects in the real world.
  • Page 18 (like a Vocoder), realistic amp simulators and carefully recreated vintage effects. The final effects are the result of KORG’s long term cooperation with Waves Audio®, the world reference in studio mastering effects. The included Waves MAXX AUDIO suite of effects delivers sound that is louder, clearer, fuller, and more polished.
  • Page 19 Introduction |5 A band always ready to play with you Ultra-realistic sounds in the Pa4X are always ready to play along with you, in the music style best fitting your music. The high number of included Styles will satisfy any music genre, but can also be expanded by adding new Styles.
  • Page 20 MIDI ports. Even more! There is more, much more, but to know more, you need to explore Pa4X in depth. Pa4X is the most evocative, powerful, easy-to-use complete Arranger ever produced. Enjoy your musical life with the new Pa4X!
  • Page 21: Before Starting To Play

    Before starting to play… What’s in the box After you get your Pa4X, please check that all the following items are in- cluded in the package. If any of the following items is missing, please contact your KORG dealer immediately.
  • Page 22: Loading The Operating System

    KORG. You can download the most up-to-date operating system from our web site. Please, read the instructions supplied with the operating system on the site. You can see which version of the operating systems is installed in your Pa4X by going to the Media > Utility page.
  • Page 23: Overview Of The Instrument

    Introduction |9 Overview of the instrument The following pages show the functional areas of the front and real panels. Front panel The front panel is where you can find the instrument’s controls, the (op- tional) loudspeakers and the music stand. Guide for the music stand and PaAS amplification system Headphones...
  • Page 24 10| Let’s start! Music stand A music stand is included with your Pa4X (see page 1076 for assembly in- structions). Headphones connector Connect a pair of headphones to this output. You can use headphones with an impedance of 16-200 Ohms (50 Ohms suggested).
  • Page 25: Control Panel

    Introduction |11 Control panel The control panel is the part of the front panel where you can find the instru- ment’s controls. Metronome and Tempo area Microphone Sliders area Display Navigation area area Styles area Players area Sounds/Set List area Display Use this touchscreen display to interact with the instrument.
  • Page 26 12| Let’s start! Navigation area Use these controls to go through the menus, pages and parameters, and search for the various musical resources (see page 22). Sounds (and Set Lists) area Sounds are what you can play on the keyboard (see page 3). Here you can choose Sound sets saved as Keyboard Sets in a dedicated library.
  • Page 27 Introduction |13 Players area Songs can be played back by the two onboard Players. You can play Sounds (selected via the Keyboard Sets) and Pads along with the Songs. (See page 69). Metronome and Tempo area Use these controls to practice with the metronome and control the Tempo of the metronome, the Styles and the Songs (see page 47).
  • Page 28: Rear Panel

    You can connect an (optional) Korg EC5 multiswitch pedalboard, to control many functions in realtime. MIDI ports Use these ports to connect Pa4X to external controllers (master keyboard, MIDI guitar, wind controller, MIDI accordion, MIDI pedalboard…), to a series of expanders, or to a computer with a MIDI interface.
  • Page 29 (DEVICE) or to connect an USB memory device, like an USB pendrive, or another musical instrument to be used as a controller (HOST-R). Video out Connect Pa4X to a TV or video monitor, to read lyrics and chords on a bigger display. Battery and microSD slot This opening contains the clock battery and the microSD card slot.
  • Page 30: Setting Up The Pedals And Audio Connections

    PEDAL > ASSIGNABLE connector to connect a footswitch pedal like the (optional) KORG PS1, PS3 or DS1H, or a continuous pedal like the (op- tional) KORG XVP-10 Volume pedal or EXP-2 Expression pedal. By default, this connector will work as an Expression pedal. If you want to change the assigned function, or you need to change the pedal’s polarity...
  • Page 31: Connecting The Ec5 Multiswitch

    Setting up the pedals and audio connections |17 Connecting the EC5 multiswitch Use the connector to connect the (optional) KORG EC5 multiswitch. With this programmable controller you can control various functions. By default, the first switch acts as an automatic accompaniment’s Start/Stop command, while each of the remaining four switches select one of the four Style Variations.
  • Page 32: Powering Up

    18| Let’s start! Powering up turning the instrument on Connecting the power cable Plug the supplied power cable into the POWER socket on the back of the instrument, and the cable plug into a wall power socket. When the cable is connected, the instrument is in standby. Warning: When the instrument is in standby, it is still connected to the power line.
  • Page 33: Calibrating The Touch Screen

    Powering up |19 Calibrating the touch screen Calibrating the display It may happen (for example, after loading a new operating system) that the Color TouchView™ display has to be recalibrated, to make pointing more ac- curate. Warning: Do not use sharp objects, or you will damage your screen! Keep the GLOBAL button pressed, until the...
  • Page 34: Adjust The Display Brightness

    20| Let’s start! adjust the display brightness Brightness can be adjusted to match the ambient’s light. ▪ Keep the MENU button pressed, and use the VALUE controls to adjust the display brightness. tilting the display For optimal visibility under any seating position, the display’s tilt angle can be adjusted.
  • Page 35: Listening To The Demo Songs

    Powering up |21 Listening to 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. Choose a single Demo Song ▪...
  • Page 36: Interface Basics

    22| Let’s start! 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 37: The User Interface In Detail

    Operative modes The pages of Pa4X are grouped in various operating modes. Each mode is accessed by pressing the corresponding button in the MODE section on the control panel.
  • Page 38 (The following example is the Keyboard Set Select window). Dialogs Similar to selecting windows, dialogs overlap the underlaying page. Touch one of the button on the display to give Pa4X an answer, and the dialog will close. Page menus Touch the down-pointing arrow icon in the upper right corner of each page, and a menu with commands relevant to the current page will appear.
  • Page 39 Interface basics |25 Touch one of the available commands to select it. (Or, touch anywhere else on the screen to make it disappear, with no command selected). Pop-up menus When a down-pointing arrow appears next to a parameter name, touch the arrow to open the pop-up menu and choose an option from there (by touch-...
  • Page 40 26| Let’s start! When the Name label is selected on top of a list, keep the SHIFT button pressed while touching one of the arrows on the scrollbar, to jump to the next or previous alphabetic section. Selected label Selected Scrollbar item List...
  • Page 41 Interface basics |27 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 42 28| Let’s start! 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. This also includes the Tempo numeric field in various pages. Icons Various icons help identifying the type of a file, a folder, a Song.
  • Page 43 Interface basics |29 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 controls to change its position. Depending on the status of the SLIDER MODE indicator, the position of the...
  • Page 44 30| Let’s start! Shortcuts Some commands or pages can be recalled by keeping the SHIFT but- ton pressed, and pressing other buttons or elements in the display. See Shortcuts on page 1095 for a list of the available shortcuts.
  • Page 45: Navigating Through The Pages

    Interface basics |31 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 46 32| Let’s start! 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 47 Interface basics |33 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 48: Selecting The Musical Resources

    You can always exit from this window by pressing the EXIT button. In Pa4X, Select windows stay always open until you press the EXIT button. If...
  • Page 49 Part II: PLaYING aND SINGING...
  • Page 50 Playing and singing...
  • Page 51: Playing The Sounds

    Sounds and Keyboard Sets Sounds are the basic element of what you hear from your instrument. Pa4X contains Sounds from any instrumental family (pianos, strings, synthesizers…). A set of Sounds playing together on the keyboard can be memorized as a Keyboard Set.
  • Page 52 Playing and singing The My Setting Keyboard Set My Setting is a special Keyboard Set, where you can save your preferred settings for things like Keyboard Sounds, Effects, Assignable Switches, a Style to be selected on startup. This Keyboard Set is automatically chosen when the instrument is turned on, and will automatically configure the in- strument for you.
  • Page 53: Choosing The Keyboard Sets

    Playing the Sounds |39 Choosing the Keyboard Sets Choosing a Keyboard Set from the library Keyboard Sets are contained in a dedicated library, that you can access from the control panel or from the display. Open the Keyboard Set Select window from the control panel Be sure the SET LIST indicator is turned off.
  • Page 54 Playing and singing As soon as you press the button or touch the display, the Keyboard Set Select window appears. Select a Keyboard Set To choose one of the available types of Keyboard Sets, touch the buttons at the top of the window. type of Kbd Set Meaning Factory...
  • Page 55 Playing the Sounds |41 In case you want to choose a different group of Keyboard Sets, either press a different button in the KEYBOARD SET LIBRARY section, or touch one of tabs on the sides of the Keyboard Set Library Select window.
  • Page 56 Playing and singing Touch the name of the Keyboard Set you want to choose. If you want to close the Keyboard Set Library Select window (and it does not close by itself), press the EXIT button. In the end, you will see the name of the selected Keyboard Set in the dedi- cated area of the Main page.
  • Page 57 Playing the Sounds |43 Choosing a Keyboard Set from a Style or a SongBook Entry There are four matched Keyboard Sets in each Style or SongBook Entry, fine-tuned for the containing Style or SongBook Entry. You can choose them from the control panel or from the display. Choose a Keyboard Set from the control panel ▪...
  • Page 58 Playing and singing Display Hold You may prefer to leave a Select window open after you have chosen a Sound, Keyboard Set or Style, to continue trying other elements in that window. Or, you may prefer it automatically closes after you have com- pleted your choice.
  • Page 59: Playing And Controlling The Sounds

    Playing the Sounds |45 Playing and controlling the Sounds Playing the keyboard The instrument’s keyboard is like a piano keyboard. Just play it! With some Sounds, you can press the keys while they are down, and the sound might vary (for example, you might hear more vibrato). Using the pedals Pedals do different things depending on how they are programmed.
  • Page 60 Playing and singing Using the joystick Moving the joystick left of right usually changes the Sound’s pitch. Moving it forward usually trigger modulation, but this depends on the selected Sounds. With the electro-mechanical organs, pushing the joystick forward changes the rotary speaker’s speed. What it does when pulled back depends on the selected Sounds.
  • Page 61: Tempo And Metronome

    Tempo and Metronome |47 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 62 Playing and singing Visual Tempo count while the Style is not playing While the accompaniment is not playing, the current Tempo is still beaten by the indicator of the START/STOP button. Tapping the Tempo value In Style Play mode, you can ‘tap’ (beat) the Tempo value. ▪...
  • Page 63: Metronome

    Tempo and Metronome |49 Metronome Turning the metronome on and off Turn the metronome on ▪ Press the METRO ) button to turn its indicator on. The Metronome win- dow will open, and the metronome will start playing, beating the current Tempo.
  • Page 64 Playing and singing Turn the accent on or off ▪ Choose the accent by using the Accent parameter. accent Meaning No 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 65: Playing The Styles

    Playing the Styles |51 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 66: Style Select Window

    Playing and singing 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 67 Playing the Styles |53 The type of Style will appear under its name. Label Meaning Factory Internal User/Favorite Direct User/Favorite ▪ 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...
  • Page 68 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 Pa4X you get five pitched instrument players (for example: guitar, piano, strings, synthe- sizers), a bass player, a percussion player, and a drum player.
  • Page 69 Playing the Styles |55 Making the accompaniment sparser You can easily turn off any of the accompaniment groups by using the Play/Mute buttons in the Main > Volume pane. For example, you may want to mute the ACCOMP (Accompaniment) group to play with the backing of the drums and bass alone.
  • Page 70 Playing and singing Programming the Style to Keyboard Set function You can program how the STYLE TO KBD SET button works. Go to the Global > Mode Preferences > Style 1 page. As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style 1...
  • Page 71: Playing A Manual Accompaniment (Bass & Lower Backing

    Playing the Styles |57 Playing a manual accompaniment (Bass & Lower Backing) You can play a simple manual accompaniment, where the chord you play with your left hand is split between the Bass (chord root) and Lower (the remaining notes) Sounds. Playing the manual accompaniment Be sure the Bass &...
  • Page 72: Playing The Automatic Accompaniment

    Playing and singing Playing the automatic accompaniment Starting and stopping the accompaniment 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 73 Playing the Styles |59 Make the accompaniment start and stop automatically (Synchro Start and Stop) Be sure the SYNCHRO > START indicator is turned on. Press the SYNCHRO > STOP button, 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 74 Playing and singing to start. The button’s indicator on the selected VARIATION button will be flashing, meaning it is booked after the Intro. Start the accompaniment. Verse Chorus Choosing a Variation to play a Variations can be used for verses, choruses, bridges or specials. To choose the right Variation for your verse, please note that Variations are of growing ‘density’...
  • Page 75 ‘book’ one of the Ending sections. After the Ending, the Style will automatically stop. Fill Automatically choosing a If you like, you can let Pa4X automatically choose a Fill when you choose a Variation. Turn the Auto Fill function on ▪...
  • Page 76 Playing and singing Turn the Auto Fill function off ▪ When you no longer need this function, press the AUTO FILL button again to turn the indicator off. Programming the Auto Fill You can program how the Auto Fill works. Go to the Global >...
  • Page 77 Playing the Styles |63 Set a Style Element to loop ▪ Press twice the button of the Intro, Fill, Break or Ending to put in loop. The indicator on the button will start flashing, and the pattern will start re- peating.
  • Page 78: Adjusting The Accompaniment Volume

    Playing and singing adjusting the accompaniment volume Balancing the accompaniment against the keyboard While playing, you may want to balance the Keyboard Sounds against the Accompaniment Sounds, to make the soloist stand out of the background or go back in the mix. Balance the Accompaniment against the Keyboard Sounds ▪...
  • Page 79 Playing the Styles |65 Making the accompaniment sparser You can easily turn off any of the accompaniment groups by using the Play/ Mute buttons in the Main > Volume pane. For example, you may want to mute the ACCOMP (Accompaniment) group to play with the backing of the drums and bass alone.
  • Page 80: Manually Playing The Bass Line

    Playing and singing Manually playing the Bass line You can play the Bass Sound with your left hand, freeing it from the auto- matic accompaniment. Turn the Manual Bass function on ▪ Press the MANUAL BASS button to turn its indicator on. The automatic accompaniment will stop playing (except for the Drum and Percussion Sounds), and you can manually play the Bass line on the Lower part of the keyboard.
  • Page 81: Playing The Pads

    Playing the Pads |67 Playing the Pads Choosing the Pad sets Choose the Pads by selecting a Style ▪ Choose a Style. The four Pads it contains will be selected. Choose the Pads by selecting a SongBook Entry ▪ Choose a SongBook Entry. The four Pads it contains will be selected. What is a Pad? Pads are single-track hits or sequences, that you can instantly play with the dedicated...
  • Page 82 Playing and singing Playing the Pads Starting and stopping the Pads You can play up to four Pads at the same time, by using the dedicated PADS buttons on the control panel. Play the Pads ▪ Press one or more PADS buttons to trigger the Pads.
  • Page 83: Playing The Songs

    Playing the Songs |69 Playing the Songs Choosing the Songs Choosing a Song Switch to the Song Play mode Press the SONG PLAY button. Title bar Page menu Selected Song (Player 1) Right-hand/ Selected Song Upper Sounds (Player 2) Selected Style Left-hand/ Selected Lower Sound...
  • Page 84 USB HOST port. Device type DISK Internal drive Internal HD (optional in Pa4X-61) Optional internal microSD USB-F Optional device connected to the front (F) USB HOST port USB-R Optional device connected to the rear (R) USB HOST port The actual name (label) of the device will appear between square brackets.
  • Page 85 Playing the Songs |71 ▪ Jump to the folder/directory, containing the Song currently assigned to the Player, by touching the Locate button. 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...
  • Page 86 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 Pa4X as the native file format when playing or recording MIDI Songs.
  • Page 87 Playing the Songs |73 Showing the ID number Open the Song Select window. Touch the page menu icon to open the menu, then touch the Show Song Number item to show (or hide) the numbers. The Song’s ID number will appear before each Song’s name in the Song Select window.
  • Page 88: Playing A Song

    Playing and singing Playing a Song Starting, stopping and controlling the Player Pa4X features two sets of Player controls, one for PLAYER 1 and the other PLAYER 2. Use the one or the other depending on the Player the Song is assigned to.
  • Page 89 Playing the Songs |75 Stop the Player and return to the beginning of the Song ▪ Press the HOME ( button to stop the Player and move to the beginning of the Song. The button’s indicator will turn off. Fade In/Out You can start and/or stop a Song with a smooth fade-in or fade-out.
  • Page 90: Mixing Two Songs

    Playing and singing Mixing two Songs Assign a Song to each of the Players ▪ Either use the SELECT buttons in the PLAYER 1 PLAYER 2 sections, or touch the name of the Song in the display. The full procedure is described above. Start both Players at the same time ▪...
  • Page 91 Playing the Songs |77 While Player 2 is playing, assign a third Song to Player 1, and repeat the above procedure (by reversing the X-FADER direction) to fade out Player 2 and fade in Player 1.
  • Page 92: Playing The Keyboard

    Playing and singing Playing along with the Song Playing the keyboard Play along with the Song ▪ While the Song is playing, play on the keyboard. Choose different Sounds from the Keyboard Set Library ▪ Choose a different Keyboard Set from the KEYBOARD SET LIBRARY sec-...
  • Page 93 Playing the Songs |79 to the same track number, you can mute or unmute it by using the assigned switch or footswitch. ▪ To choose a Song Melody track, go to Global > Mode Preferences > Song & Sequencer page. ▪...
  • Page 94 Playing and singing adjusting the volume levels Balancing the Songs against the keyboard While playing, you may want to balance the Keyboard Sounds against the Songs, to make the soloist stand out of the background or go back in the mix. Balance the Songs against the keyboard ▪...
  • Page 95 Playing the Songs |81 Playing all the Songs in a folder When playing all the Songs in a folder, use the PLAYER 1 controls. Open the Song Select window from the control panel ▪ Press the SELECT button. Open the Song Select window from the display ▪...
  • Page 96 Playing and singing ▪ 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 97 Playing the Songs |83 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 98 Playing and singing ▪ Touch the Del All button to delete all Songs from the list. Save the Jukebox list Touch the Save button to open the Save Jukebox File dialog. Please note that you can only save the JBX file in the same folder containing the Song files included in the list.
  • Page 99 Playing the Songs |85 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 100 Playing and singing Lyrics, chords, markers and score Choosing one of the Players ▪ While in the Lyrics, Score Markers page, you can touch either the Player 1 Player 2 button in the title bar to select the corresponding Player. ▪...
  • Page 101 Lyrics, chords, markers and score |87 reading the lyrics and chords contained in a Song Reading lyrics and chords Open the Lyrics page ▪ Press the LYRICS button on the control panel. The Lyrics page will appear, and you will see the lyrics assigned to the selected Player. Read the lyrics ▪...
  • Page 102 Playing and singing ▪ Be sure the Chord button appears pressed in the Lyrics page to see the chord symbols. Chord symbols (if any) will appear above the lyrics, in time with the music. ▪ Be sure the Chord button doesn’t appear pressed in the Lyrics page to hide the chord symbols.
  • Page 103 Lyrics, chords, markers and score |89 reading the lyrics and chords loaded as a text file If the text has been linked or loaded as a text (TXT) file, it will not scroll au- tomatically while the Song is playing back. You can manually scroll it in one of the following ways.
  • Page 104 Playing and singing Linking text files to SongBook Entries Lyrics and chords may be contained in a TXT file linked to a SongBook Entry. The same formatting rules described above apply. See Linking text files to SongBook Entries on page 90 for more information. On-the-fly loading of Lyrics and chords from an external text file When no lyrics or chords are contained or associated to the Style or Song, you can load a text (TXT) file after having chosen a Style or Song.
  • Page 105 Lyrics, chords, markers and score |91 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 appears pressed in the Lyrics page.
  • Page 106 Moving through a Song with the markers Using the markers Song Marker events that might be contained in a MID file (that is, a MIDI Song) can be read by Pa4X. They are immediately shown in the Markers page. Open the Markers page ▪...
  • Page 107 Lyrics, chords, markers and score |93 Usually, you will create the marker one or two measures before the actual starting point. When you reach the of the point you need practicing, touch the but- ton to create a second marker. Select the first marker, then select the Loop checkbox to repeat (loop) be-...
  • Page 108 Playing and singing Do the same for any following marker. Stop the Player by pressing the PLAY/STOP ( button. Delete markers Touch the marker to be deleted in the markers list. Touch the Delete button to delete the selected marker. Save the markers (as described below).
  • Page 109 Lyrics, chords, markers and score |95 reading the music score Creating and reading the music score Create the music score Choose a MIDI Song to play with the selected Player. Press the SCORE button to open the Score page. A score of the selected track will be generated.
  • Page 110 Playing and singing 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 111 Lyrics, chords, markers and score |97 Showing 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 112 Playing and singing Music score and transposition The Score page shows the actual MIDI notes. Using the TRANSPOSE buttons or transposing the selected track does not affect the music score.
  • Page 113 Searching for files and other items |99 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 114 100| Playing and singing Choose the type of data 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 115 Searching for files and other items |101 Type the name and start searching Type the name of the item you are looking for. There is no difference be- tween upper and lower cases (“LOVE” is the same as “Love” or “love”). When finished entering the name, touch the Search button.
  • Page 116 102| Playing and singing 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 117 Searching for files and other items |103 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 118 104|...
  • Page 119 |105 Part III: SONGBOOK...
  • Page 120 106| SongBook...
  • Page 121 Internal and Direct SongBook In addition to the internal SongBook, residing in your Pa4X, you can also choose Entries and Set Lists from an external, Direct SongBook, that will extend your internal database on the fly.
  • Page 122 108| 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 SONGBOOK...
  • Page 123 Using the SongBook |109 Pads and Keyboard Sets will also be recalled. Keyboard Set #1 will be select- ed. Any TXT file associated with the Entry will be shown in the Lyrics page. A Voice Preset will also be recalled. Use the START/STOP PLAY/STOP (...
  • Page 124 110| SongBook Choose one of the label combinations Choose the Preferences command from the page menu to open the Preferences dialog. Use the Columns menu to choose the set of columns to be shown. When done, touch the button to close the dialog. Filtering the Entries When you are looking for a particular artist, genre or other categories, you may ‘filter’...
  • Page 125 Using the SongBook |111 For example, you may want to find all songs containing the word ‘love’ in the title (in any position in the string). If so, select the Name criterion, and enter the word ‘love’. Capitals are not relevant for the search. When done editing the name, confirm by touching the button under the virtual...
  • Page 126 112| SongBook Remove the filters and see all the Entries again ▪ Touch the Filtered checkbox to deselect it. 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 Set Lists, and the number of Entries in...
  • Page 127 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 Pa4X to an external editor or digital music sheet reader (for example, a dedicate app running on a tablet).
  • Page 128 When you are ready to remotely select SongBook Entries, switch to the Style Play or Song Play mode. At this point, Pa4X 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 129 Using the SongBook |115 The following examples show some typical situations. ▪ Send the following string to select SongBook Entry #77: Initialization string (CC#99, 98) Thousands and hundreds (00xx) Tens and units (xx77) ▪ Send the following string to select SongBook Entry #100: Initialization string (CC#99, 98) Thousands and hundreds (01xx) Tens and units (xx00)
  • Page 130 116| SongBook Using the Set Lists What are the Set Lists? Set Lists are selections from the full Book list. They allow for smaller, cus- tomized 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. Choosing either the Tile View or List View Set Lists can be used in Tile View or in List View.
  • Page 131 Using the SongBook |117 Be sure you are in Tile View, otherwise choose the Preferences command from the page menu to open the Preferences dialog, and select it. Use the List pop-up menu to select one of the available Set Lists. The songs in the selected set are assigned to the SET LIST buttons on the...
  • Page 132 118| SongBook Songs are assigned to the buttons whose indicator is turned on. Each row of tiles corresponds to a group of three buttons. The indicator on the selected song blinks. Indicator status Meaning No song assigned. Song assigned. Blinking Song selected.
  • Page 133 Using the SongBook |119 Playing a Set List from the List View List View shows the selected Set List as a plain list of songs. Select the Set List Press the SET LIST button to open the SongBook > Set List page.
  • Page 134 120| 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 135 Editing the SongBook |121 Create a new SongBook Entry Keep the SONGBOOK button pressed for about one second to create a new SongBook Entry. The Write Song dialog will appear. As an alternative, go to one of the SongBook Entry edit pages, and touch the New Song button, then the Write...
  • Page 136 122| SongBook Save over the existing SongBook Entry Go to one of the SongBook Entry 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 137 Editing the SongBook |123 Saving different Styles or Songs With each SongBook Entry, a reference to a Style or Song is saved. When editing an Entry, you can change it with a different Style or Song. Choose the SongBook Entry to be edited.
  • Page 138 124| SongBook Saving different Keyboard Sets With each SongBook Entry, up to four Keyboard Sets are saved. When edit- ing an Entry, you can replace the older Keyboard Sets with new ones. Choose the SongBook Entry to be edited, and press the EXIT button to exit the SongBook.
  • Page 139 Editing the SongBook |125 Go to the SongBook > Write page. You will see the Voice Preset has been replaced. Select the Voice Preset > Write checkbox to save the new Keyboard Sets instead of the older ones. If you don’t want to replace the Style or Song, or the Keyboard Sets, be sure the other Write checkboxes are not selected.
  • Page 140 126| SongBook Editing the Song Selection Number Each SongBook Entry can have a unique ID number (up to 9,999). You can type them to quickly recall an Entry (see Choosing the SongBook Entries by Song Number on page 113 for more information). To help you find a SongBook Entry by ID number, you can export a song list using the Export as Text File...
  • Page 141 Editing the SongBook |127 Editing the database tags The SongBook is a database. You can add to each SongBook Entry special archival data, or tags, that will later help in retrieving specific types of songs by using the SongBook > Book > Filter function.
  • Page 142 128| SongBook 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 > Controls/Lyrics page. Edit the SongBook Entry’s Style controls.
  • Page 143 Editing the SongBook |129 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 144 130| SongBook Creating and editing the Set Lists Enabling Set List editing Editing the Set Lists is not usually available, to protect Set Lists from ac- cidental changes. Enable Set List editing ▪ While in the SongBook, select the Enable Set List Edit command from the page menu.
  • Page 145 Editing the SongBook |131 Select a Set List for editing Go to the SongBook > Set List page. Choose either the List View or Tile View. Use the List pop-up menu to select the Set List to edit. Add Songs to the selected Set List Go to the SongBook >...
  • Page 146 132| SongBook Move or delete songs from the selected Set List Go to the SongBook > Set List page, and touch the song you want to move or remove from the list. Edit the list. ▪ Use the Move > Down ( Move >...
  • Page 147 Editing the SongBook |133 Deleting a Set List While in the SongBook > Set List page, use the List pop-up menu to select the Set List to delete. Touch the Del List button to delete the selected Set List (the songs it con- tains will not be deleted from the Book list).
  • Page 148 134| SongBook Deleting all the SongBook Entries and Set Lists You may want to create you own Book list, removing all the default Entries and Set Lists. Go to any of the SongBook pages. Choose the Initialize SongBook command from the page menu, and confirm.
  • Page 149 Set 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 Pa4X to an external editor or digital music sheet reader (like BauM Software’s SongBook+ for the iPad or Zubersoft’s...
  • Page 151 |137 Part IV: CUStOMIZING aND EDItING tHE SOUND SEtS...
  • Page 152 138| Customizing and editing the Sound sets...
  • Page 153 Customizing the Keyboard Sets |139 Customizing the Keyboard 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. The keyboard will be divided into a Lower (left hand) and Upper (right hand) part.
  • Page 154 140| Customizing and editing the Sound sets Split, Keyboard modes, Sounds When changing the SPLIT status, the number of Sounds you hear may change. SPLIt Keyboard Left hand (Lower) Sounds right hand (Upper) Sounds indicator mode Full No Lower Sound Up to three Upper Sounds as- signed to the full extension of the keyboard...
  • Page 155 Customizing the Keyboard Sets |141 Memorize the local split point The local split point can be memorized into a Keyboard Set. Each Keyboard Set associated to a Style or SongBook Entry can have a different split point. ▪ Write the changes to a Keyboard Set. Changing the global split point The global split point is both the general setting you use when there is no ‘local’...
  • Page 156 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 recorder tracks (with the associated mixer channels). In fact, Pa4X does include a recorder and a digital mixer!
  • Page 157 Customizing the Keyboard Sets |143 Playing two or three Sounds at the same time 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 a Grand Piano sound. The Sounds will be assigned to the Upper part of the keyboard.
  • Page 158 144| Customizing and editing the Sound sets Choosing different Sounds You can assign different Sounds to the keyboard. The new combination of Sounds can then be written into a Keyboard Set. Follow the same procedure when choosing Sounds for the other Sound sets (Accompaniment and MIDI Song tracks, that can be written into the Style Settings or a MIDI Song).
  • Page 159 Sound Meaning Factory Standard Pa4X Sounds, that cannot normally be modified. These are the richest, most modern Sounds of the whole collection. Legacy Legacy Sounds allowing for greater compatibility with older Pa-Series instruments.
  • Page 160 Customizing and editing the Sound sets Mixing the Keyboard Sounds Adjusting the Sound’s volume At its core, Pa4X is a mixer. As with any mixer, you can adjust the volume level of each Sound, therefore changing the balance between the different Sounds on the keyboard.
  • Page 161 Customizing the Keyboard Sets |147 Adjust a Sound’s volume from the display While in the Main page, touch the Volume tab to select the Volume pane. Accompaniment Keyboard Sounds Groups Touch the mixer channel whose volume level you want to change. Keep the virtual volume slider held on the screen, and drag it to the desired...
  • Page 162 148| Customizing and editing the Sound sets Memorize the Sound status ▪ Write the changes to a Keyboard Set. Soloing a Sound You can listen to a single Sound in solo, to understand how it sounds out of the mix. Solo a Sound ▪...
  • Page 163 Customizing the Keyboard Sets |149 transposing the Upper Sounds to a different octave 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 ▪ Press the UPPER OCTAVE + button on the control panel.
  • Page 164 150| Customizing and editing the Sound sets Using the Ensemble to add harmony There are several types of Ensemble, but with most of them what you play with your right hand will be harmonized with the chords you play with your left hand.
  • Page 165 Customizing the Keyboard Sets |151 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 166 152| Customizing and editing the Sound sets When 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. 1/23…4/4 This is in sync with the Tempo value.
  • Page 167 Advanced editing of the Sound sets |153 advanced editing of the Sound sets the editing procedure A – Choose a Sound set Sound sets are groups of Sounds that are selected all at the same time. Sound set type Keyboard Sets Sounds assigned to the keyboard, saved in the KEYBOARD SET (from the library) LIBRARY.
  • Page 168 154| Customizing and editing the Sound sets Choose from a SongBook Entry the Keyboard Set whose Sounds and set- tings to edit ▪ Press the SONGBOOK button and choose a SongBook Entry; or press one of the SET LIST buttons to choose the corresponding SongBook Entry. Then choose the Keyboard Set (from the...
  • Page 169 Advanced editing of the Sound sets |155 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 the selected Sounds.
  • Page 170 156| Customizing and editing the Sound sets Mixing the Sounds Volume/Pan page is the internal digital mixer of the instrument. Setting the Volume and Play/Mute status Adjust the Sound’s volume from the control panel While in any page, be sure the lighted SLIDER MODE indicator is VOLUME.
  • Page 171: Setting The Pan

    Advanced editing of the Sound sets |157 Change the play/mute status of the individual Sound ▪ Repeatedly touch the Play ) or Mute icon in the mixer channel cor- responding to the Sound whose status to change. 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.
  • Page 172: Adding Effects

    158| Customizing and editing the Sound sets adding effects The FX processors Pa4X includes both insert and master effects (‘effect’ is often abbreviated as FX). ▪ Insert effects (IFX) are assigned to a single Sound, and process the whole signal passing through. The most common insert effects are amp simula- tors, chorus or flanger, overdrive and distortion pedals, compressors, etc.
  • Page 173 Sounds and MP3 Songs, and give more punch and refinement to the final, produced sound going to the audience. In addition to the above, Pa4X also includes a multi-effect processor for the microphone, called the Voice Processor. This incredible effect is the joint effort of KORG and TC•Electronic, whose acclaimed voice processing...
  • Page 174 160| Customizing and editing the Sound sets Choosing (and viewing) the FX group In Style Play and Song Play mode, the FX group is fixed and cannot be changed (you can only see it). In Sequencer mode you can freely choose it for each Song track.
  • Page 175 Advanced editing of the Sound sets |161 Activating and choosing the insert effects Each Sound can go to one or more insert effect processors. Activate the insert effects Go to the Mixer/Tuning > Insert FX page. FX group FX on/off Selected FX type Turn on or off the insert effect(s) assigned to a Sound.
  • Page 176 162| Customizing and editing the Sound sets Activating and choosing the insert effects for the Drum Families On Drum tracks, you can access a separate Drum mixer, and add insert ef- fects to each Drum Family. The Drum channel is then sent to the main mixer, and can use the channel’s insert effects.
  • Page 177 Advanced editing of the Sound sets |163 Activating and choosing the master effects Each Sound can send its audio signal to one or more master effects. Activate the master effects Go to the Master Effects pages, and choose either the FX group A (Accompaniment, Pads, Song) or B (Keyboard).
  • Page 178 164| Customizing and editing the Sound sets Adjusting the send level to the master effects You can adjust the level of the direct (dry) signal sent from each Sound/ channel to the master effects. Go to the Mixer/Tuning > FX Send page.
  • Page 179 Advanced editing of the Sound sets |165 Adjusting the send to the master effects for the Drum Families On Drum/Percussion tracks, you can access a separate Drum/Percussion mixer, and adjust the level of the direct (dry) signal sent from each Drum Family to separate master effects.
  • Page 180 166| Customizing and editing the Sound sets Including the dry (direct) signal in the master effects The dry (or ‘direct’) signal is the raw sound, without the effects. It should be normally included in the signal coming out from the master effects, to give a sense or presence of the sound’s source.
  • Page 181 Advanced editing of the Sound sets |167 Copying the effects To speed up programming, you can copy a single insert or master effect, or all the effects of an FX group (FXA or FXB). You can copy them between dif- ferent elements (for example, between Styles and Song, or Keyboard Sets and Sounds).
  • Page 182 168| Customizing and editing the Sound sets Copying all the master effects in an FX group Copy the effects Select the source element (Keyboard Set, Style, Song or Sound). Go to the Master Effects > FXA/B page showing the group to be copied. Choose the Copy FX command from the page menu.
  • Page 183 Advanced editing of the Sound sets |169 Equalizing the Sounds The Channel Equalizer Pa4X includes three-band equalization (EQ) on each individual mixer chan- nel. Each Sound can be individually equalized. Setting the EQ gain Go to the Mixer/Tuning > EQ Gain page.
  • Page 184 170| Customizing and editing the Sound sets Adjusting the EQ input sensitivity Extreme equalization gains can overload the audio circuits and lead to dis- tortion. You can however trim the input to avoid overloading. Go to the Mixer/Tuning > EQ Control page.
  • Page 185: Resetting The Eq

    Advanced editing of the Sound sets |171 Resetting the EQ You can reset the EQ to the default (that is, ‘flat’) status. Go to the Mixer/Tuning > EQ Control page. Track Reset Reset all the EQs, or a single EQ. Reset the EQ on a single track/channel ▪...
  • Page 186 172| Customizing and editing the Sound sets Octave transpose and fine tuning You can set the octave transpose and fine tuning of each Sound. Access the Tuning page ▪ Go to the Style Play/Song Play > Mixer/Tuning > Tuning page. As an alternative, keep the SHIFT button pressed and press one of the...
  • Page 187 The part/track only plays the sounds generated by the internal sound generator. External The part/track only plays an external instrument connected to the MIDI OUT or USB DEVICE port. The connected device must receive data on the MIDI channel associated with this part/track on Pa4X.
  • Page 188 174| Customizing and editing the Sound sets External Sounds and Program Change messages A part/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 189 Advanced editing of the Sound sets |175 Use the Type parameter to choose the polyphony mode. type Meaning Drum Drum/Percussion track. This is typically assigned to the Drum and Percussion tracks of the Accompaniment and MIDI Songs. Set a Keyboard Sound to Drum mode, if you don’t want it to be trans- posed (it will behave as a Drum Kit, even if it is an ordinary Sound).
  • Page 190 176| Customizing and editing the Sound sets Quick 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 191 Advanced editing of the Sound sets |177 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 192 178| Customizing and editing the Sound sets Sound parameter Meaning Value Volume Instrument’s family volume. 0 … 127 Attack Attack time. This is the time during which the sound … goes from zero (at the moment when you strike a key) (offset) to it’s maximum level.
  • Page 193 Advanced editing of the Sound sets |179 Quick editing of Sounds You can edit the main Sounds parameters. These changes will be saved in a Sound set, and not be part of the internal parameters of the Sounds (that you can edit in Sound Edit mode). Edit the Sounds Go to the Track Controls >...
  • Page 194 180| Customizing and editing the Sound sets Setting Portamento Portamento is a smooth sliding transition from a note to the following one. ▪ Select the Portamento checkbox to turn portamento on, or uncheck it to turn it off. ▪ Use the Portamento >...
  • Page 195 Advanced editing of the Sound sets |181 Programming the key and velocity range You can program a key and velocity zone for each of the Keyboard Sounds. Key range is useful to create a set of Keyboard Sounds playing in differ- ent zones of the keyboard.
  • Page 196 182| Customizing and editing the Sound sets Editing the Digital Drawbars Digital Drawbars are special Sounds emulating the classic tonewheel organs. Settings for the Digital Drawbars are memorized in a Keyboard Set, the Style Settings or in a MIDI Song, and may be considered the equivalent of an or- gan’s preset.
  • Page 197 Advanced editing of the Sound sets |183 Choose the DRAWBARS Sound. The Drawbars Setting page will appear. If you want to close this window, press the EXIT button. Editing the Digital Drawbars Access Digital Drawbars editing While in the Main page, touch the DRAWBARS Sound to open the...
  • Page 198 184| Customizing and editing the Sound sets Changing the Percussive/Rotary settings Go to the Percussive/Rotary page ▪ In case it is not selected, touch the Percussive/Rotary tab to show the Percussive/Rotary page. Program the Percussion parameters Percussion adds a percussive sound to the attack segment of the organ sound.
  • Page 199 Advanced editing of the Sound sets |185 rotary Meaning parameters Rotor On/Brake Touch this button to start or stop the rotating speaker. Speed Slow/Fast Touch this button to switch the rotating speaker’s speed (from slow to fast, or vice-versa). Changing the Tone/Noise settings Go to the Tone/Noise page ▪...
  • Page 200 186| Customizing and editing the Sound sets Writing the Sound sets Writing the Keyboard Sets to the library Keyboard Sets can store the Keyboard Sounds and settings. The library is where you organize them by type and family. You can recall these Keyboard Sets by using the KEYBOARD SET LIBRARY buttons.
  • Page 201 Writing the Sound sets |187 Write to a different Keyboard Set location If you want to save onto a different location, touch the Select button and open the Keyboard Set Library Select window. Choose a location as if you were choosing a Keyboard Set. Blank locations are shown as a series of dash- es (‘–––’).
  • Page 202 188| Customizing and editing the Sound sets Writing Keyboard Sets into a Style Keyboard Sets can store Keyboard Sounds and settings inside a Style. When choosing a Style, four Keyboard Sets matching the selected Style are automatically selected. You can recall these Keyboard Sets by using the KEYBOARD SET buttons under the display.
  • Page 203 Writing the Sound sets |189 Writing the Keyboard Set to a different Style Choose the Style containing the original Keyboard Set. Edit the Keyboard Set. Be sure the STYLE TO KBD SET indicator is turned off. If this indicator was turned on, choosing a Style would also select a different Keyboard Set.
  • Page 204 190| Customizing and editing the Sound sets Writing Keyboard Sets into a SongBook Entry You can write the changes to the Keyboard Sounds and settings into one of the Keyboard Sets. When choosing a SongBook Entry, four Keyboard Sets matching the selected Entry are automatically selected. You can recall these Keyboard Sets by using the KEYBOARD SET buttons under the display.
  • Page 205 Writing the Sound sets |191 Saving a Keyboard Set to the selected SongBook Entry You can save the Keyboard Sounds as a Keyboard Set inside the selected SongBook Entry. Before editing the Keyboard Sounds, go to the SongBook > Book Set List page, and choose the SongBook Entry...
  • Page 206 192| Customizing and editing the Sound sets ▪ To overwrite the current SongBook Entry, choose Rename/Overwrite. ▪ To create a new SongBook Entry, choose Song. Touch the New Song Name line if you want to edit the SongBook Entry’s name. Touch to save the SongBook Entry.
  • Page 207 Writing the Sound sets |193 Writing Style Settings, Song Settings and MIDI Song Sounds The Sounds’ configuration can also be written into other elements. ▪ To edit additional Style parameters, and save the Style Settings, see the pages starting from Customizing the Styles on page 197.
  • Page 208 194|...
  • Page 209: The Styles

    |195 Part V: CUStOMIZING, rECOrDING aND EDItING tHE StYLES aND PaDS...
  • Page 210 196| Customizing, recording and editing the Styles and Pads...
  • Page 211 Customizing the Styles |197 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 212 198| Customizing, recording and editing the Styles and Pads Always play three or more notes to let the arranger recognize a chord. Deactivate chord recognition ▪ Press both the CHORD SCAN (LOWER+UPPER) buttons to turn their indica- tors off. Only the Drum and Percussion tracks will continue to play. Memorize the Chord Scan area ▪...
  • Page 213 Customizing the Styles |199 Choose how to play chords by using the Chord Recognition menu. Chord recognition How to play chords One Finger This mode is only available when the SPLIT indicator is turned on. If you turn it off, the mode will automatically switch to Fingered (3 Notes).
  • Page 214 200| Customizing, recording and editing the Styles and Pads Keeping a chord in memory by pressing the Damper pedal You can choose to keep the recognized chord in memory while the Damper pedal is kept pressed. In this case, you can freely play any chord on the key- board, and the arranger will still play the ‘latched’...
  • Page 215 Customizing the Styles |201 automatically holding chords and Lower notes (Memory) Using the Memory function You can keep the chords and/or Lower notes in memory even after raising your hand from the keyboard. How this function works depends on the set- tings of the Memory Mode parameter (see below).
  • Page 216 202| Customizing, recording and editing the Styles and Pads Use the Memory Mode parameter to choose the way the MEMORY button works. Memory Mode Meaning Chord When the MEMORY indicator is on, recognized chords are held even when raising your hand from the keyboard. When the indicator is off, chords are reset when raising your hand.
  • Page 217 Customizing the Styles |203 recognizing the root note (Bass Inversion) The instrument’s internal arranger recognizes chords by analyzing all the notes you play in the chord recognition area, and considering their func- tion in a chord. You can however always force the lowest (leftmost) note of the chord to be considered, for example the chord’s root of a slashed chord (such as ‘C/E’...
  • Page 218 204| Customizing, recording and editing the Styles and Pads Setting how velocity controls the accompaniment You can play stronger than a set velocity value to trigger an accompaniment control. Go to the Global > Mode Preferences > Style 2 page. Use the Velocity Control parameter to choose the function to be controlled...
  • Page 219 Customizing the Styles |205 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 220 206| Customizing, recording and editing the Styles and Pads 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 changes 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 221 Editing the Style Settings |207 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 222 208| Customizing, recording and editing the Styles and Pads Keep the SHIFT button pressed, and move any of the sliders to proportion- ally change the volume of all similar Sounds. For example, moving any of the UPPER sliders proportionally changes the volume of all the Upper Sounds;...
  • Page 223 Editing the Style Settings |209 Memorize the volume level ▪ Write the Style Settings. Turning the individual Accompaniment Sounds on or off Sounds can be muted, in case you don’t want to hear them in the mix. As an example, the accompaniment might contain a piano part, and you want to play it live on the keyboard.
  • Page 224 210| Customizing, recording and editing the Styles and Pads Soloing an Accompaniment Sound You can solo an Accompaniment Sound exactly as you would do with the Keyboard Sounds. Solo a Sound ▪ While the Volume pane is shown, keep the SHIFT button pressed, and touch mixer channel...
  • Page 225 Editing the Style Settings |211 Changing the Sounds of the accompaniment parts Style vs. Style Element Sounds You can assign Accompaniment Sounds to the whole Style (saved in the Style Settings), that will not change when changing Style Element (for exam- ple, going from Variation 1 to Variation 2).
  • Page 226 212| Customizing, recording and editing the Styles and Pads Choose Sounds by touching the Sound icon on each track. These Sounds will become part of the Style Settings. They will remain the same for the whole Style, and will not change when choosing different Style Elements.
  • Page 227 Editing the Style Settings |213 Digital Drawbars and the accompaniment parts Digital Drawbars are special Sounds emulating the classic tonewheel or- gans. Settings for the Digital Drawbars assigned to the accompaniment tracks are memorized in the Style Settings, and may be considered the equivalent of an organ’s preset.
  • Page 228 214| Customizing, recording and editing the Styles and Pads 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.
  • Page 229 Editing the Style Settings |215 Use the Kick and Snare Designation > Kick pop-up menu to replace the origi- nal Kick (Bass Drum) sound with a different Kick of the same Drum Kit. Use the Kick and Snare Designation > Snare pop-up menu to replace the original Snare Drum sound with a different Snare of the same Drum Kit.
  • Page 230 216| Customizing, recording and editing the Styles and Pads Fill Mode Meaning The same Variation, playing before selecting a Fill, will be selected again. V1&V2 … V3&V4 The specified Variations will be alternatively selected, when one of them is selected. For example, with the V1&V2 option, if Variation 1 is selected, Variation 1 and Variation 2 will be alternatively selected after the end of the Fill.
  • Page 231 Editing the Style Settings |217 Go to the Style Play > Style Controls > Range/Wrap page. As an alternative, you can access these parameters in the Style Record > Style Tracks Controls > Range/Wrap page. Use the Sound Range On/Off checkbox to turn the Key Range on/off for each Sound.
  • Page 232 218| Customizing, recording and editing the Styles and Pads It is advisable to set different wrap-around points for each track, to avoid that all tracks ‘jump’ to a different octave at the same time. For more real- istic results, we suggest to consider the actual range of the real instrument. Wrap around Meaning 1 …...
  • Page 233 Editing the Style Settings |219 Choosing and mixing the Pads You can assign four Pads to each Style. The new combination of Pads can then be written into the Style Settings. Choosing the Pads Open the Pad Select window Be sure to be in the main page of the Style Play...
  • Page 234 220| Customizing, recording and editing the Styles and Pads ▪ To choose one of the available types of Pads, touch the buttons at the top of the window. Pad type Meaning While they are mostly used as non-transposing events, they can also be transposing notes or chords.
  • Page 235 Editing the Style Settings |221 Mixing the Pads Access the Pad page ▪ Go to the Style Play Song Play > Pad/Switch > Pad page. Choose the Pads ▪ While in this page, you can choose different Pads by touching the name, and following the procedure seen above.
  • Page 236 222| Customizing, recording and editing the Styles and Pads Writing the Style Settings Writing the Style Settings Style Settings can save Accompaniment Sounds and settings into a Style. Note: Changes can normally only be saved onto Favorite, User or Direct Styles, and onto SongBook Entries.
  • Page 237 Writing the Style Settings |223 Writing the Style Settings while in Style Record mode Style Record mode, you can write the Style Settings together with the Style. ▪ While in Style Record mode, choose the Write Style command from the page menu.
  • Page 238 224| Customizing, recording and editing the Styles and Pads the Chord Sequencer recording Chord Sequences You can record a Chord Sequence, that will play the chords for you. This will be useful, for example, when you have to play a repeated sequence, and prefer to use your left hand to play a solo on the keyboard, or to select the DNC controllers.
  • Page 239 The Chord Sequencer |225 ment off. If the sequence is locked, it will not change when choosing a differ- ent Style or SongBook Entry. Recording a Chord Sequence while the Accompaniment is not playing Press the CHORD SEQUENCER > RECORD ( buttons to enter record- pending mode.
  • Page 240 226| Customizing, recording and editing the Styles and Pads Playing back a Chord Sequence When the icon appears next to the name of the Style, a Chord Sequence is available in the selected Style or SongBook Entry. Starting the Chord Sequence while the Accompaniment is playing While the accompaniment is playing, press the CHORD SEQUENCER >...
  • Page 241 The Chord Sequencer |227 Managing the Chord Sequences Writing a Chord Sequence The Chord Sequence can be memorized to the Style Settings or a SongBook Entry. ▪ Write the Style Settings or a SongBook Entry, and the Chord Sequence in memory will be automatically saved.
  • Page 242 228| Customizing, recording and editing the Styles and Pads Deleting a Chord Sequence To start anew, you can delete the Chord Sequence from memory. Open the Chord Sequence dialog by choosing the Chord Sequence Edit command from the page menu. Choose the Delete Sequence option, and touch the...
  • Page 243 The Chord Sequencer |229 Importing a Chord Sequence from a Standard MIDI Files You can import a Chord Sequence from a Standard MIDI File (MIDI Song, that is a MID file). Open the Chord Sequence dialog by choosing the Chord Sequence Edit command from the page menu.
  • Page 244 How are Styles and Pads made? KORG supplies a huge amount of professionally crafted Styles and Pads with Pa4X. However, you are free to customize them, or create totally new Styles and Pads on your own. Styles and Pads share most of the same structure and recording/editing op- erations.
  • Page 245 Recording the Styles and Pads |231 Which Chord Variation corresponds to each scanned chord is decided by the Chord Variation Table. Each Style Element contains a Chord Variation Table, whose general structure is the following: recognized Chord Chord Variations (CV) Variation 1-4 Intro 1-2, Count-In, Fill 1-4, Break, Ending 1-3...
  • Page 246 232| Customizing, recording and editing the Styles and Pads What happens when you play a chord To summarize, when you play a chord in the chord recognition area, the ar- ranger determines which Style Element is in use, then determines which Chord Variation should be used for the recognized 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 247 Recording the Styles and Pads |233 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...
  • Page 248 234| Customizing, recording and editing the Styles and Pads How Pads are made The Pads A Pad is basically a single-track, single Style Element Style. Most of what ap- plies to Style recording also applies to Pad recording. There are two different categories of Pads: Hit and Sequence.
  • Page 249 Recording the Styles and Pads |235 What to record in a Pad Recording a Pad means recording a single track, inside a series of Chord Variations, inside the Pad itself. You don’t need to record all Chord Variations. It is often only needed to re- cord just a single Chord Variation.
  • Page 250 236| Customizing, recording and editing the Styles and Pads Programming the Style Settings, then recording the musical sequences The accompaniment track parameters are to be programmed separately from the actual recording of the musical sequences. While in Style Play Style Record mode, program the Style Settings described in the previous pages and the pages dedicated to the more gen-...
  • Page 251 Recording the Styles and Pads |237 accessing the Style/Pad 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 normally only edit Favorite, User or Direct Styles. To edit Factory Styles, you must first unprotect them, or copy them to a Favorite or User location.
  • Page 252 238| Customizing, recording and editing the Styles and Pads The main Style Record page Measure counter Beat counter Record parameters Sound Key/Chord and transposition table Mixer The main Pad Record page Measure counter Beat counter Record parameters Sound Pad Volume Key/Chord (not saved) Transposition...
  • Page 253 Recording the Styles and Pads |239 Listening to the recorded Style Testing chords While in Style/Pad Record, the keyboard can play chords to drive the record- ed musical patterns, and a piano sound to help you test the patterns. How chords are recognized depends on the status of the SPLIT indicator.
  • Page 254 240| Customizing, recording and editing the Styles and Pads Setting the recording parameters Choosing what to record Choosing the Style Element and Chord Variation With Styles, you record a Chord Variation, inside a Style Element, inside a Style. This is the musical sequence you listen when playing a chord. Pads are made of a single Style Element, so you only have to choose the...
  • Page 255 Recording the Styles and Pads |241 When an asterisk (*) appears next to the abbreviation (CV1* … CV6*), the Chord Variation is empty. Style Element Chord Variation Var1, Var2, Var 3, Var4 CV1 … CV6 Intro1, Intro2, Intro3 (CountIn), Fill1, Fill2, CV1 …...
  • Page 256 242| Customizing, recording and editing the Styles and Pads sures. After you press START/STOP to stop recording, Rec Length is updated to 2, and all measures after the second measure are deleted. Tempo, Meter, Resolution Setting the recording Tempo While recording, you might want to use a different Tempo than the one saved in the Style Settings.
  • Page 257: Quantize Function

    Recording the Styles and Pads |243 Choosing the Resolution ▪ Use the Resolution parameter to set quantization during recording. Quantization is a way of correcting timing errors; notes played too soon or too late are moved to the nearest axis of a rhythm grid, set with this param- eter, thus playing perfectly in time.
  • Page 258 244| Customizing, recording and editing the Styles and Pads Pad Sync You can decide how the Pad will synchronize to the current Tempo. ▪ Go to the Pad Record > Main page, and use the Pad Sync pop-up menu to choose the way the Pad will synchronize.
  • Page 259 Recording the Styles and Pads |245 assigning Sounds to the Style Element and Pads While in Style Record, you can assign different Sounds to each Style Element. These Sounds are used when the Original Sound Set parameter (that you can access in the Style Play >...
  • Page 260 246| Customizing, recording and editing the Styles and Pads Go to any page of the Element Track Controls edit section, for example the Style Record > Element Track Controls > Expression page. Original Sounds Touch the icon of the Sound to be replaced, to open the Sound Select win-...
  • Page 261 Recording the Styles and Pads |247 Transposing the Sounds while recording While recording, you can transpose the accompaniment tracks, to make re- cording of low or high keyboard ranges easier. You can set a separate trans- pose value for each track. Go to the main page of the...
  • Page 262 248| Customizing, recording and editing the Styles and Pads Choosing the original key/chord and the note transposition table You will record the musical sequences in a particular key (say, C), matching a chord shape (say, Major). You will then choose a transposition table accord- ing to which they will be transposed and transformed when a different key and a slightly different chord will be recognized.
  • Page 263 Recording the Styles and Pads |249 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. Choosing an NTT table for the selected track ▪...
  • Page 264 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 table to ‘No Transpose’ on the Intro 1 and Ending 1.
  • Page 265: Using The Metronome

    Recording the Styles and Pads |251 recording a Style or Pad in realtime record After having chosen the Style Element and Chord Variation in the Main page, go on recording. Using the metronome ▪ Press the METRONOME ) button to turn the metronome on or off while recording.
  • Page 266 252| Customizing, recording and editing the Styles and Pads Set the track to record again, by repeatedly touching its status icon. The Record icon ( ) will appear again. Record Press the START/STOP button to begin recording. 1-measure precount will play before the recording actually begins. When it begins, record freely.
  • Page 267 Recording the Styles and Pads |253 When you reach the passage containing the note to be deleted, play the note on the keyboard. Keep it pressed, up to the last note to be deleted. If the note is at the beginning of the sequence, press the note before start- ing it.
  • Page 268: Step Recording

    254| Customizing, recording and editing the Styles and Pads recording a Style or Pad in Step record Step Recording allows you to create a new Style or Pad 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 269 Recording the Styles and Pads |255 Position the input pointer ▪ parameter shows the current position. This is where you will insert the next event. ▪ If you do not want to insert a note or chord at the current position, insert a rest instead, as shown below.
  • Page 270 256| Customizing, recording and editing the Styles and Pads ▪ To tie the note to be inserted to the previous one, touch the button. A note will be inserted, tied to the previous one. Insert a chord ▪ Play a chord instead of a single note. The event name will be the first note of the chord you pressed, followed by the ‘…’...
  • Page 271: Overdub Recording

    Recording the Styles and Pads |257 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 272 258| Customizing, recording and editing the Styles and Pads 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 pro- gramming a drum or percussion track, where you may want to program the bass drum on a first phase, the snare drum on a second phase, and the hi-hat and cymbals during the following phases.
  • Page 273 Recording the Styles and Pads |259 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 274 260| Customizing, recording and editing the Styles and Pads Preliminary settings Accessing Guitar Mode in Style Record While in the Style Record > Main page, select a track set to the Guitar type. This type of track is usually one of the Acc1…5 Style tracks. To set a track to the Guitar type, go to the Style Record >...
  • Page 275 Recording the Styles and Pads |261 Reading the fingerboard diagram You can see how a chord is composed on the fingerboard diagram. Here is the meaning of the various symbols: Symbol Meaning Red dot Fingered string (i.e., played note). White dot Fifth, playing on the D#2 key.
  • Page 276 262| Customizing, recording and editing the Styles and Pads Vel. Chord type Vel. Chord type Diminished major 7th Augmented Augmented 7th Augmented major 7th Major w/o 3rd Major w/o 3rd and 5th Flatted 5th Diminished 7th As an example, a typical C Major progression will be entered as follows: Chord root Note Velocity...
  • Page 277 Recording the Styles and Pads |263 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 278 264| Customizing, recording and editing the Styles and Pads Recording single strings ▪ Press one of the keys in the octave from C2 to B2 to select single strings (one or more). By pressing these keys, you can play arpeggios or power chords. You can ei- ther play a free arpeggio with the six guitar chords assigned to the keys from C to A, or play one of the faster arpeggios on the higher keys.
  • Page 279 Recording the Styles and Pads |265 ▪ Press one of the keys in the octave from C7 to B8 to trigger RX Noises. In some cases, the RX zone may extend over this range. Note rX Noise 88-keys C7 and up RX Noises (depending on the Sound) 76-keys 61-keys...
  • Page 280 266| Customizing, recording and editing the Styles and Pads Vel. range from Str. to Str. Position 6 Strings 5 Strings Bass 5 Strings Bass 5 Strings Bass 5 Strings Bass 5 Strings Bass 5 Strings Bass 5 Strings Treble 5 Strings Treble 5 Strings Treble 5 Strings Treble 5 Strings Treble...
  • Page 281 Recording the Styles and Pads |267 Vel. range from Str. to Str. Position 3 Strings Bass 3 Strings Bass 3 Strings Bass 3 Strings MiddleBas 3 Strings MiddleBas 3 Strings MiddleBas 3 Strings MiddleBas 3 Strings MiddleBas 3 Strings MiddleBas 3 Strings MiddleTreble 3 Strings MiddleTreble 3 Strings MiddleTreble...
  • Page 282 268| Customizing, recording and editing the Styles and Pads Vel. range from Str. to Str. Position 2 Strings Middle 2 Strings Middle 2 Strings Middle 2 Strings Middle 2 Strings Middle 2 Strings MiddleTreble 2 Strings MiddleTreble 2 Strings MiddleTreble 2 Strings MiddleTreble 2 Strings MiddleTreble 2 Strings MiddleTreble...
  • Page 283 Editing the Styles and Pads |269 Editing the Styles and Pads Editing the track parameters For each Style Element, and the Pad, you can edit various track parameters. Hint: In the edit pages where the Style Element abbreviation appears, you can choose a Style Element by pressing the corresponding button on the control panel (VARIATION1 …...
  • Page 284 270| Customizing, recording and editing the Styles and Pads You set the Expression value for the Pad in the Pad Record > Pad Track Controls > Settings page. Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 …...
  • Page 285 Editing the Styles and Pads |271 Press the START/STOP button and play some chords to check how it works. Select any Style Element using the control panel button. Press START/STOP again to stop playback. Keyboard Range Setting the Keyboard Range automatically transposes any sequence note that would otherwise play too high or too low in pitch, compared to the origi- nal acoustic instrument’s natural range, when transposed by the arranger.
  • Page 286 272| Customizing, recording and editing the Styles and Pads You set the Keyboard Range for the Pad in the Pad Record > Pad Track Controls > Settings page. Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 …...
  • Page 287 Editing the Styles and Pads |273 You set the RX Noise Humanize parameters for the Pad in the Record > Pad Track Controls > Settings page. Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 …...
  • Page 288: Pad Type

    274| Customizing, recording and editing the Styles and Pads Pad type When triggered, Pads can play once or loop until you stop them. Go the Pad Record > Pad Track Controls > Settings page. Use the Pad Type pop-up menu to choose the type of Pad. Pad type Meaning One Shot...
  • Page 289 Editing the Styles and Pads |275 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. Go to the Style Record >...
  • Page 290 276| Customizing, recording and editing the Styles and Pads Checking the available Chord Variations You can see which Chord Variations have been recorded (or imported) in the current Style. ▪ Go to the Style Record > Chord Table & Variation > Chord Variation page.
  • Page 291 Editing the Styles and Pads |277 Editing the track type, trigger, tension You can edit the track type, its response to retriggering, and add harmonic tension. Go to the Style Record > Style Track Controls > Type/Trigger/Tension page. You can access these parameters for the Pad in the Pad Record >...
  • Page 292 278| Customizing, recording and editing the Styles and Pads Use the Track Type parameter to set the type of the corresponding track. track type Meaning Drum Drum track. This type of track is not transposed by the arranger, and is used for Drum Kits made of Drum Sounds. It can be affected by Drum Mapping.
  • Page 293 Editing the Styles and Pads |279 Editing the Style/Pad sequences You can edit the Style/Pad sequence data in the Style/Pad Record > Style/ Pad Edit section. With Pads, you cannot select a track or Style Element to edit. Quantizing The quantize function may be used to correct any timing mistake after re- cording, or to give the pattern a ‘groovy’...
  • Page 294 280| Customizing, recording and editing the Styles and Pads 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 295 Editing the Styles and Pads |281 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 296 282| Customizing, recording and editing the Styles and Pads Go to the Style/Pad Record > Style/Pad 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 297 Editing the Styles and Pads |283 ▪ 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...
  • Page 298 284| Customizing, recording and editing the Styles and Pads 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/Pad Record >...
  • Page 299 Editing the Styles and Pads |285 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/Pad Record >...
  • Page 300 286| Customizing, recording and editing the Styles and Pads Use the Event pop-up menu to choose the type of event to delete. 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.
  • Page 301 Editing the Styles and Pads |287 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/Pad Record > Style/Pad Edit > Delete All page.
  • Page 302 288| Customizing, recording and editing the Styles and Pads Go to the Style/Pad Record > Style/Pad Edit > Copy from Style page. Use the From Style parameter to choose the source Style. Touch the Select button to open the Style Select window and select the source Style from there.
  • Page 303 Editing the Styles and Pads |289 Copying from a Pad You can copy a Chord Variation or all of a Pad’s Chord Variations. Be warned that copying will overwrite all data at the target location. Go to the Style/Pad Record > Style/Pad Edit > Copy from Pad page.
  • Page 304 290| Customizing, recording and editing the Styles and Pads Editing the MIDI events 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 (that is, velocity value).
  • Page 305 Editing the Styles and Pads |291 The Event Edit procedure Here is the general procedure to follow for the event editing. Choose the Style or Pad and access editing While in Style Play mode, access recording by pressing the RECORD button and choosing one of the options (create or edit a Style or Pad).
  • Page 306 292| Customizing, recording and editing the Styles and Pads Filter Meaning Note/RX Noise Notes and RX Noises Program Program Change Control Control Change events. Only the following Control Change numbers are allowed with Styles. Control function Modulation 1 Modulation 2 Expression CC#12 CC#13...
  • Page 307 Editing the Styles and Pads |293 Touch the event to be edited, and edit it. Measure/Position Type Value 1 Value 2 Duration/Length ▪ Select the (Measure), and use the VALUE controls to change event’s posi- tion. ▪ Select the Type parameter, and use the VALUE to change the event type.
  • Page 308 294| Customizing, recording and editing the Styles and Pads Copying the Style track settings Once you have edited a Style track, you can copy and paste its settings to another track, Chord Variation or Style Elements. Choose the Copy command from the page menu to open the Copy Track Settings dialog.
  • Page 309 Preparing the MID file The Standard MIDI File to be imported must be programmed as if it was one of Pa4X’s Chord Variations. Here are the rules. Importing Style Element / Chord Variation parameters When importing an SMF, parameters like CV Length, Meter, Tempo Changes, Program Changes and Expression are recognized.
  • Page 310 296| Customizing, recording and editing the Styles and Pads MIDI events When importing, only the events allowed for recording are imported (as shown in the table on page 235). Some controllers are reset at the end of the pattern. Sounds Sounds assigned to each track are imported, provided the Program Change, Bank Select MSB and LSB events are on the first ‘tick’...
  • Page 311 Importing and exporting the Styles and Pads |297 Importing a Standard MIDI File into a Chord Variation Go to the Style/Pad Record > Import/Export > 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 312 All the rules described in the section devoted to importing an individual Chord Variation apply. Style Tracks and MIDI Channels must be matched as in the previous table, as per KORG’s standard Style format definition. Tracks/ MIDI Channels other than the above mentioned are ignored during the im- port procedure.
  • Page 313 Importing and exporting the Styles and Pads |299 After having set all the parameters in this page, keep the SHIFT button pressed and touch the Execute button to import the Standard MIDI File. Imported MIDI events When importing, only the events allowed for recording are imported (as shown in the table on page 235).
  • Page 314 300| Customizing, recording and editing the Styles and Pads The order of the Chord Variations inside the SMF is not relevant. They can be freely placed inside the SMF. Pads always use names of this type: ‘v1cvn’ (they always start with ‘v1’). Below, you can find a screenshot of a test file created in Steinberg Cubase, just as an example of how a SMF separated by markers can look like.
  • Page 315 Importing and exporting the Styles and Pads |301 Importing a MIDI Groove to a Style or Pad You can import a MIDI Groove created with the Time Slicing operation (in the Sampling). Importing a MIDI Groove is a step in the general procedure of creating an Audio Groove from an audio sample.
  • Page 316 302| Customizing, recording and editing the Styles and Pads Exporting a Chord Variation You can export a Chord Variation as a Standard MIDI File (MID file), then edit it on your preferred external sequencer. Exporting a Chord Variation to a Standard MIDI File Go to the Style/Pad Record >...
  • Page 317 Importing and exporting the Styles and Pads |303 Exporting a Style to a Standard MIDI File ‘separated by markers’ As an alternative to exporting single Chord Variations to individual Standard MIDI Files, you can export a whole Style as an SMF separated by markers, that is, a single SMF containing all the Chord Variations and Style Elements (Variation 1, Variation 2, etc.) each one separated by a marker (the same events used in Song Play mode).
  • Page 318 You can convert any commercially or freely available MIDI Song (in Standard MIDI File format) into a complete Pa4X Style. While Pa4X includes a state-of- the-art converter of this type, and will most of the times result in a careful recreation of the original song, the quality of results may vary depending on the source song.
  • Page 319 Converting a MIDI Song to a Style |305 When the conversion is complete, you are asked to write the new Style into a Style location. See the procedure in the next page. After writing, the new Style is automatically selected. Fine-tune it with the functions seen in this part of the manual.
  • Page 320 306| Customizing, recording and editing the Styles and Pads Writing the new/edited Style or Pad Writing the Styles Styles can be saved into a Style memory location (usually, Favorite, User or Direct). When saving a Style, its Style Settings are automatically saved. While in Style Record mode, choose the...
  • Page 321 Writing the new/edited Style or Pad |307 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 322 308| Customizing, recording and editing the Styles and Pads Writing the Pads Pads can be saved into a Pad memory location. After saving the Pads, assign up to four of them to a Style or SongBook Entry, that will recall them. While in Pad Record mode, choose the...
  • Page 323 |309 Part VI: CUStOMIZING, rECOrDING aND EDItING tHE SONGS...
  • Page 324 310| Customizing, recording and editing the Songs...
  • Page 325: Sequencer Mode

    Customizing the Songs |311 Customizing the Songs How to play a Song – Song Play vs. Sequencer mode The Players are just that – players. 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 326 312| Customizing, recording and editing the Songs Special tracks (Melody, Drum & Bass), Fast Play Choosing the Melody track You might want to define a Player’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 a switch, footswitch or EC5 switch.
  • Page 327 Customizing the Songs |313 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 328 314| Customizing, recording and editing the Songs Mixing the Song Sounds Adjusting the volume of the individual MIDI Song Sounds As you can do with the Keyboard Sounds, you can adjust the volume of the individual MIDI Song Sounds. However, since MIDI Songs are already dynami- cally mixed by the original creators, their volume may automatically change during playback.
  • Page 329 Customizing the Songs |315 Adjust the Sound volume levels from the display 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. Use the X-FADER slider to select the active Player.
  • Page 330 316| Customizing, recording and editing the Songs 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 or sing live (the melody track in a MIDI Song is usually #04).
  • Page 331 Customizing the Songs |317 Soloing a MIDI Song Sound You can solo a MIDI Song Sound exactly as you would do with a Keyboard Sound. ▪ While the Volume pane is shown, or while in any page where the digital mixer appears, keep the SHIFT button pressed, and touch the...
  • Page 332 318| Customizing, recording and editing the Songs Changing the Sounds of the MIDI Song tracks Changing the MIDI Song Sounds You can assign different Sounds to the current MIDI Song. These Sounds will be reset when choosing a different Song. Choose a different Sound for a Song track While in the main...
  • Page 333 Default FX A Group effect settings ▪ EQ settings for the Song tracks When loading MIDI Songs created on a KORG Pa-Series instrument (or the HAVIAN 30 digital ensemble piano), these settings might be changed by the special data they contain.
  • Page 334: In Sequencer Mode

    320| Customizing, recording and editing the Songs 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 Song Play mode.
  • Page 335 Song on an external sequencer, and at the same time edit- ing the Sounds, Effects, EQ, Volume Levels, Pan values, Drum Family pa- rameters, etc., right on the Pa4X. Importing the MID file will not reset these settings.
  • Page 336 322| Customizing, recording and editing the Songs Playing the MIDI Song main page of the Sequencer mode shows the Song playback controls. Name of the MIDI Song Beat counter and Tempo Alternative starting point Tempo Mode Transport controls While in the main page of the Sequencer mode, use the PLAYER 1...
  • Page 337 Recording MIDI Songs |323 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 Multitrack Sequencer Recording Press the SEQUENCER button to switch to the Sequencer mode.
  • Page 338 324| Customizing, recording and editing the Songs Measure and Beat counter Record parameters Track info Sounds and Octave transposition 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 339 Recording MIDI Songs |325 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 measure checkbox to activate the alternative starting position.
  • Page 340 326| Customizing, recording and editing the Songs fore you begin recording anything. To insert a meter change in the middle of the Song, use the Sequencer > Song Edit > Insert Measure function. Choosing the Sounds and transpose You choose the Sounds in the dedicated Sound area of the Record page.
  • Page 341 Recording MIDI Songs |327 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 342 328| Customizing, recording and editing the Songs 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 343 Recording MIDI Songs |329 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 automatically begin and end at the Start points.
  • Page 344 330| Customizing, recording and editing the Songs Step recording a Song Step Recording allows you to create a new Song by entering single notes or chords into 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 345 Recording MIDI Songs |331 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 346 332| Customizing, recording and editing the Songs 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 347 Recording MIDI Songs |333 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 348 334| Customizing, recording and editing the Songs 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...
  • Page 349 Recording MIDI Songs |335 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 at a time: the drums first, then the bass, then the accompaniment guitar, then the strings…...
  • Page 350 336| Customizing, recording and editing the Songs 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 351 Recording MIDI Songs |337 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 1/16, (1/32) … (1/8) 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 352 338| Customizing, recording and editing the Songs Recording Turn on the metronome ▪ Press the METRO ) button to turn the metronome on or off while record- ing. The metronome click will not be recorded with the Song. Select the tracks to record ▪...
  • Page 353 Recording MIDI Songs |339 1-measure precount will play before the recording actually begins. When it begins, record freely. Play as if you were performing live with the Styles. During recording, select any Style Element (Intro, Variation, Fill, Break, Ending…) you like. While recording in Backing Sequence Record mode, you cannot use the Synchro, Tap Tempo, Manual Bass, Balance controls.
  • Page 354 340| Customizing, recording and editing the Songs Grouped BS track Keyboard/Style track Song track/Channel Chord/Acc Bass Drum Percussion Accompaniment 1 Accompaniment 2 Accompaniment 3 Accompaniment 4 Accompaniment 5...
  • Page 355 Recording MIDI Songs |341 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 track during the second take.
  • Page 356 342| Customizing, recording and editing the Songs Using the KAOSS effects while recording While recording, you can use the KAOSS effects as if you were using them live. While in the Backing Sequence Record page, touch the KAOSS button to access the KAOSS page.
  • Page 357 Recording MIDI Songs |343 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 358 344| Customizing, recording and editing the Songs 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 359: Event Types

    Recording MIDI Songs |345 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. Event type Meaning Style Latest selected Style. To insert a Style change at the current posi- tion, touch the Style name to open the Style Select window.
  • Page 360 346| Customizing, recording and editing the Songs Event type Meaning Length This parameter will let you know where to place the following Style Element Change. For example, if you inserted an Intro event lasting for 4 measures, you can insert 4 empty measure after this event, and a Variation event at the end of the Intro, beginning at the 4th empty measure.
  • Page 361 Recording MIDI Songs |347 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, Style Elements, Chords, Tempos).
  • Page 362 348| Customizing, recording and editing the Songs Editing the MIDI Songs 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 363 Editing the MIDI Songs |349 Use the Resolution pop-up menu to choose the quantize resolution. resolution Meaning Grid resolution after recording, in musical values. For example, when (1/32) … (1/8) you select 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 364 350| Customizing, recording and editing the Songs 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 365 Editing the MIDI Songs |351 Select the Include chords checkbox if you want to also transpose the Chord events, for example those recorded with a Backing Song. The Chord events will be shown in the Lyrics Score pages, so we suggest to transpose them to match the notes and the chord abbreviations shown.
  • Page 366 352| Customizing, recording and editing the Songs If you want to use the advanced parameters, allowing you to select a velocity curve and create fade-ins or fade-outs, select the Advanced checkbox. When this parameter is selected, the Intensity, Curve, Start Velocity Value End Velocity Value parameters become accessible.
  • Page 367 Editing the MIDI Songs |353 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 368 354| Customizing, recording and editing the Songs 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 type of event to delete.
  • Page 369 Editing the MIDI Songs |355 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 370 356| Customizing, recording and editing the Songs 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 371 Editing the MIDI Songs |357 Converting notes to RX Noises You can go to the Utility page to convert notes of a Standard MIDI File into RX Noises, and vice-versa. This will help programming Songs on an external sequencer. Go to the Sequencer >...
  • Page 372 358| Customizing, recording and editing the Songs Converting MIDI Song’s notes to chords The Detect Chord function scans the MIDI Song’s tracks to detect chords, and then saves them as Chords events, to be seen in the Lyrics or Score page.
  • Page 373 Editing the MIDI Songs |359 Editing the 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 (that is, velocity value). The Event Edit page ▪...
  • Page 374 Poly Aftertouch Polyphonic Aftertouch events Pitch Bend Pitch Bend events Pa Controls Messages exclusive to KORG Pa-Series instruments (and the HAVIAN 30 digital ensemble piano). Edit the events Go back to the Sequencer > Event Edit > Event Edit page.
  • Page 375 Editing the MIDI Songs |361 ▪ Select the (Measure), and use the VALUE controls to change event’s posi- tion. ▪ Select the Type parameter, and use the VALUE to change the event type. ▪ Select the Value 1 Value 2 parameters, and use the VALUE controls to edit them.
  • Page 376 362| Customizing, recording and editing the Songs Jump to a different measure Touch the Go/Catch 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 377 Saving MIDI Songs |363 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 378 364| Customizing, recording and editing the Songs ▪ If no Song is selected, a new Song file will be created on the target device. To deselect a selected Song, touch anywhere else in the Song list, or select the same storage device again. At this point, press the EXIT button if you prefer to exit without saving the...
  • Page 379 Recording MP3 Songs |365 recording MP3 Songs recording and saving an MP3 Song Recording an MP3 Song Prepare for recording ▪ Either choose a Style or Song, if you want to record them in the new Song. You can choose either MIDI or MP3 Songs. ▪...
  • Page 380 366| Customizing, recording and editing the Songs Please note that MP3 files recorded with lower sampling rates might not sound very good. With MP3 files there is always a trade-off between higher quality and smaller file size. Quality Meaning Highest 256 kbps High 192 kbps...
  • Page 381 Recording MP3 Songs |367 If you exit from the MP3 Record dialog while recording, a red recorder icon will continue flashing in the display. Stop recording ▪ Touch the Stop button in the display to stop recording. As an alternative, press the RECORD button.
  • Page 382 368| Customizing, recording and editing the Songs Overdubbing MP3 Songs MP3 Songs are compressed audio. Compression replaces the original au- dio stream with encoded audio, taking less space while preserving high sound quality. Overdubbing is the process of recording audio over existing audio.
  • Page 383 Choosing the right language Pa4X supports lyrics text in various languages. This however requires that you choose the right language in Pa4X, and save the TXT file with the cor- rect text encoding from a personal computer. To save a TXT file with the correct encoding, you can use a Windows PC or Mac with an advanced text editor.
  • Page 384 370| Customizing, recording and editing the Songs Setting the language on the Pa To correctly read text on your Pa, be sure to set the Language parameter to your language. This can be done in the Global > General Controls > Interface page.
  • Page 385 Creating text files (lyrics) |371 Select all and copy the selected text. Click on the tab containing the new TXT file. Paste the copied text. Save and assign a name to the new TXT file. Load the file into your instrument, and check it. Editing the TXT file on a Mac Launch BBEdit.
  • Page 386 372| Customizing, recording and editing the Songs While in the dialog, choose your language encoding. Next to it in the status bar, find the Line Break Type parameter, usually de- faulting to Unix (LF). Click it to open the popup menu, and choose Windows (CRLF).
  • Page 387 Creating text files (lyrics) |373 ▪ Small font in a text editor and the Pa: ▪ Big font in a text editor and the Pa: Using imported text as a memo Importing text files may be useful not only to load Lyrics, but also to load notes on the show.
  • Page 388 374| Recording the Songs, creating the Styles...
  • Page 389 |375 Part VII: CUStOMIZING aND EDItING tHE SOUNDS...
  • Page 390 376| Customizing and editing the Sounds...
  • Page 391 Listening and customizing the Sounds |377 Listening and customizing the Sounds accessing the Sound mode ▪ Press the SOUND button in the MODE section of the control panel. The main page of the Sound mode will appear. Sound name, bank, Octave Transpose, Program Change Voice...
  • Page 392 Playing via MIDI Sound mode, Pa4X 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. MIDI channels can be programmed in the Global >...
  • Page 393 Listening and customizing the Sounds |379 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 394 380| Customizing and editing the Sounds realtime Control Meaning Attack Attack time. This is the time during which the sound goes from the Start level (at the moment when you strike a key) to the Attack level. Decay Decay time. Time to go from the final Attack level to the beginning of the Sustain.
  • Page 395 Listening and customizing the Sounds |381 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 396 382| Customizing and editing the Sounds Editing the Sounds You can edit each single parameter of a Sound. Pa4X is, at its core, a power- ful 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 397 Sound, these buttons are dimmed, and cannot be selected. Sounds, Drum Kits, Digital Drawbars Pa4X features different types of Sounds: ▪ Ordinary Sounds. These are normal instrument Sounds, like pianos, strings, basses.
  • Page 398 384| Customizing and editing the Sounds 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 page.
  • Page 399 Editing the Sounds |385 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 400 386| Customizing and editing the Sounds 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 401 Editing the Sounds |387 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 402 388| Customizing and editing the Sounds The controller can work in two ways: Sound Controller Meaning Mode Booking Activate the controller to ‘book’ its function, then play. The control- ler will be automatically deactivated. Toggle Use the controller to ‘toggle’ its function between activated and de- activated.
  • Page 403 Editing the Sounds |389 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 OSC Trigger Mode...
  • Page 404 390| Customizing and 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 page.
  • Page 405 Use the numeric field next to the multisample name to choose the multi- sample inside the selected bank. Bank Meaning Factory multisamples, supplied by KORG as standard. User multisamples, loaded when loading some User Sounds. The High multisample will be triggered by velocities equal or higher than the Velocity SW L–>H value.
  • Page 406 392| Customizing and editing the Sounds Setting octave and fine tuning ▪ Use the Oct(ave) parameter to adjust the pitch of the selected oscillator in octave units (-2…+1). The normal octave is 0 (Zero). ▪ Use the Transpose parameter to adjust the pitch of the selected oscillator over a range of ±1 octave (-12…+12 semitones).
  • Page 407 Editing the Sounds |393 Oscillator triggering Triggering Mode is how the oscillator will start after pressing a key or a controller. Choosing the oscillator triggering mode ▪ Use the first OSC Trigger Mode > Mode pop-up menu to choose the event triggering the selected oscillator.
  • Page 408 394| Customizing and editing the Sounds ▪ Use the second OSC Trigger Mode > Mode pop-up menu to choose an ad- ditional condition before triggering the selected oscillator. For example, a Normal-triggered oscillator will always play, while a Legato-triggered oscilla- tor will only play when a note is played legato.
  • Page 409 Editing the Sounds |395 trigger Mode (How) Meaning Cycle 2 As the above, for use with a different (and parallel) group of oscilla- tors. Having two Cycle Trigger Modes allows for cycling stereo mul- tisamples. Random As the above, but with a random selection of oscillators within the assigned group.
  • Page 410 396| Customizing and editing the Sounds 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 411 Editing the Sounds |397 Programming the Damper pedal Programming the pedal Pa4X carefully recreates the way an acoustic piano Damper pedal works. ▪ Go to the Sound > Basic > Damper Mode page. Choosing a Damper pedal mode ▪ Use the...
  • Page 412 398| Customizing and editing the Sounds 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 re- leased (Note Off). In this case, the Damper effect starts from the current Release level, and decays slowly.
  • Page 413 Editing the Sounds |399 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 414 400| Customizing and editing the Sounds 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 Demo’...
  • Page 415 Editing the Sounds |401 Equalizing the Sound You can use a three-band, semi-parametric equalizer on each oscillator. ▪ Go to the Sound > Basic > EQ page. Activating the EQ ▪ Select the Enable checkbox to activate the equalizer on the selected oscil- lator.
  • Page 416 402| Customizing and editing the Sounds 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 > DrumKit page.
  • Page 417 Editing the Sounds |403 Selecting the dry or ambient portion of the sound You can separately listen to the dry or ambient portion of the percussive samples while editing. ▪ Use the Dry+Amb menu to choose the dry and/or ambient portion of the sound.
  • Page 418 Bank Meaning Factory samples, supplied by KORG as standard. User samples, loaded when loading some User Drum Kits. The sample you select for the current layer will be triggered by velocities higher than the value of the velocity switches. If you do not wish to use veloc- ity switching, assign just one layer to the selected key, and assign a sample only to layer 1.
  • Page 419 Editing the Sounds |405 ▪ 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 420 406| Customizing and editing the Sounds 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 421 Editing the Sounds |407 ▪ Use the EQ controls to create the equalization curve. EQ Control Meaning Value Low Gain Low frequencies equalization. This is a shelving -18…+18dB curve filter. Mid (Middle) Gain Middle frequencies equalization. This is a bell -18…+18dB curve filter.
  • Page 422 408| Customizing and editing the Sounds Mixing the Drum Kit layers You can see all the drum samples, dry/ambient levels, and velocity switches of the available layers in a single page. While in this page, you can see which layer is playing. ▪...
  • Page 423 Editing the Sounds |409 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 424 410| Customizing and 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 425: Controlling Pitch

    Editing the Sounds |411 Modulating pitch Pitch can change depending on the note and the activated controllers. Pa4X 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 426 412| Customizing and 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 427 Editing the Sounds |413 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. Intensity parameter (-12.00…+12.00) specifies the depth and direction of the effect produced by the AMS.
  • Page 428 414| Customizing and 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...
  • Page 429 Editing the Sounds |415 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-...
  • Page 430 416| Customizing and editing the Sounds Programming the pitch envelope (Pitch EG) Pa4X includes a pitch envelope generator (Pitch EG) that can vary the pitch over time. ▪ Go to the Sound > Pitch > EG page. You can see the shape of the envelope in the diagram on top of the page.
  • Page 431 Editing the Sounds |417 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 432 418| Customizing and 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...
  • Page 433 Editing the Sounds |419 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 434 420| Customizing and 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 435 Editing the Sounds |421 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 436 422| Customizing and 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 437 Editing the Sounds |423 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 > Modulation page. When the filter type is Low Pass Resonance, the parameters for filter B will not be editable (dimmed).
  • Page 438 424| Customizing and 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 439 Editing the Sounds |425 ▪ 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 440 426| Customizing and 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 >...
  • Page 441 Editing the Sounds |427 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 442 428| Customizing and 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 > EG page.
  • Page 443 Editing the Sounds |429 ▪ 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 444 430| Customizing and 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 >...
  • Page 445 Editing the Sounds |431 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 446 432| Customizing and 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 amplitude envelope you can make the sound volume vary over time.
  • Page 447 Editing the Sounds |433 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 448 434| Customizing and editing the Sounds Modulating amplitude Modulating the amplitude level of each oscillator makes the sound alive and ever-changing. ▪ Go to the Sound > Amp > Modulation page. Tracking the amplitude across the keyboard Use the Keyboard Track parameters to adjust the volume of the selected oscillator across the keyboard.
  • Page 449 Editing the Sounds |435 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 450 436| Customizing and 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.
  • Page 451 Editing the Sounds |437 Programming the amplitude envelope (amp EG) You can create time-varying changes in the volume of the selected oscillator. ▪ Go to the Sound > 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 452 438| Customizing and 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 453 Editing the Sounds |439 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. With a setting of 0 there will be no change. Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value) Note-on Note-on...
  • Page 454 440| Customizing and 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 455 Editing the Sounds |441 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 456 442| Customizing and 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 457 Editing the Sounds |443 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 independent LFO will operate for each note.
  • Page 458 444| Customizing and 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 459 Editing the Sounds |445 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 460 446| Customizing and 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). ▪ Go to the Sound > Effects > FX B page.
  • Page 461 Editing the Sounds |447 You can adjust the Wet/Dry mix of the insert effects, but we suggest not to touch it, unless you are editing the effects. When finished editing, press the EXIT button to return to the previous page. Activating and choosing the master effects Each Sound can send its audio signal to two master effects.
  • Page 462: Setting The Effect Parameters

    448| Customizing and editing the Sounds Setting the effect parameters All the parameters in this page are the same seen for the Sound sets. Please check the Customizing and editing the Sound sets section. ▪ Use the Send controls (0…127) to set the level of the Sound signal going to the Master FXs.
  • Page 463 Editing the Sounds |449 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 464 450| Customizing and editing the Sounds Copying Drum Kits You can copy the Drum Kit from a different Drum Kit. Choose the Copy Drum Kit command from the page menu. The Copy Drum dialog will appear. Touch the From Drum Kit button to open the Sound Select window, and...
  • Page 465 Editing the Sounds |451 aMS (alternate Modulation Sources) When the AMS abbreviation is encountered, an Alternate Modulation can be applied to the corresponding parameter. Alternate Modulation allows for realtime control of the effect. The following table shows the available modu- lation sources.
  • Page 466 452| Customizing and editing the Sounds Description Note JS+Y & AT/2 (Joy Stick Joystick +Y (vertical up- The effect will be controlled by the +Y & After Touch/2) ward) direction and After joystick +Y (vertically upward) and Touch by after touch. In this case, the effect of after touch will be only half of the specified intensity.
  • Page 467 Editing the Sounds |453 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 - max...
  • Page 468 454| Customizing and editing 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. Note: Changes can only be saved onto User Sounds. While in Sound Edit mode, choose the Write Sound...
  • Page 469 Writing the Sounds |455 ▪ To save over a Factory Sound location, deselect the Protect > Factory check- box in the Global > Mode Preferences > Media page. When replacing a Factory Sound, please be warned that all Keyboard Sets, Styles and Songs making use of it will be modified as well.
  • Page 470 Creating new ordinary or percussive Sounds Sampling allows you to create new sounds, by recording from an external source (for example, a microphone or a CD player) connected to Pa4X’s au- dio inputs, or by loading files from a storage device.
  • Page 471 Making new sounds with Sampling |457 Accessing and exiting the Sampling mode ▪ While in Sound mode, press the RECORD button to enter Sampling mode. Please note that no sound will be heard when you first enter Sampling mode. ▪ While in Sampling mode, choose the...
  • Page 472: Loading Samples

    Loading samples You can load samples in the following formats. Sample format Meaning KORG’s native sample format, used by the Trinity and Triton series of workstations, as well as the Pa-Series arrangers. File names must have the .ksf extension. AIFF Apple Mac’s preferred format for audio.
  • Page 473 If it is an Audio Groove, continue editing it with the Time Slice function. Loading compressed User Samples Pa4X can read and play compressed User Samples (in Pa4X or Pa3X format). Load compressed User Samples exactly as you load the other samples. Loading or recording other samples To create an ordinary Sound, you need more samples to make a multisample.
  • Page 474 Sound Bank name to choose a target bank where to load the imported Programs. Due to the differences between Pa4X and the older KORG instruments, some differences may arise during conversion. When reading a PCG file, Pa4X tries to use exactly the same multisamples as in Triton. If this is not possible, it looks for a similar multisample.
  • Page 475 Making new sounds with Sampling |461 Importing SF2 files When importing an SF2 file, you can choose between a single multisample or the whole bank: ▪ Choose MultiSample to choose a single Multisample (that is, SF2 Instruments); touch the multisample number and dial in the corresponding number. ▪...
  • Page 476 462| Customizing and editing the Sounds recording samples or audio grooves Connecting the sources and setting the levels Before starting to record, prepare the sources to be sampled. Connecting the source and accessing Sampling With its MASTER VOLUME control set to zero, connect the source to be sampled (for example, a microphone or a CD player) to the relevant audio input(s) on the rear of the instrument.
  • Page 477 Making new sounds with Sampling |463 Watch at the meters in the display to check the input level. Red means near distortion (signal clipping), so ideally, the meter bar should never go to red. When the Clip indicators turn red, the signal is too hot and is distorting. Also, check the microphone level with the AUDIO IN indicator in the...
  • Page 478 464| Customizing and editing the Sounds Editing the samples After recording, loading or importing, you can edit the samples. ▪ Go to the Sampling > Edit page. This page allows you to cut, trim or normalize a sample, as well as edit the loop points.
  • Page 479 Making new sounds with Sampling |465 Use the Zoom controls to change the size of the waveform shown in the diagram. When a button is greyed-out, it means the maximum or minimum value has been reached. Increase the vertical size Decrease the Increase the horizontal size...
  • Page 480 466| Customizing and editing the Sounds When editing audio grooves, the Loop Start should match the Sample Start point. This parameter usually differs from the Sample Start in ordinary sounds (that is, a guitar, a piano, a voice…). Forcing the use of ‘zero’ points When the Use Zero checkbox is selected, the Start, Loop Start and End...
  • Page 481 Making new sounds with Sampling |467 Cutting away part of the sample You can cut away the selected part of the sample. While in the Edit page, use the Start points to choose the segment to cut away. Choose the command from the page menu.
  • Page 482 468| Customizing and editing the Sounds Editing the loop After editing the sample, you can fine-tune the loop. ▪ Go to the Sampling > Loop page. The loop is a cycling portion of a sampled sound. Looping is a technique used to reduce the sampling time, cycling a portion of the sound to create the sustaining phase of the sound.
  • Page 483 Making new sounds with Sampling |469 Protecting the loop length ▪ Use the Loop Lock to fix the length of the loop being edited. When it is closed, moving the Loop Start automatically moves the Loop/Sample End point, or vice versa. This is convenient when you are creating a rhythm loop to match a specific tempo.
  • Page 484 470| Customizing and editing the Sounds Use the Curve radio buttons to specify how the volume will change in the crossfaded region. Curve Meaning Linear The volume will change linearly. Power The volume will change non-linearly. Sometimes a setting of Linear will produce the impression that the volume has dropped in the mid- dle of the crossfade curve.
  • Page 485 Available Memory area to get information on the Sampling memory (RAM) itself. Pa4X comes with 400 MB of RAM. This is the maximum amount of non-compressed samples that can be loaded or recorded. In case you need more Sampling memory, you can compress the samples and then load...
  • Page 486 472| Customizing and editing the Sounds Parameter Meaning Mono Time Remaining memory in seconds. This value is given for mono samples. With stereo samples, this time has to be halved. Bytes Remaining memory in Bytes. This value is given for mono samples. With stereo samples, this time has to be halved.
  • Page 487 Confirm the Write operation by touching the button. Pa4X comes with 400 MB of RAM. This is the maximum amount of non- compressed samples that can be loaded or recorded. In case you need more Sampling memory, you can compress the samples and then load up to 800...
  • Page 488 474| Customizing and editing the Sounds Exporting samples You can export the sample in edit in one of two popular computer audio file formats (WAVE and AIFF). While in any page of the Sample section, choose the Export command from page menu, to open the Export Sample...
  • Page 489 Making new sounds with Sampling |475 Deleting samples You can delete a sample, all the unused samples, or all the samples. Accessing the Delete Sample dialog ▪ While in any page of Sample editing section, choose the Delete command from the page menu to open the Delete Sample...
  • Page 490 476| Customizing and editing the Sounds Compressing the User Samples Pa4X can read and play compressed User Samples. It can compress User Samples when saving them, or in batch. Sample compression allows for dou- bling the available Sampling memory. Compressed samples can no longer be decompressed. If you want to keep the original samples, please save a copy before compressing them.
  • Page 491 Making new sounds with Sampling |477 Creating multisamples After having recorded, loaded or imported all the needed samples, you can create a multisample. The multisample is a way of organizing several sam- ples on the keyboard. Each sample is assigned to a Keyboard Zone (or Index), with a higher and a lower limit.
  • Page 492 478| Customizing and editing the Sounds Reading the multisample diagram The keyboard diagram shows the selected Index/Zone (highlighted), and its Original Note (in red). Use the big ‘–’ and ‘+’ buttons on its side to scroll the diagram one octave lower or upper. Assigning samples to the keyboard Creating a new zone By default, a new multisample contains a single zone.
  • Page 493 Making new sounds with Sampling |479 Assigning a sample to the selected zone A zone always corresponds to a single sample. ▪ Use the Sample parameter to choose a sample. To create a silent zone, create it and assign no sample to it. Editing the selected sample ▪...
  • Page 494 480| Customizing and editing the Sounds Overview of the assigned samples and zones You can see the overall map of the samples assigned to the zones, and edit their range on the keyboard. ▪ Go to the Sampling > Multisample > Key Assign page.
  • Page 495 You can export the multisample in edit, together with all the linked samples. The Export operation generates a KMP file (KORG’s proprietary file format for multisamples), and a folder containing a series of KSF files (KORG’s pro- prietary file format for samples) inside the same directory.
  • Page 496 482| Customizing and editing the Sounds Choose a target location, then touch the Save button to make the Export MultiSample dialog appear: You may change the name of the multisample. Touch the Text Edit ( icon to open the virtual keyboard and edit the name.
  • Page 497 Making new sounds with Sampling |483 Use this option with care, since you may delete samples you would like to preserve, to be later used in new multisamples still to be created. Deleting all the multisamples ▪ Select the All Multisamples option, and touch to confirm.
  • Page 498 484| Customizing and editing the Sounds Creating new Sounds from multisamples You can create a new Sound while in Sound mode. Go to the Sound mode. Choose a Sound similar to the one you are going to create. If you prefer to start from a blank, default situation, choose the Initialize Sound command from the...
  • Page 499 Making new sounds with Sampling |485 Creating new Drum Kits from percussive samples You can create a new Drum Kit while in Sound mode. Go to the Sound mode. Choose a Drum Kit similar to the one you are going to create. If you prefer to start from a blank, default situation, choose the Initialize Sound...
  • Page 500 486| Customizing and editing the Sounds assigning the new Sound or Drum Kit to a part/track The new Sounds or Drum Kits are contained in the User banks. Assign them to the Keyboard, Accompaniment or Song tracks, as you would do with any other Sound or Drum Kit.
  • Page 501 Making new sounds with Sampling |487 Creating audio Groove Slices with time Slicing Creating separate samples from a sliced audio groove After recording or loading an audio groove, you must ‘slice’ it to create a se- ries of separate percussive samples, a multisample to organize them on the keyboard, and a MIDI Groove containing the original sequence converted to MIDI events.
  • Page 502 488| Customizing and editing the Sounds Slicing Go to the Sampling > Time Slice page. Use the Meter parameter to specify the Meter of the original sample. Use the Measure parameter to specify the number of measures of the origi- nal sample.
  • Page 503 Making new sounds with Sampling |489 The generated multisample Each individual sample generated from slicing the audio groove will be as- signed to a different key. assigned sample/pattern Speed % Full pattern cycling at half the speed Full pattern cycling at various speeds Full pattern cycling at the original speed 100% C#3 and above...
  • Page 504 490| Customizing and editing the Sounds Testing the generated Drum Kit ▪ To test the full pattern at different speed, play a note from C2 (half speed) to C3 (original speed). See table above. ▪ To test the single sliced samples, play notes from C#3 and above. If you play a full chromatic scale, you can play the original pattern.
  • Page 505 Making new sounds with Sampling |491 Extending the sample tails When using the sliced grooves with a Tempo slower than the original, an annoying gap may be heard between a sample and the following one. The Extend function allows you to fix this problem by adding a ‘tail’ to all sam- ples, making their decay smoother and more musical.
  • Page 506 492| Customizing and editing the Sounds Use the Extend Mode pop-up menu to specify if the added ‘tail’ must decay in a linear way, or sustain for a longer time and then fall suddenly. Choose the Extend method suitable for the processed materials. Extend Mode Meaning Shape...
  • Page 507 Making new sounds with Sampling |493 Writing the audio Groove Slices When the Time Slicing procedure is completed, you can save the data as a new Sound, together with a series of separate percussive samples, a multi- sample arranging them on the keyboard. A MIDI Groove containing the origi- nal sequence converted to MIDI events will also be created.
  • Page 508 494| Customizing and editing the Sounds Using the audio Groove Slices in a Style or After generating the Audio Groove Slices, you can use them in a Style or Pad, by importing the MIDI Groove to a track, and assigning the corresponding Sound to the same track.
  • Page 509 Making new sounds with Sampling |495 Assigning the Sound to the Style or Pad track After having imported the MIDI Groove, assign the Sound generated by the Time Slicing procedure to the track playing the MIDI Groove. Assigning the Sound to a Style Go to the Style Play mode, and choose the User Style to which to assign the...
  • Page 510 496| Customizing and editing the Sounds Using the audio Groove Slices in other Sounds You can use the multisample and samples generated by a Time Slicing op- eration in other Sounds. Go to the Sound mode, and choose a Sound similar to the one you want to assign the multisample to.
  • Page 511 |497 Part VIII: aUDIO IN/OUt aND tHE VOICE PrOCESSOr...
  • Page 512 498| Audio In/Out and the Voice Processor...
  • Page 513 Setting the audio outputs and the final effects |499 Setting the audio outputs and the final effects Connecting the audio outputs Connect the audio outputs as described in Connecting the audio outputs page 17. If installed, the (optional) PaAS amplification system will work in parallel with the main audio outputs.
  • Page 514 500| Audio In/Out and the Voice Processor Choosing the audio outputs for the microphone and line audio inputs You can send the signal entering the AUDIO INPUTS to the main outputs, or to the auxiliary sub-ouputs. By default, the main LEFT RIGHT audio...
  • Page 515 Setting the audio outputs and the final effects |501 Sending Sounds and Drum Kits to the audio outputs Sounds from each part or track of the keyboard, the Style or MIDI Songs, as well as each Drum family, can be sent to a separate audio output. This rout- ing is global, and will not change when choosing a different Keyboard Set, Style or Song.
  • Page 516 502| Audio In/Out and the Voice Processor Choosing the audio outputs for the Drum families Drum Kits can be treated as ordinary tracks/Sounds, or as sets of separate percussive sounds that can be routed to different audio outputs. Drum Kits treated as ordinary tracks You can send the Drum Kit to an audio output (or output pair) as an ordinary track.
  • Page 517: Metronome Click

    Setting the audio outputs and the final effects |503 Choosing the audio outputs for the metronome click You can send the metronome click to any of the separate audio outputs (or output pairs). This will allow, for example, to send the click to the drummer’s headphone amplifier only.
  • Page 518 Preset. Choosing a default preset for the audio outputs, headphones and PaAS amplification system Pa4X can automatically select a MAXX Preset depending on the type of au- dio output. You can choose the default presets that will be automatically selected.
  • Page 519 Setting the audio outputs and the final effects |505 Turning the MAXX effects on/off You can turn the MAXX effects on or off, to quickly make the sound louder or flatter. Go to any page of the Global > MAXX Master EQ section.
  • Page 520 506| Audio In/Out and the Voice Processor Programming the EQ ▪ Look at the results of any edit in the diagram. The diagram shows the EQ curve. Its shape changes depending on the various parameter values. ▪ Use the Gain parameter to change the emphasis or attenuation of the cor- responding band.
  • Page 521 Setting the audio outputs and the final effects |507 Turning the separate effects on/off ▪ Use the On/Off buttons on top of each slider to turn the corresponding ef- fect on/off. Programming the Master effects ▪ Use the IN/OUT indicators to check the level of the audio entering and com- ing out of the MaxxAUDIO processor.
  • Page 522 508| Audio In/Out and the Voice Processor Using MaxxTreble technology you will be able to deliver louder, crisper and better defined high end without having to worry about clipping or peak-lim- iting. MaxxStereo MaxxStereo is for more realistic, wider stereo imaging. You will hear a wide, exciting stereo image, similar to what you’d hear in a modern movie theatre.
  • Page 523 Setting the audio outputs and the final effects |509 Writing a MAXX Preset Open the Write Maxx Preset dialog Go to the any page of the Global > Maxx Master EQ section. Choose the Write Global Maxx Preset command from the page menu to open the Write Maxx Preset dialog.
  • Page 524 510| Audio In/Out and the Voice Processor Connecting the audio inputs Connecting a line audio device Connecting the audio device Use the AUDIO INPUT > LINE connectors to receive audio from an external device. These inputs are all line-level. Do not directly connect guitars, micro- phones or power amplifiers.
  • Page 525 Connecting the audio inputs |511 Enabling the line audio input for MP3 recording ▪ Go to the Global > Audio & Video > Audio In page, and be sure the Audio In parameter is set to Line. ▪ In the same page, be sure the Audio Out parameter is set to This will send the line inputs to the internal MP3 recorder, and disconnects...
  • Page 526: Connecting A Microphone

    512| Audio In/Out and the Voice Processor Connecting a microphone Connecting the microphone Use the MIC INPUT connector to connect a microphone. This is a combo connector, featuring an XLR and a 1/4” jack on the same connector. Use the balanced XLR jack to connect a condenser microphone, or the 1/4”...
  • Page 527 Condenser microphones require phantom powering supplied by Pa4X. Usually found in studio, these microphones usually come with a wider car- dioid pattern, capturing more ambience and deeper basses. Wide-capsule condenser microphones are the preferred for studio voice applications.
  • Page 528 When disconnecting a microphone from the XLR jack, the phantom power is automatically turned off. Phantom power is also automatically turned off each time you turn the Pa4X off. As an alternative, you can go to the Global > Audio & Video > Audio In...
  • Page 529 Connecting the audio inputs |515 Turning the microphone on and adjusting the volume The microphone can be quickly turned on or off, and its volume in the mix adjusted, right from the control panel. Please note that, for safety reasons, the input is always switched off when turning the instrument on.
  • Page 530 516| Audio In/Out and the Voice Processor Shaping the sound of the lead voice The lead voice is your voice, or the one of your singer, entering the micro- phone input. You can apply effects and pitch correction, before sending it to the Voice Processor.
  • Page 531 Connecting the audio inputs |517 Vibrato and bending ▪ While in the Global > Mic Setup > Setup page, use the Voices Vibrato Boost pop-up menu to specify how the Modulation message will affect vibrato. Voices Vibrato Meaning Boost Boost Adds more vibrato once the Modulation value reaches the correspond- ing amount of vibrato and then returns to the original amount at rest position.
  • Page 532 518| Audio In/Out and the Voice Processor The factory default value is 50%. Changing the value towards 0% reduces the correction effect and changing towards 100% increases it. Above 50% the effect becomes more noticeable when you slide from note to note. This is the effect of faster transition speed between your input note and the closest scale tone as well as the fact that the algorithm is trying to pull you closer to the target.
  • Page 533 Connecting the audio inputs |519 Programming the Adaptive EQ When Adaptive is on, an automatic EQ algorithm is activated, and changes the control set for the EQ. Most of the adjustment is done automatically, so fewer controls are required. ▪ Use the Shape knob to automatically adjust the Adaptive EQ.
  • Page 534 520| Audio In/Out and the Voice Processor make them cut through a group of instruments and thus make a larger im- pression on the listener. The Shape feature, used at moderate settings, emu- lates this sound through the average microphone and amplification system. When making Shape adjustments, it’s important to sing while listening to the amplification system your audience will hear rather than only judging by your monitor sound.
  • Page 535 Connecting the audio inputs |521 Programming the Adaptive Compressor When Adaptive is on, an automatic Compressor algorithm is activated, and changes the control set. Most of the adjustment is done automatically, so fewer controls are required. ▪ Use the Compress control to reduce the range between louder and softer singing to produce more even-sounding vocals.
  • Page 536 522| Audio In/Out and the Voice Processor Programming the traditional Compressor When Adaptive is off, you switch compression to manual control. Be sure to reduce the level of your amplification or switch to headphones when adjust- ing the manual compressor, because high settings can cause more gain and thus feedback.
  • Page 537 Connecting the audio inputs |523 quired and it then gets out of the way allowing the silky brightness to remain on the voiced portion of your singing. There is only the single DeEss Level control; no other manual adjustment settings are required. The factory setting of 50% gently reduces sibilance without becoming obvious.
  • Page 538 524| Audio In/Out and the Voice Processor 0 dB offers no gain reduction on your lead voice at all. Settings of -30 to Off effectively mute your voice when the Gate is on. ▪ Use the Harm(ony) Atten(uation) knob to set the amount of attenuation for the Harmony and Doubling voices when the Gate closes.
  • Page 539 Talking with your audience |525 talking with your audience Soloing your voice (TalkOver) ▪ Go to the Main page > Mic pane, and touch the TalkOver button to talk to your audience. The background music will be softened, and the voice effects switched off. ▪...
  • Page 540 526| Audio In/Out and the Voice Processor ▪ Use the Background Music Level control to set the level to which the volume of all Sounds (Keyboard, Style, Player, Pad…) will be reduced when TalkOver is engaged. 100% corresponds to no level reduction.
  • Page 541 Using the voice effects and harmonization |527 Using the voice effects and harmonization Choosing a Voice Preset Voice Presets contain settings for the voice effects and harmonization. Choosing a Voice Preset from the library Open the Voice Preset window from the control panel ▪...
  • Page 542 528| Audio In/Out and the Voice Processor Select a Voice Preset As soon as you press the button or touch the display, the Voice Preset Select window appears. In case you want to choose a different group of Voice Presets, touch one of tabs on the sides of the Voice Preset Select...
  • Page 543 Using the voice effects and harmonization |529 Choosing a Voice Preset with a SongBook Entry When choosing a SongBook Entry, the Voice Preset might change. This will happen if the Global checkbox in the Main page > Mic tab is not selected. Changing the global Voice Preset The global Voice Preset is the general setting you use when there is no ‘local’...
  • Page 544 530| Audio In/Out and the Voice Processor Harmonizing your voice Harmonization adds a choir of voices to your lead voice. Activating and setting the harmony voices Choose a Voice Preset ▪ Press the PRESET button in the MIC/VOICE section, and choose a Voice Preset containing the desired harmonization type.
  • Page 545 Using the voice effects and harmonization |531 Where do chords and notes come from? Each Voice Preset contains settings to choose the source of the chords or notes. Depending on the preset, you will play on the keyboard, and/or let the MIDI Song send notes from a track selected from the preset.
  • Page 546 532| Audio In/Out and the Voice Processor Doubling your voice Doubling adds a second voice to your lead voice, making it thicker and stron- ger. Choose a Voice Preset ▪ Press the PRESET button in the MIC/VOICE section, and choose a Voice Preset containing the desired doubling type.
  • Page 547: Using The Effects

    Using the voice effects and harmonization |533 Using the effects Effects can add ambience, improve or transform your lead voice and the added voices. They are always included in any Voice Preset as separate FX blocks, that you can turn on/off or edit. Turn the effects on or off Go to the Main page >...
  • Page 548 534| Audio In/Out and the Voice Processor Editing the Voice effects You can create your custom voice effects, to be saved into a Voice Preset and assigned to a SongBook Entry. Accessing Voice Preset editing Press the STYLE PLAY SONG PLAY button in the MODE section of the...
  • Page 549 Editing the Voice effects |535 Mixing the lead voice and the effects While in the Voice Preset > FX Mixer page, you can set the master level of the effects, and internally route the effects. ▪ Use the Level control to adjust the level of each effect block inside the Voice Preset.
  • Page 550 536| Audio In/Out and the Voice Processor Editing the harmony voices While in the Voice Preset > Harmony page, you can program the harmony voices. Setting the general harmony parameters The top area of the page contains general parameters. Choosing the Harmony set ▪...
  • Page 551 Editing the Voice effects |537 Choosing the source of chords or notes ▪ Use the Style Play Control pop-up menu to choose a source for chords or notes controlling harmony in the Style Play mode. Control source Meaning (Style Play) Chord Scan Play chords or notes in the area chosen with the CHORD SCAN but- tons in the control panel.
  • Page 552 538| Audio In/Out and the Voice Processor Choosing the Key and Scale With Scale harmonization, all of the chords in an entire song and your mel- ody can belong to a single key. You can input this key by using the rameter.
  • Page 553 Editing the Voice effects |539 Programming the individual harmony voices The center area of the page contains parameters to program the individual voices. It is different, depending on the selected Harmony Type. Harmony type Individual Voice Box Chord Scale Shift Notes ▪...
  • Page 554 540| Audio In/Out and the Voice Processor Choosing the Shift for Shift-type harmonies ▪ Use the Shift pop-up menu to choose the interval the harmony voice is shift- ed relative to the input note. The values range from -24 semitones to +24 semitones.
  • Page 555 Editing the Voice effects |541 Programming the expression, EQ and internal mix The bottom area of the page contains general parameters to control expres- sion and mix the lead voice and effect. Humanizing the harmony voices ▪ Use the Humanize pop-up menu to choose a humanization style.
  • Page 556 542| Audio In/Out and the Voice Processor Adding vibrato ▪ Use the Vibrato pop-up menu to choose a vibrato style. Vibrato assists in providing separation between your dry singing voice and the harmonies as well as to add some movement to the rigid pitch contour in Notes mode harmony.
  • Page 557 Editing the Voice effects |543 Editing the Double voice While in the Voice Preset > Double page, you can program the Double voice. The Double effect uses the same type of Humanization technology as in the Harmony effect to create up to two overdubbed versions of your voice. The two voices are set to unison intervals as opposed to the moveable intervals available for the harmony voices.
  • Page 558 544| Audio In/Out and the Voice Processor Editing the Filter effect While in the Voice Preset > Filter & Hard Tune page, you can program the Filter effect. This effect uses steep filters to emulate the sound of radios, phones and devices that generally degrade the audio signal.
  • Page 559 Editing the Voice effects |545 Editing the filter parameters ▪ Use the Routing pop-up menu to specify where the Filter effect is inserted into the signal path. routing Meaning No routing. Lead Filter is inserted on the Lead voice only. Harmonies and Doubling are unaffected.
  • Page 560 546| Audio In/Out and the Voice Processor Editing the Hard tune effect While in the Voice Preset > Filter & Hard Tune page, you can program the Hard Tune effect. This effect is a pitch corrector that has been optimized to produce corrective pitch correction as well as obvious effects made popular by a number of art- ists.
  • Page 561 Editing the Voice effects |547 Editing the μMod effect While in the Voice Preset > uMod page, you can program the micro-modu- lation effect. μMod is short for micro-modulation. The μMod effect is capable of creating many different sounds that range from subtle but lush thickening to cre- atively destructive.
  • Page 562 548| Audio In/Out and the Voice Processor ▪ Use the Delay L/R parameters to set the left and right delay times. Up to 50 ms of delay is available on the left and right delay lines to create effects from flange to slapback.
  • Page 563 Editing the Voice effects |549 Editing the Delay effect While in the Voice Preset > Delay page, you can program the delay effect. The delay effect is a configurable echo. You can control how far apart the echoes occur (Delay Time), and whether the echoes fade out quickly or slow- ly or build on themselves.
  • Page 564 550| Audio In/Out and the Voice Processor ▪ Use the Quantize Left/Right parameters, when the Source is set to MIDI, to divide the Tempo into even (e.g. 1/4 or quarter notes) or syncopated sub- beats (e.g. 1/4 triplets, 1/4 dotted notes) for the left and right delays. ▪...
  • Page 565 Editing the Voice effects |551 Editing the reverb effect While in the Voice Preset > Reverb page, you can program the reverb effect. Reverb is arguably the most common vocal effect. It can add a spacious- ness that softens the abrupt beginnings and endings of lyric phrases. Many reverb types are meant to imitate the natural sound of spaces like churches, clubs and halls but not all.
  • Page 566 552| Audio In/Out and the Voice Processor spaces and to provide audio separation between the dry signal and the re- verb effect. ▪ Use the Hi Color / Lo Color parameters to adjust the corresponding pre- set-frequency filters inserted into the Reverb feedback path that tailor the low and high frequency response and decay of the tails.
  • Page 567 Editing the Voice effects |553 Writing a Voice Preset Voice Presets can store the Voice effects settings for instant recall. The li- brary is where you organize them by type. Note: Changes can be saved onto User Voice Presets. They cannot normally be saved onto Factory Voice Presets.
  • Page 568 554| Audio In/Out and the Voice Processor When done editing the name, confirm by touching the button under the virtual keyboard. When back at the Write Voice Preset dialog, confirm the Write operation by touching the button. Saving a Voice Preset with a Keyboard Set, Style or Song If you want to save the selected Voice Preset together with the Keyboard Sets, Styles or Songs, you can create a new SongBook Entry based on them.
  • Page 569 |555 Part IX: EFFECtS FOr tHE SOUNDS...
  • Page 570 556| Effects for the Sounds...
  • Page 571: The Effects

    The effects |557 the effects Editing the effects Editing the insert effects (IFX) Go to the Style Play Song Play > Mixer/Tuning > Insert FX page. FX group FX on/off Selected FX type While in the Insert FX page, touch the name of the selected effect type, or ‘x’...
  • Page 572 558| Effects for the Sounds Editing the master effects (MFX) Go to the Master Effects > FX A/B page containing the master effect you want to edit. While in the FX A FX B page, touch the name of the assigned effects to open the FX Edit page.
  • Page 573 MIDI data that will modulate the effect. Pa4X uses the Dynamic Modulation Source (DMS) system, a highly flexible and powerful matrix of modulation. See below the list of available sources.
  • Page 574 560| Effects for the Sounds Set the modulation intensity ▪ While in the FX Edit page (for both the insert or master effects), use the (Amount) parameter to set the intensity of modulation. This is an offset to the normal value received from the source. Feeding the master effects back to the MFX1 input Master effects are set in parallel, but you can set them in a serial chain by sending the output of the...
  • Page 575 The effects |561 adapting reverb to the room size Pa4X 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 576: Effects List

    562| Effects for the Sounds Effects list The following list contains all the Factory Effects. Detailed information on each effect’s parameter are contained in the following pages. rEV (reverb) St.HarmonicChorus aMP (amplifier) O–verb Classic Chorus GuitarAmp + P4EQ Reverb Hall Multitap Cho/Delay GuitarAmp + Cabinet Reverb SmoothHall...
  • Page 577 The effects |563 St.Exciter/Enhncr MISC (Miscellaneous) Exciter - Limiter Stereo Isolator Stereo Decimator Exciter-Cho/Flng St. Random Filter St. Analog Record Exciter - Phaser St. MultiModeFilter Doppler Exciter - Mt.Delay Talking Modulator Scratch OD/HG - Cho/Flng 2Voice Resonator Auto Reverse OD/HG - Phaser Vox Treble Booster P4EQ - Cho/Flng OD/HG - Mt.Delay...
  • Page 578: Effect Parameters

    564| Effects for the Sounds Effect parameters rEV (reverbs) O–verb The O-verb features a high-quality, diffusion-based reverb core. In addition to setting the size of the room, you can model its shape and materials by adjusting the diffusion characteristics of both the initial reflections and the main reverberant wash, and via separate controls for the high, mid, and low decay times.
  • Page 579 Effect parameters |565 Rolloff 0…100 This controls a lowpass filter on the output of the effect. Pre Delay [msec] 0…1360 Sets the delay time from the dry sound Diffusion 1 0…100 Diffusion 1 and 2 soften the sound before it enters the reverb core, shaping the tim- Diffusion 2 0…100 bre of the initial reflections.
  • Page 580: Reverb Hall

    566| Effects for the Sounds 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 e: Diffusion Reverb Size, Time, and Diffusion: Size / Reverb Time / Diffusion Reverb Time: small large Size: small large...
  • Page 581: Reverb Dry Plate

    Effect parameters |567 Reverb Dry Plate This plate reverb simulates dry (light) reverberation. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Pre Delay Thru EQ Trim Reverb Pre Delay EQ Trim...
  • Page 582: Reverb Room

    568| Effects for the Sounds Using the “Pre Delay Thru” parameter, you can mix the dry sound without delay, emphasizing the attack of the sound. Reverb - Hall / Plate Type Level Reverb Pre Delay Thru Time Pre Delay Reverb Time Reverb Room This room-type reverb emphasizes the early reflections that make the sound tighter.
  • Page 583 Effect parameters |569 EQ Trim 0…100 Sets the EQ input level 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...
  • Page 584: Early Reflections

    570| Effects for the Sounds Early Reflections This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can select one of the four decay curves. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt EQ Trim...
  • Page 585 Effect parameters |571 a: Type This parameter selects the decay curve for the early reflection. Early Reflections - Type Sharp Loose Modulated Reverse ER Time Pre Delay Early Reflections Hi Dens This early reflection effect has more precise early reflections with twice the maximum length of a normal-size effect (Early Reflections).
  • Page 586 572| Effects for the Sounds EQ Trim 0…100 Sets the input level of EQ applied to the effect sound 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-High mid-high) of the high-range equalizer...
  • Page 587 Effect parameters |573 [R]Pre Delay [msec] 0…200 Sets the delay time of the reverb sound and gate control signal [R]EQ Trim 0…100 Sets the EQ input level Reverb Balance 0…100 Sets the reverb effect balance [R]PreLEQ Fc Low, Selects the cutoff frequency (low or Mid-Low mid-low) of the low-range equalizer Pre HEQ Fc...
  • Page 588 574| Effects for the Sounds When “[G]Envelope Select” is set to Input, the gate is controlled by the level of signals that are the combination of the dry sound and the reverb sound. When the signal level exceeds the threshold, the gate opens and the reverb sound is output.
  • Page 589 Effect parameters |575 DEL (Delay) 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 590 576| Effects for the Sounds 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 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 591 Effect parameters |577 L Feedback –100…+100 Sets the feedback amount for the left channel Off…Tempo Selects the modulation source of feed- back 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 592 578| Effects for the Sounds 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 Feedback...
  • Page 593 Effect parameters |579 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 594 580| Effects for the Sounds 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. Stereo In - Stereo Out Left FX Amt...
  • Page 595 Effect parameters |581 L LFO Phase [deg] –180…+180 Sets the phase obtained when the left LFO is reset L Depth 0…200 Sets the depth of the left LFO modulation R LFO Phase [deg] –180…+180 Sets the phase obtained when the right LFO is reset R Depth 0…200...
  • Page 596 582| Effects for the Sounds St. Dynamic Delay (Stereo Dynamic Delay) This stereo delay controls the level of delay according to the input signal level. You can use this as a ducking delay that applies delay to the sound only when you play keys at a high velocity or only when the volume level is low.
  • Page 597 Effect parameters |583 a: Control Target This parameter selects no level control, delay output control (effect bal- ance), or feedback amount control. a: Polarity b: Threshold b: Offset c: Attack d: Release The “Offset” parameter specifies the value for the “Control Target” pa- rameter (that is set to None), expressed as the ratio relative to the param- eter value (the “Wet/Dry”...
  • Page 598 584| Effects for the Sounds St. AutoPanningDly (Stereo Auto Panning Delay) This stereo delay effect pans the delay sound left and right using the LFO. Stereo In - Stereo Out Left FX Amt High Damp Low Damp Delay Feedback Depth Delay High Damp Low Damp Right...
  • Page 599 Effect parameters |585 Panning Depth 0…100 Sets the panning width Off…Tempo Selects the modulation source for the panning width –100…+100 Set the modulation amount of the pan- ning width 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...
  • Page 600 586| Effects for the 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 601 Effect parameters |587 d: FB Amt e: FB Amt f: FB Amt g: Feedback The feedback output from Tap 1, 2, and 3 is mixed according to the “FB Amt,” and then the final amount of feedback is specified by “Feedback.” Sequence BPM Dly (Sequence BPM Delay) This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.
  • Page 602 588| Effects for the 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 –100…+100 Sets the modulation amount of the input level Dmod [%] Off…Tempo Selects the modulation source for the input...
  • Page 603 Effect parameters |589 MIDI, MIDI syncs to the system tempo; 40–300 sets the 40.00… tempo manually for this individual effect 300.00 Time Over? ---, OVER! Displays an error message when the delay time ex- ceeds the upper limit L Delay Base Selects the type of notes to specify the delay time …...
  • Page 604 590| Effects for the Sounds 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 605 Effect parameters |591 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 Sets the modulation amount of the right channel...
  • Page 606 592| Effects for the Sounds 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)
  • Page 607 Effect parameters |593 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- put level Spread...
  • Page 608 594| Effects for the Sounds Modulation Mode LFO, D-mod Switches between LFO modulation control and modulation source control D-mod Modulation L/R:+/+, Reversed L/R control by modulation source L/R:+/– Off…Tempo Selects the modulation source that con- trols delay time Response 0…30 Sets the rate of response to the modulation source LFO Waveform...
  • Page 609 Effect parameters |595 L Delay Base Note Selects the type of notes to specify the left … channel delay time Times x1…x32 Sets the number of notes to specify the left channel delay time Feedback –100…+100 Sets the feedback amount of left delay R Delay Base Note Selects the type of notes to specify the …...
  • Page 610 596| Effects for the Sounds St.BPMAutoPanDly (Stereo BPM Auto Panning Delay) This stereo auto panning delay enables you to set the delay time to match the song tempo. Stereo In - Stereo Out Left FX Amt High Damp Low Damp Delay Feedback Depth...
  • Page 611 Effect parameters |597 Panning Freq [Hz] 0.02…20.00 Sets the panning speed MIDI Sync Off, On When this is on, the pan LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI, MIDI syncs to the system tempo; 40–300 40.00…...
  • Page 612 598| Effects for the Sounds 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 613 Effect parameters |599 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 Sets the Tap3 feedback amount...
  • Page 614 600| Effects for the Sounds 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 de- lay time parameters so that this message will not appear. “Time Over?” is only a display parameter.
  • Page 615: Hold Delay

    Effect parameters |601 Low Damp [%] 0…100 Sets the damping amount in the low range Input Level Dmod –100…+100 Amount of input level modulation Off…Tempo Selects the modulation source of Input Level Dmod. See DMS (Dynamic Modulation Source) Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation Source)
  • Page 616 602| Effects for the Sounds Loop Base Note Selects the type of notes to specify the … delay time Times x1…x32 Sets the number of notes to specify the delay time REC Control Src Off…Tempo Selects control source for recording RST Control Src Off…Tempo Selects control source for reset...
  • Page 617 Effect parameters |603 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 618 604| Effects for the Sounds 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.
  • Page 619 Effect parameters |605 C Delay Time [msec] 0…5460 Sets the delay time of TapC Level 0…50 Sets the output level of TapC R Delay Time [msec] 0…5460 Sets the delay time of TapR Level 0…50 Sets the output level of TapR Feedback (C Delay) –100…+100 Sets the feedback amount of TapC...
  • Page 620 606| Effects for the Sounds 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. You can set a maximum of 2,730msec for the delay time. Stereo In - Stereo Out Left FX Amt...
  • Page 621 Effect parameters |607 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 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...
  • Page 622 608| Effects for the Sounds Feedback –100…+100 Sets the feedback amount of TapC (C Delay) Off…Tempo Selects the modulation source for the TapC feedback –100…+100 Sets the modulation amount of the TapC feedback High Damp [%] 0…100 Sets the damping amount in the high range Low Damp [%] 0…100...
  • Page 623 Effect parameters |609 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 Input Level D-mod High Damp Low Damp...
  • Page 624 610| Effects for the Sounds 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...
  • Page 625: Stereo Chorus

    Effect parameters |611 MOD (Modulation) 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. Stereo In - Stereo Out Left FX Amt...
  • Page 626 612| Effects for the 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 mid-...
  • Page 627 Effect parameters |613 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 628 614| Effects for the Sounds 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 629 Effect parameters |615 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 Wet/Dry Dry, 1:99…99:1,...
  • Page 630 616| Effects for the Sounds Classic Chorus This models a famous chorus unit that was built into a guitar amp. Although it does not provide a chorus and vibrato select switch, you can use the “Wet/ Dry” and “Bus” settings to produce their effect. The “Speed,” “Depth,” and “Manual”...
  • Page 631 Effect parameters |617 Multitap Cho/Delay (Multitap Chorus/Delay) This effect has four chorus blocks with a different LFO phase. You can cre- ate a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also fix some of the chorus blocks to combine the chorus and delay effects.
  • Page 632 618| Effects for the Sounds Tap4 (270) [msec] 0…1000 Sets the Tap4 (LFO phase=270 degrees) delay time Depth 0…30 Sets the Tap4 chorus depth Level 0…30 Sets the Tap4 output level L6…L1, C, R1… Sets the Tap4 stereo image Tap1 Feedback –100…+100 Sets the Tap1 feedback amount Off…Tempo...
  • Page 633: Stereo Flanger

    Effect parameters |619 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. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
  • Page 634 620| Effects for the 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 signal Dry…99:1, Wet Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source g: Feedback...
  • Page 635 Effect parameters |621 Delay Time [msec] 0.0…50.0 Sets the delay time from the original sound LFO Waveform Step-Tri, Selects the LFO Waveform Random LFO Phase [degree] –180…+180 Sets the LFO phase difference between the left and right LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Off…Tempo...
  • Page 636 622| Effects for the Sounds St. Env. Flanger (Stereo Envelope Flanger) This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modulation source. Stereo In - Stereo Out Left FX Amt...
  • Page 637 Effect parameters |623 c: Sweep Mode c: Src This parameter switches the flanger control mode. With “Sweep Mode” = EG, the flanger will sweep using the envelope generator. This envelope genera- tor is included in the envelope flanger, and not related to the Pitch EG, Filter EG, or Amp EG.
  • Page 638 624| Effects for the Sounds Classic Flanger This models a classic analog flanger. It is highly effective for chording on clavi-type keyboards or electric piano. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Feedback Flanger Right...
  • Page 639: Stereo Phaser

    Effect parameters |625 Stereo Phaser This effect creates a swell by shifting the phase. It is very effective on elec- tric piano sounds. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. Stereo In - Stereo Out Left FX Amt...
  • Page 640 626| Effects for the 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 Resonance –100…+100 Sets the resonance amount High Damp [%] 0…100 Sets the resonance damping amount in the high range...
  • Page 641 Effect parameters |627 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 High Damp Phaser Right...
  • Page 642 628| Effects for the Sounds Manual 0…100 Sets the frequency to which the effect is ap- plied Off…Tempo Selects the modulation source for the LFO modulation –100…+100 Sets the modulation amount of the LFO modu- lation Depth 0…100 Sets the depth of LFO modulation Resonance –100…+100 Sets the resonance amount...
  • Page 643 Effect parameters |629 Sweep Mode EG, D-mod Determines whether the flanger is controlled by the envelope generator or by the modulation source Off…Tempo Selects the modulation source that triggers the EG (when EG is selected for Sweep Mode), or modulation source that causes the flanger to sweep (when D-mod is selected for Sweep Mode) EG Attack 1…100...
  • Page 644 630| Effects for the Sounds Orange Phaser This phaser pedal is a favorite on many recordings. It’s useful for adding sparkle, animating chord passages, and widening and fattening the sound. The original had only a speed control; this version adds depth, control of the center frequency, and more.
  • Page 645 Effect parameters |631 Small Phaser This classic phaser, made in New York City during the 70s, has a notably warm and rich tone with liquid transparency. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Color Phaser...
  • Page 646 632| Effects for the Sounds Phaser - Cho/Flng (Phaser - Chorus/Flanger) This effect combines a mono phaser and a chorus/flanger. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Phaser Chorus/Flanger...
  • Page 647 Effect parameters |633 [F]Output Mode Normal, Selects the output mode for the Wet Invert chorus/flanger 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 St. Phaser + Trml (Stereo Phaser + Tremolo) This effect combines a stereo phaser and tremolo, with linked LFOs.
  • Page 648 634| Effects for the 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 649: Stereo Tremolo

    Effect parameters |635 f: Phaser Wet/Dry i: Wet/Dry PHASER Wet/Dry sets the balance between the phaser output and the dry sound. OUTPUT Wet/Dry sets the balance between the final phaser and tremolo output level and the dry sound. Stereo Tremolo This effect modulates the volume level of the input signal.
  • Page 650 636| Effects for the 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 individ- 300.00 ual effect Base Note...
  • Page 651 Effect parameters |637 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 652 638| Effects for the 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 653 Effect parameters |639 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 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.
  • Page 654 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 FX Amt Depth 0…100...
  • Page 655: Stereo Vibrato

    Effect parameters |641 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 Vibrato Right FX Amt LFO: Tri / Sine LFO Shape Fade-In Delay...
  • Page 656 642| Effects for the Sounds Depth 0…100 Sets the depth of LFO modulation Off…Tempo Selects the modulation source of the LFO mod- ulation depth –100…+100 Sets the modulation amount of the LFO modu- lation depth Wet/Dry Dry, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source)
  • Page 657 Modeled on the most famous chorus/vibrato pedal effect unit. This effect simulates a rotating speaker and produces a wonderfully seductive and ‘watery’ tone. Interestingly enough, the guy responsible for this great ped- al is also responsible for the birth of the KORG Nuvibe and Valve Reactor Technology. Speed [Hz] 1…100...
  • Page 658 644| Effects for the Sounds St. Auto Fade Mod. (Stereo Auto Fade Modulatiom) This stereo chorus/flanger effect enables you to control the LFO speed and effect balance using auto fade, and you can spread the sound by offsetting the phase of the left and right LFOs from each other. Stereo In - Stereo Out Left FX Amt...
  • Page 659 Effect parameters |645 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 and AUTOFADE AUTOFADE for the LFO frequency modulation Wet/Dry Mod D-mod, Switches between D-mod and AUTOFADE...
  • Page 660 646| Effects for the Sounds 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 661: Stereo Auto Pan

    Effect parameters |647 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 Wet/Dry -Wet, -1:99…...
  • Page 662 648| Effects for the Sounds 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 663 Effect parameters |649 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 L-In...
  • Page 664 650| Effects for the Sounds OSC Mode Fixed, Note (Key Switching between specifying the oscillator Follow) 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 [Hz]...
  • Page 665 Effect parameters |651 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 666 652| Effects for the Sounds Preset Type V1, C1, V2, C2, Selects the effect type when Mode=Preset V3, C3 V1/V2/V3 are variations of vibrato, and C1/C2/ C3 are variations of chorus Off…Tempo Selects the modulation source that will change the effect type –5…+5 Sets the modulation amount for changing the effect type...
  • Page 667: Rotary Speaker

    Effect parameters |653 c: Amt If Preset Type=V1 and Src=JS+Y, you can set this to +5 and move JS +Y to control the effect in the order of V1›C1›V2›C2›V3›C3. 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.
  • Page 668 654| Effects for the Sounds Rotor 0…100 Determines how quickly the rotor rotation Acceleration speed in the low range is switched Rotor Ratio Stop, Adjusts the (low-frequency) rotor speed. 0.50…2.00 Standard value is 1.00. Selecting “Stop” will stop the rotation Horn/Rotor Rotor, 1…99, Sets the level balance between the high-fre-...
  • Page 669 Effect parameters |655 c: Manual Speed Ctrl If you wish to control the rotation speed manually, instead of switching be- tween Slow and Fast, select a modulation source in the Manual Speed Ctrl parameter. If you don’t want to use manual control, set this to Off. d: Horn Acceleration e: Rotor Acceleration On a real rotary speaker, the rotation speed accelerates or decelerates grad-...
  • Page 670 656| Effects for the Sounds 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 671 Effect parameters |657 Horn/Rotor Balance Rotor, 1…99, Horn Sets the volume balance between 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 672: Stereo Compressor

    658| Effects for the Sounds DYN (Dynamics) 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. You can link left and right channels, or use each channel separately.
  • Page 673 Effect parameters |659 Wet/Dry Dry, 1:99…99:1, Sets the Balance between the wet and dry signal Off…Tempo Selects a modulation source for Wet/Dry –100…+100 Sets the modulation amount for Wet/Dry a: Envelope Select This parameter selects whether the left and right channels are linked to control both signals simultaneously, or whether each channel is controlled independently.
  • Page 674 660| Effects for the Sounds Dyn. Compressor (Dynamic Compressor) This effect reduces the dynamic range of the input signal, to regulate the lev- el and give a ‘punchy’ effect. It is useful for guitar, piano, and drum sounds. This is a true stereo effect; you can link the left and right channels, or use each channel separately.
  • Page 675: Stereo Limiter

    Effect parameters |661 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. The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), al- lowing you to set any band width to be covered.
  • Page 676 662| Effects for the Sounds Side PEQ Cutoff [Hz] 20…12.00k Sets the EQ center frequency for the trigger signal 0.5…10.0 Sets the EQ bandwidth for the trigger signal Gain [dB] –18.0…+18.0 Sets the EQ gain for the trigger signal Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry sig- Off…Tempo...
  • Page 677 Effect parameters |663 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 Ratio=1.0 : 1...
  • Page 678: Multiband Limiter

    664| Effects for the Sounds 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...
  • Page 679 Effect parameters |665 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, Wet Balance between the wet and dry signal Off…Tempo...
  • Page 680 666| Effects for the Sounds Release 1…100 Sets the release time Low Offset [dB] –40…0 Sets the low range gain of trigger signal Mid Offset [dB] –40…0 Sets the mid range gain of trigger signal High Offset [dB] –40…0 Sets the high range gain of trigger signal Gain Adjust [dB] –Inf, Sets the output gain...
  • Page 681: Stereo Gate

    Effect parameters |667 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. Stereo In - Stereo Out Left FX Amt Gain Adjust...
  • Page 682 668| Effects for the Sounds 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 c: Threshold d: Attack d: Release “Threshold” specifies the level at which gating occurs when “Envelope Select”...
  • Page 683 Effect parameters |669 e: Delay Time [msec] This sets the delay time for the input to the gate. When using shorter Attack Time settings, you can lengthen the Delay Time so that the sound is input after the gate opens.
  • Page 684 Some of the effects combine an amplifier and a cabinet model. Modelling amplifiers Pa4X comes with a wide selection of the best amps, that offer the widest possible array of great tones. The operating mode of the preamp and power...
  • Page 685 Effect parameters |671 Modelling speaker cabinets The accurate amp models can be paired with speaker cabinet models of the same quality. The output stage of a tube amp works in close harmony with the varying impedance curve of the speaker(s) it is driving. This intimate and vital relationship plays a major role in producing the warm, punchy sound and pleasing feel of tube amps.
  • Page 686 672| Effects for the Sounds Cabinet types When a cabinet can be chosen, these are the available types. Cabinet type Meaning TWEED - 1x12 Open-back cabinet with one 12” Alnico magnet speaker, typically used for blues. It is usually paired with the Tweed Amp. TWEED - 4x10 Open-back cabinet with four 10”...
  • Page 687 Effect parameters |673 Amp + Cabinet combinations These are the recommended combinations of guitar amp models and cabi- net simulators: amp type Cabinet type VOX AC15 VOX AC15 - 1x12 VOX AC15TB VOX AC15 - 1x12 VOX AC30 VOX AC30 - 2x12 VOX AC30TB VOX AC30 - 2x12 UK BLUES...
  • Page 688 674| Effects for the Sounds GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band EQ) 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 689 Effect parameters |675 Post P4EQ Thru, On Selects through or on for the equal- izer Band1 Cutoff [Hz] 20…1.00k Sets the center frequency of Band 1 0.5…10.0 Sets Band 1’s bandwidth Gain [dB] –18…+18 Sets the gain of Band 1 Band2 Cutoff [Hz] 50…5.00k Sets the center frequency of...
  • Page 690 676| Effects for the Sounds GuitarAmp + Cabinet As the above, minus the EQ, plus the cabinet. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Volume Guitar Amp Model Cabinet Simulator Right Wet / Dry -mod...
  • Page 691 Effect parameters |677 Cabinet Type TWEED - 1x12, Selects the cabinet type TWEED - 4x10, BLACK - 2x10, BLACK - 2x12, VOX AC15 - 1x12, VOX AC30 - 2x12, VOX AD412 - 4x12, UK H30 - 4x12, UK T75 - 4x12, US V30 - 4x12 Cabinet Trim 0…100...
  • Page 692 When pushed hard the bass tends to crumble. The original amp doesn’t have a Presence control but does have a Bright Switch. The Presence control on your Pa4X emulates this switch when Off and On, plus all points in-between.
  • Page 693 Effect parameters |679 Amp Clean Combo + Cab As the above, plus cabinet. Drive 0…100 Sets the input gain Volume 0…100 Sets the output level Off…Tempo Selects the modulation source for the output level –100…+100 Sets the modulation amount of the output level Bass 0…100...
  • Page 694 680| Effects for the Sounds Amp California This 45W American combo amp with four 10” speakers, produced in South California during the years 1963–1968, was known for its big, clean sound and its warm and husky sound when driven heavily. This amp’s medium out- put and powerful sound was a favorite in clubs.
  • Page 695 Effect parameters |681 Amp California + Cab As the above, plus cabinet. Drive 0…100 Sets the input gain Volume 0…100 Sets the output level Off…Tempo Selects the modulation source for the output level –100…+100 Sets the modulation amount of the output level Bass 0…100...
  • Page 696 682| Effects for the Sounds Amp Tweed This 40W American-made tweed-covered 1957 model combo amp with two 12” speakers is known for its rich, clean tone that is ideal for classic rock, blues, and country. By raising the volume you can also produce a powerful and punchy overdrive sound.
  • Page 697 Effect parameters |683 Amp Tweed + Cab As the above, plus cabinet. Drive 0…100 Sets the input gain Volume 0…100 Sets the output level Off…Tempo Selects the modulation source for the output level –100…+100 Sets the modulation amount of the output level Bass 0…100...
  • Page 698 684| Effects for the Sounds Amp Modded OD This models the Overdrive channel of a 100W boutique amp head produced in North Hollywood. Its beautifully deep and rounded low-end, delightfully transient midrange attack and sweet treble, with an harmonically rich over- drive, the lushest clean tone, woody attack and blooming sustain, make it an instant pleasure to play.
  • Page 699 Effect parameters |685 Amp Modded OD + Cab As the above, plus cabinet. Drive 0…100 Sets the input gain Volume 0…100 Sets the output level Off…Tempo Selects the modulation source for the output level –100…+100 Sets the modulation amount of the output level Bass 0…100...
  • Page 700 686| Effects for the Sounds 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 Type...
  • Page 701 Effect parameters |687 Gtr. Cabinet + NR (Guitar Cabinet + Noise Reduction) Guitar cabinet and Noise Reduction. NR Sens Off, 1…100 Noise Reduction sensitivity Trim 0…100 Sets the input level Type TWEED - 1x12, Selects the cabinet type TWEED - 4x10, BLACK - 2x10, BLACK - 2x12, VOX AC15 - 1x12,...
  • Page 702 688| Effects for the 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 703 Effect parameters |689 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. This effect is suitable for guitar and organ sounds.
  • Page 704 690| Effects for the Sounds 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] –18…+18 Sets the gain of Mid/High EQ 1 Mid2 Cutoff [Hz] 500…20.00k Sets the center frequency for Mid/High EQ 2 (peaking type)
  • Page 705 Effect parameters |691 be controlled by the modulation source specified in the “Wah Sweep Src” parameter. d: Pre Low-cut Cutting the signal in the low range before it is input to the Distortion will cre- ate a sharp distortion. d: Drive e: Output Level The degree of distortion is determined by the level of input signal and the setting of “Drive”.
  • Page 706 692| Effects for the 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 707 Effect parameters |693 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 708 694| Effects for the Sounds 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 709 Effect parameters |695 [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 Comp › OD/HG, Switches the order of the compressor OD/HG ›...
  • Page 710 696| Effects for the Sounds [W]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Resonance 0…100 Sets the resonance amount Off, On Switches the wah low pass filter on and off [W]Wet/Dry Dry, 1:99…99:1, Sets the wah effect balance Off…Tempo Selects the Wet/Dry modulation source for the wah...
  • Page 711 Effect parameters |697 [D]Sampling Freq [Hz] 1.00k…48.00k Sets the sampling frequency Resolution 4…24 Sets the data bit length [D]Output Level 0…100 Sets the decimator output level AMP SIM [A]Amplifier Type SS, EL84, 6L6 Selects the type of guitar amplifier Routing Decimator ›...
  • Page 712 698| Effects for the 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 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...
  • Page 713 Effect parameters |699 Cabinet Type LA - 4x10, MODERN Selects the cabinet type - 4x10, METAL - 4x10, CLASSIC -8x10, UK - 4x12, STUDIO - 1x15, JAZZ - 1x15, VOX AC100 - 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI - 1x12 &...
  • Page 714 700| Effects for the Sounds 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 Bass Amp Model Right FX Amt -mod Amp Type...
  • Page 715 Effect parameters |701 Bass Amp+Cabinet (Bass Amp Model+Cabinet) This simulates a bass amp and speaker cabinet. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Volume Bass Amp Model1 Cabinet Simulator Right FX Amt...
  • Page 716 702| Effects for the 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 a: Amp Type h: Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets: Amp Type Cabinet Type LA STUDIO...
  • Page 717 Effect parameters |703 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 Trim 0…100 Sets the input level Cabinet Type Selects the cabinet type LA - 4x10...
  • Page 718 704| Effects for the Sounds 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. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt...
  • Page 719 Effect parameters |705 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 Bias = 0...
  • Page 720 706| Effects for the Sounds 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 721 Effect parameters |707 Mic Model+PreAmp (Mic Modeling + PreAmp) This effect simulates a mic and vacuum tube preamp. You can choose from various types of mic and positions to create differing sonic characters. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Mic Simulation...
  • Page 722 708| Effects for the Sounds St. Mic + PreAmp (Stereo Mic Modeling + PreAmp) This is a stereo mic and preamp simulator (Mic Model+PreAmp (Mic Modeling + PreAmp)). For example you might use this to simulate micing of a stereo source such as a rotary speaker. Stereo In - Stereo Out Left FX Amt...
  • Page 723: Dynamic Modulation

    Effect parameters |709 FILt (EQ and Filters) 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 724 710| Effects for the Sounds 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, 1:99…99:1, Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation Source) –100…+100...
  • Page 725 Effect parameters |711 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 726 712| Effects for the Sounds 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 727 Effect parameters |713 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. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Routing...
  • Page 728 714| Effects for the Sounds [W]Sweep Mode Auto, Selects the control from auto-wah, D-mod, modulation source, and LFO Off…Tempo Selects the modulation source for the wah when Sweep Mode=D-mod [W]LFO Frequency [Hz] 0.02…20.00 Sets the speed of the LFO Resonance 0…100 Sets the resonance amount Off, On...
  • Page 729 Effect parameters |715 Frequency Bottom 0…100 Sets the lower limit of the wah center fre- quency Frequency Top 0…100 Sets the upper limit of the wah center frequency Sweep Mode Auto, D-mod, Selects the control from auto-wah, mod- ulation source, and LFO Off…Tempo Selects the modulation source for the wah when Sweep Mode=D-mod...
  • Page 730 716| Effects for the 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 Zero...
  • Page 731 Effect parameters |717 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 732 718| Effects for the Sounds 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 Auto...
  • Page 733 Effect parameters |719 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 734: Vox Wah

    720| Effects for the Sounds VOX Wah This effect is modeled on two legendary VOX wah pedals: the V847 and the V848 Clyde McCoy model. Thanks to their unique ‘throaty’ tone, these are the only wah pedals that many professionals will consider putting under their feet.
  • Page 735 Effect parameters |721 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. Stereo In - Stereo Out Left FX Amt Exciter EQ Trim Delay Depth Delay...
  • Page 736 722| Effects for the Sounds 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: Exciter Blend This parameter sets the depth (intensity) of the Exciter effect. Positive values give a frequency pattern (to be emphasized) different from negative values.
  • Page 737 Effect parameters |723 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 738 724| Effects for the Sounds 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 St. Random Filter (Stereo Random Filter) This stereo band pass filter uses a step-shape waveform and random LFO for modulation.
  • Page 739 Effect parameters |725 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 740 726| Effects for the Sounds a: LFO Phase [degree] Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling affect. LFO Phase +90 +180 [degree] –180 0 [degree] –90 a: LFO Waveform b: LFO Frequency [Hz] c: LFO Step Freq [Hz] When “LFO Waveform”...
  • Page 741 Effect parameters |727 i: Wet/Dry The effect sound’s phase will be reversed when you set this parameter in the negative range of values. St. MultiModeFilter (Stereo Multi Mode Filter) This is a multi-mode filter with four types; low pass, high pass, band pass, and band reject.
  • Page 742 728| Effects for the Sounds 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 modulation amount of LFO +20.00 speed MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI,...
  • Page 743: Talking Modulator

    Effect parameters |729 Talking Modulator This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the guitar or synthesizer is talking. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt...
  • Page 744 730| Effects for the 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 individ- 300.00 ual effect Base Note...
  • Page 745 Effect parameters |731 f: Formant Shift This parameter adjusts the frequency level to which the effect is applied. If you wish to apply the effect to a higher-range sound, set this parameter to a higher value; to apply the effect to a lower-range sound, set this to a lower value.
  • Page 746 732| Effects for the 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 sets 40.00…300.00 the tempo manually for this individual effect Base Note Selects the type of notes that specify the LFO …...
  • Page 747 Effect parameters |733 When “Control Mode” = Manual, the “Resonance” parameter sets the inten- sity of resonance. If the “Resonance” parameter has a negative value, har- monics will be changed, and resonance will occur at a pitch one octave lower. When “Control Mode”...
  • Page 748 734| Effects for the Sounds VOX Treble Booster Vintage booster of high frequencies. Drive 0...99 Amount of the boost effect Level 0...99 General level Tone 0…100 Tone of the effect Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation Source) –100…+100...
  • Page 749 Effect parameters |735 Vocoder This effect applies the timbral character of a different signal (the modulator) to the input signal (the carrier). A common use of this effect is to produce the sound of various instruments by inputting a voice to the Modulator via a microphone. A special effect is also achieved by using rhythm or effect sounds.
  • Page 750 736| Effects for the Sounds Low Gain [dB] –12...+12 Sets the low-range output level of the vocoder High Gain [dB] –12...+12 Sets the high-range output level of the vocoder 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...
  • Page 751 Effect parameters |737 You can add reverb to the Vocoder, by way of the to MFX1 parameter. To create a new Song making use of the Vocoder, enter the Sequencer > Backing Sequence mode with a Keyboard Set including the Vocoder effect.
  • Page 752 738| Effects for the Sounds FrEQ (Frequency) St. Sub Oscillator (Stereo Sub Oscillator) This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range. This effect is different from the equalizer in that you can add very low range harmonics.
  • Page 753 Effect parameters |739 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: 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.
  • Page 754 740| Effects for the Sounds 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 755 Effect parameters |741 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. In between Sample Cycles, the current grain is repeated continuously. Sample Cycle / Duration Sample Cycle Duration...
  • Page 756 742| Effects for the Sounds 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, 1:99…99:1, Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source d: Input Level Dmod [%]...
  • Page 757: Pitch Shifter

    Effect parameters |743 Pitch Shifter This effect changes the pitch of the input signal. You can select from three types: Fast (quick response), Medium, and Slow (preserves tonal quality). You can also create an effect in which the pitch is gradually raised (or dropped) using the delay with feedback.
  • Page 758 744| Effects for the Sounds a: Mode This parameter switches the pitch shifter operating mode. With Slow, tonal quality will not be changed too much. With Fast, the effect becomes a Pitch Shifter that has a quick response, but may change the tone. Medium is in- between these two.
  • Page 759 Effect parameters |745 Pitch Shifter BPM This pitch shifter enables you to set the delay time to match the song tempo. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Input Level...
  • Page 760 746| Effects for the Sounds 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, Balance between the wet and dry signal 1:99…99:1, Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source d: BPM...
  • Page 761 Effect parameters |747 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. This is especially effective when the effect sound and dry sound output from stereo speakers are mixed.
  • Page 762 748| Effects for the Sounds 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 763 Effect parameters |749 St. Pitch Shifter (Stereo Pitch Shifter) This is a stereo pitch shifter. The pitch shift amount for the left and right channels can be reversed from each other. Stereo In - Stereo Out Left FX Amt High Damp Pitch Shifter Delay Input Level...
  • Page 764 750| Effects for the 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: L/R Pitch When you select Up/Down for this parameter, the pitch shift amount for the right channel will be reversed.
  • Page 765 Effect parameters |751 Fine [cents] –100…+100 Sets the pitch shift amount in steps of one cent –100…+100 Sets the modulation amount of pitch shift amount Sets the modula- tion amount of pitch shift amount MIDI, MIDI syncs to the system tempo; 40.00…...
  • Page 766: Stereo Decimator

    752| Effects for the Sounds MISC (Miscellaneous) 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 767 Effect parameters |753 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 768 754| Effects for the Sounds 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 769 Effect parameters |755 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. This simulation reproduces record noise, and the noise generated after the music on a vinyl record finishes.
  • Page 770 756| Effects for the Sounds 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 [Hz]...
  • Page 771 Effect parameters |757 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 772 758| Effects for the Sounds 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 773 Effect parameters |759 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 774: Auto Reverse

    760| Effects for the Sounds 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 775 Effect parameters |761 When “Rec Mode” is set to Multi, you can make another recording during the reverse playback. However, the maximum Reverse Time is limited to 1,320msec. If you wish to record a phrase or rhythm pattern, set “Rec Mode” to Single. If you record only one note, set “Rec Mode”...
  • Page 776 762| Effects for the Sounds 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 777 Effect parameters |763 [F]Cho/Flng Wet/ -Wet, -1:99… Sets the effect balance of the chorus/flanger Dry…99:1, Wet 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 778 764| Effects for the Sounds P4EQ [E]Trim 0…100 Sets the parametric EQ input level [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...
  • Page 779 Effect parameters |765 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 780 766| Effects for the Sounds [D]Mt.Delay Wet/Dry Dry, 1:99…99:1, Sets the multitap delay effect balance 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, 1:99…99:1, Balance between the wet and dry signal Off…Tempo See DMS (Dynamic Modulation Source) –100…+100...
  • Page 781 Effect parameters |767 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 782 768| Effects for the Sounds Comp - P4EQ (Compressor - Parametric 4-Band EQ) This effect combines a mono compressor and a four-band parametric equal- izer. 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 783 Effect parameters |769 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 Comp - Cho/Flng (Compressor - Chorus/Flanger) This effect combines a mono compressor and a chorus/flanger. You can change the order of the effects.
  • Page 784 770| Effects for the Sounds [F]Cho/Flng Wet/Dry -Wet, -1:99… Sets the effect balance of the cho- Dry…99:1, Wet rus/flanger Off…Tempo Selects the Wet/Dry modulation source for the chorus/flanger –100…+100 Sets Wet/Dry modulation amount for the chorus/flanger [F]Output Mode Normal, Selects the output mode for the Wet Invert chorus/flanger Routing...
  • Page 785 Effect parameters |771 Comp - Phaser (Compressor - Phaser) This effect combines a mono compressor and a phaser. 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 786 772| Effects for the Sounds Wet/Dry Dry, 1:99…99:1, Balance between the wet and dry sig- Off…Tempo See DMS (Dynamic Modulation Source) –100…+100 Amount of modulation source Comp - Mt. Delay (Compressor - Multitap Delay) This effect combines a mono compressor and a multitap delay. You can change the order of the effects.
  • Page 787 Effect parameters |773 [D]Mt.Delay Wet/Dry Dry, Sets the multitap delay effect balance 1 : 99…99 : 1, Wet Off…Tempo Selects the Wet/Dry modulation source for the multitap delay –100…+100 Sets the Wet/Dry modulation amount for the multitap delay Routing Comp › Mt.Delay, Switches the order of the compressor Mt.Delay ›...
  • Page 788 774| Effects for the Sounds [E]Trim 0…100 Sets the parametric EQ input level [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...
  • Page 789 Effect parameters |775 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 Ratio=1.0 : 1...
  • Page 790 776| Effects for the Sounds 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 com- pressor is applied [L]Attack 1…100 Sets the attack time Release 1…100 Sets the release time...
  • Page 791 Effect parameters |777 Limiter - Phaser This effect combines a mono limiter and a phaser. 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 792 778| Effects for the 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 Limiter - Mt.Delay (Limiter - Multitap Delay) This effect combines a mono limiter and a multitap delay. You can change the order of the effects.
  • Page 793 Effect parameters |779 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] –Inf,...
  • Page 794 780| Effects for the Sounds 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 795 Effect parameters |781 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 796 782| Effects for the Sounds 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 Chorus/Flanger...
  • Page 797 Effect parameters |783 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 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 798 784| Effects for the 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, 1:99…99:1,...
  • Page 799 Effect parameters |785 [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, 1:99…99:1, Sets the multitap delay effect balance Off…Tempo Selects Wet/Dry...
  • Page 800 786| Effects for the Sounds [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 [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ (shelving type) Gain [dB] –18…+18...
  • Page 801 Effect parameters |787 OD/HG - Phaser (Overdrive/Hi.Gain - Phaser) This effect combines a mono overdrive/high-gain distortion and a phaser. 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 802 788| Effects for the Sounds [P]Manual 0…100 Sets the frequency to which the effect is applied Depth 0…100 Sets the depth of LFO modula- tion 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 Wet/Dry modulation...
  • Page 803 Effect parameters |789 [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 [O]Low Cutoff [Hz] 20…1.00k Sets the center frequency for Low EQ (shelving type) Gain [dB] –18…+18...
  • Page 804 790| Effects for the Sounds 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 805 Effect parameters |791 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 Multitap Delay...
  • Page 806 792| Effects for the Sounds [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...
  • Page 807 Effect parameters |793 Tap2 (180) [msec] 0…2000 Sets the Tap2 (LFO phase=180 degrees) delay time Depth 0…30 Sets the Tap2 chorus depth Status Always On, Always Off, Selects on, off, or modulation On›Off (Dm), Off›On source for the control of Tap2 (Dm) output Tap3 (060) [msec]...
  • Page 808 794| Effects for the Sounds Tap1 Feedback –100…+100 Sets the Tap1 feedback amount Off…Tempo Selects the modulation source for the Tap output level, feed- back amount, and effect balance –100…+100 Sets the modulation amount of Tap1 feedback amount Wet/Dry Dry, 1:99…99:1, Wet Balance between the wet and dry signal Off…Tempo...
  • Page 809 Effect parameters |795 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 810 796| Effects for the Sounds a: Sound Board Depth This parameter sets the intensity of resonance of the piano sound board. b: Damper Depth b: Src This parameter sets the resonance intensity of the other strings created when the damper pedal is pressed. The “Src” parameter selects the modula- tion source from which the damper effect is applied.
  • Page 811 Effect parameters |797 DMS (Dynamic Modulation Sources) When the Src or DMS abbreviation, or the symbol is shown, 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 812 798| Effects for the Sounds 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 813 |799 Part X: KaOSS EFFECtS...
  • Page 814 800| KAOSS Effects...
  • Page 815 KAOSS is a KORG technology, allowing for live generation of MIDI events and simultaneous control of multiple parameters via a control surface. In Pa4X, it lets you transform the music flow, or do creative and interactive ‘liquid mixing’. For example, you can smoothly morph between Variations and Drum Kit types, to create an evolving and always renewed arrangement.
  • Page 816 802| KAOSS Effects Going to the KAOSS page You can go to the KAOSS page by touching the KAOSS tab in the main page of the Style Play Song Play mode. ▪ Style Play mode: Recognized chord KAOSS pad Selected Preset Favorite Presets...
  • Page 817 Using the KAOSS effects |803 Choosing the KaOSS Presets Choosing a KAOSS Preset or Favorite Presets A series or KAOSS Presets is already supplied with the instrument. You can choose a separate KAOSS Preset for the Style Play and the Song Play mode. Choose a KAOSS Preset from the library ▪...
  • Page 818 804| KAOSS Effects Assigning a KAOSS Preset to one of the Favorite Preset buttons You can assign any of the presets from the library to one of the Favorite Preset buttons. This way, you will have a set of favorite presets always ready. The Favorites can be different for the Style Play and Song Play mode.
  • Page 819 Using the KAOSS effects |805 KaOSS Preset list The following table contains all the Factory KAOSS Presets. Some of the pre- sets can be chosen both in Style Play and Song Play mode. Some can only be chosen in Style Play mode. Please note that time-based effects can require a few moments, before starting to work.
  • Page 820 806| KAOSS Effects KaOSS Preset X-axis Y-axis Works on HalfDouble&Bending D&B Speed Attack&Decay Style, Song Tracks HalfDouble&Halo D&B Speed FX&Release HalfDouble&Filter D&B Speed Cutoff&Resonance RhytSpeed&Balance D&B Speed D&B Balance DrumDecim&Filter Drum Decimator Cutoff&Resonance DrumDecim&Envelope Drum Decimator Attack&Decay Decimator&Halo Decimator FX&Release Decimator&Balance Decimator D&B Balance...
  • Page 821 Using the KAOSS effects |807 Preset for the Style Play only KaOSS Preset X-axis Y-axis Works on Density1&Filter Density Cutoff&Resonance Style Tracks Density1&RhythmRig Density Rig Set Density1&HalfDouble Density D&B Speed Density2&DrumDecim Density Drum Decimator Density2&Halo Density FX&Release Density2&Repeater2 Density Loop Length Density3&Filter Density Cutoff&Resonance...
  • Page 822 808| KAOSS Effects Using the KaOSS effects Using the KAOSS effects is just a matter of letting the instrument play, or playing some notes, and swiping your finger in the KAOSS pad area to change the music flow. Starting the original music flow Transformation vs.
  • Page 823 Using the KAOSS effects |809 Using the KAOSS pad Check the effect’s parameters assigned to the X/Y axis ▪ See the name of the parameters under the pad. axis Meaning Finger movement from left to right, right to left. Finger movement from top to bottom, bottom to top. Change the parameters’...
  • Page 824 810| KAOSS Effects Freeze the current values Do one of the following: ▪ Keep the SHIFT button pressed, and touch an area of the KAOSS pad, then release the SHIFT button and finally raise your finger. You are free to continue moving your finger, or to release it to freeze the current values.
  • Page 825 |811 Part XI: CONtrOLLErS...
  • Page 826 812| Controllers...
  • Page 827 Hand controllers |813 Hand controllers Programming the joystick Assigning functions to the joystick left/right (X-, X+) movement of the joystick usually controls Pitch Bend. It can however controls a Sound parameter, depending on the Sound pro- gramming. up/forward movement (Y+) is usually Modulation, and sometimes a dif- ferent Sound...
  • Page 828: Setting The Pitch Bend Range

    814| Controllers Setting the Pitch Bend range Pitch Bend range is defined for each Sound set, and can change with differ- ent Keyboard Sets, SongBook Entries or Styles. Go to the Mixer/Tuning > Tuning page. Use the Pitch Bend Sens(itivity) knobs to set the Pitch Bend range for each Sound.
  • Page 829 Hand controllers |815 Programming the keyboard’s velocity and aftertouch Assigning functions to velocity and aftertouch Velocity usually controls the Sound’s loudness, while aftertouch controls modulation. However, they can be assigned to other roles by each individual Sound. Assigning Sound parameters can be done in Sound Edit.
  • Page 830 816| Controllers Use the Velocity Curve parameter to set the sensitivity of the keyboard to your playing strength. Velocity Curve Meaning Fixed No dynamic control available. Dynamic values are fixed, as in classic organs. When this option is chosen, you can set the fixed velocity value.
  • Page 831 Hand controllers |817 Programming the ribbon controller Assigning functions to the ribbon controller The function controlled by the ribbon depends on the selected Sounds. Assigning Sound parameters to the ribbon controller can be done in Sound Edit. Assigning the ribbon controller to the Sounds You can activate/deactivate the ribbon on each Keyboard Sound.
  • Page 832 818| Controllers Adjusting the ribbon controller’s sensitivity You can define how sensitive is the ribbon controller to your finger’s swipe. Go to the Global > Controllers > Hand page. Use the Ribbon > Sensitivity parameter to set the ribbon’s response.
  • Page 833 Hand controllers |819 Programming the assignable sliders How the sliders work depend on the status of the SLIDER MODE indicator. The status of this button is saved with each Keyboard Set, but can be freely changed by repeatedly pressing the button. Choosing the slider mode Use the SLIDER MODE...
  • Page 834 820| Controllers Programming the assignable sets Go to the Global > Controllers > Sliders page. Choose a function for each of the sliders. There are two sets (Assignable A and Assignable B), that you can recall by selecting the corresponding slider mode. Functions assignable to the sliders Slider function Meaning...
  • Page 835 Hand controllers |821 Slider function Meaning Song Track 1…16 Volume Volume of the corresponding MIDI Song track. SMF Melody Volume Volume of the corresponding MIDI Song’s special tracks (select- ed in the Global > Mode Preferences > Song & Seq page). SMF Drum&Bass Mode Vol.
  • Page 836 822| Controllers Programming the assignable switches Assigning a function to the assignable switches You can program the ASSIGNABLE SWITCHES in a different way for each Keyboard Set. Choosing a different set of Sounds may therefore change the controls assigned to these switches, to match the different types of Sounds. Go to the Style Play/Song Play >...
  • Page 837 Hand controllers |823 Switch function Meaning Synchro Start Same functions as the control panel buttons with the same name Synchro Stop Style Drum Mute Mute of the corresponding track Style Perc Mute Style Bass Mute Style Acc1…5 Mute Style Acc 1-5 Mute Mute/Unmute all the Acc tracks at once Song Melody Mute Mutes the MIDI Song track set as the Melody track (Global >...
  • Page 838 824| Controllers Switch function Meaning Set List Next Moves to the next SongBook Entry in the selected Set List Set List Prev Moves to the previous SongBook Entry in the selected Set List Sound Controller 1 DNC Sound Controllers (CC#80 and CC#81). They control the function assigned in Sound Edit in DNC Sounds.
  • Page 839: Foot Controllers

    Foot controllers |825 Foot controllers Programming the damper pedal You can connect a footswitch, or a dedicated damper pedal, to the PEDAL > DAMPER connector on the back of the instrument. This pedal always works as a Damper pedal. Assigning the Damper pedal to the Sounds You can activate/deactivate the damper pedal on each Keyboard Sound.
  • Page 840 826| Controllers Programming the assignable pedal/ footswitch Assigning a function to the pedal/footswitch You can connect a footswitch or expression pedal to the PEDAL > ASSIGNABLE connector on the back of the instrument. Depending on the connected type of pedal, you will choose a suitable function. Program the pedal/footswitch Connect the pedal or footswitch to the PEDAL >...
  • Page 841 Foot controllers |827 Functions assignable to a footswitch Footswitch function Meaning No function assigned Style Start/Stop Same functions as the control panel buttons with the same name Play/Stop Player 1 Play/Stop Player 2 Go to Beginning Player 1 Go to Beginning Player 2 Chord Seq.
  • Page 842 828| Controllers Footswitch function Meaning Kbd Set Up Selects the next Keyboard Set from the KEYBOARD SET section under the display Kbd Set Down Selects the previous Keyboard Set from the KEYBOARD SET sec- tion under the display Kbd Set Library Up Selects the next Keyboard Set from the KEYBOARD SET LIBRARY Kbd Set Library Down Selects the previous Keyboard Set from the KEYBOARD SET...
  • Page 843 Foot controllers |829 Footswitch function Meaning QuarterTone Turns Quarter Tone on/off Retune Style Makes the instrument wait for a chord. The root of the chord will be the new root of the scale used by some of the Accompaniment tracks. Global-Scale When the switch or footswitch is pressed, the Global >...
  • Page 844 830| Controllers Functions assignable to an expression pedal Pedal function Meaning 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. Pad Volume Volume of the MP3 Songs Joystick X+ Replicates the joystick right movement...
  • Page 845 Foot controllers |831 Assigning the Expression pedal to the Sounds Expression is a relative level control, always subtracted from the Volume value. It can be assigned to any continuous pedal (also called a Volume/ Expression pedal). As an example, imagine you have a Piano sound assigned to Upper 1, and a Strings sound assigned to Upper 2.
  • Page 846 832| Controllers Use the PB Sensitivity parameter to set the Pitch Bend range (in semitones). Write the changes to a Keyboard Set. Change the Glide time Go to the Global > General Controls > Basic page. Use the Glide > Time parameter to set the glide time.
  • Page 847 Foot controllers |833 Calibrating the pedal and setting its polarity If needed, you might have to calibrate the pedals to use their full range of values, without any ‘dead spot’. Also, this procedure allows to choose the pedal’s polarity. Calibrate the pedal Go to the Global >...
  • Page 848 834| Controllers Touch the Push button in the display to confirm the minimum value. Check if the pedal is working properly. In case it isn’t, repeat the procedure. Press the EXIT button to return to the previous page.
  • Page 849 Foot controllers |835 Programming the EC5 multiswitch Programming the EC5 switches You can connect a KORG EC5 multiswitch controller to the connector on the back of the instrument. This will give you a set of five programmable switches. Connect the EC5 multiswitch to the connector.
  • Page 850 836| Controllers Functions assignable to an EC5 switch EC5 function Meaning No function assigned Style Start/Stop Same functions as the control panel buttons with the same name Play/Stop Player 1 Play/Stop Player 2 Go to Beginning Player 1 Go to Beginning Player 2 Chord Seq.
  • Page 851 Foot controllers |837 EC5 function Meaning Kbd Set Up Selects the next Keyboard Set from the KEYBOARD SET section under the display Kbd Set Down Selects the previous Keyboard Set from the KEYBOARD SET sec- tion under the display Kbd Set Library Up Selects the next Keyboard Set from the KEYBOARD SET LIBRARY Kbd Set Library Down Selects the previous Keyboard Set from the KEYBOARD SET...
  • Page 852 838| Controllers EC5 function Meaning QuarterTone Turns Quarter Tone on/off Retune Style Makes the instrument wait for a chord. The root of the chord will be the new root of the scale used by some of the Accompaniment tracks. Global-Scale When the switch or footswitch is pressed, the Global >...
  • Page 853 |839 Part XII: GLOBaL SEttINGS aND PrEFErENCES...
  • Page 854 840| Global settings and preferences...
  • Page 855 Customizing the user interface |841 Customizing the user interface Display and control panel preferences Choosing the chords and alphanumeric keyboard language You can choose the language used to show chord names and the characters that can be inserted using the alphanumeric virtual keyboard. Please note that some of the characters can only be used when editing SongBook Entry names.
  • Page 856 842| Global settings and preferences Control panel illumination You can adjust the button indicators’ brightness, to adapt the control panel glowing/luminosity to the ambient light. Go to the Global > General Controls > Interface page. Use the Panel Backlight pop-up menu to select one of the available luminos- ity degrees.
  • Page 857 Customizing the user interface |843 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. Please note that Program Change numbers are always shown in the various Track Info areas.
  • Page 858 844| Global settings and preferences 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 internal Sounds or the MIDI messages. Incoming events are shown by the color changing on each track’s label. Go to the Global >...
  • Page 859 Automatic selection and locking |845 automatic selection and locking automatically choosing Styles and Keyboard Sets Preferred Styles and Keyboard Sets can be assigned to the STYLE KEYBOARD SET LIBRARY buttons. They are also assigned to the side tabs in the Style Select Keyboard Set Library Select windows.
  • Page 860 846| Global settings and preferences Automatically selecting the Keyboard Sets from the library When the Auto Select > Keyboard Set Library parameter is activated, press- ing one of the KEYBOARD SET LIBRARY buttons, or touching the name of a bank in the Keyboard Set Library Select window, automatically selects the...
  • Page 861 Master Transpose Prevents Master Transpose from changing when choosing a SongBook Entry. It also prevents transposing when loading a Standard MIDI File created by Pa4X or any instrument of the KORG Pa-Series. Sub Scale/Quarter Prevents the Sub-Scale or Quarter Tone value from changing when Tone choosing a Keyboard Set or SongBook Entry.
  • Page 862 848| Global settings and preferences SongBook Entries, Keyboard Sets, and the sub-scale If you want that choosing a SongBook Entry also changes the sub-scale, the SubScale/Quarter Tone has to be unlocked. However, if you don’t want that choosing a Keyboard Set (by pressing one of KEYBOARD SET buttons under the display) also changes the sub-scale, lock the...
  • Page 863 Automatic selection and locking |849 Control lock Meaning Assignable Switches When locked, selecting a Keyboard Set will not change the functions assigned to the Assignable Switches. Upper 1 FXs When choosing the Upper 1 Sound, the Sound’s or the Keyboard Set’s effect settings can be selected.
  • Page 864 850| Global settings and preferences Locking the Style parameters Go to the Global > General Controls > Lock > Style page. Select/deselect the desired locks. Style locks Meaning Style Tracks Volume When this lock is closed, choosing a different Style does not change the volume of the accompaniment tracks.
  • Page 865 System preferences |851 System preferences Setting the date and time for file saving Pa4X includes a battery-backed system calendar and clock. This allows for automatically adding a time-stamp to the files, when they are created or edited. Go to the Global >...
  • Page 866 852| Global settings and preferences automatic power off Pa4X 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 > Clock & Power page.
  • Page 867: Master Tuning

    Master Transpose and Tuning |853 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 868: Master Transpose

    854| Global settings and preferences Master transpose Transposing the whole instrument The instrument’s key can be transposed to make singing or playing together with another instrument more comfortable. Master Transpose settings are also sent to any GM-compliant instrument. The transpose value is usually shown in the page header. Transpose down from the control panel ▪...
  • Page 869 Master Transpose and Tuning |855 MP3 Songs and Master Transpose MP3 Songs can be transposed inside the range of -5…+6 semitones. This range is enough to cover all keys, while avoiding excessive audio degrada- tion. Any further transposing will be reversed to fit the range. So, you might see a +7 transpose value (Just Fifth Up) shown in the display, but the MP3 Song will actually play 5 semitones lower (Just Fourth Down).
  • Page 870 856| Global settings and preferences Displaying transposed chord abbreviations in MIDI Songs 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 871 Master Transpose and Tuning |857 transpose Meaning No Master Transpose is applied to Accompaniment and Keyboard Sounds. Chords shown in the Lyrics page are, however, transposed. Next Measure 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 872 858| Global settings and preferences 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 Position > Scale and Transpose pop-up menu to choose where transposition will apply in relation to the Scale.
  • Page 873 Scale |859 Scale Main Scale Choosing the main scale The main scale is usually applied to all or most of the Sounds. Some Sounds may use an alternative sub-scale. Some Style Elements may use alternative sub-scales. The main scale is used wherever there is no sub-scale assigned. Choose the main scale Go to the Global >...
  • Page 874 860| Global settings and preferences 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 875 Scale |861 Sub-Scale Choosing a sub-scale for the Keyboard and/or Accompaniment Sounds You can assign a different scale (a sub-scale) to the Keyboard Sounds. This will allow, for example, to play a piano solo with the Stretch tuning, while the backing tracks continue to play in the Equal tuning.
  • Page 876 862| Global settings and preferences Assigning the sub-scale to the Keyboard and/or Accompaniment Sounds Go to the Global > Mode Preferences > Style 2 page. Use the Scale Mode parameter to choose the Sounds to which to apply the sub-scale. All the other Sounds will use the main scale. Scale Mode Meaning Keyboard Tracks...
  • Page 877 Scale |863 Program the User scale, as explained below. To make programming easier, this sub-scale can only be a User scale. Select the checkbox corresponding to the track(s) to which you want to apply the sub-scale. The root key of this scale can dinamically change while you play, to allow for retuning the Style depending on the song section.
  • Page 878 864| Global settings and preferences ▪ Use the numbers appearing in each note of the keyboard diagram to fine tune each note pitch. Detuning is referred to Equal tuning considered as zero detune. Detuning Meaning -99 … +99 Note detuning in cents or a semitone. Zero is no detuning (Equal tun- ing), ±50 is a full quarter tone up or down, ±99 is nearly one whole semitone up or down.
  • Page 879 Scale |865 Quarter tone Sub-Scale (Scale Presets) Editing a Quarter Tone sub-scale (Scale Preset) Quarter Tone scales (Scale Presets) are custom scales where detuning can be activated or deactivated while playing. Changing note tuning while play- ing is typical of Middle East/Arabic music. The detuning interval is usually next to a quarter tone.
  • Page 880 866| Global settings and preferences ▪ In the right-side 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. This scale assigns a -50 cent value (equivalent to a quarter tone down) to all notes, and turns all scale degrees off.
  • Page 881 Scale |867 Using the Quarter Tone sub-scales (Scale Presets) You can instantly recall a Quarter Tone sub-scale, by just choosing one of the Scale Presets. Activate the Quarter Tone sub-scale Go to the Sub-Scale pane from the main page of the Style Play Song Play...
  • Page 882 868| Global settings and preferences Use the Quarter Tone sub-scale ▪ Touch any note whose pitch you want to lower, making a big dot appear on the note diagram. ▪ Touch the note again to make the dot disappear, and reset to standard tun- ing.
  • Page 883 Scale |869 Use the Quarter Tone function Lower some note pitches. Keep the Quarter Tone switch or footswitch pressed. The keyboard will not play at this time. Press the notes whose pitch you want to lower. Release the switch or footswitch. The black dots will appear in the keyboard diagram of the Sub-Scale pane...
  • Page 884 870| Global settings and preferences retuning the Style while playing Style Element Scale, Chord Follow, Retune Style While in the Style Record > Element Track Controls > Scale page, you can program a sub-scale for each Style Element, and enable the sub-scale on each track of the Style Element.
  • Page 885 Scale |871 Assigning the Retune Style command to an assignable switch, footswitch or EC5 switch Assign the Retune Style command to an assignable switch Go to the Style Play/Song Play > Pad/Switch > Switch page. Use one of the Switch 1…3 menus to choose a command to be assigned to the corresponding switch.
  • Page 886 872| Global settings and preferences Retune with a footswitch or EC5 switch Just before having to retune the Style, press the footswitch switch. Play a chord in the chord recognition area. The root of the chord will be the new root of the scale.
  • Page 887 |873 Part XIII: MIDI...
  • Page 888 874| MIDI...
  • Page 889: Connecting Midi Devices

    MIDI ports with a single port and cable. Pa4X can be connected to a Windows or Mac computer with no need of spe- cial software. However, for full and easy use of all its MIDI features, we sug-...
  • Page 890 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. Pa4X can read many of the available Lyrics format on the market.
  • Page 891 The internal Players are compatible with SMFs format 0 (all data in one track; it is the most common format) and 1 (multitrack). Pa4X 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 892 Therefore, if the SPLIT button’s indicator is lit up, notes arriving to Pa4X over this channel will be divided by the split point into the Upper (above the split point) and Lower (below the split point) parts.
  • Page 893 Connecting MIDI devices |879 The Chord 1 and Chord 2 channels Two special Chord channels (programmed in the Global > MIDI > MIDI IN Control page) can be used to receive notes for chord recognition. These notes will be combined with the notes received on the special Global channel. Contrary to the Global channel, the Chord channels are not affected by the split point.
  • Page 894 Use the THRU connector to send an exact copy of the data received on the IN connector. Use it to cascade Pa4X with other MIDI devices. To know how to match Sounds and MIDI channels, see Programming the MIDI channels on page...
  • Page 895 USB ports of your Windows PC by using a standard A-to-B USB cable. The Auto Installer will immediately start. When finished, the USB-MIDI driver will be installed, and Pa4X will be able to communicate with your computer via USB.
  • Page 896 When installation is completed, eject the virtual drive, and connect the DEVICE port of your Pa4X to one of the USB ports of your Mac by using a standard A-to-B USB cable. How Pa4X is seen from a MIDI application...
  • Page 897 Connecting MIDI devices |883 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 the MIDI parameters according to your needs.
  • Page 898 884| MIDI Parameter Default Master Kbd Player 1 Player 2 Ply 1 Tr 1 Global Ply 1 Tr 1 Ply 2 Tr 1 Ply 1 Tr 2 Control Ply 1 Tr 2 Ply 2 Tr 2 Ply 1 Tr 3 Ply 1 Tr 3 Ply 2 Tr 3 Ply 1 Tr 4...
  • Page 899 Connecting MIDI devices |885 Parameter accordion 1 accordion 2 accordion 3 tablet Global Upper 1 Upper 1 Lower Lower Lower Bass Bass Upper 2 Upper 2 Upper 3 Upper 3 MIDI IN Channel Bass Drum Drum Drum Percussion Percussion Percussion Acc 1 Acc 1 Acc 1...
  • Page 900 886| MIDI You will use the supplied MIDI Presets in the following cases: MIDI Preset Default Generic settings, good for most situations Master Kbd When connecting to an external master keyboard Player 1 When using an external sound generator (an expander or a virtual instrument) driven by either Player 1 or Player 2 Player 2 Accordion 1...
  • Page 901 Connecting MIDI devices |887 Writing a MIDI Preset Open the Write Midi Preset dialog Go to the any page of the Global > MIDI section. Choose the Write Midi Preset command from the page menu to open the Write Midi Preset dialog.
  • Page 902 In Style Play, Sequencer or Sound mode, you can receive synchronization messages from the internal Arranger or Player, or from an external device. In Song Play mode, the MIDI Clock is always generated by the internal Players. While in this mode, Pa4X cannot receive MIDI Clock messages from another device.
  • Page 903 Sequencer mode, Pa4X is slaved to an external device. The Start/ External USB Stop and Play/Stop commands, as well as the Tempo value, cannot be selected from Pa4X. Use the external device to set the Tempo and Start or Stop the Arranger or Players. This parameter is automatically set to...
  • Page 904 890| MIDI MIDI data routing, processing and transposing 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 905 Connecting MIDI devices |891 Converting notes to 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 906 892| MIDI Transposing the notes received Applying master and octave transposition to the notes received Go to the Global > Tuning > Transpose Control page. Use the Mode > Midi In Notes checkbox to determine if notes received on the MIDI IN ports have to be transposed.
  • Page 907 Notes received on the MIDI IN and USB ports are transposed by the number of selected octaves. For example, if you select the +1 value, a C4 received via MIDI will play a C5 on Pa4X. These parameters may be useful to many MIDI accordion players, whose...
  • Page 908 894| 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 port will play on muted tracks. track Mute active Meaning No received MIDI data can play on muted tracks.
  • Page 909 Midi In Velocity Value parameter to set a fixed Note On velocity value for all the notes received via MIDI. This is useful when playing Pa4X with an organ or a MIDI accordion, often sending a fixed velocity value. Midi In Velocity...
  • Page 910 Pa4X’s integrated controllers. Control On this special channel, Pa4X receives MIDI messages to remotely select Keyboard Sets, Styles, Style Elements and SongBook Entries. See the tables in the Appendix, and later in this chapter, for more...
  • Page 911 MIDI OUT or USB 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, Pa4X sends messages corresponding to the selected SongBook Entry.
  • Page 912 898| 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 913 Connecting MIDI devices |899 Programming the special Chord channels Go to the Global > MIDI > MIDI IN Controls page. Use the Chord 1 Midi Channel Chord 2 Midi Channel parameters to as- sign the special Chord channels to a MIDI channel. Chord channel Meaning Special Chord channel not activated.
  • Page 914 You can program a new song on a personal computer or tablet connected to Pa4X. The computer has to run some sequencing or notation software. When a song is ready, you can transfer it to the internal drive of Pa4X, and read it with the internal Players.
  • Page 915 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 Pa4X Function Bank Select Sound selection Modulation 1 (Y+)
  • Page 916 902| MIDI CC Name Pa4X 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 Sound Controller 2 Gen.pc.7...
  • Page 917 Connecting MIDI devices |903 (*) 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...
  • Page 918 904| MIDI Controlling the arranger and Players via MIDI You can remotely control the Arranger and Players via MIDI. Please note that the Program Change and Control Change numbers shown in this page follow the 0-127 numbering system. Selecting the Style Elements You can remotely select the various Style Elements, by sending Program Change messages on the Control channel.
  • Page 919 Connecting MIDI devices |905 Selecting the Keyboard Sets (from a Style or SongBook Entry) You can remotely select the Keyboard Sets of a Style or SongBook Entry (buttons under the display). ▪ With Styles, you will send Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program Change messages on the Control channel.
  • Page 921 |907 Part XIV: FILE MaNaGEMENt...
  • Page 922 908| File management...
  • Page 923: Internal Memory

    Managing files in the internal memory |909 Managing files in the internal memory Copying, renaming and deleting Copying musical data You can copy any Keyboard Set, Sound, Style, Pad, Voice or Guitar Preset onto a Favorite/User/Direct location. Copying Factory data onto Favorite/ User/Direct locations would make them editable.
  • Page 924 910| File management Choose the Copy and Paste command from the page menu to copy the se- lected items. Select the target location. In case you are copying more than a single item, all subsequent items will sequentially follow the first one. If there aren’t enough locations available, the procedure will be cancelled.
  • Page 925 Managing files in the internal memory |911 the Direct Styles, Keyboard Sets, SongBook Direct data are additional Keyboard Sets, Styles and SongBook Entries and Set Lists, residing in a storage device like the internal drive or a removable USB drive. They can be considered as an extension of the internal memory. Direct Keyboard Sets and Styles are immediately accessed when pressing USER/DIRECT button in the...
  • Page 926 If you select a folder from a different Pa-Series instrument, you are asked if you want to convert the data to a format that Pa4X can read. If you confirm, you are prompted to choose a name and position for the new SET folder. (If you touch Cancel, no Direct folder is selected).
  • Page 927 Managing files in the internal memory |913 While in the Global > Mode Preferences > Media page, touch the Direct Folder > Browse button to open the file selector. Touch the Deselect button to remove any assignment. Creating the Direct Keyboard Set and Style banks Load Keyboard Sets or Styles into the Direct locations ▪...
  • Page 928 914| File management Using the Direct Keyboard Sets and Styles ▪ When choosing a Style or Keyboard Set from the library, press the USER/ DIRECT button a second time to make the Direct type of banks appear. As an alternative, touch the Direct type button on top of the list in a Style Select...
  • Page 929 Managing files in the internal memory |915 renaming the Favorite/User/Direct banks You can rename the User/Favorite and Direct User/ Favorite banks, to create your own sets of Keyboard Sets, Styles or Pads. Open the Keyboard Set, Style, or Pad Select window, and select the User Direct...
  • Page 930 916| File management Managing files Overview on file management You can access the 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 931 Supported device Pa4X supports external devices, like hard disks or USB memory sticks, for- matted in FAT16 or FAT32 with long file names. NTSF (Windows NT/2000/ XP/Vista/7/8/8.1/10), HFS (Mac OS 9) and HFS+ (Mac OS X) formats are not...
  • Page 932 Optional device connected to the front (F) USB HOST port USB-R Optional device connected to the rear (R) USB HOST port Types of files The following table describes all the file and folder types Pa4X can read or write. Extension File/folder type All the User data.
  • Page 933 Ordinary data and reserved data Each device (and the internal memory) can contain files and folders. Data inside Pa4X is slightly more rigidly structured than data in a computer, due to the pre-configured type of data inside the instrument’s memory. The dia- gram below shows the global structure of an Pa4X device.
  • Page 934: Media Structure

    920| File management Media structure MYDATA.SET GLOBAL SETUP.GBL STYLE SONGBOOK MXPRESET.MXP MIDI.MPR BANK01.STY SONGDB.SBD QTPRESET.QTP 1-1 70’s Guitar Pop LISTDB.SBL … 1-48 Soft Beat 2 KEYBOARDSET VOICEPRESET BANK … .STY BANK01.PRF 1-1 Concert Grand BANK01.VOC BANK13.STY … 1-1 Chord (Harm. Off) 13-1 Libertad Tango 1-48 Grand Piano …...
  • Page 935 Managing files |921 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 936 922| File management 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 Touch here to open...
  • Page 937 Load from Loaded data Pa3X You can load most data as if they were Pa4X data. There are however a few exceptions to be considered: • Performances and STSs are converted to Keyboard Sets. • Due to the different order in memory, Factory Styles must be manu-...
  • Page 938 924| File management Load from Loaded data Pa3XLe, Pa900, You can load most data as if they were Pa4X data. There are however a Pa600, Pa300, few exceptions to be considered: HAVIAN 30 • Performances and STSs are converted to Keyboard Sets.
  • Page 939 Due to the difference in Sounds, you will probably want to make some adjust- ments to the old Styles, once they are loaded in Pa4X (changing the Sound, Volume, Pan, Tempo, Drum Mapping, Wrap Around…). To make the Sound assignment to the Style tracks effective, be sure the...
  • Page 940 926| File management 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 941 You can save all the memory content, a separate type of musical resources, a separate bank, or a single resource. Pa4X’s proprietary data has to be saved into special folders with the ‘.set’ filename extension. These special folders can be saved inside ordinary fold- ers.
  • Page 942 928| File management 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 943 Managing files |929 When back at the Create New SET Folder dialog, touch the button to cre- ate the new SET folder and exit the dialog. Save the data ▪ Save all the memory content, a type or data, single banks or items as de- scribed below.
  • Page 944 930| File management Saving 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 945 You can copy inside the same device, or from a device to a different one (both devices must be connected to Pa4X 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 946 932| File management 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 one of the USB HOST ports. Use the Device pop-up menu to choose the target device. Choose a target and confirm copying ▪...
  • Page 947 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, Pa4X will ask you if you want to overwrite it.
  • Page 948 934| File management 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 one of the HOST ports.
  • Page 949 Managing files |935 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 950 936| File management 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 951 Managing files |937 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 Set Lists, can be exported, to be printed and be used as the playlist of the show.
  • Page 952 938| File management Exporting a Jukebox list While a Jukebox file is assigned to Player 1, 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 953 Managing files |939 Exporting a SongBook Book list or Custom List While you are in the SongBook > Book SongBook > Set 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 954: Managing Media

    940| File management Managing media Formatting storage devices Formatting a storage device The Format function lets you initialize a device. Pa4X uses a PC-compliant device format (DOS FAT16 and FAT32). Warning: Formatting a storage device deletes all the data it contains!
  • Page 955 Managing media |941 Also, if you try to rename the internal volume when Pa4X is connected to a PC through the USB port, the original name is automatically restored. Touch the Text Edit ( icon to open the virtual keyboard and edit the name.
  • Page 956 942| File management 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 957 Managing media |943 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 one of the USB HOST ports. Use the Device pop-up menu to choose the target device. Browse through the folders.
  • Page 958 944| File management Restoring the musical resources You can restore data from a backup archive created with the Full Resource Backup command. Choose the restore command Go to the Media > Utility page. Select the Resource Restore option, then touch the Execute button to see the file selector.
  • Page 959 Managing media |945 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 Pa4X to the same condition it was when new, use the Factory Restore operation.
  • Page 960 Do not try to change the label (name) of its internal drive when Pa4X is con- nected to a personal computer. If you try to do it, the original name is auto- matically restored.
  • Page 961 Managing media |947 Disable USB communication When finished transferring the files, you can disconnect Pa4X from the per- sonal computer. ▪ On a Windows PC, select the dedicated command by clicking on the USB device icon ( ) with the right mouse button.
  • Page 962 948| File management Storage device organization 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 963 Managing media |949 Touch the Text Edit ( icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the button un- der the virtual keyboard. When back at the Rename dialog, touch the button to confirm the new name.
  • Page 964 950| File management Rename the storage device ▪ While in the Device Information dialog, touch the Text Edit ( icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the button under the virtual keyboard. Please note that renaming a device, containing MIDI Songs or MP3 Songs used in the SongBook, will break the links to the files.
  • Page 965 Managing media |951 Changing the media display preferences You can choose what to see when a file selector window opens in the Media Preferences page. Seeing the file’s size and date To view longer names in their entirety, you can hide the Size Date col-...
  • Page 966 Media page. Select the Global Protect checkbox to protect global preferences to change when loading data from disk. Please note that, in any case, you could only load global preferences from the same KORG Pa-Series model.
  • Page 967 Backup data or use the Factory Restore procedure (in the Media > Utility page). Note: Pa4X ORIENTAL also inclused a Factory and Favorite Protect checkbox. When selected, this option protects all the Factory data and the Favorite Styles from edit- ing.
  • Page 968 954| File management Care of storage devices Pa4X can save most of the data contained in memory to the internal drive, an internally installed microSD card, or to external devices (like hard drives or USB memory sticks) connected to the USB HOST ports.
  • Page 969 |955 Part XV: aPPENDIX...
  • Page 970 956| Appendix...
  • Page 971 Musical Resources |957 Musical resources The following pages list all the musical resources supplied as standard with your Pa4X.
  • Page 972 958| Appendix Styles This list shows the Styles as they appear in the Style Select window. The table also includes MIDI data used to remotely select the Styles on the special Control channel. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB.
  • Page 973 Musical Resources |959 Style CC00 CC32 Style CC00 CC32 70’s Ballad Ballroom Unplugged Heaven English Waltz Groovy Ballad 1 Quick Step Groovy Ballad 2 Pasodoble Analog Ballad 1 Paso Dance Analog Ballad 2 Viennese Waltz 6/8 Ballad 1 Jive 6/8 Ballad 2 Argentina Tango 6/8 Brush Ballad Modern Tango...
  • Page 974 960| Appendix Style CC00 CC32 Style CC00 CC32 Dj Disco Mix rock Spanish Remix Foo Rock ChaCha Remix 21 Gun Anthem Western Remix First Kid Rock Tacata Dance Killer Rock Kuduro Dance HighwayHell Rock Gangnam Dance Rock on Fire Party Anthem Welcome Rock Bailando Dance Rock Star...
  • Page 975 Musical Resources |961 Style CC00 CC32 Style CC00 CC32 Slow Latin Rock Country 16 Beat Latin Rock Bluegrass SouthStrait Rock Bar Country Classic Rock Desert Shuffle Rock Boogie Country Shuffle Rock Blues South Shuffle Power Rock Country Boogie Rock Shuffle Easy Strumming 8 Beat Rock traditional...
  • Page 976 962| Appendix Style CC00 CC32 Style CC00 CC32 French Waltz Mambo Irish Slow Waltz Pop ChaCha Irish Med. Waltz Rhumba 1 Irish Fast Waltz Rhumba 2 Irish Fox Bachata Irish QuickStep Cool Latin Jazz Latin Latin Big Band Samba Enredo Latin Pop Samba Brazil Latin Bolero...
  • Page 977 Musical Resources |963 Style CC00 CC32 Style CC00 CC32 Tropicana Dance Swing Ballad 2 Modern Bossa Slow Swing Brush Disco ChaCha Orchestral Swing Calypso Classic Swing Reggae 1 Acoustic Jazz Reggae 2 Easy Swing Latin Club Easy JazzWaltz Andean Dixieland Lambada Charleston Meneaito...
  • Page 978 964| Appendix Style CC00 CC32 Style CC00 CC32 Spaghetti Western Everybody Bros Burt’s Bounce Soul Bros ScreenEpicMarch1 Blues ScreenEpicMarch2 Soul Weird Movie Talkin’ Funk Mystery Man Donald Mood Ritz Swing Capital Soul Tap Dance Soul Power Movie Ballad Level Funk Safari Swing Acoustic Shuffle Hollywood 1...
  • Page 979 Musical Resources |965 Style CC00 CC32 Style CC00 CC32 Little Shuffle Scottish Reel Slow & Jazzy Alpen Schlager Slow Funk Classic Schlager Swing HipHop Modern Schlager Slow Mood Vienna Waltz Kool Funk Orleans World Cajun Libertad Tango Zydeco Spanish Dance Hora Hawaiian OrchestralBolero...
  • Page 980 966| Appendix Style CC00 CC32 Style CC00 CC32 Stand Up Trap Dance 2 Pop Promises Reggaeton DJ Treat & Beat House Class Feel the Pop Deep House Guitar Pop Deep Remix Favorite/Ballad Trance Paradise Ballad Saturday Night Sweet Ballad Hey Dance 3/4 Jazz Ballad Slowly L.
  • Page 981 Classic Grand Xylophone Grand Piano Live Music Box Upright Piano Tropical Honky-Tonk Bell & Whistle Jazz Piano Bell & Accordion Korg M1 Piano Grand & Pad Piano & VPM Vibes & Flute Harpsichord Concert Hall Clav E.Piano Rock Piano Electric Piano Electric Grand Phaser E.
  • Page 982 968| Appendix Keyboard Set CC00 CC32 Keyboard Set CC00 CC32 Comp&Phaser E.P. Dark Organ V. Bell Tine E.P. Pipe Flute E.Piano & Pad Full Pipes E.Piano &Strings Theatre Organ 1 E.Piano&SynVoice Theatre Organ 2 E.P. Atmosphere Harmonica 1 Digital E.P. Bld Harmonica 2 Stage E.Piano Harmonica 3...
  • Page 983 Musical Resources |969 Keyboard Set CC00 CC32 Keyboard Set CC00 CC32 Carlos Guitar2 Room Strings Distortion Gtr Movie Strings My Overdrive Gtr Real Violin Nylon Guitar Jazz Violin Gtrs Atmosphere Serenade Violin Real Dobro Soprano Voice Folk Guitar CinematicStrFast Jazz Guitar 2 Epic Sound Crunch Gtr DNC Orchestra Tutti...
  • Page 984 970| Appendix Keyboard Set CC00 CC32 Keyboard Set CC00 CC32 Smooth Band Soft Trombone Warm Brass Dixie Trumpet Sforzato Brass Sweet Flugel Horns & Strings Trumpet Delay Brass Overtone eXp Trombone Shake Brass2 Y+ Club Sax & Trp Cup Mute Brass Band Trumpet V.
  • Page 985 Musical Resources |971 Keyboard Set CC00 CC32 Keyboard Set CC00 CC32 Tenor Sax 4 Bottle Flute Breath Tenor Sax Panflute & Synth Super Tenor Sax Reeds & Trombone Soprano Pad March Whistle Sax Ensemble Flutes&Clarinets Super Sax Sect.1 Flute & Muted Miller Serenade Clarinets &...
  • Page 986 972| Appendix Keyboard Set CC00 CC32 Keyboard Set CC00 CC32 Trinity Pad Italian Jazz P. Moon Pad It.Grand Stack 1 Pa800 Pad It.Grand Stack 2 Wave Synth Grand & Ensemble Wave Sequence Grand & Orch. Space Trailer It. Grand Atmo Far Memories Octave 2 Pianos Step Sequencer...
  • Page 987 Musical Resources |973 Keyboard Set CC00 CC32 Keyboard Set CC00 CC32 It.Acc.& Strings Terziana - 2 man. User/Pipe Organ Cornet - 2 man. Tutti A Larigot - 2 man. Tutti B Trumpet - 2 man. Sesquialtera Plenum1 - 2 man. Plenum A Plenum2 - 2 man.
  • Page 988 974| Appendix Keyboard Set CC00 CC32 Keyboard Set CC00 CC32 Square Solo Hans Sound Saw Solo Landscape Square & Pulse Waterland 16-8-4 & Sub32 Meditation Stack User/Fantasy Layers Enjoy Mixed Echoes Ipnotic bpm Running bpm Fisarmony User 0-10 0-47 Pacific Sea Direct User 0-10 0-47...
  • Page 989 Musical Resources |975 Sounds The following table lists all Factory Sounds 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. CC32: Control Change 32, or Bank Select LSB.
  • Page 990 976| Appendix Sound CC00 CC32 Sound CC00 CC32 Tine E. Piano 1 Musette 1 Club E. Piano 2 Voices Musette Suit E.Piano 1 3 Voices Musette Suit E.Piano 2 Cassotto 16’ Classic Wurly 1 Tango Accordion Classic Wurly 2 Fisa Tango R&B E.
  • Page 991 Musical Resources |977 Sound CC00 CC32 Sound CC00 CC32 Jazz Organ RealFolk Gtr DNC Organ LowPc V. SteelGtrPro DNC Organ Low Strum 12Str. DNC Organ Low 1 V. Strat N DI DNC Big Theatre Org. Strat N Cln DNC Theatre Organ 1 Strat N DI Mute Theatre Organ 2 Strat N Cln Mute...
  • Page 992 978| Appendix Sound CC00 CC32 Sound CC00 CC32 Single Coil Pro Hmm Choir Pat Guitar Synth DaDiPaTu & Bass Chorus Guitar DaDiDuLaPaTu Chorus Gtr Pro Unknown Ens. Power Chords 1 Unknown Choir Factory/Strings & Vocal Lyrical Choir ClassicViolinDN1 Firemen Choir ClassicViolinDN2 Closed Mouth Conc.
  • Page 993 Musical Resources |979 Sound CC00 CC32 Sound CC00 CC32 Real Muted DN2 Tight Brass 2 Jazz Trumpet DN1 Trpt. & Horns Jazz Trumpet DN2 Trpts & Trombs Cup Muted DN2 Tight Brass 3 Concert Trumpet Brass of Power Jazz Cornet DN1 Movie Brass Jazz Cornet DN2 Brass Expr.
  • Page 994 980| Appendix Sound CC00 CC32 Sound CC00 CC32 SaxEns.Leg.Sfz Rhythmsphere Factory/Woodwind Far Muted Atmos. ConcertFlute DN1 Far Memories ConcertFlute DN2 Atmoschoir Pad Latin Flute DN1 Space Trailer Latin Flute DN2 Jurassic Pad RealClarinet DN1 Pisco Pad JazzClarinet DN1 Tension Scene Oboe 1 Dronas Pad Cool Oboe...
  • Page 995 Musical Resources |981 Sound CC00 CC32 Sound CC00 CC32 Fresh Air 2 Dance ReMix 80’s Pop Synth Rave Blender Synth Pianoid Deep Noise HipHop Lead Factory/Synth Lead Port Whine Next Dance DNC Sub Harmonic Lab Synth DNC Factory/Ethnic Deep Modul. DNC Mandolin DNC Bros Buzz Y+ Mandolin...
  • Page 996 982| Appendix Sound CC00 CC32 Sound CC00 CC32 Bouzouki SR Fing.Slap Bs SR Slap Bass Kawala PBsFing.Vint.DN1 Clarinet G PBsFing.Vint.DN2 Klarnet 1 FS Pick BsDN1 Klarnet 2 FS Pick BsDN2 Hichiriki Fretless Bs DN1 HighlandBagPipes FretlessVib.DN1 Uillean BagPipes Finger Bass DN1 Zurna 1 Dark Bs&Slap DN1 Zurna 2...
  • Page 997 Syn Piano X E. Grand Phaser Road Piano Saloon Piano E. Piano Noise Harpsichord 2 Wurly Noise Harpsi 16’ Legacy/Mallet & Bell Harpsi Korg Vibraphone 2 Clav Snap Monkey Skuls Sticky Clav Digi Bell Clav Krystal Bell Clav Wah Legacy/accordion...
  • Page 998 984| Appendix Sound CC00 CC32 Sound CC00 CC32 Cassotto Drawbars Organ Cassotto 16’ DNC Organ Mid V. Cassotto Or.Tune Organ Hi V. Master Accordion Drawbars Fast V. Steirisch.Akk.4 Drawbars Slow V. Harmonica Organ Low+1’V. Harmonica AT 1 Organ HiMix1 V. Harmonica AT 2 Organ HiMix2 V.
  • Page 999 Musical Resources |985 Sound CC00 CC32 Sound CC00 CC32 Finger Key Off 12 Strings Pro Club Jazz Gtr 2 Steel Slide Pro1 Pop Steel Slide Steel Slide Pro2 Finger Tips Steel Guitar RX1 Country Nu Steel Guitar RX2 Reso Guitar 12 Strings RX Tel.
  • Page 1000 986| Appendix Sound CC00 CC32 Sound CC00 CC32 Clean Guitar RX1 Power Chords 2 Clean Guitar RX2 Legacy/Strings & Vocal Clean Guitar RX3 Violin Expr. 2 Clean Guitar RX4 Violin Expr. 3 Clean Guitar RX5 Slow Violin Clean Guitar RX6 Violin Expr.
  • Page 1001 Musical Resources |987 Sound CC00 CC32 Sound CC00 CC32 N Strings Analog Strings 2 Arco Strings Synth Strings 2 Octave Strings Analog Velve Arabic Strings Legacy/trumpet & trbn. Strings Quartet Mono Trumpet Chamber Strings Warm Flugel OrchestraTutti 2 Pitch Trombone Strings Choir Soft Trombone Dream Voice...
  • Page 1002 988| Appendix Sound CC00 CC32 Sound CC00 CC32 JazzCornet 1 DNC Netherland Hit Trumpet Expr.DNC Brass Impact JazzTrumpet2 DNC Classic Horns JazzTrumpet3 DNC Horns & Ensemble JazzCornet 2 DNC Brass & Sax Hard Trombone Trpts & Brass HardTrombone DNC Soft Horns 2 Trombone Expr.
  • Page 1003 Musical Resources |989 Sound CC00 CC32 Sound CC00 CC32 Sweet Alto Sax 1 English Horn Sweet Alto Sax 2 Recorder 1 Soft Alto Sax Recorder 2 Alto Sax Pro Classic Oboe Alto Sax Expr. Oboe 2 Alto Sax Jazz Clarinet Alto Sax 1 DNC Section Winds 1 Jazz Sax 1 DNC...
  • Page 1004 990| Appendix Sound CC00 CC32 Sound CC00 CC32 Whistle 1 Ravelian Pad Whistle 2 Pop Synth Pad 2 Whistle DNC Techno Stab DNC Legacy/Synth Pad Double Sweep Sky Watcher Motion Ocean Vintage Pad Wave Cycle You Decide Pods In Pad Korgmatose Moving Bell Reoccuring Astra...