bit MIDI MASTER KEYBOARD Owner's Manual page 13

OVERLAPPJNB ZONES AND DOUBLE SOUNDS
As Ne said, you can define your split point .so as to create
overlapping
zones
or double
sounds.
If
you
reverse the settings
in
the
above exa~ple, allocating split point •49• to the LEFT ZONE and split
point •25•
to
the RIGHT ZONE, you get 'an overlap in the center zone.
This appejrs in
the
CENTER ZONE display as "LC", showing
that the
center zone has
been
assigned to the left
zone,
But what does this all
mean?
Well, the easiest way of understanding it is to go ahead and play!
Playing
at the botto~ of the keyboard you have the instru•ents
assigned lo both LEFT and CENTER ZONES, moving upward past
•c3•
(or
k~~, 2~l.lhQse_in
the RIGHT ZONE
join
in, while
above
•c5•
(k~y 491
only those assigned to the RIGHT ZONE are heard. It isn't as
co~plicated as
it
might look here - try it out!
Of course, that is just a single exa•ple. Instead of assigning the
CENTER ZONE to the LEFT ZONE, you can link
it
with the RIGHT ZONE; or
even disable
it
entirely, <by pressing the "hite button under CENTER
ZONE, then using the+/-
button to select "re• or "ne• respectively!.
To disable the LEFT or RIGHT ZONE press the white button and enter the
value
•o•
using the nu•eric pad.
So
program•ing
overlapping split zones gives us double and split
settings si•ultaneously; for 'pure' double sounds set the split point
for the LEFT ZONE to the highest note (by pressing that key or
entering the value •72•1 and the RI6HT ZONE to the lowest note (value
"1~1. The CENTER ZONE
can
be ignored her~ {or disabled if you prefer -
set value to •ne">, because the left and right zones are spread over
the whole keyboard. Another way of progra•ming double or •ultiple
sounds is to
use
the "OMNl• setting, described below under Paraaeter
(211.
•..
SOME SPLIT EXAMPLES ·
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13