Native Instruments B4 II Operation Manual
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Native Instruments B4 II Operation Manual

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B4 II
OPERATION MANUAL

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  • Page 1 B4 II OPERATION MANUAL...
  • Page 2 The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments Software Synthesis GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments Software Synthesis GmbH.

  • Page 3: Table Of Contents

    Table Of Contents About the Native Instruments B4 ............5 Introduction ..................5 Installation under Windows XP ............7 Software Installation ................ 7 VST plug-in Installation ..............7 DXi 2 plug-in Setup ................. 8 RTAS plug-in installation ..............8 Installation under MacOS X ..............8 Installing B4 II in OS X ..............
  • Page 4 The B4 User Interface ...............37 Using Presets ................41 Saving Presets ................42 The Preset View ................43 Keyboard Splits ................46 MIDI Response ................48 The B4 as an effects unit ..............49 Setup View ................... 50 Full Screen mode ................55 Creating Your Own Sounds ..............

  • Page 5: About The Native Instruments B4

    About the Native Instruments B4 Introduction The B4, in perspective... Congratulations on your purchase of the Native Instruments B4. The B4 combines the classic and robust tonewheel organ and rotating speaker sound with the convenience of software. The original B3 organ set many standards with its beefy sound and unique interface.
  • Page 6 • Multiple organ models in one package • Integrated reverb • A ample selection of cabinet models The Native Instruments B4 integrates seamlessly into the computer-based virtual studio. It is important to note that the B4 is not another sampled organ, but a complete software model of the tonal characteristics of the original tonewheel and rotating speaker and cabinet system.

  • Page 7: Installation Under Windows Xp

    Installed Folders, Files, and Links The setup program creates a new folder called B4 II\ in the installation directory (Program Files\Native Instruments). This folder contains the files required to operate the software. If you do not choose a different program group during the installation, links to the Product and a ReadMe file are added to the Start menu under Programs/Native Instruments.

  • Page 8: Dxi 2 Plug-In Setup

    DXi 2 plug-in Setup DXi 2 is a plug-in interface for software synthesizers and instruments based on Microsoft DXi technology. Sonar from Cakewalk and Fruity Loops are the most well known host sequencers that support DXi. Installation • Insert the Installation CD into the CD drive of your computer. • Use the Windows Explorer to view the contents of the CD and double- click the B4 II.exe file to start the installation.

  • Page 9: Macos Audio Unit Plug-In Installation

    The Product Authorization includes a full registration. After having completed the authorization, you can make use of all online services related to the registered product. On the Native Instruments website you can read online tutorials, get technical support, participate in the NI forums and download updates.
  • Page 10 Registration Tool will reflect the change by displaying a new System ID and you have to repeat the Product Authorization. The System ID has to be sent to Native Instruments in order to receive the Authorization Key which allows the permanent use of B4 II. Since the Product Authorization is part of the license agreement B4 II will stop launching after 30 days if it was not authorized until then.

  • Page 11: Conducting The Product Authorization

    Conducting the Product Authorization Native Instruments has set a high value on making the authorization procedure as easy and comfortable as possible. In the following sections we describe three methods of conducting the Product Authorization. We recommend Method A and Method B since these result in the easiest and fastest way of receiving the Authorization Key.
  • Page 12 Native Instruments or if you want to do an Additional Registration. • Depending on the option you have chosen on the first online page you now get a login page asking for your username and password or a form where you can fill out your address data. Please fill out all required fields and follow the instructions on the screen to complete the regis- tration.

  • Page 13: Method B: Internet Connection On Another Computer

    • Windows: Start the Registration Tool from the start menu (Native Instruments B4 II  B4 II Registration Tool) or from the product in- stallation folder (default path: C:\Program Files\Native Instruments\B4 II\). • MacOS: Start the Registration Tool from the B4 II installation folder (default path: Applications\B4 II\).
  • Page 14 • On the first online page you are asked if it is your First Registration at Native Instruments or if you want to do an Additional Registration. • Depending on the option you have chosen on the first online page you now get a login page asking for your username and password or a form where you can fill out your address data.

  • Page 15: Method C: No Internet Connection Available

    Native Instruments. You will receive the Authorization Key either by email (recommended), by postal mail or by fax. If you do not provide Native Instruments with a valid email address in the form, be prepared to type in the Authorization Key manually (about 60 digits).
  • Page 16 B for shortest return times and most comfortable operation. Please note the following instructions to fullfill the Product Authorization: • Windows: Start the Registration Tool from the Windows start menu (Native Instruments B4 II  B4 II Registration Tool) or from the product installation folder (default path: C:\Program Files\Native Instruments\B4 II\).

  • Page 17: Registration Support

    Native Instruments registration team. Illegible email or postal addresses can cause problems with the Authorization Key delivery. Send the form to Native Instruments using one of the following contact ad- dresses: Native Instruments GmbH Native Instruments USA...

  • Page 18: Audio Interfaces

    Audio Interfaces Audio interfaces, which include software routines called drivers, allow B4 II (and other programs you have installed, if present) to communicate with your computer’s audio hardware. This section describes how to use various audio interfaces with B4 II. There are two main ways to implement B4 II: As a “standalone”...
  • Page 19 • MIDI sequencing of B4 II and audio mix-down of the MIDI tracks within a single program • Comfortable automation of B4 II parameters in the sequencer • Further processing of B4 II signals using additional plug-ins • Sample-accurate timing with MIDI controllers (when used as VST 2.0 plug-in) •...

  • Page 20: More About Latency

    was developed by Steinberg. It is highly recommended for its low latency, multi-channel audio card support, and high performance. DirectSound: Developed by Microsoft, this is a is a component of DirectX 5.0 or higher for Windows. How well DirectX works well depends on your sound card.
  • Page 21 computers are generally not set up for low latency; attempting to play in real time through B4 II will probably be unsatisfying because of the delay. Any computer-based audio system has some delay between the audio input and output. As a result, if you’re playing a MIDI keyboard through B4 II, you may hear an annoying delay between the time you hit a key and hear a sound.
  • Page 22 polyphony or number of effects you can add while still retaining glitch-free audio. So, here are some tips on living with latency. About Samples and Buffers Audio cannot be handled continuously by a computer, but has to wait its turn while other operations are being carried out. As a result, sound cards create a “buffer,”...
  • Page 23 In this screen shot, note that Creamware’s ASIO control panel simply lets you choose the desired latency; buffers are adjusted “behind the scenes” within the Creamware Scope application (in this case, to 128 samples). The Device Setup panel in Cubase confirms the latency, which is about 4 ms, but doesn’t indicate the buffer size.
  • Page 24 Tips On Minimizing Latency • Set latency to the highest comfortable value. 256 samples/buffer is very responsive yet gives your computer some “breathing room.” 512 samples may also be acceptable; anything more will create too much delay. If you can’t get reliable audio with 512 samples, it’s time for a better computer! • If your ASIO Control Panel shows latency in milliseconds, you’ll find that anything over 10 ms or so gives an audible delay.

  • Page 25: B4 Ii As Standalone

    B4 II as standalone When used as a plug-in, the host program has already set up its audio and MIDI connections, and B4 II simply “plugs in” to these. However, with standalone operation B4 II communicates directly with your audio interface. It’s therefore necessary to specify audio and MIDI settings, as well as the preferred driver protocol (of course, plug-in format is not an issue).
  • Page 26 Sample rate: The drop-down menu will display compatible sample rates for your audio interface. 44.1kHz is the same sample rate used for CDs, and is the most “universal” choice. However, some audio interfaces offer 48kHz and 96kHz (B4 II accepts up to 96kHz sample rates). These higher rates stress your computer more, but offer somewhat better high frequency response.

  • Page 27: Routing

    Routing Using the drop-down menu, Output 1/2 is assigned to an output from a multi- output sound card. If your sound card offers multiple outputs, you can choose which ones connect. Click on Outputs to select the outputs from drop-down menus. Similarly, use input to select the audio input if you wish to use B4 II as an effect.

  • Page 28: Midi

    MIDI If your MIDI interface offers multiple ins and outs, you can choose which one connects to B4 II. When you click on the MIDI tab you’ll see a list of MIDI I/O. Initially, each one will be Off. This field is a toggle – click on Off to turn an input or output On, click on On to turn an input or output Off.

  • Page 29: B4 Ii As Instrument Plug-In

    B4 II as Instrument Plug-in Plug-ins come in two forms, virtual instruments and audio effects. Most of you will use B4 II as a virtual instrument, but that shouldn't discourage you from also using it as an effect. Just plug B4 II into any audio track to use the various cabinets and speakers for signal processing.
  • Page 30 there, then it may not be installed correctly. Please refer to the previous Please refer to the previous section on installing the plug-in for both Windows and Mac platforms for more assistance on setting this up. After having loaded an Instrument from the library you should be able to trig- ger it via MIDI using a keyboard controller.

  • Page 31: Audio Units Plug-Ins

    • Record enable the MIDI track. Note: If a product does not appear in the list of available VST instruments inside Nuendo 3, then you may need to enable it manually via the Devices/plug-in information window. If the product does not show up there, then it may not be installed correctly.
  • Page 32 Stereo  AU Instruments  Native Instruments  B4 II • The B4 II interface opens and now appears in the instrument slot and is ready to use. The instrument mixer channel will allow you to mix, pan, and process the software's output just like any other existing audio track in Logic.
  • Page 33 Use in Digital Performer 4.6 • Launch Digital Performer and create an instrument track by selecting Project  Add Track  Instrument Track  B4 II. • Create a MIDI track by selecting Project  Add Track  MIDI Track. In Digital Performer’s track overview window (or in the sequence editor window) assign the ouput of this MIDI track to “B4 II-1”...
  • Page 34 Digital Performers mixer and directly to your sound card. If the plug-in does not receive MIDI or generate audio, then make sure to check the following two areas: • Make sure MIDI Patch Through is enabled in the Studio menu of Digital Performer.

  • Page 35: Dxi 2 Plug-In

    DXi 2 plug-in DXi is a Microsoft DirectX technology based plug-in format Use in Sonar 4 • Launch Sonar • In the synth rack choose B4 II DXi 2. Loading the DXi 2 plug-in in the synth rack • Route a MIDI track to the DXi 2-Plug-in by selecting B4 II in the Out drop down list.

  • Page 36: Using B4 Ii With Pro Tools

    Using B4 II with Pro Tools The RTAS format is an interface protocol for Mac OS and Windows that allows you to use plug-ins with ProTools independently from additional TDM hardware. In this case, the host processor alone performs all of the computations for the plug-in. •...

  • Page 37: The B4 User Interface

    The B4 User Interface The B4 “Manual View” You can adjust all of the front panel controls with your mouse. Additionally, you can test the current sound by clicking on the keys of either manual or the foot pedals. The B4 Control Center The B4 Control Center is always displayed and contains the interface to guide you around your virtual organ.
  • Page 38 The Manual View is an “organ keyboard” view, which includes all three manuals (the upper and lower as well as the pedals), the three drawbar sets, the expression pedal and the performance switches. This is a good view to use when you are doing manual drawbar editing, and want to be able to “manually”...
  • Page 39 The Expert View displays an additional set of controls for the tonewheel models, percussion and vibrato details, reverb, and the rotary effects. The major organ controls, like the drawbars, the Rotator controls, and the vibrato/percussion buttons are also available in the Expert View. These settings are also covered in more detail in the “Creating Your Sound”...
  • Page 40 Let’s see what’s on the menu… The Control Center’s presets menu provides control over the B4 keyboard presets. Unlike the original tonewheel organs, the Native Instruments B4 stores multiple sets of presets for recall. The Control Center is always visible, independently from the currently activated view.

  • Page 41: Using Presets

    Up : Loads the previous preset on the list. Down : Loads the next preset on the list. Store: Immediately stores the current setting in the current preset and overwrites it. The Preset View gives you more controls for handling presets and is described in the next section of this manual.

  • Page 42: Saving Presets

    Of course, you can also use the preset section displayed in the Control Center to change presets or navigate to the Preset View to get a better overview over your currently available presets. Organ and Expert View Use the preset menu/ arrows buttons to change and the Store button to overwrite presets.

  • Page 43: The Preset View

    Exporting Presets In sequencers, the preset memory is saved as part of the song that uses the B4 plug-in. But you will probably also want to export your presets to a file. You can save all 120 presets in memory as an “export” file using the Save function on the Preset View.
  • Page 44 If you want to rename a preset, double click on its name and type in a new one. To store a preset you should use the Store To command. This important command lets you store presets in a location other than your currently selected preset.
  • Page 45 List Operations Store To: After clicking Store To you select the desired preset slot on the preset list and your current settings are stored into that preset slot. Delete: This command deletes the currently selected preset, leaving an empty preset slot. Compact List: This command pushes all empty preset slots to the end of the list.

  • Page 46: Keyboard Splits

    Keyboard Splits Unlike most instruments, the B4 must implement multiple keyboard ranks (called manuals in organ parlance). This is accomplished in two ways: either by responding to multiple MIDI channels, or by supporting keyboard splits. When using multiple MIDI channels (No Keyboard Split), the default response to MIDI information is as follows: Notes, Controls, and Program Changes received on MIDI channel 1 are used by the entire instrument.
  • Page 47 On the resulting menu choose Set Upper Keyboard Split to define the upper split point. This key and all above it will play the upper manual from now on. The keys below it play the lower manual. Similarly, use the menu entry Set Lower Keyboard Split to set the split point between the bass pedals and the lower manual.

  • Page 48: Midi Response

    As an alternative, you can modify the split points on the Setup View. Each manual can also be transposed up or down by one octave by right- clicking on the respective on-screen keyboard and choosing the appropriate transposition settings from the context sensitive menu. This also works for the pedals.

  • Page 49: The B4 As An Effects Unit

    The B4 is also able to have all of the on-screen controls manipulated by MIDI controller messages. The MIDI controllers used are listed on the Setup View. They can be changed to your needs. You can do this either on the Setup View (which is described in the next section of this manual) or by right clicking on the control and choosing MIDI Learn…...

  • Page 50: Setup View

    In standalone mode the external signal comes from the audio input of your soundcard. Please refer to the Setup View section of this manual for more information. The FX plugin version of B4 will receive audio input from the host software it is running in.
  • Page 51 The Setup View is for assigning MIDI controllers, managing controller maps and for setting some further details affecting the behaviour of your B4. Controller assignment On the left you have the Controller Assignment list representing the current controller map. The CC column shows the currently set controllers for the B4 parameters shown in the Name column.
  • Page 52 footswitch means run mode. It depends on the parameter to be controlled and on your personal taste which Mode setting you should choose. For the rotor brake both settings can be useful but you will probably want to use things like Percussion on/off with toggle mode.
  • Page 53 Rig-Kontrol-2 Active: This is for proud owners of the Native Instruments Rig- Kontrol 2. Activate this option, if you want to control the B4 with the Rig- Kontrol. Please be sure that no Guitar Rig is running when activating Rig-Kontrol for the B4.
  • Page 54 2 Pedal Drawbars: When active, the B4 pedals get only two drawbars (16’ and 51/3’). This does not mean that only two of the normally six drawbars are active but that the two drawbars control a mixture of tones. This emulates a feature of the original B3.

  • Page 55: Full Screen Mode

    Transpose: With the Transpose switches you can transpose each of the three manuals one octave up or down. Alternatively, you can switch the octaves of the respective manuals by right clicking them in the Manual View and choosing the respective option in the pop-up menu. Upper/Lower Keysplit: If you want to control multiple B4 manuals with one keyboard you can define keysplits.

  • Page 56: Creating Your Own Sounds

    Creating Your Own Sounds Manual View Controls The B4 organ in all its glory… The B4 provides complete editing functions for all three manuals (upper, lower and pedal). This programming is provided by the drawbars and controls on the Manual View panel, and the adjustments located on the Organ and Expert Views.
  • Page 57 Vibrato Setting The Vibrato Setting switch allows for quick changes to the depth of the chorus or vibrato effect. The switch has six settings: V-1, C-1, V-2, C-2, V-3, C-3. These settings determine the depth and mix of the Scanner Chorus/Vibrato effect.
  • Page 58 Lower Manual Drawbars 9 drawbars setup the sound for the lower manual channel. Two brown drawbars (called 16’ and 5 1/3’ in organ parlance) provide the sub-octave tone for a powerful sound. The white drawbars (8’, 4’, 2’ and 1’) mix in the pure octave harmonics.
  • Page 59 When activating Percussion on an original B3, the 1’ tone becomes silent. The default setting for the B4 does not account for this. You can, however, activate the Perc disables 1’ drawbar feature on the Setup View to get your B4 act like the original in this aspect.
  • Page 60 Bank Switch This rotary switch selects one of 10 banks of presets. Ready for immediate use, there are all the popular sounds for jazz, rock and classical play, as well as some more extreme settings. A change to the bank selection will cause an immediate change to the preset in use (and the drawbar, effects and Rotator settings displayed).
  • Page 61 Rotator Controls The rotating speaker simulation (Rotator) speeds up and slows down realistically when operating this switch (which responds to the MIDI Mod-Wheel control). The rotation speeds and acceleration characteristics can be adjusted with complete flexibility in the Expert View. The Rotator effect can also be disabled for straight organ sounds by using the rotor brake.

  • Page 62: Organ View Controls

    Organ View Controls The Organ View Panel… The Organ view is split into several sections: Organ, Tube Amp, Microphones, the cabinets selector, and an overview of the Manual View settings (reviewed above). The Organ section sets details in the tone generation model. In the Tube Amp section you can control the tone of the Amplifier model and the Microphone section deals, well, with microphone details.
  • Page 63 Keyclick amount adds an initial bite to the sound that is a popular part of the tonewheel sound. The “bite” provided by higher keyclick volumes will add definition to the organ tone (especially good for soloing), and is useful when the B4 needs to cut through a dense mix.
  • Page 64 The Tube Amp Volume sets the output level sent from the amplifier model. This determines the overall volume of the organ, and is used to provide volume compensation between presets. This is strictly a volume adjustment, and has no effect on the tone of the amp. The Bass and Treble knobs control two shelving equalizers helping to shape the sound of the amp.
  • Page 65 Citrus: This setting simulates an on-axis condenser microphone on a guitar cabinet and represents a well-balanced all-around tone. Tweedman: An on-axis dynamic microphone picking up a 4 x 10 guitar box. It is nice for a jazzy sound with pleasant bass tones. Think Jimmy Smith. Jazz: If you are looking for that dirty Jimmy McGriff sound, this cabinet can come close.
  • Page 66 The Balance control determines the relative mix between the treble and bass speaker outputs. This provides control of the tonal characteristics of the speaker output (and, therefore, the entire plug-in). When turned all the way to the right you hear only the treble rotor. Fully left and only the bass rotor is heard.

  • Page 67: Expert View Controls

    Expert View Controls Advanced controls on the Expert view… The Expert View also displays the regular performance controls on the lower part of the screen. However it is more geared for programming sounds. Tonewheel The B4 goes beyond what is possible with an old Hammond organ in many ways.
  • Page 68 Just like the old tonewheel organs, the B4 has no master tune control because tonewheels run at a fixed synchronous speed that cannot be changed. The only way to change the master tuning is to change the transmission ratios in the tonewheel generator, something that’s completely impractical in hardware but easily achieved with the B4’s replaceable tonewheel generator.
  • Page 69 and a Harmonium simulation right at your fingertips. Percussion The Percussion Volume control determines the amount of percussion effect in the sound. The use of percussion provides a lightness to the sound, and is particularly useful for jazz and house organ sounds. Percussion Volume has only two positions on the B3: “Soft”...
  • Page 70 Vibrato The Vibrato Mix control determines the type of effect. This is continuously variable from Vibrato (Mix knob right) through Chorus (Mix knob centered) to almost no effect (Mix knob left). The Vibrato Depth control determines the amount of vibrato applied to the sound.
  • Page 71 the signal chain after the Rotator. Have a look at the following diagram to get a better understanding of the reverb signal flow. Reverb Signal Flow… Rotator Controls B4 II – 71...
  • Page 72 Treble Rotor The indicator lamp provides visual feedback of the current treble rotation rate. The Slow speed sets the rotational speed of the treble rotor when the Rotator Speed switch is set to Slow. This setting is continuously variable between 0 and 85 rpm.
  • Page 73 Operation of Spread and Distance controls. B4 II – 73...

  • Page 74: Drawbar Programming Basics

    Drawbar Programming Basics Theory The key to understanding drawbar programming is to understand the use of harmonics. Harmonics are the basis of complex sound generation, and are present in almost every sound you hear. The most basic sound is the pure sine wave. It consists of the “fundamental” tone only.
  • Page 75 It would be convenient if tonewheel organs used harmonics to describe the drawbars settings. However, the terms used for describing the harmonic content of organs historically comes from pipe organs, where the use of various lengths of pipe determines the tonal characteristics. Hence, organs have come to use “pipe length”...

  • Page 76: Practice

    Practice Now that we’ve reviewed the technical and historical aspects of the tonewheel organ, let’s use this information to create some useful sounds with the B4. We will use the upper manual to experiment with the organ sound, although all of the following concepts will work equally well with the other manuals. The only exception is pedalboard programming, as the drawbars provided for the bass pedals are missing the highest three drawbars.
  • Page 77 Now, let’s work with some of the other harmonics. Again, reset the drawbars with only the 8’ bar pulled out. Then start adding tones using the black drawbars. Notice how the sound becomes more “angular”, and there is less of a pure tone nature to the sound. In fact, you can even eliminate the 8’ drawbar, and only hear the high harmonics.
  • Page 78 Both jazz organists and house producers tend to use similar drawbar setting – primarily using lower drawbars with just a touch of higher harmonics, and the addition of the percussion sound. The difference in use is based on details: jazz cats will make a significant number of changes to the Rotator while playing, while a house player will typically leave the Rotator at the slow setting (using the organ sound as a grooving pad).

  • Page 79: Appendix A: Keyboard And Mouse Control

    Appendix A: Keyboard and Mouse Control Keyboard control standalone Mode Function Preset +1 Preset -1 Preset -12 Preset +12 Vibrato Lower on/off Vibrato Upper on/off Percussion on/off Percussion Volume Percussion Decay Percussion Harmonic Manual view Organ view Expert view Preset view Setup view Full Screen mode Learn lower keysplit Learn upper keysplit Space...

  • Page 80: Appendix B: Recommended Reading And Listening

    Appendix B: Recommended Reading and Listening Suggested Reading Keyboard presents: The Hammond Organ, Beauty in the B by Mark Vail, published by Miller Freeman Books ISBN 0-87930-459-6 Keyboard Magazine: June 1999 Article: Master Class, featuring Joey DeFrancesco Hammond Organ Complete: Tunes, Tones, and Techniques for Drawbar Keyboards by Dave Limina ISBN 0-63401-433-1 Hammond Links on the WWW...
  • Page 81 Leslie Speakers and Hammond Organs - Rumors, Myths, Facts and Lore: http://www.mitatechs.com/leslierumors.html The Hammond Forum: http://www.zeni.net/~hf The International Archives for the Jazz Organ (IAJO) - http://iajo.jwolf.com/# Hammond Tonewheel Organ WebRing: http://u.webring.com/hub?ring=hammond Suggested Listening • Organ-Ized: All-Star Tribute to the Hammond B3 Organ •...
  • Page 82 Genres: Jazz Well-known artists: Jimmy Smith, Jimmy Mc Griff, Barbara Dennerlein, Funk Brothers, Brother Jack Mc Duff... Jazz was the first contemporary musical genre using the Hammond in a completely new context. Laurens Hammond originally presented his organ as a portable and affordable replacement for the church organ. Thus, it got introduced into the gospel music of the black community and finally into jazz! Rock...
  • Page 83 The Hammond can already be heard on the legendary Studio 1 recordings, from the times when reaggae still was called ska. Transistor Well-known artists: Pink Floyd, The Doors, Can, Iron Butterfly… At that time a Hammond/Leslie combo was as expensive as a family car. But there were alternatives: transistor organs made by Vox, Farfisa and others.

  • Page 84: Appendix C: The B4 Signal Flow

    Appendix C: The B4 Signal Flow 84 – B4 II...
  • Page 85 Index ASIO ......... 19, 22 Complete button ....... 13 AU .......... 20 Control Center ......40 Audio + MIDI Settings ....25 Controllers Audio Input ......53 assigning ....... 51 Audio input ......50 cc dump ......52, 53 Audio Interface ......25 export controller map ....
  • Page 86 angle ........72 Effect plugin ......49 balance ......... 66 Expert View ......39, 67 distance ........ 72 Expression pedal ...... 61 Pan ........66 rotator mix ......65 Separation ......66 Fill Out Form button ....16 spread ........72 Full screen mode ......
  • Page 87 Presets banks ........41 Sample rate ......26 export all ....... 45 Samples and Buffers ....22 export single ......45 Save import all ......45 Registration File ..... 14 program change ..... 46 Set lower keyboard split ..47, 55 renaming .......
  • Page 88 Velocity ......63, 78 Vibrato ....... 56, 70 depth ........70 mix ........70 View Menu ....... 37 VST ......... 20 VST 2.0 Plug-In ......29 What is the Product Authorization? 9 88 – B4 II...

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