Kurzweil PC3A User Manual

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Part Number 910568-001

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Summary of Contents for Kurzweil PC3A

Page 1 Part Number 910568-001...
Page 2 IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS INSTRUCTIONS PERTAINING TO THE RISK OF FIRE ELECTRIC SHOCK , OR INJURY TO PERSONS WARNING: When using electric products, basic precautions should always be followed, including the following: 1. Read all the Safety and Installation Instructions and Explanation of Graphic Symbols before using the product. 2.
Page 3: Safety Instructions
©2014 Young Chang Co., Ltd. All rights reserved. Kurzweil® is a product line of Young Chang Co., Ltd. Kurzweil®, Young Chang®, V. A. S. T.®, and PC3A™ are trademarks of Young Chang Co., Ltd. All other trademarks and copyrights are property of their respective companies.
Page 4: Kurzweil International Contacts
Kurzweil International Contacts Contact the Kurzweil office listed below to locate your local Kurzweil representative. Customers outside the US: US Customers: Young Chang Co., LTD. American Music & Sound 9th Floor, Bldg 102, I-Park, 22020 Clarendon Street, Suite 305 Jeongja-Dong, Bundang-Gu, Seongnam-Si,...
Page 5: Table Of Contents
Table of Contents Kurzweil International Contacts Chapter 1 Introduction Keeping Current Overview of the PC3A VAST Synthesis KB3 Tone Wheel Emulation VA-1 Programs How to Use This Manual Do I Have Everything? Boot Loader Battery Options Sound ROM Expansion Card...
Page 6 Chapter 3 User Interface Basics Mode Selection Mode Buttons Bank Buttons Sliders Program and Category Buttons Picking favorites Pitch Wheel and Mod Wheel Navigation The Display Pages The Top Line The Bottom Line The Soft Buttons The Cursor Buttons The Chan/Layer Buttons The Edit Button The Exit Button Data Entry...
Page 7 Deleting Objects Dependent Objects Saving and Loading Files—Storage Mode Special Button Functions Chapter 6 Program Mode The Program Mode Page Selecting Programs The Soft Buttons in Program Mode The Info Box Controllers Assignments For Factory ROM Programs Saving Controller Settings in Program Mode The Arpeggiator In Program Mode MIDI Channels VAST and KB3 Programs...
Page 8 Opaque 6-20 Sustain Pedal (SusPdl) 6-20 Sostenuto Pedal (SosPdl) 6-20 Freeze Pedal (FrzPdl) 6-20 Ignore Release (IgnRel) 6-20 Hold Through Attack (ThrAtt) 6-20 Hold Until Decay (TilDec) 6-21 The PITCH Page 6-21 The AMP Page 6-21 The Algorithm (ALG) Page 6-22 Algorithm Basics 6-23...
Page 9 Attack Segment Levels 6-43 Decay Segment 6-43 Release Segments 6-43 Loop Type 6-44 Number of Loops 6-44 The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages 6-44 The Envelope Control (ENVCTL) Page 6-45 Adjust 6-46 Key Tracking 6-46 Velocity Tracking 6-46 Source, Depth 6-46...
Page 10 Percussion 6-63 Volume 6-63 Decay 6-63 Harmonic 6-64 VelTrack 6-64 LowHarm 6-64 HighHarm 6-64 StealBar 6-64 KB3 Editor: The PERC2 Page 6-64 PercLevel, DecayTime, OrgLevel 6-64 KB3 Editor: The KEYCLK Page 6-65 KeyClick 6-65 Volume 6-65 Decay 6-65 VelTrk 6-65 Pitch 6-66 Random...
Page 11 Input Channel MIDI Bank Mode (BankMode) Entry Program Change (EntryProgChg) Arpeggiator The Key/Velocity (KEY-VEL) Page Low Key (LoKey), High Key (HiKey) 7-10 Transpose 7-10 Note Map 7-10 Velocity Scale (VelScale) 7-11 Velocity Offset 7-12 Velocity Curve (VelCurve) 7-14 Low Velocity (LoVel), HighVelocity (HiVel) 7-16 The Pan/Volume (PAN/VOL) Page 7-17...
Page 12 The FX Pages: FX, AUXFX1, AUXFX2, and MASTFX 7-64 The Programmable Switch Pages: SWPRG1 to SWPRG8 7-64 The COMMON Page 7-65 Tempo 7-65 Clock Source 7-65 Aux FX Channel 7-65 KB3 Channel 7-66 Mutes 7-66 Arpeggiator Global (ArpGlobal) 7-66 TRIGGER KEYS (KEYTRG) 7-67 The Utility Soft Buttons 7-68...
Page 13 Quantize 9-19 LaserVerb 9-19 Filters 9-20 Distortion 9-21 Rotating Speakers 9-22 Vibrato/Chorus 9-23 Tremolo and AutoPan 9-24 Pitcher 9-25 Ring Modulation 9-25 Stereo Simulation 9-25 Chapter 10 MIDI Mode The TRANSMIT Page 10-1 Control Setup 10-2 Destination 10-2 Channel 10-2 Transpose 10-2 Velocity Map (Transmit)
Page 14 Drum Remap 11-2 ID Entry 11-2 Setup Controllers (SetupCtls) 11-2 Master Table Lock (Master Lock) 11-3 Demo Button 11-3 Buttons Mode (Buttons) 11-3 Display 11-3 MAPS 11-5 Velocity Map (Master) 11-5 Pressure Map (Master) 11-7 Intonation 11-8 Key Action Map 11-9 Intonation Key (Int.Key) 11-9...
Page 15 Soft Buttons on the MAIN Page 12-7 The Save Changes Dialog 12-8 Song Mode: The BIG Page 12-10 Time In 12-10 Time Out 12-10 Song End 12-11 Loop 12-11 RecMode 12-11 Metron 12-11 Song Mode: The FX Pages 12-12 Song Mode: The MIXER Page 12-12 12-12 The Rec, Play, and Stop Soft Buttons...
Page 16 The Song Editor 12-19 Song Editor: The COMMON Page 12-19 Tempo 12-19 TimeSig 12-19 FX Track 12-20 DrumTrack 12-20 MidiDst 12-20 Soft Buttons on the COMMON Page 12-21 Song Editor: The TRACK Page 12-21 Common Parameters for Edit Song: Track Functions 12-22 Region/Criteria Box Parameters 12-22...
Page 17 15-15 Appendix Specifications MIDI Implementation Chart Specifications Appendix PC3A Bootloader Using the Bootloader Menu System Update (PC3A Software, Objects, Etc.) Run Diags - PC3A Diagnostics Utility System Reset System Utilities Appendix Changing PC3A Voltage Removing the fuse holder Appendix PC3A Objects (V 2.3)
Page 18 Keymaps D-44 Samples D-54 Arpeggiator Shift Patterns D-63 Arpeggiator Velocity Patterns D-65 Appendix PC3A Legacy File Conversion Object Types and Conversion Details Keymap Objects Program Objects Setup Objects Index...
Page 19: Chapter 1 Introduction
This manual covers the PC3A in its 88, 76, and 61-note configurations (PC3A8, PC3A7, and PC3A6.) For the most part, anywhere we talk about the PC3A in this manual we mean any of these instruments.
Page 20: Keeping Current
For backup, storage, and moving files, two types of USB ports are provided on the back panel of the PC3A. A USB storage port allows you to connect a USB device such as a thumb drive, and a second USB Computer port lets you connect the PC3A to a computer for file transfer and MIDI...
Page 21: Vast Synthesis
VA-1 programs are scattered throughout the PC3A. Look for them in the Synth Category and the Classic Keys Bank. You’ll see “KVA Oscillator” appear in the Keymap screen on the left hand side...
Page 22: How To Use This Manual
Kurzweil website: http://www.kurzweil.com The best way to read this guide is with your PC3A in front of you. By trying the examples we give to illustrate various functions, you can get a quick understanding of the basics. Do I Have Everything? Your PC3A shipping carton should include the following in addition to your instrument: •...
Page 23: Options
Note: Most USB thumb drives are compatible with the PC3A, but some older USB thumb drives and larger USB bus powered drives will not work with the PC3A if they require more than 100 mA of current (high power USB devices). When attempting to use an incompatible USB device, the PC3A will display the message “USB device requires too much power.”...
Page 24: Chapter 2 Startup
Connect the power cable. Make sure your sound system is at a safe volume level. Also make sure that the PC3A’s MASTER VOLUME slider (on the far left side of the front panel) is all the way down.
Page 25: Startup-The Details
Connecting the Power Cable (Line Cord) The PC3A runs on AC power: 100, 120, 230, or 240 volts at 50–60 Hz. Your dealer will set the voltage switch to match the voltage in your area. The voltage level is set with a selector on the rear panel of the PC3A.
Page 26: Connecting Midi
The simplest MIDI configuration uses a single 5-pin MIDI cable: either from the MIDI Out port of your PC3A to the MIDI In port of another instrument, or from the MIDI Out port of another MIDI controller to the MIDI In port of the PC3A. There are all sorts of possible configurations, including additional synths, personal computers, MIDI effects processors, and MIDI patch bays.
Page 27: Pedals
PC3A. This ensures that the pedal will work properly (it might function backward—off when it’s down and on when it’s up—if you turn on your PC3A before plugging in the pedal). Similarly, don’t press any of your switch pedals while powering up, because the PC3A verifies each pedal’s orientation during power up.
Page 28: Ribbon
Set the volume at a comfortable level. You’ll get the best signal-to-noise ratio if you keep the PC3A at full volume, and adjust the level from your mixing board. You may also want to adjust the display contrast and brightness. There are two small knobs on the rear panel of the PC3A for...
Page 29: Usb Storage Port
The USB Storage port is on the back panel of the PC3A, but it is easily accessible from the front of the instrument. A USB connector will only fit into the port if oriented properly, so don’t force it into the port, as this may damage your PC3A or USB device.
Page 30: Setting The Clock
PC3A or computer. Setting the Clock The first time you start up your PC3A is probably a good time to set the instrument’s clock to your current local time. Do this from the Master mode CLOCK page.
Page 31: Program Mode Display
The Xpose-/Xpose+ buttons are a shortcut for quick transposition in semitone (half step) increments. You can use them to transpose the entire PC3A as much as three octaves up or down. The top line of the display shows the current amount of transposition (Xpose). Press both Xpose buttons simultaneously to return transposition to zero.
Page 32: Kb3 Programs
0 through 9 or the cursor keys. The PC3A comes with a few Quick Access banks already programmed so you can get an idea of how they work. You’ll probably create your own Quick Access banks to help you select programs and setups with a minimum of searching.
Page 33: The Other Modes
Software Upgrades It’s easy to upgrade the PC3A’s operating system and objects (programs, setup, etc.) using the boot loader to install upgrades into flash ROM. When upgrades are available you can download them from www.kurzweil.com and install them via one of the PC3A’s two USB ports.
Page 34: Chapter 3 User Interface Basics
Mode Selection The PC3A is always in one of eight primary operating modes. Select a mode by pressing one of the mode buttons — they’re to the left of the display. Each mode button has an LED that lights to indicate the current mode.
Page 35: Mode Buttons
PC3A’s editors. Bank Buttons The Bank buttons, situated in the top left corner of the PC3A’s front panel, let you choose different banks of programs (e.g., KB3 programs or Classic Keys programs). Within each bank, you can use the Program and Category buttons (to the right of the display) to select individual programs.
Page 36: Sliders
Bank Buttons Sliders In KB3 mode, the PC3A’s nine sliders emulate an organ’s drawbars. For example, slider A emulates an organ’s 16’ drawbar. In other modes, the sliders can be used to send values for different MIDI controllers. In either case, you may have to move the slider past the current value for its selected function before slider movement will have any effect.
Page 37: Program And Category Buttons
Program and Category Buttons Program and Category Buttons Use the Program and Category buttons, in conjunction with the Bank buttons, to select PC3A programs by Bank type and instrument category. Each Bank contains 128 programs divided into 16 categories. Each of the 16 categories contains 8 programs.
Page 38: Pitch Wheel And Mod Wheel
Pitch Wheel and Mod Wheel Pitch To the left of the PC3A’s keyboard are the Pitch Wheel and the Mod Wheel, as well as the SW and Arp buttons. Push the Pitch Wheel away from you to raise the pitch of the note(s) you are playing. Pull it towards you to lower the pitch.
Page 39: Navigation
These navigation buttons will take you to every one of the PC3A’s programming parameters. The Display Your primary interface with the PC3A is its backlit graphic display. As you press various buttons, this fluorescent display reflects the commands you enter and the editing changes you make. The ample size of the display (240-by-64 pixels) enables you to view lots of information at one time.
Page 40: The Soft Buttons
This changes the MIDI channel the PC3A uses internally, as well as the channel you’re using to send information to other synths connected to the PC3A’s MIDI Out port (MIDI slaves). Changing the current MIDI channel also changes the corresponding setting on the MIDI mode TRANSMIT page.
Page 41: The Edit Button
Navigation The Edit Button The Edit button activates each of the PC3A’s editors, and acts as a shortcut to many pages within the Program Editor. Pressing the Edit button tells the PC3A that you want to change some aspect of the object marked by the cursor. For example, when a program is selected and you press Edit, you enter the Program Editor.
Page 42: Data Entry
As its name implies, this set of 14 buttons lets you enter numeric values, and to enter names one character at a time. Depending on where you are, the PC3A automatically enters letters or numerals as appropriate (you don’t have to select between alphabetic or numeric entry).
Page 43: Double Button Presses
User Interface Basics Navigation Double Button Presses Pressing two or more related buttons simultaneously executes a number of special functions depending on the currently selected mode. Make sure to press them at exactly the same time. …pressing these In this mode buttons …does this: or editor…...
Page 44: Intuitive Data Entry
When editing a multi-layer program, you can quickly switch between layers by holding the Enter button, then striking a key. The PC3A will change the current layer to that key’s layer. If the key is part of more than one layer, subsequent key strikes will cycle through each layer that has that key in its range.
Page 45: Search
When you’ve typed the string of characters you want to find, press Enter. The PC3A searches through the current list of objects or values, finds all items that match the string of characters you typed, and displays the first one it finds.
Page 46: Chapter 4 The Operating Modes
Setup mode. Selecting Modes When the PC3A is on, it’s always operating in one of the eight primary modes represented by the LED-highlighted buttons to the left of the display—or in one of the editors corresponding to the current operating mode.
Page 47: Finding Square One
5-3. Using the Modes You can play your PC3A regardless of the mode you’re in. The PC3A’s MIDI response is almost always active. Even so there are three modes that are more performance-oriented than the others. These are Program, Setup, and Quick Access modes. We’ll describe each of the eight modes briefly in this section.
Page 48: Quick Access Mode
You can also use Quick Access banks as a way to remap incoming or outgoing Program Change commands. Effects Mode Effects mode sets the behavior of the PC3A’s effects processor. The Effects mode page lets you tell the PC3A how to select effects configurations called chains. Chapters 9 shows you how. MIDI Mode You’ll use MIDI mode to configure the PC3A’s interaction with other MIDI instruments, by...
Page 49: Chapter 5 Editing Conventions
When you change a value, you’ll normally hear its effect on the object you’re editing. The PC3A doesn’t actually write your editing changes to memory until you save the object you’re working on. It then allows you to choose between writing over the original object, or storing the newly edited version in a new memory location.
Page 50: Object Type And Id
ROM (factory preset) objects have ID numbers in a number of banks. When you save objects that you’ve edited, the PC3A will ask you to assign an ID. If the original object was a ROM object, the PC3A will suggest the first available ID in the User Bank (starting at 1025). If the original object was a memory object, you’ll have the option of saving to an unused ID, or replacing the original...
Page 51: Saving And Naming
If you haven’t actually changed anything while in the editor, you’ll simply exit to the mode you started from. If you have made changes, however, the PC3A will ask you if you want to save those changes. This is the first Save dialog, the Exit page. Press Cancel to resume editing, No to exit the editor, or Yes to save your edits and move to the Save page.
Page 52: Rom Objects
14). If you select an ID that’s already in use, the PC3A will tell you that you’re going to replace the ROM object that’s already been assigned that ID. If you don’t want to do that, you can select a different ID.
Page 53: Keyboard Naming
Editing Conventions Saving and Naming Keyboard Naming The keyboard naming feature A0 to C8 makes naming objects (Standard 88-note Keyboard) convenient, by letting you use the keyboard (or your MIDI controller) to enter the name of the object you’re modifying. When you’re in a Rename dialog, use either of the Chan/ Layer buttons to change...
Page 54: Deleting Objects
(At this point in the dialog, you can select another object with any of the data entry methods.) Press OK if you want to delete it, or press Cancel if you don’t. The PC3A won’t let you delete ROM objects (also known as “factory” objects).
Page 55: Special Button Functions
Editing Conventions Saving and Loading Files—Storage Mode Special Button Functions The Mode buttons and the Chan/Layer buttons have additional functions, depending on the mode or editor you’re in. The table below describes some of these special button functions. Button Special Function Program Mutes Layer 1 of current program in Program Editor.
Page 56: Chapter 6 Program Mode
Program mode is the heart of the PC3A, where you select programs for performance and editing. The PC3A is packed with great sounds, but it’s also a synthesizer of truly amazing depth and flexibility. When you’re ready to start tweaking sounds, the Program Editor is the place to start.
Page 57: The Soft Buttons In Program Mode
The Xpose-/Xpose+ buttons are a shortcut for quick transposition in semitone (half step) increments. You can use them to transpose the entire PC3A as much as three octaves up or down. The top line of the display shows the current amount of transposition (Xpose). Pressing both Xpose buttons simultaneously returns the transposition to zero.
Page 58: Saving Controller Settings In Program Mode
The Program Mode Page Saving Controller Settings in Program Mode Many programs have parameters assigned to the PC3A’s sliders, mod wheel, and the SW button above the mod wheel. You can change the settings of these controllers to change the sound of the current program.
Page 59: Vast And Kb3 Programs
These assignments constitute the keymap. When you trigger a note, the PC3A looks to the keymap of each layer of the currently active VAST program(s) to determine which samples to play. The sound engine then fetches the requested samples and generates a digital signal representing the sound of the samples.
Page 60 Program Mode Program Mode VAST Program Structure VAST Program Structure Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone Zone 16 keyboard zones— 16 keyboard zones— each with independent each with independent program, MIDI channel, program, MIDI channel, and control assignments and control assignments...
Page 61: Kb3 Program Structure
The oscillators—we’ll call them tone wheels from here on—are divided into an upper and lower group. The upper tone wheels use the samples in the PC3A’s keymaps to generate sound, while the lower tone wheels use sine waves. You can change the keymap of a KB3 program’s upper tone wheels to produce a large array of sounds.
Page 62 Program Mode KB3 Program Structure KB3 Mode Effects Buttons (Bank Buttons) When using a KB3 program, the Bank buttons (above the sliders) control KB3 effects, instead of choosing program banks as they usually do in program mode. The KB3 function is labeled below each button, their LEDs indicate the status of the various effects for the current KB3 program.
Page 63: Midi Control Of Kb3 Programs
MIDI Controller numbers that control KB3 features. Send the listed controller number and appropriate controller value to control each KB3 feature via MIDI. The PC3A also sends these Controller numbers to its MIDI Out port when using each of these KB3 features.
Page 64: Control Setup
The programs in the PC3A factory ROM have parameters assigned to respond to the controller destinations of the default Control Setup (126 Internal Voices). Therefore you’ll want to use 126 Internal Voices as the Control Setup in most cases.
Page 65: Control Setup Advanced Features
When selecting or editing the Control Setup, only Zone 1 of the setup has an effect on program mode. (Zones 2–16 are not relevant in Program Mode, because the PC3A’s physical controllers can only control one MIDI channel at a time in Program Mode.) See...
Page 66 (button on/off, slider setting, etc.) Each destination can be identified as a number (though some destinations are displayed in the PC3A as the name of their default use.) Destinations can be MIDI continuous controller numbers (0-127) or PC3A internal destinations (128 and above.) For simplicity, we will refer to both of these types of destinations as...
Page 67: Editing Vast Programs
Editing VAST Programs Editing VAST Programs The Program Editor is where you begin to modify the PC3A’s resident sounds, and to build your own sounds around sample keymaps or KVA oscillators (see Editing V AST Programs With KV A Oscillators on page 6-53 for some differences.) There’s virtually no limit to the sounds you can...
Page 68: The Mode Buttons In The Program Editor
9-11. For each program, the Program Editor can be used to assign the PC3A’s physical controllers or external MIDI controller CC numbers to control parameters. Controllable parameters each have a source field. Make assignments to the source field for the desired parameter. Source fields are named differently depending on their page: Src1, Src2, RateCt, Trigger, Input a, Input b, and Source.
Page 69: The Keymap Page
Program Mode Editing VAST Programs The KEYMAP Page Press the KEYMAP soft button to call up the KEYMAP page. The parameters on this page affect sample root selection, i.e., which samples are played on which keys. Parameter Range of Values Default Keymap Keymap List...
Page 70: Velocity Tracking (Veltrk)
Stereo parameter is set to On, the OUTPUT page for the current layer will show an additional pair of Pan parameters. The PC3A contains both stereo and mono samples. Keymaps designed for stereo use are labeled with names beginning with “Stereo” or ending in “Left,” “Right,” “L,” or “R.” For stereo keymap playback, set Stereo “On”...
Page 71: Timbre Shift
Alt point. Then use the AltMethod parameter to choose between switched and continuous calculation of the Alt point. If the value of AltMethod is Switched, the PC3A will use the Alt point when the relevant control source is at a value greater than 64 at Note Start. If AltMethod is Continuous, the Alt point will vary depending on the value of the relevant control source at Note Start.
Page 72: The Layer Page
Alt point is used and you do not hear the chiff. This is because the Chan St is turned on as long as any note is being held. Most of the PC3A’s ROM samples have their Alt points set for purposes of legato play.
Page 73: Low Key (Lokey)
Program Mode The LAYER Page Low Key (LoKey) This sets the lowest active note for the current layer. This parameter’s value cannot be set higher than the value for HiKey. The standard MIDI key range is C 1—G 9 (0-127). Middle C is C 4. High Key (HiKey) Here you set the highest active note for the current layer.
Page 74: Enable
Program Mode The LAYER Page Enable This assigns a control source to activate or deactivate the layer. When the value of the assigned control source is between the minimum and maximum thresholds set by the Sense (S) parameter, the layer is active. When the value of the assigned control source is below the minimum or above the maximum, the layer is inactive.
Page 75: Opaque
This parameter can come in handy when your PC3A is slaved to a drum machine or sequencer, which sometimes generates Note Ons and Note Offs so close together that the envelope doesn’t have time to play before the note is released. If used in combination with ThrAtt or TilDec (see below,) IgnRel allows you play staccato, yet still hear the entire length of the attack and decay sections of the amplitude envelope.
Page 76: Hold Until Decay (Tildec)
Program Mode The AMP Page Hold Until Decay (TilDec) When on, this parameter causes all notes in the layer to sustain through all three attack segments in their amplitude envelopes even if the notes have been released. Looped amplitude envelopes will not loop, however, if the notes are released before reaching the end of the final attack segment.
Page 77: The Algorithm (Alg) Page
The basic definition: an algorithm is the “wiring” (signal path) of a sample to the audio outputs, through a series of digital signal processing (DSP) functions that you select. The PC3A’s algorithms are the core of Variable Architecture Synthesis Technology. The DSP functions are synthesis tools (filters, oscillators, etc.) that you assign to the various stages of the algorithm.
Page 78: Algorithm Basics
Program Mode The Algorithm (ALG) Page Algorithm Basics Each of the 59 available algorithms represents a preset signal path. With our new Dynamic VAST feature, you can edit any preset signal path and make your own, unique algorithms, but that will be explained further on in this section.
Page 79: Common Dsp Control Parameters
Program Mode The Algorithm (ALG) Page Common DSP Control Parameters The type of DSP function available for any function block depends on the algorithm. Some of the specialized functions like the PANNER are always located just before the final AMP function. Others, like the two-input functions, appear only in algorithms that are structured for two-input functions.
Page 80 C. In the case of pitch, for example, say you assign a value of 5 cents per key for the key tracking parameter. Triggering Middle C (C 4 on the PC3A) will play a normal C 4. Triggering C 4 will play a note 5 cents higher than C 4.
Page 81 Program Mode The Algorithm (ALG) Page Source 2 (Src2) This one’s even more programmable. Like Src1, you choose a control source from the list. But instead of setting a fixed depth, you can set a minimum and maximum depth, then assign another control source to determine how much depth you get.
Page 82: Alt Input For Algorithms (Cascade Mode)
The Algorithm (ALG) Page Alt Input for Algorithms (Cascade Mode) Cascade mode is a particularly powerful feature of the PC3A that allows you to create unique algorithms of previously unattainable levels of complexity. The following three figures show the signal path of a program configured using the PC3A’s new Cascade mode: On the ALG (Algorithm) page of every layer, the Alt Input parameter lets you select any other layer to go through the current layer’s DSP.
Page 83: Dynamic Vast
Dynamic VAST The Dynamic VAST editor is yet another particularly powerful feature of the PC3A that allows you to edit the wiring of an algorithm. With Dynamic VAST, literally thousands of wiring schemes are possible. Using Cascade mode in conjunction with Dynamic VAST gives you almost infinite control over your program’s sound and behavior by enabling you to create your own...
Page 84: The Dsp Control (Dspctl) Page
Program Mode The DSP Control (DSPCTL) Page The DSP Control (DSPCTL) Page Before reading further, be sure to read Algorithm Basics on page 6-23 and Common DSP Control Parameters on page 6-24. Press the DSPCTL soft button to call up the DSP Control (DSPCTL) page, which is displayed below: Function Parameter...
Page 85: The Dsp Modulation (Dspmod) Page
Program Mode The DSP Modulation (DSPMOD) Page The label of a function-parameter depends on its corresponding function-block in the current layer’s algorithm. The above DSPCTL page corresponds to the following algorithm: The DSP Modulation (DSPMOD) Page Before reading further, be sure to read Algorithm Basics on page 6-23 and Common DSP Control Parameters...
Page 86: The Output Page
DptCtl parameter. You can then specify the range of Src2’s depth with the MinDepth and MaxDepth parameters. Note: The PC3A features an easy shortcut for quickly assigning any of the PC3A’s realtime controllers (sliders, wheels, buttons, etc.) to a currently selected parameter (such as the Src1 and Src2 parameters above.) Simply hold the Enter button and move the desired controller.
Page 87: Pan
Program Mode The OUTPUT Page Parameter Range of Values Default Pan (or Pan 1) ± 64 (Pan 2) ± 64 Pan Mode Fixed, +MIDI, Auto, Reverse +MIDI (Output Pan) ± 64 (Output Gain) -96 to 48 decibels (Output Pan Mode) Fixed, +MIDI +MIDI Pan Table...
Page 88: Output: Pan, Gain, And Mode
GM drum map. Programs that have the Drum Remap parameter set to Off will not be viewed by the PC3A as drum programs and will not be affected when remapping to the GM drum map.
Page 89: Exclusive Zone Map
However, the GM drum map is so commonplace that many players feel most comfortable playing drum programs with the GM drum map. So, we designed the PC3A such that you can remap drum programs to the GM drum map. You can set drum programs to remap to the GM drum map in Master Mode.
Page 90: The Common Page
Program Mode The OUTPUT Page The COMMON Page The COMMON page is reached by pressing the COMMON soft button in the Program Editor. Here’s where you find 12 frequently-used parameters that affect the entire current program, not just the current layer. Notice that when the Monophonic parameter is set to its default value of Off, the five monophonic parameters do not appear on the page.
Page 91: Legato Play
The pitch glides toward the most recently triggered note, and remains at that pitch as long as the note remains on. The PC3A gives you two ways to get portamento. See the Attack Portamento parameter below.
Page 92: Mono Sample Xfade
This may cause a small click at each sample root transition. You can eliminate clicks by setting the Mono Sample XFade parameter to On. When the Mono Sample XFade parameter is set to On, the PC3A performs a crossfade at each sample root transition to eliminate clicks. Globals This is another toggle, which affects LFO2, ASR2, FUNs 2 and 4.
Page 93: The Lfo Page
The basic elements are the rate, which defines how frequently the LFO repeats, and shape, which defines the waveform of the modulation signal it generates. With the PC3A, you can set upper and lower limits on each LFO’s rate, and assign a control source to change the LFO’s rate in realtime, if you wish.
Page 94: Minimum Rate
1/4 note, 1/8 note, 1/8 triplet, and 1/16 note sync the Minimum Rate with the PC3A’s system tempo. Of course, if you choose to tempo sync your LFO, then the LFO rate is fixed, and you can specify neither Maximum Rate nor Rate Control. The display changes thusly: Maximum Rate This is the fastest possible rate for the LFO.
Page 95: The Asr Page
The ASR Page The ASR Page ASRs are three-section unipolar envelopes—attack, sustain, and release. The PC3A’s ASRs can be triggered by a programmable control source, and can be delayed. ASR1 is always a local control. ASR2 is local by default, but becomes global if the Globals parameter on the COMMON page is set to On.
Page 96: Attack
The Function parameter determines what mathematical function is applied to the two inputs. When a FUN has been assigned as a control source, the PC3A reads the values of the two control sources defined as Inputs a and b. It then processes them according to the setting for the Function parameter, and the resulting value is the FUN’s output.
Page 97: The Amplitude Envelope (Ampenv) Page
Program Mode The Amplitude Envelope (AMPENV) Page The Amplitude Envelope (AMPENV) Page Amplitude envelopes have three sections: attack, decay, and release. The attack section determines how long each note takes to reach its assigned amplitude level after you trigger a Note On event.
Page 98: Attack Segment Times
Program Mode The Amplitude Envelope (AMPENV) Page Each parameter on this page has two values, as listed below. For the envelope segments, the first (upper) value is the duration of the segment, and the second is the amplitude level at the completion of the segment.
Page 99: Loop Type
6-17), or anything else. The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages The PC3A offers two envelopes in addition to AMPENV. Like AMPENV, ENV2 and ENV3 can be assigned like any other control source. Unlike AMPENV, however, ENV2 and ENV3 can be bipolar.
Page 100: The Envelope Control (Envctl) Page
KeyTrk and VelTrk. Also note that unlike previous Kurzweil models, ENVCTL does affect the attack sections of natural envelopes. Additionally, the bottom line of this page lets you make use of the Impact feature, which lets you boost or cut the amplitude of the first 20 milliseconds of a note’s attack.
Page 101: Adjust
Program Mode The Envelope Control (ENVCTL) Page Note: Since 0 multiplied by any number equals 0, the envelope parameters on this page will have no effect on any AMPENV sections set to 0 seconds. A way around this is to change any AMPENV sections set to 0 to 0.02 seconds. Parameter Group (Available for Range of Values each of Att, Dec, Rel, Imp) Adjust 0.018 to 50.000x (-24.0 to 24.0 dB for Imp)
Page 102: Impact
Control Source List On the PC3A, a program can have up to 11 insert effects and 2 aux effects using up to 16 DSP “units.” An insert is essentially just an effect that you apply to a program or layer, while aux effects receive signal from all active programs’...
Page 103: Output
The Pre/Post Insert parameter determines the point at which the auxiliary effect is applied to the signal. When this parameter is set to Post, the PC3A applies the auxiliary effect to the signal post-insert, i.e., after the insert effect has been applied. When this parameter is set to Pre, the PC3A applies the auxiliary effect to the signal pre-insert.
Page 104: Aux1 Mod, Aux2 Mod
The Aux Mod parameter gives you real-time control over the amount of program signal sent to the aux effects chain. You can set the Aux Mod parameter to any PC3A control source. The amount that you specify for the Aux Send parameter is the maximum value that the Aux Mod control source can send—the minimum value is 0.
Page 105: The Controllers (Ctls) Page
Press the CTLS soft button to call up the CONTROLLERS page. The CONTROLLERS page shows a list of the PC3A’s controllers (sliders, Mod wheel, switch, etc.,) which can be used to control program parameters. Use this page to set values for each controller that will be saved with the program (entry values.) When a program is loaded, the entry values on this page are...
Page 106: Info
Program Mode Function Soft Buttons INFO Press the INFO soft button to go to the INFO page where you can edit the controller assignment info for the current program. Each info entry is a description of a program parameter that you have assigned to be controlled by a physical controller or MIDI CC number.
Page 107: Set Controllers (Setctl)
Program 999, called Default Program. When you press this button, the PC3A will tell you that it is creating a new layer, then will return to the page you were on. The new layer becomes the current layer, and is the highest-numbered layer in the program. If the current program already has its maximum number of layers, the PC3A will tell you that you can’t...
Page 108: Editing Vast Programs With Kva Oscillators
Function Soft Buttons Editing VAST Programs With KVA Oscillators The PC3A uses KVA oscillators as another way to generate sounds in VAST programs. Unlike keymaps, which play samples stored in ROM, KVA oscillators create DSP-generated waveforms every time they are triggered. The KVA oscillators can create a range of waveforms, from high quality simple waveforms familiar to users of classic analog synths, to complex waveforms which take advantage of the PC3A’s internal processing power and complex signal routing...
Page 109: Setting Kva Oscillator Type
Setting KVA Oscillator Type The PC3A comes with 22 Different KVA oscillators. There are 11 high quality anti-aliased oscillators (free of digital artifacts,) and 11 oscillators that exhibit some aliasing (digital artifacts) in the higher octaves.
Page 110: Advanced Use Of Kva Oscillators
Program Mode Function Soft Buttons Setting Up The Sync Square Oscillator: The Sync Square oscillator is actually comprised of two oscillators, a master and a slave, set up to emulate the way sync square oscillators worked on classic analog synthesizers. To create a program using Sync Square, select Default Program, #999.
Page 111 Program Mode Function Soft Buttons passing through. With the LOPASS function still selected, press the Edit button. This brings you to the main parameter for the LOPASS object on the DSPCTL page, which is LP Frq (you can also reach this page using the DSPCTL soft button.) Here you can adjust the initial value of the function, in this case it is cut off frequency for the low pass filter.
Page 112 Program Mode Function Soft Buttons Oscillator Specific Control And Modulation Parameters: Several KVA oscillators also have their own modulation parameters that must be accessed to control the oscillator’s intended function. Below is a list of these oscillators and their distinctive parameters, grouped by block size.
Page 113 The PC3A also has the ability to apply natural amplitude envelopes to oscillators. With an amplitude envelope set to natural mode, each oscillator note takes on the amplitude qualities of each sample in a keymap (with each note relative to sample key placement.) Each sample in a keymap...
Page 114: Editing Kb3 Programs
You can edit a wide assortment of any KB3 program’s parameters. You can also create your own KB3 programs, though you must start with an existing KB3 program to do this. A regular PC3A program cannot be turned into a KB3 program. If you’re not sure whether the current program is a KB3 program, check the KB3 button (located above the right most slider).
Page 115: Upper Volume Adjust
88 voices for other programs. You can specify up to 91 tone wheels. The number of PC3A voices used by a KB3 program is (number of tone wheels + 1) / 2, rounded to the next highest whole number if the result is a fraction. So, for example, with 79 tone wheels specified you would use 40 voices.
Page 116: Kb3 Editor: The Drawbars (Drawbr) Page
Program Mode KB3 Editor: The Drawbars (DRAWBR) Page KB3 Editor: The Drawbars (DRAWBR) Page Press the Drawbr soft button to view the DRAWBR Page. This page lets you edit KB3’s drawbars. Mode When you set Mode to Preset, the preset drawbar settings on this page will be installed at program selection.
Page 117: Kb3 Editor: The Set Drawbars (Setdbr) Soft Button
Program Mode KB3 Editor: The AMP Page KB3 Editor: The Set Drawbars (SetDBR) Soft Button Press the SetDBR soft button to capture the current position of the drawbars, and use those positions as the preset drawbar positions on the DRAWBR page. KB3 Editor: The PITCH Page The PITCH page parameters for KB3 programs is much like the PITCH page parameters for VAST programs.
Page 118: Kb3 Editor: The Perc1 Page
Program Mode KB3 Editor: The PERC1 Page KB3 Editor: The PERC1 Page Percussion is a characteristic feature of tone wheel organs. It’s especially useful while soloing, since percussion adds an extra “plink” (actually an extra tone at a defined harmonic) to the attack.
Page 119: Harmonic
Program Mode KB3 Editor: The PERC2 Page Harmonic This parameter switches between high and low harmonic percussion settings. The actual pitch is controlled by the LowHarm and HighHarm parameters. You can toggle between low and high harmonics by pressing Bank Button 8 (labeled Percussion Pitch H/L.) Bank button 8 also sends and responds to MIDI CC 72;...
Page 120: Kb3 Editor: The Keyclk Page
Program Mode KB3 Editor: The KEYCLK Page KB3 Editor: The KEYCLK Page The Key Click feature adds a decaying burst of pitched noise to the attack of notes. Unlike the percussion, the key click is “multi-triggered,” which means that every new note will trigger it. The parameters on this page primarily control the decay, volume, and pitch of the key click.
Page 121: Pitch
Program Mode KB3 Editor: The KEYCLK Page Pitch Sets the basic pitch of the key click noise, relative to the highest tonewheel’s pitch. The pitch is controlled by a steep lowpass filter applied to white noise. The filter’s cut off frequency is controlled relative to key number, higher keys move the cutoff frequency up, lower keys move the cutoff frequency down.
Page 122: Kb3 Editor: The Misc Page
Program Mode KB3 Editor: The MISC Page KB3 Editor: The MISC Page The MISC page contains an assortment of control parameters, including Leslie speed control and vibrato/chorus selection. Parameter Range of Values Preamp/Expression Response Off, On Leakage -96.0 to 0.0 dB, in 0.5-dB increments Leak Mode None, Type A, Type X, Type Y, Type Z, Type R Speed Control...
Page 123: Leakmode
Program Mode KB3 Editor: The MISC Page LeakMode Selects between different leakage models, determining which leakage harmonics are emphasized. TypeA provides an overall tone wheel leakage, with all tone wheels leaking a small amount. TypeX, TypeY, TypeZ, and TypeR emulate different degrees of drawbar leakage, where the leakage components correspond to the nine drawbars, instead of all the tone wheels.
Page 124: Kb3 Editor: The Eq Page
Program Mode KB3 Editor: The EQ Page KB3 Editor: The EQ Page The four column headers on this page represent two shelving bands of equalization and two parametric bands. The KB3 EQ offered here, though, is not implemented as a true EQ section; instead, it adjusts the volume of the tone wheels based on frequency.
Page 125: Kb3 Editor: The Output Page
Program Mode KB3 Editor: The LFO, ASR, and FUN Pages KB3 Editor: The OUTPUT Page Use this page to route the current program’s post-FX signals. The two Pan parameters correspond to those of the VAST Program editor OUTPUT page (See page 6-31).
Page 126: Kb3 Programming Tips
Program Mode KB3 Editor: The LFO, ASR, and FUN Pages KB3 Programming Tips This section provides some starting points for creating your own KB3 programs. Remember that you’ll have to start with one of the existing KB3 programs. As described below, the most prominent difference between organ vintages is the number of tone wheels used.
Page 127: Chapter 7 Setup Mode
Chapter 7 Setup Mode In Setup mode, the PC3A can take on the identity of 16 distinct instruments and 16 distinct MIDI transmitters, each of which can use the setup’s physical controller assignments (or any subset of those controller assignments). For example, you can create a setup that is split into 16 different keyboard regions (called zones).
Page 128: Zone-Status Leds In Setup Mode
On the Info page, use the Alpha Wheel, cursor buttons, or - / + buttons to scroll through the list. When you select a setup in Setup mode, the PC3A sends a number of MIDI messages, on each of the MIDI channels used by the setup. Some of these include: Program Change commands, MIDI Bank Select messages, Pan and Volume messages, and entry values for physical controllers (entry values are the values that take effect as soon as you select the setup;...
Page 129: Soloing A Zone
The parameters on the Setup Editor pages define what each of a setup’s zones sends—both to internal programs and to the MIDI Out port. They also determine how the PC3A responds to MIDI signals received from a MIDI controller connected to the PC3A’s MIDI In port (when the Local Keyboard Channel matches the transmit channel of your MIDI controller).
Page 130: The Channel/Program (Ch/Prog) Page
Bank buttons above the sliders.) For example, program 127 Magic Celeste is in PC3A bank Base 1 and it is Program 127 in MIDI Bank 0; and program 128 Drums ‘n Bells is in PC3A bank Base 1, and it is Program 0 in MIDI Bank 1.
Page 131: Destination
Nevertheless, there will be occasions when “stacking” zones on the same MIDI channel might come in handy. Suppose you want a physical controller on the PC3A to send data for two different numbered MIDI Controllers on the same channel. In this case, you must create two zones assigned to the same channel, but with different controller assignments.
Page 132: Midi Program (Midiprog)
Setup Mode The Channel/Program (CH/PROG) Page MIDI Program (MidiProg) MidiProg defines which program number is transmitted out the MIDI Out port on the current zone’s MIDI channel. When you change the value of the Program parameter, the value of MIDIProg automatically changes correspondingly.
Page 133: Midi Bank Mode (Bankmode)
1 L+M or 1 M (scroll past 16 L+M to see all the choices.) A channel number with a setting of L+M indicates that the zone will be playable from the PC3A keyboard (L for Local) and from the external MIDI controller (M for MIDI.) A channel number with a setting of M indicates...
Page 134: Entry Program Change (Entryprogchg)
Off, you can select a setup on the PC3A without changing the internal programs or those on MIDI devices receiving from the PC3A. This is useful if you want to send only controller data to the PC3A or to MIDI devices, without changing program assignments.
Page 135: The Key/Velocity (Key-Vel) Page
The Key/Velocity (KEY-VEL) Page The Key/Velocity (KEY-VEL) Page The Key/Velocity page allows you to set key range, velocity range, transposition, and Note Maps for each zone. Note: MIDI velocity of notes played on the PC3A keyboard are first affected by any Velocity Scale, Offset, and Curve settings made on each zone’s KEY-VEL page. The resulting velocity is then affected by any Vel Map settings made on the Master Mode MAPS page (see page 11-1.) Also, MIDI velocities sent to the...
Page 136: Transpose
MIDI note numbers will transmit, but notes will not. Note Map Note Map lets you change the way notes are sent from the PC3A. The default setting is Linear: all notes go out as played. Pressing the Minus button takes you to Off; no notes are sent, but controllers and other non-note data are.
Page 137: Velocity Scale (Velscale)
Setup Mode The Key/Velocity (KEY-VEL) Page Velocity Scale (VelScale) This lets you amplify or diminish velocity response. Normal response is 100%. Higher values make the keyboard more sensitive (you don’t need to play as hard to get higher MIDI velocities) while lower values make it less sensitive (playing harder doesn’t change MIDI velocity as much).
Page 138: Velocity Offset
Setup Mode The Key/Velocity (KEY-VEL) Page Velocity Offset VelOffset also changes the response, but in a more direct way, by adding or subtracting a constant to the key velocity. For example, if this is set to 25 (assuming a scale of 100%), then 25 is added to the velocity of every keystroke, usually making the sound that much louder.
Page 139 Setup Mode The Key/Velocity (KEY-VEL) Page Offset and Scale work together. If scaling takes the velocity out of the ballpark — for example, you want to set it to 300% but that puts all of your notes at maximum velocity — using a negative offset, say around -60, can make it possible to still play at different volumes, although your curve will still be a lot steeper than normal.
Page 140: Velocity Curve (Velcurve)
Setup Mode The Key/Velocity (KEY-VEL) Page Velocity Curve (VelCurve) VelCurve lets you taper the velocity response. The default setting is Linear, which means that the output velocity changes directly proportionally to the played velocity. Expand produces a curve that is less steep than the linear curve at keystrike velocities below 64, and steeper than the linear curve at keystrike velocities above 64.
Page 141 Setup Mode The Key/Velocity (KEY-VEL) Page Crossfade is designed to be used in tandem with the Reverse Crossfade curve, enabling you to perform smooth crossfades between different programs. Bump tapers velocity response to resemble a bell curve, so that notes are loudest when your keystrike velocity is 64.
Page 142: Low Velocity (Lovel), Highvelocity (Hivel)
Setup Mode The Key/Velocity (KEY-VEL) Page Low Velocity (LoVel), HighVelocity (HiVel) LoVel and HiVel set the minimum and maximum velocity limits that the current zone transmits. A keystroke in the current zone whose velocity — after it has been scaled and offset — is below the minimum does not generate a Note On.
Page 143: The Pan/Volume (Pan/Vol) Page
Entry Pan, Exit Pan You can set entry and exit values for Pan as well. When you select a setup, the PC3A sends a MIDI pan control (MIDI Controller 10) message on each MIDI Channel in each zone; another MIDI pan control message is sent when you exit the setup.
Page 144: The Bend Page
Most programs respond to pan messages on the next keystrike. This means that if you hold a note and change the pan, the current note will stay at its current position until you strike it again. However, a PC3A program that uses the PANNER algorithm will respond to real-time pan adjustments as well.
Page 145: Aux Bend 2 Range
Aux Bend 2 Range The PC3A allows you to specify a third pitch bend range; this is called AuxBend 2, and it defines the range for controllers set to controller destination 15, MIDI 15. For AuxBend 2, you can set only one range for both upward and downward pitch bending.
Page 146: Continuous Controllers
(or any other Setup-mode parameter). Although controller editing on the PC3A can be somewhat complex, it can also be very rewarding. To get an idea of the expressive capabilities of Setup mode, explore the factory setups that come with the PC3A.
Page 147: Switch Controllers
127—there are 128 MIDI Controllers, as dictated by the MIDI spec. Any data sent to destinations with a Controller number outside of the MIDI range (i.e., more than 127) are sent as a PC3A- specific protocol, and are thus not sent as MIDI data, and not sent through MIDI Out.
Page 148 Description Number Name PortTim Monophonic PC3A programs respond to this Controller if portamento is turned on Data Almost all PC3A programs have this Controller assigned to filter frequency or brightness Volume MIDI Volume Balance MIDI Balance MIDI 09 MIDI Pan—programs which use the PANNER algorithm will respond to real-time pan adjustments;...
Page 149 85–90 MIDI 85–90 MIDI Controllers 85–90 GM Reverb With PC3A in General MIDI mode, controls Reverb send level MIDI 92 GM Chorus With PC3A in General MIDI mode, controls Chorus send level 94-95 MIDI 94-95 MIDI Controllers 94–95...
Page 150 Setup Mode Controllers Corresponding Controller Destination Description Number Name ProgGoto Go to Program—selects program SetupInc Setup Increment—increments current setup number SetupDec Setup Decrement—increments current setup number SetpGoto Go to Setup—selects setup Start Sequencer function Stop Sequencer function Continue Sequencer function TransUp Transpose Up (ST) TransDown...
Page 151 Setup Mode Controllers Corresponding Controller Destination Description Number Name ArpGliss Arpeggiator Gliss, 0-63 = off, 64-127 = on. (See The on page 7-49 ARPEGGIATOR 2 Page SusLatch For Arpeggiator Latch Pedals mode, 0-63 = off, 64-127 = on. on page 7-49 (See The ARPEGGIATOR 2 Page Panic Panic...
Page 152: Shift Key Number, Shift Key (Shkeynum, Shiftkey)
Using a Kurzweil Ribbon as a controller gives you the most options, but these destinations can also be controlled by any slider, pedal, key pressure, etc. Using the Kurzweil Ribbon provides more accurate control since it has a longer physical range than other controllers.
Page 153 Setup Mode Controllers Shift Key (ShiftKey, controller destination 177) allows the user to select the key (root note) of the Shift Pattern triggered by Shift Key Number. A Shift Pattern is a relative pattern based on a root note. All notes triggered by a Shift Pattern are shifted from the root note by the value of each pattern step (in half-steps.) Shift Key Settings Value...
Page 154 With a shift pattern of 12 notes, the 128 different notes that the PC3A can trigger are evenly spaced over the range of the controller. Patterns with less than 12 steps will trigger notes in every octave over a shorter range of the controller.
Page 155: Continuous Controller Parameters
Setup Mode Controllers Continuous Controller Parameters The continuous (physical) controllers are those that have a range of values: the two wheels, the optional ribbon controller, the nine sliders, the two Continuous Control pedals, the optional breath controller (the jack of which is connected to CC pedal 2), and mono pressure (aftertouch). As the table on page 7-20 shows, all of them use the same parameters.
Page 156: Switch Controller Parameters
Exit Value tells the PC3A to send a value for that controller whenever you leave the setup, either by selecting another setup or by selecting a different mode altogether. It can be very useful when a controller is doing something to the sound, and you don’t want that effect to continue after you...
Page 157 Setup Mode Controllers Switch Type (Type) The parameters for switch controllers are slightly different from those for continuous controllers. The first parameter is Type. The choices available are Momentary in which a switch’s action lasts only as long as you are pushing it, and Toggle, in which the switch’s action lasts until you press it again.
Page 158: The Wheel Page
Setup Mode The WHEEL Page The WHEEL Page The two wheels are typical of what is found on many keyboards. The left one is normally used for pitch bend and springs back to center, while the right wheel is normally used as a standard Mod Wheel.
Page 159: The Slider And Slid2 Pages
The SLIDER and SLID2 Pages The SLIDER and SLID2 Pages You can assign each of the PC3A’s nine programmable sliders to a destination on each of the 16 zones. Or, you can assign any combination of sliders to the same zone, allowing you tremendous flexibility.
Page 160: The Continuous Control Pedal (Cpedal) Page
Setup Mode The Continuous Control Pedal (CPEDAL) Page The Continuous Control Pedal (CPEDAL) Page If you look at the back of the instrument, you will see that there are two jacks for plugging in two CC (Continuous Control) pedals and a jack labeled Breath Controller. Like the nine programmable sliders, you can assign these controllers on each of the 16 zones, or you can assign any combination of these controllers to the same zone.
Page 161: The Pressure (Press) Page
The Pressure (PRESS) Page The Pressure (PRESS) Page The PC3A features mono pressure, commonly called aftertouch on other keyboards. A word about pressure: Key Range in a zone does not define which notes will generate pressure in that zone. If pressure is enabled in a zone, playing with aftertouch anywhere on the keyboard will produce data.
Page 162: The Footswitch Pages (Ft Sw1, Ft Sw2, Ft Sw3)
Setup Mode The Footswitch Pages (FT SW1, FT SW2, FT SW3) The Footswitch Pages (FT SW1, FT SW2, FT SW3) On the back of the instrument, there are three jacks for Footswitch pedals. There are three Footswitch pages, one for each Footswitch. The range of values for their respective Destination parameters is the Control Destination list.
Page 163: The Arpeggiator Switch (Arp Sw) Page
The Arpeggiator Switch (ARP SW) Page The Arpeggiator Switch (ARP SW) Page The PC3A keyboard offers two Panel switches, located above the pitch and mod wheels. The left switch is the Arp (short for “arpeggiator”) button. By default, the Arp switch functions as the arpeggiator switch, and toggles on and off the PC3A arpeggiator, but you can assign this switch to any Controller.
Page 164: The Switch Page
Setup Mode The SWITCH Page The SWITCH Page The right Panel switch is the SW button, located above the Modwheel. By default, this switch is assigned to MIDI29, but you can assign this switch to any MIDI Controller. The SWITCH page parameters are described in Switch Controller Parameters on page 7-30.
Page 165: The Ribbon Page
None, 0 to 127 None The RIBBON page lets you define the controller assignment for the PC3A’s optional ribbon controller. The Ribbon controller senses movement when you press on it and move your finger left or right; this creates numerous possibilities for controlling pitch, volume, panning, crossfades between zones, or any other uses you might imagine.
Page 166: The Ribbon Configuration (Ribcfg) Page
Setup Mode The Ribbon Configuration (RIBCFG) Page field to MIDI22, the parameter will automatically also use MIDI54 as a source, enabling the 768 step resolution when using the one section ribbon. The additional source that is automatically used will not be seen in the Program Editor (this happens behind the scenes,) but both CC numbers will be sent to the MIDI Out and USB port.
Page 167: Position Mode (Posmode)
The Ribbon Configuration (RIBCFG) Page Position Mode (PosMode) When you touch the Ribbon, the PC3A responds in one of two ways, depending on the setting of the PosMode parameter. Relative means that wherever you touch the Ribbon becomes the “zero point”...
Page 168: The Arpeggiator & Arpeggiator 2 (Arp1, Arp2)
Each zone in a setup has its own Arpeggiator. When activated, each Arpeggiator takes MIDI note input from the PC3A keyboard (or via MIDI) and outputs a rhythmic pattern of MIDI notes. You can control the speed and nature of the pattern in real time. Each Arpeggiator can affect both the PC3A and external MIDI instruments.
Page 169 1/12. Six notes per beat (16th note triplets) would be 6*4=24, a Beats value of 1/24. Note that when recording arpeggiations to a PC3A MIDI track, you must turn on real-time quantization and set it to the same Grid value in order for the selected Beats value to sync...
Page 170 Setup Mode The Ribbon Configuration (RIBCFG) Page that order. The first note the Arpeggiator plays is the G 4. The second note will be either B 4 (the next note chronologically), or F 5 (the “previous” note chronologically—that is, the last latched note).
Page 171 Setup Mode The Ribbon Configuration (RIBCFG) Page end of the list (the pattern editor remembers the values of removed steps until you save or exit.) Use the cursor to move between pattern steps, use the alpha wheel, alphanumeric pad, or plus/ minus buttons to enter the velocity shift amount for each step.
Page 172 Setup Mode The Ribbon Configuration (RIBCFG) Page MissNotes1 through MissNotes9 makes the PC3A randomly miss playing a percentage of inputted notes. See the table below for percentages and their equivalent settings. Each of these settings also randomly changes some of the inputted velocities in a range of ± 5, with the purpose of simulating a more human played sound.
Page 173 Amount is 4 (a third), and Shift Limit is 7 (so notes won’t get shifted above G4). The Arpeggiator plays C4, then E4. The next note should be G 4, but that’s above the shift limit—so the PC3A calculates the difference between that G 4 and the shift limit (G4): one semitone.
Page 174 ShiftPatt engages a step sequencer for arpeggiator note patterns. The inputted note number of each played key is shifted according to a sequenced pattern, thus “Shift Pattern.” The PC3A has pre programed shift patterns including many useful chords, intervals, and rhythms. You can also create your own custom shift patterns (see below for details.) Each pattern can have up to 48...
Page 175: The Arpeggiator 2 Page
Setup Mode The Ribbon Configuration (RIBCFG) Page Press Delete to delete the pattern from memory. Press Rename to rename the pattern and save. Pressing Save gives you the option to save the pattern or rename and save. To create a new ShiftPatt, edit an existing pattern and choose Rename when saving.
Page 176 Setup Mode The Ribbon Configuration (RIBCFG) Page Latch Latch determines how the Arpeggiator responds to notes when they are triggered. Keys means that the Arpeggiator plays only while you are holding one or more keys down (or note triggers on). As you play different notes, they get added to the Arpeggiator, and as you release notes, they get taken out.
Page 177 Setup Mode The Ribbon Configuration (RIBCFG) Page trigger the pattern. You can use the Panic soft button to stop arpeggiation at any time. 1NoteAutoLow and 1NoteAutoHi are also designed for use with Shift Patterns. They work similarly to 1NoteAuto, except 1NoteAutoLow always latches the lowest note when holding multiple notes, and 1NoteAutoHi always latches the highest note when holding multiple notes.
Page 178 Setup Mode The Ribbon Configuration (RIBCFG) Page SyncType The SyncType parameter allows you to choose how your arpeggiator will sync to other arpeggiators, riffs, or a song playing from Song mode. With SyncType set to None, your arpeggiator will start playing as soon as it is triggered. It will not sync to anything.
Page 179: Real-Time Control Of Arpeggiator Parameters
Setup Mode The Ribbon Configuration (RIBCFG) Page With SyncType set to StopWait, if there is already something playing to sync to, the current arpeggiator will wait for what is playing to stop before starting. This way you can trigger the arpeggiator to start ahead of time, and have it start in sync at the release (stopping) of the riff, arpeggiator, or song that you are syncing to.
Page 180 Setup Mode The Ribbon Configuration (RIBCFG) Page Corresponding Controller ARPEGGIATOR Operation Number Parameter ArpVel Arpeggiator Velocity, each range of values selects one of twenty-three options in order on parameters list: 0-5 First,) 6-10 (Played, etc.,) 11-15...101-105, 106-110, 111-127 (MissNotes9.) ArpDur The Arpeggiator Duration % values are scaled over the 128 MIDI controller values, so that 0 = 1% and 127 = 100%.
Page 181: Riffs
The Ribbon Configuration (RIBCFG) Page Riffs Riffs are full songs or individual tracks of a song created in the PC3A’s Song mode that you can trigger in setup mode. Standard MIDI files may also be imported to Song mode and then used as riffs in setups.
Page 182 Setup Mode The Ribbon Configuration (RIBCFG) Page Riff Setting the Riff parameter to On will enable the riff feature for the current zone in setup mode. Setting this parameter to Off will disable the riff for this zone. Song Select the song you wish to use in the Song parameter by using the Alpha Wheel, -/+ buttons, or the alphanumeric pad.
Page 183 (beat range is dependent on time signature.) Tick can be set from 0 to 959. Refer to Table for Tick values. The PC3A restricts the selectable values for the Stop parameter such that the current riff is at least one beat long. Transpose/Root Note With the Transpose parameter set to On, the riff will transpose to the value set in the Root Note parameter.
Page 184: The Riff2 Page
Setup Mode The Ribbon Configuration (RIBCFG) Page The RIFF2 Page The second Riff page appears as shown below, and has the following parameters: Parameter Range of Values Default (HiKey) C -1 to G9 C -1 Trigger (LoKey) C -1 to G9 (HiKey) C -1 to G9 C -1...
Page 185 Setup Mode The Ribbon Configuration (RIBCFG) Page Next, move your cursor to the right to highlight the second value of the Trigger field (this will be the high end of the trigger key range.) Use one of the methods described above to select a key value for this trigger field.
Page 186 Setup Mode The Ribbon Configuration (RIBCFG) Page SyncZone The SyncZone parameter determines which zone a riff will sync to. You can choose to sync to a riff or arpeggio in a specific zone by setting SyncZone to Riff 1–16 or Arp1-16, and the current riff will always sync to the riff or arpeggio in the set zone.
Page 187 Setup Mode The Ribbon Configuration (RIBCFG) Page With SyncType set to Loop, if there is already a riff or song playing to sync to, the current riff will wait for the playing riff or song to restart its loop (if it is looped) before starting (see Loop on page 7-59 for looping riffs, and Loop...
Page 188 Setup Mode The Ribbon Configuration (RIBCFG) Page With RelSynTyp set to AnyBeatWait, if there is already a something playing to sync to, the riff will wait for the next beat before releasing. The difference from AnyBeat is that if there is nothing playing to sync to, this riff will not stop when released.
Page 189: Real-Time Control Of Riff Parameters
Setup Mode The Ribbon Configuration (RIBCFG) Page Real-time Control of Riff Parameters You can have real-time control over several Riff parameters, by assigning physical controllers to special Riff Controller Destinations. Any input (or entry value) from a physical controller assigned to a Riff Controller Destination overrides the programmed values for the parameters of the riff on that controller’s zone.
Page 190: The Fx Pages: Fx, Auxfx1, Auxfx2, And Mastfx
Effect (FX Bypass) Mode button to bypass effects while editing. The Programmable Switch Pages: SWPRG1 to SWPRG8 The PC3A’s eight Programmable Switches are the eight Program Select buttons located above the program Category buttons. Each button has its own SWPRG page, but each page is essentially identical.
Page 191: Tempo
With the Clock Source parameter, you can set the PC3A—within the current setup—to generate its own tempo by setting Clock Source to Internal, or you can set the PC3A to sync up with the tempo from another device—assuming the device is sending MIDI clock data to the PC3A via MIDI or USB—by setting Clock Source to External.
Page 192: Mutes
With this parameter, you can specify the KB3 channel in the current setup. Note that if you assign a KB3 program to a zone not assigned to the KB3 channel, the PC3A will notify you on the CH/ PROG page, and the KB3 program will not load. Before selecting a KB3 program for a Zone, set the KB3 channel to match the channel set for that Zone on its CH/PROG page.
Page 193: Trigger Keys (Keytrg)
The TRIGGER KEYS page (see below) allows you to set a controller destination to be triggered by playing a specific key. In addition to generating a standard MIDI note on message, each key of the PC3A can be set to trigger a controller destination. TRIGGER KEYS can be set independently per Zone. By using Zones with overlapping key ranges, a single key can trigger multiple controller destinations.
Page 194: The Utility Soft Buttons
This erases a setup from memory, freeing up space to store setups in other locations. (You can check the free memory in the PC3A at any time, on the top line of the pages in Master mode.) Press Delete, and you will be given a choice to Delete or Cancel. Press Delete again, and an “Are You Sure?”...
Page 195: Recording A Setup To Song Mode
Setup Mode The Utility Soft Buttons Recording A Setup To Song Mode The MIDI output of a setup can be recorded to a song in Song mode. Each MIDI channel that is output from a setup is recorded into each track of a song (if the tracks have corresponding MIDI channels.) Programs from each zone of your setup are automatically assigned to tracks in Song mode.
Page 196 Setup Mode The Utility Soft Buttons Mono Pressure: When recording a setup to Song mode with Mult selected for RecTrk in Song mode, you may notice that every track has recorded Mono Pressure messages, even if there is nothing else recorded on a track. If this bothers you, you can set the MonoPress parameter to Off on the Song:Event Filter Recording page (see Song Mode: The Filter Pages (RECFLT and PLYFLT) page 12-15.) This will prevent Mono Pressure messages from being recorded to any track.
Page 197: Chapter 8 Quick Access Mode
In Quick Access mode, you can select programs or setups with a single press of an alphanumeric button (or with other data entry methods). The PC3A offers a number of ways to quickly make selections while performing, but only Quick Access mode lets you store programs and setups together for instant access.
Page 198: Soft Buttons In Quick Access Mode
The Xpose-/Xpose+ buttons are a shortcut for quick transposition in semitone (half step) increments. You can use them to transpose the entire PC3A as much as three octaves up or down. The bottom line of the display shows the current amount of transposition (Xpose). Pressing both Xpose buttons simultaneously returns the transposition to zero.
Page 199 Quick Access Mode The QA Editor Selecting A Setup For A Quick Access Entry If you want to store a setup in the current entry instead of a program, press the Type soft button—when you do this, notice that the Type field change from Program to Setup (also notice that the channel indicator disappears, since setups can transmit over several channels).
Page 200: Chapter 9 Effects And Effect Mode
Chapter 9 Effects and Effect Mode The PC3A boasts a powerful effects processor that puts the power of an entire studio at your fingertips. This chapter contains everything you’ll need to know to use the PC3A’s effects and Chain Editor to their fullest potentials.
Page 201: Master Effects
Effects and Effect Mode Effects Overview Master Effects After the signal goes through the Insert and Aux effects, the master EQ/compressor effects are applied globally to the signal at the main outputs. Neither the EQ nor the Compressor use up any DSP units, so you needn’t account for them when managing DSP units for effects processing power.
Page 202: Dsp Units - Manage And Distribute Processor Power For Effects
Each Effect Chain is composed of an effect-box or a series of effect-boxes. Each effect-box uses a certain amount of the PC3A’s effects processing power, represented as a number of “DSP units.” The number of DSP units used by an effect-box or Chain reflects how complex the effect’s algorithm is—more complex effects require more processing power.
Page 203: Effect Mode And The Effects Pages
If you don’t save the master table, the Effect mode settings will return to their defaults the next time the PC3A is turned on. Be careful, do not accidentally save the Effect mode settings if you do not wish to. The settings on the effects pages for Setup mode and Song mode are saved with each Setup and Song.
Page 204: The Aux 1 Override And Aux 2 Override Pages
Aux effect parameters. In Program Mode, these parameters remain at their override values until the PC3A is restarted, or until you reset them in Effect mode to the default values listed in the table below. (In Setup and Song mode these settings are saved with...
Page 205 Notice that in Program mode, if an Aux effect is overridden in Effect mode, the top line of the PROGFX (or LYR_FX) page (in the Program Editor) indicates that corresponding Chain does not use up any DSP units. Since the Chain specified for the program is not applied, the PC3A does not allocate resources for it.
Page 206 Chain’s output. The settings Pri. and Sec. refer, respectively, to the primary and secondary physical audio outputs of the PC3A (labeled “MAIN” and “AUX” on the back panel.) Setting Output to auto uses the output pair specified in the program on the current channel (or the program on the specified Aux Effects channel in Setup or Song mode).
Page 207: The Master Effects Page
Effects and Effect Mode Effects Overview The Master Effects Page NOTE: In Setup mode and Song mode, this page corresponds in appearance and function to the MASTER EFFECTS page, which works on a per setup/song basis. Pressing the MASTER soft button calls up the Master Effects page. The Master Effects page contains the settings for the master EQ and Compressor.
Page 208: The Chain Editor
DSP is allocated internally. Like all other representations of signal paths in the PC3A display, the program signal moves from left to right through the Chain. Use the cursor buttons to select an effect-box or empty spot in the Chain.
Page 209: The Mod Pages
Effects and Effect Mode Effects Overview Editing Effect-boxes To edit the parameters of an effect, select its effect-box on the MAIN page and press the Edit button. For each effect, there are one or more pages of parameters that are specific to that effect. See Effects Parameters on page 9-12 for details on parameters for each type of effect.
Page 210: Info
Effects and Effect Mode Effects Overview FXLFO, FXASR, and FXFUN pages The FXLFO, FXASR, and FXFUN pages are the pages from which you edit the Effects-only Control sources. These are Control sources that can be used by the effects Mods in the current Chain.
Page 211: Effects Parameters
A more complete reference, with every effect and the meaning and range of every parameter, arranged in the order they appear on the screen, can be found in the KSP8 Algorithm Reference Guide on the Kurzweil website, www.kurzweil.com.
Page 212: Reverbs
Effects and Effect Mode Effects Overview Reverbs Room Type changes the configuration of the effect to simulate a wide array of room types and sizes including booths, small rooms, chambers, halls and large spaces. Because this parameter changes the structure of the reverb effect, you need to be careful when assigning it a MOD— changing it in real time while signal is passing through it is likely to cause audible artifacts.
Page 213: Delays
DelayScale lets you change the lengths of all the taps together. Its range is 0 to 10x. Note: It is possible for the PC3A to run out of delay memory with over-generous settings of DelayScale or very slow Tempos. Some Delay effects will simply go to a maximum value and stay there, while in some, a calculation is made that automatically cuts the delay times in half, thereby maintaining a relationship with tempo.
Page 214: Equalizers (Eq)
Equalizers (EQ) The PC3A has both Graphic and Parametric EQ effects. Parametric EQ sections are also found on a number of combination effects. The Graphic equalizer is available as stereo (linked parameters for left and right) or dual mono (independent controls for left and right).
Page 215: Compressors, Expanders, And Gates
#2 moves to B filter #2, and so on. Range is 0 to 100%. Compressors, Expanders, and Gates A wide range of Compression and Expansion effects is available in the PC3A. The various effects include different combinations of: •...
Page 216 Effects and Effect Mode Effects Overview This means the compression can kick in before an attack transient arrives. In the SoftKneeCompress and HardKneeCompress effects, delay is really only useful in feed-forward configuration (FdbkComprs is “Out”). For other compressors, the delay can be useful in feedback configuration (FdbkComprs is “In”).
Page 217: Chorus
Effects and Effect Mode Effects Overview Atk Time (attack time) is the time for the gate to ramp from closed to open (reverse if Ducking is on) after the signal rises above threshold, adjustable from 0.0 to 228.0 ms. Rel Time (release time) is the time for the gate to ramp from open to closed (reverse if Ducking is on) after the gate timer has elapsed, adjustable from 0 to 3000 ms.
Page 218: Flanger
In the PC3A, the flanger is a multi-tap delay line, all (but one) of whose taps can have their lengths modulated up and down by a low frequency oscillator (LFO). The rate of the LFO is expressed in Tempo.
Page 219: Filters
When it is set to zero, the effect acts like a simple delay. Range is 0 to 100%. Filters There are four types of Resonant Filter effects in the PC3A. All of them have these parameters in common: Filter Type (or FiltType) can be Lowpass, Highpass, Bandpass, or Notch (band-cut).
Page 220: Distortion
Range is 0 to 100%. Distortion Distortion effects on the PC3A may also include a parametric equalizer or a cabinet simulator. Dist Drive applies a boost to the input signal to overdrive the distortion effect into soft clipping.
Page 221: Rotating Speakers
Effects and Effect Mode Effects Overview Polydistort This is a more complex distortion effect that provides two, four, or six stages of distortion. Curve n controls the curvature of the individual distortion stages. 0% is no curvature (no distortion at all). At 100%, the curve bends over smoothly and becomes perfectly flat right before it goes into clipping.
Page 222: Vibrato/Chorus
Effects and Effect Mode Effects Overview LoResXcurs and HiResXcurs are the number of samples of delay to sweep through the resonator at the rotation rate of each rotating speaker. The range is 0 to 510 samples. ResH/LPhs sets the relative phases of the high and low resonators. The angle value in degrees is somewhat arbitrary and you can expect the effect of this parameter to be rather subtle.
Page 223: Tremolo And Autopan
Effects and Effect Mode Effects Overview Tremolo and AutoPan Tremolo is amplitude modulation using an LFO. AutoPan moves the signal between the left and right channels, using an LFO. They have several parameters in common and several unique ones. LFO Rate is the rate of the LFO. The range is 0 to 10.00 Hz, or 0 to 12.00 x the tempo. Rate Scale multiplies the speed of the LFO rate into the audio range.
Page 224: Pitcher
Ring modulation multiplies two signals (the “carrier” and the “modulator”) together to produce unusual, often non-harmonic, overtones. The Ring Modulator effect in the PC3A has two modes: “L*R” in which two mono signals are modulated together; and “Osc”, in which the input is stereo, and it is modulated with the sum of five waveforms that are generated from oscillators within the effect itself.
Page 225 Effects and Effect Mode Effects Overview DiffBassG controls the gain of a bass-shelf filter on the difference signal. By boosting the low frequency components of the difference signal, you can increase the sense of acoustic envelopment. Range is -79.0 to 24.0 dB. DiffBassF is the transition frequency for the bass-shelf frequency.
Page 226: Chapter 10 Midi Mode
Press the XMIT soft button, and the TRANSMIT page appears. Use the parameters on this page to control how the PC3A sends MIDI information to its USB or MIDI Out port. These settings to some extent affect the PC3A’s response to its own keyboard and controllers, but they primarily affect the responses of other MIDI devices that are receiving MIDI from the PC3A on the channel specified with the Channel parameter on this page.
Page 227: Control Setup
For example, a value of Local disables the USB and MIDI Out ports. Use this setting when you want to play the PC3A, but not to send any MIDI information to other MIDI instruments (local control only.) Alternatively, you...
Page 228: Velocity Map (Transmit)
MIDI Out via MIDI Out port or USB Computer port PC3A audio outputs The transmit Velocity Map affects the way the PC3A sends MIDI velocity values to its USB or MIDI Out port (see the circled box above for its location in the MIDI signal flow.) Different maps output different MIDI velocity values for the same received MIDI attack velocity.
Page 229: Pressure Map (Transmit)
(aftertouch) values and remaps them to new values before transmitting them to the USB or MIDI Out port (this parameter has no effect on MIDI data sent from Song mode or to the PC3A’s sound engine.) The default map provides the widest range of pressure (aftertouch) expression, but you may want to choose a different map if the default does not suit your playing style.
Page 230: Program Change (Progchang)
Out port when you select programs or setups from the front panel or from your MIDI controller. Select a value of Off when you want to change programs on the PC3A but don’t want to send program change commands to the USB or MIDI Out port. This parameter doesn’t affect the type of program change command that’s sent;...
Page 231: Basic Channel
This is normally used for diagnostic purposes only. At a setting of Poly, the PC3A responds only to events that are sent on the same channel as the PC3A’s current MIDI channel (the one displayed on the top line of the Program mode page). In Poly mode, the currently selected channel is always the basic channel, so if you change channels, the basic channel changes accordingly.
Page 232: Velocity Map (Receive)
MIDI Out via MIDI Out port or USB Computer port PC3A audio outputs The receive Velocity Map affects the way the PC3A receives MIDI velocity values from its USB or MIDI In port (see the circled box above for its location in the MIDI signal flow.) Different maps output different MIDI velocity values for the same received MIDI attack velocity.
Page 233: Pressure Map (Receive)
The RECEIVE Page Pressure Map (Receive) Change the receive Pressure Map setting if you are triggering the PC3A with external MIDI gear which is producing MIDI pressure (aftertouch) values that are too high or too low based on your playing style (how soft or hard that you press the keys.) The default map provides the widest range of pressure (aftertouch) expression, but you may want to choose a different map if the default does not suit your playing style.
Page 234: System Exclusive Id (Sysexid)
SysExID. Then you can direct SysEx messages to the appropriate PC3A with the SysExID byte that’s included with every SysEx message. A value of 127 specifies “Omni Receive.” That is, at this value, a PC3A responds to a SysEx message regardless of the SysEx ID of the message.
Page 235: Local Keyboard Channel (Localkbdch)
The RECEIVE Page Local Keyboard Channel (LocalKbdCh) The Local Keyboard Channel enables an external MIDI device to function as if it is the PC3A’s keyboard and physical controllers. This allows one MIDI channel of an external MIDI device to control multiple MIDI channels of the PC3A, even if the external MIDI device only transmits on one channel.
Page 236 CC on the channel set for Local Keyboard Channel, external CCs can control the destinations set for each of the PC3A’s physical controllers. Send the default CC for a physical controller to control its destination (see the External MIDI CC Remapping For Local Keyboard Channel and Input Channel table below for defaults.) In Program Mode, these...
Page 237 CC by default. If you create a Setup using Setup 126 Internal Voices as a template, the default CC numbers will already be set for each physical controller destination. (Don’t save a Setup at ID 126, setup 126 Internal Voices is the PC3A’s default Control Setup, see Control Setup on page 6-9 for details.)
Page 238 External MIDI CC Remapping For Local Keyboard Channel and Input Channel Default MIDI CC# Which Controls The PC3A Physical Controller Destination Assigned To Each PC3A Physical Controller In The Setup Editor Pitch Wheel NA, responds to MIDI pitch bend messages...
Page 239: The Channels Page
For example, you might turn off the Enable parameter for one or more channels to mute the tracks on those channels. You could also set the VolLock parameter to On, to ignore any MIDI volume messages the PC3A receives on a given MIDI channel.
Page 240: Pan
16 banks of 128 each (the memory banks). A program’s object ID is its program change number, as discussed in Chapter 5. This makes it easy to keep track of your programs. The PC3A can use several different formats for interpreting program change commands. The value for the ProgChgMode parameter on the RECEIVE page determines which format is used, and the one you should select depends on your MIDI system.
Page 241: Extended Program Changes
Standard (PCH) memory bank If your PC3A is already in the memory bank you want to use, you can send it single PCHs from 0 to 127, to select programs within that memory bank. The PC3A’s response depends on the setting for the Bank/Select parameter on the MIDI Mode RECV page.
Page 242 0–127 Depending on the QA bank entry you want to select, you’ll send the PC3A either a PCH (value 0 to 127), or a MIDI Controller 0 or 32 message (value 0 to 127) followed by a PCH. Sending a single command will let you select from a range of 10 QA banks and select an entry within that bank (see the table below).
Page 243: The Soft Buttons In Midi Mode
Reset Channels (RsetCh) When you press this soft button, the PC3A asks if you want to reset all channels. If you press Yes, all settings on the CHANNELS page will return to their default values. When the project’s over, you can reset the Channels to restore the audio routing to each individual program (a value of Prog), rather than selecting each channel’s page and setting the Pair parameter back to a value of...
Page 244: Chapter 11 Master Mode
MasterTableLock is On — more on this below.) The Master Table remembers the settings of the Master pages, as well as the state of the PC3A, such as which programs are assigned to each channel, settings for MIDI Mode Transmit and Receive pages, and Master FX settings. Explicit saving of the Master Table is also possible.
Page 245: Tune
However, the GM drum map is so commonplace that many players feel more comfortable playing drum programs with the GM drum map. Because of this, the PC3A is designed such that you can remap drum programs to the GM drum map.
Page 246: Master Table Lock (Master Lock)
Save soft button. Note that if you would like Master Lock to stay on next time you turn on the PC3A, you must press the Save soft button to store the state of Master Lock to the Master Table.
Page 247 Master Mode MAIN RIFF1 page) are indicated in the info box with a riFF symbol. The info box can display up to four layers/zones at a time. If the current Program/Setup has more than four layers/zones, you can view their keymaps/programs by pressing and holding down the Enter button and scrolling with the Chan/Layer buttons.
Page 248: Maps
You can also set the default sequence for Song mode. Velocity Map (Master) Change the Master Velocity Map setting if you find that the PC3A is not producing the desired velocities (too loud or too quiet) based on your playing style (how light or heavy that you play the keys.) The default map provides the widest range of velocity expression, but you may want...
Page 249 MIDI velocities compared to the Linear map. GM Receive effects notes from the PC3A’s keyboard as well as the MIDI in port. This map is automatically used when the PC3A is in GM mode (see General MIDI Mode (GM On, GM Off) below,) though users may want to use the GM Receive map when generating MIDI outside of GM mode which will later be played back by a GM system.
Page 250: Pressure Map (Master)
MAIN Pressure Map (Master) Change the Master Press Map setting if you find that the PC3A is not producing the desired MIDI pressure (aftertouch) values (too high or too low) based on your playing style (how soft or hard that you press the keys.) The default map provides the widest range of pressure expression, but you may want to choose a different map if the default does not suit your playing style.
Page 251: Intonation
The PC3A supplies you with 17 different factory intonation maps which are useful for a range of different styles. By changing the value for this parameter, you select from among the intonation maps stored in the PC3A’s memory.
Page 252: Key Action Map
PC3A for the same physical key action, and each map corresponds to a different keyboard component model. If you have changed this parameter and want to change it back to the default map for your PC3A, simply enter a value of 0 in the Key Action Map parameter field.
Page 253: Default Sequence
Off. Digital Output Volume (Dig. out volume) The Digital Output Volume parameter specifies the behavior of the PC3A’s Digital Output. Setting this parameter to Variable makes the Digital Output respond to changes made on the volume slider. Setting this parameter to Fixed makes the Digital Output output a signal with a fixed volume.
Page 254: Clock Source
(such as a slider) are not easy or recommended for tapping the tempo. The Temporary TAP controller works only while on the TEMPO page and will remain selected when accessing the TEMPO page from other modes, but the selection will return to OFF the next time the PC3A is turned on.
Page 255: General Midi Mode (Gm On, Gm Off)
GM On. Press the GM On soft button to enter GM mode. The PC3A will prompt you to confirm or cancel. When GM mode is on the buttons is labeled GM Off. Press the GM Off soft button to exit GM mode. The PC3A will prompt you to confirm or cancel.
Page 256: Object
Using a PC3A program that does not resemble the instrument named in the current GM program would technically make the PC3A incompatible with GM, but some users may want to do this as a way to “remix” GM sequences.
Page 257: Rename
The object Delete utility is useful for deleting unwanted user created objects in order to increase free RAM space in your PC3A. On the main Delete page, for each object type you can select a bank of objects to delete, a range of objects to delete, or delete all objects. On the Delete advanced page, you can select a single object or multiple objects to delete.
Page 258 Master Mode OBJECT To delete single or multiple objects, go to the Delete advanced page by pressing the Advnce soft button on the main Delete page (see below.) The right column shows you a list of all user created objects. The left column tells you what type each object is, and objects are grouped by type. Use the alpha wheel or plus/minus buttons to select one or more objects from the list.
Page 259: Utils (Utilities)
Pressing the MIDI soft button launches MIDIScope™, a useful subprogram that lets you monitor the MIDI messages from the PC3A and those received via MIDI. This is a good way to make sure you’re receiving MIDI from MIDI masters. It’s also good for making sure your controls are assigned as you want them, checking your attack velocities, checking your controller values, etc.
Page 260: Clock
System Clock page. Reset Press the Reset soft button if you want to return your PC3A’s memory to the state it was in when you bought it. CAUTION: Resetting the PC3A system causes ALL parameters to be restored to default values and ALL user objects to be erased.
Page 261: Loader
Pressing the Loader soft button calls up the Boot Loader. See AppendixB. About Pressing the About soft button calls up the general info page for the PC3A. On this page is the version of the installed OS and factory object. Press any key to leave this page.
Page 262: Chapter 12 Song Mode And The Song Editor
If you are familiar with other sequencers, you will have no problem using Song mode in the PC3A. Read through this section, to learn about the features that make the PC3A’s sequencer unique. See Chapter 15, Tutorial: Song Mode for a guide on basic recording in Song Mode.
Page 263: Current Song (Cursong)
You can also set the tempo to be controlled by an external sequencer. Use the Alphanumeric Pad to enter “0” in the tempo field, and press enter. “EXT” will appear in the tempo field. Any MIDI Time Clock (MTC) signal received at the PC3A’s USB or MIDI in port will now set the Song playback tempo.
Page 264: Recording Track (Rectrk)
Song Mode and the Song Editor Song Mode: The MAIN Page Recording Track (RecTrk) The RecTrk parameter determines which track is record enabled. Set the record enabled track to Mult to record more than one channel simultaneously. When RecTrk is set to a single track (1–16), Record (R) is displayed for that track in the Track Status Indicator region (above the Track and Channels region).
Page 265: Volume (Vol)
Song Mode and the Song Editor Song Mode: The MAIN Page Volume (Vol) You can set a volume level for each track as a value between 0 and 127. If the channel of the RecTrk (or the control channel, if RecTrk is set to Multi or None) contains any recorded volume change (controller 7), the change will be reflected as the Vol parameter’s value in real time, as well as on the MIXER page.
Page 266: Pan
Song Mode and the Song Editor Song Mode: The MAIN Page highest numbered zone that uses that channel will set the volume for tracks that use that channel. If ExitVolume is set to NONE, the value for EntryVolume is used. If EntryVolume and ExitVolume are set to NONE, then the track for that channel uses the volume set for that channel in MIDI mode on the Channels page.
Page 267: Mode
Song Mode and the Song Editor Song Mode: The MAIN Page settings without playing another song first, the Pan of the MIDI channel for each track is set depending on which mode you enter Song mode from. If you enter Song mode from MIDI mode, Program mode, or Quick Access mode, the Pan of each MIDI channel is set in MIDI mode on the Channels page.
Page 268: Track Channels
MIDI Machine Control (MMC) messages. The PC3A will automatically listen to any MMC messages received at the USB or MIDI in port. The PC3A will also automatically send its own MMC messages from the USB and MIDI out port, enabling the...
Page 269: The Save Changes Dialog
Press the Delete soft button to delete the current song. The PC3A will present a prompt, at which point you may cancel, or confirm to delete the song.
Page 270 Song Mode and the Song Editor Song Mode: The MAIN Page Pressing PlyOld will play the current song, minus the performance that you just recorded. You can toggle between Play Old and Play New without restarting the song by pressing either button while the song is playing.
Page 271: Song Mode: The Big Page
Song Mode: The MAIN Page Song Mode: The BIG Page On the BIG page, the PC3A displays—in a large font, the page’s name—the current time/location of the “playhead” of the sequencer in a Bar : Beat : Tick format (like the Riff time/location display).
Page 272: Song End
Song Mode and the Song Editor Song Mode: The MAIN Page Song End The Song End parameter determines the end point for the song. Note that when Time Out and Song End are set to the same location, changes made to Song End are reflected in Time Out. When recording beyond your initially specified Song End point, you’ll notice that the Song End location automatically moves and rounds to the next bar, so as to always be ahead of the playhead.
Page 273: Song Mode: The Fx Pages
Song Mode and the Song Editor Song Mode: The MIXER Page Song Mode: The FX Pages The four Song mode FX pages—FX, AUX1, AUX2, and Master Effects—work the same way as the Effects mode pages—EffectsEnable, Aux 1 Override, Aux 2 Override, and Master Effects. See the Effect Mode and the Effects Pages on page 9-4 for information on editing these pages.
Page 274: The Rec, Play, And Stop Soft Buttons
Song Mode and the Song Editor Song Mode: The METRONOME Page A setting of Auto will make that track output audio based on the settings for the program used by that track. Program output settings are set in the Program Editor using the Output parameter on the top line of PROG FX page (see Output on page 6-48 for details) or the Output parameter on...
Page 275: Metronome
This parameter determines the number of measures the PC3A will count off before recording. With StartOnly selected, the PC3A will only count off at the beginning of a sequence. With Always selected, the PC3A will count off from any point in a sequence.
Page 276: Song Mode: The Filter Pages (Recflt And Plyflt)
Song Mode and the Song Editor Song Mode: The Filter Pages (RECFLT and PLYFLT) Song Mode: The Filter Pages (RECFLT and PLYFLT) On the RECFLT and PLYFLT pages you can specify what event are ignored during, respectively, recording and playback. Both pages have the same parameters with the same ranges of values, but you would use the RECFLT page to configure recording event-filtering, and the PLYFLT page to configure playback event-filtering.
Page 277: Lovel
Song Mode and the Song Editor Song Mode: The Filter Pages (RECFLT and PLYFLT) LoVel LoVel determines the lowest note on/off velocity that is recorded/played back when Notes is set to On. The Hi to the right of LoVel determines the highest note on/off velocity that is recorded/played back when Notes is set to On.
Page 278: Song Mode: The Misc Page
Song Mode and the Song Editor Song Mode: The MISC Page Song Mode: The MISC Page The MISC page contains five miscellaneous (but very important and useful) sequencer parameters. The MISC page appears below: Parameter Range of Values Default Control Chase On, Off Quantize Off, 1 to 100%...
Page 279: Swing
The events in the PC3A are similar to events of other sequencers with a single major difference: the Note events are stored as a single big event, i.e., one PC3A Note event is comprised of the note-on and note-off events. All other events are stored as single events on the PC3A.
Page 280: The Song Editor
Song Editor: The COMMON Page Press the Edit button on the front panel of the PC3A to display the COMMON page and begin editing a song. This is where you will find parameters common to all tracks, such as tempo and time signature, control parameters for effects, and soft buttons for switching to other Song editor pages.
Page 281: Fx Track
Song Editor: The COMMON Page FX Track The PC3A uses the channel of the track specified for FX Track as the Aux FX channel. DrumTrack Any of the song’s tracks can be defined as Drum Tracks so that their Note events do not get...
Page 282: Soft Buttons On The Common Page
Song Mode and the Song Editor Song Editor: The TRACK Page Soft Buttons on the COMMON Page TRACK – calls up the TRACK page. This page accesses useful track based edit functions. There is a selectable edit function that can be applied to the selected track or all tracks in your song. The page 12-21.
Page 283: Common Parameters For Edit Song: Track Functions
Song Mode and the Song Editor Song Editor: The TRACK Page Since these parameters are common to most Track functions, we will define them first. Then we’ll describe the individual functions along with the parameters specific to each, which are normally found on the left side of the page.
Page 284: Soft Buttons On The Track Page
Locate parameter) at the time you press FromTo. If you press it while the Locate value is earlier in the song than the current To value, the PC3A updates the From value. If you press FromTo again (without stopping playback) while the Locate value is later than the current From value, the PC3A updates the To value.
Page 285: Song Editor: Track Functions
Song Mode and the Song Editor Song Editor: Track Functions Song Editor: Track Functions Erase This function erases specified events from a region of time, but it doesn’t delete the region of time. The result is like erasing a section of recording tape. If you want to completely remove a segment and shorten the length of the track, you can do it with the Delete function.
Page 286: Bounce
Song Mode and the Song Editor Song Editor: Track Functions Mode: Merge/Erase/Slide The Mode setting determines whether the copied events merge with, or erase existing events on the destination track from the location point to the end of the copied region. With Mode set to Slide, the sequencer creates space for the new events, and slides the existing events to uniformly later times in the song.
Page 287: Insert
Song Mode and the Song Editor Song Editor: Track Functions Insert The Insert function is used to add blank time to the current song, modifying the song’s End point appropriately. The Insert function will affect all tracks. This is similar to splicing a piece of blank tape to an existing segment of recording tape.
Page 288: Quantize
Song Mode and the Song Editor Song Editor: Track Functions Quantize Use the Quantize function to adjust the timing of Note events. Keep in mind that only Note events are quantized; other types of events, such as controllers, are not quantized. Quant: Off/1 to 100% The Quantize parameter determines how much the selected Note events are moved towards grid locations.
Page 289: Shift
Song Mode and the Song Editor Song Editor: Track Functions Shift The Shift function allows you to offset the existing MIDI events forward or backward in time any number of ticks (1/480th of a Beat) and beats. This function only affects the End point if any of the shifted events are after the End point of the song.
Page 290: Grab
Song Mode and the Song Editor Song Editor: Track Functions Grab Grab is similar to the Copy function, except that the Grab function allows you to copy selected data from tracks that exist in other songs in memory. SrcSong: Song List The Source Song parameter is set to the ID and name of the song in memory that contains the desired track data you wish to grab in order to use it in the current song.
Page 291: Change
Song Mode and the Song Editor Song Editor: Track Functions Change The Change function is used to modify attack velocities, release velocities, or the values of any existing controller data on the current track. A static change of values can be made as well as having the change take place over a region of time.
Page 292: Remap
Song Mode and the Song Editor Song Editor: The EVENT Page Remap Use the Remap function to apply the values of any one type of controller data, already recorded on a track, to another controller type. The effect the real time changes of the “Old” controller had will be replaced by the effect the “New”...
Page 293: Initial Program, Volume, Pan
Song Mode and the Song Editor Song Editor: The EVENT Page To scroll through the events, make sure the location (Bar and Beat, in the first column) is highlighted. Use the Alpha Wheel, the Up and Down cursor buttons, or the Plus/Minus buttons. As you scroll through the events, each event is executed by the sequencer.
Page 294: Soft Buttons On The Event Page
Song Mode and the Song Editor Song Editor: The EVENT Page Event Type Values Program Change (PCHG) 0 to 127 Pitch Bend (BEND) -8192 to 8191 Mono Pressure (MPRS) 0 to 127 Poly Pressure (PPRS) 0 to 127 C -1 to G 9 Note events have four editable values: Note Name, Attack Velocity (indicated by a “v”), Release Velocity (indicated by a “^”), and Note Duration.
Page 295: Storage Mode Page
Chapter 13 Storage Mode Use Storage mode to load, save, back up, and copy files between the PC3A and the outside world. Storage Mode can load and save with a USB device (such as a thumb drive) or with a computer by using the USB Computer port.
Page 296: Using Usb Devices
Using USB Devices There is a USB Storage port on the back panel of the PC3A, to your right as you face the keyboard. You can plug a USB mass storage device such as a “thumb drive” into the PC3A for backing up, archiving, sharing your work, and updating your software.
Page 297 Load files from your computer to your PC3A by putting files on the PC3A virtual drive, then selecting USB PC Connection in Storage mode to load the files. Save files from the PC3A to your computer by using this configuration with the Storage modes Store function. Saved files will temporarily appear on the PC3A virtual drive on your computers desktop, and you then must copy your saved files to another location on your computer.
Page 298: Storage Mode Common Features
NEWTUNE directory in the root directory. If the path is too long to fit on the top line of the display, it gets abbreviated. The maximum length of a path in the PC3A is 64 characters (including the backslash characters).
Page 299 Storage Mode Common Features When you create a new file in Storage mode, create a new directory, or rename a file or directory, the PC3A prompts you to enter the object’s name. This File Name dialogue appears as shown below,...
Page 300: The Store Page
Pressing the STORE soft button calls up the Store page, where you can select groups of objects from the PC3A to store as a .P3A file in the current storage device. Only user created or user edited objects can be stored.
Page 301: Select Object Type To Store
Master mode and MIDI mode pages. Saving Master files is a good way to configure your PC3A (or another PC3A) to your performance or sequencing needs. For example, you might save different Master files with every sequence you create using an external sequencer. Then, when you load the Master file, you would have all the correct programs assigned to the appropriate MIDI channels.
Page 302 Storage Mode Storage Mode Common Features Shortcuts when Storing Individual Objects Selecting or deselecting all of the objects at once can be done with the following double-presses (two front-panel buttons simultaneously pressed): Left/Right cursor double-press: Select All Objects • • Up/Down cursor double-press: Clear All Selections If you want to store most but not all of the items in a file (for example, if there are some songs in RAM that you don’t want to be stored in the file), it may be fastest to first select all objects using...
Page 303: The Load Page
When loading a MIDI file (.MID) to Song mode, the PC3A will attempt to use the MIDI file’s internal sequence name as the Song name. If the internal sequence name can not be loaded, the first eight characters of the file name will be used as the Song name.
Page 304: Loading Individual Objects From A .P3A Or Compatible File Type
Press Open to begin the Load Object dialog. The PC3A then scans the file contents in order to present a list of all of the objects in the file. Sometimes this procedure can take a few moments, depending on how many objects are in the file.
Page 305: Loading Methods
This determines the object numbers that your loaded objects will have, and whether or not existing objects in the PC3A will be deleted when the new objects are loaded. You will see this dialog: First select a bank range to load to, then select a loading method by choosing one of the soft buttons.
Page 306 IDs in the file are used as follows: The “bank” digit is ignored, and the remainder of the number is used when the PC3A rebanks the object ID into the bank that you specify. For example, if you save Program 453 into a file, and load it back into the 129...256 bank, the PC3A will use the number 69 (its bank-specific ID in the 385...512 bank) when deciding upon a new object ID.
Page 307 Storage Mode Common Features The following example shows how each different loading methods affect how four programs load into a bank that already contains programs. Example: Starting with the following objects already stored in the PC3A internal RAM: Program ID Program Name...
Page 308: The Utilities (Utils) Page
USB device. See the soft buttons below for the each available function: Soft Buttons on the Utilities Page NewDir Create a new directory (folder) in the current directory. Directories created by the PC3A can have names up to eight characters long. Delete Delete the highlighted file from the current device. Rename Change the name of a file.
Page 309: Export
Storage button to enter Storage mode. Press the soft button labeled Format. The PC3A will ask you if you want to format. Press the OK soft button to format the device, or the Cancel soft button to return to the Storage mode main page.
Page 310: Chapter 14 Keymap And Sample Editing
When you trigger a note, the PC3A identifies the key range where the Note On event occurred. It also checks the attack velocity value of the note. It then addresses its memory, and retrieves the sample root that’s assigned to that key range and attack velocity value.
Page 311 Note On events. Program 6 Pop Power Piano, for example, uses a keymap with three velocity ranges. Each key range in a multi-velocity keymap contains two or more distinct sample roots that the PC3A chooses between, according to the attack velocity of the note. See Velocity Ranges (VelRng) on page 14-5 for details.
Page 312: Keymap Editor Parameters
With these parameters you can use any of the data entry methods to change the low and high notes of the current key range. You can extend a key range to the full capacity of the PC3A (C 0 to G 10).
Page 313 Keymap and Sample Editing The Keymap Editor Velocity Range (VelRange) This parameter shows the keyboard velocity range (in dynamic levels) that will trigger a sample for the current KeyRange. In a key range with more than one velocity range, each velocity range can use a different sample, as well as different CoarseTune, FineTune, and VolumeAdjust settings.
Page 314: The Soft Buttons In The Keymap Editor
Just press NewRng, then play the note you want as the low note, then the high note. The PC3A will prompt you for each note. When you trigger the high note, you’ll return to the Keymap-editor page, and the new keyrange you defined will be selected.
Page 315: Special Double Button Presses In The Keymap Editor
Press the Plus/Minus buttons at the same time. The value of Coarse Tune changes automatically. If the sample is assigned to one note, the PC3A sets Coarse Tune so that the note plays the sample without transposition. If the sample is assigned to a range of notes, the PC3A sets Coarse Tune so that the middle note of the range plays the sample without transposition.
Page 316: Building A Keymap
Automatic transposition based on each sample’s RootKey is important if you want your sample to play in tune with other PC3A programs or other instruments. The PC3A makes this easy if your samples have the correct RootKey settings (as the PC3A’s factory samples do.) Generally you should set a keyrange so that...
Page 317 Keymap-editor page reappeared, the current key range would not be F 4 to B 4, but A 3 to B 4! This is because the PC3A automatically merges adjacent key ranges that are identical (this is done to save memory). Therefore, some parameter must be different in each adjacent key range you create if you want to build keymaps using the technique we just described.
Page 318: Editing Samples
Keymap and Sample Editing The Keymap Editor Editing Samples To enter the Sample Editor, first select the program you wish to edit in Program mode. With the program selected, press the Edit button to enter the Program Editor. In the program editor the KEYMAP page will be selected (if not press the KEYMAP soft button.) With the KeyMap parameter selected on the KEYMAP page, press the Edit button again to enter the Keymap Editor.
Page 319 Keymap and Sample Editing The Keymap Editor Parameter Range of Values Root Key Number C -1 to G 9 Pitch Adjust Variable (depends on sample rate) Volume Adjust -64.0 to 63.5 dB Alternative Volume Adjust -64.0 to 63.5 dB Decay Rate 0 to 5000 dB per second Release Rate 0 to 5000 dB per second...
Page 320 Keymap and Sample Editing The Keymap Editor Release Rate The release rate determines how long the sample will take to decay to zero amplitude when the note trigger is released. The higher the value, the faster the release rate.This release affects each sample individually, and is in effect only when the amplitude envelope for the program (the Mode parameter on the AMPENV page in the Program Editor) is set to Natural.
Page 321: The Trim Page
Keymap and Sample Editing The Keymap Editor The TRIM Page The TRIM page lets you set the Start, Alternative Start, Loop, and End points of the current sample. The top line indicates the Zoom and Gain settings. This Gain setting doesn’t affect the amplitude of the sample, just the view in the display.
Page 322 Keymap and Sample Editing The Keymap Editor the zero point of the display (the horizontal line in the middle of the waveform display.) Though adjusting these points visually is helpful, always listen to the sample and make the final settings based on what sounds best.
Page 323: Chapter 15 Tutorial: Song Mode
When you play back a song (a.k.a. a MIDI sequence) in Song mode, the PC3A triggers each of the notes that you have recorded, sort of like a player piano. MIDI is very useful for recording songs with electronic instruments such as the PC3A, because you can easily make changes to recorded sequences.
Page 324: Part 1: Assign Instruments To Tracks
Tutorial: Song Mode Bars and beats should be familiar terms for musicians, but ticks are a term specific to MIDI sequencers. Ticks provide fine resolution when recording and editing sequences. For example, if you were to play along with the sequencer’s metronome to record one note on each beat of a bar, upon reviewing the sequence you would most likely find that each note was not recorded exactly on each beat, but that each was recorded a different small number of ticks away from the beats.
Page 325: Part 2: Set The Tempo
Tutorial: Song Mode 4. Use the cursor buttons to navigate to the Prog field and choose a program with the plus/ minus buttons, alpha wheel, or by entering the desired program number with the alphanumeric pad. This sets the instrument sound for the current track. For example, choose program 1 Standard Grand to 5.
Page 326: Part 3: Record Your First Track, Save The Song
BIG soft button. This brings you to the Song:Big Time page. On the Song:Big Time page, set the Metron parameter to Always (see below.) Make sure the PC3A’s main volume is set at a moderate level, then press the Play/Pause button to hear the metronome play the selected tempo.
Page 327 Tutorial: Song Mode 2. Press the Record button located on the front panel. This prepares the PC3A for recording on the current RecTrk. The Record button lights, and on the Song mode MAIN page the right of the top line will display REC. READY, which means that the sequencer will record when the Play/Pause button is pressed (see below.)
Page 328 Tutorial: Song Mode Pressing Retry restarts recording from the same point you last started recording from. Yes saves the song with the performance you just recorded. Whatever was played back when you pressed PlayNew will be the version of the song saved when you press Yes. The “save as” dialog will be displayed: Use the Alpha Wheel, -/+ buttons, or Alphanumeric Pad to choose a free ID# location to save the song, or choose a used ID# location to overwrite a previously saved song with your new version.
Page 329: Part 4: Record Additional Tracks
Tutorial: Song Mode editing a factory ROM song. When editing a song that has been stored in user memory (any originally unused ID#,) the edited song’s ID# is automatically selected. This assumes that you wish to replace the existing song, but you can choose another ID# if desired to save a new copy. Choose a used ID# to replace an existing saved song.
Page 330: Part 5: Fixing Mistakes
Tutorial: Song Mode Part 5: Fixing Mistakes For each track in Song mode, you can fix mistakes in your performance without re-recording the entire performance. Here we will describe the method that is easiest for fixing specific passages in a track. (For a way to fix single notes, see Song Editor: The EVENT Page on page 12-31 in Chapter 12, Song Mode and the Song Editor.)
Page 331 Tutorial: Song Mode 5. Set times for the Time In and Time Out fields to select the time to fix. For this example we will fix bar 3 (see below.) Note: If you need to fix a section which isn’t exactly within one bar or an even division of beats, use the following method to find your Time In and Time Out points: Use the big time location numbers on the top of the page to find a time where the first notes played (when you press play/ pause) are the notes that you wish to replace.
Page 332: Part 6: Adjusting The Volume Of Each Instrument
Tutorial: Song Mode Part 6: Adjusting The Volume Of Each Instrument Adjust the volume of an instrument by adjusting the volume of the track containing that instrument program. While your song is playing, you can use the Vol parameter on the Song mode MAIN page to adjust the volume for the track currently set in the RecTrk parameter.
Page 333 Tutorial: Song Mode 4. On the Song:MIXER page, press the Keep soft button to store initial values for all tracks (see below.) 5. On the Song:MIXER page, press the Done soft button or the front panel Exit button. You will be asked to save changes to your song, just as in Part 3, step 4 of this guide (see above.) Saving your song completes the process of storing initial volume settings with your song.
Page 334 Tutorial: Song Mode 2. Press the Record button, then press Play/Pause. Select the Vol parameter and adjust it with the alpha wheel while the sequencer is recording. Any changes to the Vol parameter will be recorded as data in the current track. When you are finished, press the Stop button.
Page 335 Tutorial: Song Mode 3. On the EditSong:TRACK page, set the Function parameter to Erase (see below.) 4. Use the Chan/Zone buttons (to the left of the display) to choose the track to erase volume automation from. You can view the selected track number in the upper right corner of the screen.
Page 336 Tutorial: Song Mode 7. Use the From and To parameters to set the range of time from which you want to remove your volume automation. You can play the song and watch the Locate field to determine these times. For this example, let’s say that we want to erase volume automation from bar 3 (see below.) 8.
Page 337: Part 7: Learning More About Song Mode
Part 7: Learning More About Song Mode Factory ROM Songs The PC3A includes a number of pre-recorded songs stored in the factory ROM. Investigate these songs to see the possibilities of Song mode. Feel free to edit or add to any of these songs in order to learn more about song mode.
Page 338 The Event List Song mode is a powerful composition tool because just about anything that you do on the PC3A is recorded into a track as event messages. Once recorded, these events can be altered, copied or removed.
Page 339: Specifications
MIDI Implementation Chart Appendix A Specifications MIDI Implementation Chart Model: PC3A Manufacturer: Date: 10/01/14 Young Chang Version 1.0 Digital Synthesizers Function Transmitted Recognized Remarks Default Memorized Basic Channel Changed 1 - 16 1 - 16 Default Mode 3 Mode 3...
Page 340: Specifications
Specifications Specifications PC3A8 Height: (4.33”) (11.00 cm) Depth: (13.98”) (35.50 cm) Length: (54.33”) (138 cm) Weight: (54 lb.) (24.50 kg) PC3A7 Height: (4.33”) (11.00 cm) Depth: (13.98”) (35.50 cm) Length: (47.75”) (121.29 cm) Weight: (37.35 lb.) (16.94 kg) PC3A6 Height: (4.84”) (12.30 cm) Depth: (13.98”) (35.50 cm) Length: (39.37”) (100 cm) Weight: (30.86 lb.) (14.00 kg)
Page 341: Appendix Pc3A Bootloader
Appendix B PC3A Bootloader The Bootloader is the program that runs when the PC3A is first turned on. Its job is to check that hardware is functional, initialize the digital systems, and load the main synthesizer program. Under normal circumstances you might not even notice that the Bootloader is there at all, since the PC3A will start up on its own without any problem.
Page 342: Run Diags - Pc3A Diagnostics Utility
Windows and MacOS computers support USB devices in a very straightforward way. You should be able to drag and drop the PC3A files right onto the USB device directory. After the files are copied, remove the device from the computer and place it in the USB storage port on the rear panel of the PC3A.
Page 343: System Utilities
OS. (If possible, remember to first save your work in the Storage menu. Once deleted, the files are completely removed from the PC3A and there is no way to retrieve them.)This will delete everything that was stored internally on the PC3A, and leave a clean, empty file system ready for use.
Page 344: Appendix Changing Pc3A Voltage
Australia use 230, but there are exceptions to this general rule. The PC3A uses two 250 mA fast blow fuses for 230V or two 500 mA fast blow fuses for 115V. These can be either 1.25” X 0.25” size or 5 mm X 20 mm size fuses. Extra fuses are not provided, so you will need to acquire the correct fuse before you change the voltage.
Page 345 Pry out the fuse holder. If there is only one fuse in the fuse holder, you must remove the metal clip on the empty side.
Page 346 The clip just pulls off: The clip removed from the fuse holder:...
Page 347 Remove the fuse. Install two 250 mA fast blow fuses for 230V or two 500 mA fast blow fuses for 115V, one on each side of the fuse holder. The fuse holder will accept either 1.25” X 0.25” size or 5 mm X 20 mm size fuses. If using 5 mm X 20 mm size fuses, install them towards the inside end of the fuse holder near the metal pins, as shown here: Replace the fuse holder in the power entry module with the indicator for the desired voltage...
Page 348 PC3A Objects (V 2.3) Programs Appendix D PC3A Objects (V 2.3) Programs Press the Info soft button for controller information. Program Program Program Gregg’s B WoodstockClunker Standard Grand Real AllOut B Stage Mix Wurly Studio Grand Clean Perc Supertramp Wurly...
Page 349 PC3A Objects (V 2.3) Programs Program Program Program Choir Complete Perfect PnoPad Rockin’ Lead MW Dreamy Piano Haah Singers P-Bass Piano w DvStrgs Manhattan Voices E-Bass PnoAgtStrngs Aaahlicious Beasties Bass The Ancient NYC in LA Flea/Bootsy DancePnoEchplex Crystal Voices Big Dummy...
Page 350 PC3A Objects (V 2.3) Programs Program Program Program ‘80s Arena Synth Comp’d Phaser Owen’s Strings TremBucker ‘90s Funk Stack Studio C Strings Cascade Sitar Nexx Prog Stack Tender Strings Heavy Buckers Crisp Clav Toxic Strings Nasty’70s Guitar Stevie Fuzz Mixed Choir...
Page 351 PC3A Objects (V 2.3) Programs Program Program Program VideoKilledRadio Yesesis Tron Str Stereo Pickups Moby TurntblTron Brighter CP 70sBubblegumClav Space Oditty TouchRezSynthCP TreblClavWhlmute RocknRollSuicide Power CP Mutron+Synth sw Octave Tron Str Dark Chorus CP Bi*Phaz Clav Siberian Khatru Inside Out CP ‘80s Flange Clav...
Page 352 PC3A Objects (V 2.3) Programs Program Program Program Dream On Session Winds & Esp Str MeanStereoSweep Horns,Winds&Str LightYearStrings PulseVowel TripleStrikeOrch Funkensteinz ARP Winds & Strings Tutti Orchestra Murky Rez Pad Winds, Horn & Str StBaroque Harpsi St PanPhase ARP More Brass & Str...
Page 353 PC3A Objects (V 2.3) Programs Program Program Program Solo Fr Horn Glockenspiel Solo Cello fast Chimes/Glock Ensemble Fr Horn Solo Cello slow Bells Across Lead French Horn Solo Basso 1 CelesteGlockHarp Dyn Orch Fr Horns Solo Basso 2 slo Chime Bell...
Page 354 PC3A Objects (V 2.3) Programs Program Program Program Full Pizzicato Fast Violin II Largo conSordino Fast Violin div Touch Full Pizz Largo 8ves Fast Viola Variable Pizz Espressivo Lead Fast Viola div PizzBass/ArcoLead EspressivoViolas Fast Cello Lead & Adagio Slow Thick Mix...
Page 355 PC3A Objects (V 2.3) Programs Program Program Program StringMachine Bug Zapper Kit L’tric Nat Kit Elektro Sand Kit Lush Pad TrashPanTom Kit Sandy Bott’m Kit Add A Pad 1 Tin Man Kit Box o’ Sand Kit Add a Pad 2...
Page 356 PC3A Objects (V 2.3) Programs Program Program Program Paper Tom 8’ Diapason Poly Sweep 2 8’ Ped Bourdon Boinker Scat Vocals 8’ Reed GlubFlangeKit Scat Choir 8’ Gamba DryFattyKit FM SqareBell 8’ DiaCeleste Drums w Bass 1 Toot Lead 8’ Ballpark Stop...
Page 357 PC3A Objects (V 2.3) Programs Program Program Program 2’ Ballpark Stop GM Synth Kit Wah B3+Echoplx GM Jazz Kit 2’ Viol Sweet n Nice GM Brush Kit Pro Piano Soft Chords GM Orch Kit Big Pop Piano SputtringingB3 VAST1-3Ch/Perc Ezra’s Burner Melvin C.
Page 358 PC3A Objects (V 2.3) Programs Program Program Program WheelSyncBlips 3226 Scary Monksters 1020 VA1NakedPWMMono 3227 Attack Trance 12SAWMWheelLead 1021 VA1NakedSawPoly 3228 Lazer Dub HotMalletMWheel 1022 VA1NakedSqrPoly 3229 Punchy Synth ScreaminWhlBass 1023 VA1NakedSqrMono 3230 Touch Trance SyncWheelLead 1024 VA1NakedSawMono 3231 80's Lead Synth...
Page 359 PC3A Objects (V 2.3) Programs Program Program Program 3257 Punch-a-ghost 3319 Cyanide and .45 3288 Squeeze Pad 3320 Brown Sound 3258 OBwancannoli 3289 TrickleDownPad 3321 Verse Shimmer 3259 80s #4 3290 Bell Pan Pad 3322 Rich Les 3260 ARP Press-Rez...
Page 360 PC3A Objects (V 2.3) Programs Program Program Program 3381 Classic SynBrass 3350 MandStrm5th/4ths 3466 Kit 11 KirkeeB 1 3382 Jubilee Trumpets 3351 Mandolin&BanjoSW 3467 Kit 12 25thAnniv 3383 7thHeaven Saxes 3352 BanjoStrumma 3468 Kit 13 LA A Kit1 3384 Expressive Bone...
Page 361 PC3A Objects (V 2.3) Programs Program Program Program 3497 Kit 42 Orngcrush 3559 PERC Carnival 3528 Recrd Start/Stop 3560 HIT'n Rung 1 3498 Kit 43 Static 3529 5 Kits Templte 1 3561 HIT'n Rung 2 3499 Kit 44 LiteBrite 3530...
Page 362: Programs
PC3A Objects (V 2.3) Programs Program Program Program 3590 KitLiteBeatbx101 3730 Mono Piano 4126 Distorted Gtr 3700 Concert Piano 4096 GM Piano 1 4127 Gtr Harmonics 3701 Rock Piano 4097 Bright Grand 4128 Acoustic Bass 3702 Recital Piano 4098 Electric Grand...
Page 363 PC3A Objects (V 2.3) Programs Program Program Program 4157 Brass Section 4217 Breath Noise 4187 Space Voice 4158 Synth Brass 1 4218 Seashore 4188 Bowed Glass 4159 Synth Brass 2 4219 Bird 4189 Metal Pad 4160 Soprano Sax 4220 Telephone...
Page 364: Setups
PC3A Objects (V 2.3) Setups Setups Press the Info soft button for controller information. Setup Setup Setup Ridin w/ Giorgio Black Cow Split Oldies Big Bottom Piano Some Loving Splt Funk Gospel B3& Piano Piano & Pad Latin Danzhall PianoPercolation...
Page 365 PC3A Objects (V 2.3) Setups Setup Setup Setup Pad w/Benefits Orch Fantasy Insanity AnaSoup Stringotronic Bells Blue Lights On Harp Ensemble LowChunkerGroove Plucked Hammers MarimbasGoneWild Hold Sum Notes Forbidden Planet Ivory Ensemble Reich Piano Childhood Magic Spaces AnaBouncer Autobeller Bubble Pad...
Page 366 PC3A Objects (V 2.3) Setups Setup Setup Setup 3214 SkusnoK FanfareOrchestra 3241 Fishin 3215 Bleep This ElecFanfareOrch 3242 Metalic 3216 UK SynPop ElecBalladOrch 3243 Boots n Cats 3217 KindredSpirit Magic Pizz Orch 3244 Desert Ambush 3218 Simple Talk ElecBalladSplit 3245...
Page 367: Effect Chains
PC3A Objects (V 2.3) Effect Chains Effect Chains Chain Chain Chain Little Booth Stereo Chorus Ring Modulation Soundboard Dense Chorus Frequency Offset Small Dark Room Soft Flange Lazer Tag Flange Sax Chamber Wetlip Flange Fallout PitchLFO Small Hall Flanged Taps...
Page 368 PC3A Objects (V 2.3) Effect Chains Chain Chain Chain Live Room gshot vrb Hot Leslie 122e String Chamber deep part1 Hot Leslie 122f Fife Stage DblSloFlangeCmp Soul Leslie122 4 Live RecitalHall alphacentauri1 Leslie B 122 AbbeyBrasHall2 Timbered Taps 2 Joey Leslie 122...
Page 369 Effect Chains Chain Chain Chain Cathedral Vx SynthLead HeavyBuckers BurningTubes5 SynthBassAmp ProBassComp PunchBassAmp MosqueySwirl NYCTripStrings RevverLeslie PadFX2 ProBassComp2 Bradley’s Barn 1 PadFX1 DirtLordAmp Bradley’s Barn 2 Chr & Echo Setup Aux Verb LA2A for Strings Vocals w FX Setup Aux DDL ChrsDly DrySynthCDR Early Reflection...
Page 370 PC3A Objects (V 2.3) Effect Chains Chain Chain Chain Small Dark Room Deep FuzzBass 1 ShortPnoRvb31 Snarcmp12 Eber Bass St CHDly Kickcmp13 SynFatener& Ech2 Synphase1 BeastieDrums CP80Enhanc1 St CHDly Clunker13 Fisher’sHarm Mic Walrus EP Funksnare9 AbbeyPianoHall2 EPChr16 Funksnare8 Medium Hall 2...
Page 371 PC3A Objects (V 2.3) Effect Chains Chain Chain Chain BassFleaCompMu Elton1 EPChr6 Chr & Echo 2 Aux Chamber PnoEnhanc3 BasicCDR2 BowiePno1 SynEnhancement ShaperFuzzLead 2 BluesPnoCmpRvb 1 CompKik11 AM Big Band New Gtr 31 VintChamber Clunker20 Soundboard 3 SmallWurly2 PadFX3 OmniStage Deep FuzzPnt 1 SynFatener&...
Page 372 PC3A Objects (V 2.3) Effect Chains Chain Chain Chain Aux Echplex Snarcmp112 RayEP 1 Farfisa1 Snarcmp113 EnhanceComp121 Good Leslie33 EnvKickcmp1 Clunker IIa Zep Leslie Kickcmp602 Pad Depth Pt1 Snarcmp801 Snarcmp112 AuxChorusHall kickcmp401 HipHop Drms101 TechnoSyn1 Deep Fuzz 6 PnoCmpSndBoard10 Synphase102...
Page 373 PC3A Objects (V 2.3) Effect Chains Chain Chain Chain 3213 BPM Pad ChDeRv 3246 Gated Plate 3279 Synth Bass CDR 3214 supersaw 2 3247 Van EQ 3280 BOC Deverb 3215 Slow Phase 3248 WarmCruncher2 3281 Gtr Niceverb 3216 BPM Trance...
Page 374 PC3A Objects (V 2.3) Effect Chains Chain Chain Chain 3312 StdioCasterFXRig 3345 SynPnoPhase1 3463 Garage Drums 3313 BonzoCompLTE 3346 PBS on VHS 3464 Expandn'DrumHall 3314 BonzoLTE GateRvb 3347 Attack Trance 3465 Expandn'Drum 481 3315 Syn Brass Plate 3348 HPF Drum Taps...
Page 375 PC3A Objects (V 2.3) Effect Chains Chain Chain Chain 3701 Accdn Booth 3734 Bright Y EQ2 3767 Radio Pop EQ 3702 BRASS EQ/Comp 3735 Artis K Pop EQ 3768 Concert GrandEQ4 3703 SynTrem 3736 Dark n Distant 3769 Soundboard 4...
Page 376: Effect Presets With Algorithms
Effect Presets with Algorithms How to Use These Tables Each effect preset in the PC3A (for effects boxes within the Chain editor) is based on an effect algorithm from the Kurzweil KSP8 effects processor. To make the fullest use of the PC3A’s effects, you will need to download a copy of the KSP8 Algorithm Reference from the Kurzweil Music Systems website.
Page 377 PC3A Objects (V 2.3) Effect Presets with Algorithms Real Big Room alg 5 Classic Verb The Comfy Club alg 9 Diffuse Verb Spitty Drum Room alg 7 TQ Verb Stall One alg 7 TQ Verb Green Room alg 7 TQ Verb...
Page 378 PC3A Objects (V 2.3) Effect Presets with Algorithms Semisweet Hall alg 5 Classic Verb Pipes Hall alg 404 Chorus<>Reverb Reflective Hall alg 5 Classic Verb Smoooth Hall alg 5 Classic Verb Empty Stage alg 7 TQ Verb Pad Space alg 11 OmniVerb Bob’sDiffuseHall...
Page 379 Effect Presets with Algorithms Classic Plate alg 5 Classic Verb Weighty Platey alg 5 Classic Verb Huge Tight Plate alg 9 Diffuse Verb Immense Mosque alg 7 TQ Verb Dreamverb alg 10 OmniPlace Splendid Palace alg 5 Classic Verb Big Gym alg 11 OmniVerb Huge Batcave alg 12 Panaural Room...
Page 380: Delays
PC3A Objects (V 2.3) Effect Presets with Algorithms DistantTVRoom alg 383 Pitcher+Miniverb Drum Neurezonate alg 102 Mono LaserVerb Growler alg 104 Gated LaserVerb Laserverb LaserVerb alg 100 LaserVerb Laserwaves alg 100 LaserVerb Cheap LaserVerb alg 101 LaserVerb Lite Gated LaserVerb...
Page 381 PC3A Objects (V 2.3) Effect Presets with Algorithms Dub Delay ms alg 190 Moving Delay 4-Tap Delay BPM alg 150 4-Tap Delay BPM 4-Tap Dly Pan ms alg 151 4-Tap Delay SemiCircle 4-Tap alg 151 4-Tap Delay 8-Tap Delay BPM...
Page 382: Chorus
PC3A Objects (V 2.3) Effect Presets with Algorithms Chorus CHORUS Basic Chorus alg 202 Dual Chorus 1 Smooth Chorus alg 202 Dual Chorus 1 Chorusier alg 202 Dual Chorus 1 Ordinary Chorus alg 202 Dual Chorus 1 SlowSpinChorus alg 202 Dual Chorus 1...
Page 383: Phaser
Effect Presets with Algorithms Wetlip Flange alg 225 Flanger 1 Simply Flange alg 225 Flanger 2 Analog Flanger alg 225 Flanger 2 Soft Edge Flange alg 225 Flanger 2 Ned Flangers alg 225 Flanger 1 Wispy Flange alg 225 Flanger 1 Crystal Flange alg 456 St Flange+Delay NarrowResFlange...
Page 384: Trem/ Panner/ Spatial
PC3A Objects (V 2.3) Effect Presets with Algorithms Static Phaser 5 alg 257 Allpass Phaser 4 Slow Riser alg 258 Barberpole Comb BarberPole Notch alg 258 Barberpole Comb BarberPole Peak alg 258 Barberpole Comb All The Way Down alg 258 Barberpole Comb...
Page 385: Distortion
PC3A Objects (V 2.3) Effect Presets with Algorithms HeavyDistRotor s alg 294 VC+Dist+HiLoRot2 Res Rotor1 fast alg 295 Rotor 1 Res Rotor1 slow alg 295 Rotor 1 FullRotors4 fast alg 296 VC+Dist+Rotor 4 FullRotors4 slow alg 296 VC+Dist+Rotor 4 VibChorStortCab...
Page 386: Dynamics
PC3A Objects (V 2.3) Effect Presets with Algorithms Dynamics DYNAMICS HKCompressor 3:1 alg 330 HardKneeCompress HKCompressor 5:1 alg 330 HardKneeCompress SK FB Comprs 6:1 alg 331 SoftKneeCompress SKCompressor 9:1 alg 331 SoftKneeCompress SKCompressr 12:1 alg 331 SoftKneeCompress Compress w/SC EQ...
Page 387 PC3A Objects (V 2.3) Effect Presets with Algorithms LFO Sweep Filter alg 362 LFO Sweep Filter DoubleRiseFilter alg 362 LFO Sweep Filter Circle Bandsweep alg 362 LFO Sweep Filter TripFilter alg 362 LFO Sweep Filter Resonant Filter alg 363 Resonant Filter...
Page 388: Chorus Combi
PC3A Objects (V 2.3) Effect Presets with Algorithms Chorus / Combi CHORUS BasicChorusDelay alg 400 Chorus+Delay COMBI Chorus PanDelay alg 400 Chorus+Delay Chorus & Echo alg 400 Chorus+Delay CDR Lead alg 403 Chor+Dly+Reverb CDR Lead 2 alg 403 Chor+Dly+Reverb Chorus Delay 2 alg 400 Chorus+Delay Doubler &...
Page 389: Flange Combi
PC3A Objects (V 2.3) Effect Presets with Algorithms Chorus Bass Room alg 404 Chorus<>Reverb New Chorus Hall alg 404 Chorus<>Reverb Floyd Hall alg 404 Chorus<>Reverb Into The Abyss alg 403 Chor+Dly+Reverb BroadRevSlapback alg 403 Chor+Dly+Reverb Carlsbad Cavern alg 403 Chor+Dly+Reverb Chr->GtrDst->Chr...
Page 390 PC3A Objects (V 2.3) Effect Presets with Algorithms Flange Echo alg 452 Flange<>4Tap Flange 4 Tap alg 452 Flange<>4Tap Flange Hall 2 alg 454 Flange-Dly Hall alg 453 Flan+Dly+Reverb Flange Delay alg 450 Flange+Delay Mecha-Godzilla alg 451 Flange+4Tap Industro-Flange alg 453 Flan+Dly+Reverb...
Page 391 PC3A Objects (V 2.3) Effect Presets with Algorithms Keymaps Keymap Keymap Piano 440 3Vel M Accordion Piano 440 3VEZ M Celesta Keymap Piano 3Vel L alt kHarpsichord Piano f Left Piano 3Vel R alt kClav Piano f Right Piano 3Vel rag L...
Page 392 PC3A Objects (V 2.3) Effect Presets with Algorithms Keymap Keymap Keymap Strings Right Partials 1 6 Sine Wave alttun Meteor Strings Partials 1 8 Synth Vox kEnsemble String Partials 1 12 Koreana kSynstrings 1 Partials 1 2 3 Hybrid Pan...
Page 393 PC3A Objects (V 2.3) Effect Presets with Algorithms Keymap Keymap Keymap Dry Kit 3 VeryMutedTriang1 Tuba/Hrn Section Ambient Kit 1 Marimba Tuba/Sft Trp Ambient Kit 2 Vibes kBone/Trp 2 Electric Kit 1 Vibes/Bells kHarmon Mute Trp Electric Kit 2 Agogo/Bells...
Page 394 PC3A Objects (V 2.3) Effect Presets with Algorithms Keymap Keymap Keymap Tam Tam Left Cello/Vla/Vln Brush Snare Hit1 Tam Tam Right Solo Section 1 Brush Snare Hit2 Triangle Solo Section 2 Brush Stir Short Tambourine Roll Solo Section 3 Brush Stir Long...
Page 395 PC3A Objects (V 2.3) Effect Presets with Algorithms Keymap Keymap Keymap k909 Clap Dry Kit nw5 4v TempleBlock1 ign kXylo rel alt Dry Set 1 4v Tuned TBlocks 1 kSleigh Loop Dry Set 2 4v Tuned TBlocks 2 kAgogo Hi...
Page 396 PC3A Objects (V 2.3) Effect Presets with Algorithms Keymap Keymap Keymap k6-vel [1_2_3456 Vc/VnI Full L Fast Pianet k7-vel [1_234567 Vc/VnI Full R RMI Electra Pno k8-vel [12345678 Vc/Va/VnII Ful L RMI Electra Pno2 Vlns I Full L Vc/Va/VnII Ful R...
Page 397 PC3A Objects (V 2.3) Effect Presets with Algorithms Keymap Keymap Keymap 3249 Steel Guitar Atk 3218 Les Mutes 3280 Syn Voices 2 3250 Perc Atk 1 3219 Caster Mutes 3281 Perc Voice 3251 Perc Atk 2 3220 Caster Sustains 3282...
Page 398 PC3A Objects (V 2.3) Effect Presets with Algorithms Keymap Keymap Keymap 3483 Brush Toms 3514 ST kick Prl 3V 3311 Ahh Buzz Wave 3484 Processed Toms 3515 ST kick Yam 3V 3312 OB Wave 1 3485 E Synth Toms 3516...
Page 399 PC3A Objects (V 2.3) Effect Presets with Algorithms Keymap Keymap Keymap 3545 JK Indgong2 3576 ALL LogSlitCastn 3607 OCT Log Drum 4R 3546 JK Loghia5 3577 ALL Orch&Misc 3608 OCT Log&Slit 6R 3547 JK Loglowa5 3578 ALL Ringbells 3609 OCT Metals 8R...
Page 400 PC3A Objects (V 2.3) Effect Presets with Algorithms Keymap 3638 VRT BongoCongaL2 3639 VRT FrameHybrdL1 3640 VRT FrameHybrdL2 3641 VRT Gourd L1 3642 VRT Gourd L2 3643 Carnival L1 3644 Carnival L2 3645 Carnival L3 3646 Carnival Snares 3647 FlexiCrotale L1...
Page 401 PC3A Objects (V 2.3) Samples Samples Sample Sample Stereo Trem D#3 kHarpsichord v Stereo Trem F3 Harpsichord v Sample Stereo Trem G3 Harpschrd Rel v Stereo Pizz F#1 Stereo Trem A#3 Celesta Stereo Pizz B1 Stereo Trem C4 Accordion Stereo Pizz D2...
Page 402 PC3A Objects (V 2.3) Samples Sample Sample Sample E Bass Slap BlkB St Strings c7 onep4 Left Strings syn Fretless onep6 Right Strings Tenor Saxes RVRS onep8 Take 6 Bopa Acoustic Bass mr onp12 Take6 Aah Attk AcoustBassAltDcy prime Take6 Aah Loop...
Page 403 PC3A Objects (V 2.3) Samples Sample Sample Sample LUDdryH Open Hat Cajon Hit Eamesm Open/Cls Hat Cajon Mute Eamesh Foot Hat Clap PrldryM Crash Cymbal 2 Clap env1 PrlambH Crash Cymbal alt Clap env2 EAMwoodH Ride Rim3 Clap env3 kEDrum2 Kick2...
Page 404 PC3A Objects (V 2.3) Samples Sample Sample Sample Finger Snap Triangle Mute Yam182 rev Finger Snap env1 TriangleMuteEnv1 Closed Hat rev Finger Snap env2 Splash Cymbal Open Hat rev Finger Snap env3 Shakers Down nl Crash rev Maracas Down Shakers Up nl...
Page 405 PC3A Objects (V 2.3) Samples Sample Sample Sample LegatoTenorSax kAcoustic Bass errietamb kChurch Bell distachime kConga Open Tone kTemple Block popshayknroll kBongo Slap kGuiro Lazercork2 Open/Cls Hat R kBelltree Conga Open ToneA TriangleOpnRls kOrchestra Hit Agogo Hi env2A MelTom alt...
Page 406 PC3A Objects (V 2.3) Samples Sample Sample Sample K250 Choir Solo Viola 808 Cowbell K250 Pipe Organs Solo Cello 808 Kick Chimes Fast Solo Cello 808 Snare Xylophone Solo Double Bass 909 Clap Timpani Pizz Strngs Left 909 Closed Hat...
Page 407 PC3A Objects (V 2.3) Samples Sample Sample Sample Vlns Div2 L Tambourine Roll Trombones jk alt Orch Bass Drum a Vlns Div2 R Cross Stick gt1 kOrch Crash jk1 Violas Div2 L Maracas Down gt1 Snare Hit s1 Violas Div2 R...
Page 408 PC3A Objects (V 2.3) Samples Sample Sample Sample 3223 Voices 3253 Organ Wave 4 3283 ARP SAW 3224 Electric Bass 3254 Organ Wave 5 3284 ARP PW30% 3225 Tenor Saxophone 3255 Organ Wave 6 3285 OB PW25% 3226 Chirp 3256...
Page 409 PC3A Objects (V 2.3) Samples Sample 3468 CB Hats 3469 ST Hats 3470 Brush Hats 3471 Elec Hats 3472 Crash Cymbals 3473 Ride Cymbals 3474 Elec Perc 3475 Sound FX 3476 Human Percussion 3477 Drum Perc 3478 Gourd 3479 Wood Perc...
Page 410 PC3A Objects (V 2.3) Arpeggiator Shift Patterns Arpeggiator Shift Patterns Shift Pattern Shift Pattern Shift Pattern BacknForth 1To3 major 1InvMin3 1To3b minor Root 5/3/5 Blues Oct + Root 5/m3/5 Blade Oct - Root 6/4/6 Repeat w/ Rests1 Oct 2x bluesy1 Repeat w/ Rests2 1’s n 12’s...
Page 411 PC3A Objects (V 2.3) Arpeggiator Shift Patterns Shift Pattern Shift Pattern here comes da3 as 1 moving 1 moving 2 moving 3 where’s one? where’s one? 2 happy one happy one 2 crafty 1 crafty 3 crafty 4 crafty 5...
Page 412 PC3A Objects (V 2.3) Arpeggiator Velocity Patterns Arpeggiator Velocity Patterns Velocity Pattern Velocity Pattern Velocity Pattern PseudoSine pat12B echo 1 pat12C echo 2 LoHi pat12D echo 3 HiLoLo pat24A echo 4 HiLoLoLo pat24B echo 5 HiLoLoHiLoHi 6-pattern pat24C echo 6...
Page 413 PC3A Objects (V 2.3) Arpeggiator Velocity Patterns Velocity Pattern Trancer2 ElectroBass1 ElectroGtr1 offbeats01 BalladBass1 One and Two One and Two 2 One and Two 3 Offbeat 8ths And one and D-66...
Page 414 The PC3A does not load samples, so during keymap conversion the PC3A will try to find similar samples to use in the PC3A ROM. This process may or may not be successful. The PC3A is unable to convert the sample skipping parameter (SmpSkp,) so PC3A ROM samples used for converted K2 series keymaps can only be transposed upward by one octave.
Page 415 Index Assigning samples to keymaps 14-3 Atk Rate 9-20 Atk Time 9-16 Attack 9-17 Numerics Attack parameter (ASR) 6-41 Attack Portamento parameter (Common) 6-36 50% Weight 9-24 Attack Time and Level parameters (AmpEnv) 6-43 Audio cables 2-2 AutoPan 9-24 A/Dry->B parameter 9-12 A->B cfg parameter 9-12 About 11-18 Bank Buttons 3-2...
Page 416 Clicking during portamento 6-36, 6-37 Depth 9-24 Clock 11-17 Destination setting 2-7 MIDI Transmit Page 10-2 Source 11-11 Dialogs COMMON Page Save 5-3 Song Mode 12-19 diamond icon 5-4 Common parameters 6-35–6-60 Diff Amt 9-14 Compare 5-7 Diff Gain 9-25 Compatibility Diff Scale 9-13 K Series Objects E-1...
Page 417 Parameters 9-12 Fine adjust 6-25 Effects button 5-7 Flanger 9-19 Effects bypass 5-7 Formatting a USB Device 13-2, 13-15 Effects mode 4-3 Freeze Pedal parameter (Layer) 6-20 Effects Parameters 9-12 FreqScale 9-16 Electrical grounding 2-2 Front panel navigation 3-6 Enable MIDI channels 10-14 FUN page (Program Editor) 6-41 Enable parameter (Layer) 6-19 Function soft buttons 6-51...
Page 418 Impact parameter (EnvCtl) 6-47 Deleting 6-52 Import Layer soft button 6-52 Duplicating 6-52 Importing layers 6-52 Importing 6-52 In Select 9-25 moving between in multi-layer programs 3-11 In/Out parameter 9-12 Muting 5-7 InfinDecay 9-13 LCD 3-6 Info Legacy object conversion E-1 Export 13-15 Legato play parameter (Common) 6-36 INFO Editor 6-51, 6-52...
Page 419 Max Freq 9-20, 9-21 Monster Truck radio spots 9-15 Maximum delay parameter (Layer) 6-19 Morph A>B 9-16 Maximum Rate parameter (LFO) 6-39 MPressure 7-20 Memory objects 5-4 MTC 12-2 metronome 15-4 Multiband Compression 9-17 count off options 15-5 Multitap delays 9-14 Mic Angle 9-23 Multi-velocity keymaps 14-4 Mid Freq 9-15...
Page 420 LAYER page 6-17 LFO 6-39 LFO page 6-38 Parametric equalizer 9-15 MISC page 6-67 Path 13-4 OUTPUT page (KB3) 6-70 PC3A Features 1-2 PERC page 6-63 PC3A Overview 1-3 PERC2 page 6-64 PC3A 6 1-1 PITCH page (KB3) 6-62 PC3A 8 1-1...
Page 421 Editing (KB3) 6-59 Reversing samples 6-16 Editing (VAST) 6-12 Ribbon 2-5 Importing layers 6-52 Playing note patterns 7-26 KB3 2-9, 6-6 ribbon 1-5 Renaming 6-52 Ribbon Configuration (RIBCFG) Page 7-40 Saving 6-52 RIBBON Page 7-40 selecting 2-7 Riffs 7-55 VAST 2-8, 6-4 Ring Modulation 9-25 Ptch Offst 9-25 ROM objects 5-4...
Page 422 Local Program (LocalPrg) 7-4 Shift Pattern (ShiftPatt) 7-47 Name Soft Button 7-68 Shifting notes New Zone (NewZn) Soft Button 7-68 in the Arpeggiator 7-46 Soft buttons 7-68 Signal Delay 9-17 Setup Mode Signal Dly 9-16 Pressure (Press) Page 7-35 Signal-to-noise ratio 2-5 Ribbon Configuration (RIBCFG) Page 7-40 Size Scale 9-13 RIBBON Page 7-40...
Page 423 VAST 1-3 VAST program structure 6-4 Tap Dly 9-18 VAST programs 2-8, 6-4 Tap Lvl 9-18 Velocity Map Tap Pan 9-18 MIDI Receive 10-7 Tap Pitch 9-15 MIDI Transmit 10-3 Tap PtAmt 9-15 Velocity Range 14-4 Tap Shapr 9-15 Velocity tracking 6-25 Tap Tempo 11-11, 15-3 Velocity tracking parameter (EnvCtl) 6-46 Tap types in Multitap delays 9-14...

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Pc3k6 Pc3k7 Pc3k8

Kurzweil PC3A User Manual

Chapter 1 Introduction

Chapter 2 Startup

Chapter 3 User Interface Basics

Chapter 4 The Operating Modes

Chapter 5 Editing Conventions

Chapter 6 Program Mode

Chapter 7 Setup Mode

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Summary of Contents for Kurzweil PC3A