E-Mu Classic keys Operation Manual
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E-Mu Classic keys Operation Manual

E-Mu Classic keys Operation Manual

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Summary of Contents for E-Mu Classic keys

  • Page 2 Keys is used near children. whether the product is properly 3. Do not use Classic Keys near water — grounded. Do not modify the plug pro- for example near a bathtub, washbowl, vided with this product —...
  • Page 3 8. Classic Keys may be equipped with a polarized line plug (one blade wider that the other). This is a safety feature. If you are unable to insert this plug into the outlet, do not defeat the safety purpose of the plug.

  • Page 4: Table Of Contents

    Section 1 Introduction/Connection Instructions Introduction Basic organization Basic setup Studio setup Performance setup Power up About Classic Keys Section 2 Basic Operation Main controls Selecting presets Selecting MIDI channels, volume & pan Multi-timbral operation Playing the demo sequences Section 3...
  • Page 5 CLASSIC KEYS OPERATION MANUAL Master Menu MIDI mode change MIDI overflow MIDI enable Bank/Preset change MIDI controller assign MIDI footswitch assign Program -> preset map Send MIDI data User key tuning Viewing angle Section 4 Effects Section Effects bus architecture...
  • Page 6 CLASSIC KEYS OPERATION MANUAL Keyboard & velocity modulation Key number Velocity curve Realtime modulation MIDI realtime controls Section 6 Edit Menu Enabling the edit menu Preset name Primary instrument Secondary instrument Key range Primary key range Secondary key range Volume...
  • Page 7 Keyboard tuning Preset links Save preset Section 7 Step-by-Step Linking presets Editing presets Sound splicing synthesis Using Classic Keys with a sequencer Section 8 Reference Section Factory RAM presets Factory ROM presets Instrument listing Drawbar diagrams Percussion instrument locations Technical specifications...
  • Page 8 E-MU WORLD HEADQUARTERS E-MU SYSTEMS, INC. U.S.A. IN ORDER TO OBTAIN WARRANTY SERVICE ON P.O. BOX 660015 YOUR CLASSIC KEYS UNIT, THE SERIAL NUMBER SCOTTS VALLEY, CA USA STICKER MUST BE INTACT AND YOU MUST HAVE A 95067–0015 SALES RECEIPT OR OTHER PROOF OF PURCHASE.

  • Page 9: Introduction

    Classic Keys INTRODUCTION...
  • Page 10 INTRO - CONNECTION INSTRUCTIONS...

  • Page 11: Introduction

    “real” instruments. In this on ROM. For example, the attack of a way, Classic Keys is very similar to a flute can be faded out as a vibe tone is sampling instrument. With Classic Keys,...

  • Page 12: Basic Organization

    INTRO - CONNECTION INSTRUCTIONS Basic Classic Keys is organized as shown in the diagram below. Organization The Preset is a complete set of all program The primary and secondary layers are parameters for a complete Classic Keys essentially two instruments with sound.

  • Page 13: Basic Setup

    INTRO - CONNECTION INSTRUCTIONS Basic Setup MIDI In - Classic Keys is controlled by response, use a high quality amplification MIDI messages received at the MIDI In and speaker system such as a recording connector. Connect the MIDI In of the...

  • Page 14: Studio Setup

    INTRO - CONNECTION INSTRUCTIONS Studio Setup MIDI In - In this setup, Classic Keys is Outputs - Use a high quality amplifica- controlled by MIDI messages received at tion and speaker system such as a record- the MIDI In connector which have been ing mixer and amplifier or home stereo routed by a MIDI switcher.

  • Page 15: Performance Setup

    INTRO - CONNECTION INSTRUCTIONS Performance Setup MIDI In - Classic Keys is controlled by Outputs - Use a high quality amplifica- MIDI messages received at the MIDI In tion and speaker system such as a connector. Connect MIDI In of the Classic keyboard amplifier and speakers.

  • Page 16: Power Up

    Conceptually, the sampling process is wall. The power switch is located on the very simple, as shown in the Basic Sam- right side of the front panel. Classic Keys pling System diagram. As a sound wave and its MIDI controller may be turned on strikes the diaphragm of a microphone, a in any order.

  • Page 17: Basic Operation

    Classic Keys BASIC OPERATION...
  • Page 18 BASIC OPERATION...

  • Page 19: Main Controls

    BASIC OPERATION Main Controls Power Switch Cursor Control Switches AC power to the Classic Keys On These buttons move the cursor to the and Off. next parameter on the display in a clock- wise or counterclockwise direction. (The MIDI Activity LED cursor is a little flashing line underneath Indicates that MIDI data is being received.
  • Page 20 BASIC OPERATION IF CLASSIC KEYS IS NOT MIDI CHANNEL SELECTION CHANNEL VOLUME RESPONDING PROPERLY OR Press the cursor key repeatedly until the Press the cursor key repeatedly until the PLAYS THE WRONG PRESET, cursor is underneath the channel num- cursor is underneath the volume value.

  • Page 21: Multi-Timbral Operation

    BASIC OPERATION Each of the 16 MIDI channels can be assigned to play a specific preset in Classic Keys. MULTI-TIMBRAL OPERATION 4. Classic Keys will now respond multi- Multi-timbral operation means that timbrally on the MIDI channels you have Classic Keys can play more than one specified.

  • Page 22: Playing The Demo Sequences

    BASIC OPERATION PLAYING THE DEMO SEQUENCES Classic Keys contains a play-only se- quencer in order to give you an idea of what is possible using this amazing machine. Press and hold both the Master button and the Edit button. The sequence will start in a moment.

  • Page 23: Master Menu

    Classic Keys MASTER MENU...
  • Page 24 MASTER MENU...
  • Page 25 Tune will change the tuning of all the recently selected since powering up presets, not just the one currently dis- Classic Keys. The cursor will appear played. The Master Menu contains the underneath the first character of the two digital effects processors, since they screen heading on the top line.

  • Page 26: Fx Mix Select

    MASTER MENU FX MIX SELECT EFFECT A This function selects which bus in the This function allows you to select the type output section will be used for each MIDI of effect for effect bus A and contains the channel. You can route each MIDI chan- parameters associated with each effect.

  • Page 27: Master Tune

    MASTER MENU MASTER TUNE Master Tune adjusts the overall tuning of all presets so that Classic Keys can be tuned to other instruments. The master tuning range is ± 1 semitone in 1/64th semitone increments. A master tune setting of “00” would indicate that Classic Keys is perfectly tuned to concert pitch (A=440 Hz).

  • Page 28: Global Velocity Curve

    (off). ming unit to distinguish between mul- Global velocity curve only affects presets tiple Classic Keys units. In the case of WARNING! WHEN which have their individual velocity curve multiple Classic Keys units, each Classic TRANSFERRING SYSEX set to global.

  • Page 29: Midi Enable

    MIDI channel On or Off. This is useful when you have other MIDI devices connected and do not want Classic Keys to respond to the MIDI channels reserved for the other devices. MIDI Enable only operates in Multi Mode.

  • Page 30: Midi Controller Assign

    SOME OF THE STANDARD MIDI CONTROLLER ASSIGN For more information on MIDI control- MIDI CONTROLLER Classic Keys allows you to assign up to lers, see “MIDI Realtime Controls” in NUMBERS ARE LISTED four realtime control sources from your chapter 5, Preset Programming.

  • Page 31: Midi Footswitch Assign

    IF THE PROGRAM -> master synth to call up another specific programmed in the Edit menu. PRESET MAP DOES NOT preset number on Classic Keys. For SEEM TO WORK, MAKE example, the Program Change Map could SURE THAT THE BANK/...

  • Page 32: Send Midi Data

    TUNE INDIVIDUAL INTO CLASSIC KEYS data can either be sent to a computer/ PERCUSSION INSTRUMENTS. sequencer or to another Classic Keys. Using the cursor key and the data entry control, select the type of MIDI data you USER KEY TUNING wish to transmit.
  • Page 33 Classic Keys EFFECTS SECTION...
  • Page 34 EFFECTS SECTION...

  • Page 35: Effects Section

    The effect programming is done on a Two separate digital effects processors are global basis, meaning that the two effects included in the Classic Keys. The “A” serve the entire machine. This is similar effect processor includes several types of...

  • Page 36: Effects Output Routing

    EFFECTS SECTION EFFECTS CAN BE STORED AS PART OF A SEQUENCE BY USING “SEND EFFECTS” IN THE MASTER MENU. EFFECTS OUTPUT ROUTING The diagram above shows how the effects 3) Select the desired effect and program section is integrated into the output jack the appropriate parameters.

  • Page 37: Reverb

    The reverb parts. After an initial pre-delay period, the effects in Classic Keys simulate various echoes from the closest walls or ceiling halls, chambers, rooms and reverberation are heard. These first echoes or the early plates.
  • Page 38 EFFECTS SECTION REVERB EFFECTS Room programs simulate small rooms with high frequency absorption caused by drapes and furniture. Room A bright, medium sized room. The Plates simulate plate type reverbs with apparent source position is fairly close to their tight, dense early reflections and the listener.
  • Page 39 EFFECTS SECTION EARLY REFLECTION GROUP Hall 3 Hall 3 is similar to “Hall 2”, but with Early Reflection 1 larger scale stadium-like acoustics. Hall 3 Early Reflection 2 is warmer than Hall 2 (more high fre- quency damping) and does not display the Early Reflection 3 obvious early reflections and slap echoes.
  • Page 40 EFFECTS SECTION SPECIAL REVERBS STEREO CHORUS These special reverbs all have a single The function of a chorus device is to Decay Time parameter. thicken the sound or to make one voice sound like many. The way the effect is Rain achieved is by mixing one or more Similar to a repeating delay, but with...

  • Page 41: Stereo Flanger

    FXA:StereoChorus one by grasping the tape reel flanges, the flanging effect was born. LFO Depth The flanger in the Classic Keys is a stereo device consisting of two separate delay lines controlled by a single set of con- FXA:StereoChorus trols. The block diagram of the flanger is shown on the following page.
  • Page 42 EFFECTS SECTION STEREO FLANGER A Minimum Delay control serves to tune the flanger. In other words, it adjusts the FXA:StereoFlange placement of the comb filter notches. The LFO Depth initial delay is variable from 26 microsec- onds to 6.5 milliseconds. The Feedback control sends some of the delayed signal through the delay line FXA:StereoFlange...

  • Page 43: Stereo Phaser

    EFFECTS SECTION STEREO PHASER Use the Minimum Frequency control to The stereo phaser is an effect similar to “tune” the resonant frequencies of the the flanger although much more subtle. peaks and notches to the sound. The LFO The phaser creates a swirly animation Depth controls the amount of animation when used with harmonically rich sounds that the effect will add.

  • Page 44: Delay

    EFFECTS SECTION STEREO DELAY DELAY The delay line is a stereo effect which can be used for doubling, echoes or fixed FXA:Delay formant comb filtering with completely R DelayTime independent delay time and tap levels for the left and right sides. The delay is shown in the diagram above.

  • Page 45: Cross Delay

    EFFECTS SECTION CROSS DELAY Cross Delay is identical to the normal delay line except that the output paths and the feedback paths cross over to the opposite channel in order to produce a ping-pong type of effect when reproduced in stereo. Delay time is adjustable from 0 to 209 milliseconds.

  • Page 46: Echo

    EFFECTS SECTION ECHO The Echo produces echoes up to 400 milliseconds in length (twice that of the Delay and Cross Delay effects). The feed- back path is independent of the output level and utilizes a high frequency damp- ing (low pass filter) control which can simulate traditional analog tape echo.
  • Page 47 EFFECTS SECTION B EFFECTS STEREO CROSS DELAY B The B effects include Stereo Flanger, The B Cross Delay is identical to the cross Stereo Chorus, Phaser, Fuzz, Ring delay line in the A effect group except that Modulator, Delay, Cross Delay and Fuzz the maximum delay time is 104 millisec- Lite.

  • Page 48: Stereo Fuzz

    Higher values allow more harmonics to pass. The level of the input sound greatly affects the amount of fuzz, so that Classic Keys’ envelopes can now control harmonic content as well as the volume. Output Experiment with the way the input and Volume sets the output level of the fuzz.

  • Page 49: Ring Modulator

    EFFECTS SECTION RING MODULATOR There are no controls on the ring modu- A Ring Modulator is a device which takes lator as shown by the block diagram two signals and multiplies them together below. The left and right outputs are into one resultant signal containing only simply multiplied together to form a the sum and difference frequencies of...
  • Page 50 EFFECTS SECTION By routing the preset (or MIDI channel) to effect B and panning to opposite sides (shown below), two different waves can be ring modulated. Ring modulation works well with simple waves such as sine waves and the harmonic waveforms. Also, try complex waves modulated with sine waves.

  • Page 51: Preset Programming

    Classic Keys PRESET PROGRAMMING...
  • Page 52 PRESET PROGRAMMING...
  • Page 53 PRESET PROGRAMMING Preset Programming These diagrams show how keyboard splits and layers can be created by linking presets. Remember that each preset can consist of both a primary and secondary layer. Your initial involvement with Classic Presets can be made up of both a primary Keys will most likely consist of using the and secondary instrument.

  • Page 54: Modulation

    PRESET PROGRAMMING Classic Keys has an extensive modulation architecture using two multi-wave LFO’s (Low Frequency Oscillators), two envelope generators and the ability to respond to multiple MIDI controllers. You may simultaneously route any combina- tion of these control sources to multiple destinations.

  • Page 55: Modulation Sources

    PRESET PROGRAMMING MODULATION SOURCES Classic Keys uses three kinds of modula- tion sources. KEYBOARD & VELOCITY MODULATION FOOTSWITCH MODULATION Values which are generated at the start of Changes a parameter when one of three a note and do not change during the note.
  • Page 56 PRESET PROGRAMMING ENVELOPE GENERATORS Delay An envelope can be described as a “con- The time between when a key is played tour” which can be used to shape the and when the attack phase begins. sound in some way over time. Classic Attack Keys contains two different kinds of The time it takes to go from zero to the...
  • Page 57 PRESET PROGRAMMING If the key is released during the Hold (H) phase, the Release (R) phase begins. LOW FREQUENCY OSCILLATORS (LFOs) we are modulating the pitch of an instru- A Low Frequency Oscillator is simply a ment. The sine wave looks smooth, and wave which repeats at a slow rate.
  • Page 58 MIDIPATCH Connecting a modulation source to a The modulation amount can be positive destination is called a patch. Classic Keys or negative and will either add or subtract lets you connect the modulation sources from the initial value. Keyboard and...
  • Page 59 PRESET PROGRAMMING MODULATION SOURCES: KEY NUMBER KEY VELOCITY DESTINATIONS: PITCH, PRIMARY PITCH, SECONDARY PITCH, VOLUME, PRIMARY VOLUME, SECONDARY VOLUME, ATTACK, PRIMARY ATTACK, SECONDARY ATTACK, DECAY, PRIMARY DECAY, SECONDARY DECAY, RELEASE, PRIMARY RELEASE, SECONDARY RELEASE, CROSSFADE, LFO 1 AMOUNT, LFO 1 RATE, LFO 2 AMOUNT, LFO 2 RATE, AUX.

  • Page 60: Key Number

    PRESET PROGRAMMING KEYS ABOVE THE KEYBOARD CENTER POINT WILL HAVE A POSITIVE EFFECT. KEYS BELOW THE KEYBOARD CENTER WILL HAVE A NEGATIVE EFFECT. KEY NUMBER The Key Number is affected by the above middle C and progressively softer Keyboard Center parameter which can be below middle C.

  • Page 61: Realtime Modulation

    AUX. ENVELOPE DECAY, AUX. ENVELOPE RELEASE REALTIME MODULATION In addition to keyboard and velocity modulation, Classic Keys has multiple realtime modulation sources. Realtime modulation sources are parameters which vary over time. The velocity and keyboard modulations, in comparison, are set at the key depression.

  • Page 62: Midi Realtime Controls

    Your MIDI keyboard, in addition to telling controller channels. There is a set of 32 Classic Keys which note was played, may continuous controller channels for each also send realtime control information, of the 16 MIDI channels. Some of the...
  • Page 63 PRESET PROGRAMMING As an example, imagine you are using a To complete the connections for a par- master keyboard which has pitch and ticular preset, go to the Edit menu, STANDARD MIDI modulation wheels, a breath controller, a Realtime Control, and route the MIDI A, CONTROLLER NUMBERS: data slider and a foot pedal, all of which B, C, D to the desired destinations.
  • Page 64 PRESET PROGRAMMING...

  • Page 65: Edit Menu

    Classic Keys EDIT MENU...
  • Page 66 EDIT MENU...
  • Page 67 EDIT MENU The Edit Menu WHILE THE EDIT MENU IS TO SELECT A NEW SCREEN The Edit menu contains functions that ACTIVATED, INCOMING can be modified by the user and then Press the Home/Enter button or press a MIDI PRESET CHANGES ARE IGNORED.

  • Page 68: Preset Name

    EDIT MENU Edit Menu Functions PRESET NAME SECONDARY INSTRUMENT Preset Name allows you to name each of This function allows you to select which the user presets with a name of up to 12 of the available instrument sounds (or characters.

  • Page 69: Primary Key Range

    EDIT MENU Classic Keys Range ENTIRE PRESETS CAN BE LINKED TO FORM SPLIT OR LAYERED PRESETS. SEE THE LINK FUNCTION AT THE END OF THIS CHAPTER. PRIMARY KEY RANGE SECONDARY KEY RANGE Key range sets the keyboard range of the Key range sets the keyboard range of the primary instrument.

  • Page 70: Volume

    EDIT MENU VOLUME COARSE TUNING Volume sets the amplitude of the primary This function allows you to change the and secondary instruments. This function tuning of the primary and secondary also allows you to compensate for the instruments in semitone intervals. The relative volume differences between coarse tuning range is -36 to +36 instruments.

  • Page 71: Delay

    EDIT MENU DELAY SOUND START Delay varies the time between the arrival This function allows you to set where a of a MIDI Note On message and the onset sample begins playing when you hit a key. of a note. The delay time is adjustable A setting of 000 plays a sound from the from 0 to 14 seconds (000-127).

  • Page 72: Alternate Envelope On/Off

    EDIT MENU The Alternate Volume Envelope dynamically controls the final output and can completely change the character of a sound. ALTERNATE ENVELOPE ON/OFF CROSSFADE MODE Each instrument has its own factory This function determines which of the preset AHDSR volume envelope which is following crossfade modes will be used if this parameter is set to Off.

  • Page 73: Crossfade Direction

    EDIT MENU TO USE THE KEYBOARD FOR CROSSFADE, SET THE CROSSFADE BALANCE TO 64 AND THE KEY CENTER TO THE SPLIT POINT. By overlapping the primary and secondary instruments, you can crossfade or cross-switch between the layers. CROSSFADE AMOUNT The crossfade and cross-switch functions MUST be connected to a controller in The crossfade amount parameter deter- SEE ALSO CROSS-SWITCH...

  • Page 74: Cross-Switch Point

    EDIT MENU TO ENABLE THE CROSS- CROSS-SWITCH POINT LFO Rate SWITCH FUNCTION, YOU The cross-switch point parameter deter- Varies the LFO speed from 0.052 Hz to 25 MUST ASSIGN mines the point at which cross-switching Hz (000-127). CROSSFADE TO A will occur when key position or velocity is MODULATION SOURCE LFO Delay...
  • Page 75 EDIT MENU Delayed LFO - The LFO wave begins after the specified delay time has elapsed. AUXILIARY ENVELOPE FOR MORE INFORMATION This is a supplementary, utility envelope AUX ENV AMT DLY ON THE ENVELOPES, SEE that can be routed to any realtime control +127 000 THE PRESET PROGRAMMING destination.
  • Page 76 EDIT MENU MODULATION SOURCES: KEYBOARD & VELOCITY MODULATION ing amount parameter which is variable KEY NUMBER These functions allow you to route from -128 to +127. Place the cursor KEY VELOCITY keyboard and velocity information to any under the appropriate parameter and of the modulation destinations on Classic change the patch number, modulation DESTINATIONS:...
  • Page 77 MIDI CONTROL B, realtime controllers to any of the modula- patch number, modulation source or MIDI CONTROL C, tion destinations on Classic Keys except modulation destination using the data MIDI CONTROL D, Tone, Sample Start, and Pan. Up to 8 entry control.
  • Page 78 EDIT MENU FOOTSWITCH CONTROL PRESSURE AMOUNT This function allows you route the 3 This function allows you to specify an footswitch controllers to any of the amount parameter for mono or poly footswitch destinations. The footswitches keyboard pressure data (aftertouch). The can be routed to switch: Sustain (pri/sec/ pressure amount is variable from -128 to both), Alternate Volume Envelope (pri/...
  • Page 79 EDIT MENU Choose the velocity curve that works best for your playing style and your MIDI controller. Above the Keyboard Center point, key values will be positive; below the Keyboard Center, key values will be negative.
  • Page 80 PRESET LINKS In addition to the standard equally Presets may be linked to other presets in divided octave tuning, Classic Keys order to create layering or keyboard contains four other types of scale tuning splits. The current preset can be linked and one user-definable tuning.
  • Page 81 Classic Keys STEP-BY-STEP...
  • Page 82 STEP-BY-STEP...
  • Page 83 STEP-BY-STEP Step-By-Step This section is an introduction to the Edit menu, explains the concept of Sound Splicing Synthesis, and contains specific programming examples and tips. LINKING PRESETS Linking presets is a quick and easy way to create new sounds by “layering presets” and also to “split”...
  • Page 84 You can probably Classic Keys. If you don’t like what you see that with all these great instruments hear, simply change the preset and to work with, you really can’t go wrong.
  • Page 85 Classic Keys starts with complete sampled sounds or complex waveforms and combines all or part of these together to REVERSE SOUND form a new sound.
  • Page 86 Volume Envelope. There are eleven reverb spaces (instru- The reverb spaces can be further shaped ments 76-84, 86, 88) in Classic Keys. using Reverse, Chorus, or any of the Using the reverb spaces is easy. Use one of other modulation parameters. How about the default presets as your starting point.
  • Page 87 USING CLASSIC KEYS WITH A MORE ADVANCED SEQUENCING SEQUENCER Pre-Sequence Setup We thought you’d never ask. Classic Keys Suppose that you want to have your was designed from its conception with sequencer set up everything for you multi-timbral sequencing in mind. Just before the start of the song.
  • Page 88 While this is fine when the preset is played solo, you may begin to run out of channels when Classic Keys is played multi-timbrally. Linking and chorusing cause twice as many channels to be used by the preset.
  • Page 89 Classic Keys REFERENCE SECTION...
  • Page 90 REFERENCE SECTION RAM Presets Bank 0 Organ 0. org:Panner1% 43. air:PanPiper 86. bas:PerkPedl 1. org:Rocky B3 44. air:Siku 87. bas:UduSynth 2. org:PercGrt% 45. air:ARPreedz 88. led:MoogSqrs Synth Leads 3. org:LoMidPr% 46. air:M12Quack 89. led:MoogSaws 4. org:LoHiPrc% 47. air:DeepHeat 90. led:MoogRect 5.
  • Page 91 REFERENCE SECTION RAM Presets Bank 1 Organ 43. air:Subteran 86. bas:B3 Bass 0. org:Panner2% 44. air:Escaping 87. bas:M12 Bass 1. org:Solo 1 & 45. air:Flutgong Synth 88. led:Interval 2. org:Solo 2 & Leads 46. air:Creepy 89. led:Jumper 3. org:Solo 3 & 47.
  • Page 92 REFERENCE SECTION ROM Presets Bank 2 Organ 0. org:B3 Fast 43. air:D50ish 1 86. bas:MinMog5% 1. org:Lo&Mid % 44. air:WindPowr 87. bas:Rez Body 2. org:Lo&Hi % 45. air:Digital 88. led:Emu Saws Synth Leads 3. org:MostHi % 46. air:Kaliopad 89. led:Emu Sqrs 4.
  • Page 93 REFERENCE SECTION ROM Presets Bank 3 Organ 0. org:HmndGrit 43. air:MoogPipe 86. bas:DeepBas9 1. org:ChrchLdy 44. air:Breath 87. bas:Taurus I 2. org:KeyClick 45. air:OzonLayr 88. drm:JimerWhl Drums 3. org:AirSatz% 46. air:P5 Echo 89. drm:BoomKick 4. org:Cussive% 47. air:D50ish 2 90. drm:Lo Toms 5.
  • Page 94 REFERENCE SECTION SAMPLED SOUNDS Classic B3DistLwSlw ........Distorted B3 Organ, Low Drawbars, Slow Rotor Instruments B3 Dist Fast ..............Distorted B3 Organ, Fast Rotor B3 Hi Slow ............B3 Organ, High Drawbars, Slow Rotor B3 Hi Fast ............B3 Organ, High Drawbars, Fast Rotor B3 Full Slow ............
  • Page 95 * The names of the above-mentioned instruments may be trademarks of third parties. In order to create the instrument sounds, E-mu records such sound from the respective instrument and the recording is converted into a digital signal which is then modified as necessary to be stored in a read only memory (ROM) device.
  • Page 96 REFERENCE SECTION Waveforms 85. Dry Kick ........... Dry Kick Drum over the full keyboard range 86. Kick Verb ........... Kick Drum Reverb over the full keyboard range 87. Dry Snare ..........Dry Snare Drum over the full keyboard range 88. Snare Verb ........Snare Drum Reverb over the full keyboard range 89.
  • Page 97 REFERENCE SECTION HARMONIC WAVEFORMS Waveforms 132. B3 Wave 1 133. B3 Wave 2 154. Oct 1 (Sine) 134. B3 Wave 3 155. Oct 2 All 135. B3 Wave 4 156. Oct 3 All 136. B3 Wave 5 157. Oct 4 All 137.
  • Page 98 REFERENCE SECTION SINGLE CYCLE WAVEFORMS Waveforms These single cycle waveforms were either synthesized or taken from actual sampled sounds. Each wave has a unique tonal quality. 176. Synth Cycle 1 209. Ice Bell 177. Synth Cycle 2 210. Bronze Age 178.
  • Page 99 REFERENCE SECTION LOOPS AND PILES Waveforms Loops are single samples continuously looped. Piles are continuous loops containing multiple samples. Loops and Piles are useful for special effects and can provide rhythmic accompaniment when chords are played. Extreme transpositions may also yield unusual effects.
  • Page 100 REFERENCE SECTION Drawbar Each drawbar controls the volume of its associated harmonic or overtone. The 8" Diagrams drawbar is the fundamental pitch of the sound. Note that instruments 1-7 are full length samples, while waves 1-18 are single cycle loops.
  • Page 101 REFERENCE SECTION Drawbar Diagrams...
  • Page 102 REFERENCE SECTION Drawbar Diagrams...
  • Page 103 REFERENCE SECTION Percussion Instrument Locations ALL DRUMS SNARE EMPTY Allows you to place a tuned snare (inst. #87) in this location using the secondary layer. KICK & SNARE EMPTY Allows you to place tuned kick & snares (inst. 85 & 87) in these locations using the secondary layer or links.
  • Page 104 REFERENCE SECTION Percussion Instrument Locations KICK & SNARE TUNED DOWN KICK & SNARE TUNED UP SNARE TUNED DOWN, PANNED LEFT Allows you to create a stereo snare by pan- ning the secondary snare hard right. (Hint: use delay, tuning, sound start.)
  • Page 105 REFERENCE SECTION Percussion Instrument Locations SNARE PANNED LEFT Allows you to create a stereo snare by pan- ning the secondary snare hard right. (Hint: use delay, tuning, sound start.) REVERB SPACES Allows you to add reverb by layering with Drum Kits 1-7. For more information on the Reverb Spaces, see page 84 of this manual.

  • Page 106: Specifications

    REFERENCE SECTION Technical Specifications Audio Channels ..........32 Max. Output Level ....+4 dB into 600Ω Output Impedance ........100Ω MIDI ..........In, Out, Thru Data Encoding ....... 16 bit linear Sample Playback Rate ......39 kHz Signal to Noise: ........>90 dB Dynamic Range ........>90 dB Frequency Response ....
  • Page 107 REFERENCE SECTION MIDI Implementaion Chart GENERAL INFORMATION FOR CLASSIC KEYS • Product ID is 04. • Device ID is [00-0F] (0-15 decimal). • Since MIDI data bytes cannot be greater than [7F] (127 decimal), the data values are “nibble-ized” to a 14-bit signed 2's complement format.
  • Page 108 REFERENCE SECTION RECEIVED CHANNEL COMMANDS MIDI Channels number (n) = 0-15. Message bytes are represented in hex. All other numbers Specification are decimal. Command Message Comments Note Off 8n kk vv release velocity is ignored Note Off 9n kk vv velocity 0 = note off Key Pressure An kk pp...
  • Page 109 14 bit data word. Bits 0-6 are sent first, followed by bits 7-13 in the next E-mu ID byte MIDI byte. All data words are signed 2’s product ID byte complement values with sign-extension device ID byte out to the most significant bit (bit 13).
  • Page 110 REFERENCE SECTION Command Message Comments TRANSMITTED SYSTEM COMMANDS MIDI Specification Preset Data F0 18 04 dd 01 ll mm ..cs F7 cs = checksum = sum of all data bytes Parameter Value F0 18 04 dd 03 pl pm vl vm F7 pl = parameter # lsb pm = msb vl = value lsb...
  • Page 111 REFERENCE SECTION MIDI Specification PRESET PARAMETERS Parameter Parameter Parameter Parameter Number Name Number Name 0-11 ---------- preset name (12 ascii chars) 46 -------------------------------------- sec pan 12-14 --------------------------------- link 1-3 47 ------------------------------------ sec delay 15-18 ----------------------------- low key 0-3 48 --------------------------------- sec low key 19-22 --------------------------- high key 0-3 49 --------------------------------sec high key 23 ---------------------------- pri instrument...
  • Page 112 REFERENCE SECTION Parameter Parameter Parameter Parameter PRESET PARAMETERS GLOBAL/SETUP PARAMETERS MIDI Number Name Number Name Specification 73 ----------------------------- LFO 2 amount 256 ---------------------- MIDI basic channel 74 ----------------------------------- aux delay 257 ----------------------------- MIDI volume 75 ---------------------------------- aux attack 258 ---------------------------------- MIDI pan 76 ------------------------------------ aux hold 259 ---------------------------- current preset 77 ----------------------------------- aux decay...
  • Page 113 The complete message to change the number. primary instrument to #002: The sound set for Classic Keys is 6. It is necessary to include the sound set F0 18 04 dd 03 17 00 02 0C F7 number as part of the instrument number when exchanging data.
  • Page 114 2’s complement to a signed real This MIDI command is used to identify Specification number) the sound sets in a given Classic Keys. The configuration request command is: raw Value = (msb*128) + lsb (gives you the unsigned raw value) F0 18 04 dd OC F7 if raw Value ≥...
  • Page 115 REFERENCE SECTION NOTE 6 - PRESET DATA REQUEST MIDI Classic Keys presets are organized into Specification groups of 64 presets for the purpose of bulk preset dumps. There are 8 groups of 64 presets (0-511). Each group may be requested using the preset request command and the appropriate preset code listed below.
  • Page 116 The order of the parameters is 0 - Main the same order as they appear in the 1 - FxA Classic Keys display. The allowed range of 2 - FxB SysEx parameter values is also the same 3 - From Preset...
  • Page 117 Room ..........1 MIDI channel on which these controllers WarmRoom ........2 are transmitted must be enabled in the Plate 1 ..........3 Classic Keys Master Menu, but is other- Plate 2 ..........4 wise ignored. Chamber 1 ......... 5 0x0C (12) Effect Control 1 Chamber 2 .........
  • Page 118 MSB/LSB order without interven- ing messages; response to these messages in any other order or format is undefined, but Classic Keys will generally not respond to anything but the MSB followed directly by the LSB on the same channel.
  • Page 119 REFERENCE SECTION Effect A 24 Index Effect B 24 A Effects List 35 Effect Bus Architecture 33 A-D Controllers 28 Effect Programming 35 AC Adapter 14 Effect Settings, sending 30 AC Connection 14 Effect Output Routing 34 Alternate Volume Envelope 70 Enter Button 17 Attack 54 Envelope Generators 54...
  • Page 120 REFERENCE SECTION Index Layering 81 Pan 68 LFO See Low Frequency Oscillator Patch 56 LFO Delay 72 Percussion Instrument Locations 101-103 LFO Rate 72 Performance Setup 13 LFO Variation 72 Phaser 41 Linking Presets 10, 81 Pile Waveforms 97 Loop Waves 97 Pitch Bend Range 76 Low Frequency Oscillator 40, 55, 72 Plates 36...
  • Page 121 REFERENCE SECTION Index Single Cycle Waveforms 96 Solo Mode 69 Sound Splicing Synthesis 83 Sound Start 69 Split Keyboard 51, 81 Studio Setup 12 Sustain 54 Synthesizer Waveforms 94 Technical Specifications 104 Transmit MIDI Data 30 Transpose 25 Tuning Table, sending 30 User Key Tuning 30 User Presets, sending 30 User Presets 10...
  • Page 122 All E-mu products are manufactured with the highest standards of quality. If you find that your instru- ment does require service, it may be done by an authorized E-mu service center. If you are unable to locate a service center in your area, please contact E-mu Systems Service Department at (408) 438-1921.

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