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6.2.32 Solo Mode
This parameter determines which note will be played when Solo is ON and
more than one note is being played simultaneously. There are three choices
for Solo note priority.
Last:
Hi:
Low:
When the Solo is "Off", this page won't be displayed.
6.3 Common Parameters
Common parameters are affecting all zones.
6.3.1 Stretch Tuning
The hearing ability of a human is uneven and is not accurate with high frequency
and low frequency as it is with the middle range. The tuning of an acoustic
piano is stretched to compensate for this so the sound will be heard naturally
to the ears.
Off:
On:
Piano:
On W:
Piano W: Same as "Piano" but the stretching is wider.
6.3.2 Temperament
This parameter sets the temperament of the MP8II.
Equal:
Pure Maj/min:
Pythagor:
Meantone:
The most recently played note within a group of notes will be heard when
Solo is ON
The highest note played within a group of notes will be heard when Solo is
ON.
The lowest note played within a group of notes will be heard when Solo is ON.
The tuning is flat without stretching.
The tuning is always stretched.
The tuning is stretched only when piano sounds are selected.
Same as "On" but the stretching is wider.
This is the most popular tuning method that divides the scale into
twelve equal semitones. This produces the same chordal intervals
in all twelve keys, and has the advantage of limitless modulation
of the key. However the tonality of each key becomes less
characteristic and no chord is in pure consonance.
This temperament, which eliminates dissonances for thirds and
fifths is still popular for choral music because of its perfect harmony.
When playing in a major key select "Pure Maj" and when playing
in a minor key select "Pure Min".
This temperament, which uses mathematical ratios to eliminate
dissonance for fifths, is very limited for use with chords, but it
produces very characteristic melodic lines.
This temperament, which uses a mean between a major and minor
whole tone to eliminate dissonance for thirds, was devised to
eliminate the lack of consonances experienced with certain fifths
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