Classic Keys Manual

THIS PRODUCT IS COVERED UNDER ONE ORMORE OF THE FOLLOWING U. S. PATENTS:3,969,682; 3,986,423; 4,404,529; 4,506,579;4,699,038; 4,987,600; 5,013,105; 5,072,645;5,111,727 AND FOREIGN PATENTS AND/ORPENDING PATENTS.CLASSIC KEYS IS A REGISTEREDTRADEMARK OF E-MU SYSTEMS, INC.

IMPORTANT NOTICE:

IN ORDER TO OBTAIN WARRANTY SERVICE ONYOUR CLASSIC KEYS UNIT, THE SERIAL NUMBERSTICKER MUST BE INTACT AND YOU MUST HAVE ASALES RECEIPT OR OTHER PROOF OF PURCHASE.IF THERE IS NO SERIAL NUMBER STICKER ONCLASSIC KEYS, PLEASE CONTACT E-MU SYSTEMSAT ONCE.

OPERATION MANUAL

© 1994 E-MU SYSTEMS, INC.

ALL RIGHTS RESERVED

• FI449 REV. A

MANUAL - RILEY SMITH

E-MU WORLD HEADQUARTERSE-MU SYSTEMS, INC. U.S.A.P.O. BOX 660015SCOTTS VALLEY, CA USA95067–0015TELEPHONE: 408-438-1921FAX: 408-438-8612

EUROPE, AFRICA, MIDDLE EASTE-MU SYSTEMS, LTD.SUITE 6, ADAM FERGUSON HOUSEESKMILLS INDUSTRIAL PARKMUSSELBURGH, EAST LOTHIANSCOTLAND, EH21 7PQTELEPHONE: 44-31-653-6556FAX: 44-31-665-0473

Read This First: Important Safety Instructions

Use in countries other than the U.S.A.may require the use of a different linecord or attachment plug, or both. Toreduce the risk of fire or electric shock,refer servicing to qualified service person-nel. To reduce risk of fire or electricshock do not expose this product to rainor moisture.

DANGERImproper connection of equipment canresult in the risk of electric shock. Checkwith a qualified electrician or servicepersonnel if you are in doubt as towhether the product is properlygrounded. Do not modify the plug pro-vided with this product — if it will not fitthe outlet, have a proper outlet installedby a qualified technician.

CAUTIONIf the Classic Keys (model number 9027),is rack mounted, a standard 19-inch openframe rack must be used.

USER-MAINTENANCE INSTRUCTIONS1. Classic Keys should be kept clean anddust free. Periodically wipe the unit witha clean, lint free cloth. Do not use sol-vents or cleaners.

2. There are no user lubrication oradjustment requirements.

3. Refer all other servicing to qualifiedservice personnel.

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INSTRUCTIONS PERTAINING TO A RISKOF FIRE, ELECTRIC SHOCK, OR INJURYTO PERSONS

WARNING; When using electric products,basic precautions should always befollowed, including the following:

1. Read all instructions before usingClassic Keys.

2. To reduce the risk of injury, closesupervision is necessary when ClassicKeys is used near children.

3. Do not use Classic Keys near water —for example near a bathtub, washbowl,kitchen sink, in a wet basement, on a wetbar, or near or in a swimming pool.

4. Classic Keys should be situated so thatits location or position does not interferewith its proper ventilation.

5. Classic Keys should be located awayfrom heat sources such as radiators, heatregisters, fireplaces, stoves, or ovens.

6. Classic Keys should only be connectedto a power supply of the type described inthe operating instructions and as markedon the product.

7. This product, in combination with anamplifier, headphones, and speakers, maybe capable of producing sound levels thatcould cause full or partial hearing loss ordamaged equipment. Do not operate forlong periods of time at high volume levelsor at a level that is uncomfortable. If you

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experience any hearing loss or ringing ofthe ears consult your physician.

8. Classic Keys may be equipped with apolarized line plug (one blade wider thatthe other). This is a safety feature. If youare unable to insert this plug into theoutlet, do not defeat the safety purpose ofthe plug. Contact an electrician to replaceyour obsolete outlet.

9. The power supply cord of Classic Keysshould be unplugged from the outletwhen left unused for a long period oftime.

10. Care should be taken so that objectsdo not fall and liquids are not spilled intothe enclosure of Classic Keys throughopenings.

11. The product should be serviced byqualified service personnel when:

A. The power supply cord has beendamaged; or

B. Objects have fallen, or liquid has beenspilled into the product; or

C. The product has been exposed to rain;or

D. The product does not appear tooperate normally or exhibits a markedchange in performance; or

E. The product has been dropped or theenclosure damaged.

12. All servicing should be referred toqualified service personnel.

SAVE THESE INSTRUCTIONS

Contents

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Section 1 7 Introduction/Connection Instructions

9 Introduction

10 Basic organization

11 Basic setup

12 Studio setup

13 Performance setup

14 Power up

14 About Classic Keys

Section 2 15 Basic Operation

17 Main controls

18 Selecting presets

18 Selecting MIDI channels, volume & pan

19 Multi-timbral operation

20 Playing the demo sequences

Section 3 21 Master Menu

23 Enabling the master menu

24 FX mix select

24 Effect A

24 Effect B

25 Effects amount

25 Master tune

25 Transpose

25 Global bend

26 Global velocity curve

26 MIDI mode

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CLASSIC KEYS OPERATION MANUAL

Master Menu

26 MIDI mode change

26 MIDI overflow

27 MIDI enable

27 Bank/Preset change

28 MIDI controller assign

29 MIDI footswitch assign

29 Program -> preset map

30 Send MIDI data

30 User key tuning

30 Viewing angle

Section 4 31 Effects Section

33 Effects bus architecture

34 Effects output routing

34 Effect programming

35 Reverb

38 Stereo chorus

39 Stereo flanger

41 Stereo phaser

42 Delay

43 Cross delay

44 Echo

46 Stereo fuzz

47 Ring modulator

Section 5 49 Preset Programming

51 Splitting & layering the keyboard

52 Modulation

53 Modulation sources

54 Envelope generators

55 Low frequency oscillators

56 Midipatch


5

57 Keyboard & velocity modulation

58 Key number

58 Velocity curve

59 Realtime modulation

60 MIDI realtime controls

Section 6 63 Edit Menu

65 Enabling the edit menu

66 Preset name

66 Primary instrument

66 Secondary instrument

66 Key range

67 Primary key range

67 Secondary key range

68 Volume

68 Pan

68 Coarse tuning

68 Fine tuning

68 Chorus

69 Delay

69 Solo mode

69 Sound start

69 Reverse sound

70 Alternate envelope on/off

70 Primary & secondary alternate envelope parameters

70 Crossfade mode

71 Crossfade direction

71 Crossfade balance

71 Crossfade amount

72 Cross-switch point

72 LFO - shape & amount

72 LFO - rate, delay & variation

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Edit Menu

73 Auxiliary envelope

74 Keyboard & velocity modulation control

75 Realtime modulation control

76 Footswitch control

76 MIDI control amount

76 Pressure amount

76 Pitch bend range

76 Velocity range

76 Keyboard center

77 Keyboard tuning

77 Preset links

77 Save preset

Section 7 79 Step-by-Step

81 Linking presets

82 Editing presets

83 Sound splicing synthesis

85 Using Classic Keys with a sequencer

Section 8 87 Reference Section

88 Factory RAM presets

90 Factory ROM presets

92 Instrument listing

98 Drawbar diagrams

101 Percussion instrument locations

104 Technical specifications

105 MIDI implementation chart

106 MIDI specifications

Index

Warranty

7

Classic Keys INTRODUCTION

8

INTRO - CONNECTION INSTRUCTIONS


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Introduction1

CLASSIC KEYSClassic Keys is a musical instrumentwhose sounds are based on actual digitalrecordings of “real” instruments. In thisway, Classic Keys is very similar to asampling instrument. With Classic Keys,we have done the sampling for you andloaded it with a collection of the cleanest16 bit sounds ever sampled.

Classic Keys contains a massive 8 Mega-bytes of the greatest keyboard sounds inthe world. These superb samples havebeen selected from the Emulator IIIsound library and stored in ROMs forinstant access. We have included every-thing you need to play and compose in awide range of contemporary styles. Yousimply plug in and play.

But this is only the beginning. ClassicKeys gives you the ability to literally takethese sounds apart and reassemble theminto an almost limitless number of

entirely new sounds, combining parts ofone sound with another or with any of aselection of digital waveforms also storedon ROM. For example, the attack of aflute can be faded out as a vibe tone isfaded in, giving you a completely newsound! The monophonic and true stereo16 bit samples are arranged into 512preset locations, 256 of which are user-programmable.

Classic Keys features 32 voice polyphony,allowing you to take full advantage of itslayering capabilities (up to 8 sounds oneach key) and its ability to respond multi-timbrally to all 16 MIDI channels makesit ideally suited for multitrack sequencingand composing using a MIDI sequencer.

Other features include two studio-qualityeffects processors with 27 differenteffects, a user definable alternate tuning,and of course, an extensive MIDI imple-mentation.

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USER RAM PRESETSCAN BE MOVED, ERASEDOR ALTERED AS DESIRED

ROM PRESETSCANNOT BE MOVED ORALTERED UNLESS THEY AREFIRST COPIED TO A USERLOCATION

Classic Keys is organized as shown in thediagram below.

The Preset is a complete set of all programparameters for a complete Classic Keyssound.

The preset memory is organized into twobanks of 128 user RAM presets (banks 0-1)and two banks of unalterable ROM presets(banks 2-3).

BasicOrganization

Each preset consists of one or moreInstruments. An instrument is a completeset of samples or a digital waveform whichcovers the entire keyboard range. Aninstrument can be assigned to each of thePrimary and Secondary layers of thepreset.

The primary and secondary layers areessentially two instruments withcomplete modulation controls. The twolayers can be layered or placed adjacentto each other, and can be switched orcrossfaded together in various ways.

Up to four presets can be Linked inorder to have more than one preset onthe keyboard at a time. The linkedpresets may lie on top of each other tocreate a dense layered sound or bearranged side by side on the keyboard tocreate a split keyboard.


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MIDI In - Classic Keys is controlled byMIDI messages received at the MIDI Inconnector. Connect the MIDI In of theClassic Keys to the MIDI Out connector ofa MIDI controller such as a MIDI key-board, MIDI wind controller, or MIDIguitar controller.

Outputs - Classic Keys is a high quality,stereo audio device. In order to reproduceits wide dynamic range and frequency

Basic Setup

response, use a high quality amplificationand speaker system such as a recordingmixer and amplifier or home stereosystem. A stereo setup is highly desirablebecause of the added realism of stereo-phonic sound. Headphones can be used ifan amplifier and speaker system are notavailable. The right output jack serves asa mono output when the left jack is notplugged in.

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Studio Setup

MIDI In - In this setup, Classic Keys iscontrolled by MIDI messages received atthe MIDI In connector which have beenrouted by a MIDI switcher. The MIDIswitcher allows any MIDI controller suchas a MIDI keyboard, MIDI wind controller,or a computer to be easily connected.

MIDI Out - The MIDI Out jack is nor-mally used to transmit program data to acomputer or other device.

Outputs - Use a high quality amplifica-tion and speaker system such as a record-ing mixer and amplifier or home stereosystem. A stereo setup is highly desirablebecause of the added realism of stereo-phonic sound. The right output jackserves as a mono output when the leftjack is not plugged in.


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Performance Setup

MIDI In - Classic Keys is controlled byMIDI messages received at the MIDI Inconnector. Connect MIDI In of the ClassicKeys to MIDI Out of a MIDI controller suchas a MIDI keyboard, MIDI wind controller,or MIDI guitar controller.

MIDI Thru - MIDI Thru transmits an exactcopy of the messages received at the MIDIIn jack and is used to connect additionalMIDI devices onto the MIDI chain.

Outputs - Use a high quality amplifica-tion and speaker system such as akeyboard amplifier and speakers. Astereo setup is highly desirable becauseof the added realism of stereophonicsound. The headphone jack is located onthe front panel. The right output jackserves as a mono output when the leftjack is not plugged in.

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POWER UP!Before applying power, make sure thatyou have received the correct AC adapterfor your part of the world (110V or 220V).Always connect the AC adapter to theClassic Keys before plugging it into thewall. The power switch is located on theright side of the front panel. Classic Keysand its MIDI controller may be turned onin any order. When power is applied, theliquid crystal display will light, indicatingthat the Classic Keys is operating.

ABOUT CLASSIC KEYSClassic Keys, unlike many synthesizers,utilizes digital recordings of “real”instruments for the basis of its sound.This is similar to a tape recorder exceptthat in Classic Keys, the sounds arepermanently recorded on digital memorychips.

To perform this modern miracle, soundsand instrument waveforms are firstsampled into the Emulator III, our top ofthe line, 16 bit stereo digital sampler.

After the sounds and waveforms havebeen truncated, looped and processed,they are “masked” into the Classic KeysROM (Read Only Memory) chips.

Conceptually, the sampling process isvery simple, as shown in the Basic Sam-pling System diagram. As a sound wavestrikes the diaphragm of a microphone, acorresponding voltage is generated. Tosample the sound, the voltage level isrepeatedly measured at a very high rate

and the voltage measurements are storedin memory. To play the sound back, thenumbers are read back from memory,converted back into voltages, then ampli-fied and fed to a speaker which convertsthe voltage back into sound waves. Ofcourse, playing back 32 channels atdifferent pitches tends to complicatematters, but this is basically how it works.In Classic Keys, we have left out theanalog to digital converter stage since thesounds are already sampled for you.

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Classic Keys BASIC OPERATION

16

BASIC OPERATION

BASIC OPERATION

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Main Controls2

Power SwitchSwitches AC power to the Classic Keys Onand Off.

MIDI Activity LEDIndicates that MIDI data is being received.

Master Menu Select ButtonThe Master menu contains parametersthat affect the entire machine, not justcertain presets. The Effects screens arealso located in the Master menu. Anilluminated LED to the left of the buttonindicates that you are in the Master menu.

Edit Menu Select ButtonThe Edit menu is used when you want tochange parameters of a preset. An illumi-nated LED to the left of the button indi-cates that you are in the Edit menu.

Home/Enter ButtonThe Home/Enter button is used to confirma particular operation or return the cursorto the “Home” position. The adjacent LEDflashes to indicate that Classic Keys iswaiting for your response.

Cursor ControlThese buttons move the cursor to thenext parameter on the display in a clock-wise or counterclockwise direction. (Thecursor is a little flashing line underneathone of the parameters in the display.)Press either cursor control repeatedlyuntil the cursor is underneath the desiredparameter.

Data Entry ControlThe data entry control is a stepped,variable control which is used to changeparameter values. The control incrementsor decrements the current value one unitwith each click. This control incorporatesacceleration (values advance faster if thecontrol is turned quickly).

Volume ControlThis is the master volume control for allaudio outputs. Note: For maximumdynamic range, set this control at fulllevel and adjust the amplifier or mixervolume.

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BASIC OPERATION

CHANNEL PAN SHOULDNORMALLY BE SET TO "P"UNLESS REALTIME CONTROLOF PANNING IS DESIRED.THIS WILL ALLOW THE PANSETTINGS PROGRAMMEDFOR EACH PRESET TO BEUSED.

IF CLASSIC KEYS IS NOTRESPONDING PROPERLY ORPLAYS THE WRONG PRESET,MAKE SURE THAT CLASSICKEYS AND YOUR MIDICONTROLLER ARE SET TOTHE SAME MIDI CHANNELAND THAT THE MIDIVOLUME IS TURNED UP.

FOR MORE INFORMATIONABOUT MIDI, SEE MIDIREALTIME CONTROLS ONPAGE 60.

MIDI CHANNEL SELECTIONPress the cursor key repeatedly until thecursor is underneath the channel num-ber. (The cursor is a little flashing lineunderneath one of the parameters in thedisplay.) Rotate the data entry control toselect MIDI channel 01-16. As the chan-nel is changed, the display will change toshow the preset, volume and pan associ-ated with the displayed channel.

C01 Vol127 Pan=P000 Preset Name

PRESET SELECTIONPress the cursor key repeatedly until thecursor is underneath the preset number.(The cursor is a little flashing line under-neath one of the parameters in thedisplay.) As the data entry control isrotated, the preset number and name willchange. The displayed preset will beassigned to the displayed MIDI channel.Preset numbers are arranged into fourbanks of 128.


PRESET BANK SELECTIONYou can jump between preset banks byfollowing the steps outined below.

1. Press and Hold the Home/Enterbutton. While holding the button, turnthe data entry knob.

2. Turning the knob will cause the presetto jump to the same location in thenext bank.

CHANNEL VOLUMEPress the cursor key repeatedly until thecursor is underneath the volume value.Rotate the data entry control to selectvolume 00-127. (This is the same param-eter as MIDI volume control #7, andchanges made over MIDI will be shown inthe display.)


CHANNEL PANPress the cursor key repeatedly until thecursor is underneath the pan value.Rotate the data entry control to select panvalues -7 to +7 or “P”. When “P” isselected, the pan value specified in thepreset is selected. Any other value willoverride the pan parameter in the preset.(This is the same parameter as MIDI pancontrol #10, and changes made over MIDIwill be shown in the display.)

C01 Vol127 Pan+7000 Preset Name

The bank selection feature allows you to jumpbetween banks of 128 presets.

0

0

0

0

BASIC OPERATION

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MULTI-TIMBRAL OPERATIONMulti-timbral operation means thatClassic Keys can play more than onesound at the same time. To access mul-tiple presets on different MIDI channelssimultaneously, follow these instructions:

1. Set the MIDI mode to MULTI-Mode,using the MIDI mode function in theMaster menu (page 26).

2. Decide which MIDI channels you wishClassic Keys to receive, and (optionally)turn all other channels OFF using theMIDI Enable function in the Master menu(page 27).

Up to 16 channels can be selectedsimultaneously!

3. Select the desired preset for each of theMIDI channels you wish Classic Keys toreceive using the MIDI Channel/Presetselection screen (see previous instruc-tions).

4. Classic Keys will now respond multi-timbrally on the MIDI channels you havespecified. The volume and pan positionparameters can be adjusted over MIDI (foreach MIDI channel) or using the Cursorand Data Entry control in the MIDIChannel/Preset selection screen.

Each of the 16 MIDI channels can be assigned to play a specific preset in Classic Keys.

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BASIC OPERATION

PLAYING THE DEMO SEQUENCESClassic Keys contains a play-only se-quencer in order to give you an idea ofwhat is possible using this amazingmachine. Press and hold both the Masterbutton and the Edit button. The sequencewill start in a moment. Press the Enterbutton to stop the sequence. Press theright cursor button to toggle betweenthe sequences. Press the left cursorbutton to start the current sequenceagain. Classic Keys contains 2 sequences.

DEMO: 1 2ENTER=Stop >=Nxt

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Classic Keys MASTER MENU

22

MASTER MENU

MASTER MENU

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3 The Master Menu

TO ENABLE THE MASTER MENUPress the Master key, lighting the LED.The current screen will be the one mostrecently selected since powering upClassic Keys. The cursor will appearunderneath the first character of thescreen heading on the top line.

TO SELECT A NEW SCREENPress the cursor key repeatedly (or holdthe cursor key while turning the dataentry control) until the cursor is under-neath the screen title heading. Rotate thedata entry control to select anotherscreen.

TO MODIFY A PARAMETERPress the cursor key repeatedly (or holdthe cursor key while turning the dataentry control) until the cursor is under-neath the parameter value. Rotate thedata entry control to change the value.

TO RETURN TO PRESET SELECT MODEPress the Master key, turning off the LED.

The Master menu contains functions thataffect the overall operation of ClassicKeys. For example, changing the MasterTune will change the tuning of all thepresets, not just the one currently dis-played. The Master Menu contains thetwo digital effects processors, since theyare programmed globally for all presets.

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MASTER MENU

EFFECT AThis function allows you to select the typeof effect for effect bus A and contains theparameters associated with each effect.See the Effects chapter for detailedinformation on each effect.

FXA:Hall1Decay Time 140

EFFECT BThis function allows you to select the typeof effect for effect bus B and contains theparameters associated with each effect.See the Effects chapter for detailedinformation on each effect.

FXB:StereoChorusLfo Rate 050

FX MIX SELECTThis function selects which bus in theoutput section will be used for each MIDIchannel. You can route each MIDI chan-nel through the FxA or FxB processors ordirectly to the Main outputs (no effects).An additional selection called Preset(Prst), allows the selection to be made inthe preset (FX Mix Select). Thus effectscan be selected according to MIDI chan-nel or by preset.

FX MIX SELECTchannel 01: FxA

MASTER MENU

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FX AMOUNTThis function allows you to adjust theratio of wet (processed) to dry (unproc-essed) signal coming out of each effectprocessor. A setting of 100% wouldindicate that all of the signal is beingprocessed by the effect. The B->A param-eter allows you to adjust the amount ofeffect B that will be fed through the Aeffect. If B->A is set above 100%, the word“Only” is displayed and the B amountchanges to “Off”. This disconnects effectB from the outputs and routes ALL ofeffect B through effect A.

FX AMOUNT A:50%B->A:0% B:75%

MASTER TUNEMaster Tune adjusts the overall tuning ofall presets so that Classic Keys can betuned to other instruments. The mastertuning range is ± 1 semitone in 1/64thsemitone increments. A master tunesetting of “00” would indicate that ClassicKeys is perfectly tuned to concert pitch(A=440 Hz).

MASTER TUNE+63

TRANSPOSEThis function transposes the key ofClassic Keys in half-step intervals. Thetranspose range is ± 12 semitones or oneoctave.

TRANSPOSE+12 semitones

GLOBAL BENDThis function sets the range of the pitchwheel only when it is routed to controlpitch. The maximum pitch bend range is± 12 semitones. This function only affectspresets which have their individual pitchbend range set to global.

GLOBAL BEND+/- 12 semitones

TO USE THE B->A ONLYROUTING FEATURE, THEFX MIX SELECT MUST BESET TO “B”.

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MASTER MENU

note is released, the envelopes will not beretriggered (legato). Mono mode isparticularly useful with alternate control-lers such as MIDI guitars, etc.

ID numberThis function allows an external program-ming unit to distinguish between mul-tiple Classic Keys units. In the case ofmultiple Classic Keys units, each ClassicKeys should have a different ID number.Note: E-mu products Proteus, ProteusFX, Vintage Keys and Classic Keys all useproduct code 04 to maintain presetcompatibility. If you are using more thanone of these units in your MIDI setup, seteach unit to a separate ID to differentiateeach unit.

MIDI MODE IDOmni 00

MIDI MODE CHANGEThis function selects whether or not MIDImode change commands are accepted orignored when received over MIDI (seeMIDI Mode).

MIDI MODE CHANGEDisabled

MIDI OVERFLOWWhen on, if you play more notes thanClassic Keys has channels (32), theadditional note data will be directed outthe MIDI Out port to a second ClassicKeys or other MIDI device. MIDI Overflowcan be turned On or Off.

MIDI OVERFLOWOff

GLOBAL VELOCITY CURVEIncoming velocity data can be modified bya velocity curve in order to providedifferent types of dynamics in response toyour playing or to better adapt to a MIDIcontroller. This function allows you toselect one of the four velocity curves orleave the velocity data unaltered (off).Global velocity curve only affects presetswhich have their individual velocity curveset to global. For more information onthe velocity curves, see page 58.

GLOBAL VEL CURVE4

MIDI MODEThis function selects one of the four MIDImodes and the MIDI system exclusive IDnumber.

Omni modeClassic Keys responds to note informationon all MIDI channels and plays the presetcurrently displayed in the main screen.

Poly modeClassic Keys only responds to noteinformation received on the currentlyselected MIDI channel (on the presetselection screen) and plays that channel’sassociated preset.

Multi modeClassic Keys responds to data on anycombination of MIDI channels and playsthe specific preset associated with each ofthe MIDI channels.

Mono modeClassic Keys responds to data on anycombination of MIDI channels but playseach channel monophonically. If a newnote on a channel is played before the last

WARNING! WHENTRANSFERRING SYSEXDATA FROM ONECLASSIC KEYS TOANOTHER, THE IDNUMBERS OF BOTHUNITS MUST MATCH.

UNLESS YOU ARE USINGMULTIPLE CLASSIC KEYSUNITS IT IS BEST TOLEAVE THE ID NUMBERSET TO 00.

MASTER MENU

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MIDI ENABLEWhen in MIDI Multi mode, this functionlets you turn each MIDI channel On orOff. This is useful when you have otherMIDI devices connected and do not wantClassic Keys to respond to the MIDIchannels reserved for the other devices.MIDI Enable only operates in Multi Mode.

MIDI ENABLEchannel:01 On

BANK/PRESET CHANGEThis function allows Classic Keys toutilize or ignore incoming MIDI programchange commands for each channel.Since MIDI can only select presets 000-127, this function also allows you toselect which bank of 128 presets will beaccessed via incoming program changecommands. Another option, “Map,”routes incoming program changes to theMIDI program -> preset mappingfunction. See page 29.

BANK/PRST CHANGEchannel 01:Off

BANK/PRST CHANGEchannel 02:Bank1

BANK/PRST CHANGEchannel 03:Map

.

PROGRAM CHANGES IGNOREDON MIDI CHANNEL 1

PROGRAM CHANGES ROUTED TOPRESET BANK 1 ON MIDI CHANNEL 2

PROGRAM CHANGES ROUTEDTHROUGH THE PROGRAM ->PRESETMAP ON MIDI CHANNEL 3

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MASTER MENU

SOME OF THE STANDARDMIDI SWITCH NUMBERSARE LISTED BELOW.64 SUSTAIN SWITCH

(ON/OFF)

65 PORTAMENTO SWITCH(ON/OFF)

66 SOSTENUTO(CHORD HOLD,ON/OFF)

67 SOFT PEDAL (ON/OFF)

69 HOLD PEDAL 2(ON/OFF)

SOME OF THE STANDARDMIDI CONTROLLERNUMBERS ARE LISTEDBELOW:

1 MODULATION WHEELOR LEVER

2 BREATH CONTROLLER

3 PRESSURE: REV 1 DX7

4 FOOT PEDAL

5 PORTAMENTO TIME

6 DATA ENTRY

7 VOLUME

8 BALANCE

9 UNDEFINED

10 PAN

The MIDI controller A-B-C-D must have both a source (0-31) and a control destination assigned.

MIDI CONTROLLER ASSIGNClassic Keys allows you to assign up tofour realtime control sources from yourMIDI controller. These control sourcescould be modulation wheels, data slidersor whatever. In this screen, you set upwhich controllers will be received byClassic Keys. What effect the controllerwill have is programmed separately foreach preset. MIDI controllers are eachassigned a letter, A-D. Each controllerletter can be assigned to a MIDI realtimecontroller from 01-31. Note: If controllernumbers 7 or 10 are selected, they willoverride the standard MIDI volume andpan control routings.

CONTROLLER #A:01 B:02

Next Screen:

CONTROLLER #C:03 D:04

For more information on MIDI control-lers, see “MIDI Realtime Controls” inchapter 5, Preset Programming.

MASTER MENU

29

This chart shows how MIDI preset changes can be re-mapped. In this example, program changes 10-29have been re-mapped. All other programs will be selected normally.

MIDI FOOTSWITCH ASSIGNLike the MIDI Controllers, 3 MIDIfootswitches can be assigned to MIDIfootswitch numbers. Footswitches can beassigned numbers from 64-79. Destina-tions for the footswitch controllers areprogrammed in the Edit menu.

FOOTSWITCH #1:64 2:65 3:66

PROGRAM ->PRESET MAPIncoming MIDI program changes can beremapped to a different numbered preset.This is a handy feature when you want aspecific preset number sent from themaster synth to call up another specificpreset number on Classic Keys. Forexample, the Program Change Map couldbe set to call up preset 012 wheneverClassic Keys receives program changenumber 26. Any preset can be mapped toany incoming MIDI program changenumber.

MAP PROGRAM 026>012 org:Jag Sub5

IF THE PROGRAM ->PRESET MAP DOES NOTSEEM TO WORK, MAKESURE THAT THE BANK/PRESET CHANGEFUNCTION IS SET TO“MAP” (PAGE 27).

3

3

30

MASTER MENU

SEND MIDI DATAThis function transmits MIDI SystemExclusive data to the MIDI Out port. MIDIdata can either be sent to a computer/sequencer or to another Classic Keys.Using the cursor key and the data entrycontrol, select the type of MIDI data youwish to transmit. The choices are:

Effect SettingsTransmits all the current effects param-eters except mix select (for the 16 MIDIchannels).

Master SettingsTransmits all parameters in the Mastermenu except effects, tuning table,program/preset map and viewing angle.

Program/Preset MapTransmits only the program/preset map.

Tuning TableTransmits only the user tuning table.

Factory PresetsTransmits all the factory presets.

User PresetsTransmits all the user presets.

Any Individual PresetTransmits only the selected preset.

SEND MIDI DATA040 air:AngelVox

The Enter LED will be flashing. Press theEnter button to confirm the operation.

TO TRANSMIT MIDI DATA TO ASEQUENCER

1. SET UP SEQUENCER TO RECEIVESYSTEM EXCLUSIVE DATA.

2. START SEQUENCER RECORDING, THENSEND PRESET DATA.

TO RECEIVE MIDI DATA FROM ASEQUENCER

1. SIMPLY PLAY BACK THE SEQUENCEINTO CLASSIC KEYS

USER KEY TUNINGIn addition to standard twelve tone equaltemperament, Classic Keys contains fouradditional preset tuning tables (Just C,Vallotti, 19 tone, and Gamelan) and oneuser definable tuning. User Key Tuningallows you to alter the parameters of theuser definable tuning stored in memory.The initial frequency of every key can beindividually tuned, facilitating the cre-ation of microtonal scales. Using thecursor key and the data entry control,select the key name, the MIDI key num-ber and the fine tuning. The key name isvariable from C-2 to G8. MIDI key num-ber is variable from 0 to 127. The finetuning is variable from 00 to 63 inincrements of 1/64 of a semitone (approx.1.56 cents). For each preset, the specifictuning table is selected in the Edit menu.

USER KEY TUNINGKey:C1 036-00

VIEWING ANGLEThis function allows you to change theviewing angle of the display so that it maybe easily read from either above or below.The angle is adjustable from +7 to -8.Positive values will make the displayeasier to read when viewed from above.Negative values make the display easier toread from below.

VIEWING ANGLE+7

APPLICATION: THE USER KEYTUNING CAN BE USED TOTUNE INDIVIDUALPERCUSSION INSTRUMENTS.

THE PRESET, VOLUME, ANDPAN INFORMATION FOR ALL16 CHANNELS IS INCLUDEDWHEN THE MASTERSETTINGS ARE TRANSMITTEDOR RECEIVED.

WARNING! WHENTRANSFERRING SYSEXDATA FROM ONECLASSIC KEYS TOANOTHER, THE IDNUMBERS OF BOTHUNITS MUST MATCH.

3

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Classic Keys EFFECTS SECTION

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EFFECTS SECTION

EFFECTS SECTION

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4 Effects Section

EFFECTS BUS ARCHITECTURETwo separate digital effects processors areincluded in the Classic Keys. The “A”effect processor includes several types ofReverberation, which is an electronicsimulation of a natural space such as aroom or hall, as well as Delays, Echoes,Chorusing, Phaser and Flanging effects.The “B” effect processor contains specialeffects such as a Ring Modulator and twotypes of Fuzz.

Each effect has its own set of controlparameters which are appropriate to thatparticular effect. For both the A and Beffects there is an amount parameterwhich determines the relative mix of theprocessed and unprocessed signals (wet/dry mix). The output of the B effect canalso be routed back through processor A.

The effect programming is done on aglobal basis, meaning that the two effectsserve the entire machine. This is similarto the way an external effects unit wouldbe connected except that in Classic Keys,the signal path is kept entirely in thedigital domain in order to preserve theexcellent sound quality.

The choice of which of the two effects isused for a particular sound can be madeby MIDI channel or it can be selected perpreset.

The two effect processors are programmed globally for the entire machine.

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EFFECTS SECTION

EFFECTS OUTPUT ROUTINGThe diagram above shows how the effectssection is integrated into the output jackrouting scheme. The mix bus can beselected either by the preset or by MIDIchannel. When “Preset” is selected, theFX MIX SELECT programmed in thepreset is used.

TO PROGRAM AN EFFECT:1) Press the MASTER button lighting

the LED.

2) The first screen in the Master menu isshown below. Select one of the effectprocessors for each MIDI channel youwish to use (or select “Preset” if youwant the selection in the preset to beused), This control selects the inputto the effect processors.

FX MIX SELECTchannel 01:FxA

3) Select the desired effect and programthe appropriate parameters.

FXA:EchoL Delay Time 255

4) Set the FX Amount for the A or Beffect. This adjusts the ratio of ef-fected to un-effected signal. B->Aallows you to route the output ofeffect B through effect A (set the MIXto FxB).

FX AMOUNT A:50%B->A:0% B:50%

5) That's it!

EDITED EFFECTSPARAMETERS ARE NOTREMEMBERED WHEN ANEW EFFECT IS SELECTED.

EFFECTS CAN BE STORED ASPART OF A SEQUENCE BYUSING “SEND EFFECTS” INTHE MASTER MENU.

EFFECTS SECTION

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A EFFECTSROOMWARM ROOMSMALL ROOMS 1 & 2HALLS 1, 2 & 3CHAMBERS 1 & 2PLATES 1 & 2EARLY REFLECTIONS 1-4REVERSE EARLY REFLECTIONSRAIN & SHIMMERSTEREO CHORUSSTEREO FLANGEPHASERECHODELAYCROSS DELAY

REVERBReverberation is a simulation of a naturalspace such as a room or hall. The reverbeffects in Classic Keys simulate varioushalls, chambers, rooms and reverberationplates. In addition, there are several otherreverb effects such as Early Reflectionsand Rain. There is only one adjustableparameter on the reverbs - Decay Time.Decay time is the length of time that ittakes for the reflected sound from thewalls of the room to die away. In general,the larger the room, the longer the decaytime.

B EFFECTSSTEREO CHORUSSTEREO FLANGEPHASERDELAYCROSS DELAYFUZZFUZZ LITERING MODULATOR

The diagram below breaks down thereverberated sound into its componentparts. After an initial pre-delay period, theechoes from the closest walls or ceilingare heard. These first echoes or the earlyreflection cluster, vary greatly dependingon the type of room. Roughly 20 millisec-onds after the reflection cluster, theactual reverberation begins and decaysaccording to the time set by the decaytime parameter.

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EFFECTS SECTION

Room programs simulate small roomswith high frequency absorption caused bydrapes and furniture.

Plates simulate plate type reverbs withtheir tight, dense early reflections andsharp reverb build-up.

Chambers simulate medium sized roomswith hard reflective surfaces.

Hall programs recreate the open, spa-cious ambience of large concert halls.

Early Reflection programs consist of thereflection cluster only without the reverbdecay. These effects are similar to amultiple tap delay line and have a singleadjustable parameter - Ambience.

The special reverbs Rain & Shimmer arevariations of the early reflection programsand consist of a dense group of shortechoes followed by longer echoes.

FXA:Hall 1Decay Time: 165

Place the cursor underneath the reverbname and use the data entry control tochange the type of reverb. Moving thecursor to the lower line allows you tochange the decay time of the reverb.Thedecay times of the reverb programs varyfrom effect to effect (Rooms: 50-250,Small Rooms: 10-128, Halls: 100-255,Chambers: 50-200, Plate 1: 80-200,Plate 2: 80-250.

The Early Reflection programs have anAmbience parameter which is variablebetween 0-100. The ambience parameteris a diffusion control which simulates theeffect of an irregular wall surface as theamount is increased.

REVERB EFFECTS

RoomA bright, medium sized room. Theapparent source position is fairly close tothe listener. Suitable for use with 100%wet mix setting for adding ambience.

Warm RoomThis reverb is similar to “Room” withmore high frequency absorption, slightlylarger size and a more distant sourceposition.

Small Room 1This reverb is also similar to “Room” withshorter initial reflections, shorter decaytimes and higher reflection density due tothe reduced room size. The apparentsource position is closer to the listener.

Small Room 2This reverb is a variation of “Small Room1” with greater high frequency dampingand a more distant source position.

Hall 1Hall 1 is a large, highly reverberant spacewith auditorium-like acoustics. Like allthe Hall programs, “Hall 1” exhibits awarm, distant ambience with slow reflec-tion density buildup. With the decayparameter set to maximum, “infinite”reverberation effects can be obtained.Adjustment of wet-dry mix can be used toposition the listener from the “front row”(≈25%) to “back of the balcony” (≈100%).

Hall 2This reverb is similar to “Hall 1”, butharder and brighter, with more pro-nounced slap echoes that come fromparallel reflecting surfaces in the room.Hall 2 also exhibits a pronounced reverb“bloom” or late-reflection buildup. A 50%wet mix creates the optimum “close”distance adjustment.

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Hall 3Hall 3 is similar to “Hall 2”, but withlarger scale stadium-like acoustics. Hall 3is warmer than Hall 2 (more high fre-quency damping) and does not display theobvious early reflections and slap echoes.It also exhibits a distinct predelay ofapproximately 100 milliseconds and apronounced late reflection buildup bothof which contribute to the impression of alarge space. Wet mix values of 10% to50% are most appropriate, although asetting of 100% produces an effective cavesimulation.

Chamber 1A simulation of a bright, medium-sizedchamber reverb or recital hall with hardwalls. Early reflections are very promi-nent, with high reflection density. Moder-ately long decays are possible at themaximum decay setting.

Chamber 2Similar to “Chamber 1” but with a muchwarmer sound. The wet mix adjustmentprovides an effective control over theapparent source location from close(10%) to very distant (100%).

Plate 1Simulates a plate reverb unit. Gives atight, bright, slightly metallic sound.Reflection buildup is very rapid, with highdensity. Early reflections are minimized.

Plate 2An effect similar to Plate 1, but slightlywarmer with less density.

EARLY REFLECTION GROUPEarly Reflection 1

Early Reflection 2

Early Reflection 3

Early Reflection 4

All Early Reflection programs have asingle Ambience parameter which addsdiffusion to the individual reflections.Lower ambience settings cause reflectionsto become more discrete, simulatingharder reflecting surfaces. The earlyreflection programs are simulations ofincreasingly large acoustic spaces, from asmall studio (Early Refl 1) to a large roomlike a sound stage (Early Refl 4). The wetmix control acts effectively as sourcedistance control. In general, lower mixamounts are more effective as the roomsize increases.

Reverse Early ReflectionMore of a special effect than an acousticsimulation, Reverse ER contains a set ofexponentially increasing delay taps,creating a kind of “zip” sound at lowAmbience settings. At maximum ambi-ence and lower wet mix values, the soundis more authentically acoustic, with along, delayed reflection “bloom”. Theeffect is similar to a large but welldamped parking garage.

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EFFECTS SECTION

SPECIAL REVERBSThese special reverbs all have a singleDecay Time parameter.

RainSimilar to a repeating delay, but withcomplex spatial and filtering effectsoccurring across the stereo panorama.The effect on percussive sounds might belikened to a bucket of marbles rainingdown on a galvanized steel roof.

ShimmerDistantly related to the Rain effect,Shimmer causes input signals to beprogressively diffused in time and spaceacross the stereo panorama. The spatialdiffusion is accompanied by a flangingeffect. The program is highly responsiveto left or right-panned inputs. A stunningspecial effect with percussive sounds,especially through headphones.

STEREO CHORUSThe function of a chorus device is tothicken the sound or to make one voicesound like many. The way the effect isachieved is by mixing one or moredelayed versions of the signal in with theoriginal. The delay times used are tooshort to be perceived as an echo, but longenough so that comb filtering does notoccur. In addition, the delay time isvaried to simulate the random differenceswhich occur when multiple instrumentsare playing together. A slight amount offeedback improves the effect by creatingmultiple images of the sound as it recir-culates again and again. The delay timesare slightly different for each channel andthe LFO phase is inverted on the rightchannel to help contribute to the overallchorus effect. The LFO Rate and Depthsettings are critical to achieving a realis-tic effect with faster LFO Rates generallyrequiring less LFO Amount and vice-versa.

STEREO CHORUS

EFFECTS SECTION

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The stereo chorus in the Classic Keys isvery similar to the stereo flanger exceptthat the delay time is longer. The delaytimes for the stereo chorus range from 13milliseconds to 52 milliseconds, com-pared with the 26 microsecond to 6.5millisecond range of the flanger.

FXA:StereoChorusLFO Rate 050

FXA:StereoChorusLFO Depth 050

FXA:StereoChorusMin Delay 036

FXA:StereoChorusFeedback +100

STEREO FLANGERA flanger consists of a short audio delayline whose output is mixed together withthe original signal. Mixing the delayedand original signals together results inmultiple frequency cancellations creatinga comb filter effect as shown in thediagram below. Since the flanger is a typeof filter, it works best with harmonicallyrich sounds such as strings.

The flanging effect was originally createdusing two tape recorders playing identicalrecordings. By exactly synchronizing thetwo decks and then slowing the speed ofone by grasping the tape reel flanges, theflanging effect was born.

The flanger in the Classic Keys is a stereodevice consisting of two separate delaylines controlled by a single set of con-trols. The block diagram of the flanger isshown on the following page.

Adding the original signal together with a slightly delayed version creates multiple cancellations in theoutput signal called “comb filtering”.

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EFFECTS SECTION

A Minimum Delay control serves to tunethe flanger. In other words, it adjusts theplacement of the comb filter notches. Theinitial delay is variable from 26 microsec-onds to 6.5 milliseconds.

FXA:StereoFlangeMin Delay 100

A Low Frequency Oscillator (LFO) variesthis initial delay setting, changing thefrequency of the notches and addinganimation to the sound. The LFO Ratecontrols the rate of change and the LFODepth controls how much the delay ischanged by the LFO. The LFO adds to theinitial delay time so that with LFO Depthset to 255 the maximum delay time is 13milliseconds.

FXA:StereoFlangeLFO Rate 038

FXA:StereoFlangeLFO Depth 150

The Feedback control sends some of thedelayed signal through the delay lineagain. When positive feedback is used(values +1 to +127), the comb filternotches are deepened; when negativefeedback is used (values -1 to -127)resonant peaks are formed between thenotches which increase with the amountof negative feedback.

FXA:StereoFlangeFeedback -127

STEREO FLANGER

EFFECTS SECTION

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STEREO PHASERThe stereo phaser is an effect similar tothe flanger although much more subtle.The phaser creates a swirly animationwhen used with harmonically rich soundssuch as strings and voices. It can also beused like a chorus to thicken-up a thinsound.

FXA:PhaserLfo Rate 060

FXA:PhaserLfo Depth 015

FXA:PhaserMin Freq 001

FXA:PhaserFeedback 060

STEREO PHASER

Use the Minimum Frequency control to“tune” the resonant frequencies of thepeaks and notches to the sound. The LFODepth controls the amount of animationthat the effect will add. Feedback controlsthe depth of the peaks and notches.

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EFFECTS SECTION

STEREO DELAY

DELAYThe delay line is a stereo effect which canbe used for doubling, echoes or fixedformant comb filtering with completelyindependent delay time and tap levels forthe left and right sides. The delay isshown in the diagram above.

The Delay Time parameter is indepen-dently variable from 0 to 209 millisecondsfor both the left and right channels. TheTap Level parameters control the amountof signal from the left and right delays aswell as how much signal from each issupplied to the feedback control.Feedback controls how many echoes areproduced. A setting of 0 produces onlyone echo. The delay line is incrediblystable even with large amounts of feed-back. This quality allows the delay line tobe used as a resonator, where it acts as akind of oscillator when excited by aninput signal. Infinite delay effects are alsopossible without the risk of runaway. Thestereo delay can function as two indepen-dent delay lines by panning the primaryand secondary instruments to the ex-treme left and right.

FXA:DelayR DelayTime 060

FXA:DelayR Tap Level 055

FXA:DelayL DelayTime 255

FXA:DelayL Tap Level 120

FXA:DelayFeedback 120

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CROSS DELAYCross Delay is identical to the normaldelay line except that the output pathsand the feedback paths cross over to theopposite channel in order to produce aping-pong type of effect when reproducedin stereo. Delay time is adjustable from 0to 209 milliseconds. The Cross Delay isshown in the diagram below.

CROSS DELAY

FXA:Cross DelayR DelayTime 060

FXA:Cross DelayR Tap Level 055

FXA:Cross DelayL DelayTime 255

FXA:Cross DelayL Tap Level 120

FXA:Cross DelayFeedback 120

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EFFECTS SECTION

ECHOThe Echo produces echoes up to 400milliseconds in length (twice that of theDelay and Cross Delay effects). The feed-back path is independent of the outputlevel and utilizes a high frequency damp-ing (low pass filter) control which cansimulate traditional analog tape echo.Because the left and right delay controlsare completely independent (0-400 mS)they be adjusted to create very interestingstereo echo effects.

FXA:EchoFeedback 100

FXA:EchoL DelayTime 255

FXA:EchoR DelayTime 100

FXA:EchoHF Damping 010

ECHO

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B EFFECTSThe B effects include Stereo Flanger,Stereo Chorus, Phaser, Fuzz, RingModulator, Delay, Cross Delay and FuzzLite. Some of the B effects such as theFuzz and the Ring Modulator are a bitbizarre (you won’t want to use them onevery sound), but can be used to createsome truly amazing effects. The B effectscan additionally be routed through the Aeffect as shown in the diagram above.Simple effects such as Fuzz can take on acompletely new character when routedthrough a Reverb.

STEREO DELAY BThe B Delay is identical to the delay linein the A effect group except that themaximum delay time is 104 milliseconds(instead of 209 milliseconds). This delayis useful for short echoes, slapback anddoubling effects, as well as for fixedformant comb filtering. Like Stereo DelayA, the feedback parameter is extremelystable even with high amounts, making ituseful as a resonator for “infinite” delays.

STEREO CROSS DELAY BThe B Cross Delay is identical to the crossdelay line in the A effect group except thatthe maximum delay time is 104 millisec-onds (instead of 209 mS). This delay isuseful for short ping-pong echoes, stereoslapback and doubling effects.

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EFFECTS SECTION

STEREO FUZZThe Stereo Fuzz introduces a controlleddistortion to any signal passing throughit. Distortion creates harmonics byclipping the top of the wave when itexceeds a certain level. Sine waves aretransformed into square waves andcomplex waves take on noise-like quali-ties. There are two types of fuzz in ClassicKeys: Fuzz and Fuzz Lite.

FUZZThis Fuzz is probably the “grungiest” fuzzyou have ever heard. Two filters, one atthe input and one at the output of thefuzz, allow you to control the amount andtype of harmonics added to the sound.The Input Filter controls the amount ofharmonics produced by the fuzz and theOutput Filter removes harmonics at theoutput, smoothing the sound. Highervalues allow more harmonics to pass. Thelevel of the input sound greatly affects theamount of fuzz, so that Classic Keys’envelopes can now control harmoniccontent as well as the volume. OutputVolume sets the output level of the fuzz.There are two complete fuzz effects,controlled by the same set of controls asshown in the diagram below.

Two independent sounds can be pro-cessed by panning primary and secondaryto opposite sides, or a single sound can berouted through both sides. If a singlesound is panned slightly off center, thefuzz will act slightly differently on eachside because of the difference in level.

FUZZ LITEThis is a more restrained type of fuzzutilizing “soft-clipping.” As the levelincreases, the waveform through FuzzLite becomes somewhat squared. Assignal level is increased further, it trans-forms into a square wave. There is noOutput Volume control on Fuzz Lite.

Experiment with the way the input andoutput filters work on the sound. Fuzz isa specialized effect, not for every situa-tion, but another powerful tool in yourmusical arsenal.

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RING MODULATORA Ring Modulator is a device which takestwo signals and multiplies them togetherinto one resultant signal containing onlythe sum and difference frequencies ofthe two input waves. The original fre-quencies are not output! However, everyharmonic of each signal multiplies everyother, according to its amplitude. As aresult, ring modulators tend to generate alot of non-harmonic frequencies whichcan sound very bell-like or out of tune.

This diagram shows the result of Ring Modulating two sine waves with frequencies of 800 Hz and 200 Hz.Only the Sum and Difference frequencies of 1000 Hz and 600 Hz will result.

There are no controls on the ring modu-lator as shown by the block diagrambelow. The left and right outputs aresimply multiplied together to form amonophonic output.

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EFFECTS SECTION

By routing the preset (or MIDI channel)to effect B and panning to opposite sides(shown below), two different waves can bering modulated. Ring modulation workswell with simple waves such as sine wavesand the harmonic waveforms. Also, trycomplex waves modulated with sinewaves. (Play chords!) Complex waveformstend to sound rather noise-like.

Pan the primary and secondary instru-ments to left and right in the pan screenand then move to the Effect B screen andselect Ring Modulator. There are noparameters to adjust in this effect so thelower line of the display always reads:None.

FXB:RingModulateNone ---

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Classic Keys PRESET PROGRAMMING

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PRESET PROGRAMMING

PRESET PROGRAMMING

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5 Preset Programming

Your initial involvement with ClassicKeys will most likely consist of using theexisting presets and selecting MIDIchannels. While the factory presets arevery good, there are probably some thingsyou would like to change, perhaps theLFO speed, or the attack time. You mayalso want to make your own custompresets using complex modulationroutings. Entirely new sounds can becreated by combining the attack portionof one sound with the body of anothersound or by combining the digital wave-forms with sampled sounds. There are256 user locations (banks 0-1) available tostore your own creations or edited factorypresets. Best of all, it’s easy to edit orcreate new presets using the edit menu.

Presets can be made up of both a primaryand secondary instrument. Presets canalso be “linked” with up to 3 additionalpresets to create layering or splits.

One way to create a keyboard split is toassign an instrument to a specific rangeand then link it to other presets which fillin the empty keys. By using both theprimary and secondary instrument rangesfor each of the individual preset links, upto eight keyboard splits can be produced.

These diagrams show how keyboard splits and layers can be created by linking presets. Remember thateach preset can consist of both a primary and secondary layer.

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PRESET PROGRAMMING

Classic Keys has an extensive modulationarchitecture using two multi-wave LFO’s(Low Frequency Oscillators), twoenvelope generators and the ability torespond to multiple MIDI controllers. Youmay simultaneously route any combina-tion of these control sources to multipledestinations.

Turning the volume control back and forth on your home stereo is an example of amplitude modulation.

MODULATIONModulation means to dynamicallychange a parameter, whether it be thevolume (amplitude modulation), thepitch (frequency modulation), or what-ever. Turning the volume control on yourhome stereo rapidly back and forth wouldbe an example of amplitude modulation.To modulate something we need a modu-lation source and a modulation destina-tion. The source is your hand turning theknob, and the destination is the volumecontrol. If we had a device that wouldautomatically turn the volume control,we would also call that device a modula-tion source. Classic Keys (and mostsynthesizers for that matter) are designedso that for each of the variable param-eters, such as the volume, there is an

initial setting which can be changed by amodulation source. Therefore in the caseof volume, we have an initial volume andwe can change or modulate that volumewith a modulation source. This can bethought of as a type of remote control inwhich one device automatically controlsanother in a precise way.

Two main types of modulation sources onClassic Keys are Envelope Generators andLow Frequency Oscillators. In the ex-ample above, an envelope generator couldbe routed to automatically turn thevolume control as programmed by theenvelope. Or, a low frequency oscillatorcould be routed to automatically turn thevolume control up and down in a repeat-ing fashion.

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MODULATION SOURCESClassic Keys uses three kinds of modula-tion sources.

KEYBOARD & VELOCITY MODULATIONValues which are generated at the start ofa note and do not change during the note.

Keyboard KeyWhich key is pressed.

Key VelocityHow hard the key is pressed.

REALTIME MODULATIONValues which can be continuouslychanged during the entire duration of thesound.

Pitch WheelA synthesizer pitch bend wheel.

Miscellaneous Controllers (4)Any type of MIDI controller data.

Keyboard Pressure (mono aftertouch)Key pressure applied after the key isinitially pressed.

Polyphonic Key Pressure (polyaftertouch)Polyphonic aftertouch from a control-ler capable of generating polyphonicpressure data. Poly pressure is receivedon a “per note” basis.

Low Frequency Oscillators (2)Generate repeating waves.

Envelope Generators (1)Generate a programmable volume orpitch contour which changes over timewhen a key is pressed.

FOOTSWITCH MODULATIONChanges a parameter when one of threeMIDI footswitches are pressed. Thefootswitches can be programmed toswitch: Sustain (pri/sec/both), AlternateVolume Envelope (pri/sec/both), AlternateVolume Release (pri/sec/both), or Cross-Switch between the primary and second-ary instruments.

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PRESET PROGRAMMING

DelayThe time between when a key is playedand when the attack phase begins.

AttackThe time it takes to go from zero to thepeak (full) level.

HoldThe time the envelope will stay at thepeak level before starting the decayphase.

DecayThe time it takes the envelope to gofrom the peak level to the sustain level.

SustainThe level at which the envelope re-mains as long as a key is held down.

ReleaseThe time it takes the envelope to fall tothe zero level after the key is released.

ENVELOPE GENERATORSAn envelope can be described as a “con-tour” which can be used to shape thesound in some way over time. ClassicKeys contains two different kinds ofenvelope generators. One of the envelopegenerators, the Alternate Volume Enve-lope, controls the volume of the primaryor secondary instrument and has 5 stages,Attack, Hold, Decay, Sustain, and Release.The other envelope, the Auxiliary Enve-lope, can be routed to any realtimecontrol destination and is a generalpurpose envelope. The Auxiliary Envelopehas 6 stages: Delay, Attack, Hold, Decay,Sustain, and Release. The Envelopeparameters can be described as follows:

THE GENERALIZEDENVELOPE SHAPES OF AFEW TYPES OF SOUNDSARE SHOWN BELOW.

The six stages of the auxiliary envelope generator: Delay, Attack, Hold, Decay, Sustain and Release.

PRESET PROGRAMMING

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LOW FREQUENCY OSCILLATORS (LFOs)A Low Frequency Oscillator is simply awave which repeats at a slow rate. ClassicKeys has two multi-wave LFOs for each ofits 32 channels. The LFO waveforms are:Triangle, Sine, Square, Sawtooth, andRandom, which is a random “sample andhold” type of wave.

By examining the diagram of the LFOwaveforms, you can see how the LFO willaffect a modulation destination. Suppose

we are modulating the pitch of an instru-ment. The sine wave looks smooth, andwill smoothly change the pitch. Thesquare wave changes abruptly, and willabruptly change the pitch from one pitchto another. The sawtooth wave smoothlydecreases, then abruptly changes back up.The sound’s pitch will follow the samecourse. Controlling the pitch of aninstrument is an easy way to hear theeffects of the LFO waves.

If the key is released during the Hold (H) phase, the Release (R) phase begins.

LFO waveforms.

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PRESET PROGRAMMING

When the amount of an LFO is a negativevalue, the LFO shape will be inverted. Forexample, inverting the sawtooth waveproduces a wave that smoothly increases,then instantly resets down.

MIDIPATCHConnecting a modulation source to adestination is called a patch. Classic Keyslets you connect the modulation sourcesin almost any possible way to the modula-tion destinations. You can even modulateother modulators. Each patch also has anamount parameter which determines“how much” modulation is applied to thedestination.

The modulation amount can be positiveor negative and will either add or subtractfrom the initial value. Keyboard andvelocity sources can be simultaneouslypatched to any 6 of the 33 destinations foreach preset. Realtime modulation sourcescan be simultaneously patched to any 8 ofthe 24 destinations for each preset.

PRESET PROGRAMMING

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KEYBOARD & VELOCITY MODULATIONThe Keyboard and Velocity Modulationdiagram shows the possible routings ofKey Number (which key is pressed), andVelocity (how hard the key is pressed).These modulation sources can controlany of the destinations indicated by thesmall arrows. A modulation source cancontrol up to six destinations or onedestination can be controlled by up to sixmodulation sources. The possible modu-lation routings are completely flexible asshown in the example above.

MODULATION SOURCES:KEY NUMBERKEY 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. ENVELOPE AMOUNT,AUX. ENVELOPE ATTACK,AUX. ENVELOPE DECAY,AUX. ENVELOPE RELEASE,SAMPLE START,PRIMARY SAMPLE START,SECONDARY SAMPLE START,PAN, PRIMARY PAN,SECONDARY PAN,TONE, PRIMARY TONE,SECONDARY TONE

THE TONE FILTER IS ASIMPLE LOW-PASS TONECONTROL WHICH CAN BEUSED TO DARKEN THETONE OF AN INSTRUMENT.

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PRESET PROGRAMMING

KEY NUMBERThe Key Number is affected by theKeyboard Center parameter which can beset to any key from C-2 to G8. The key-board center establishes a reference pointfor keyboard modulation; keys above thispoint will have a positive value, while keysbelow it will be negative. For example, ifwe wished to change the volume of aninstrument using key number and the keycenter were set to middle C, the instru-ment would get progressively louder

above middle C and progressively softerbelow middle C.

VELOCITY CURVESIncoming velocity values can be scaled byone of the four velocity curves in order tomatch your playing style or better adaptto the MIDI controller. Experiment withthe four curves to find the one that worksbest for your style and MIDI controller.

CHOOSE THE VELOCITYCURVE THAT WORKS BESTFOR YOUR PLAYING STYLEAND YOUR MIDICONTROLLER.

KEYS ABOVE THEKEYBOARD CENTER POINTWILL HAVE A POSITIVEEFFECT. KEYS BELOW THEKEYBOARD CENTER WILLHAVE A NEGATIVE EFFECT.

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REALTIME MODULATIONIn addition to keyboard and velocitymodulation, Classic Keys has multiplerealtime modulation sources. Realtimemodulation sources are parameters whichvary over time. The velocity and keyboardmodulations, in comparison, are set atthe key depression. The realtime modula-tion sources can control any of thedestinations except Sample Start, Toneand Pan as indicated by the small arrows.A modulation source can control up toeight destinations or one destination canbe controlled by up to eight modulationsources. The possible modulationroutings are completely flexible as shownin the example above.

MODULATION SOURCES:PITCH WHEEL,MIDI CONTROL A,MIDI CONTROL B,MIDI CONTROL C,MIDI CONTROL D,MONO PRESSURE,POLYPHONIC PRESSURE,LFO 1, LFO 2,AUXILIARY ENVELOPE

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. ENVELOPE AMOUNT,AUX. ENVELOPE ATTACK,AUX. ENVELOPE DECAY,AUX. ENVELOPE RELEASE

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PRESET PROGRAMMING

MIDI REALTIME CONTROLSThe MIDI realtime controllers may seemconfusing at first, but they are really verysimple to understand. You probablyalready know that there are 16 MIDIchannels that can be used. Each of the 16MIDI channels uses basically 3 types ofmessages; note on/off, program changes,and continuous controller messages.Your MIDI keyboard, in addition to tellingClassic Keys which note was played, mayalso send realtime control information,which simply means occurring in realtime or live. (You may be using a MIDIdevice other than a keyboard, but forsimplicity’s sake we’ll presume that

you’re using a keyboard.) Realtimecontrol sources include such things aspitch wheels or levers, modulation wheelsor levers, control pedals, aftertouch, etc.and are used to add more expression orcontrol. Your MIDI keyboard sends outrealtime controller information onseparate channels called continuouscontroller channels. There is a set of 32continuous controller channels for eachof the 16 MIDI channels. Some of thecontroller channels, such as pitch wheel,volume, and pan have been standardized.For example, volume is usually sent oncontinuous controller channel #7.

Common realtime controllers such as thepitch wheel, volume, pan and pressure arepre-programmed to their proper destina-tions. Your keyboard may have otherrealtime controls such as a control pedalor data slider which can also be pro-grammed to control most of the param-eters on Classic Keys.

Classic Keys is equipped with our sophis-ticated MidiPatch™ system, which allowsyou to route any continuous controller toany realtime modulation destination. TheMidiPatch system is also very easy to use.First, you must know which controllernumbers your keyboard can transmit.

MIDI WIND CONTROLLERSMAY WORK BETTER IF YOUASSIGN ONE OF THE MIDIA, B, C, D CONTROLLERS TOCONTROL VOLUME. THISWILL ALLOW THE MIDIVOLUME TO BE ADDED TOTHE CURRENT VOLUME.

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STANDARD MIDICONTROLLER NUMBERS:

1- MODULATION WHEEL

2- BREATH CONTROLLER

3- PRESSURE REV 1 DX7

4- FOOT PEDAL

5- PORTAMENTO TIME

6- DATA ENTRY

7- VOLUME

8- BALANCE

9- UNDEFINED

10- PAN

As an example, imagine you are using amaster keyboard which has pitch andmodulation wheels, a breath controller, adata slider and a foot pedal, all of whichtransmit their values over MIDI. Thestandard MIDI controller numbers for thecontrols are listed below (the pitch wheelhas a dedicated controller, PWH). First,we would go to the Master menu, MIDIController Assign and define the 4 MIDIcontrollers that we wish to use. Assigneach controller number to one of theletters A-B-C-D.

01 - Modulation Wheel A

02 - Breath Controller B

04 - Foot Pedal C

06 - Data Entry D

To complete the connections for a par-ticular preset, go to the Edit menu,Realtime Control, and route the MIDI A,B, C, D to the desired destinations. Thesecould be patched to any 4 destinations oreven to the same destination. The MIDIController Amount menu, (in the Editmenu) allows you to scale the amounts ofeach of the controllers by a positive ornegative value. The signal flow is shownin the diagram below.

The MIDI controllers A-B-C-D must have both a source (0-31), and a control destination assigned.

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Classic Keys EDIT MENU

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EDIT MENU

EDIT MENU

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The Edit Menu6

The Edit menu contains functions thatcan be modified by the user and thensaved as preset information in one of theuser presets. For example, the LFO speedor other parameter can be edited, thenthe preset can be saved to a user location(Banks 0 and 1).

WARNING

Changes made in the Edit menu willbe forever lost unless the preset is“saved” using the Save Presetfunction (page 78) before changingthe preset.

TO ENABLE THE EDIT MENUPress the Edit button, lighting the LED.The current screen will be the one mostrecently selected since powering up themachine. The cursor will appear under-neath the first character of the screenheading on line one.

TO SELECT A NEW SCREENPress the Home/Enter button or press acursor button repeatedly until the cursoris underneath the screen heading. Rotatethe Data Entry Control to select thescreen.

TO MODIFY A PARAMETERPress a cursor button repeatedly (or holdthe right cursor button while turning thedata entry control) until the cursor isunderneath the parameter value. Rotatethe data entry control to change thevalue.

TO RETURN TO PRESET SELECT MODEPress the Edit button, turning off theLED.

WHILE THE EDIT MENU ISACTIVATED, INCOMINGMIDI PRESET CHANGES AREIGNORED. THIS IS A QUICKAND EASY WAY TOTEMPORARILY TURN MIDIPRESET CHANGE OFF.

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EDIT MENU

PRESET NAMEPreset Name allows you to name each ofthe user presets with a name of up to 12characters. Position the cursor under thecharacter location and use the data entrycontrol to change the character. Thekeyboard can also be used to selectcharacters. The chart above shows thekeyboard character assignment.

PRESET NAME000 Untitled

PRIMARY INSTRUMENTThis function allows you to select whichof the available instrument sounds (ornone) will be placed on the primary layerof the current user preset.

INSTRUMENT priI013 Flute

Edit Menu Functions

SECONDARY INSTRUMENTThis function allows you to select whichof the available instrument sounds (ornone) will be placed on the secondarylayer of the current user preset.

INSTRUMENT secI023 Farfisa

KEY RANGEKey range sets the keyboard range of bothprimary and secondary instruments. Thissets the keyboard range for the entirepreset and will further limit the primaryand secondary keyboard ranges. The keyrange can be set anywhere from C-2 toG8.

KEY RANGEC-2 -> G8

CHANGING THEINSTRUMENT IS A SIMPLEWAY TO CREATE A NEWSOUND WHILE RETAININGALL THE OTHER PARAMETERSOF THE PRESET.

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PRIMARY KEY RANGEKey range sets the keyboard range of theprimary instrument. This is useful forcreating positional crossfades and key-board splits between the primary andsecondary layers. The key range can be setanywhere from C-2 to G8.

KEY RANGE priC-2 -> C0

SECONDARY KEY RANGEKey range sets the keyboard range of thesecondary instrument. The key range canbe set anywhere from C-2 to G8.

KEY RANGE secC#0 -> G8

ENTIRE PRESETS CAN BELINKED TO FORM SPLIT ORLAYERED PRESETS. SEE THELINK FUNCTION AT THEEND OF THIS CHAPTER.

Classic Keys Range

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EDIT MENU

VOLUMEVolume sets the amplitude of the primaryand secondary instruments. This functionalso allows you to compensate for therelative volume differences betweeninstruments.

VOLUMEpri:127 sec:64

PANPan allows you to independently set theinitial pan position of the primary andsecondary instruments. A value of -7 pansthe instrument hard left and a value of +7pans the instrument hard right. This pansetting is only valid if “P,” for preset pan,is selected in the main display.

PANpri:-7 sec:+7

FX MIX SELECTThis function allows you to direct aparticular preset to one of the effectprocessors (FxA, FxB) or leave the presetDry-no effects (Main). This routing isutilized if Mix Select for a particular MIDIchannel is set to “Preset” in the Mastermenu. Otherwise this parameter isignored. This function allows you tochoose the effect bus in the preset ratherthan by MIDI channel.

FX MIX SELECTFxA

COARSE TUNINGThis function allows you to change thetuning of the primary and secondaryinstruments in semitone intervals. Thecoarse tuning range is -36 to +36semitones. A coarse tuning setting of “00”would indicate that the instrument istuned to concert pitch (A=440 Hz).

TUNING coarsepri:+00 sec:+00

FINE TUNINGThis function allows you to change thetuning of the primary and secondaryinstruments in 1/64 semitone intervals(approx. 1.56 cents). The fine tuningrange is ± 1 semitone.

TUNING finepri:+00 sec:+00

CHORUSChorus “thickens” the sound by doublingthe sound and then detuning it. Choruscan be turned On or Off for the primaryand secondary instruments. When Chorusis on, a particular instrument will usetwice as many channels. If Chorus is usedfor both primary and secondary instru-ments, the preset will use four channelsper key which correspondingly reducesthe available polyphony.

CHORUSpri:Off sec:On

IN ORDER FOR THE FX MIXSELECT TO BE UTILIZED, THEFX MIX SELECT FOR THE MIDICHANNEL (IN THE MASTERMENU) MUST BE SET TOPRESET.

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DELAYDelay varies the time between the arrivalof a MIDI Note On message and the onsetof a note. The delay time is adjustablefrom 0 to 14 seconds (000-127).

DELAYpri:000 sec:000

SOLO MODESolo mode provides the playing action ofa monophonic instrument with singletriggering and last-note priority. Thismode does not allow you to play a chord.Solo mode will not retrigger the envelopegenerators if a new note is played whileanother is being held. This allows a legatoplaying technique to be used. Solo modealso provides more realistic effects whenworking with guitar and wind controllers.

SOLO MODEpri:Off sec:On

The Sound Start parameter allows you to cut off the beginning of the sound. Higher values move thestart point toward the end of the sound.

SoundStart

SOUND STARTThis function allows you to set where asample begins playing when you hit a key.A setting of 000 plays a sound from thebeginning, higher values move thesample start point toward the end of thesound.

SOUND STARTpri:000 sec:000

REVERSE SOUNDWhen reverse sound is turned On, theinstrument will be played backwards.When an instrument is reversed, anyloops in the sound will be ignored, whichmeans that the sound will not sustainindefinitely.

REVERSE SOUNDpri:Off sec:On

THE SOUND STARTPARAMETER CAN BE USEFULTO REMOVE THE GRADUALATTACK OF A REVERSEDSOUND. SEE THE STEP-BY-STEP CHAPTER FOR ANAPPLICATION USINGSOUND START.

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CROSSFADE MODEThis function determines which of thefollowing crossfade modes will beselected: Off, Crossfade, or Cross-Switch.

OffWhen “Off” is selected, none of thecrossfade parameters will have any effect.

CrossfadeWhen Crossfade mode is selected, acontrol input is used to fade between theprimary and secondary. Any modulationsource may be used as a control input(velocity, LFO, etc.).

Cross-switchWhen Cross-switch mode is selected, theswitched layer is selected if the inputcrosses a certain threshold or if afootswitch controlling cross-switch isactivated. The switch occurs only at thestart of the note; no further switchingtakes place while the key is held down.

If key position or velocity is routed tocross-switch, the threshold is the switchpoint. Realtime controllers do not haveany effect when routed to cross-switch.For more information, see Cross-SwitchPoint on page 72.

XFADE MODEOff

ALTERNATE ENVELOPE ON/OFFEach instrument has its own factorypreset AHDSR volume envelope which isused if this parameter is set to Off. TurnAlternate Volume Envelope On to use theuser-programmable alternate envelopeinstead.

ALT ENVELOPEpri:Off sec:On

PRIMARY & SECONDARY ALTERNATEENVELOPE PARAMETERSThese functions allow you to adjust thealternate volume envelope parameters forthe primary and secondary instruments.The parameters are Attack time, Holdtime, Decay time, Sustain level, Releasetime, and are adjustable from 00 to 99.

P: A H D S R 00 00 00 99 16

S: A H D S R 00 00 00 99 16

The Alternate Volume Envelope dynamically controls the final output and can completely change thecharacter of a sound.

TO ENABLE THECROSSFADE OR CROSS-SWITCH FUNCTIONS,YOU MUST ASSIGNCROSSFADE TO AMODULATION SOURCEIN EITHER THE REALTIMEOR KEY/VELOCITYMODULATION SCREENS.

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A CROSSFADE BALANCESETTING OF 000 WOULD BEAPPROPRIATE WITH ASOURCE SUCH AS AMODULATION WHEEL ORFOOTPEDAL, EITHER OFWHICH CAN ONLYCHANGE THE VALUE IN APOSITIVE DIRECTION.

By overlapping the primary and secondary instruments, you can crossfade or cross-switch between thelayers.

The crossfade and cross-switch functionsMUST be connected to a controller ineither the Key/Velocity or RealtimeModulation screens. (Otherwise, what iscontrolling the crossfade?)

CROSSFADE DIRECTIONThis function determines the polarity ofthe crossfade or cross-switch. The direc-tion is either primary -› secondary, orsecondary -› primary.

XFADE DIRECTIONPri -> Sec

CROSSFADE BALANCEThe crossfade balance parameter deter-mines the initial balance between theprimary and secondary layers. Any modu-lation is subsequently added to this value.Crossfade balance is variable between 000and 127.

XFADE BALANCE064

CROSSFADE AMOUNTThe crossfade amount parameter deter-mines the range over which crossfadingwill occur. Crossfade amount is variablefrom 000 to 255. The larger the value, themore modulation will be required toeffect a complete crossfade.

XFADE AMOUNT128

TO USE THE KEYBOARD FORCROSSFADE, SET THECROSSFADE BALANCE TO64 AND THE KEY CENTERTO THE SPLIT POINT.

SEE ALSO CROSS-SWITCHPOINT ON THE FOLLOWINGPAGE.

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CROSS-SWITCH POINTThe cross-switch point parameter deter-mines the point at which cross-switchingwill occur when key position or velocity iscontrolling cross-switch.

SWITCH POINT064 (E3)

LFO 1 - SHAPE AND AMOUNTThis screen controls the waveshape andamount of Low Frequency Oscillator 1.The LFO can be used to produce vibrato(when routed to pitch), or tremolo (whenrouted to volume). The five LFO wave-shapes are: Triangle, Sine, Square,Sawtooth, and Random. The amount canbe varied from -128 to +127. Negativevalues will produce inverted waveshapes.

LFO1 SHAPE AMT Rand +127

LFO 1 - RATE, DELAY AND VARIATIONThis screen controls the rate, delay andvariation of LFO 1.

Velocity Key

LFO RateVaries the LFO speed from 0.052 Hz to 25Hz (000-127).

LFO DelaySets the amount of time between hittinga key and the onset of modulation. Thiscan be used to simulate an effect oftenused by acoustic instrument players,where the vibrato is brought in only afterthe initial note pitch has been estab-lished. The delay range is variable from 0to 13 seconds (000-127).

LFO VariationSets the amount of random variation ofan LFO each time a key is pressed. Thisfunction is useful for ensemble effects,where each note played has a slightlydifferent modulation rate. The higher thenumber, the greater the note to notevariation in LFO rate. LFO variation isvariable from 000-127.

LFO1 RT DLY VAR 000 000 000

LFO 2 - SHAPE AND AMOUNTLFO 2 is functionally identical to LFO 1.

LFO 2 - RATE, DELAY AND VARIATIONLFO 2 is functionally identical to LFO 1.

TO ENABLE THE CROSS-SWITCH FUNCTION, YOUMUST ASSIGNCROSSFADE TO AMODULATION SOURCEIN THE REALTIME ORKEY/VELOCITY SCREENS.

FOR MORE INFORMATIONON THE LFOS, SEE THEPRESET PROGRAMMINGCHAPTER OF THIS MANUAL.

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Delayed LFO - The LFO wave begins after the specified delay time has elapsed.

AUXILIARY ENVELOPEThis is a supplementary, utility envelopethat can be routed to any realtime controldestination. The auxiliary envelopeparameters are: Envelope Amount, Delay,Attack Time, Hold Time, Decay Time,Sustain Level, and Release Time. Thedelay time is variable from 0 to 13 sec-onds (000-127). The envelope amount isvariable from -128 to +127. Negativevalues will produce inverted envelopes.

The six stages of the Auxiliary Envelope Generator.

AUX ENV AMT DLY +127 000

A: A H D S R 00 00 00 99 20

FOR MORE INFORMATIONON THE ENVELOPES, SEETHE PRESET PROGRAMMINGCHAPTER OF THIS MANUAL.

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EDIT MENU

KEYBOARD & VELOCITY MODULATIONThese functions allow you to routekeyboard and velocity information to anyof the modulation destinations on ClassicKeys. Up to 6 simultaneous paths or“patches” may be programmed. For eachmodulation patch, there is a source(keyboard or velocity), and a correspond-

ing amount parameter which is variablefrom -128 to +127. Place the cursorunder the appropriate parameter andchange the patch number, modulationsource, modulation destination, or theamount using the data entry control. If aparameter is not labeled either primary orsecondary, it will affect both.

KEY/VELOCITY CTL1 V>Attack -064

THE TONE FILTER IS ASIMPLE LOW-PASS TONECONTROL WHICH CAN BEUSED TO DARKEN THETONE OF AN INSTRUMENT.

MODULATION SOURCES:KEY NUMBERKEY 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. ENVELOPE AMOUNT,AUX. ENVELOPE ATTACK,AUX. ENVELOPE DECAY,AUX. ENVELOPE RELEASE,SAMPLE START,PRIMARY SAMPLE START,SECONDARY SAMPLE START,PAN, PRIMARY PAN,SECONDARY PAN,TONE, PRIMARY TONE,SECONDARY TONE

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WHEN MODULATINGENVELOPE ATTACK,DECAY OR RELEASETIMES:

POSITIVE AMOUNTS OFMODULATION INCREASETHE TIME.

NEGATIVE AMOUNTS OFMODULATION DECREASETHE TIME.

REALTIME MODULATION CONTROLThese functions allow you to routerealtime controllers to any of the modula-tion destinations on Classic Keys exceptTone, Sample Start, and Pan. Up to 8simultaneous patches may be pro-grammed. For each modulation patch,there is a source and a destination

parameter. Place the cursor under theappropriate parameter and change thepatch number, modulation source ormodulation destination using the dataentry control. If a parameter is notlabeled either primary or secondary, itwill affect both.

REALTIME CTL1 LFO1 ->Pitch

MODULATION SOURCES:PITCH WHEEL,MIDI CONTROL A,MIDI CONTROL B,MIDI CONTROL C,MIDI CONTROL D,MONO PRESSURE,POLYPHONIC PRESSURE,LFO 1, LFO 2,AUXILIARY ENVELOPE

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. ENVELOPE AMOUNT,AUX. ENVELOPE ATTACK,AUX. ENVELOPE DECAY,AUX. ENVELOPE RELEASE

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EDIT MENU

FOOTSWITCH CONTROLThis function allows you route the 3footswitch controllers to any of thefootswitch destinations. The footswitchescan be routed to switch: Sustain (pri/sec/both), Alternate Volume Envelope (pri/sec/both), Alternate Volume Release (pri/sec/both), or Cross-switch between theprimary and secondary instruments.

FOOTSWITCH CTL1 -> Sustain

PITCH BEND RANGEThis function allows you to specify thepitch wheel range for the current presetor it can be set to be controlled globally(set in the Master menu). Pitch bendrange is only applied when the pitchwheel is used to control pitch.

PITCH BEND RANGE+/- 12 semitones

MIDI CONTROLLER AMOUNTThis function allows you to specify anamount parameter (variable from -128 to+127) for each of the MIDI controllers.

CONTROLLER AMTA:+127 B:-090

CONTROLLER AMTC:+127 D:-090

PRESSURE AMOUNTThis function allows you to specify anamount parameter for mono or polykeyboard pressure data (aftertouch). Thepressure amount is variable from -128 to+127.

PRESSURE AMOUNT+127

VELOCITY CURVEIncoming velocity data can be modified bya velocity curve in order to providedifferent types of dynamics in response toyour playing or better adapt to the MIDIcontroller. This function allows you toselect one of the four velocity curves orleave the velocity data unaltered (Off). Inaddition, the velocity curve can be set toGlobal, which means that the globalvelocity curve (programmed in the Mastermenu) is used.

VELOCITY CURVEGlobal

KEYBOARD CENTERThe Keyboard Center parameter estab-lishes a reference point for keyboardmodulation. Keys above this point willhave a positive value and keys below itwill be negative. The keyboard center canbe set to any key within the range C-2 toG8.

KEYBOARD CENTERC#3

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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 willbe negative.

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EDIT MENU

KEYBOARD TUNINGIn addition to the standard equallydivided octave tuning, Classic Keyscontains four other types of scale tuningand one user-definable tuning. Thisfunction selects which tuning will be usedin the current preset. The availabletunings are:

Equal tuning12-tone equal temperament(Standard Western tuning)

Just C tuningJust intonation(Based on small interval ratios; sweet andpure; non-beating intervals)

Vallotti tuningVallotti & Young non-equal temperament(Similar to 12 tone equal temperament;for a given scale, each key has a differentcharacter)

19-Tone tuning19-tone equal temperament(19 notes per octave; difficult to play butworks well with a sequencer)

Gamelan tuningJavanese tuning: 5-tone Slendro and7-tone Pelog(Pelog-white keys; Slendro-black keysExotic tunings of Gamelan flavor)

User tuningDefined in the Master menu.

KEYBOARD TUNINGEqual

PRESET LINKSPresets may be linked to other presets inorder to create layering or keyboardsplits. The current preset can be linkedwith up to three other presets. Eachlinked preset can be assigned to a specificrange in order to easily create keyboardsplits. The modulation parametersspecified in each preset remain in effectfor each preset in the link.

LINK 1 C-2->F#4000 Preset Name

LINK 2 C#1->F#4127 Preset Name

LINK 3Off

SAVE PRESETChanges made to a preset in the Editmenu are not made permanent until thepreset is Saved. To save a preset, movethe cursor to the bottom line and selectthe location for the new preset with thedata entry control. The Enter LED will beflashing. Pressing the Enter switch willconfirm the operation. Any user preset(Banks 0 and 1) may be selected using thedata entry control. Writing to a userpreset erases the existing preset in thatlocation. Make sure that the destinationpreset does not contain information thatyou want to keep.

SAVE PRESET to064 Preset Name0

0

3

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Classic Keys STEP-BY-STEP

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STEP-BY-STEP

STEP-BY-STEP

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7 Step-By-Step

This section is an introduction to the Editmenu, explains the concept of SoundSplicing Synthesis, and contains specificprogramming examples and tips.

LINKING PRESETSLinking presets is a quick and easy way tocreate new sounds by “layering presets”and also to “split” the keyboard intosections containing different sounds.

LAYERING TWO PRESETS1) Select the first preset you wish to

layer.

2) Press the Edit button.

3) Use the data entry control to movethrough the screens until you findone of the “LINK” screens.

4) Move the cursor to the second lineof the display, then select the presetthat you want to be linked with thispreset. You may want to play thekeyboard as you scroll through thevarious presets in order to hear theresults.

5) If you want the link to be a perma-nent part of the preset, be sure to“SAVE PRESET”.

CREATE A SPLIT KEYBOARD USINGLINKS1) Follow steps 1 through 4 at left.

2) Now set the range of the linkedpreset while still in the LINK menu.Press Enter.

3) Now use the data entry control tomove through the screens to KEYRANGE.

5) Set the range of the preset so that itfills the remaining range of yourkeyboard.

6) Save the preset.

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EDITING PRESETSThe easiest way to make a preset is to editan existing preset. This is also an excel-lent way of becoming familiar withClassic Keys. If you don’t like what youhear, simply change the preset andClassic Keys reverts back to the originalsound. Changes are not made permanentuntil you Save them using the “SAVEPRESET” function, which is the lastscreen in the Edit menu. Let’s experimentand modify a few parameters of an exist-ing preset. We’ll start with functions thathave an obvious effect on the sound likeInstrument select, Coarse Tuning, Cho-rus, and Reverse Sound.

First, choose a preset that strikes yourfancy and press the Edit button.

CHANGING THE INSTRUMENTThis is probably the easiest way to modifyexisting presets. Scroll through the Editmenu functions until you come to:

INSTRUMENT priIXXX Instr Name

Move the cursor down to the bottom line(using the cursor button) and change theprimary instrument with the data entrycontrol. Play the keyboard as you scrollthrough the various instruments. Whenyou find an interesting instrument, movethe cursor back up to the first line andselect:

INSTRUMENT secIXXX Instr Name

Repeat the process for the secondaryinstrument. Find an instrument thatsounds good when combined with thefirst one you selected. You can probablysee that with all these great instrumentsto work with, you really can’t go wrong.Now let’s play with the tuning.

CHANGING THE TUNING OF ANINSTRUMENTScroll through the Edit menu functionsuntil you come to:

TUNING coarsepri:+00 sec:+00

If the numbers are “00” as in the exampleabove, it means that the instruments aretuned to concert pitch (A=440 Hz). Eachwhole number in coarse tuning repre-sents a semitone interval. To tune one orboth of the instruments up an octave,move the cursor to the number (usingthe cursor button) and set the number to+12 using the data entry control. Trytuning one of the instruments to a perfectfifth above the other. Simply set thecoarse tuning to +7.

CHORUSThis is an easy one. With the cursor onthe top line of the display, turn the datacontrol until you find CHORUS. Choruscan be turned on or off for each of theprimary and secondary instruments.Chorus works by doubling the instru-ments and detuning them slightly. Try it.

CHORUSpri:Off sec:Off

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REVERSING THE SOUNDA simple concept. The instrument soundscan be played in reverse. This will nor-mally make an instrument sound quite abit different. It also virtually doubles thenumber of raw instruments you have towork with, and it’s fun.

REVERSE SOUNDpri:Off sec:Off

You’re probably getting the idea by now.Remember not to change presets or thepreset will return to normal. If you wantto save your creation, select the lastscreen in the Edit menu and select adestination preset location for yourmasterpiece, then press Enter. That’s it.

The previous examples were offered solelyto pique your curiosity. By all means, goahead and experiment with any of theother functions. Some of the best soundshave been discovered by accident. If itsounds good ... Do it!

SOUND SPLICING SYNTHESISOh, no! Not another form of synthesis tolearn. Relax. It’s easy. Sound SplicingSynthesis is actually just a form ofadditive synthesis. Only, instead ofbuilding a sound from simple sine waves,Classic Keys starts with complete sampledsounds or complex waveforms andcombines all or part of these together toform a new sound. The process is illus-trated below.

The envelope generators controlling theDCAs (digitally controlled amplifiers) canbe used to fade between two instruments(primary and secondary) during thecourse of a note. This powerful techniqueallows you to combine elements ofdifferent instruments together to formcompletely new sounds. New sounds thatare totally natural, because they are basedon natural sounds. Classic Keys alsocontains many digitally generated wave-forms that can be combined with otherdigital waves or with sampled instru-ments in order to change the character ofthe sound, perhaps to add a digital “edge”or add more bottom. In addition to theenvelope generators, parameters such asDelay, Sample Start, and Crossfade allowyou to further control the blend ofprimary and secondary instruments.

Portions of two sounds are dynamically crossfaded in order to produce a new sound containing elementsof both.

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STEP-BY-STEP

CREATING A NEW SOUNDAs an example, let’s add a sampled fluteattack to a Mini Moog synthesizer soundto create a sort of Flute Synth. Start withone of the default presets and change onlythe parameters listed in the chart below.The flute instrument is shaped by theAlternate Volume Envelope so that onlythe breathy attack “chiff” is heard (a shortDecay with the Sustain set to zero). Alsothe attack time has been set to 2 to softenthe breath sound a bit.

The Mini Moog 1 instrument serves as thebody of the sound. The delay parameter isused to delay the onset of the Mini Mooguntil the flute sound has died away. TheAttack parameter of the SecondaryAlternate Volume Envelope is set so thatthe Mini Moog will smoothly fade in asthe Flute is fading out. Lastly, the volumeof each instrument is adjusted to balancethe sound.

REVERB SPACESThe reverb spaces allow you to add reverbambience to Classic Keys drums. Bylayering an instrument containing onlyreverb with a “dry” drum instrument, theeffect of real reverb is created. In addi-tion, the reverb spaces can be shaped andfiltered just like any other instrument.There are eleven reverb spaces (instru-ments 76-84, 86, 88) in Classic Keys.

Using the reverb spaces is easy. Use one ofthe default presets as your starting point.Set up the Edit menu parameters as inthe chart below and change only theparameters specified.

All we have done here is layer a drum kitwith a reverb space, then adjust thevolumes slightly. That’s all there is to it!Try out all the different reverb spaces andnote the differences. The reverb decaytime can be shaped using the AlternateVolume Envelope.

The reverb spaces can be further shapedusing Reverse, Chorus, or any of theother modulation parameters. How aboutusing the Auxiliary Envelope to controlthe pitch of the reverb? You can do allkinds of new things with this reverb.

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USING CLASSIC KEYS WITH ASEQUENCERWe thought you’d never ask. Classic Keyswas designed from its conception withmulti-timbral sequencing in mind. Justtake a look at the main screen.


The preset for each MIDI channel isselected from the main screen. Press thecursor button to move the cursor up sothat it is underneath the channel num-ber.


Turn the data entry control and you willsee that every MIDI channel has a presetassigned to it. Just select a preset for eachof the MIDI channels. It’s simple! In orderto respond to multiple MIDI channels,Classic Keys must be in Multi-Mode.Multi-Mode is selected in the Mastermenu. Press the Master menu button anduse the data entry control to scrollthrough the screens until you find MIDIMODE.

MIDI MODE IDMulti 00

Move the cursor down to the second lineand change the mode to Multi as shown.Classic Keys will now respond to multipleMIDI channels.

MORE ADVANCED SEQUENCINGPre-Sequence SetupSuppose that you want to have yoursequencer set up everything for youbefore the start of the song. Good idea.This will make the Classic Keys setupprocedure automatic and prevent thewrong presets from playing.

The basic idea of a pre-sequence setup isto send out MIDI information just beforethe start of the song. This MIDI informa-tion will select all the proper presets,adjust the mix, and pan positions of eachpreset.

Note: Classic Keys setup informationshould be transmitted from the sequencerbefore the song actually starts, perhapsduring a lead-in measure or countdown.DO NOT send setup information justbefore the first beat of the song or MIDItiming errors could result.

Initial SetupIn the Master menu:

1) Turn ON Multi-Mode

2) Turn ON Preset Change enable foreach channel.

3) Turn OFF MIDI Enable on MIDIchannels that are to be used for othersynthesizers.

PRESET, VOLUME & PAN SETUPProgram your MIDI sequencer totransmit the following information beforethe song starts.

1) Select the proper presets for eachMIDI channel used on Classic Keys.

2) Send MIDI volume information(controller #7) for each MIDI channelused on Classic Keys.

3) Send MIDI pan information (control-ler #10) for each MIDI channel usedon Classic Keys.

0

0

86

STEP-BY-STEP

Now your song will play perfectly everytime using the proper presets, volumesand pan positions. In addition, presets,volumes and pan positions (or anythingelse for that matter) can be adjusted inrealtime during the song. Note: If thewrong presets are being selected, checkthe MIDI Program -> Preset Map.

To carry the pre-sequence setup evenfurther, you can even include preset datafor each preset used in the sequence. Seepage 30 for details.

USING THE 32 CHANNELSAs stated earlier, Classic Keys has 32independent audio channels which areutilized as needed. With 32 channels and512 presets, you have a universe of sonictextures at your disposal. But you haveprobably noticed that many of the bestsounding presets in Classic Keys arelinked with other presets or have chorusapplied to them in order to make themsound larger. While this is fine when thepreset is played solo, you may begin torun out of channels when Classic Keys isplayed multi-timbrally. Linking andchorusing cause twice as many channelsto be used by the preset. Learn to “bud-get” your output channels for maximumefficiency.

CHANNEL RIPOFFWhen Classic Keys uses up all its 32channels and needs more, it steals achannel from the key that has been heldthe longest. This is commonly known as“channel ripoff ”. You will most com-monly encounter this ripoff when usingClassic Keys in multi-timbral mode. Toeliminate ripoff you must either, playfewer notes, use simpler sounds, turn offdoubling (pri/sec, chorus, or linkedpresets), or use MIDI overflow to another

Classic Keys.

INSTRUMENT DEFINITIONIf your sequence has an instrumentalsection using numerous chords it may beadvantageous to use a basic preset with-out links or chorus. A preset will soundmuch different alone than when com-bined with an ensemble. Try to resist thetemptation to make every sound as fat aspossible or you can wind up with “MIDISoup”, a huge, stifling sound with everypossible audio frequency filled. A solosaxophone in a band isn’t chorused and itsounds great. Each voice in your compo-sition should have it’s own identity. Savethe monster sounds for solos or dramaticeffects.

87

Classic Keys REFERENCE SECTION

88

REFERENCE SECTION

RAM Presets Bank 0Organ

Brass

Mellotron

43. air:PanPiper44. air:Siku45. air:ARPreedz46. air:M12Quack47. air:DeepHeat48. buz:M12 Pad49. buz:BigBob5550. buz:ARP Pad51. buz:MoogPad352. buz:MoogPad553. buz:Rezo SEM54. buz:EMU/Moog55. buz:Wheel Op56. rez:MoogPad157. rez:MoogPad458. rez:MoogPad659. rez:OB Pad60. rez:P5Syncer61. rez:MoogPad262. rez:ManyMoog63. rez:Cartoon64. bel:StikBell65. bel:4OctBell66. bel:Gamalan67. bel:Metlimba68. bel:PanBells69. bel:Tubular70. bel:Led Xtal71. bel:WndChime72. wrm:Harmonia73. wrm:SineWave74. wrm:FlutWave75. wrm:Bendolin76. wrm:Beautifl77. wrm:Bend 4>578. wrm:StrngGld79. wrm:WineGlas80. bas:Punchy81. bas:Hunted %82. bas:Moog5th%83. bas:SyncBtm%84. bas:TwoMoogs85. bas:B3 Pedal

0. org:Panner1%1. org:Rocky B32. org:PercGrt%3. org:LoMidPr%4. org:LoHiPrc%5. org:HiPerc %6. org:StopsOut7. org:Lo Dark8. org:Airgan %9. org:Sticky %10. org:Bell Atk11. org:Rococo12. org:GrandM1213. org:Funeral14. org:Dynorg115. org:w/Vibes16. epo:DXThang%17. epo:Dyno’d %18. epo:3 Dogs %19. epo:BasicEl.20. epo:Wurltzr%21. epo:WurlBel%22. epo:Clav Whl23. epo:DblHonr%24. epo:DoubleCP25. epo:Bright7026. epo:TakPiano27. epo:WideCP7028. epo:TronFade29. epo:Vox Fade30. epo:DX-70 %31. epo:CP-B3-7032. str:P5ala’9933. str:Solina34. str:SuperMel35. str:ThikMoog36. str:Moog Too37. str:OBXStrng38. str:ARPcomb139. str:ARPcomb240. air:WindKeys41. air:GasDyno42. air:PanninOz

ResonantSynth

86. bas:PerkPedl87. bas:UduSynth88. led:MoogSqrs89. led:MoogSaws90. led:MoogRect91. led:OB Saws92. led:ARPpulse93. led:M12 Sync94. led:Pro5Sync95. led:Sweepy96. trn:M&F Vox97. trn:Vln&FVox98. trn:Vln&MVox99. trn:Vln&Flut100. trn:FVx&Flut101. trn:Vx/Flut&102. trn:SwoopVox103. trn:HuluGurl104. brs:Orson55%105. brs:Memories106. brs:MemMg5th107. brs:BigSect%108. brs:Section%109. brs:MiniWarm110. brs:BrassyMg111. brs:Taurs5th112. sfx:Psycotic113. sfx:Who Me ?114. sfx:Ahh-Ahh115. sfx:Crazy116. sfx:Triffids117. sfx:Outer %118. sfx:Limits119. sfx:Huuuuge%120. plk:Kotolith121. plk:Hawaiian122. plk:SurfBird123. plk:Twangly%124. plk:Bass&Gtr125. plk:JazzBass126. plk:FunkBass127. plk:Bright %

% Indicates that the preset contains a Layered Link to one or more presets.

& Indicates that the preset contains a Split Link to one or more presets.

StringSynth

AirySynth

BuzzySynth

Bells

WarmSynth

BassSynth

Plucked

ElectricPiano

SoundFX

SynthLeads

REFERENCE SECTION

89

RAM Presets Bank 1Organ 0. org:Panner2%

1. org:Solo 1 &2. org:Solo 2 &3. org:Solo 3 &4. org:Solo 4 &5. org:Solo 5 %6. org:Solo 6 &7. org:Solo 7 &8. org:AirPower9. org:GameShow10. org:Cathedrl11. org:Liteness12. org:Morgan %13. org:RockPls&14. org:Dynorg215. org:Clav Atk16. epo:Suitcs &17. epo:DynoRhd&18. epo:Hyper D&19. epo:Mark I &20. epo:HevyDyno21. epo:DynoDlay22. epo:TufWurli23. epo:WurlBs1&24. epo:WurlBs2&25. epo:WurliPan26. epo:ClavPanr27. epo:BuzzClav28. epo:SyncClav29. epo:CP/M1230. epo:CP/MemMg31. epo:Eko CP7032. str:LikeNife33. str:Bob&Toms34. str:M12 5ths35. str:OBcanyon36. str:GreatBig37. str:RotorTrn38. str:RotorARP39. str:RotorM1240. air:Omatic41. air:PanProV42. air:PanGtrz

43. air:Subteran44. air:Escaping45. air:Flutgong46. air:Creepy47. air:Hu-Hu-Hu48. buz:ARPinet49. buz:Brazzzzz50. buz:DuckRock51. buz:ClavLike52. buz:Britely53. buz:Zophone54. buz:Buzync55. buz:Qwaack56. rez:HotPile57. rez:Scary58. rez:ARPbssn59. rez:Harpspad60. rez:Fuzzywuz61. rez:FuzGrowl62. rez:GrowlWav63. rez:Rev Moog64. bel:Vibalong65. bel:Malltbel66. bel:OohBells67. bel:Magic68. bel:Popsikl%69. bel:Disobel%70. bel:DigiMoog71. bel:Ironbel%72. wrm:Accordia73. wrm:RoadTone74. wrm:Clavsine75. wrm:DarkPipe76. wrm:PercPad77. wrm:Generatr78. wrm:Swirly79. wrm:PipeBndr80. bas:ARP Rez281. bas:2 Micros82. bas:EkoMini%83. bas:Solidar%84. bas:ClavSyn85. bas:Watery %

86. bas:B3 Bass87. bas:M12 Bass88. led:Interval89. led:Jumper90. led:55 Moogs91. led:2 OBies92. led:2 Moogz93. led:ISawMoog94. led:RezoMoog95. led:Moonman96. trn:FemSwell97. trn:SwellGyz98. trn:SwlStrng99. trn:5thStrng100. trn:Strg&Vio101. trn:Vox &Vio102. trn:DualBend103. trn:Hulalins104. brs:SoloAlto105. brs:SoloTenr106. brs:SoloBari107. brs:TwoSaxes108. brs:&Reeds %109. brs:Moog&Tpt110. brs:BrassPan111. brs:Sforzan%112. sfx:TheOcean113. sfx:Nostromo114. sfx:Desent115. sfx:BronzAge116. sfx:Lifetime117. sfx:DripDrum118. sfx:VanDgraf119. sfx:Scanline120. plk:AsiaEns%121. plk:SlideHrm122. plk:LesliGtr123. plk:Spageti%124. plk:BassChr1125. plk:BassChr2126. plk:Bas/Harm127. plk:BasicBas



BassSynth

WarmSynth

Plucked

SoundFX

Brass

Mellotron

SynthLeads

BuzzySynth

ResonantSynth

AirySynth

StringSynth

Bells

ElectricPiano

90

REFERENCE SECTION

0. org:B3 Fast1. org:Lo&Mid %2. org:Lo&Hi %3. org:MostHi %4. org:Mid&Hi %5. org:LoPerc %6. org:FulPerc%7. org:DrkPerc%8. org:Airy B39. org:FulBars%10. org:Topper %11. org:Bostone%12. org:Chappel%13. org:SimpleLo14. org:SimpleHi15. org:SmplFull16. epo:MkI Chrs17. epo:LA Dyno%18. epo:DynoWhl%19. epo:SpltRoad20. epo:RuffDyno21. epo:Suitcase22. epo:HypDyno%23. epo:DoorBas%24. epo:Stereo25. epo:Xpresive26. epo:GrandOrg27. epo:Pianofla28. epo:CP/M1229. epo:CP/ARP30. epo:Out West31. epo:Gospel32. str:For Film33. str:Early80s34. str:Matrix1235. str:MeloMoog36. str:ARPtron37. str:NoyzTron38. str:Tron #139. str:Tron #240. air:Enchantd41. air:Asiatic42. air:Delicate

43. air:D50ish 144. air:WindPowr45. air:Digital46. air:Kaliopad47. air:Jacinto48. buz:ARPwave149. buz:OBXwave150. buz:EMUwave151. buz:MoogPuls52. buz:OBXwave253. buz:P5Gitarz54. buz:EMUHarps55. buz:P5 Harps56. rez:ARP Poly57. rez:MoogFilt58. rez:KtchSynk59. rez:ARPenatr60. rez:Moogles61. rez:Al & Bob62. rez:OBXJump63. rez:Growl %64. bel:Patina65. bel:Mystery66. bel:Ringer67. bel:Vibrafon68. bel:Carillon69. bel:Xtal 1 %70. bel:MusicBox71. bel:ToyPiano72. wrm:Sub Dude73. wrm:Flautish74. wrm:BrassPad75. wrm:Pluto76. wrm:Carousel77. wrm:Matrix78. wrm:AirMen79. wrm:Infinity80. bas:MinMog1%81. bas:MinMog2%82. bas:ARPrezo%83. bas:MicroMg%84. bas:MinMog385. bas:MinMog4%

ROM Presets Bank 2Organ

ElectricPiano

StringSynth

AirySynth

BuzzySynth

ResonantSynth

Bells

BassSynth

SynthLeads

Mellotron

Plucked

SpecialFX



WarmSynth

86. bas:MinMog5%87. bas:Rez Body88. led:Emu Saws89. led:Emu Sqrs90. led:Emu Tri91. led:EchoMoog92. led:MicroMem93. led:P5 Sync94. led:Dual SEM95. led:Winter96. trn:Flute97. trn:FlutMoog98. trn:VerbFlut99. trn:FlutePan100. trn:FemChoir101. trn:MenChoir102. trn:MixChoir103. trn:Noys2Men104. brs:MemMoog105. brs:FatBrass106. brs:Regality107. brs:3 Piece108. brs:With Sax109. brs:SoloMood110. brs:Scoop111. brs:TronBrs%112. sfx:Peckerz113. sfx:Vynlator114. sfx:Dicer115. sfx:Landing116. sfx:Yes Sir117. sfx:Microbs118. sfx:DigiSlic119. sfx:MagiFlut120. plk:TheGitar121. plk:Ricki 12122. plk:Hrmonics123. plk:AcGuitar124. plk:PickBass125. plk:Fretless126. plk:WithTop%127. plk:Fingerz

Brass

REFERENCE SECTION

91

86. bas:DeepBas987. bas:Taurus I88. drm:JimerWhl89. drm:BoomKick90. drm:Lo Toms91. drm:SnareTom92. drm:ElCowBel93. drm:El Snare94. drm:El Stick95. drm:BasicKit96. lnk:1 4Split97. lnk:2 4Split98. lnk:3 4Split99. lnk:4 4split100. lnk:5 4Split101. lnk:FullPan%102. lnk:EpoBoost103. lnk:Organ 1104. lnk:Organ 2105. lnk:Organ 3106. lnk:Organ 4107. lnk:Organ 5108. lnk:Organ 6109. lnk:Organ 7110. lnk:Organ 8111. lnk:Organ 9112. lnk:Organ10%113. lnk:Organ 11114. lnk:Organ 12115. lnk:Booster1116. lnk:Booster2117. lnk:Booster3118. lnk:DXBoost1119. lnk:DXBoost2120. lnk:Organ 13121. lnk:Organ 14122. lnk:Organ 15123. lnk:Sfrz 2124. lnk:0>11125. lnk:Clavlink126. lnk:MeatBotm127. – default –

0. org:HmndGrit1. org:ChrchLdy2. org:KeyClick3. org:AirSatz%4. org:Cussive%5. org:Chopper6. org:EchoHall7. org:Meddle8. org:Vox Cont9. org:Farfisa10. org:Voxfisa11. org:Jaguar 112. org:Jag Sub513. org:Jag Sub814. org:FarfClik15. org:FarfPerc16. epo:DryWurli17. epo:Back Jak18. epo:WurliChr19. epo:Clavinet20. epo:DblClav%21. epo:Sweetbel22. epo:Faux DX%23. epo:Zircon %24. epo:Pianet25. epo:CP Wheel26. epo:&MoogStr27. epo:CPChorus28. epo:CP/Tron29. epo:PlusDXep30. epo:SlapEcho31. epo:Mono Pan32. str:SmalHall33. str:ThickSyn34. str:ARPStrng35. str:M12Strng36. str:LargHall37. str:Tron/M1238. str:StopTron39. str:Trn+Brs%40. air:AngelVox41. air:Fairlite42. air:BeloVox

ROM Presets Bank 3Organ

AirySynth

Drums



ElectricPiano

StringSynth

43. air:MoogPipe44. air:Breath45. air:OzonLayr46. air:P5 Echo47. air:D50ish 248. buz:BizzARP49. buz:Tamboras50. buz:Air Gtrs51. buz:ARP 260052. buz:ARPreedz53. buz:OB SEM354. buz:Elecroad55. buz:ARPwave256. rez:DualSync57. rez:Moog 5558. rez:EchoSync59. rez:Sitarz %60. rez:Reztyne%61. rez:AbleCmp%62. rez:Rippoff63. rez:DublM12%64. bel:BelPiper65. bel:ToyPno 266. bel:DxAngels67. bel:ViboMoog68. bel:Xtal 2 %69. bel:PerKlavr70. bel:Xylosyn71. bel:Dreamy %72. wrm:Monk Vox73. wrm:Moogoid74. wrm:Ancients75. wrm:Pan Comp76. wrm:Submerge77. wrm:Tangerin78. wrm:Alaska79. wrm:Steam80. bas:LowMoog%81. bas:Garggle%82. bas:MoogRip%83. bas:WetMoog%84. bas:MoogPerc85. bas:MoogRez%

BuzzySynth

ResonantSynth

Bells

WarmSynth

BassSynth

Links

92

REFERENCE SECTION

ClassicInstruments

SAMPLED SOUNDS1. B3DistLwSlw ......................................Distorted B3 Organ, Low Drawbars, Slow Rotor2. B3 Dist Fast .................................................................. Distorted B3 Organ, Fast Rotor3. B3 Hi Slow ......................................................... B3 Organ, High Drawbars, Slow Rotor4. B3 Hi Fast ........................................................... B3 Organ, High Drawbars, Fast Rotor5. B3 Full Slow ....................................................... B3 Organ, Full Drawbars, Slow Rotor6. B3 Full Fast ......................................................... B3 Organ, Full Drawbars, Fast Rotor7. B3 Perc 3rd ............................................................ B3 Organ 3rd Harmonic Percussion8. Male Choir .................................................................................. Mellotron - Male Choir9. Femme Choir ......................................................................... Mellotron - Female Choir10. Males to Mix ........................................... Mellotron - Male Choir (to mix with Inst. 11)11. Femmes to Mix ...................................Mellotron - Female Choir (to mix with Inst. 10)12. Violin Trio ......................................................................................... Mellotron - Violins13. Flute......................................................................................................Mellotron - Flute14. Bari Sax............................................................................................Baritone Saxophone15. Tenor Sax ............................................................................................. Tenor Saxophone16. Alto Sax ................................................................................................... Alto Saxophone17. Trumpet Sft .................................................................................... Soft-blown Trumpet18. Trumpet Hrd ................................................................................. Hard-blown Trumpet19. Trombone ........................................................................................................ Trombone20. Trom/STpt .......................................................................Trombone/Soft Trumpet Split21. Trom/HTpt .................................................................... Trombone/Hard Trumpet Split22. Trom/Sax ......................................................................................... Trombone/Sax Split23. Farfisa ........................................................................................................ Farfisa Organ24. CP-70 ............................................................................................................CP-70 Piano25. CP-70 Mellow ................................................................ CP-70 Piano with Mellow Tone26. CP-70 Brite ..................................................................... CP-70 Piano with Bright Tone27. Piano Bass ..................................................................... CP-70 Piano Bass - Transposed28. Wurlitzer1 ............................................................................. Wurlitzer Electric Piano 129. Wurlitzer2 ............................................................................. Wurlitzer Electric Piano 230. Dyno Rhodes1 .......................................................... Dyno-My-Rhodes Electric Piano 131. Dyno Rhodes2 .......................................................... Dyno-My-Rhodes Electric Piano 232. FendrRhodes ................................................................... Fender Rhodes Electric Piano33. Clavinet ..................................................................................................Hohner Clavinet34. Brite Clavinet ............................................................................ Bright Hohner Clavinet35. Mini Moog 1 ..................................................................... Mini Moog w/Low Resonance36. Mini Moog 2 .................................................................... Mini Moog w/ Med Resonance37. Mini Moog 3 ................................................................... Mini Moog w/High Resonance38. Mini Moog 4 ......................................................................... Mini Moog w/Lower Cutoff39. Mini Moog 5 .............................................................................. Mini Moog Horn Sound40. Mini Moog 6 ....................................................... Mini Moog w/Osc->Filter Modulation41. Micro Moog ..................................................... Micro Moog w/ Osc->Filter Modulation42. Taurus Pedal ............................................................................ Moog Taurus Bass Pedal

REFERENCE SECTION

93

43. Jaco Bass ............................................................................................. DX-7 Bass Sound44. M12 Lead 1 ............................................................... Oberheim Matrix-12 Sync Patch 145. M12 Lead 2 ................................................................................ Matrix-12 Sync Patch 246. ARP 2600 .................................................. ARP 2600 Synth w/ Osc->Filter Modulation47. Rock DXman .................................................................DX-7 played through Rockman48. P5 Sync Lead ................................................................................ Prophet-5 Sync Patch49. Moog 55 Rez .......................................................... Moog Model 55 w/ Filter Resonance50. Memory Moog .................................................................... Memory Moog - Horn Patch51. OBX Saws .................................................................. Oberheim OBX - Sawtooth Patch52. P5 Guitar Pad ................................................................... Prophet-5 - Guitar-like Patch53. Matrix Pad .............................................................................. Matrix-12 - Hollow Patch54. P5 Piper .................................................................... Prophet-5 - Overblown Pipe Patch55. P5 Strings ................................................................................ Prophet-5 - String Patch56. M12 Strings ..............................................................................Matrix-12 - String Patch57. ARP Strings .................................................................................. ARP String Ensemble58. AHHHs .................................................................................................... Fairlight Vocals59. Picked Bass ........................................................................................ Picked Bass Guitar60. Finger Bass ............................................................................. Fingerpicked Bass Guitar61. Finger Tre ............................................................................... Fingerpicked Bass Guitar62 Pickd 8 Top ..................................................................................... 8-String Bass Guitar63. Finger 8 Top ................................................................................... 8-String Bass Guitar64. Finger 8 Tre .................................................................................... 8-String Bass Guitar65. The Guitar ..................................................................................... Clean Electric Guitar66. Twelve Top 1 ......................................................................................... 12-String Guitar67. Twelve Top 2 ......................................................................................... 12-String Guitar68. Twelve Top 3 ......................................................................................... 12-String Guitar69. Drum Kit 1 .......................70. Drum Kit 2 .......................71. Drum Kit 3 .......................72. Drum Kit 4 .......................73. Drum Kit 5 .......................74. Drum Kit 6 .......................75. Drum Kit 7 .......................76. Large Hall ..................................77. Medium Room ...........................78. Tiled Room ................................79. Gated Short ...............................80. Gated Long 1 .............................81. Gated Long 2 .............................82. Lush Reverb ...............................83. Blush Reverb .............................84. Full On Reverb ..........................

ClassicInstruments

See the Percussion Instrument LocationDiagrams on pages 101-103.

Reverb Spaces to combinewith Drum Kits 1-7.

See the Reverb Space Diagramon page 103.

* The names of the above-mentioned instruments may be trademarks of third parties. In order to create theinstrument sounds, E-mu records such sound from the respective instrument and the recording is converted into adigital signal which is then modified as necessary to be stored in a read only memory (ROM) device.

94

REFERENCE SECTION

85. Dry Kick ................................................... Dry Kick Drum over the full keyboard range86. Kick Verb ........................................... Kick Drum Reverb over the full keyboard range87. Dry Snare ............................................... Dry Snare Drum over the full keyboard range88. Snare Verb ........................................Snare Drum Reverb over the full keyboard range89. Dry Tom..................................................... Dry Tom Tom over the full keyboard range90. Wet Tom ............................................ Ambient Tom Tom over the full keyboard range91. High Hat 1 ................................................. Closed Hi-Hat over the full keyboard range92. High Hat 2 ......................................... Half Closed Hi-Hat over the full keyboard range93. High Hat 3 ................................................... Open Hi-Hat over the full keyboard range94. Ride Ping ............................................. Ride Cymbal Ping over the full keyboard range95. Ride Bell ............................................... Ride Cymbal Bell over the full keyboard range96. Crash .......................................................... Crash Cymbal over the full keyboard range97. Cowbell ................................................................ Cowbell over the full keyboard range98. Tambourine .................................................. Tambourine over the full keyboard range99. Side Stick ............................................... Snare Side Stick over the full keyboard range100. Clave ....................................................... Rosewood Clave over the full keyboard range

SYNTHESIZER & ORGAN WAVEFORMSThe single cycle waveforms are sampled waves from various synthesizers and organs.The Moog, ARP & OB waves have been sampled with various filter settings characteris-tic of each unit.

The B3 waves are various harmonic drawbar settings designed to be used alone orlayered together with the multi-cycle organ samples (instruments 1-7). The variousdrawbar settings were selected to produce an extremely wide degree of variation. Seethe B3 Wave Drawbar Setting Diagrams on pages 98-100.

101. Square102. Sawtooth103. Triangle104. Moog Saw 1105. Moog Saw 2106. Moog Saw 3107. Moog Saw 4108. Moog Square 1109. Moog Square 2110. Moog Square 3111. Moog Square 4112. Moog Square 5113. Moog Square 6114. Moog Rectangle 1115. Moog Rectangle 2116. Moog Rectangle 3

Waveforms

117. Moog Rectangle 4118. Moog Rectangle 5119. Moog Pulse 1120. Moog Pulse 2121. Moog Pulse 3122. Moog Pulse 4123. Moog Pulse 5124. OB Wave 1125. OB Wave 2126. OB Wave 3127. OB Wave 4128. OB Wave 5129. ARP 2600 1130. ARP 2600 2131. ARP 2600 3

REFERENCE SECTION

95

132. B3 Wave 1133. B3 Wave 2134. B3 Wave 3135. B3 Wave 4136. B3 Wave 5137. B3 Wave 6138. B3 Wave 7139. B3 Wave 8140. B3 Wave 9141. B3 Wave 10142. B3 Wave 11143. B3 Wave 12144. B3 Wave 13145. B3 Wave 14146. B3 Wave 15147. B3 Wave 16148. B3 Wave 17149. B3 Wave 18150. ARP Clarinet151. ARP Bassoon152. P5 No-Tone153. Noise Non-X

Waveforms HARMONIC WAVEFORMS154. Oct 1 (Sine)155. Oct 2 All156. Oct 3 All157. Oct 4 All158. Oct 5 All159. Oct 6 All160. Oct 7 All161. Oct 2 Odd162. Oct 3 Odd163. Oct 4 Odd164. Oct 5 Odd165. Oct 6 Odd166. Oct 7 Odd167. Oct 2 Even168. Oct 3 Even169. Oct 4 Even170. Oct 5 Even171. Oct 6 Even172. Oct 7 Even173. Low Odds174. Low Evens175. Four Octaves

Starting from the first octave (fundamen-tal), the harmonic waveforms contain theharmonics (odd, even, or all) present ineach octave. In each successive octave thenumber of harmonics doubles.

By combining (pri/sec or link) the har-monic waveforms in various amounts(volume), and transposing them (coarse/fine tuning), a wide range of timbres maybe produced.

As an example, this chart shows the harmonics present in the Octave 5 Odd waveform.

96

REFERENCE SECTION

SINGLE CYCLE WAVEFORMSThese single cycle waveforms were eithersynthesized or taken from actual sampledsounds. Each wave has a unique tonalquality.

176. Synth Cycle 1

177. Synth Cycle 2

178. Synth Cycle 3

179. Synth Cycle 4

180. Fundamental Gone 1

181. Fundamental Gone 2

182. Bite Cycle

183. Buzzy Cycle

184. Metalphone 1

185. Metalphone 2

186. Metalphone 3

187. Metalphone 4

188. Duck Cycle 1

189. Duck Cycle 2

190. Duck Cycle 3

191. Wind Cycle 1

192. Wind Cycle 2

193. Wind Cycle 3

194. Wind Cycle 4

195. Organ Cycle 1

196. Organ Cycle 2

197. Violin Essence

198. Buzzoon

199. Brassy Wave

200. Reedy Buzz

201. Growl Wave

202. HarpsiWave

203. Fuzzy Gruzz

204. Power 5ths

205. Filter Saw

206. Ramp

207. Evens Only

208. Odds Gone

Waveforms

209. Ice Bell

210. Bronze Age

211. Iron Plate

212. Aluminum

213. Lead beam

214. Steel Xtract

215. Winter Glass

216. Town bell

217. Orch Bells

218. Tubular SE

219. Soft Bell

220. Swirly

221. Tack Attack

222. Shimmer Wave

223. Mild Tone

224. Ah Wave

225. Vocal Wave

226. Fuzzy Clav

227. Electrhode

228. Whine 1

MULTI-CYCLE WAVEFORMSThe multi-cycle waveforms are shortsections of sampled sounds.

229. Filter Bass

230. Harmonics

231. ElecPiano

232. Marimba Attack

233. Vibe Attack

234. Xposed Noise

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LOOPS AND PILESLoops are single samples continuouslylooped.

Piles are continuous loops containingmultiple samples.

Loops and Piles are useful for specialeffects and can provide rhythmicaccompaniment when chords are played.Extreme transpositions may also yieldunusual effects.

235. Marimba Loop

236. Vibes Loop

237. Stick Loop

238. Cowbell Loop

239. Clave Loop

240. Hi Hat Loop

241. Drum Pile

242. CP-70 Pile

243. Pick Bass Pile

244. Guitar Pile

245. Finger Bass Pile

246. Moog Loop

247. OB Loop

248. Frost Loop

249. Memory Loop

Waveforms

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DrawbarDiagrams

Each drawbar controls the volume of itsassociated harmonic or overtone. The 8"drawbar is the fundamental pitch of thesound. Note that instruments 1-7 are fulllength samples, while waves 1-18 aresingle cycle loops.

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DrawbarDiagrams

100

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DrawbarDiagrams

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101

PercussionInstrumentLocations

ALL DRUMS

SNARE EMPTYAllows you to place a

tuned snare (inst. #87)in this location usingthe secondary layer.

KICK & SNARE EMPTYAllows you to placetuned kick & snares

(inst. 85 & 87) in theselocations using thesecondary layer or

links.

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KICK & SNARETUNED DOWN

KICK & SNARETUNED UP

SNARE TUNED DOWN,PANNED LEFT

Allows you to create astereo snare by pan-ning the secondary

snare hard right. (Hint:use delay, tuning,

sound start.)

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SNARE PANNED LEFTAllows you to create astereo snare by pan-ning the secondarysnare hard right.(Hint: use delay,

tuning, sound start.)

REVERB SPACESAllows you to add

reverb by layering withDrum Kits 1-7.

For more information onthe Reverb Spaces, see page84 of this manual.

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TechnicalSpecifications

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 ................. 20 Hz - 18 kHz

THD + N ..................................................<.05%

IMD .......................................................... <.05%

Power Requirements ........................... 25 Watts

Operating Temperature ................. 100° F Max.

Dimensions................. H: 1.75" W: 19" L: 6"(H: 4.4cm W: 48.3cm L: 15.2cm)

Weight .................................... 4 lb, 9 oz (2 Kg)

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MIDIImplementaionChart

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.

• There is only one edit buffer which is for the current preset (the preset shown in thedisplay). Only one preset at a time can be edited via SysEx commands and changing thecurrent preset erases the edit buffer.

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RECEIVED CHANNEL COMMANDSChannels number (n) = 0-15. Message bytes are represented in hex. All other numbersare 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

Program Change Cn pp

Channel Pressure Dn pp

Pitch Wheel En ll mm l = lsb, m = msb

Realtime Controller Bn cc vv cc = 01-31

Footswitch Bn cc vv cc = 64-79, vv ≥ 64 = on

Volume Bn 07 vv

Pan Bn 0A vv 0 = hard left, 127 = hard right

Effect Control A Bn 0C vv See • Note below

Effect Control B Bn 0D vv See • Note below

Effect A Mix Bn 5B vv

B->A Feed Bn 5C vv

Effect B Mix Bn 5D vv

Reset All Controllers Bn 79 00 ignored in omni mode

All Notes Off Bn 7B 00 ignored in omni mode

Omni Mode Bn 7D 00 forces all notes & controls off

Mono Mode Bn 7E 00 forces all notes & controls off

Poly Mode Bn 7F 00 forces all notes & controls off

Bank Select Bn 00 00 20 bb Cn pp bb = bank #, pp = prog. in bank

• Note: These controls adjust the currently selected parameter of the currently selectedeffect. The “currently selected” parameter is either the 1st one in an effect's parameterlist (as initialized after power up) or the parameter selected either by hand or by SysExparameter edits.

MIDISpecification

Bank 0 = 000-127 - bb=00

Bank 1 = 128-255 - bb=01

Bank 2 = 256-383 - bb=02

Bank 3 = 384-511 - bb=03

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RECEIVED SYSTEM COMMANDSFor system exclusive commands thefollowing format is used:

F0 system exclusive status byte

18 E-mu ID byte

04 product ID byte

dd device ID byte

cc command byte

... data bytes (256 bytes/preset)

F7 EOX


Preset Data Request F0 18 04 dd 00 ll mm F7 ll = preset # lsb,mm =preset # msb

see note 6

Preset Data F0 18 04 dd 01 ll mm ... ... cs F7cs = checksum = sum of all data bytes

Parameter Value F0 18 04 dd 02 pl pm F7Request pl = parameter # lsb pm = msb

Parameter Value F0 18 04 dd 03 pl pm vl vm F7vl = value lsb vm = msb

Tuning Table Request F0 18 04 dd 04 F7

Tuning Table F0 18 04 dd 05 ... ... F7

Program Map Request F0 18 04 dd 06 F7 see note 1

Program Map Data F0 18 04 dd 07 ... ... F7

Version Request F0 18 04 dd 0A ... ... F7 see note 3

Configuration Request F0 18 04 dd 0C ... ... F7 see note 4

MMA Tuning Dump F0 7E dd 08 01 tt <name (16 ascii)>…F7 see note 5

MIDISpecification

Two MIDI bytes (lsb, msb) are requiredfor each 14 bit data word. Bits 0-6 aresent first, followed by bits 7-13 in the nextMIDI byte. All data words are signed 2’scomplement values with sign-extensionout to the most significant bit (bit 13).This convention applies to all data words,regardless of the parameter’s value range.

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PARAMETER EDITINGPreset and setup parameters may beedited individually using system exclusivecommands. The preset being edited is theactive preset (the preset which is assignedto the received channel). The value of agiven parameter may be changed bysending a parameter value command.The value of a parameter may be read bysending a parameter value request, towhich the machine will respond bysending back the parameter value.

Preset data may also be transmitted orreceived in a single block (one completepreset) using system exclusive com-mands. A preset data request may beissued by a host computer, to which themachine will respond sending the datablock for the requested preset. Con-versely, the computer may send newpreset data which will replace the speci-fied preset currently in the machine.Additionally, a front panel command willtransmit one or all user presets forbackup onto an external sequencer. Thesepresets may be restored by simply playingback the sequence into the machine.

ALTERNATE TUNINGThe “user tuning table” allows any key tobe tuned to an arbitrary pitch over an 8octave range. If selected in the preset, analternate tuning may be achieved bymodifying the tuning values from thefront panel or downloading a new tableinto the machine. The table consists of128 words corresponding to the MIDI keyrange, kept in non-volatile memory. Eachword is a pitch value expressed in 1/64semitones, offset from key number 0(c-2). Therefore, for equal temperament,each entry in the table would be equal toits key number times 64.

PRESET DATA FORMATPreset data is transmitted and receivedusing the following format: The standardsystem exclusive header (described below)is followed by the preset number (lsb,msb), a 14 bit word for each presetparameter (lsb, msb) starting at param-eter #0 and continuing upward, a one-byte checksum, and the end-of-exclusivebyte (F7). The checksum is the modulo128 sum of all the parameter value bytes;that is, all of the data bytes following thepreset number and before the checksum.

TRANSMITTED SYSTEM COMMANDS


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 # lsbpm = msb vl = value lsb

vm = msb

Tuning Table F0 18 04 dd 05 ... ... F7 TT data = 256 bytes

Program Map Data F0 18 04 dd 07 ... ... F7 see note 1

MIDISpecification

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PRESET PARAMETERS

Parameter ParameterNumber Name

0-11 ---------- preset name (12 ascii chars)

12-14 --------------------------------- link 1-3

15-18 ----------------------------- low key 0-3

19-22 --------------------------- high key 0-3

23 ---------------------------- pri instrument

24 -------------------- pri sample start offset

25 ----------------------- pri tuning (coarse)

26 --------------------------- pri tuning (fine)

27 --------------------------------- pri volume

28 -------------------------------------- pri pan

29 ------------------------------------ pri delay

30 --------------------------------- pri low key

31 -------------------------------- pri high key

32 ------------------------------- pri alt attack

33 --------------------------------- pri alt hold

34 -------------------------------- pri alt decay

35 ------------------------------ pri alt sustain

36 ------------------------------ pri alt release

37 ------------------------ pri alt envelope on

38 ------------------------------ pri solo mode

39 ---------------------------------- pri chorus

40 ------------------------- pri reverse sound

41 ---------------------------- sec instrument

42 --------------------sec sample start offset

43 ----------------------- sec tuning (coarse)

44 -------------------------- sec tuning (fine)

45 --------------------------------- sec volume


46 -------------------------------------- sec pan

47 ------------------------------------ sec delay

48 --------------------------------- sec low key

49 --------------------------------sec high key

50 ------------------------------- sec alt attack

51 --------------------------------- sec alt hold

52 ------------------------------- sec alt decay

53 ----------------------------- sec alt sustain

54 ------------------------------ sec alt release

55 ----------------------- sec alt envelope on

56 ------------------------------sec solo mode

57 ---------------------------------- sec chorus

58 ------------------------- sec reverse sound

59 ---------------------------- crossfade mode

60 ----------------------- crossfade direction

61 ------------------------- crossfade balance

62 ------------------------- crossfade amount

63 ------------------------------- switch point

64 ------------------------------- LFO 1 shape

65 -------------------------- LFO 1 frequency

66 -------------------------------- LFO 1 delay

67 --------------------------- LFO 1 variation

68 ----------------------------- LFO 1 amount

69 ------------------------------- LFO 2 shape

70 -------------------------- LFO 2 frequency

71 -------------------------------- LFO 2 delay

72 --------------------------- LFO 2 variation

MIDISpecification

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PRESET PARAMETERS


73 ----------------------------- LFO 2 amount

74 ----------------------------------- aux delay

75 ---------------------------------- aux attack

76 ------------------------------------ aux hold

77 ----------------------------------- aux decay

78 --------------------------------- aux sustain

79 --------------------------------- aux release

80 -------------------------------- aux amount

81-86 ---------------------key/vel source 1-6

87-92 ------------------------ key/vel dest 1-6

93-98 ------------------- key/vel amount 1-6

99-106 ------------------ realtime source 1-8

107-114 ------------------- realtime dest 1-8

115-117 ---------------- footswitch dest 1-3

118-121 ----------- controller amount A-D

122 ------------------------- pressure amount

123 ------------------------- pitch bend range

124 ----------------------------- velocity curve

125 -------------------------- keyboard center

126 * ---------------------------------------------- preset submix

127 ------------------------- keyboard tuning

GLOBAL/SETUP PARAMETERS


256 ---------------------- MIDI basic channel

257 ----------------------------- MIDI volume

258 ---------------------------------- MIDI pan

259 ---------------------------- current preset

260 ------------------------------- master tune

261 ---------------------------------- transpose

262 -----------------global pitch bend range

263 -------------------- global velocity curve

264 -------------------------------- MIDI mode

265 ---------------------------- MIDI overflow

266-269 ---------- controller A-D numbers

270-272 ---------- footswitch 1-3 numbers

273 ---------------------mode change enable

274 ------------------------ device ID number

384-399 -------------- MIDI channel enable

400-415** ---- MIDI program change enable

416-431† -- Bus Assign (per MIDI channel)

512-639 ------- MIDI program/preset map

2381†† ----------------------------------------------------------- FxA ID

2382-2391 ----- Current FxA Parm Values

2392†† --------------------------------- FxB ID

2393-2402 ----- Current FxB Parm Values

2403 ------------------ FxA Wet Mix Percent

2404 ------------------ FxB Wet Mix Percent

2405 ------------------- Series B->A Percent

* See note 7

** See note 8

† See note 9

†† See note 10

MIDISpecification

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NOTE 1 - PROGRAM MAPPINGMIDI program changes will normallycorrespond to internal preset numbers 0-127. However, the user may “re-map” anyMIDI program number, assigning it to anarbitrary internal preset. This featureallows any of the internal presets to beselected from a MIDI keyboard controller.

NOTE 2 - SOUND SETSA Classic Keys sound set consists ofsample data (sound ROMs), plus addi-tional instrument data in the programROMs. Each sound set has a unique IDnumber.

The sound set for Classic Keys is 6.

It is necessary to include the sound setnumber as part of the instrument numberwhen exchanging data. The completeinstrument number contains two fields:bits 8-12 specify the sound set (0-31) andbits 0-7 specify the instrument within thesound set (0-255).

Instrument Bit Fields:12 8 7 0

<— sound set —> <—instrument # —>

(5 bits) (8 bits)

Within any given sound set, the firstinstrument is #1 and #0 selects “None”.

The “magic number” 1536 represents thestart number for the Classic Keys instru-ments. To calculate the complete instru-ment number follow the instructionsbelow.

SysEx Instr. No. = 1536 + Instr. No.

Next you must convert the SysEx instru-ment number to a 14-bit MIDI number.See the information on 14-bit 2's comple-ment numbers.

Example:Suppose we want to change theinstrument to I002 B3 Dist Fast.

1) 1536 + 2 = 1538

2) 1538 ÷ 128 = 12 r-2 = 12 (ignoreremainder)

3) 12 in Hex = 0C = msb

4) remainder 2 in Hex = 02 = lsb

5) SysEx Instrument Number =lsb msb02 0C

The complete message to change theprimary instrument to #002:

F0 18 04 dd 03 17 00 02 0C F7

14-bit Signed 2’s Complement NumbersIf the data value is negative, you mustfirst take the 2’s complement of thenumber: In the case of a 14-bit numberthis is equivalent to adding 16384 to theoriginal negative value.

To fit the 7-bit MIDI protocol, numbersmust be “nibble-ized”.

• To get the 14-bit nibble-ized value (of apositive value or a 2’s complementednegative value):

msb = value DIV 128 (divide and ignorethe remainder)

lsb = value MOD 128 (divide and use onlythe remainder)

MIDISpecification

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• To go the other way (convert 14-bitsigned 2’s complement to a signed realnumber)

raw Value = (msb*128) + lsb (gives youthe unsigned raw value)

if raw Value ≥ 8192 (8192 = 2^13)

then signed Value = raw value - 16384(16384 = 2^14)

Example: To find the “nibble-ized” Hexvalue of -127:

1) -127 + 16384 = 16257

2) 16257 ÷ 128 = 127 r-1

3) 127 in Hex = 7F = msb

4) 01 in Hex = 01 = lsb

5) Parameter value would be transmittedas 01 7F

Example: To find the “nibble-ized” Hexvalue of parameter number 257:

1) 257 ÷ 128 = 2 r-1

2) 2 in Hex = 02 = msb

3) 1 in Hex = 01 = lsb

4) Parameter number would betransmitted as 01 02

NOTE 3 - VERSION REQUESTThis command allows identification ofmachine type and software revision.Classic Keys will respond to the requestwith the version data:

F0 18 04 dd OB 01 r1 r2 r3 F7r1, r2, r3 = software revision number inascii (decimal point between r1 & r2).

NOTE 4 -CONFIGURATION REQUESTThis MIDI command is used to identifythe sound sets in a given Classic Keys.The configuration request command is:

F0 18 04 dd OC F7

Classic Keys will respond to this com-mand with the configuration message:

F0 18 0A dd 0D pl pm s1 l1 m1 s2 l2 m2 F7

where pl and pm are the lsb and msb arethe total number of presets, s1 and s2 arethe ID numbers of the sound sets con-tained in this unit, and n1 = l1, m1 andm2 = l2, m2 represent the lsb and msb ofthe number of instruments in each soundset.

NOTE 5 - BULK TUNING DUMPClassic Keys can receive MIDI TuningStandard dumps in addition to its ownSysEx tuning table dumps. Classic Keyswill only transmit in it’s own SysExtuning format. The MIDI Tuning Stan-dard is as follows:

F0 7E dd 08 01 tt <tuning name (16ascii)> … F7

dd= device ID tt= tuning prog #(ignored) tuning name = (ignored)

… = data (xx yy zz) frequency data forone note repeated 128x

xx yy zz = 0xxxxxxx 0abcdefg 0hijklmn

xxxxxxx = semitone, abcdefghijklmn =fraction of semitone in .0061 cent units.Examples: Middle C = 3C 00 00

A-440 = 45 00 00

MIDISpecification

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NOTE 6 - PRESET DATA REQUESTClassic Keys presets are organized intogroups of 64 presets for the purpose ofbulk preset dumps. There are 8 groups of64 presets (0-511). Each group may berequested using the preset requestcommand and the appropriate preset codelisted below.

Group Preset Range Preset Code MIDI Message0 0-63 1024 F0 18 04 dd 00 00 08 F7

1 64-127 1025 F0 18 04 dd 00 01 08 F7

2 128-191 1026 F0 18 04 dd 00 02 08 F7

3 192-255 1027 F0 18 04 dd 00 03 08 F7

4 256-319 1028 F0 18 04 dd 00 04 08 F7

5 320-383 1029 F0 18 04 dd 00 05 08 F7

6 384-447 1030 F0 18 04 dd 00 06 08 F7

7 448-511 1031 F0 18 04 dd 00 07 08 F7

1 64-127 -1 F0 18 04 dd 00 7F 7F F7

0 0-63 -2 F0 18 04 dd 00 7E 7F F7

0-3 0-255 -3 F0 18 04 dd 00 7D 7F F7

4-5 256-511 -4 F0 18 04 dd 00 7C 7F F7

MIDISpecification

NOTE 7 - PER PRESET BUS ASSIGNMENTS(Preset Parameter 126)

0 - Main1 - FxA2 - FxB

NOTE 8 - PER CHANNEL PROGRAM/BANK ENABLE(Global Parameters 400-415)

Respond to: Bank ProgramSelect Change

-1 Enabled, Use Program Map No Yes0 Disabled No No1 Enabled, initially Bank 1 Yes Yes2 Enabled, initially Bank 2 Yes Yes3 Enabled, initially Bank 3 Yes Yes4 Enabled, initially Bank 4 Yes Yes

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NOTE 9 -PER CHANNEL BUS ASSIGNMENTS(Global Parameters 416-431)

0 - Main1 - FxA2 - FxB3 - From Preset

NOTE 10 - SYSEX EFFECTS CONTROLParameter values transmitted via MIDISysEx can be used to control all aspects ofthe Classic Keys effects processors. ThisSysEx protocol overlaps somewhat thechannel-based MIDI controller numbersalready assigned to effects; the MIDIcontrollers are designed for realtimeperformance control, or from a sequencerduring mixdown, whereas the SysExprotocol is oriented towards setup at thestart of the sequence, or use by editor andlibrarian programs.

Parameter 2381, 2392FxA, FxB ID numbersThese parameters select which A and Beffect to execute. Sending the parametervalue will trigger loading a new A or Beffect, using the effect’s default settings.The parameter values are unique IDnumbers which “name” the effect, and aregiven in the table on the following page.To cause “No effect” (a straight-throughsignal path) to be loaded, send ID #0 forFxA or ID #128 for FxB. Sending IDnumbers not found in the table, or an FxAID number for the FxB parameter or viceversa, will also cause “No effect” to beloaded.

Parameter 2382-2391, 2393-2402FxA, FxB effects parameter valuesBoth FxA and FxB each have 10 SysExparameter numbers assigned to them tocontrol up to 10 parameter values pereffects program (most programs have farfewer.) Editing parameters which are not

MIDISpecification

active can have unpredictable results(usually, the value of the first of or lastvalid parameter will be inadvertantlychanged.). The order of the parameters isthe same order as they appear in theClassic Keys display. The allowed range ofSysEx parameter values is also the sameas for the values displayed on the screen,and may be both positive and negative,depending on the parameter; out of rangevalues are clipped. (Note that this differsfrom the way that MIDI channel effectscontrollers 12 and 13 work - their entirerange of 0-127 is mapped to cover exactlythe range of the effects parameter.)

Parameter 2403, 2404, 2405FxA Mix %, FxB Mix %, B->A Feed %These parameters are used to control therelative Wet/Dry mix, from 0 (dry) to 100(wet, ie all effect.) These duplicate thefunction of realtime MIDI channelcontinuous controller numbers 91 (FxAMix), 92 (B->A Feed) and 93 (FxB Mix).

In addition, parameter 2405 (B->A Feed%) uses the value 101 to set “ONLY”(100% wet) FxB output into FxA inputand “Off” (no B output); this special valueis not available from the continuouscontroller 92.

HOW TO EDIT AN EFFECT VIA SYSEXUse the SysEx format shown on page 107for parameter value: F0 18 04 00 03 pl pm vl vm F7

Example: Change Effect A to Flange.

1) FxA = 2381(paragraph at left)2) 2381÷128 = 18 remainder 773) 18 in Hex = 12 = msb4) 77 in Hex = 4D = lsb5) Flanger = 11 (chart on next page)6) 11÷ 128 = 0 remainder 117) 00 in Hex = 00 = msb8) 11 in Hex = 0B = lsb9) Send - F0 18 04 00 03 4D 12 0B 00 F7

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MIDISpecification

EFFECTS CONTROLLER MESSAGESThe following standard MIDI controllerswill be mapped to effects parameters. TheMIDI channel on which these controllersare transmitted must be enabled in theClassic Keys Master Menu, but is other-wise ignored.

0x0C (12) Effect Control 1This adjusts the currently selectedparameter of the currently selected “A”effect.

0x0D (13) Effect Control 2This adjusts the currently selectedparameter of the currently selected “B”effect

The Effect Control controllers will map 0-127 onto the whole range of theselected effect parameter. The “currentlyselected” parameter is either the first onein an effect’s parameter list, (as initializedafter power up) or the parameter selectedeither by hand or by SysEx parameteredits.

0x5B (91) FxA Mix %Adjusts the A mix amount

0x5C (92) B->A Feed %Adjusts the B->A mix amount

0x5D (93) FxB Mix %Adjusts the B mix amount

These controllers, defined in the MIDIspec as “Effects Depth Controllers”, mapcontroller values from 0-100 directly ontotheir corresponding mix percentages (to101 in the case of B->A feed.) Note thatthese parameters may not respond asquickly as incoming controller data canbe received by the unit, so you may hearthe mix values jump in large steps inorder to “catch up”.

FxA Programs ParameterValue

Room ................................................. 1

WarmRoom ....................................... 2

Plate 1 ................................................ 3

Plate 2 ................................................ 4

Chamber 1 ......................................... 5

Chamber 2 ......................................... 6

Hall 1 ................................................. 7

Hall 2 ................................................. 8

Delay .................................................. 9

Cross Delay ........................................ 10

Flange ................................................ 11

Phaser ................................................ 13

Chorus ............................................... 12

Echo................................................... 15

Small Room 1 .................................... 16

Small Room 2 .................................... 17

Hall 3 ................................................. 18

Early Refl 1 ........................................ 19

Early Refl 2 ........................................ 20

Early Refl 3 ........................................ 21

Early Refl 4 ........................................ 22

Rain.................................................... 23

Reverse ER......................................... 24

Shimmer............................................ 25

FxB Programs ParameterValue

Ring Modulate ................................... 29

Flange ................................................ 130

Chorus ............................................... 31

Fuzz ................................................... 132

Phaser ................................................ 133

Delay .................................................. 134

Cross Delay ........................................ 135

Fuzz Lite ............................................ 138

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MIDISpecification

CHANNEL BANK SELECT MESSAGESThe following standard MIDI controllers willbe mapped to MIDI Bank Select:

0x00 (0) Bank Select MSB

0x20 (32) Bank Select LSB

After a valid Bank Select message has beenreceived, any subsequent program changeson that channel will occur within theselected bank. Partial or invalid bank selectmessages on a channel will not affect thebank selected for that channel. The BANK/PRST CHANGE screen will be updated ifnecessary to reflect the newly selected bank.

The possible range of controller values are:

0x0000 - Classic Keys Bank 0



0x0003-0xffff - Classic Keys Bank 3

(Note that controller values specifying banknumbers greater than Bank 3 are clipped.Note also that, because of a difference innaming conventions, Proteus Bank 0corresponds to MIDI Bank 1 as defined inthe MMA spec.)

As per the MIDI spec, these messages mustbe sent in MSB/LSB order without interven-ing messages; response to these messages inany other order or format is undefined, butClassic Keys will generally not respond toanything but the MSB followed directly bythe LSB on the same channel.

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Index AA Effects List 35A-D Controllers 28AC Adapter 14AC Connection 14Alternate Volume Envelope 70Attack 54

BB Effects 45B3 Waves 98-100B->A 25Bank/Preset Change 27Basic Setup 11

CChambers 36Changing the Instrument 82Changing the Tuning 82Channel Pan 18Channel Volume 18Chorus 38, 68, 82Coarse Tuning 68Continuous Controller 60Cross Delay 43Cross-switch 70Cross-switch Point 72Crossfade Amount 71Crossfade Balance 71Crossfade Direction 71Crossfade Modes 70Cursor 17

DData Entry Control 17Decay 54Delay 42, 54, 69Demo Sequences 20Digital Waveforms 94-96Drawbar Diagrams 98-100

EEarly Reflection 36Echo 44Edit Menu 65Edit Menu Select Button 17Editing Presets 82

Effect A 24Effect B 24Effect Bus Architecture 33Effect Programming 35Effect Settings, sending 30Effect Output Routing 34Enter Button 17Envelope Generators 54

FFactory Presets, sending 30Feedback 40Fine Tuning 68Flanger 39Footswitch Control 76Footswitch Modulation 53Fuzz 46Fuzz Lite 46FX Amount 25FX Mix Select 24, 68

GGamelan Tuning 78Global Bend 25Global Velocity Curve 26

HHall 36Harmonic Waveforms 95Headphones 11Hold 54

IID number 26Instrument 10Instrument Listing 92-97

JJust C Tuning 78

KKey Number 58Key Range 66Keyboard & Velocity Modulation 53, 57, 74Keyboard Center 76Keyboard Tuning 78

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LLayering 81LFO See Low Frequency OscillatorLFO Delay 72LFO Rate 72LFO Variation 72Linking Presets 10, 81Loop Waves 97Low Frequency Oscillator 40, 55, 72

MMap, Program->Preset 29Master Menu 17, 23Master Settings, sending 30Master Tune 25Microtonal Scales 30MIDI Activity LED 17MIDI Channel Selection 18MIDI Controller Amount 76MIDI Controller Assign 28MIDI Enable 27MIDI Footswitch Assign 29MIDI Implementaion Chart 105MIDI In 11MIDI Messages 60MIDI Mode 26MIDI Mode Change 26MIDI Out 12MIDI Overflow 26MIDI Program ->Preset 29MIDI Realtime Controls 60MIDI Specification. 106-116MIDI Thru 13Midipatch 56Mix Select 68Modulation 52Mono Mode 26Multi Mode 26Multi-Cycle Waveforms 96Multi-timbral 19

NNineteen Tone Tuning 78

OOmni mode 26“Only” 25 See also FX AmountOrgan Waveforms 94

PPan 68Patch 56Percussion Instrument Locations 101-103Performance Setup 13Phaser 41Pile Waveforms 97Pitch Bend Range 76Plates 36Poly Mode 26Power Switch 14, 17Preset 10Presets, sending via SysEx 30Preset Change Disable 27Preset Linking 78Preset Name 66Preset Selection 18Pressure Amount 76Primary 10Primary Instrument 66Program Change Map 29Program/Preset Map, sending 30

RRain 36RAM Presets 88, 89Realtime Control 28Realtime Controllers 60Realtime Modulation 53, 59, 75Receiving MIDI Data 30Release 54Reverb 35Reverb Spaces 84Room 36Reverb Descriptions 35Reverse Sound 69Reversing the Sound 83Ring Modulator 47Ripoff 86ROM Presets 90, 91

SSampling 14Save Preset 78Scale Tuning 78Secondary 10Secondary Instrument 66Send MIDI Data 30Sequencing 85Shimmer 36

Index

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SSingle Cycle Waveforms 96Solo Mode 69Sound Splicing Synthesis 83Sound Start 69Split Keyboard 51, 81Studio Setup 12Sustain 54Synthesizer Waveforms 94

TTechnical Specifications 104Transmit MIDI Data 30Transpose 25Tuning Table, sending 30

UUser Key Tuning 30User Presets, sending 30User Presets 10User Tuning 78

VVallotti Tuning 78Velocity Curve 76Velocity Curve 58Viewing Angle 30Volume 68Volume Control 17

19-Tone Tuning 78

Index

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Please read this warranty, as it gives you specific legal rights.

Length of WarrantyThis warranty covers all defects in materials and workmanship for a period of one year from the date ofpurchase by the original owner, provided that the Warranty Registration Card is filled out and returned toE-mu Systems within 14 days from the date of purchase. Cases may arise where E-mu’s ServiceDepartment or one of E-mu’s authorized service centers will ask for a copy of your sales receipt tofacilitate warranty service. Please keep your purchase receipt in a safe place.

E-mu Systems does not cover:• Damages due to improper or inadequate maintenance, accident, abuse, misuse, alteration,

unauthorized repairs, tampering, or failure to follow normal operating procedures as outlined in theowner’s manual.

• Deterioration or damage of the enclosure.

• Damages occurring during any shipment of the product for any reason.

• An E-mu product that has in any way been modified by anyone other than E-mu Systems, Inc.

Limitation of Implied WarrantiesNo warranty is expressed or implied. E-mu Systems specifically disclaims the implied warranties ofmerchantability and fitness for a particular purpose.

Exclusion of Certain DamagesE-mu Systems’ liability for a product found defective is limited to repair or replacement of the unit, atE-mu’s option. In no event shall E-mu Systems be liable for damages based on inconvenience, whetherincidental or consequential, loss of use of the unit, loss of time, interrupted operation or commercial loss,or any other consequential damages.

Some states do not allow limitation of the duration of implied warranties or the exclusion or limitation ofincidental or consequential damages, so the above limitations and exclusions may not apply to you.

How To Obtain Warranty ServiceAll 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 tolocate a service center in your area, please contact E-mu Systems Service Department at (408) 438-1921.They will either refer you to an authorized service center or ask that you return your instrument to thefactory. When returning an instrument to the factory, you will be issued a Return Authorization number(RA). Please label all cartons, shipping documents and correspondence with this number. E-mu suggestsyou carefully and securely pack your instrument for return to the factory. Mark the outside of the shippingcarton clearly with your RA number. Send to E-mu Systems, Inc. 1600 Green Hills Road, Scotts Valley,California, 95066. You must pre-pay shipping charges to the service location. E-mu Systems will payreturn shipping fees. You will be responsible for any damage or loss sustained during shipment in anydirection.

Warranty

Documents

Classic Keys Manual