ATV aFrame User manual

aFrame
electrorganic percussion
Reference Guide
Ver 2.01
EN
JA

2
Version 1.20 Revision
• The system edit menus were changed and added.
Changed: SYS: Save Project, SYS: Export TONE, SYS: Audio Output
Added: SYS: Del Project, SYS: Delete TONE
• GroupKeyLock function was added.
• [INST] Xtra Type parameter functions were expanded.
• [INST] Tune parameter function was added.
• [INST] DFM, PFM, PSC, Mute, and XtraD.Tap parameter functions were added.
• [EFFECT] algorithm Multi-Tap Delay was added.
• [EFFECT] DelayTime of DLY and Multi-Tap DLY can now sync to a set BPM.
• In total 40 new kinds of tone (factory presets A’ to D’) were added.
Version 2.00 Revision
• The system edit menu was added.
SYS: Load LdP2B, SYS: TnDest.
• [INST/EFFECT] The function to selectdata was added.
• [INST] SC parameter function was expanded (5th, Octave, Chrmtic).
• [INST] pressure control was added.
• [INST] Mixer section MASTER MIX BUS SW was added.
• [EFFECT] Compressor effect was added.
• [EFFECT] Ambience, SpaceR/SpaceZ effects were added.
• [EFFECT] FxMtrx function was added.
• [INST/EFFECT] A randomizing function for parameter values was added.
• In total 80 new kinds of tone (factory presets A to D’) were added to INT.Memory2.

3
Editing the parameters
Here's how to edit the parameters of the currently selected instrument or effect.
1. Simultaneously press the following buttons to enter the edit screen.
EDIT BUTTON
Instrument [1 PITCH] button and [2 DECAY] button
Effect [3 BEND] button and [4 VOLUME] button
2. Press the [1 PITCH] button or [2 DECAY] button to select the parameter that you want to edit.
To view the list of editable instrument parameters, please refer to the Instrument edit parameters tables (p.69-75)
To view the list of editable effect parameters, please refer to the Effect edit parameters tables (p.76-85)
Memo
• Use the [3 BEND] button or [4 VOLUME] button to move between chapters (the rst item in each chapter) of
parameters.
• To fast-forward through parameters, hold down a [1 PITCH] - [4 VOLUME] button.
3. Turn the encoder to edit the value of the parameter.
When you edit a parameter, the ":" (colon) following the instrument or effect number changes to an "*"
(asterisk), and the FNC button lights.
If you turn the encoder while pressing it, the value changes as follows.
Frequency parameters: 1 Hz steps
Other parameters: Values up to 100: 10x units
Values above 100: 1/100 units
Renaming
Here's how to rename an instrument or effect.
1. Hold down the [1 PITCH] button or [2 DECAY] button until the following display appears.
2. Use the buttons to move the cursor to the character that you want to edit.
Turn the encoder to change the character.
To insert a character, press the [3 BEND] button; to delete a character, press the [4 VOLUME] button.
Characters are shown up to the " " character. If you enter a " " character, that character and
subsequent characters are not shown.
When you've nished editing the name, press the [1 PITCH] button or [2 DECAY] to return to the parameter select screen.
Instrument and effect parameters

4
Comparing with the unedited sound
Here's how to compare the edited sound with the unedited sound.
1. Edit an instrument or effect.
Once you edit a parameter, the FNC button lights.
2. Press the FNC button.
The FNC button and the encoder blink; your edits are temporarily cancelled, and you can hear the unedited
sound.
During this time, the display shows the following.
3. If you want to continue editing, press the FNC button, you'll return to the sound as it was before you pressed the
FNC button in step 2.
If you want to cancel editing and return to the unedited sound, press the encoder.
Auditioning the sound of each timbre (instruments only)
Here's how you can listen to the individual timbres within an instrument.ca
An instrument consists of four components called "timbres."
One timbre is assigned to each of the [A] - [D] buttons.
Button Timbre
A Main timbre
B Sub timbre
C Extra timbre
D Dry timbre
While in Instrument edit mode, each time you press one of the [A] - [D] buttons, the corresponding timbre turns on
(lit green; the timbre is heard) or off (lit red; the timbre is not heard).
This lets you hear the sound of each timbre individually, or mute only the sound of specic timbres.
These on/off settings are ignored in Play mode. In Play mode, all timbres are always on.
Instrument and effect parameters

5
Saving an edited sound
Here's how to save the parameters you've edited.
1. Press the [5 EFFECT] button. The encoder blinks red.
2. Use the buttons to select the save-destination number.
3. Press the encoder. The changes are saved to the number that you selected in step 2, and you return to Play
mode.
Cancelling your edits
If you decide to stop editing without saving your changes, long-press the [5 EFFECT] button.
The sound returns to the unedited state, and you'll be back in Play mode.
Instrument and effect parameters
If you want to continue editing :
In step 3, hold down the [5 EFFECT] button and press the encoder; you'll return to the parameter edit screen
instead of returning to Play mode. This is convenient when you want to continue editing.

6
Initializing system settings and factory presets
The following procedure assumes that you have already updated your aFrame with rmware version 2.0.
With the aFrame powered down, long-press the power button with the encoder pressed. The display will read:
Press the button to the right of the display [Yes] to execute system initialization. A progress indicator will display and
when the system has been initialized, the message
‘Init Sys/Project Done!’ will briey display. The system will then boot into play mode as normal.
Initializing the system loads two sets of factory presets into the aFrame’s two internal memory locations:
INT. Memory 1: Factory Presets 1 (version. 1.20 rmware)
INT. Memory 2: Factory Presets 2 (version 2.0 rmware)
By default, Factory Presets 1 is loaded into working memory. These include the 40 new tones created for version 1.20.
To load Factory Presets 2, use the system menu function ‘SYS:Load Project’. Select INT.Memory 2 as the source. 80 new
tones created for version 2.0 will be loaded into working memory.
Assuming that you do not overwrite the data stored in INT.Memory 1/2 with your own project data, you can reload
Factory Presets 1/2 by using the ‘SYS:Load Project function and selecting INT.Memory 1/2 as the source.
It is recommended that you create and save a backup project for both sets of factory presets and store these on your
SD card.
Instrument and effect parameters

7
[ INST ] Xtra Type
With rmware version 1.20, the number of generative processing algorithms for the Extra timbre was expanded. The
parameter XtraType is used to select between the different processing algorithms.
Depending on the processing algorithm selected, different parameter sets are activated and can be adjusted.
There are four different categories of algorithm. Each category has several type variations.
Algorithm Variations/Types
Noise 4
Jingle 3
Click 4
JingleX 9
Please refer to the Extra Type list on p.12 and the Extra timbre OSC Algorithm signal flowchart on p.73. The signal
owchart shows how the different algorithms generate the sound as well as which parameters are activated when you
select a particular algorithm.
In rmware release 1.20, two new versions of XtraType ‘Click’ were added. Click 3 generates a wooden attack sound.
Click 4 generates a metallic attack sound.
If Click* was selected,XtraFltQ was set by DecayTime atutomatically, so FilterQ cannot be controlled directly(Just like
Main/Sub's FilterQ).
JingleX
JingleX implements a 2DCO (Digitally controlled oscillator) X-FM / Ring Modulation synthesis algorithm.
When one of the nine variations of JingleX is selected (Jx***) in XtraType, additional parameters used to control the
synthesis algorithm are activated. These parameters are shown in the table below. Please refer to the Extra Parameter
table (p.70) for brief descriptions of these parameters.
XtraType:
Jx***
Activated Parameters
XtraJxF.Type, XtraJxFR,
XtraJxMR, XtraJxXFMod,
XtraJxCarLev, XtraJxModLev, XtraJxRingLv
The XFM synthesis processing includes a controllable lter to help shape the generated sound.
The parameter XtraJxF.Type enables you to select between three different kinds of lter: LPF (Low pass lter), HPF (High
pass lter) and BPF (Band pass lter).
The parameter XtraJxFR determines the frequency of the selected lter type. This parameter can adjusted as a frequency
value in Hz, or as a ratio of the Carrier Oscillator frequency (set by XtraTune). To switch between the frequency value and
ratio value modes, press the left and right buttons either side of the display. To change the input value, turn the
encoder wheel as normal.
Instrument and effect parameters

8
The parameter XtraJxXFMod controls the depth of modulation, or the level of frequency modulation that is applied
to the Carrier Oscillator signal. This is a key timbre control parameter as it directly affects the generation of audible
sidebands. In general, higher values (+ or -) will increase the number of sideband frequencies, thus generating a fuller
and often noisy sounding timbre.
When XtraJxXFMod is adjusted in the positive range (0 to 100) the XFM synthesis algorithm targets the signal after
envelope processing. The result of this is that the modulation depth level is dependent on your playing dynamics – or
how hard you strike. This is an interesting way to expressively and dynamically control the timbre. The harder you hit the
more audible sideband frequencies are generated.
When XtraJxXFMod is adjusted in the negative range (0 to -100) the XFM synthesis algorithm targets the signal before
envelope processing. In this case, there is no dynamic change in the output timbre in terms of the audible sidebands
generated.
The parameter XtraJxCarLev is used to adjust the signal level of the Carrier Oscillator. The parameter XtraJxModLeV
is used to adjust the signal level of the Modulator Oscillator. Adjusting both of these parameters will also affect the
generation of sidebands and the timbre of the synthesized sound.
In addition to XFM synthesis processing, JingleX also runs a parallel ring modulation process between the Carrier
Oscillator and Modulator Oscillator. The parameter XtraJxRingLv can be adjusted to mix in the signal output of the ring
modulation synthesis process. This is particularly effective when you wish to add more inharmonic sidebands and color to
the timbre.
Instrument and effect parameters

9
Sound Design Tip:
With XFM synthesis, making small changes to the depth of modulation can result in signicant differences in output timbre.
This is because the strength of carrier signal frequency modulation determines the generation of audible sidebands. To
explore the sound design possibilities for creating timbres using XFM synthesis, you could try out the following experiment.
Choose any tone that uses the Extra layer. In edit mode, turn off all other instrument layers, so you can just hear the Extra
Layer.
Adjust the parameter values to the settings listed:
Parameter Value
XtraType Jx RxS
XtraTune C2 /+00
XtraDcay 3000ms
XtraHold 500ms
XtraFltQ 0.5
Xtra DQM 0
Xtra DFM 0
Xtra PFM 0
Xtra Mute OFF
Xtra Delay 0
XtraD.Tap 0
XtraJxF.Type HPF
XtraJxFR 0.10
XtraJxMR 4.00
XtraJxXFMod 0
XtraJxCarLev 100
XtraJxModLev 100
XtraJxRingLv 0
XtraSC OFF
XtraBoost 0
Starting with these settings you will hear a typical synth bass tone with a long sustain. The timbre has a low fundamental
frequency (C2) with some higher harmonic sidebands.
Now select XtraJxXFMod and slowly increase the value from 0 to +100 as you play. As you increase the value you should be
able to hear the timbre change as more audible sidebands are generated. Next try changing the value in the negative range,
0 to -100 and the resulting timbres sound different, particularly in the upper value ranges.
This experiment, although not particularly musical, does show the sound design possibilities for generating timbre variations
using XFM. Once you have a setting you like the sound of, try experimenting further by switching between the different
variations of JingleX. Also use the filter parameters (XtraJxF.Type, XtraJxFR) to shape the generated tone and attenuate
sideband frequencies. Using the lter will help to soften the sound and reduce the inharmonic frequency content.
With a little practice you will quickly start designing some very interesting sounding electronic tones to mix with the Main,
Sub and Dry timbre layers.
Instrument and effect parameters

10
Extra Layer Variable Envelope Generators for Tap Delay
The Extra layer implements two types of envelope generators to give you sophisticated control over the onset of the
sound and tap delay effects. Please refer to the diagrams on the page titled ‘aFrame Extra Timbre Envelope Generator’
(p.13)
The rst type, Envelope Generator 1 is activated when the parameter XtraD.Tap is set between the values +0 and +8.
As the diagrams show, the parameters XtraDcay and XtraHold function in a standard way to change the envelope of the
sound. When relating this to standard ADSR envelope terminology, we might describe XtraHold as the sustain part of the
envelope, and XtraDcay as the release part.
The parameters XtraDelay and XtraD.Tap produce some interesting rhythmic delay effects when adjusted in combination.
To hear these effects clearly, start with the following settings:
Parameter Value
XtraType 500ms
XtraHold 250ms
XtraDelay 200ms
XtraD.Tap +0
Striking the drum you will hear one sound at the instant you strike. With these settings you should be able to hear the
longer hold and decay of the sound’s envelope. Now increase XtraD.Tap to +1 and there will be a 200ms delay after the
strike before you hear the sound. This delay of the onset of the generated sound can add an interesting rhythmical effect
when combined with other instrument timbre layers.
Increase the value of XtraD.Tap to +2 and you will hear two distinct sounds. The rst occurs at the instant you strike. The
second tap sound is longer in duration because the XtraDcay and XtraHold envelope values are applied to the second
tap sound. Keep increasing the value of XtraD.Tap up to +8 and you will hear the increased number of taps and also a
rhythmic pattern change. In each case, the last tap sound has the envelope set by XtraDcay and XtraHold.
The second envelope type, Envelope Generator 2, is activated when the value of XtraD.Tap is adjusted in the range -1
to -3000
This also activates additional parameters used to control this envelope type.
Activated when XtraD.
Tap is adjusted to minus
values
Parameter name
XtraD.Fluct,XtraD.Atck,XtraD.Dcay
Instrument and effect parameters

11
Referring to the diagrams on p.13, you can see that with Envelope Generator 2, the parameter XtraHold in combination
with the additional parameters XtraD.Atck and XtraD.Dcay, give full envelope control over each tap sound in the tap
sequence. In this case, the parameter XtraDcay shapes the envelope at the end of the tap sequence. Depending on the
setting for XtraDcay, you will continue to hear taps decreasing in volume over the time period set for XtraDcay.
The parameter XtraD.Fluct adds uctuations that affect the rhythmic pattern and overall amplitude (volume level) of taps
in the sequence. As you increase the value of XtraD.Fluct the audible results start to sound more random, with breaks in
the tap pattern.
Sound Design Tip:
Envelope Generator 2 can be used to create to some very interesting effects, including long drone-like sounds and
interesting tap sequences with uctuations. It is possible to create almost endless sequences because the number of taps
can be adjusted to a maximum value of 3000! To create some interesting analog sequencer style sounds, try different
settings of Envelope Generator 2 with higher tap values (e.g. -20) in combination with different pressure scale control
settings (see p.19).
Instrument and effect parameters

12
Instrument and effect parameters
1 2 3 4 5
A B C D E F G H
1 2 3 4 5
A B C D E F G H
XtraType: Click1, Click2, Click3, Click4 XtraType: Jx TxT, Jx RxR, Jx SxS, Jx TxR, Jx TxS, Jx RxT, Jx RxS, Jx SxT, Jx SxR XtraType: WhiteNz XtraType: LPF Nz, HPF Nz, BPF Nz XtraType: Jingle1, Jingle2, Jingle3
aFrame EXTRA Timbre OSC Algorithm Chart
Xtra In
ABS
XtraDcay XtraHold XtraDelay XtraD.Tap XtraD.Fluct XtraD.Atck XtraD.Dcay
EnvM
Xtra Mute
Xtra In
ABS
XtraDcay XtraHold XtraDelay XtraD.Tap XtraD.Fluct XtraD.Atck XtraD.Dcay
EnvM
Xtra Mute
Xtra In
ABS
XtraDcay XtraHold XtraDelay XtraD.Tap XtraD.Fluct XtraD.Atck XtraD.Dcay
EnvM
Xtra Mute
Delay EnvGen Delay EnvGen EnvGenDelay
[Saw*2] [Saw*3] [Saw*6]
HPFFILTER
Xtra DFM(x) Xtra DQM(x) Xtra PFM(x)
Xtra DFM Xtra DQM Xtra PFM
XtraTune(x) XtraFltQ(x)
XtraTune XtraFltQ
Xtra DFM Xtra DQM Xtra PFM XtraFltQ XtraTune
Xtra In
ABS
XtraDcay XtraDelay XtraD.Tap XtraD.Fluct XtraHold(x) XtraD.Atck(x) XtraD.Dcay(x)
EnvM
Xtra Mute
BPF1 BPF2 BPF3 BPF4 BPF5 BPF6EnvGenDelay
XtraTune Xtra DQM Xtra DFM Xtra PFM XtraFltQ(x)
M-OSC C-OSC
[Freq]
[Ratio]
XtraJxCarLev XtraJxRingLev XtraJxModLev
[RingModuration]
Xtra DFM Xtra DQM Xtra PFM XtraFltQ XtraTune
Xtra In
ABS
EnvM
Xtra Mute
Delay EnvGen
[DCA][DCA][DCA] [White Noise][White Noise]
[DCA] [DCA]
XtraDcay XtraHold XtraDelay XtraD.Tap XtraD.Fluct XtraD.Atck XtraD.Dcay
XtraJxFR
[Freq]
[Ratio]
XtraJxMR XtraJxF.Type
FILTER
XtraJxXFMod
[-Value]
[+Value]
XtraSC(x) XtraSC XtraSC XtraSC XtraSC
CENTER IN EDGE IN MUTE SIG
CENTER IN EDGE IN MUTE SIG
CENTER IN EDGE IN MUTE SIG
OUTPUT
(F/Q)
OUTPUT
[LPF/HPF/BPF] (F/Q)
OUTPUT
BEND SIG BEND SIG BEND SIG CENTER IN EDGE IN MUTE SIG
(F/Q)
OUTPUT
BEND SIG
[Tri/Rect/Saw] [Tri/Rect/Saw]
(F) (F)
(F/Q)
OUTPUT
BEND SIG CENTER IN EDGE IN MUTE SIG
[LPF/HPF/BPF]

13
Instrument and effect parameters
1 2 3 4 5
A B C D E F G H
1 2 3 4 5
A B C D E F G H
Envelope Generator1 [XtraD.Tap: +0 to +8] Envelope Generator2 [XtraD.Tap: -1 to -3000]
aFrame EXTRA Timbre Envelope Generator
Input(ABS)
[XtraDcay, XtraHold, XtraDelay, XtraD.Tap]
XtraD.Tap : +0 XtraDelay : *ms XtraD.Tap : +0 XtraD.Tap : +1 XtraD.Tap : +2 XtraD.Tap : +5 XtraDelay : *ms XtraDelay : 10ms XtraDelay : 10ms XtraDelay : 10ms XtraDcay : 20ms XtraHold : 4ms XtraDcay : 20ms XtraHold : 4ms XtraDcay : 20ms XtraHold : 4ms XtraDcay : 20ms XtraHold : 4ms XtraHold : 0ms XtraDcay : 10ms
XtraDcay
(L:Input Signal Level)
(A:Input Signal Attack)
(L)
XtraHold XtraDcay
XtraHold XtraDcay
(A)
XtraDelay XtraDelay [XtraDcay * 0.2](A) XtraHold XtraDcay
Input(ABS)
(A:Input Signal Attack)
[XtraDcay, XtraHold, XtraDelay, XtraD.Tap, XtraD.Fluct, XtraD.Atck, XtraD.Dcay]
XtraD.Tap : -1 XtraD.Fluct : 0 XtraD.Atck : 4ms XtraHold : 0ms XtraD.Tap : -1 XtraD.Fluct : 0 XtraD.Atck : 4ms XtraD.Tap : -1 XtraD.Fluct : 0 XtraDelay : 10ms XtraD.Atck : 4ms XtraD.Dcay : 6ms XtraDcay : 40ms XtraDcay : 40ms XtraD.Fluct : 0 XtraD.Atck : 4ms XtraHold : 2ms XtraHold : 0ms XtraD.Dcay : 4ms XtraDelay : 10ms XtraD.Tap : -5
XtraD.Atck
XtraD.Dcay
XtraDelay XtraD.Atck
XtraHold
(L:Input Signal Level)
XtraD.Dcay
XtraDcay(XtraDelay * 4)
XtraDcay : 6ms XtraD.Dcay : 6ms
XtraD.Dcay (XtraDcay <= XtraDelay)
XtraDcay : 4ms XtraHold : 2ms XtraDelay : 10ms XtraDelay : 10ms XtraD.Dcay : 4ms
XtraD.Dcay (XtraDcay <= XtraDelay)XtraHold
XtraD.Dcay : 2ms XtraD.Atck : 0ms XtraD.Tap : -5 XtraD.Fluct : 0 XtraDelay : 10ms
Delay Level: 1.0 Delay Time: 1.0
XtraDcay : 40ms XtraHold : 0ms XtraD.Dcay : 2ms XtraD.Atck : 0ms XtraD.Tap : -5 XtraDelay : 10ms XtraD.Fluct : 50
Delay Time: 0.75 to 1.5 Delay Level: 0.5 to 1.0
XtraDcay : 40ms XtraHold : 0ms XtraD.Atck : 0ms XtraD.Tap : -5 XtraDelay : 10ms XtraD.Fluct : 100
Delay Time: 0.5 to 2.0 Delay Level: 0.0 to 1.0
XtraD.Dcay : 2ms XtraDcay : 40ms XtraHold : 0ms
[XtraD.Atck + XtraHold + XtraDelay * (-XtraD.Tap - 1)]
[XtraDelay * 4]
XtraDcay (> XtraDelay)
XtraDcay (XtraDelay * 4)
(L) (L)

14
[ INST ] Tune parameter
In rmware version 1.20, the minimum frequency value for the Main/Sub/Xtra timbre layers was changed from 20Hz to
16Hz (C0), and the maximum frequency value was changed from 10,000Hz to 12,544Hz (G9). These instruments also now
conform to a Note-Pitch/Cent display, where one semitone interval = 100 cents.
When editing the instrument tuning parameters for the Main (MainTune), Sub (SubTune) and Extra (XtraTune) timbre
layers, it is possible switch the parameter display between frequency and Note-Pitch/Cent modes by pressing the left and
right buttons either side of the LCD display.
When frequency values (Hz) are displayed during editing, the frequency value can be adjusted in semitone intervals by
rotating the encoder wheel. Fine adjustments in 1 Hz steps can be made by simultaneously pushing in and rotating the
encoder wheel.
When either the minimum frequency value of 16Hz or maximum value of 12,544Hz is reached when rotating the encoder
wheel, the adjustment then continues by passing through octaves of the note A (…220Hz, 440Hz, 880Hz…).
When a particular frequency value is not desired, please adjust the value in 1Hz steps to obtain the desired frequency
value.
When Note-Pitch/Cent values are displayed during editing, the Note-Pitch is adjusted in semitone steps by rotating the
encoder, whereas the Cent value (/+00) is adjusted in 1 Cent steps by simultaneously pushing in and rotating the encoder.
The range of cent values is from -50 to +49. The table below shows the cent value ranges for the musical note A4, the note
G#4 a semitone below, and the note A#4 a semitone above.
G#4 A4 A#4
-50 ... +00 ... +49 -50 ... +00 ... +49 -50 ... +00 ... +49
Please note that the conversion from Hz to Note-Pitch/Cent is exact but the conversion from Note-Pitch/Cent to Hz is not
always exact because of value rounding.
For example, in the system the note C4 [C4/+00] is accurately calculated to be 261.625563Hz. However, when converting
from Note-Pitch/Cent mode to frequency mode, this value is rounded down to 262Hz. This corresponds to a +2 cent
tolerance for the note C4.
In earlier firmware versions, it was only possible to adjust the tuning in Note-Pitch values for the Main timbre layer
(MainTune). Following the release of firmware version 1.20, it became possible to adjust the tuning of the Main, Sub
and Extra timbre layers (MainTune, SubTune, XtraTune) using Note-Pitch/Cent values in semitone steps (100 cents). When
editing, If there are timbre layers that you do not wish to change, it is advised that you use the frequency (Hz) mode for
tuning.
Instrument and effect parameters

15
To ensure compatibility, please consider the following point about adjusting a selected tone’s tuning using the [PITCH]
control button and encoder wheel. When the tuning values of MainTune:/SubTune:/XtraTune are displayed in Hz (frequency
mode tuning), only the MainTune value in Hz will be displayed and adjusted. The table below indicates the usual displays
that are shown when adjusting tuning using [PITCH] control and the encoder wheel.
[NotePitch/cent] mode select Before edit After edit
N/A Pitch(F): 440Hz Pitch(F): 466Hz
Main P.TN:A4 /--- /--- P.TN:A#4 /--- /---
Main + Sub P.TN:A4 /C4/--- P.TN:A#4 /C#4 /---
Main + Sub + Xtra P.TN:A4 /C4 / G4 P.TN:A#4 /C#4 /G#4
Instrument and effect parameters

16
[ INST ] DFM, PFM, SC, Mute, XtraD.Tap parameters
With rmware version 1.20, the value ranges of certain Main, Sub, and Xtra layer parameters were expanded to include
negative values.
With version 2.00, the PSC (pressure scale control) parameter for the Main, Sub and Xtra layers was simply renamed to SC
(scale control). The range of SC settings were also expanded, from OFF through the various scale types (MTriad - Chrmtic).
The table below indicates the parameters that were changed and their new value ranges.
Parameter name range
Main[Sub, Xtra] DFM -100 -- 0 -- +100
Main[Sub, Xtra] PFM -100 -- 0 -- +100
Main[Sub, Xtra] SC OFF, MTriad -- Chrmtic
Main[Sub, Xtra] Mute nnn: value of Mute Sens
XtraD.Tap -3000 -- 0 -- 8
Mute Functions
Main[Sub, Xtra] Mute: when set to OFF, mute is disabled.
Main[Sub, Xtra] Mute: when set to ON(**), the value of ** reects the value of Mute Sens, a general ‘Pressure Parameter’
controlling mute sensitivity (see p.69-70). In this case, the general mute sensitivity setting (Mute Sens) controls the mute
sensitivity for the timbre layer. When Mute Sens is adjusted to a higher value, the mute sensitivity for the layer also
increases, which enables easier muting (as with previous rmware versions).
Main[Sub, Xtra] Mute: When the value of either Main Mute, Sub Mute or Xtra Mute is adjusted in the positive range
+1 to +100, the mute sensitivity value is set for the selected timbre layer. In this way it is possible to adjust the mute
sensitivity of each timbre independently.
Consistent with the functionality of the general ‘Pressure Parameter’ Mute Sens, when you independently adjust the
mute sensitivity of a selected timbre layer, a higher value will make it easier to mute the sound (less pressure will be
required to engage mute).
Main[Sub, Xtra] Mute: When a positive value has been entered, the ne adjustment of mute behavior depends on the
general Pressure Parameters Mute Dcay and Mute Mask (see table on p.71).
If Mute Dcay(this is common parameter for theree timbre) was raising to higher, Main[Sub,Etra]Dcay were not effect
when the value was small.
The parameter Mute Mask is used to control the time from the instant you apply pressure to the striking surface, to the
start of the mute process. This is effectively a way to offset the start of the mute, so it does not begin at the same instant
you apply pressure to the surface.
Instrument and effect parameters

17
Main[Sub, Xtra] Mute: When the value of either Main Mute, Sub Mute or Xtra Mute is adjusted in the negative range -1
to -100, the maximum level of mute is activated when the hand is released from the striking surface, whereas the mute is
released when the hand is placed in contact with the striking surface. The more you increase the negative value across its
range (higher absolute value), the longer the decay sound of the selected timbre layer (Main Dcay, Sub Dcay, Xtra Dcay) –
thereby giving a higher sensitivity to the mute release.
Negative values of mute [Main, Sub, Xtra]:
When the value is in the range -1 to -50, the typical mute effect is reversed. When pressing the surface the mute is off,
and when pressure is released the mute is on and affects the sound at the level set. A different mute action has been
implemented for negative values in the range -51 to -100. In this case, when pressing the surface the mute is off, but
when pressure is released the mute stays off. In effect this is a constant mute. This produces a different effect, similar
to a slap effect, which gives a natural acoustic response and feeling when playing fast patterns.These programmable
differences in mute action can be useful for different musical situations and styles of playing.
Note that when the value of Main Mute, Sub Mute, and Xtra Mute is negative, the level of mute sensitivity does not
affect the general pressure parameters Mute Dcay and Mute Mask.
When the value of XtraD.Tap is set to a negative value, it is possible to generate a complicated envelope. For more
information, refer to the previous section on the multi-tap delay parameters for the Xtra timbre layer (p.10) as well as
the diagrams representing the EXTRA Timbre Envelope Generator algorithms (p.13).
Instrument and effect parameters

18
[INST] Expanding the maximum value of DQM parameter
For all timbre layers (Main, Sub, Extra), the value range of DQM (Dynamic Q Modulation) has been extended (0 – 200).
Prior to this, it was noted that the audible effects of DQM, even with higher values was not pronounced enough to be
considered an expressive dynamic effect. In order to maintain compatibility and consistency for tones created with earlier
rmware versions, DQM values set in the range 0 to 100 will produce the same effect as before. However, the extension
of the range from 101 to 200 raises the sensitivity of the DQM processing, which produces a stronger audible result that
sounds natural. One noticeable effect is that the decay of the sound will signicantly increase when you play loudly and
with force.
Instrument and effect parameters
[INST] Adding XtraBoost
The output signal of the Extra timbre layer varies signicantly depending on the algorithm setting for XtraType and the
lter settings. For this reason, the output signal is compressed to prevent distortion. In order to compensate for the signal
attenuation, a new function XtraBoost has been added. XtraBoost can be used to increase the gain of the output signal,
from no gain at a setting of zero, to a maximum signal gain equivalent to 20.0 dB.
The same increase in gain effect can be achieved by increasing the value of the ‘Overdrive’ effect parameter enabled
for the Main and Sub layers (Main OD, Sub OD). However, in the case of the Xtra layer, the gain process is not designed
to add audible distortion. If distortion does occur, this will be due to the signal clipping. In this case, reduce the level of
XtraBoost.
Please note that the XtraBoost parameter is excluded from randomization processing, and will not be changed when the
randomize function is used to change timbre layer parameter values.
XtraBoost is implemented as a gain control regardless of XtraType, The gain will rise at 0.2dB step at 1 to 100.
(MAX: 20dB)
When XtraType is Click 1, Click 2, Click 3, or Click 4, in addition to the gain, EQ sensitivity will rise.The EQ sensitivity
reaches the maximum sensitivity at 15, and in the range from 16 to 100, only the gain increases.

19
With rmware version 2.00, we have signicantly expanded the possibilities for pressure sensitive musical expression.
Scale Control by Pressure
When selecting a musical scale for a timbre layer via the parameters MainSC, SubSC or XtraSC, it is now possible to also
select one of 13 different scale control modes. These scale control modes affect the sequencing of notes generated for
the selected scale.
As the table on p.20 shows, each scale control mode is represented by a code reference. The reference code for the scale
control mode is displayed to the right of the eld for the selected musical scale.
For example:
MainSC:MScale
You can switch between the different scale control modes using the and buttons either side of the LCD display.
Instrument and effect parameters
[INST] Expansion of pressure control functions

20
Instrument and effect parameters
MainSC/SubSC/XtraSC (Scale control by Pressure)
Mode Function Description
Pressure Scale Control Up In response to the level of pressure applied, the note sequence ascends
in scalewise steps for the selected scale.
Pressure Scale Control Down In response to the level of pressure applied, the note sequence descends
in scalewise steps for the selected scale.
Random, Note Up With pressure applied, every hit generates a random note from the scale
within a one-octave range above the root.
Random, Note Down With pressure applied, every hit generates a random note from the scale
within a one-octave range below the root.
Random, Note Up Down
With pressure applied, every hit generates a random note from the scale
within a one-octave range above and below the root. Therefore the
random note selection range is across two octaves of the scale.
Sequence Up
With pressure applied, every hit generates a note ascending in scalewise
steps, starting from the root across a range of one octave. When the
highest (octave) note is reached, the sequence repeats from the root.
Sequence Down
With pressure applied, every hit generates a note descending in
scalewise steps, starting from the root across a range of one octave.
When the bottom (octave) note is reached, the sequence repeats from
the root.
Sequence Up Down
With pressure applied, every hit generates a note from a long sequence
of scale tones that rst ascend and then descend in scalewise steps.
Starting at the root, the sequence rst ascends one octave, then
descends two octaves, and nally ascends one octave back to the root.
The entire two-octave sequence then repeats.
Sequence Down Up
With pressure applied, every hit generates a note from a long sequence
of scale tones that rst descend and then ascend in scalewise steps.
Starting at the root, the sequence rst descends one octave, then
ascends two octaves, and nally descends one octave back to the root.
The entire two-octave sequence then repeats.
Skip Up
With pressure applied, every hit generates an ascending note from
the root that ‘skips’ one step in the scalewise pattern. When the upper
octave note is reached, the sequence repeats from the root.
(Note) When using the major scale, the sequence pattern ascends in
thirds intervals to produce two four-note arpeggios.
Skip Down
With pressure applied, every hit generates a descending note from
the root that ‘skips’ one step in the scalewise pattern. When the lower
octave note is reached, the sequence repeats from the root.
Skip Up Down
With pressure applied, every hit generates a note that ‘skips’ one step in
the scalewise pattern, rst ascending and then descending. Starting from
the root, the skip note sequence rst ascends one octave, then descends
two octaves, and nally ascends one octave back to the root. The entire
two-octave sequence then repeats.
Skip Down Up
With pressure applied, every hit generates a note that ‘skips’ one step in
the scalewise pattern, rst descending and then ascending. Starting from
the root, the skip note sequence rst descends one octave, then ascends
two octaves, and nally descends one octave back to the root. The entire
two-octave sequence then repeats.