Dynacord ADD-one User manual

DYNACORD Operating Manual
I
fDYNACORD ADVANCED DIGITAL DRUMS
Bill
\
ADD -one
Ml II
ADVANCED DIGITAL DRUMS
ADD-one

Table of Contents
1. Brief Description of the Unit ...,,=..«. 71
2. External Design ,.73
2.1 The Front of the Unit 73
2.2 Rear of Unit 75
3. Connection to Your System .„,..,...< 78
3.1 The Signal Outputs ......... 78
3.2 The Control and Trigger Inputs .„„,.,.... 79
3.3 MIDI Connections ......... 79
3.4Cassette Recorder Connections ... . ............. 80
3.5 The MULTI TRIGGER IN/OUT Jack „,.».,. 80
4. Variable Parameters .............. 81
4.1 Definitions and Overview .,.,-...,„ 81
4.2 Block Circuit Diagram for the Unit ............ 82
5.Working with the ADD-one ........ S3
5.1 General ,.......,„.. 33
5.2 Setting the Individual Parameters .... :......... .34
5.2.1 Function Block PARAM ..84
5.2.2 Function Block ADD PARAM ............... 87
5.2.3 ROUTING Possibilities ................ 95
5.2.4 Function Key CHAN ,.....„..<.,, 97
5.2.5 Function Key CHAIN 99
5.2.6 Function Key COMP ,.„„100
5.2.7 Function Key COPY 101
5.2.8 Function Key MIDI 107
5.2.9 Function Key CODE .,.............. 112
5.2.10 Other Characteristics and Messages 115
6. Practical Examples of Programming 116
6.1 Basic Status of aDrumset .,„...... 116
6.2 Pitch Effects ................. 116
6.3 Possible Applications of the Filter Functions ........ H7
6.4 Working with Envelope Generator 2's 120
6.5 LFO and PANNING Effects 121
6.6 The INPUT Routing and the Rotate Mode ....................... 123
6.7 Programming the TRACKING Generators 125
6.8 Programming the Digital Delays and Creating bccjuonccs ..... 126
7. Extensions and Accessories 128
7.1 Installation Instructions for PC-2 and EPSC 128
7.2 Changing the Mains Voltage Setting 130
7.3 Accessories .................. 131
8.Annex .....:...„.. 132
8.1 Technical Specifications 132
8.2 MIDI Specifications .................. 133
8.3 Program Data Format 135
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ADD-one MANUAL SECTION 2
2. External Design
The unit is of 19" rack design and 4units high. It can either be set up
as afree-standing device or built into astandard 19-inch rack. When
fitting the unit into arack, make sure that the bending moment exerted
on the front panel is kept to aminimum. The ADD-one should therefore be
supported on the rear of the unit by suitable mountings or installed on
rails. Ensure sufficient ventilation.
2.1. The Front of the Unit
••*
The following controls and functions are located on the front of the unit
1SENS Controls 1to 8
These controls determine the input sensitivity of the pads or other
trigger sources connected to TRIGGER inputs 1to 8on the rear of the
unit. This matching capability allows the use of awide variety of
pickups and other trigger sources.
2TEST Buttons 1to 8
Using these buttons, the individual channels 1to 8can be triggered
without the necessity to connect pads or similar hardware to the trigger
inputs on the rear panel. However, with these buttons, the beat strength
is fixed, i.e. no beat dynamics are possible.
3Control Knobs (Rotary Encoders) 1-8
The parameters assigned to these controls, which appear on the display,
can be modified by turning clockwise or anticlockwise.
4Control Knobs (Rotary Encoders) for Program Number
The program number indicated above these controls can be altered from
to 127 by turning clockwise or anticlockwise.
5Trigger LED '
s
These LED's light up to indicate that the associated channel is being
triggered by asignal. This signal can come from outside via the inputs
(TRIGGER INPUT 1-8), from the TEST buttons, the MIDI interface or
trigger generated by internal programming.
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ADD-cne MANUAL SECTION 2
6Ihe Display
The two-line alphanumeric liquid-crystal display (LCD) is capable of
displaying 40 letters, digits or characters per line. The contrast can be
adjusted by means of the control located above the centre of the display.
The integral illumination makes it particularly easy to read the display
even in darkness.
7MUTE Display
This LED flashes to show that channel outputs 1to 8, the master and
monitor output are muted with the signal being retained on the headphone
jack. This function is particularly suitable for pre-listening to
selected programs "live" without being able to hear the signal via the PA
or the monitor path.
8The Function Key Block
COPY MIDI STORE
YES
COMP ADD
PARAM ROUT
CHAIN PARAM CHAN
CODE «»
GO HELP MUTE
These soft-touch pushbuttons call and
control the individual functions of the
unit. The function selected appears to-
gether with its parameters on the display.
Further details are described in Section 4
(Variable Parameters) and Section 5.2
(Programming Individual Parameters).
9Volume Controls
Three independent volume controls determine the amplitude of the
respective overall output signal: MASTER governs the volume of the rear
panel outputs MASTER RIGHT-LEFT MONO, MONITOR controls the volume of the
rear panel outputs MONITOR RIGHT-LEFT MONO, PHONES determines the volume
in the 6.3mm stereo jack connection below this control for aset of
headphones
.
10 Headphone Jack
This 6.3mm stereo jack socket can take aset of stereo headphones. The
left-hand channel is fed to the tip of the jack plug, the right-hand
channel to the ring and the shaft accommodates the common chassis. Please
do not use amono jack plug (2-pole) since this may damage one of the
headphone output amplifiers as it would be shorted due to the extended
shaft of the mono plug.
11 Mains Switch
This switch is used to turn the unit on and off. Before switching on,
ensure that the mains voltage selected for the unit (see rear panel)
agrees with your particular mains supply.
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ADD-one MANUAL
2.2 Rear of Unit
SECTION
The rear of the unit accommodates the following connection jacks and
switches
:
12 Output Jacks CHANNEL 1to 8
These 6.3mm mono jack sockets enable separate output of the individual
channels with their selected instruments and parameters. The only
parameter which has no effect on these signals is the PAN (stereo
panorama) parameter. The signal is unbalanced; the maximum output voltag
is 1.55 volts (corresponding to +6dBm) at an output impedance of 1kohm
Thus the connection of practically all line inputs of subsequent mixers,
tapes machines or signal processors, etc. is no problem.
13 The MASTER ON-OFF Switch
The position of this switch determines whether the respective channel
signal is present in the MASTER signal or not. It is therefore possible
to produce adifferent "mix" in MONITOR than in MASTER. In addition,
individual channels can be processed separately on the mixer.
14 The MASTER RIGHT-MONO-LEFT Output Jacks
These 6.3mm mono jack sockets enable output of the right and left-hand
MASTER signals (set by parameter PAN) and amono signal. The signal is
unbalanced; the maximum output voltage is 1.55 volts (corresponding to
+6 dBm) at an output impedance of 1kohm. The signal volume is adjusted
by the MASTER control on the front panel.
15 The MONITOR RIGHT-MONO- LEFT Output Jacks
These 6.3mm mono jack sockets enable output of the right and left-hand
MONITOR signals (set by parameter PAN) and amono signal. The signal is
unbalanced; the maximum output voltage is 1.55 volts (corresponding to
+6 dBm) at an output impedance of 1kohm. The signal volume is adjusted
by the MONITOR control on the front panel.
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ADD-one MANUAL SECTION 2
16 The MIDI Connections IN-OUT-THRU
MIDI units such as master keyboards, sequencer, etc. can be connected to
these 5-pole DIN jacks. The jacks are wired to international MIDI
standards. For further details, refer to Section 3.3 (MIDI Connection).
17 The Mains Voltage Selector
The unit will operate on mains voltages of 110V and 220V. The mains
voltage selector switch is located inside the unit (consult your DYNACORD
service department).
18 The CIRCUIT TO CHASSIS Switch
This switch is used to separate the circuit chassis from the housing
chassis ("UNGROUNDED" position). Installation in 19" racks on metal rails
often produces mysterious ground loops (via the conductive front panel
connections and AF cable) which can easily be prevented using this switch
without having to open the unit. If the unit is not installed in arack
or installed in an insulated rack, the switch should be set to the
"grounded" position as otherwise hum or other noises will not be ruled
out
.
19 The MEMORY PROTECT Switch
This switch protects the contents of the internal memory from inadvertent
repi ogramming and deletion. In the ON position, it is only possible to
react the memory but not write in or delete data. Although it is possible
to call and modify the stored sounds, these modifications cannot be
stored. Write access to the memory is only given when the switch is in
the OFF position. CAUTION IData which have been deleted or overwritten
cannot be retrieved.
20 The Jack Pair CASSETTE TO-FROM
An external cassette recorder can be connected to these jacks for data
recording and play-back. The TO jack must be connected to the record
input and the FROM jack to the play-back output of the cassette recorder.
The cassette interface is called via the program (see Section 5.2.7 -
COPY). Only data and control signals will be copied and not sound
signals. Sounds can be recorded on tape via the output jacks.
21 Connection Jack REMOTE PAD
This jack is for connecting the optional remote pad which enables program
switching by means of astick or similar, e.g. by the drummer. For
further details, refer to Section 7(Extensions and Accessories).
22 Connection Jack DYNACORD DISK DRIVE
This jack is for connecting the optional 3.5" disk drive which is used
for data recording and play-back.
23 Connection Jack PEDAL FS500 UP/DOWN
This jack is used for connecting the optional foot pedal FS500 which
enables program numbers to be incremented or decremented. For further
details, refer to Section 7(Extensions and Accessories).
24 Connection MULTI TRIGGER IN/OUT
This multiple jack (15 pole CANNON) can be used to connect asequencer
such as the DYNACORD BIG BRAIN or similar device for triggering purposes
without having to connect individual lines for the trigger inputs.
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ADD-one MANUAL SECTION 2
25 CONTROL Input 1and 2
pitch modulation can be adjusted via the 6.3mm jack socket (CONTR. INPUT
1). The possible influencing effect and direction of pitch change is
program controlled. The duration modulation can be adjusted via the 6.3mm
jack socket (CONTR. INPUT 2). The possible influencing effect is program
controlled
.
Afoot pedal or DC voltage can be connected to both inputs. Technical
specifications are contained in Section 8(ANNEX).
26 TRIGGER Input 1to 8
These 6.3mm mono jack sockets are used to connect pads, trigger
microphones or similar. Pulses at these inputs trigger the program
assigned instruments. When the instruments are triggered, the associated
trigger LED's light up on the front panel. The trigger inputs work
dynamically with the beat, i.e. the instruments vary with beat intensity
depending on type and parameter assignment.
27 Mains Socket
The mains cable supplied must be plugged into this socket to connect the
unit to the mains supply. The unit is factory set to 220V/50 Hz (except
if otherwise specified). The unit must be opened to change the mains
voltage setting. Details are contained in Section 7.2 (Changing the Mains
Voltage)
.
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ADD-one MANUAL SECTION 3
3. connection To Your System
This section describes the basic possibilities of connecting this unit to
an existing system or other equipment.
3.1 The Signal Outputs
The ADD-one has atotal of 15 signal outputs. These are broken down into
4main groups:
a) Channel Outputs 1to 8
There are eight 6.3mm mono jack sockets, each of which can be used to
output an instrument independently of the others and the selected
stereo panorama. These sockets can be used, for example, to connect
mixer inputs for mixing the individual channels separately or for
coupling in an 8-track tape machine for recording the drum tracks
individually.
MASTER Outputs RIGHT -MONO -LEFT
Three 6.3mm mono jack sockets are available for outputting the MASTER
signal either in stereo (RIGHT-LEFT) or as asingle-channel signal
(MONO). The stereo panorama is determined by the programming of
parameter PAN whereas the volume is totally dependent on the
programming of the VOLUME parameter and the position of the MASTER
volume control. The MASTER ON-OFF slide switches adjacent to the
CHANNEL sockets can be used to mask individual channels (instruments)
out of the MASTER signal. APA mixer, for example, can be connected
here necessitating the use of only two (or one) channels or astereo
return in the mixer for total percussion mixing.
c) MONITOR Outputs RIGHT -MONO -LEFT
Three 6.3mm mono jack sockets are available for outputting the
MONITOR signal either in stereo (RIGHT-LEFT) or as asingle-channel
signal (MONO). The stereo panorama is determined by the programming
of parameter PAN whereas the volume is totally dependent on the
programming of the VOLUME parameter and the position of the MONITOR
volume control. Amonitor mixer for stage foldback, for example, can
be connected here necessitating the use of only two (or one) channels
or astereo return for total percussion mixing.
d) Headphone Output PHONES
One 6.3mm mono jack socket is available on the front panel of the
ADD-one for outputting the PHONES signal in stereo. The stereo
panorama is determined by the programming of parameter PAN whereas
the volume is totally dependent on the programming of the VOLUME
parameter and the position of the PHONES volume control. Stereo
headphones with any terminal impedance (8 to 2000 ohms) can be
connected here to enable new sounds and sequence combinations to be
created and modified in silence. The MUTE button on the front panel
can be pressed which silences all outputs apart from the headphone
output.
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ADD-one MANUAL SECTION 3
3.2 The Control and Trigger Inputs
There are two control inputs, CONTROL INPUT 1and 2, and eight TRIGGER
INPUTS.
a) CONTROL INPUT 1and 2
CONTR. INPUT 1adjusts PITCH modulation, i.e. moving pitch up or down. It
is possible to use either controls, foot pedals, etc. or to apply DC
voltages
.
CONTR. INPUT 2adjusts DURATION modulation, i.e. the length of the sound.
It is possible to use either controls, foot pedals, etc. or to apply DC
voltages
.
For further details, refer to Section 8.1 (Technical Specifications).
b) TRIGGER INPUT 1to 8
These eight 6.3mm mono jack sockets are used for connecting trigger pads,
microphones or other trigger sources to activate the instruments in the
assigned channels. The input sensitivity can be adjusted using the "SENS"
trim controls on the front panel. The range of adjustment is extremely
wide enabling the use of amagnitude of trigger sources.
3.3 MIDI Connections MIDI IN -OUT -THRU
MIDI is short for "MUSICAL INSTRUMENT DIGITAL INTERFACE" and designates
the capability of exchanging information between units run in the MIDI
compound. This means that MIDI is astandardised interface with MIDI
signals being sent and received at its 5-pole DIN jacks. The ADD-one has
three different MIDI jacks designated as follows:
MIDI OUT: this is where MIDI data are output (sent)
MIDI IN: this is where MIDI data are received
MIDI THRU: this is where the received MIDI data are forwarded
(looped through )
.
The MIDI interface is defined in such away that via one MIDI line, in
the form of a5-pole standard diode cable (stereo copy line), 16
different channels can be transmitted almost simultaneously .
In order to enable the complete and profitable use of all the imaginable
variations resulting from the possibility of sending and receiving 16
different pieces of information simultaneously, the MIDI SYSTEM offers
three different modes of operation (MIDI MODES): OMNI MODE, POLY MODE and
MONO MODE. As far as the transmitted information is concerned, a
distinction must be made between channel commands (CHANNEL) and voice
commands (VOICES). The channel command determines the number of the
transmission channel, the voice command determines the sound (duration,
tone colour ,etc .).
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ADD-one MANUAL SECTION 3
OMNI MODE: In this mode, the receiving units will ignore all MIDI channel
commands, but will execute all other incoming MIDI commands.
The sending MIDI units will add the MIDI channel number 1to
all MIDI commands. This is the "lowest" application level as
although all data can be transmitted, they cannot be assigned
to specific channels.
POLY MODE: In this mode, the receiving MIDI units will only respond to
commands which are assigned to the MIDI channel number pre-_
selected as the receive channel on the receiving unit. Sending
units may add different channel numbers to their commands.
This application level is somewhat "higher" than in OMNI as
specific channels, in which for example something is to
change, can be directly addressed without affecting any of the
others
.
MONO MODE: In this mode, each voice of areceiving MIDI unit can be
addressed individually via one MIDI channel. This is the most
sophisticated level of application and is at present, however,
only possible with afew units.
MIDI wiring is always completely separate from the the audio wiring. The
MIDI input lines are electrically isolated from the circuit chassis which
means that MIDI will cause no ground loops. The length of the MIDI cable
should not exceed 15 m. Use only screened microphone cables with 5-pole
DIN plugs. Unlike normal microphone wiring, conductors here must be
soldered to pins 4and 5with the screening connected to pin 2.
Section 8in the annex contains further details on programming MIDI for
data input and output and data format.
3.4 Cassette Recorder Connections CASSETTE TO/FROM
Acassette recorder or other tape device can be connected to these two
CINCH jacks to record program data, i.e. to read out the contents of the
internal program memory of the ADD-one and, for example, write earlier
program data back into the memory of the ADD-one. In the latter case,
however, data currently resident in the memory will be overwritten and
lost. The record jack of the recorder must be connected to the "CASSETTE
•~ ^" jack on the ADD-one and the play-back jack on the tape device to the
-ASSETTE FROM" jack. The recording and play-back level must be
appropriately adjusted on the tape device.
3.5 The MULTI TRIGGER IN/OUT Jack
To avoid the use of 8individual jack cables when triggering the ADD-one
from asequencer for example, this jack provides asimple means of
coupling devices with only asingle multicore cable. Coupling the
DYNACORD "BIG BRAIN" with the ADD-one presents no problem; as far as the
connection of other sequencers is concerned, refer to the wiring
assignment of the 15-pole Cannon jack in Section 8-ANNEX.
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ADD-one MANUAL SECTION
4. Variable Parameters and their Interaction
4.1 Definitions and Overview
The following parameters for the instruments can be modified:
a) PARAMeter Page
(Function key PARAM pressed once):
-VOLUME Volume of channel (instrument)
-PANNING Stereo base
-PITCH Pitch of the instrument
-PITCH BEND Variable pitch change (dynamic)
-BEND DECAY Decay of the pitch bend
-FILTER FREQUENCY Level of the filter cut-off frequency
-FILTER BEND Variable filter frequency (dynamic)
-DURATION Duration of sound
b) ADD PARAMeter Page
(Function key ADD PARAM pressed once):
-DYNAMIC SCALING Dynamic characteristic of the beat strength
-TRIGGER DELAY Trigger delay
-TRIGGER REPEAT Trigger repeat
-TRIGGER DECAY Decay of repeats
-FILTER RESONANCE Filter resonance
-RESONANCE BEND Variable filter resonance (dynamic)
-CONTROL 1Effect of Control 1on pitch
-CONTROL 2Effect of Control 2on duration
(Function key ADD PARAM pressed twice)
-EG 2ATTACK
-EG 2DURATION
-EG 2DECAY
-EG 2—PITCH
-EG 2—FILTER FREQUENCY
-EG 2—FILTER RESONANCE
-EG 2—PANNING
Rise of envelope generator 2
Dwell time of envelope generator 2
Decay of envelope generator 2
Envelope generator 2to pitch
Envelope generator 2to filter frequency
Envelope generator 2to filter resonance
Envelope generator 2to stereo base
(Function key ADD PARAM pressed three times)
LFO FREQUENCY
LFO WAVE
LFO —PITCH
LFO —PANNING
LFO TRIGGER
LFO frequency
LFO wave form
LFO to pitch
LFO to stereo base
Start of LFO
IROUTing Page
(Function key "ROUT*
INSTRUMENT
SOUND NO.
INPUT
TRIGGER ROTATE
pressed once )
:
Name of instrument category
Number of instrument within acategory
Assignment of the trigger to channel
Setting-up of atrigger loop
The next page contains ablock circuit diagram which illustrates the
effects of individual parameters on the circuit elements and is designed
to clarify the interdependences and interaction of individual parameters
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ADD-one MANUAL SECTION 5
Altering Parameters in ADD-one
When working through this section, you should have an ADD-one ready for
operation at your disposal since trying out the tremendous number of
possibilities immediately will give abetter understanding of the
explanations provided and help you to remember them more easily
5.1 General
To facilitate editing of the numerous parameter values of the ADD-one
there are two basic display options: '
A. Anindividual parameter, e.g. VOLUME ,can be set in all 8channels
using the rotary encoders (3). We will call this the "horizontal
mode .in this mode, for example, the display looks like this-
01 02 03 04 05 06 07 08 CHANNELS
99 60 50 99 90 99 40 99 VOLUME
Eight different parameters can be set in asingle output channel
using the rotary encoders (3). This we will call the "vertical mode"
By way of example, the display here would look like this:
VOL PAN PIT BEN BDE FIL PBN DUR PARAM.
99 <10 03 -20 28 00 00 00 CHAN 1
After selecting adrumset program with the large rotary control (4), the
program number indicator located above the control will start to flash
indicating that although the drumset number has been preselected the
individual parameters have not yet been changed. The data will only be
fetched from the memory after the "GO" key is pressed and the display
will then stop flashing. ^x
If individual parameters in the channel are altered using the small
rotary controls (3), these values will also fla-sh on the display
indicating that they have been altered from the original memory value, in
addition, adot will also appear at the bottom right of the drumset
program display. The alteration is immediately audible at the outputs,
^r«rnn S!°f"J ether CHANNEL, MASTER, MONITOR or PHONES. After pressing
the GO key, the original memory value will be loaded back and the
display will stop flashing again. The display will also stop flashing
once the stored value has been found again.
By pressing the "HELP" key, an comment in English will be displayed
providing abrief explanation of the functions and parameters associated
with each page. Pressing "HELP" asecond time will return the oriainal
page display. 3
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ADD-one MANUAL SECTION 5
5.2 Setting the Individual Parameters
5.2.1 Function Block PARAM
After pressing the "PARAM" key (and also after switching on the unit),
the user is taken to the first page of the parameter mode. This is the
so-called "horizontal mode", i.e. one parameter will be displayed for 8
channels at atime.
press >EDIT PARAMETER mode page 1.1
PARAM
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
99 60 50 99 90 99 40 99 VOLUME
.ne VOLUME page has the purpose of setting the output levels of the 8
channels. Maximum volume is 99, while 00 renders the channel inaudible,
The volume of the individual channels is adjusted by means of the
graphically assigned rotary encoders in steps of two from 00 to 99.
press >EDIT PARAMETER mode page 1.2
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
99-> <-99<-50^-•50 25 ->25 -> PANNING
The PANNING page has the purpose of setting the stereo panorama of each
of the 8channels. <-99 corresponds to the "pan pot" setting turned
fully anticlockwise, whereas 99-> corresponds to apan pot setting turned
fully clockwise. The setting <-0-> is stereo centre. The adjustment is
made by means of the graphically assigned rotary encoders in steps of ten.
press >EDIT PARAMETER mode page 1.3
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
-99 14 00 15 -01 80 10 00 PITCH
The PITCH page has the purpose of setting the pitch of the instruments
assigned to the 8channels. The pitch of each instrument can be raised 1
octave (99) and lowered 3octaves (-99). Adjustment up or down, however,
is only possible until the maximum sampling rate of 50 kHz is reached.
The individual channels are adjusted in single steps from -99 to 99 by
means of the graphically assigned rotary encoders. The raster definition
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ADD-one MANUAL SECTION 5
in the range from +20 to -20 is equal to 1/8 tone per step and in the
ranges below -20 and above +20 to 1/4 tone per step.
press >EDIT PARAMETER mode page 1.4
The display will show for example:
01 02 03 04 05 06 07 08 CHANNEL
00 20 20 72 05 80 -70 00 PCH BEND
This page (PITCH BEND) sets the dynamic pitch bend of each instrument for
each channel after it has been triggered. Aprerequisite for audibility
is asufficiently long decay duration of the instrument (DURATION page
1.8) and an adequate BEND DECAY rate (see next parameter page 1.5).
Negative values bend the instrument pitch from low to high whereas a
positive value will bend the pitch from high to low. The display 00 means
that the pitch will remain constant. Adjustments are made in double steps
from -99 to +99. This parameter is controlled by the intensity of beat.
press >EDIT PARAMETER mode page 1.5
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
60 50 98 99 00 25 10 00 BEND DCY
This page sets the time (BEND DECAY RATE) in which the pitch of each
individual instrument per channel is bent up or bent down after this
channel has been triggered. 00 is the fastest time setting and 99 the
shortest. Aprerequisite for audibility is asufficiently long decay
duration of the instrument (DURATION page 1.8) and aPITCH BEND rate
other than zero. Adjustments are made in double steps from 00 to 99
press >EDIT PARAMETER mode page 1.6
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
00 50 -20 99 -18 00 -99 00 FILTER
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ADD-one MANUAL SECTION 5
The FILTER parameter is used to adjust the limit frequency of alow-pass
filter in the individual channels. 00 is the normal (= approx. signal
width) filter setting. Positive values will raise the limit frequency and
negative values will lower it, i.e. the proportion of high frequencies
becomes less and less. Adjustments are made in single steps from -99 to
99. Positive values are used in particular in conjunction with the
"FILTER BEND" parameter. If no rise in the sound pitch is audible when
positive values are set, the filter is already adjusted to the maximum
bandwidth of the sample.
press >EDIT PARAMETER mode page 1.7
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
00 50 98 99 -18 00 -99 00 FIL BEND
This is used to select the level' of the filter response point which then
either rises or falls. Adjustment in double steps from -99 to 99.
Negative values correspond to afall, whereas positive values cause the
limit frequency to rise. The time in which this takes place is adjusted
through the parameter BEND DECAY (page 1.5).
press >EDIT PARAMETER mode page 1.8
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
00 50 98 99 -18 00 -99 00 DURATION
This is used to select the decay duration of the sound sample. Adjustment
double steps from -99 to 99. 00 is the factory preset, i.e. the value
preselected by the manufacturer. Negative values shorten the decay
duration whereas positive values will lengthen the sound.
This completes the first parameter page with its 8parameters. The
parameters can be keyed back by pressing "«".
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ADD-one MANUAL SECTION 5
5.2.2 Function Block ADD PARAM
After pressing the "ADD PARAM" key, the user is taken to the first
parameter on parameter mode page 2.
ADD
PARAM press >EDIT PARAMETER mode page 2.1
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
DY1 DY3 DY3 TKl TK2 TK6 TK8 TK5 DYNSCALE
This parameter is used to adjust the response dynamics for each channel
for different pad functions. In other words, the beat intensity is
assigned to the volume of the sound of the instrument concerned.
DYl stands for DYNAMIC SCALING 1and corresponds to alinear beat
intensity/volume assignment, i.e. the heavier the beat, the louder
the instrument.
DY2 is initially the same as DYl, i.e. increases from to half amplitude
in the first half of the scale. However, the reverse pattern is
preset for the second scale half.
DY3 exhibits amplitude for the first half of the scale, but increases
in linear fashion to maximum amplitude as of the middle of the scale.
For example, this provides asimple means of cross-fading 2sounds if
2channels are assigned to one trigger input of which one has the
characteristic DY2 and other other DY3. For further details, refer to
Section 6in this manual.
To illustrate the relationships, the shapes of the dynamic curves are
presented in graphic form:
DYl DY2 DY3
TK0 to TK9 stand for dynamic tracking. Via the "CODE" key (refer to
section headed "CODE"), it is possible to separately program individual
beat intensities/volu. .e assignments with the rotary encoders for all 8
trigger inputs per output channel which can then be assigned to different
sounds
.
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ADD-one MANUAL SECTION 5
press —
>
EDIT PARAMETER mode page 2.2
The display will show for example
01 02 03 04 05 06 07 08
004 127 000 m0 050 000 073 127 CHANNELS
TR. DELAY
time is set for each channel. Ad]ustment
This is where the trigger delay time is set =sponding to 10
in single steps from to 127 with each S^P Psufficiently high
;ij£.m^^^^ "3). «-dis^y ^000 ,
no repeat will occur.
»press >EDIT PARAMETER mode page 2.3
The display will show for example:
wQ2 03 04 05 06 07 08 CHANNELS
!NF 33 -28 -98 nn SO 98 INF T.REPEAT_
i« nqpd to set the number of trigger repeats for each
This parameter is used to sec tue control is
channel. Adjustment in "«^!s^eps froj.O to 98. If ^^that fche
turned astep further, the message INF w^^from outs ide, e.g.
repeats will continue until affected by some selec ted,
o^the selection of adifferent program, Xfor example 5^^^
6beats will sound (start and 5^P^"'* \bse iected, i.e. in our
HIToily become lllUTe after'the delay tin* selected on page 2.2.
press >EDIT PARAMETER mode page 2.4
The display will show for example:
-TH n2 03 04 05 06 07 08 CHANNELS
-Q9 00 -28 -98 00 -50 -98 -10 TR. DECAY
This parameter is used to set the volume decay of individual^ g^
i^i^Tt^ the maximum decaY -
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ADD-one MANUAL SECTION 5
press -> EDIT PARAMETER mode page 2.5
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
95 OSC 00 10 80 00 00 45 RESNANCE
This parameter can be used to set the filter resonance of each channel.
Adjustments are made in steps of five with being zero resonance and 95
the maximum resonance step-up. If the control is turned astep further,
"OSC" will appear on the display and filter oscillation (sinusoidal
continuous tone) will be heard.
press >EDIT PARAMETER mode page 2.6
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
00 50 98 99 -18 00 -99 00 RES BEND
This parameter is used to select the level of the filter resonance
response point which then either moves up or down. Adjustment in double
steps from -99 to 99. Negative values reduce the resonance step-up,
whereas positive values increase this step-up, in each case depending on
the beat strength. The time in which this takes place is set on the BEND
DECAY page (edit parameter page 1.5).
press >EDIT PARAMETER mode page 2.7
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
00 50 98 99 -18 00 -99 00 CNTRL 1
This parameter can be used to set the level of pitch modulation by means
of an external foot-operated control (e.g. FR 4) via the input CONTROL 1
(on the rear of the unit). This may be either positive or negative (pitch
raised or lowered).
Caution
:
Where the controller modulation is high, the pitch without the
pedal plugged in will not correspond to the pitch value
displayed
.
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ADD-one MANUAL SECTION 5
press >EDIT PARAMETER mode page 2.8
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
00 50 98 99 -18 00 -99 00 CNTRL 2
This parameter can be used to adjust the level of duration modulation by
means of an external foot-operated control (e.g. FP 4) via the input
CONTROL 2(on the rear of the unit). This may be either positive or
negative (longer or shorter than the "original").
Caution: Where the controller modulation is high, the duration without
the pedal plugged in will not correspond to the pitch value
displayed.
That completes the second parameter page with^its 8parameters. The
parameters can be keyed back by. pressing "«".
ADD
PARAM press again >Edit parameter mode page 3.1
(i.e. now pressed twice in all)
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
00 50 98 99 18 00 99 00 EG2 ATCK
This parameter determines the rise time of envelope generator 2(EG 2).
It is adjustable per channel in double steps from 00 to 99 with higher
numerical values meaning slower rise.
press >Edit parameter mode page 3.2
The display will show for example:
01 02 03 04 05 06 07 08 CHANNELS
00 50 98 99 18 00 99 00 EG 2DURA
This parameter determines the duration of the 2nd part of envelope
generator 2(EG 2) in which it remains constant after rising. The
parameter is adjustable per channel in double steps from 00 to 99 with
higher numerical values meaning longer duration.
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