Ibanez Img2010 User manual

M/DI

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5

SYSTEM

SETUP

/

CALIBRATION

.

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a. Guitar Setup •

To

achieve the best performance

with

the

Ibanez MIDI

guitar

system, it is

important

that

the

201 a MIDI

guitar

be properly

set up. The

following

simple

steps

will

help you get the most

from

your

system.

1) RESTRI

NG

THE GU

ITAR

Loosen the string

by

turning

the turning knob counter-

clockwise. Remove string from locking clamp

by

loosening

the locking screw. Insert ballend of

new

string

into

ballend

holder at the bridge. Feed string through hole

in

locking

clamp

and

retighten

screw.

Tune

to

pitch

using

tuning

knob

.

()

2) STRI

NG

ACT

I

ON

Each string can be

ra

ised or lowered independently. Toadjust

height. loosen locking screws located on the side

of

the

bridge. Adjust the height

of

ea

ch string using the

two

height

adjusting screws on each string saddle.

After

string action

has been set, lock the bridge pieces

by

means of the locking

screws on the side

of

the bridge.

3) I

NTONA

TION

For

the MIDI guitar to track properly, it

is

very important that

the intonation

be

correct. Loosen locking screws located

on

the side of the bridge. Play the

twelfth

fret harmonic. Play the

fretted note at the

twelfth

fret.

If

the

fretted note

is

sharp

when

compared to the

harmoni

c. the string saddle must

be

moved back towards the

tuning

knobs. If the fretted note

is

lower

in pitch than the

harmon

i

c.

the string saddle

sh

ould

be

moved forward towards

the

fingerboard.

To

move the string

saddle. loosen the string then adjust the saddle

by

pushing it

forward

or backward. An electronic guitar

tuner

such

as

the

Ibanez DAT-6 should

be

used to assure accurate intonation.

Alter

all adjustments have been made. retighten locking

screws on side

of

bridge. If you are not confident about

making the adjustments yourself. refer the guitar to a

qua!ili

ed

guitar technician.

07

4) PICKUP

HEIGHT

ADJU

STM

ENT

Th

e standard

hum

bucking pickups are set up in the same

manner

as any regular guitar pick

up.

As long as the pickup IS

adjusted to be parallel to the strin

gs,

height can

be

set to suit

your individual preference

by

means

of

three height adjust-

ment

screws, two on the bass side 01the pickup and one on

thetrebleside

.The MIDIhex pickup isadjustable for

heightby

means of

two

screws, one on each end of the pickup.

O.Smm

•

6TH STRING

HE

X

PI

CKUP

b.

S

ys

tem Calibration

Procedures for system calibration are

as

follows

1)

TUNING

THE

IMG2010

GUIT

AR

O.8mm

•

To engage the Tuning Function, first depress

18

TUNE

KEY

As a result

of

this, a flashing

"440"

will

appear on the

'1J:

PROGRAM DISPLAY. If you Wish to change the pitch

standard, depress the @ INCREMENT

KEY

and

the

number

will

increase

by

on

e.

The pitch standard can

be

changed

A440

-

A445

with th

is

procedure.

While

in the tune mode, a small upside

down

"U"

will

appear

in the @ STRINGA

SS

I

GN

DISPLAY

When

asingle string is

picked, the

strin

g number

will

appear

In

the @ PROGRAM

DISPLAY and

will

remain there

as

long

as

the

note is

sustained.

II

the s

tr

ing is not

In

tune.

the

upSide

down

"U"

will

be

broken andone of

the

lower

legs

will

be

to the

right

or

left

of

the

figur

e.

Ifthis leg is to the

right

(sharp)'lurn

the @

TUNING KNOB for that string counter-clockwise

until

the

lower

leg

aligns W

it

h the upper leg to complete the upside

down

"

U"

.

If this leg is to the left (flat), turn the @ TUNING KNOB for

that string clock

wis

e until the

lower

leg aligns

with

the upper

leg

to complete the

upSi

de

down

"U"

Repeat

this

pr

oc

edure f

or

all six

stnngs

and the

Mel

and

IMG201 0

will

be in tune.

Oncethe t

unin

gfunction IS complete, depressthe @

ENTER

KEY

to continue playi

ng,

edittlng or further calibration

2)

SEN

SITIVI

TY

CALIBRATION

To

calibrate the sensitivity for

optimum

tracking and play·

ability,

lirst

IUne the gUitar as described

in

the previous

procedure. Then engage

the

sensitivity

lunction

by depress-

ing @

ENTER

KEY

and holding It down.

While

holding the

ENTER

KEY,

depress @ CHROMATIC

KEY

and

the

SENS,A

(SENSITIVITY)

lunction

will

be accessed

When

in

the

SensItivity Calibration mode,

the

letters

"SA'

will

appear

on

the @ PROGRAM DISPLAY.

When

astring is

picked.

two

LEO bar graphs

will

appear

on

the

@ STRING

ASSIGN DISPLAY that

will

move across the display

from

leh

to right.

If

the system is properly calibrated. as It should

be

Irom the factory, the upper bar graph

will

reach the 5 or 6

mark

of

the

string select guide and

will

remain there as long

as

the String is sustained The

lower

bar graph should also

reach the 5

or

6 markbut return to 3

or

4

in

approximately 1

second. The lower bar graph

will

remain

at

the 3

or

4 mark

briefly before disappearing

The sensitivity should only need to be calibrated

when

the

strings have been changed or

other

work has been done on

the gUitar.

If

the sensitivity

must

be

calibrated, first check the

height

of

the

HEX Pickup.

To

check the height

of

the

HEX

pickup. fret the first strrng

on

the 22nd fret and measure the

height from the bottom of the string to the

tOP

of the pickup,

The distance should

be

O.5mm. If the distance

is

incorrect.

turn the screw closest to the first Siring to adjust the pickup

up

or

down. The procedure is

the

same for the sillth string

with

one difference. the distance from the bottom

of

the

string to the top

of

the

pickup should

be

O.Bmm. If the

distance is incorrect.

turn

the

screwciosesl

to

the

sixth string

to adjust the dlslance.

The next

slep

IS

to check the senSitivity

of

each String as

described previously. If

the

sensitivity is off. remove the

rubber plug covering

the

sensitiVity

trim

pots

in

the back

of

the gUllar, The trim

POlS

are numbered 1

through

6.

corresponding to the 1st

through

6th

strings

(1

Sl

being

the

highest the

6th

being

the

lowest). Pick a string, If the bar

graph indicates

tOO

much senSllivlty, take a small, flat head

sc

r

ewdriver

and CAREFULLY

turn

the

adjustment

pot

counter-clockwise until the string is

within

specification. If

the bargraph indicatesa loss of sensitivity, again take asmall

fl

at head screwdnver and CAREFULLY

turn

the

adjustment

pOI

clockwise until the string

is

within

specification. Adjust all

the strings

with

thiS procedure.

When

calibration

is

com-

plet

ed,

replace the rubber plug and

return

the

MCl

to play

mode.

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RuseER

COVER

08

II

D 6

ABOUT

MIDI

"""'~w~

While

it

is

not

nec

essary

thaI

you

und

ers

tand

e

veryt

hin

g

about

the

MIDI standard,

it

is

helpful

to be

familiar

with

some

of

the

main

points

. The

followmg

disc

ussion

will

cover

the

se

main

points

, so

that

you

can

easily

i

mplement

all

of

the

features

built

into

the Ibanez MIOI

Guitar

Sys

tem

.

The MIDI (MusicI

Instrument

Digital

Interface

)standard is a

multi

-

manufacturer

information

exchnge

code

that

lei

S

any·

onecontrol a

number

of

"slave

"

instruments

from

a

"mast

er"

instrument

or

control

source

. Playing a

note

on

the

mas

t

er

will,

for example, cause

the

slave(s} to

follow

suit. Patches

can

be

changed,

synths

can

be

synchronized

in

song,

just

about any musical event can

be

described

in

MID!. Once in

MIDI

form

,

the

musical

event

becomes a

command

from

the

master

to

the slave(s).

MIDI is a

"serial"

interlace

,

meaning

that

all

inforamtion

is

transmitted

over a single

wire.

Control

information

is trans-

mitted

from

the MIDI OUT port

of

the

master

unit

, and the

slave(s) receive the

information

through

the M I

DI

IN

port. The

MIDI

THRU

ports on slave

units

can be

quite

useful. These

ports

simply

"

repeat"

the

information

received at the

unit'

s

MIDI

IN

port,

allowing

other

slave

units

to

receive the same

control Signal. Keep in

mind

that

the MIDI OUT ports on slave

units

are

inactive

unless

the

slave

unit

operates as a master

unit at some point.

The

MIDI

code provides up to 16 separate

channels

to be

transmitted

over the single. serial line (channels 1

through

16). This permits certain

inforamtion

to be

transmitted

over

specific channels,

tobe

received by slave

uni

ts "

tuned

" to the

specific

channels

.This mUlti-channel format enables MIDI

to

accomodate

monophonic

as

well

aspolyphonic synthesizers.

MIDI provides

four

basic

modes

of

information

transfer. Both

the

master

and slave(s)

units

must

be set

to

the

same mode

for accurate

inforamtion

transfer.

0 9

•

MOOE

1 -

Omni

On

/ Poly

Here, MIDI

info

r

mation

maybe

transmitted

and receivedover

any

ch

annel (the

"omni

on"

part) and each

channel

can

accomodate

more

than

one

note

at a time (the

"poly"

part)

Essentially, MIDI transmission is reduced to single channel,

polypho

nic

operation. For any MIDI synths, thiS IS the

"default" m

ode~

that

is,

when

the

unit

is

turned

on

and not

preassigned

to

another

mode,

this

mode is

chosen

auto-

matically.

•

MODE

2 -

Omni

On

/Mono

Again, in

formalion

is transferred over all channels. but only

one note is played at a

lime

(the

"mono"

part). This mode is

used f

or

lead-

line

type sounds,

where

polyphoniC teKtures

are not required.

•

MODE

3 -

Omni

Off

/Poly

In this mode MIDI

inforam

tion is

transmitted

over specifically

assigned

MI

DI channel

s,

and

each

slave is assigned to

"l

iste

n"

10 a specific channel (the

"omnt

off'

part). Each

c

han

nel's

info

rma

tion

is polyphonic, so

that

each slave can

receive

its

own,

polyphonic

information

from

a single MIDI

lin

e.

•

MODE

4 -

Omni

Of

f/

Mon

o

Again

, MIDI i

nf

ormation

is

transmitted

over specifically

aSSigned M

IO

I channels, but

channel

information

is

now

mono

phonic (one

note

at

a t

ime

per

channel). The

sl

ave

units

ca

n s

till

play polyphonically, by receiving

more

than

one

channel (for example, one

channel

per voice). In thiS mode

each voi

ce

of a sla

ve

unit

may be independently controlled

Fo

rexample,

each voice can have totallyd

ifferent

sounds. Or

one

voice may be

"bent"

(as

when

a

guitar

string

is bent),

while

the

other

voices (strings)

remain

at pitch.

It sho

uld

be n

ote

d here t

hat

the

MCI

MIDI

Controller

selects

its

transmission mode automatically. depending

on

the

features

that

ar

ecalled up.

As

a player, you

should

be aware

of which modes are used by

the

MCl,

and

whether

the

particular

sy

nth(s) you

wish

to

use

can receive

these

modes.

The

mode I

nfor

ma

tion

of

the

Me1

is included in

the

this

manual

7

USING

THE

MCI

CONTROLLER

,-'

"

This section describes the procedures for

programming

information

in

to

the

Mel

MIDI

Controller

,

and

for

interfacing

the

Mel

with

synthesizers. If you already have your inform-

ation

in

your

Mel

and you have correctly hooked

up

the

Mel

to you synth(s). you

may

proceed

to

section 8 of

this

manual: "Playing The Ibanez MIDI

Guilar

System"

,

a.

Imerfacing

Th

e Me l

With MI

DI

Synthesizers

Interfacing

the

MCI

with

MIDI synthesizers involves a

littl

e

more

than

just

making

the

audio

and MIDI connections

between the

units

. Foreach

synlh

you

wish

to use. you

must

refer to the synth owner"s manual for such vital statistics as:

• Is

the

synth

monophonic

or polyphonics?

•

How

many voices does the synth provide?

•

Are

the

voices individually assignable to different MIDI

channels?

•

What

are the synth's assignable MIDI channels? Some

lower

cost units only tr

ansmit

and receive on

channell

,

for exomple.

•

What

are the possible MIDI

transmit/receive

modes?

•

What

are the MIDI controllable control functions (such as

key velocity, portimento, pitch bend, breath control, etc.)?

•

What

are the MIDI assignment numbers for these func-

tions)

•

How

manypre-set patches (sound voicings) does the

unit

offer?

•

What

are the MIDI assignment numbers for the pre-set

patches?

• Any other pertinent MIDI information regarding the

pl;:!y

-

ing and control

of

the synth.

When

you program yoursounds

into

the

MCl

'5

memory.you

h<'lVe

various opt

io

ns

to

choose from Keeping

the

ilhnVf~

information handy

while

programming the

Mel

will

help

you make the best choices. and tell you if certain options are

possible

with

the synth{s)you

wish

to use,

For

example. jfyou

wish

to control the modulation

of

a patch from an assignable

control on the MIDI gUitar. you must

know

if

your synth puts

the modulation function

under

MIDI control. If

it

is

MIDI

controliable. you have to

know

the MIDI assignment number

f

or

that function.

It'

s really not

as

hard as it sounds.

Just

keep the synth

owner's

manual open to the page on MIDI, and go headlong

into the next section.

It

will

indicate

what

info

rmation you

need, and

when

.

Now

. le1's create some soundsl

The following section describes

the

sequence of events that

occurs

when

aprogram is constructed from "scratc

h"

Along

the way, you

will

make decisions based on the sound you

wish tocreate, andon the MIDIcapabilitiesof thesynth{s)you

are using. Ifcertain portionsof theproceduredo not pertainto

the program you are constructing, just move on to

the

' )

Setting

the

prog

ram

numbe

r

I ,

PR

DG

I DATA

ENTRY

I

D

~

-

~

+IENTER

I

4--m

~

----i-J

t

or

t

, ,

,

This proceduresets the program location

of

the

MCl

thatyou

will

be

programming. The program loctlon

is

a "workspace"

within

the

MCl

where

sounds are created. The

MCl

provides 1

28

program locations, from

000

to 127.

As

shown

in

the

flow

chart above. start by pressing @

PROGRAM SELECT

KEY,

The 3 digits

of

@ PROGRAM

DISPLAY

will

begin to blink. indicating that a program

location

number

needs to be entered. Enter the desired

location

number

by

using either @

DATA

ENTRY

KEYS

or

@ INCREMENT/DECREMENT

KEYS

. As the location is

entered. note that the digits keep blinking. Once

the

deSired

location is entered. press @ ENTER This enters the selec-

li

on into memory. The digits

Stop

blinking.

2)

Assigning

the

synth

"patch"

,

AC?

2!:

~~~N:

~!

S~

..[jl

E~NITT§lER3J1

,

,,

,

This procedure assigns the particular synthesizer sound

(pa

tch) to

the

selected program location. Each type

of

synth

will

have a

different

number

of

preset sounds that may

be

aSSigned. Refer to your synth

owner's

manual for a listing of

the patches and

their

MIDI assignment numbers.

Start by pressing @ ASSIGN

KEY

. This

will

cause @

ASSIGN INDICATOR and the 3 digits at @

~

miNt;

A~~rtiN

DISPLAY to blink. indicating

that

a patch selection number

needs to

be

entered. Enter the MIDI assignment

number

of

the desired patch (from your

synlh

manual), The digits

wilt

keep blinking, Once the desired patch number is entered,

press @

ENTER.

This

will

enter the patch selection into

memory -

this

patch

will

be

assigned to this program

location until you decide to

"edit"

the progam location at a

later tim

e.

The @ ASSIGN INDICATOR and @ STRING

ASSIGN DISPLAY

will

stop blinking,

Note:

The

Mel

provides up to

128

different

patch assign-

ments. starting from

000.

However, many synths start

numbering

their

patches

at

OOt. If

this

is

the

case

with

your

synth. SUBTRA

CT

1from the patch

number

beforeentering It

into

the

MCt

.You Will have to dothis every

time

you assigna

patch from that synth

into

the MC1.

3)

Assigning

the

®

ASSIGNABLE

CONTROL

KNOB

I

ENTER

I

AS~IGN

I DATA

ENTRY

t

Q'-2""---;-i

-i:

~::tl

ENTER

I

l

or

I

I I

• First press @

ENTER

and hold

white

pressing @

ASSIGN

KEY,

then release both.

Tostartthis

procedurepress @

ENTER

and

@ASSIGNKEY

as

described above. This will cause the

tWO

digits of @ MIDI

CHANNEL DISPLAY to blink. indicating that a MIDI control

numberneedsto

be

entered. Using @ DATA

ENTRY

KEYSor

@ INCREMENTIDECREMENT

KEYS,

enter thedesired MIDI

010

11

control

number

from

the

listing in

thesynth

manual.

Thetwo

digits

will

keep on blinking.

When

the desired number

is

entered. press @

ENTER.

This putsthe selected number into

memory. and causes the

two

digits to stop blinking.

Note: The present MIDI standard provides up to @ MIDI

control numbers(from

00

to 31).

If.

during this procedure, you

enter in a

number

higher than 31. an

"erro

r" message

will

appear on the display

01

the

MCI

.

When

this happens, just

enter in the desired

number

again and

continue

with

the

procedure.

Once the knob assignment has been made. you may

wish

to

change the range

of

control

the

knob has. This

is

done

by

changing the control range on the synth. Refer to your synth

owner's

manual.

4) A

ss

ig

ning

®

ASS

IG

NABLE

CONTROL

ARM

I

EN

TER

I

I '

\-

PROG

OA

TA

E

NT

RY

I

~

Q

J-

2

-'---;i-1

~~

--

~I

ENTER

I

or

I

• First press @

ENTER

and hold

while

pressing @

PROGRAM

SELECT

KEY

, then release both.

The®ASSIGNABLE

CONTROLARM

is

similar

to®ASSIGN-

ABLE CONTROL KNOB. in

that

any MIDI controHable para-

meter

of

the synth may

be

assigned to arm control. Again.

re

f

er

to the

owner's

manual of your synth for the listing of

patch parameters under MIDI control. and

their

MIDI control

numbers.

Start

by

pressing @

ENTER

and @ PROGRAM

SELECT

KEY

as

described in the

flow

chart. The

two

digits of ® MIDI

CHANNEL DISPLAY

will

blink, indicating that a MIDI control

number needs

tobe

entered. USing

@l

DATA

ENTRY

KEYSor

@ INCREMENT

IDEC

REMENT

KEYS,

enter in the desired

MIDI control number(from the listing in your synth manual).

The

two

digils

will

cUlltinue IJliriking.

Wilen

the desired

number is entered, press @

ENTER.

This puts

the

number

into memory, and causes the

two

digits to stop blinking.

Note; The MIDI standard provides

32

MIDIcontrol numbers,

from

00

to

31

If.

during

this procedure, a numberhigherthan

31

is entered,

the

display

will

read "Pb", indicating that the

pi

tch bend function hasbeen assignedtoarmcontrol. Ifthisis

not desired, simply enter

in

the desired MIDI control number

and continue

with

the procedure.

Once the arm aSSignment has been made, you may wish

to

change the range of control that the arm has. This is done by

changing the control range on yoursynth. Refer to your synth

owner's

manual.

5)

Se

tting

the

synt

h voi

ce

tr

an

sposit

i

on

KEY

. T

I

I I

, I

KEY

. T I

~

.

c

--

,...

I \ \

...

DATA

ENTRY

~

+C:§EEN~TjJE[R~

This procedure sets

the

synth voice transposition,

or

the

amount of

shift

in the pitch of the synth'Svoice

with

respect to

the guitar. The

amount

of

shift is adjustable in

"semitones",

or

"half

sleps"lrom

12

half

steps (one octave up) to-

12

half

steps (one octave down).

Start by pressing @

KEY

TRANSPOSE

KEY.

This causes ®

KEY

TRANSPOSE INDICATOR and

two

digits of

@l

STRING

ASSIGN DISPLAY to blink, indicating that transposition

information needs to

be

entered. If It

is

desired

to

transpose

down,press @

+,

-

KEY.

The display

will

indicate

this

with

a

"negative

sign"

in front of

the

number. If the negallve sign is

present and you

wish

to transpose

up,

press @

+,

-

KEY

again. This removes

the

negative sign. Then enter

the

number

of

half

steps

of

shift

desired With eltehr

(j)

DATA

ENTRY

KEYS

or

@ INCREMENTIDECREMENT

KEYS.

The

two

digitS

will

keep blinking.

When

the

desrred shift

is

enlered press @

ENTER.

This enters the shift information

into

memory and causes

the

@ STRING ASSIGN DISPLAY

and ®

KEY

TRANSPOSE INDICATOR to stop blinking.

6)

Activating

selected

strings

,

A

oSSIGN~:

ODAT

_A_EjTgRY

I'

-~'r---~DSCE~3J

; I

1-

i~·IENTERI

1 I •

~

:...J

STR

.S

lor

:

.

~

I

-,

.....

I I \ \

Sometimes it is desirable

10

de-activate some

of

the guitar

strings,

so

that only selected strings create synth sound. For

example, you may

wish

to add a bass synth patch to the

two

lowest strings. Or you may add a

"strrngs"

patch

to

the three

highest strings for chord work.

Start

by

prc::;sing ® STRING SELECT

KEY.

This causes @

STRING SELECT INDICATOR and six vertical lines in @

STRING ASSIGN DISPLAY to blink. The

Six

lines represent

each string

of

the guitar. Select the desired strings

by

using

keys

"'"

through

"6"

of

@ DATA

ENTRY

KEYS,

or

turn all

strings on or off

by

using @ INCREMENTIDECREMENT

KEYS.

Notice that

as

strings are deactivated. the vertical line

representing that string

is

cut in half.As a string

is

activated,

the line returns to full length. During this time the display

continues to blink. Once

the

desired strings are activated

prp.ss @

ENTFR

This puts

the

SIring assignment Into

memory and causes

the

display to stop blinking

7)

Assigning

MCl

MIDI

channel

O

MDI

:~;1-if_<:;-_IQ§~~~~

f--,.,.,-.,

OATA

~

•

DISPLAY

C-.-J ENTRY

~

or

L

___

J

ism;:

r-s~R~i

OATA

~DISPLAY~

DATA

ENTRY L..) I I

L..~

ENTRY I

or

L

___

..J

Or

L

___

J

r---,

I STR 4 I

DISPLAY

~

DATA

~

ENTRY

or

---

DISPLAY

r---,

r----

,STRSI

ISTRG:

OATA

pIDISPLAY~

DATA

I ENTRY I I ENTRY

___

L

___

J

ENTER

NOTE:

OATA

ENTRY'S

AS

BEFORE.

011

This procedure assigns the MIDI channel (or channels) that

the

MC,

transmits

over. First refer to the synth

owner's

manual tofind out (a)

how

manyMIDI channels the synth can

receive,

(b)

if

the synth's MIDI channel

(s)

are assignable, (cl

and the MIDI

transmit

/r

eceive modes the synth can

be

assigned to.Then you

must

decide

how

manyMIDI

channels

you need.

If

,for example, your synth can receive six different

MIDI channels at once (One channel

pe

r synth voice), then

you may use up to six channe

ls

totalk tothe synth.Thiswould

happen using the "

Omn

i

off/

Mono

" Mode (Mode

4)

which

would

allow

you to bend all strings independently. Ifyou play

only

one note at a

tim

e

while

string.

bending, then you

would

need only

on

e MIDI channel, and wouldoperate in the

"Omni

off/Poly" Mode (Mode 3).

Start by pressing @ MIDI ASSIGN

KEY

. This causes @

PROGRAM DISPLAY to indicate string

"'"

and causes the

t

wo

digits of ® MIDI CHANNEL DISPLAY to blink.

All

this

indicates that string

"'"

is about to receive a MIDI channel

assignment. Enter the desired MIDI channel using @ DATA

ENTRY

KEYSor @ INCREMENT/DECREMENTK

EYS.

When

the desired channel

is

entered press @ DISPLAY

KEY

to

advance to the next string. Continue the cycle

of

data entry

and

pressing@

DISPLAY

KEY

until

all six

strings

have been

assigned to the desired MIDI channel(s). Then press @

ENTE

R.The MIDI channel inf

orma

tion isplaced

into

memory,

and the ® MIDI CHANNEL DISPLAY stops blinking.

Finally, you need

to

assign your synth to the same MIDI

channel(slthat you assigned the stringsto.Also,setthe synth

foreitherMode 3 (Omni

off/Poly)

or

Mode4 (Omni

off/Mono)

as

discussed above,

Note: The MIDI c

hanne

l assignment procedure selects the

string assignments for all program locations

of

the

MC'.

So

you only have to perform

thi

s procedure onc

e.

B)

Se

lecting c

hr

omatic/ non

·c

hr

o

mat

ic oper

ation

C

HROMA

o

.

CHROMA

-.-

--

, -

.. / I \

'"

This procedure selects between chromatic and non·chroma·

tic operation

of

the

MCl

.

With

chromatic operation the notes

of

the synth will always be one

of

the chromatic notes of the

scale. If

the

MIDI

guitar

is playing a note that is not

an

exact

chromatic

note(during

string bending,

forexample

)the

MC1

will

instruct the synth to play the nearest chromatic note. In

chromatic operation the MC1 transmits

in

Mode 3 (Omni

off/Poly). except

when

each string is aSSigned to a different

MIDI channel. Then the MC1 transmits in Mode 4 (Omni

off/Mono).

With non·chromatic operation

the

synth

will

be

able to play

notes

between

thechromatic notes. This mode

of

operation is

chosen

when

it is desir

ed

to play

non·chromatic

notes, such

as

when

a string is bent. In

non·chromatic

operation

the

MC,

transmits

in

Mode 4

when

one note

is

played and

automatically

switches

to Mode 3

ch

romaticoperation

when

more than one note

is

played. However,

when

each string

is

assigned to adifferent MIDI

channel,the

MC'

stays

in

Mode

4.

This procedure simply uses @ CHROMATIC

KEY

. Repeated

pressing

of

this key alternately takes the MC1 in and out

of

chromatic operation.

The@

CHROMATIC INDICATOR lights

when

the unit

is

in

chromatic operation.

If

you have selected chroma

tic

operation you are finally

finished programming your program location. If you have

selected non·chromatic operation you

mUSt

proceed to the

calibrate the synth's non·chromatlc operation to

!hatofthe

guitar. In

other

words, you

must

match

the

"bend"

of

the synth note to the bend

of

the guitar string

9)

Setting

the

synth's

"string

bend"

action

tI) "Ilend Range"

!>Cuing:

IENTERI

,

" '

r:::l~

;

;;TA_'jT:

1+1

ENTER

~---W

,

..

~

lor

I

, ,

• First press @

ENTER

and hold

while

presslflg ® STRING

SELECT

KEY,

then release both.

This procedure sets the

maximum

amount

of pitch bend that

YOll intend to use. To determine

how

much pilch bend you

will

use, benda string the

maximum

amount

you

would

bend

a string

during

normal playing. Determine

how

many half·

steps (frets)

of

bend that is, then add one half·step. For

example,

if

you bend a

maximum

of

one

whole·step

(two

half·stepsL your

maximum

amount

of

bend to set

would

be

three half·steps. Once you have that, you may start

the

procedure.

Start by pressing @

ENTER

and @ STRING SELECT

KEY

<IS

described in

the

frow chart. This causes the

two

digits

of

Ql

MIDI CHANNEL DISPLAY to blink, indicating that the maxi·

mum

amount

of

pitch bend needs to

be

entered. Enter the

amount

using @ DATA

ENTRY

KEYS

or

@ INCREMENT,

DECREMENT

KEYS

. Once the

maximum

amount

has been

entered

press@

ENTER.

This putS the

amount

into memory

and causes

the

tINa digits to

StOp

blinking,

b)

"Bend Data"setting

[Before beginning this procedure

be

sure to complete

the

previous procedurel "Bend Range" setting.)

TUNING DATA

1

ENTER

1i

rc,,~;6.,:

D

Tule

rt-m,;

+~

~,'

~

[!]-U--+41

~E:r:;NBT]EtRjJl

OATA I

• First press @

ENTER

and hold

while

pressing ® TUNE

KEY,

then release both.

This procedure calibrates the MC1's MIDI bend command to

the actual amount of pitch bend

by

thesynth. Before you begin

this procedure, you have to set the "pitch wheel" range onthe

synth, and

in

doing

so,

you have to make a

few

decisions.

Typically, the "pitch

wheel"

range

is

set to the same range

as

the bend range set on the MC1. This provides the

"smooth·

est"

pitch bend possible. However, the "pitch

wheel"

range

is

also limited to the range set for string bendmg. This may not

seem like much of a problem, but if, for example,

the

®

ASSIGNABLE CONTROL ARM

is

assigned !o control the

"pitCh

wheer"

function, then thepitch range of thecontrol arm

is

limited to the range set for string bending

The alternative is to set the pitch wheel range farger than the

IMC1's bend range. Set this way, the ® ASSIGNABLE

01

2

CONTROLARM mayoperate over anyrange of pitch bend that

you choose. Also, you may still set the MC1's bend range to

the amount determined by the previous procedure (Bend

Range Selting).

There are, however,

two

disadvantages

with

this alternative.

First, the actual string bend

will

be

less smooth than if the

ranges on the synth and the

MCI

where

equal. Second, the

"Bend

Data Setting Chart"

will

not

be

usable since the chart

provides

the

bend data for equal range set on the synth and

MCI.

You may still use the other

two

methods for setting the

MCI's

bend data (these are all described in the following

porocedure).

With all that said, you may set the pitch wheel range on your

synth. Mostsynths use "half-steps"'(or semitonesltodescribe

the pitch

wheel

range. This is

what

the

MCI

uses, to

matching pitch bend ranges

is

merely a matter of matching

the amount

of

half-steps. However,

if

yoursynth uses another

measure

of

pitch bend,

yOU'll

have to convert it over to

half

-

stepsbefore you match the synth'S

rangetothe

MC1·srange.

Fulluw tht! IJruct!dure in yuur sYllth's

Hlalluallu

Stlllht!lJitch

wheel range on your synth.

We

are

now

finally ready to enter

"bend

data" into the

Mel.

Sl8rtbYPlessing@

ENTER

and ® TUNEKEYasdeSClibedin

the

flow

charI. This causes the @ MIDI CHANNEL DISPLAY

to r

ead

"'01"',

which

corresponds to one half-step. Also, the

MCI

sends acommand

tothe

synth: "Play and hold an A-flat

note that

is

being bend up

by

one half-step to an A-natural"'

This

is

the "reference tone" that is used throughout this

procedure

Finally, the ® STRING ASSIGN DISPLAY reads the MC's

"pitch

increment". indicating

how

much pitch bend the

MCI

is calling for.

We are ready to enter thebenddata for thefirst half-step in the

MCI's

bend range (half-step "01 "). This is simply done

by

"tuning'" the reference tone to "A-natural'"

With

the @

INCREMENT/DECREMENT

KEYS,

you may tune the refer-

ence tone using one of three available methods'

If

the

MCI

bend range and

the

synth'S pilCh

wheel

range

are the same, and if your synth

is

listed in the "'Bend Data

Chart'" (shown below),

simply

match

the

MCI's

pitch

increment

with

the

number

given in

the

chart. If you

cannot use the chart, you may'

Use a tuning device, such

as

a standard

"guitar

tuner" to

tune the reference tone to

"A-natural"

(5th string).

Or,

you

may:

Match the reference tone '"by ear"' to the open A-string

on

the

guitar. Make sure the guitar is in tune before

at

-

tempting to tune the reference tone.

If the note dies away

while

you are tuning,

Just

play an A-flat

on the keyboard (since it is being '"bent

up"

one half-step)

when

you need to hear the reference tone. Pressing the @

INCREMENT/DECREMENT

KEYS

once

will

cause the pitch

increment to

go

up or

down

by

one increment. Pressing and

holding these keys

will

cause

the

pitch increment to

go

up

or

down more rapidly.

When

the reference tone has been tuned. you are ready to go

on

lothe

next interval

of

bend. Press @ +lQOCENTKEY.

ThiS

will

causethe

MCI

to advancetothe next interval andto send

Ihe

command for the next reference tone. Again, the tone

is

bent up

by

the interval displayed by @ MIDI CHANNEL

DISPLAY to

an

A-natural. Usethe sametuning procedurethai

you used before. Continue this

luning

cycle for each half-step

interval in

Ihe

MC1'sbend

range.

When

all

olthe

intervals

01

bend aretuned, press @

ENTER.

ThispuiSall of the bend data

into memory and

turns

off the reference tone.

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Ibanez IMG2010 User manual

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