Rhodes CHROMA Owner's manual
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1 CHROMA
1 Programming Manual
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CHROMA PROGRAMMING MANUAL
CONTENTS
STRUCTURE
Inside
the
Chroma.
Synthesizer
Channels
...
Modulation
Selections
..
PROGRAMMING
Introduction.
Process
of
Programming
Parameter VaIue Ranges
..
Capy
Modes.
"Scratch"
Patch
.
Control
Signai
Scaling.
, .
Conventions
.
PANEL PARAMETER DESCRIPTIONS
Lef! Panel
Parameters
.
Control
Parameters
.
Glide
Parameters
...
.
Sweep
Parameters
..
.
Envelope Pararneters
..
Pitch
Parameters
.
Waveshape
~arameters.
Cutaif
Parameters.
Amplitude
Parameters.
HIDDEN FUNCTIONS
[SET SPLIT]
Functions.
SAMPLE PROGRAM
Step-by-step
Procedure.
CASSETTE
Interface
Notes.
GLOSSARY
·
.3
.
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-\,
.6
.
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7
.......
8
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9
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10
.11
.12
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.14
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18
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.27
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.35
· .37
· .39
• •
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-14
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..15
Oetailed
Definitions
of
Chroma
Terms
.
.46
CONTROL PANEL
CHART
Faid
Out.
© CBS, Ioe.
1982
.
..
(insert)
Ali
specificatIons subject
to
change
without
notice.
Programming Manual Revision 1 for
Chroma Software ReviSion
lO-April
14, 1982.
Prmted
in
U.S.A.
,
PROGRAMMING
If
one
of
the
five
control
parameters
is
selected,
the EDIT A
and
EDIT B switches have no effeet
on
what
the
parameter
slider
is
connected
ta,
as
there
is
onJy
one
set
of
control
parameters.
If
one
of
the
remaining
45
parameters
is
selected, the EDIT A
and EDIT B sWÏtches are llsed
to
select
whether
the
A
or
H
parameter
15
connected
to
the
slider. When a
parameter
is first
selected
(sec
below),
its
setting
has
nothing
to
do
with
the
slider
position.
As
500n
as
the
slider
is
moved.
the
parameter
jumps
to
the
value
represented
by
the
position
of
the
siider. A special
mode called EDIT A & B mode can be selected
by
pressing the EDIT A and EDIT B switches
con·
currently.
In
this
mode,
the
initial display
shows
the
setting
of
the
A
parameter,
but
moving
the
slider
causes
bath
the
A
and
B
parameters
ta
jump
ta
the
the
same value
and
follow
the
$licier.
=
l
-~
---
-
Edit
AfB
has no
effect
on these five parameters
COPY
MOOES
The
COPY FROM A
and
COPY FROM B
modes
are used
ta
copy
parameters
from
one
program
ta
another.
These
two
switches are
identical
in
function
except
that
one
mode
causes
parameters
[61
through
[50)
ta
be
copied
from
the
A
group
of
parameters
in
the
source
program
while
the
other
mode
causes
parameters
[6]
through
[50) to be
copied
from
the
B
group
of
parameters.
Thus
it
is
possible to
coPy
an
A
parameter
in
one
progrdm
into
the
corresponding
B
parameter
in
the
current
program.
Pressing
one
of
the
copy
switches causes its LED
ta
flash.
meaning
that
the
Chroma
is walting
ta
be
told
what
program
to
copy
from.
The
next
numbered
switch
pressed
10
COPY
FROM
A
OR
B
SE~UENCE
1.
P,ess
[COPY
FROM
Allo,
BI
(Light Flashes)
2. Press
any
program
number
you wish
ta
use as a
program
source.
3.
Press
the
parameter
number
you
wish
ta
capy
data
from (data
is
automatically
copied).
4. P,ess [PROGRAM SELECTl
0'
[PARAMETER
SE LECT]
ta
get
out
of
copy
mode.
causes
the
corresponding
program
ta
be
selected as
the
source
for
parameter
copying.
and
causes the
copy
mode
ta
be
entered.
Subsequently,
pressing a
numbered
switch
causes
the
corresponding
parameter
ta
be
selected
and
initialized
by
copyîng
its
seuing
from
the
stored
program. A special facility
is
provid·
ed
for
copying
from
the
current
program. Pressing
COPY FROM A twice sets the COPY FROM A
mode,
using
the
current
program
as the source.
If
EDIT B
is
active,
each
parameter
selected will be
copied
from
the
A
group
into
the
B
group
in
the
current
program.
Likewise. pressing COPY
FROM
B tWlee with EDIT
A active allows
copying
parameters
from the B group
into
the
A
group
in
the
current
program.
3 4 5
Miscellaneous:
There
is
a
parametef
called
OUTPUT
SE LECT
[5],
which
route~
the
channd
output
(bath
channels if p;ured)
to
one
of
the four
outputs
labelled 0-3.
If
the channels are p.tired. the B
oscillator can
be
tuned
up
to
31/32
semitone.1ll 1;32
Increments
(which
is
useful for bringin!.\
odd
ring·mod
intervals in
tune.
The FWS MODE
[2]
parameter
ailows selective disabling
of
either
foots\\-itch. ,md
allows
the
left
footswitch
w be used
to
enabk
or
disable
the
playing
of
notes (useful
\\hen
linkingl"
And
the
KYBD ALG
(31
parameter
~dects
one
of
1G
possible
channel
assi~mnent
.tlgorithms, [ive
of
\\"ll1(h
are
polyphonie,
and
ele\"en
of
which arc
monophonIe.
See
the
Table
of
Parameters
for
weater
detai!.
INTRODUCTION
The
Chroma Programming Manual
is
an
exten-
sion
of
the
Chroma Performance Manual.
The
Per-
formance
Manual
cantains
basic
operating
informa-
tion
and
hookup
instructions.
50
be
sure
to
read
it
be-
fore
starting
this
manual.
Refer
to
the
Chroma Inter-
face Manual for
detailed
information
about
the
ex-
ternal
computer
interface
commands
and
connec-
tions.
l'viany
of
the
sections
in this
manual
are
tech-
nical in
nature,
and
may
seem
confusing
al
ficst.
Re·
member
that
it
Îs
not
necessary
to
understand
pre·
cisely all
aspects
of
the
Chroma
to
successfully
program
it.
Read the STRUCTURE and PROG-
RAMMING
sections
ficst,
then
cefer
to
the
foId-out
panel
which
is
inserted
in
the
rear
of
this
manual.
When
yOll
need
more
information
about
the
function
of
a
particular
switch
or
control,
refer
to
the
manual.
Often
good
programs
evolve
by
modifying
exist·
ing
programs
by
ear.
Before
altering
a
program,
always
examine
the
structure
of
the
existing
program
first.
Check
the
following
parameters
in
existing
pro·
grams
before
editing:
[PATCH]
[MOD SEL]
-
defines
the
synthesizer
channel
configuration
-
(9
total)
determines
which
envelopes are
being
used,
and
where
Armed
with
the
knowledge
of
the
channel
con·
figuration
and
the
envelope
uses, a
black
diagram
may
be
sketched
ta
help
understand
the
structure
of
the
program.
After
you
become
familiar
with
pro·
gramming.
diagrams
will
probably
not
be
needed.
SPECIFICATION
CHANGE:
Eaclier versions
of
the
Chroma
had
a
parameter
called
POL
Y/MONO
[2].
This
parameter
has
been
replaced
wich
FOOTSWITCH
:VIODE
[21·
The
panel
graphics
should
be
ignored,
as
the
[21
switch
will
function
as
the
FOOT,
SWITCH
MODE
parameter
despite
its
tide.
(The
functions
of
all
of
the
switches
are
determined
by
the
Chroma's
internaI
software,
which
can
be
changed
and
updated
at
any
time.)
2
NOTE:
THIS
MANUAL
IS A
PRELIMINARY
COPY.
A
MORE
COMPLETE
RE·
VISED
EDITION
WILL BE
RELEASED
SHORTLY.
TO
OBTAIN A COPY
OF
THE
REVISED
PROGRAMMING
MANUAL.
CONTACT,
RHODES/CHROMA
SERVICE
DEPARTMENT,
86
CUMMINGS
PARK,
WOBURN,
MASS
01801.
PLEASE
IN-
CLUDE
YOUR
SERIAL
NUMBER.
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STRUCTURE
1 A
DUAL
CHA.NNE
L
BOARDS
1 A
1
1
A
A B
_
BI-
A B
f.-
B
t--
1
)(
1
A
A
A B
B
l-
B
l-
B
1-
,--
---1
EXTERNAL
7
CENTRAl
COMPUTER
4.
_
~
1
COMPUTER
1
" -
7'
EXPANDER
CONTROL
P.oNEL
ii' 1
,
1
KEYBOARD
LEVERS
&
PEDALS
INSIDE THE CHROMA
The
Chroma's
central
computer
controls
aIl
aspects
of
the
instrument.
Keyboard
information,
the
control
panel,
the
cassette
player,
pedais
and
levers all
send
their
information
to
the
central
computer.
There
are
eight
dual
channel
synthesizer
circuit
boards
which
produce
all
of
the
Chroma
's
sounds.
They
aIso
connect
ta
the
central
computer.
The
Chroma
's
sixteen
synthesizer
channels
each
consin
of
an
oscillator.
waveshaper,
filter
and
ampli·
fier.
The
channels
are
~ouped
into
eight
pairs
50
that
they
may be
reconfîgured,
or
"repatched,"
thus
providing a
wide
variety
of
sounds.
For
ease
of
programming,
one
ai
the
channels
in
each
pair
is
labelled
the
"A"
cha,mel,
the
other
the
"B"
channel.
The
central
computer
control&
the
oscîllators.
filters,
and
amplifiers
directly.
The
computer
digital-
Iy
generates
32
envelopes
(two
peT
channel)
and
16
low
frequency
sweep
signaIs.
The
control
of
the
syn-
thesizer channels
Îs
completely
digital. Signais from
the
levers,
pedals.
control
panel
or
the
keyboard
are
aIl
encoded
digitally,
processed
by
the
central
computer,
and
then
sent
ta
the
synthesizer
channels.
AH
of
thè
parameters
which
determine
a
sound
(including
features
like
the
keyboard
split, trans-
position
lever
functions,
etc.)
are
stored
digitally
in
the
Chroma's
memory;
therefore,
programs
may
be
recalled
in
their
encirety.
This
same
information
may
also be
sent
out
ta
a
cassette,
or
ta
an
external
computer
or
even
another
Chroma.
3
STRUCTURE
SYNTHESIZER CHANNELS
The
synthesi;f.er
channds
inside
the
Chroma
h.ne
Jo
structure
that
de
termines
the
kinds
of
sounds
they
create.
One
of
the
important
thin){s
in
determin-
ing
the
power
of
a
synthesizer
is
the
degree
ta
which
the
structure
Gan
be varied. [n
othee
words,
\Vhat
can
be
patched
inta
what.
The
Chroma
has
better
jHtching
capabilities
than
mast
modular
systems,
and
1['S
fully
programmable.
Aiso
important
is
the
degree
uf
control
avec critical
adjustmenrs.
~ot
only
does
the
Chroma
have
pienty
of
resolution
on
ail
ies
parameters,
the
sounds
ie
creates
are
perfeetly
repeatable
from
channel
to
channel,
from
day
to
day,
and
from
Chroma
ta
Chroma.
This
is
because
all
control
signaIs
are
generated
digitally by
the
corn·
puter,
and
all
audio
circuits
are
kept
precisely
tuned
uy
the
computer
against
digital
standards.
1 1
OSCILLATOR
~
WAVE-
(Pit'h)
SHAPER
T 1
GU
DE
SWEEP
(Kybd)
GENERATOR
This
suffiees for
simple
sounds
that
require
only
one
oscillator
and
a
two-pole
filter.
The
two
envelope
generators
allow a
variety
of
shapes.
Either
is
capable
of
generating
ARs
and
ADRs
by
itself.
Using
two
modulation
inputs.
say
ta
the
filter,
the
mix
of
AR
and
ADR
envelopes
yeilds
the
traditional
ADSR
shape.
as
long
as
the
(WO
attacks
are
the
same.
Hut
note
that
the
ADR
and
AR
signaIs
are
still
available
separately.
The
AR
might
have a
different
touch
sensitivity
setting
from
the
ADR
(whieh
is
usefui.
not
whimsieaJ).
Combining
a fast percussive
envelope
with
a slow percussive
envelope
yeilds
a
realistic
"piano"
envelope,
with
a
rapid
initial
deeay
and
a
long
final
decay.
Combining
a
short
envelope
with
a
delayed
slow
attaek
envelope
yeilds a
sforzando
envelope.
And
envelope
2 May be
used
for
auto-repeat
while
the
other
ereates
a long
decay,
for
a
reaIistie
eeho
effeet.
1 1
FILTER
I~
AMPLIFIER
(Cutoff)
(Vo/ume)
l T
1 1
ENVELOPE ENVELOPE
GENERATOR 1
GENERA
TOR
2
.. FOOTSWITCHES
::
VELOCITY
CKEYBOARD)
.,
LEVERS
.. PEDALS
The
structure
is
easy
ta
remember:
•
Four
audio
buUding
blacks.
the
osciIla[Qr, wave·
shaper,
fùter
and
amplifier
(controlled
by
the
bottom
row
of
parameters).
•
Four
main
control
signal
generators,
the
glide,
sweep
and
two
envelopes
(controlled
by
the
top
row
of
parameters)
.
.Six
performance
contraIs,
the
two
levers,
the
(wo pedaIs,
the
velocity
and
the
key
pressure.
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STRUCTURE
Right
Control Panel
Audio
Basic Building Blocks
Each
channel
in
the
synthesizer
consists
of
the
following sections:
Oscillator
The
pitch
of
the
oscillator
can
be
tuned
{rom
one
octave
below
concert
pitch
(two
with
the
trans-
pose switches)
ta
over
four
octaves above (aver
five
with
transpose).
Each
oscillator
has
three
modu-
lation
inputs.
Waveshapg
The
waveshape
can
be
selected
ta
be
eüher
a
pulse
or
a
shape
called
"saws"
which
is
a
combina-
tion
of
a pulse
and
a
sawtooth,
simulating
the
sound
of
tWQ
sawteeth.
The
pulse
width
(and
the
saws
shape)
can
be
adjusted
from
0%
ta
almast
100%
and
can
be
modulated.
Filter
The
filter
can
be
set
up
as a law-pass
or
high-pass
filter. Its
rcsonance
is
adjustable
from
0 up
ta
self-oscillate.
The
tuning
of
the
fil
ter
can
be
adjusted
over
the
entite
audio
spectrum,
and
there
are
three
modulation
inputs.
Amplifier
The
volume
of
the
channel
is
controlled
by
an
amplifier
with
linear
control.
The
amplifier
has
two
inputs
for enve[opes,
which
are
fully
adjustable,
and
has a
third
input
for
selecting
special
modulations,
such
as
tremalo
or
perlaI
control.
Qllik
The
pitch
information
generated
by
the
keybaard
passes
thraugh
the
glide
processar,
which
is
capable
of
slawing
dawn
the
transitions
From
pitch
ta
pitch,
either
in a
smaoth
portamento
or
a
chroma
tic
glissando. A wide range
of
rates
are
selectable.
In
addition,
certain
keyboard
algorithms
automatîcally
enable
and
disable
the
glide
accarding
ta
how
the
notes
are
played.
Control
The
sweep
generatar
generates
low.frequency
repetitive
control
signaIs. It has a basic
rate
that
can
be
adjusted
over a wide range. Its
rate
can
be
modulated
by
one
of
15
other
control
signais.
It
has 16 waveshapes available, including sine, triangle,
saw,
square
and
randam.
Its
amplitude
can
be
madu-
lated
by
one
of
15
ather
control
signais, includino;; its
awn
internai
delay
envelope
generator.
And
lastly,
it
can
be
synchranized
ta
key-depresslOns,
and
.lil
sweeps
can
be
locked
tagether
as
one.
The
envelapes
generate
AR
(attack,
release)
shapcs
or
AnR
(attack,
decay, release) shapes.
:Vlore
complex
shapes
are
created
by
combining
envelapes.
The
Attack,
Decay
and
Release times
are
variable from
instantaneous
to
very long
and
can be
moduiated
by
one
of
7
control
signais.
The
release
time
can
be
made
to
respond
to
the
rate
the
ke)"
is
released. And
the
peak
value
can
be
made
ta
respond
ta
the
force
of
attack
in 7
different
ways.
This envelope
is
just
like envelope 1,
except
that
an
adjustable
delay
is
provided. AIso, a special
setting
allo~
the
envelope
to
be
triggered
off
the sweep.
Performance
Cantrols
There
.tre six
control
signaIs available
that
come
from
various
performance
contrais.
The
two
levers
by
the
keyboard
generate
bipolar
control
signaIs.
The
two
pedaIs on the
!loor
generate
unipolar
control
signais.
The
key strike velocitv
is
available
as
a
control
signal,
and
key pressure
is
;1\ail·
able as a
hardware
option.
The
lever
and
pedal
signais
differ
from
an
other
contrai
signaIs in
that
they
are
common
ta
aIl channels.
3
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PROGRAMMING
PROGRAM
(SOUND
DESCRIPTION)
PANEL
CONTROL
PARAMETERS PARAMETERS
(TRANSPOSE,
~-
~~~~~
LI
NK,
ETC.)
INTRODUCTION
Parameters
The
Chroma
's
memory
con
tains fifty
stored
programs
(and
one
current
program),
each
of
which
is
a
complete
description
of
a
sound.
Each
program
is
made up
of
a
set
of
parameters,
each
of
which
contrais
one
aspect
of
the
sound,
just
like a slider,
knob
or
switch
on
an
ardinary
synthesizer.
In the
Chroma, every
parame
ter
has
bath
a name
and
a
number.
The
name
describes the
parameter
for
the
user,
and
the
number
identifies it for
the
Chroma's
computer.
Each
parameter
a1so
has
another
nurnher
associated with it: its value.
This
is
like the
setting
of
a
m'ltch
or
position
of
a slider.
Different
parameters
have
different
numbers
of
possible
settings,
depending
upon
what
they
do.
Parameters
have
as
few
as
two
settings,
such
as
the
low-passl
high-pass
selection
on
the
filter, while
others
have
as
many
as
128
settings for
accurate
resolution
of
critical
adjustments
of
the
sound.
Each
program
contains 101
separate
parameters,
which
are divided
into four
groups,
called panel,
control.
A
and
B.
A
CHANNEL
B
CHAN
NE
L
PARAMETERS PARAMETERS
• Panel Parameters
do
not
directly
participa
te
in
the
description
of
a
sound.
Racher, the panel
para·
meters
renect
the
settings
of
certain
modes
on
the
control
panel.
These
parameters
are included
in
each
program
50
that
the settings will
he
automatically
initialized
each
time a program
i5
selected.
• Control Parameters are
part
uf
lhe description
of
a
sound.
l'hey
indude
those
parameters
that
pertain
tu
the t:ntlrt:
sound,
not
just
one
of
a pair
()f
channel~.
•
"A"
Parameters describe
the
sound
produced
by
a single
channel.
If
the program utilizes
one
channel
per
note,
the
control
parameters
and
A
parameters
will
completely
de5crihe the
sound.
If the program
utilizes
the
channels
in pairs, the
control
parameters
affect
both
channels
and
the.\
parameters
affect
only
the
A channels.
•
"B"
Parameters are used
only
when the
program
utilizes channels in pairs. The set
of
B parameter5
is
identical
ta
the
set
of
A
parameters,
and
contrais
the
B
channel
in
each
pair.
Whether the
program
USl" single l'hannels
or
paired channels
is
determined
'JY
one
of
the
cuntrol
parameters,
called PATCH
[1).
If
the
pro~ram
i~
set
up
ta
use individual channels. the B
parameters
still
exist in the program,
but
they have no
effen
on
the
sound
generation.
7
STRUCTURE
Pairing Channels
Much
more
synthesizer
power
ts
available
when
the channels are
paired
together.
This yeilds
two
glides.
two
sweeps, four
envelopes.
two oscillators,
two waveshapers,
two
filters
and
two
amplifiers,
in
addition
ta
the
performance
controls.
The
range
of
shapes avaîlable
with
fOUf
envelopes is vast. Having
two
sweeps
ts
extremely
usefui.
wüh
one
usually
being reserved for
vibrato.
When
the
channels
are
paired,
there
are fifteen
dirfcrent
ways
that
the
audio
LJuilding
blacks
can
be
patched
together,
including
three
forms
of
non-linear
crossmodulation.
ring-mod,
syne
and
filter FM.
The
chaiee
is
controUed
by
the
P,t.tch
parameter,
which
is
parameter
number
1
in
eal.:h
program.
And,
of
course,
either
channel
has
access
to
the
control
signals
generated
by
the
opposite
channel,
sa
the
patching
possibilities are
limitless.
6
~
L~
.-
paz'red Channel
examples
~
....,...[;;
...
·1
ill-'-
.
,.
.
~,
~
____
, L
--~I~I
ooc
- _
""'''"
L.!
0·---.'-01
-
--'
'--'--'
MODULATION SELECTIONS
The
oscillator has
three
modulation
inputs,
the
waveshaper
one,
and
the
filter
three
more. These
seven
modulation
inputs
each use
two
parameters,
one
ta
select
the
control
signal
ta
be used
and
the
other
to
adjust
the
amount,
or
depth
of
modulation.
The
sixteen
selections
of
modulation
sources are
the
same
for
aU
these
inputs.
and
are
thus
called
the
general
modulation
selections. This list
of
selections
is
probably
the
most
important
list'
for
the
pro·
gnlmmer
ta
memorÎze.
It
can be
found
in the appro-
priate
seven places in
the
Table
of
Parameters in
the
back
of
this manuaI.
Pitch
Filter
Cutoff
42
Waveshaper Width
~~
~~
,,-----------~/
.....
V-
PROGRAMMING
PROCESS
OF
PROGRAMMING
The
Chroma
control
panel
has alI.the
capabiIity
needed
to
recall. view,
modify
and
save
alllOI
of
the
parameters
in aIl
51
programs.
Leit Panel
The
left
panel
parameters
are
accessed using
their
own
dedicated
con
trois. In a sense,
[hey
are all
performance
contraIs,
as
their
easy
accessibility
promûtes
their
use
during
performance.
RighI Panel
The
control,
A
and
B
parameters
are
all accessed
by
one
uniform
method,
involving
the
parameter
control
slider,
the
8-digit
display,
the
EDIT
A
and
EDIT
B
switches.
The
50
numbered
switches on
the
right
panel
are
aIsa used,
under
the
three
afore-
mentioned
panel modes. PARAMETEA SELECT,
COPY
FROM A
and
COPY
FROM 8.
The
50
numbered
switches
on
the
right
panel
that
are
llsed
fOT
selecting
programs
are
alsa
used
for
selecting
parameters
ta
be
modHied.
Each
switch.
in
addition
ta
having a
numher
imprinted
on
h,
has
the
name
of
a
parameter
on
h.
The
switches
numbered
l
through
5
are
associated
with
the
!ive
control
parameters
in
the
program.
The
remaining
45
switches
identify
A
and
B
parameters.
Rather
than
include
a
separate
set
of
45
switches
for
the
B
parameters,
the
A
and
B
are
accessed using
the
same
set
of
switches
along
with
the
EDIT
A
and
EDIT
B
switches.
PROGRAMMING
PROCESS
--
Ip/
DI
--
~~
g~~~
;'~ji
+
Llo
PUT PANEL
IN
PARAMETER SELECT MODE
~
2.
SELECT EDIT A. EDIT 8.
OR
80TH
3. SELECT A PARAMETER (IN THIS CASE. PATCH [1]
4.
VARY
THE PARAMETER
VALUE
WITH THE
PARAMETER CQNTROL SLIDER -VIEW THE
CHANGING PARAMETER
VALUE
IN
THE
OATA READQUT
Parameter
Control
The
parameter
control
slider
is
always
"connected
ta"
one
of
the
parameters
in
the
program
(or
ta
a
pair
of
A
and
B
parameters).
The
number
of
the
switch
that
corresponds
to
that
parameter
will
appear
in
the
leit
haH
of
the
8-digit
display,
and
the
current
value
or
setting
will
appear
in
the
right
half
of
the
display.
Moving
the
slider
will
cause
the
setting
tO
change.
8
Changing
the
value
of
the
selected
parame
ter
(the
one
that
appears
in
the
display)
can
be
done
at
any
rime
by
moving
the
parameter
control
slider. Select-
ing
a
different
parameter
number
can
only
be
done
by
first
entering
PARAMETER
SELECT
mode.
In
this
mode,
the
50
numbered
switches
no
longer
cause
a
program
to
be
selected,
but
cause
a
parameter
to
he
selected
instead.
This
is
the
mode
used
most
orten
in
programming.
•
•
•
•
•
•
•
•
•
•
•
•
•
•
7
40
41
PROGRAMMING
PARAMETER VALUE
RANGE
TYPES:
SWITCH
FUNCTION
This
numb"
la
the
VALUE-----,
which
wi/l'PPu,
in
M.
+
DATA
READOUT.
cr
--------
This
fs
thlJ
descriprion
of
t
whst
rh.
VALUE
represfmrs.
0
1
2
3
•
5
KYBD GL.IDE A
SWEEP
A
ENVELOPE
lA
ENVELOPE 2A
KYBD
GLIDE B
SWEEP B
o PORTAMENTO
GLJSSANOD
MENU FUNCTION
6 ENVELOPE
lB
7 ENVELOPE 28
8 LEVER 1
9
LEVER
2
10
PEDAll
SLiDER FUNCTION
11
PEDAl2
12
VELOCITY
13 THRESH
VEL
" PRESSURE
15
THAESH
PRESS
63 HIGHEST
NOMINAL
FREOENCY
10
LOWEST
NOMINAL
FREQUENCY
BIPOLAR SLiDER FUNCTION
-+63
MAXIMUM
Mao
DEPTH
t
o ZERO
MDD
DEPTH
j
-64
MAXIMUM
INVERTED
MOD DEPTH
DATA READOUT
Pl{
-23
VALUE
PARAMETER VALUE RANGES
Different
parameters
have
different
ranges
of
control.
Sorne
parameters
represent
selector
fune-
tions.
where
eaeh
setting
selects
something
unrelated
tu
the
other
settings.
The
simplest
form
of
this
is
the
[wa-position
switch.
The
GLiDE
SHAPE
[7]
parame
ter
is
an
example
of
this.
This
parameter
has
twu
~ettîngs,
0
~nd
1. .\Ioving
the
~Iidcr
throu)(h
its
center
position
causes
the
v,tlue to
change,
and
causes
the
pand
tapper
to
Ge
tri~.'~ered,
givin~
a
littlc
tactile
fecdback.
Some
sdectof
p.trameters
have ,IS m..tny as
tG
settin~s
.
.\lovin~
the
slider
will
take
the
parame
ter
through
ail its
~etlin~s,
tnggering
the
Llp[Jer .tt
every
change,
as if
it
were
a
lG,position
,Iide
~\\'itch
with
detcnts
.
.\Iany
parameters,
hllwever,
are
\".lr\able
parameters
which
describe
something
that
has a
variable
quantity,
such
as
..t
modulation
oc
tuning.
The
tapper
dues
not
get
trü:gered
\\hen
the
,Iider
i5
used
to
change
a vJ.ri,th!e
paramcter.
Some
\ J.riJ.ble
parameters
are
unipolaf,
su
ch
J.S
the
OJscill.ltof TUNE
[26]
parame
ter
whkh
has
,1
range
l'rom 0 tu
63.
\[OS(
of
the
modulation
depth
par,lmeters,
on
the
other
hand.
are
bipolJ.r,
with
a
ram~e
from
·64
tu
63,
with
0
in
the
middle.
9
PROGRAMMING
CONTROL
SIGNAL
SCALING
The
whole
business
of
the
actual
quantities
învolved
in
control
signal
generation
and
use
is
pretty
simple. The old
modular
synthesizers llsed
one
volt
per
octave
as
the
standard
relationship
between
control
signallevel
and
frequency.
AIso.
they
used
ten
volts as
the
standard
size
of
any
control
signal.
The
principle
Îs
the
sarne in
the
Chroma,
although
the
numbers
have
been
changed.
The
user
doesn
't
need
ta
be
concerned
with
"volts"
in
the
Chroma.
Instead,
everythîng
is
measured
against
an
arbitrary
"unit."
The
rules
are
as follows:
-32 0
+31
1
III
Il
III
I~
III
Il
III
Il
III
Il
Il
"-----------r----------~/
- V
1
"CHROMA"
UNIT
(32
Semitones)
MIDDLE
C
Chroma Scaling Units
Pitch Units: One
unit
can be thought
of
as
equallîng
32
semitones
of
pitch.
This
is
because
the
giide
output
is
scaled this way.
The
glide
output
has
a range
from
·1
unît
to
almast
+1
unit,
with
0
at
middie
C.
The
range ts
extended
12
semitones
(3/8
unit)
each
way
with
the
transpose
switches.
Lever Units:
The
levers
a1so
have a range
of-l
to
+1 units, where positive
numbers
are
in
the
"push"
direction.
Sweep
Range:
The
bipolar
sweep
waveshapes
(sine, trangle, saw,
etc.)
have a
smaller
range, from
·1/2
ta
+1/2
unit.
Envelope Units:
The
envelopes
are
1
unit
in
amplitude
without
touch
sensitivity,
but
vary from
Ota
2 units in
amplitude
with
touch
sensitivity.
Performance
Contrais:
The
pedaIs,
velocity,
and
pressure
all go from 0
ta
1
unit.
12
Cross
Modulation:
When
control
signal para·
meters
are
themselves
modulated
by
other
control
signals (such as using a
pedal
ta
control
decay
time),
the
programmer
has
no
choiee
as
ta
the
depth.
lt
is
fixed,
hopefully
at
a useful leve!.
Filter
Modulation:
The
filter
modulation
depths
represent
the
number
of
semitones
tuning
change for
each
unit
of
modulation.
Obviously, a
setting
of
32
represents
unit
y gain
jf
the
giide source
is
used.
The
ability
to
set the
depth
from
·64
ta
+63 yeilds a gain
range from
·2
ta
almost
+2.
Pitch
Modulation:
The
pitch
modulation
3
depth
is scaled like
the
fiIter. MOD
[21
has
1/+
the
gain,
and
MOD
[11
has
1/16
the gain.
If
MOO
[3J
is
used
for
pitch
bend,
the
depth
parameter
will
be
the
number
of
semÎtones
in
each dire.ction
that
the
lever
will
bend
the
pitch.
•
•
•
•
•
•
•
•
-
-
•
•
•
•
•
•
"SCRATCH" PATCH
Another
useful
feature
provided
is
the
parame
ter
clearing feature.
Holding
one's
finger
on
the
PA·
RAMETEA SELECT switch while selecting a param-
eter
causes the
parameter
to
be initialized
to
O.
There
are
a few
exceptions
to this: the
pitch
TUNE
param·
eter
is
initia1ized
to
12,
which
is
concert
pitch,
and
the
cutaff
TUNE, enve10pe 1
and
2 OeCAY
and
volume
MOD
1 DEPTH are set
to
their full settings.
Therefore,
if
ail
parameters
are
cleared,
there
will
be
same
sound
(a
raw
sawtooth,
a
good
enough
place
to
start).
In
this
mode.
or
in
either
copy
mode,
a
whole
){roup
of
parameters
can
be
quickly
initialized
by
running a finger across a row
of
numbered
switches.
PROGRAMMING
11
•
•
•
•
•
•
•
•
Il
Il
Il
..
..
..
..
CONVENTIONS
Accepted
Usage
Certain
"standards"
of
usage seem
to
be
appro-
priate
for
an
instrument
that
can
he
patched
sa
Many
ways:
• Lever 2 will
mast
commonly
be
used
for
pitch
bending. Lever 1 will he used first
for
other
effects.
such
as vibrato
depth
(sweep
amplitude
modulation).
The
pitch
bend
range
and
poIarity
shouId
be
consistent.
A
whole
tone
in each
direction.
with
the
pitch
increase in
the
"pull"
direction
is a useful
setting.
• PedaI 1 will
mast
commonly
be
llsed for volume
control.
Pedai 2 will be llsed first
for
other
effeet,
such as fiIter
tuning.
•
The
modulation
inputs
ta
the
oscillator are
each
scaled
differently.
Vibrato
will ususally go
ta
input
1. while large envelopes will usually go
ta
input
3.
•
The
fiIter
modulation
inputs
are
aU
scaled
the
samet
yet
pitch
tracking
(glide
modulation)
will
usually go
in
on
input
1 while sweep
modulation
will
usually be assigned to
input
3.
• AlI
parameters
Chat
don
't
have
any
effect
will
be
in
their
c1ear
state.
• All panel
parameters
should
be
set
ta
something
appropriate
when
a
program
Îs
stored.
~lost
importantly,
the
parameter
control
slider
(and
edit
mode
switches)
should
be
left
connected
to sorne·
thing
useful. All
the
link settings
should
be
con-
sciously
set,
even
if
they
are
not
being used. In
particular,
the
keyboard
split
should
be
set
to some
standard
(such
as
·5),
and
the
program
should
be
linked
ta
itse1f
and
then
unlinked,
leaving
the
link
program
number
reset.
The
link
balance
should
be
set
ta
zero.
• The
annual
Chroma
convention
will be
held
in
Lubbock
Texas
on
September
31,
1982.
Ballots
must
be
submitted
for
the
High
Parameter,
and
the
Big
"C"
by August first.
Apple
Ils
should
be
worn
.
Contact
the
Program Wizard
for
details.
PROGRAMMING
Certain
commonly
usefui
programming
structures
are:
• Using
two
low-pass fillers in series
for
a four·pole
low-pass response (good
for
brass).
• Using
two
low·pass filters in paraUel,
tuned
several octaves apart (for rather vocal effects).
• Using a low-pass and a high·pass in series
for
a
bandpass
sound, possibly
with
two
separate resonant
peaks (great
for
dav
sounds).
• Using a low-pass and a high-pass in paralie!
for
a
notch
sound
possibly
modulating
them
with a slow
sweep
(ouo great
for
clav
or
harpsi sounds).
• Using giide to
moduiate
the pitch. The glide
always feeds
the
oscillator
pitch
input, so adding glide
modulation
can expand or compress the scale. This
is
especiaily uselul on oscillator B when it
's
synced
to osciilator
A.
• Making
the
sweep rate (and perhaps amplitude)
track the keyboard, and then using the sweep sine
wave to
modulate
the waveshape. This can create
a chorus
effect
that sounds
nght
acrass the whole
keyboard.
• Using a pedal
for
pitch
bend, and eithcr the otht!T
pedal
or
the
pressure for vibrato depth.
• Using
the
velo
city
ta
directly
modulate
the filter
tuning, instead
of
controlling the amplitude
of
an
enve/ope.
•
Ust'ng
the normal and inverted pedai
modulation
·selections on the amplifiers, to
pan
between
the
A.
and
B channel.
• Using
the
delayed envelopes
2A
and 2B to
generate
two
echos
after
the inùial attack. The three
attacks
that resu/t can ail dlffer.
• Using poiyphont'c ft1ten'ng
of
nOise
for
spectacular
wind
effects.
• SimuJating a phase shifter
with
a sweeping notch.
• Creating string section sounds that grow and fade
according
to
the
key
velocity.
13
PANEL
PARAMETER
DESCRIPTIONS
LEFT
PANEL PARAMETERS
LEFT
PANEL
SWITCH
SEQUENCES,
[n]
is
defined
as
any
numbered
switch.
In
parameter
select
mode,
select
parameter
n
(after
saving
current
parameter
number
in
OLDPAR).
(If
n equals
current
parameter
nurober,
OLDPAR
is
used as
the
parameter
number,
and
OLDPAR
15
set
ta
n.)
In
copy
from
A
mode,
select
parameter
n
and
copy
from
A
parame
ter
block
in selected
program.
In
copy
from
B
mode,
select
parameter
n
and
copy
from
B
parameter
black
in
selected
program.
In
program
select
mode,
copy
program
n
into
current
program
space
(after
saving previous
program
in
the
sare
buffer).
(If
n
equals
the
current
program
number,
and
the
modified
flag
Îs
clear,
the
sare
buffer
will
be
used
as
the
source
instead.)
[ni
whil.
holding [PARAM SELECT]
Select
parameter
n.
and
clear
it
ta
its
off
state.
AlI
parameters
have
0
as
their
off
value
except
the
two
envelope
decays,
filter
tuning,
and
volume
mod
1
depths,
which
are
set
ta
maximum
(ta
give
the
pro·
grammer
something
audible
ta
start
with),
and
the
pitch
tuning,
which
is
set
ta
12
(concert
pitch).
[NO
LlNK]
[ni
Copy
program
n
into
cunent
program
space
except
for
link
mode,
number
and
balance,
transposes
and
keyboard
split, which
are
unchanged.
[NO
LlNK]
[NO
LlNK]
Clear
link
mode.
[LiNK
LOWER] [ni
Set
up
link
ta
prograrn
number
n, assigning all
subsequent
notes
below
keyboard
split
ta
link
pro-
g<am.
[LiNK
LOWER]
[LiNK
LOWER]
Set
up
link
lower
to
program
last
linked
ta.
[LiNK
UNISON]
[ni
Set
up
link
ta
program
number
n, assigning all
subsequent
notes
ta
bath
main
and
link
pragrams.
14
[LINK
UNISON]
[LiNK
UNISON]
Set
up
link
unison
ta
pragram
last
linked
ta.
[LiNK
UPPER] [ni
Set
up
lînk
ta
program
number
n, assigning aIl
subsequent
notes
above
or
equal
ta
the
keyboard
split
ta
link
pragram.
[LINK
UPPER]
[LiNK
UPPER]
Set
up
link
upper
ta
pragram
last
linked
ta.
[STORE] [ni
Store
current
program
in
location
n
(after
storing
the
previous
contents
of
program
n
in
the
safe
buffer.
(If
n
matches
the
current
program
number
and
the
modified
flag is clear,
the
safe
buffer
will
be
used as
the
source
instead
of
the
current
program.)
.-\ny
instruments
(such
as
the
link
instrument)
defined
by
this
program
will be
redifined
by
the
store.
[STORE] [STORE]
Store
current
program
in
location
shown
in
pro·
gram
number
display.
[STORE] [ni [ni
[ni [STORE] [ni
[ni
[STORE] [STORE]
Exchange
the
current
program
with
the
stored
program. (This
only
works
in PAOGAAM SELECT
mode.)
[EDITA]
Set
edit
A
mode.
Parameter
slider will
control
A
parameters.
[EDIT
B]
Set
edit
B
mode.
Parameter
slider will
control
B
parameters.
•
•
•
•
,
-
•
(1
•
•
•
•
•
•
PANEL PARAMETER DESCRIPTIONS
[EDIT
Al
and
[EDIT
B]
concurrently
Set
edit
A
and
B
mode.
Display
will
show
A
parameter
value,
but
moving
the
slider
will
cause
bath
A
and
B
parameters
to
change
to
the
same
value.
[PARAM
SELECTI
Enter
parameter
select
mode.
A150,
abort
any
two
switch
sequence.
Also
used
as a
parameter
dear
"shift
key"
with
the
numbered
switches.
[COPY
FROM
AI
[ni
Enter
copy
from
A
mode,
with
program
number
n as
source.
[COPY
FROM
BI
[ni
Enter
copy
from
B
mode,
with
program
number
n
as
source.
[COPY
FROM
BI
[COPY
FROM
BI
Enter
capy
from
B
mode.
with
current
program
as
source.
[PROG
SELECTI
Enter
program
select
mode.
Alsot
abort
any
two
switch
sequence.
[DOWN 1 OCT] (main
or
JÎnk)
If
already
selected,
dear
transpose.
If
not
select-
ed,
transpose
down
one
octave.
[UP 1 OCT] (main
or
link)
If
aIready
selected,
dear
transpose.
If
not
select-
ed,
transpose
up
one
octave.
[SET SPLIT}
followed
by
note
Set
the
split
point
at
the
note
played.
The
split
is
actually
between
this
note
and
the
next
lower
note.
[SET SPLITI [SET SPLITI
Set
the
split
point
at
the
same
point
as
after
the
last
time
the
above
command
was
executed.
[TUNEI
Initiate
an
auto
tune.
When
the
tuning
is
cam.
piete,
the
numbers
of
any
disabled
boards
will
be
displayed.
If
the
tune
switch
is
still held
when
the
auto
tune
is
complete,
the
bad
boards
will stîll be
displayed,
but
they
will all be
enabled,
for
diagnostic
purposes.
-
"*
~~~~~
~~~~~
[OVERLOAO]
followed
by
headache
By this
point
in
the
manual
you
are
overlaaded
with
technical
information.
Not
ta
worry,
the
next
edition
of
the
manual
will be c1eaned
up
and
will
hopefully
present
the
information
a
little
mare
c1early. In
the
mean
time,
relax
and
enjay
the
part
that
makes
~ense.
15
PANEL PARAMETER DESCRIPTIONS
-
~
MM~
PANEL: MAIN TRANSPOSE
This
parameter
causes -12, 0
Of
+12
to
be
added
to
the
key
numhers
fed
into
the
main
program
process.
The
twa
bits
take
on
the
Value 10
for
down
1
oct,
00
for
off
and
01 for
up
1
oct.
These
bits
appear
in
the
main
transpose
LEDs.
PANEL:
LlNK
TRANSPOSE
This parame
ter
is
analogous to
the
main
transpose
parameter,
but
only
affects
notes
given
to
the
link
peacess. Do
not
get
confused:
the
main
and
link
sound
generation
is
controlled
by
the
main
and
link
transposes
in
the
current
program.
The
transposes
that
are
staced
in
memory
in
the
program
that
is
linked
to
have
no
effect.
PANEL: KEYBOARD SPLIT
This
parameter
is
llsed
to
determine
which
keys
are assigned
to
which
sounds
while in link
lower
or
upper
mode.
Pressing
[SET
SPLIT] causes
the
cureem
setting
ta
appear
in
the
display. Pressing a
key will
then
cause
the
key
number
ta
be
stored
in this
parameter
and
the
display
ta
be
restored
ta
what
it was
before.
Pressing
[SET
SPLIT} twice
causes
the
split
ta
be
set
ta
the
"standard
split,"
which
is
simply
the
most
recent
split selected
by
pressing a key
on
the
keyboard.
In
other
words,
setting
a split using
[SET
SPLIT] [key] causes
the
key
number
ta
be
stored
for
future
access using
[SET SPLIT] [SET SPLIT].
16
--
PANEL:
LlNK
MODE & PROGRAM NUMBER
lnternally,
the
2 msbs
(most
significant bits)
contain
the
mode
and
the 6 lsbs (least significant
bits)
contain
the
number.
The
2 msbs
take
on the
value
00
for
no
link,
la
for link
lower,
al
for link
upper,
and
11
for
link
unison.
The
remaining six
bits
hold
the
number
of
the
program
Iinked
ta
(or
Jast
linked
to).
Externally,
the
link
mode
shows up
in
the
LEDs over
the
Iink switches,
and
the program
number
shows
up
in
the
left haH
of
the 8-digit display
whenever
the
link switches are used
ta
establish a
Iink. Since
the
link
information
is
a
parameter
within
the
program,
changing
the
link
constitutes
changing
the
program
and
sets
the
modified
flag.
PANEL: EDIT MODE & PARAMETER NUMBEA
lnternally,
the
2 msbs
contain
the
edit
mode
and
the
6 lsbs
contain
the
number
of
the
parame
ter
that
is
connected
ta
the
parame
ter
slider.
The
2 msbs
take
on
the
Value
la
in EDIT A
mode,
al
in
EDIT B
mode,
and
11
in EDIT A & B mode.
The
remaining
six
bits
will be 0 for
the
link balance
parameter,
1-5 for
the
control
parameters,
and
6-50 for the A
or
B
parameters.
Since
the
parameter
number
is itself
a parame
ter
in
the
program,
selecting a
parameter
constitutes
changing
the
program,
and
will set
the
modified
flag.
~
--
--
iii
•
1
•
r
~'
•
Il
•
•
•
•
•
•
•
•
•
•
•
PANEL,
LINK
BALANCE
The
link
balançe
parame
ter
has
no
effeet
on
the
sound
unless
one
of
the
link
modes
is active. In
that
case,
the
link
balance
represents
the
relative gain (in
2dB steps)
of
the
main
and
link
program.
Set
to
0,
bath
programs
fun
at
full
volume.
Setting
it nega-
tive, the link
program
Îs
reduced
in gain.
Setting
it
positive,
the
main
program
Îs
reduced
in
gain. This
is
the
ooly
panel
parame
ter
that
uses
the
parameter
control
sHder.
As
such,
it has its
own
way
of
working. Selecting
the
link
balance
parameter
is
done
by
setting
up
a Iink.
If
a link
is
already
in
effect.
the
link balance
parameter
may
be
selected
by
sîmply pressing
the
link
switch
twice (which
is
like
setting
up
the
link again).
As
an
added
convenience,
the
performer
may
return
to
the
previously selected
parame
ter
after
pressing a
link
switch
by
pressing
[PROG SELECTI
0'
[PARAM
SELECTI. While
the
link balance
parameter
is
selected,
the
display
contains
the
letter
L followed
by
the
link program
number
in
the
left
side
of
the display, Înstead
of
the
usual P
and
parameter
number.
This allows a simple
means
of
seeing
what
program
is
linked
ta.
This
means
that
the
performer
can
press a link switch
ta
see
what
he
is
linked
ta,
and
possibly
touch
up
the
balance,
and
then
return
ta
the
previously selected
parameter
by
pressing [PROG SELECT]
or
[PAAAM
SELECTl.
~ote
that
the
value
as
shawn
in the dis-
play
(the
dB value)
is
twice
the
internal
value as seen
by the
computer
interface.
Also, if
the
parameter
is
set
ta
-8
(-14 dB)
by
the
interface.
it will
actually
be
set
ta
-7.
PANEL, SEQUENCE PROGRAM
This
parame
ter
is
used
ta
establish which program
will be
selected
next
using
the
sequence
pragram
foatswitch.
Pressing
the
foatswitch
causes this
parameter
ta
appear
in
the
large 2-digit display.
As
long
as
the
footswitch
is
held, pressing
one
of
the 50
numbered
switches will cause this
parameter
(and
the
large display)
ta
be
changed
accordingly.
It
also
causes
the
parameter
to
be
written
into
the
stored
program. Releasing
the
footswitch
causes the
program
to be selected, if in
the
PAOG RAM SE LECT
mode.
In
any
other
mode,
the
program
is
not
select-
ed,
and
that
the
sequence program
parame
ter
is
set to
20. Pressing
the
footswitch
would
cause
20 to
appear
in the display. Releasing
the
footswitch
would
then
cause
program 20
ta
be selected. If, on
the
other
hand,
the
footswitch
was pressed
and
the
performer
pressed switch
number
30,
the
number
30
would
appear
in
the
display, would be
written
iota
the
current
program.
and
would be
written
in
ta
program
10. Releasing
the
footswitch
would
cause
pro~ram
30
to be selected.
Note
that
this
is
the
only
param·
eter
that
can be
"written"
inta
one
of
the
stored
programs with
the
lock
switch locked.
SEQUENCE
17
L
CONTROLPARAMETERS
1 PATCH
[1]:
This parameter deterrnÎnes
the
configuration
of
the synthesizer channels. There are a
total
of
16
patl.:h selections, numbered 0
through
15. This
is
the starting
point
for
aU
programs. This
parameter
should
be
sdected
and
its value
set
ficst,
to
establish
lhc
signal
paths
of
the
channel
boards.
Thcrt: are basically rive
configuration
types.
wÎth
s.ll,variatÎoI1S:
PATCH
[1],
VALUE
=0
SPLIT PATCH
This
value
produces
the
greatest
number
of
independent
notes (16).
The
configuration
is
the
simplest
available.
In
this
configuration,
parameters
set
using EDIT B have
no
effect.
The
A
param·
eters
control
a1l16
channels.
Applications
*When
many
notes
are
needed.
during
sustained
arpeggios for
example.
*Use
Value
0
in
place
of
Value
1
with
an
expander
ta
double
the
number
of
notes
avaiIable.
First
set
the
Chroma
and
the
expander
ta
the
same
program,
then
set
the
PATCH value
ta
0 on
both.
[SET
SPLIT],
[11
will
temporarily
set
the
patch
ta
O.
*Simple
sounds.
18
SPLIT
PATCH
!li
Îndependent
channels
INDEPENDENT CHANNELS
2 pec Ilote, 2 pole, 8
note,
2-pole filtering,
indepenclent
PARALLEL
FILTERS
Paired
channels.
notch
filtering
SERIES FILTERS
Paired channels, 4 pole
and
band-pass
fil
ter
respunse
VARIABLE
MIX
Paircd çhannels, dual 2-pole rilter effects
PATCH
[1].
VALUE
= 1
INDEPENDENT CHANNELS
Buth
channels
(A
and
8)
playon
each
nole,
but
are
separately
programmed.
Complex
sounds
rnay
be
created
by
using, for
example,
one
channel
for a meJlow
long
decaying
sound,
and
the
other
for
J.
short
percussive
sound.
Applications
"'Set
one
channel
to
high-pass filters,
the
other
ta
low·pass
for
contrast
"'Set
channels
ta
the
same
values (program
with
EDIT A
and
EDIT
B
both
on),
then
detune
the
B
channel
using DETUNE [4] for richness.
"'Tune filters
and
pitch
differently,
e.g.
fifth
or
octave
apart.
..
•
•
•
•
,
•
•
•
•
•
..
•
PATCH [11.
VALUE"2
INDEPENDENT CHANNELS, SYNC
The
signal
paths
of
the
two
channels
are
indepen-
dent.
but
the
frequency
of
the
B
oscillator
is
hard
synchronized
to
the
A
oscillator.
The
A oscilla-
tor
provides
the
fundamental
frequency,
the
B
oscillator
the
harmonie
frequency.
For
traditional
synthesizer
"syoe"
effects,
modulate
the
pitch
of
the
fi
oscillator
with
an
envelope
generator
or
a
sweep
generator.
A:~
:'f~~~
r
ose
~~r:;;;!_1
a~
Applications
*Synthesizer
"syne"
sounds
*Synchronized
oscillator
sounds,
2-pole
filter
with
a
normal
channel
for
added
bottom.
PATCH [11. VALUE = 3
INDEPENDENT CHANNELS, RING
MODULATOR
Same
as
Value::
1,
except
that
a ring
modulator
is
substÎtuted
for
oscillator
A.
This
permits
a
nng
modulator
to
be llsed in
addition
to
a
normal
channel.
Ta
set
up
the
ring
modulator,
set WIDTH
[34]
to
about
32
on
both
channel
A
and
8l
Vary
the
8
TUNE
[26]
and
the
DETUNE
[4]
ta
ob
tain
the
desired ring
modulator
effect.
, =
r;:
1 •
Applications
*Bell
sounds,
effects,
metallic
sounds
*Ring
rnodulator
sounds
with
a
normal
synth
channel
PATCH
[1I,VALUE=4
L1j1
INDEPENDENT CHANNELS,
FILTER
FM
The
channels
are
independent,
but
the
output
of
the
B
channel
modulates
the
A filter.
Audio
fre-
queney
modulation
of
filters
create
rich
and
unique
harmonies.
Selecting a
different
B
channel
TUNE
[261 value,
and
different
B
channel
WAVESHAPE
[33]
will
produce
different
complex
effects.
Applications
*Phase
shifter
effects
*Voeal
effects
*Using noise
as
a wavshape,
percussion
PATCH [11,
VALUE
= 5
PARALLEL
FILTERS
Both
the
A
and
the
8 oscillators
are
routed
to
both
A
and
B filters.
The
B
oscillator's
\"DIurne
is
controlled
by
the
B
amplifier,
and
the
A
amplifier
governs
the
entire
output
volume.
To
use
as
a
notch
filter,
set
one
filter
to
high·pass (LP/HP
[37],
value
1),
and
the
other
to
low·pass
(LP/HP
[371.
value
0).
Set
the
TUNE
[39J value
on
the
LP
channel
to
a
law
value
and
the
other
to
a higher value.
Applications
*L'se for
clavinet,
or
harpsichard·type
sounds
*;"Iodulate
with
a
sweep
control
for flanging
effects.
19
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