Wernick Xylosynth XS7s-3 User manual

Hand Built Electronic Percussion
XS7s-3
Rev 008
1
2a TWYCROSS STREET
LEICESTER
LE2 0DU
ENGLAND
TELEPHONE: [phone]
E-MAIL: info wernick.net
WEB-SITE: www.wernick.net
VAT No: 834748304

Index
1.0 Introduction PAGE NUMBER 3
2.0 Setting Up Your Xylosynth System
2.1 Sound Sources
2.2 Ampli ication
3.0 A Quick MIDI Lesson 4
3.1 MIDI Programme Number
3.2 MIDI Bank Number
3.3 MIDI Note Number
3.4 MIDI Velocity Number
3.5 MIDI Channel Number
4.0 Patches
5.0 Control Panel 5
5.1 Push Button Control
5.2 Song List/Patch Up/Down
5.3 Octave Shi t
6.0 Foot Pedal Controls
6.1 Jack Inputs 1, 2, 3 and 4 6
6.2 Jack Inputs 5 and 7
6.3 Sustain
7.0 Analogue Settings
7.1 Length o Note
7.2 Sensitivity Knob 7
8.0 Display
9.0 Introduction to Programming
9.1 Global Settings 8
9.2 Song List 9
9.3 Patch Settings
9.4 Patch Template 12
10.0 The Noise Threshold 13
11.0 Di erent Ways o Manipulating Your Sound Volume
12.0 Internal Sounds 13
13.0 How to Replace a Key 15
14.0 General Care 16
15.0 Physical Speci ications
16.0 How to Contact us
17.0 MIDI Implementation Chart 18
18.0 Troubleshooting
2

1.0 Introduction
Thank-you or choosing a Wernick Xylosynth. You are now the owner o a hand built MIDI
compatible tuned percussion controller designed to put mallet players in the most
com ortable MIDI environment possible. We’ve asked players like you a lot o questions
over the last ew years and the in ormation gathered together has resulted in many o the
unique eatures o the Xylosynth. Innovations like the wooden playing sur ace and the
lexible, easy to use so tware have come rom this process. We’re proud to be a ‘musician
led’ instrument company and continue to strive to realise the imagination o music makers.
Your basic Xylosynth package should include the ollowing:
3 Octave F-F Xylosynth
USB Power Supply Adapter
2 x 3 metre USB A-A Cable
3 metre MIDI (5 Pin DIN) Connector
Manual
Pair of Soft Vibraphone Mallets
2.0 Settin Up your Xylosynth
1. Always make sure you mount your Xylosynth on a solid table or keyboard stand. Check
the carrying capacity o any stand. I you plug your pedals in first and power up the
instrument the Xylosynth will recognize open/closed and adjust itsel accordingly. If you
plug/unplug pedals while powered up the instrument may crash so press the edit
button to reset or power up again.
2. Power In/USB – For 'power only' use the top slot ( rom wall adaptor or USB Power
Bank). There is no on/o switch. For USB MIDI communication use bottom slot. I you
have USB 3.0 (blue indicator) or above you can use the bottom slot or communication and
power. It may well work with USB 2 in your laptop but we take no responsibility or any
damage caused. The instrument needs to be stable while calibrating on power up so
always push the USB cable in gently to avoid disturbance i the other end is already
connected to the power source.
3. I you have internal sounds, plug in your headphones or line out to PA and start playing.
Or, using the supplied MIDI lead or USB cable, connect to your chosen external sound
source (the Xylosynth is set to Channel 1 as a actory de ault).
2.1 Sound Sources
The Xylosynth is a MIDI controller and the standard instrument has no internal sounds. I
you don't have internal sounds the irst thing needed is a sound source. This could be a
sound module or so tware based sampler in your PC or Mac. Sound modules with tuned
percussion sounds are available rom most large musical equipment retailers. As well as
traditional tuned percussion sounds, sound modules o ten contain several digital sounds
with a very ast attack making them mallet riendly. For the individual sounds o your
choice you need a so tware based system. There are many sample libraries available with
traditional and synth sounds.
2.2 Amplification
The inal link in the chain rom Xylosynth to per ormance is ampli ication. The simplest
thing to do is to plug a pair o good quality headphones into your sound source or
Xylosynth with internal sounds. Otherwise simply use a keyboard or 'active' speaker amp.
For playing live, to really appreciate the stereo o most o the sounds you’ll be using, the
best solution is a small mixer with a pair o active speakers. As with all ampli ication it is
important to tailor your system to every possible requirement you can think o . We do
advise you should try out the ampli ication system be ore you buy or ind very good
recommendations. Think about weight i you have to take the system on the road.
3

3.0 A Quick MIDI Lesson
The Xylosynth is a MIDI controller so it might be use ul to include a short section on the
basics. MIDI stands or Musical Instrument Digital Inter ace and is a digital computer code
that all manu acturers in the music industry use. It means that the Xylosynth and any
other MIDI device can communicate. It has become a world wide standard so you will be
able to ind MIDI equipment that is compatible with the Xylosynth everywhere (either
through '5 Pin Din Midi' or 'USB to MIDI'). There are many volumes dedicated to the
subject and to be honest all you really need to understand to use your Xylosynth are the
ollowing ive parameters:
3.1 MIDI Pro ram Number (0-127 or 1-128)
The Program Number is the code number or the sound that comes rom your sound
source. It instructs the sound module to switch to a particular sound. There are 128
standard General Midi (GM) sounds (list on page 13) numbered 0-127 or 1-128 depending
on the source. Normally the sound source will have a name or each sound displayed on
its screen. The Xylosynth is set at 1-128 so Vibraphone is number 12. I your sound source
is numbered 0-127 then you can change the numbering o the Xylosynth to 0-127 (Global
Settings, C. MIDI Format), the Vibraphone would become 11.
3.2 MIDI Bank Number (0-15 or 1-16)
Some sound sources have several banks o sounds with 128 di erent sounds in each. Our
internal sounds have just one bank o 128 sounds. We have customized our sounds into
'patch settings' and numbered the patches to correspond to the progamme numbers.
3.3 MIDI Note Number
There are 128 Note Numbers in MIDI and these de ine the pitch o the sound. It's like
having a keyboard with 128 keys. An easy re erence point to remember is Middle C (C4)
which is MIDI Note Number 60. Tuned A (440-442Hz) is MIDI Note Number 69.
3.4 MIDI Velocity Number
There are 128 levels o velocity in MIDI. The Velocity Number de ines the amount o
expression that can be applied to a MIDI sound. For example i you play a Vibe bar really
hard the sound is very loud compared to i you give it a gentle stroke. Basically the same
thing applies in MIDI and is de ined within 128 levels rom 0 to 127. A level o 0 is
equivalent to a note o message. The Xylosynth actually has around 14000 levels which
are divided down to 128 be ore the Midi message is sent.
3.5 MIDI Channel Number (0-15 or 1-16)
There are 16 Channels in MIDI and these are the codes used to allow di erent MIDI
devices to talk to each other or to play di erent tracks within so tware programs. This is
mainly relevant to so tware based systems. The Xylosynth sends out messages on
Channel 1 as a actory setting. The GM sounds are the same or all MIDI Channels except
Channel 10 which is dedicated to "percussion" sounds.
4.0 Patches
With the new Mk7 Xylosynth we can create 'Patches' by choosing a programme, or
example 12 Vibes, then altering the 'parameters' to suit ourselves and saving to use next
time. Parameters such as setting the irst note (MIDI note number) or the pitch we want to
start on and setting the note length (although this can be overridden with the note length
knob) amongst other things. Basically, 'a patch is a con igured sound that can be recalled
or playback'. All 128 GM sounds have been con igured into usable 'Patches' and it is the
Patch number that changes with the patch buttons/pedals.
4

5.0 Control Panel
I you look to the right hand side o the ront panel you’ll see the connections or Line Out
(to ampli ication), Headphone Socket, Power In/USB, MIDI Out, Blue LED Indicator, seven
pedal inputs and above them the our push buttons or Octave Shi t and Patch Change.
SONG LIST/PATCH OCTAVE SHIFT
▲ ▼ ◄ ►
SUSTAIN MIDI OUT POWER
IN/USB
HEADPHONE LINE OUT
1234567●☻ ■
5.1 Push Button Controls
There are our push buttons to change octaves, patch or song list. You cannot change the
unction o these buttons. In per ormance mode they will always operate the octave shi t
and patch/song list. In edit mode they will move the cursor or change values.
5.2 Son List/Patch Up/Down
These buttons change the patch or song list by +1 or -1 each time. I you are in 'song list'
mode they will change the song list number and i you are in 'patch' mode they will change
the patch number. The instrument will arrive in patch mode so you can scroll through all
the sounds. Simply press the save button to the le t o the display to get into song list
mode. We have made 3 song lists to get you started. Just press 'save' again to get back
into patch mode.
5.3 Octave Shift
Octave Shi t will change the range o the keyboard layout. On start up the instrument's
range will be dependent on the size o your Xylosynth and the patch you are in. By
pressing the octave shi t you can shi t up or down an octave (12 notes). This can be in
'latching mode' where the shi t stays until you press the pedal/button again to change it
or 'single shift mode' ( or pedals only) where the octave reverts to it's previous range as
soon as you release the pedal (see Patch Settings M. Octave Shi t). The pedal actory
de ault is 'single shi t mode'. The pedals can also be set to shi t semitones, see Patch
Settings, V – I. Semitone Shi t.
6.0 Foot Pedal Controls
The new Mk7 Xylosynth has seven pedal inputs which can be programmed to operate
various unctions apart rom input 6 which is always Sustain. Inputs 1- 4 can only be used
with analogue/expression pedals and inputs 5-7 can only be used with digital/on/o
pedals (or expression pedals with digital unctionality).
Pedal Type Analogue/Expression Pedals Digital On/Off Pedals
Input Number 1 2 3 4 5 6 7
Wernick Pedal – (ON/OFF
Function Only).
ü ü ü ü ü ü ü
Switchable Stereo Expression
Pedals
ü ü ü ü ü ü ü
Mono Digital Pedals x x x x ü ü ü
Drum Triggers – Mono/Stereo ü ü ü ü x x x
Basically, the two types o oot pedal that can be used with the Xylosynth are the On/O
type (digital), normally with a mono jack (one black band) and Expression pedals
(analogue) which contain a potentiometer or variable control (volume, wah wah etc)
5

always with a stereo jack (two black bands). Some expression pedals also have digital
unctionality because you can switch o the potentiometer so the pedal acts like a digital
on/o pedal. The Wernick pedals now have stereo jacks so their simple on/o unctionality
will also work in inputs 1-4 to per orm a basic +1 -1 duty but it doesn't turn them into
expression pedals, you need a potentiometer in them or that. So the specially adapted
Wernick pedals (digital but with a stereo jack) can be used in all 7 inputs.
On/O (digital) pedals can be 'normally open'or 'normally closed' (or switchable). I you
plug your pedals in first and power up the instrument the Xylosynth will recognize the
di erence and adjust itsel accordingly to work with them. If you plug/unplug pedals
while powered up the instrument may crash so press the edit button to reset or
power up again. Your on/o pedals must be non-latching. You must only use non-
powered (no battery) pedals. You may damage a chip inside that will have to be
replaced if you plug in a device that has Voltage.
6.1 Jack Inputs 1, 2, 3 and 4
These inputs are all the same and all analogue. The actory setting has Input 1 as WMI
Hal Dampening, 2 as Pitch Bend Up and 3 and 4 as Patch/Song List +1 -1 (same as the
buttons above). You can reprogramme these inputs to operate di erent unctions, see
Patch Settings U. Jacks 1-4 Function.
6.2 Jack Inputs 5 and 7
These inputs are all the same and all digital. The actory setting has inputs 5 and 7 as
Octave Shi t +1 -1 (same as the buttons above). You can reprogramme inputs 5 and 7 to
operate di erent unctions, see Patch Settings V. Jacks 5&7 Function.
6.3 Sustain
Pedal input ‘Sustain’ will sustain all notes playing or about to play when you press the
pedal. The sound you are playing will have to be sustainable or be looped or the sustain
pedal to be e ective. For example Vibes sound will sustain but not Marimba. There are
our sustain modes. See Patch Settings N. Hold is the de ault setting.
7.0 Analo ue Settin s
7.1 Len th of Note Knob
Although you can set your pre erred note length or each patch in the patch settings, the
Length o Note Knob allows instant adjustment 'on the ly'. The control begins with 'instant
note o ' at 0.03 seconds (30 Milliseconds) and goes up to 8 seconds. You have to turn the
knob by at least 1 division on the dial to activate it otherwise it won't override the patch
setting. I the knob is activated and turned to zero an 'all notes o ' message is also sent so
it can be used as a 'panic button'. For the panic eature to work with an external sound
source make sure the sound source is set to accept ‘all notes o ’ messages.
6

7.2 Sensitivity Knob
This is the master sensitivity control and a ects all the keys equally no matter which patch
you are in. It can be used to adapt the Xylosynth’s playing characteristics to your playing
style and choice o mallets. At its lowest setting it will be very hard to achieve ull 127
velocity. At its highest setting it will be very hard to achieve a velocity o 1. In e ect the
sensitivity control can act as a volume control knob 'on the ly'. Starting with the sensitivity
knob at its maximum setting and striking a key to the hardest you are likely to play, turn the
knob anticlockwise. When the sound heard starts to drop rom your sound source stop
turning the sensitivity knob. Setting the knob to about a third seems to give most people
the best dynamic range. We strongly advise you use rubber core mallets to give a good
dynamic range, to keep the acoustic contact sound minimal and to protect the sensors.
8.0 Display
The new Mk7 Xylosynth is using the latest technology OLED display so we can show more
in ormation to the player. When you are 'per orming' there are 2 choices. You can either
have the Patch screen showing where you can scroll through a long list o all the Patches
or the Song List screen showing where you can scroll through a select list o patches that
you have chosen or the song list. The instrument will arrive in patch mode with a shortcut
to song list mode by pressing the 'save' button (press 'save' again to get back to patch
mode).
PATCH CONTROL SCREEN
SONG LIST CONTROL SCREEN
next patch on list →
no.o song on list →
no. o song list →
You can customize the screen brightness see Global Settings H.
When you change patch, the next sound will be heard immediately but the screen
takes a fraction of a second to catch up.
PROGRAMMING SECTION
9.0 Introduction to Pro ramin
7
HARPSICORD
CHAN 01 PITCH PATCH
PRG 007 NOTE C3 007
BANK 01 MIDI 048
HARPSICORD
011► PITCH PATCH
SONG 01 NOTE C3 007
LIST 01 MIDI 048

There are 4 main programming/edit screens.
1. Press the EDIT/EXIT button on the right o the display, keep it pressed and it will
scroll through the 4 options – Global Settings – Song List – Patch Settings – Patch
Template. I you want to edit Global Settings, release the button when you see
Global Settings. I you release the button on the wrong list, press the button again
to exit. The per ormance screen comes back up and then you can start again. Once
you have chosen your screen:
2. Select the item/s you want to change using the up/down patch buttons.
3. Select your change/s using the le t/right octave shi t buttons.
4. SAVE your change/s using the save button to the le t o the display.
5. EXIT the edit mode by pressing the Exit/Edit button until it says 'Performance
Mode'. Settings may work imperfectly unless you are in Performance Mode.
Press 'Exit' at any time to get out of a screen.
Shortcut – a quick press on the edit button will get you back into the last screen you
were editing.
9.1 Global Settin s
The Global Settings in luence the instrument as a whole. There are 11 items. A-K that you
can alter. See 9.0 on how to get into the Global Settings edit screen and on how to choose
options using patch and octave buttons.
Press ◄ or patch settings Press ► or song list link
▼
A. PATCH CONTROL PATCH/
SONG
Switch the Xylosynth between incremental patch up/down
control or song list control. There is a shortcut between these
by pressing the SAVE button to the le t o the display.
B. Jacks 1-4 Type ◄ Jack Input 1► Choose expression pedal number 1-4
A. Input Select according to which device you are plugging in.
DRUMPAD – to set up also go to Patch Settings U. Jacks 1-4 Functions and
select M. Drum Trigger i you want to play sounds on the drum pad (otherwise
the pad will act like a switch or changing patch etc).
OPEN expression pedal
CLOSED expression pedal
B. Decay Rate Adjusts the cross talk ilter Decay Rate to prevent multiple notes ( or Drumpad – de ault 30).
C. Decay Amplitude Adjusts the cross talk ilter Decay Amplitude to prevent multiple notes (Drumpad–de ault 30)
D. Noise Threshold Sets the Drum Pad trigger level ( or Drumpad – de ault 15, raise i blue light triggering) .
E. Gain 0.1–2.5 Similar unction to 'sensitivity knob, the higher the number, the easier it is
to get 127 velocity (de ault 1)
Press Exit to get back into Settings
C. PROG FORMAT 0-127/1-128 Sets the irst programme number, bank number and patch to
display either 0 or 1. MIDI standard starts on 0 but many
connecting devices start on 1.
D. MIDDLE C FORMAT C4/C5 Sets middle C, MIDI note number 60, to display either C4 or
C5. MIDI standard states that middle C is C5 but C4 is more
commonly used or middle C.
8
◄ GLOBAL SETTINGS ►
A. Patch Cntrl PATCH
B. Jacks 1-4 Type
C. MIDI Format 0-127

E. NOISE THRESHOLD 0-200 Threshold above which the instrument does not pick up
external noise and trigger randomly (blue light lashes
randomly). Will also a ect the sensitivity o the lightest hits.
May only need to adjust one or two notches either way. See
10.0 page 13.
F. MAX POLYPHONY 64,128, 256, 512 This sets the maximum number o sounds heard at the same
time. Too small and notes may be missed. Too high and
latency may be noticeable, especially on computer based
systems. This setting is about optimising your sound source as
certain sound sources can only work with a limited polyphony.
G. KEY CALIBRATION I a key is replaced or becomes less sensitive the individual key can be adjusted
to bring the key/s into line. Screen 1 shows the key number and original sensitivity.
Bring your new or 'waning' key sensitivity into line at about 100. A waning or
'losing sensitivity' key will have lost some dynamic a ter this process but will still
play. This won't work i the key is broken. Press SAVE and the results are now
saved and you will be back in Global Settings screen. YOU CAN PRESS EXIT AT
ANY TIME.
H. DISPLAY Brightness – OFF to 100
I. CREATE BACKUP Backs up all your patch settings – takes ≈ 5mins
J. RESTORE BACKUP Overwrites the patch settings using the back up stored settings - takes ≈ 5mins
K. FACTORY RESET Overwrites all settings to the actory de ault - takes ≈ 5mins
PRESS 'EXIT' AT ANY TIME TO GET OUT OF A SCREEN.
9.2 Son List
Instead o scrolling through all 128 patches you may want to create a song list o a ew
avourite patches or o the patches you need or a certain per ormance. See 9.0 on how to
get into the Song List edit screen and on how to choose using patch and octave buttons.
SONG LIST EDIT SCREEN
◄ to song links to next song list ►
▼
1. Select the number o your song list (you may want to create more than one list) on
the irst line using the Octave Shi t buttons. They are already numbered 1-25.
2. Using the Song List/Patch buttons scroll down one line to the irst song in the list.
3. Using the Octave Shi t buttons choose your song (patch).
4. Using the Song List/Patch buttons scroll down one line to the next song in the list.
5. Repeat 4. until you have chosen your list.
6. Press the 'Save' button to le t o the screen.
7. Press 'Exit' right o screen
To DELETE a patch in the song list press exit and ollow instructions on screen.
To INSERT a patch in the song list press save and ollow instructions on screen.
There are a maximum o 25 patches in a song list and you can make up to 25 song lists.
9
◄ Song List 01 ►
01 001 GRAND PIANO
02 007 HARPSICORD
03 008 CLAVINET

You can link song lists – there is always a minimum o 3 linked song lists - go to song list
edit screen – press octave shi t button le t – choose your order o song lists.
PRESS 'EXIT' AT ANY TIME TO GET OUT OF A SCREEN.
9.3 Patch Settin s
See section 4.0 or a de inition o Patch. You can store up to 200 patches in the memory.
The irst 128 patches have been pre-programmed using the 128 GM ormat sounds. You
can alter the parameters listed below to customize these patches. I you want to create
new patches, overlays or splits you could use patch numbers 129-200 (128-199) i you
don't want to overwrite the irst 128 pre-programed patches. Try copying a patch to a
higher number and experimenting. I at any time you want to get the actory de ault
settings back, go to Global Settings K. See section 9.0 on how to get into the Patch
Settings and on how to change parameters using patch and octave buttons.
PATCH EDIT SCREEN
▼
First select your Patch Number on the top line using the Octave Shi t buttons. They are
numbered 1 -200 (0-199). The irst 128 are pre-programmed and named using the 128
internal GM sounds.
001 ACOUSTIC GRAND PIANO
A. Programme 1-128 (or 0-127) Selects programme number
B. Channel 1-16 (or 0-15) Selects Channel Number
C. Bank 1-16 (or 0-15) Selects bank Number
D. Octave 0, 12, 24, 36, 48, 60,
72, 84, 96, 108
Sets the MIDI Note Number o the irst key in steps o
12
E. Semitone 000-011 O sets the MIDI Note Number o the irst key in steps
o 1.
F. Min Velocity 001-127 Sets minimum MIDI Velocity or lightest hit.
G. Max Velocity 001-127 Sets maximum MIDI Velocity or hardest hit
H. Note Length 0.01-8.00 Sets de ault Note Length or patch. Note length Knob
movement will over-ride value.
I. Dampening requires action Select dampening to unlock. Set dampening level
using mallet strikes to set maximum dampening level.
Can be ine tuned using buttons. Will lock again on
exit. To turn OFF, reduce level to 0 and SAVE.
J. Velocity Curve 0 Adjusts strike energy to MIDI Velocity Relation
K. Velocity Test requires action Striking any key will display the MIDI Velocity number
(test key sensitivity).
L. Polyphony Poly/Mono Selects polyphonic or monophonic mode.
M. Octave Shift LATCH Shi ts 1 octave and holds new value when pedal is released
SINGL Shi ts 1 octave but reverts when the pedal is released.
N. Sustain Mode HOLD – Holds o sending out MIDI note o messages until pedal is
released then all note o messages are sent.
10
◄ 001 ACOUSTIC GRAND PIANO►
A. Program 001
B. Channel 001
C. Bank 001

(only HOLD works with
internal sounds)
MIDI CC 64 – On/O switch that controls sustain.
MIDI CC 66 – Only holds notes that were 'On' when the pedal was pressed.
Use it to 'hold' chords and play melodies over the held chord.
MIDI CC 69 – Notes ade out according to their release parameter rather
than when the pedal is released.
O. Overlay Mode ON/OFF Turns the instrument overlay on or o
P. Overlay Settings Goes to Overlay Settings screen below.
A. Bottom key Strike a key to set the bottom limit o instrument overlay.
B. Top Key Strike a key to set the top limit o instrument overlay.
C. Program 1-128 (0-127)
D. Channel 1-16 (0-15)
E. Note Length 0.01-8.00 Sets de ault Note Length or overlay.
F. Bank 1-16 (0-15)
G. Octave 0, 12, 24, 36, 48, 60, 72, 84, 96, 108
Set the starting MIDI Note Number o the 'bottom limit' in steps o 12
H. Semi-tone 0-11 O set the starting MIDI Note Number o the 'bottom limit' in steps o 1.
I. Layer Type OFF - dead zone – the overlay area does not send MIDI messages
COMB - instrument will output two 'note on' messages (layered)
EXCL- instrument will only output Overlay MIDI 'note on' messages (split keyboard)
Q. Trigg Settings Goes to Drum trigger settings below. Drumpads are activated by selecting
Drumpad in Global Settings B - A. Input and also Patch Settings U. Jacks 1-
4 Functions and select M. Drum Trigger.
A. Program 1-128
B. Channel 1-16
C. Pad Note number 1-128
D. Note Length 0-8000
E. Bank 1-16
PRESS 'EXIT' AT ANY TIME TO GET OUT OF A SCREEN (AND AGAIN FOR PERFORMANCE MODE!).
R. Patch Name ^ACOUSTIC GRAND
PIANO
Spells out Patch name using patch and octave shi t
buttons by scrolling through A-Z, blank space, 0-9,
blank space, a-z, blank space, various symbols,
blank space and back to A-Z.
S. Copy to Patch Copy Patch 00X to
XXX
Copies patch settings to another patch
T. Dynamic Gain You can vary the sensitivity o the whole keyboard as well as relative to
pitch. Range is 0.1-9.9. 1 is normal or a gain o 1. 9.9 is a gain o 9.9.
A. Toggle ON/OFF OFF
B. Bottom Key Gain 0.1 - 9.9
C. Top Key Gain 0.1 - 9.9
U. Jacks 1-4 Function ◄ Expression Pedal 1►
A. WMI Dampening Note length control on the oot (hal dampening)
B. Patch Up ⌂ Allows oot control o patch up.
C. Patch Down ⌂ Allows oot control o patch down.
D. WMI Pitch bend For uture use with special Wernick Pedal!
E. Pitch bend Up ⌂ Movement in the pitch bend pedal sends corresponding pitch bend
messages o range 8000-16000.
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F. Pitch Bend Down ⌂ Movement in the pitch bend pedal sends corresponding pitch bend
messages o range 0-8000
G. WMI Modulation For uture use with special Wernick Pedal!
H. Modulation Up ⌂ Movement in the pedal sends corresponding control change 'Modulation'
messages o range 8000-16000.
I. Modulation Down ⌂ Movement in the pedal sends corresponding control change 'Modulation'
messages o range 0-8000.
J. Programme Up ⌂ Press on pedal increases programme number on sound source by 1 - or
use with special so tware such as FORTE
K. Programme Down ⌂ Press on pedal decreases programme number on sound source by 1 - or
use with special so tware such as FORTE.
L. CC Message
⌂ Press on pedal allows control o most control change messages
implemented in MIDI
A. CC Number – choose CC message number using octave shi t button.
B. Data Range - choose data range using octave shi t button.
M. Drum Trigger ⌂ Sets expression input as a drum trigger allowing the drum pad to play
notes which di er in settings to the base instrument.
Go to Q. Trigg Settings to set parameters.
N. Sensitivity ⌂ Press on pedal allows control o sensitivity knob on a oot pedal.
O. Channel Pressure ⌂ Midi unction known as channel pressure.
P. Key Pressure ⌂ Midi unction known as key pressure.
PRESS 'EXIT' AT ANY TIME TO GET OUT OF A SCREEN (AND AGAIN FOR PERFORMANCE MODE!).
V. Jacks 5 & 7 Function ◄ Digital Pedal 5 ►
A. Octave Up ⌂ Shi t keyboard up an octave (12 notes)
B. Octave Down ⌂ Shi t keyboard down an octave (12 notes)
C. Programme Up ⌂ Increases programme number on sound source by 1.
D. Programme Down ⌂ Decreases programme number on sound source by 1.
E. Toggle Overlay ⌂ Patch with overlay set – turn overlay o /on
F. Toggle Dampening ⌂ Patch with dampening level set – turn dampening o /on
G. Patch Up ⌂ Allows oot control o patch up.
H. Patch Down ⌂ Allows oot control o patch down.
I. Semitone Shift ⌂ Will shi t keyboard by number o semitones selected. -36 to +36
W. Advanced Settings A. to X.
Not all sound sources
will accept all CC
messages.
These are presets (MIDI control change CC
messages) to set up a sound module when you
change patch.
X. Fine Tuning (%) +50 - OFF -50
9.4 Patch Template
This is a template or copying changes to multiple patches such as transposing all your
patches to a di erent key or setting minimum velocity. It is the same list as the or patch
settings. 1. Select the item in the list you want to change using the up/down patch buttons.
2. Select your change using the le t/right octave shi t buttons. 3. Press SAVE (i you have
gone into a second screen such as or jack inputs press exit irst to get back to main patch
template screen) and ollow the instructions – select ALL to change all 200 patches or
select SELECTED and choose patches using up/down arrows and le t/right arrows ⌂. 4.
Press SAVE and then a resh template screen will appear. 5. Make another change or
EXIT into Per ormance Mode.
12

10.0 The Noise Threshold
This is the threshold at which the instrument will trigger - a sound will be heard or the blue
LED will lash. So that even the gentlest strikes produce a sound we have set the noise
threshold at 7. You may want this lower or inger playing. Or this may be too sensitive or
some players. In electrically 'noisy environments' on stage or when taking sounds rom an
'electrically noisy' laptop the instrument may pick up unwanted external in luence and the
blue LED will lash randomly. Just raise the threshold a notch or two to remedy. You can
ind this setting in Global Settings E. I you don't like the new setting repeat the process.
11.0 Different Ways of Manipulatin Your Sound Volume.
1. Turn the sensitivity knob up to increase volume (a ects the instrument Globally)
Sensitivity can also be oot pedal controlled, see Patch Settings U. N.sensitivity.
2. You could use an expression pedal – see Patch Settings U. Jack Input settings
L.CC message 7 Channel Volume (not or internal sounds). Or use a volume pedal
between sound source and ampli ication.
3. Increase dynamic sensitivity o the keyboard in a particular patch – Patch Settings –
T. Dynamic Gain – toggle ON – raise bottom key sensitivity (up to a gain o 9.9) and
top key sensitivity to match (up to a gain o 9.9). Or, to mimic a wooden barred
instrument such as Xylophone/Marimba you may want to set the top key sensitivity
to be less than the bottom key sensitivity.
4. Raise minimum volume in your patch setting – F. Min Velocity - so that your sound
makes an entrance even i you have hit too so tly (use ul in theatre/ensemble work).
5. Lower maximum volume in your patch setting G. Max Velocity - so that your sound
won't be too loud even i you have hit too hard (use ul in theatre/ensemble work).
12.0 Internal Sounds
You can access the internal sounds either through the headphone socket or through the
line out to ampli ication. There is no direct volume knob. The le t hand Jack is designed or
headphones and the right hand or line out or to ampli ication. The headphone output is
approximately twice as loud as the line out.
The ollowing sounds are accessed rom Midi Program numbers 1-128 (0-127) and Midi
Channel Numbers 1-9 and 11-16. Midi Channel 10 is reserved or a set o percussion
sounds. The numbers should re er to the numbers on the display. I this is out by one then
see 9.1 C. to change the display numbering.
Piano
1. Acoustic Grand Piano
2. Bright Acoustic Piano
3. Electric Grand Piano
4. Honkey-tonk Piano
5. Electric Piano 1
6. Electric Piano 2
7. Harpsicord
8. Clavinet
Chromatic Percussion
9. Celesta
10. Glockenspiel
11. Music Box
12. Vibraphone
13. Marimba
14. Xylophone
15. Tubular Bells
16. Dulcimer
Organ
17. Drawbar Organ
18. Percussive Organ
19. Rock Organ
20. Church Organ
21. Reed Organ
22. Accordion
23. Harmonica
24. Tango Accordion
13

Guitar
25. Acoustic Guitar (Nylon)
26. Acoustic Guitar (Steel)
27. Electric Guitar (Jazz)
28. Electric Guitar (Clean)
29. Electric Guitar (Muted)
30. Overdrive Guitar
31. Distortion Guitar
32. Guitar Harmonics
Bass
33. Acoustic Bass
34. Electric Bass (Finger)
35. Electric Bass (Pick)
36. Fretless Bass
37. Slap Bass 1
38. Slap Bass 2
39. Synth Bass 1
40. Synth Bass 2
Strings
41.Violin
42.Viola
43. Cello
44. Contrabass
45. Tremolo (Strings)
46. Pizzicato (Strings)
47. Orchestral Harp
48. Timpani
Ensemble
49. String Ensemble 1
50. String Ensemble 2
51. Synth Strings 1
52. Synth Strings 2
53. Choir Aahs
54. Voice Oohs
55. Synth Choir
56. Orchestra Hit
Brass
57. Trumpet
58. Trombone
59. Tuba
60. Muted Trumpet
61. French Horn
62. Brass Section
63. Synth Brass 1
64. Synth Brass 2
Reed
65. Soprano Sax
66. Alto Sax
67. Tenor Sax
68. Baritone Sax
69. Oboe
70. English Horn
71. Bassoon
72. Clarinet
Pipe
73. Piccolo
74. Flute
75. Recorder
76. Pan Flute
77. Blown Bottle
78. Shakuhachi
79. Whistle
80. Ocarina
Synth Lead
81. Lead 1 (Square)
82. Lead 2 (Sawtooth)
83. Lead 3 (Calliope)
84. Lead 4 (Chiff
85. Lead 5 (Charang)
86. Lead 6 (Voice)
87. Lead 7 (Fifths)
88. Lead 8 (Bass + Lead)
Synth Pad
89. Pad 1 (New age)
90. Pad 2 (Warm)
91. Pad 3 (Polysynth)
92. Pad 4 (Choir)
93. Pad 5 (Bowed)
94. Pad 6 (Metallic)
95. Pad 7 (Halo)
96. Pad 8 (Sweep)
Synth Effects
97.FX 1 (Rain)
98.FX 2 (Soundtrack
99.FX 1 (Crystal)
100.FX 1 (Atmosphere)
101. FX 5 (Brightness)
102. FX 6 (Goblins)
103. FX 1 (Echoes)
104. FX 1 (Sci-Fi)
14

Ethnic
105. Sitar
106. Banjo
107. Shamisen
108. Koto
109. Kalimba
110. Bag pipe
111. Fiddle
112. Shanai
Percussive
113. Tinkle Bell
114. Agogo
115. Steel Drums
116. Woodblock
117. Taiko Drum
118. Melodic Tom
119. Synth Drum
120. Reverse Cymbal
Sound Effects
121. Guitar Fret Noise
122. Breath Noise
123. Seashore
124. Bird Tweet
125. Telephone Ring
126. Helicopter
127. Applause
128. Gunshot
For Channel 10 and any program number the ollowing sounds are played when striking
di erent keys. The numbers here re er to the note numbers where 60 is middle C.
35 Bass Drum 36 Bass Drum 1 37 Side Stick
38 Snare Drum 1 39 Hand Clap 40 Snare Drum 2
41 Low Floor Tom 42 Closed Hi Hat 43 High Floor Tom
44 Pedal Hi-Hat 45 Low Tom 46 Open Hi-Hat
47 Low/Mid Tom 48 Hi/Mid Tom 49 Crash Cymbal 1
50 High Tom 51 Ride Cymbal 1 52 Chinese Cymbal
53 Ride Bell 54 Tambourine 55 Splash Cymbal
56 Cowbell 57 Crash Cymbal 2 58 Vibraslap
59 Ride Cymbal 2 60 Hi Bongo 61 Low Bongo
62 Mute Hi Conga 63 Open Hi Conga 64 Low Conga
65 High Timbale 66 Low Timbale 67 High Agogo
68 Low Agogo 69 Cabasa 70 Maracas
71 Short Whistle 72 Long Whistle 73 Short Guiro
74 Long Guiro 75 Claves Claves 76 Hi Wood Block
77 Low Wood Block 78 Mute Cuica 79 Open Cuica
80 Mute Triangle 81 Open Triangle
13.0 How to Replace a Key
Tools Required
‘Pozi Drive’ Screwdriver. Bit size PZ1 & re erred to as cross head and a 7mm socket or
spanner or M4 nuts.
General Notes
Replacing a Key should take less than 20 minutes i you have carried out this operation
be ore. This time can be reduced i you use a Pozi (PZ1) bit with a battery operated drill to
remove & ix screws that hold the Bottom Panels. But only use a battery operated drill i
you are pro icient with using one. I using a battery powered drill take special care by
engaging the bit properly & starting slowly with some end pressure to stop the bit slipping
but also not too hard to damage the threads. Make sure not to over tighten the screws that
hold the bottom cover and this means carrying out the inal tightening o the screws by
15

hand i necessary. I using a battery powered drill you will have to stop be ore the screws
‘bottom out’ i.e. slowing down well be ore then. You cannot rely on any torque limiter that
comes with the drill. Hand tightening means just ‘nipping up’ the screws.
Description
1/ Find a suitable area to carry out the task. You can set up on a ine carpet i the carpet is
clean (so as not to scratch the wooden bars when resting on the carpet). I the loor does
not have a suitable carpet then use cloth 120cm x 30cm (48” x 12”) minimum. Or you can
work on a table top with a table cloth.
2/ Now place the Xylosynth upside down onto the work area.
3/ Undo & remove, with the battery powered drill i you i you are able to, all cross head
screws securing the bottom panel. Make a note o the two (or 3 on a 4/5 octave) types o
screw so you can replace them correctly.
4/ Li t o bottom panel.
5/ Locate the key to be replaced. Gently pull o the white plastic housing a ter releasing
the springy plastic clip holding it in place. Now undo & remove the two nuts and crinkle
washers.
6/ To remove the Key you will need to do two operations at once. Get your hand under the
Key to be removed & work the Key out with your other hand. You may ind this operation
easier i you are able to raise the instrument onto its ront or back edge. You may need to
coax the connector housing through the hole. Take care not to pull the wires unduly.
7/ Re assembly is the opposite process but concern yoursel with the points below as well
as the general notes at the top. When putting the new Key in be care ul not to trap any
wires coming rom the Key. Compare the wire loop with keys nearby as they should all be
the same. Also you can test this be ore putting the crinkle washers & nuts by moving the
wires into & out o the hole noticing that they are ree to move. I not tease the wires so
that they become ree. Now place and tighten up the nuts so the crinkle washers grip into
the circuit board and Aluminium but do not over tighten to completely latten the crinkle
washers. Clean with tissue or cloth the two gold plated pins o the connector block to
remove any grease/oil that may have come rom your ingers prior to pushing the the key
connector housing back onto the block. The housing only its on one way. Place the
bottom cover back on and place and tighten a couple o screws in the Holes. Care ully
tighten the screws. Then turn the Xylosynth the correct way up and test the key to see i it
working properly. You can just look at the Blue LED and tap the key when the power lead
is plugged in. I OK then put the remaining screws into the bottom cover.
14.0 General Care
Make sure that the mallets you use are clean with no grit as this will scratch the sur aces.
The Birch sur aces are coated with a hard polyurethane varnish that should last or years.
The Bubinga keys can be re-varnished using Rustins Danish Oil i necessary. It is
strongly advisable not to subject the Bubinga keys to sudden changes in temperature. I
you have to leave your instrument in a large auditorium over night we strongly advise you
insulate the keys by placing a thick padded cover over them (maybe a so t bag you have
or the instrument) or putting the whole instrument into a light case. Never leave next to a
radiator. Do not store vertically or long periods unless in a lightcase. Pre erably store lat
to avoid key disturbance.
16

15.0 Physical Specifications
3 Octave
Overall Length: 1228mm (48½”)
Height: 82mm (3¼”)
Depth: 360mm (14⅛”)
Weight: 10Kg (22lb)
Keys: 37
16.0 How to Contact Us
We are a small and riendly electronic percussion company and we will help in any way we
can with any queries. You are never more than a phone call or e-mail away rom expert
advice and in our experience 99% o problems can be solved this way. I something more
urgent happens we can help you assess the problem and ind the best way orward as
quickly as possible.
Telephone: [phone]
e-mail:
URL:
[email protected]
htttp://www.wernick.net
Contact Name: Will Wernick, Julie-Ellen John
Patents: United States 5854436
UK & France (EP) 0732683
Germany 69610518
© Wernick Musical Instruments 2005 All Rights Reserved
All Specifications in this manual are subject to chan e without notification
17

MIDI Implementation Chart
Function Transmitted Remarks
Basic Channel
De ault
1-16 0-15
1 0
Set within each Patch
Mode De ault
Altered
Incremental Patch 1-200 0-199
Song List 1-25
Song link 1-25
Toggled with Song List/Song Link
Links Song Lists
Note Number De ault 0-127 Key range, C-1 to C9 C0 to C10
Set Chromatically set within each Patch
Velocity Note ON
Note OFF
1-127
0
Various means to change Individual Key
Gain Globally and Velocity Curve and Gain
within each Patch.
Sent as Note ON, Note Velocity 0
Bank De ault 1-16
0-15
Within each Patch
Pitch Bender O 8192 ~ 15000
O 0 ~ 8192
Pitch Bend Up, Expression Pedal
Pitch Bend Down, Expression Pedal
Modulation O CC1 0-127 Expression Pedal
Channel Pressure O 0-127 Expression Pedal
Key Pressure O 0-127 Expression Pedal
Incremental/Decremental Program Change O CC101, CC100, CC96 or CC97 Expression Pedal or Digital Pedal
Control Change (CC) 2
4
5
7
8
10
11
12
13
16
17
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
80
81
84
91
92
93
94
95
126
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
Breath Controller, Pedal Control
Pedal Control
Portamento, Pedal & set within Patch
Channel Volume, Pedal & set within Patch
Stereo Balance, set within Patch
Pan, Pedal & set within Patch
Expression, Pedal
E ect control 1, Pedal & set within Patch
E ect Control 2, Pedal & set within Patch
General Purpose Controller 1, Pedal
General Purpose Controller 2 Pedal
Sustain, Pedal
Portamento on/o , Pedal & set within Patch
Sostenuto, set within Patch
So t Pedal, Pedal
Legato, Pedal & set within Patch
Sustain Pedal 2, Pedal
Sound Controller 1, set within Patch
Sound Controller 2, set within Patch
Sound Controller 3, set within Patch
Sound Controller 4, set within Patch
Sound Controller 5, set within Patch
Sound Controller 6, set within Patch
Sound Controller 7, set within Patch
Sound Controller 8, set within Patch
Sound Controller 9, set within Patch
General Purpose Controller 1, Pedal
General Purpose Controller 2, Pedal
Portamento Control,Pedal & set within
Patch
E ects: Reverb, set within Patch
E ects: Tremelo, set within Patch
E ects: Chorus, set within Patch
E ects: Celeste, set within Patch
E ects: Phaser, set within Patch
Mono Mode, Pedal
18