e Music Workstation Reference Guide waa es Al’ Synthesis System KORG 0Table of Contents Table of Contents 1, Arrangement Play mode ... Functions of Arrangement Play mode . Page 1. Performance monitor. Page 2. Style select. Page 3. Track settings Page 4. Track settings 2 Page 5. Chord latch/ Variation change Page 6. Effect select oe Page7. Effect placement... Page 8. Effect 1 parameters. . Page 9. Effect 2 parameters...... Page 10. Rename arrangement, ... Page 11. Write arrangement... Button settings ; [PROGRAM BANK] buttons and [PROGRAM NUMBER] buttons. [TRACK/CHANNEL] buttons........00.00ccceceenees [TRANSPOSE] buttons ... [SPLIT POINT] button... [OCTAVE] buttons........... [TAP TEMPO/NO] button . [REC] button . [INTERACTIVI 2. Backing Sequence mode ... Functions in Backing Sequence mode. Page 1. Playback/realtime recording .. Realtime recording 5 Page 2. Step recording. Step recording on the keyboard track Step recording on the control track . Step recording on the chord track .... Page 3. Erase backing sequence. Page’. Copy backing sequence... Page 5. Edit 1.. ve 5-1. Delete measure... 5-2. Insert measure. . 5:3, Erase measure. Page 6. Edit 2. 1. Copy measure. 6-2. Bounce track .. 63. Quantize. . Page 7. Shift note Page 8. Eventedit. Page 9. Extra track settings 1 Page 10. Extra track settings 2 . Page 11. Effect select . Page 12. Effect placement . Page 13. Effect 1 parameters. Page 14. Effect 2 parameters.....- Page 15. Next backing sequence . Page 16. Rename backing sequence Page 17. SMF converter. Button settings .. : [TRACK/CHANNEL] buttons. [TRANSPOSE] buttons ...... ISPLIT POINT] button. [OCTAVE] buttons.......Table of Contents [TAP TEMPO/NO] button............2. PepoEneeoee een 44 [INTERACTIVE COMP. button .. 3. Program mode... Functions of Program mode. Page 1. Program play . Performance Edit . Page2. Oscillator basic/Oxcillator 2 relative, . Page 3. Oscillator tone. : Page4. Pitch EG. Page5. VDF . Page 6. VDFEG . Page 7. VDF keyboard tracking Page 8. VDF velocity sensitivity .. Page9. VDAEG..... Page 10. VDA keyboard tracking Page 11. VDF velocity sensitivity . Page 12. Pitch MG .. Page 13. Pitch MG controller Page 14. VDF MG........ Page 15. VDF MG controller/VDA level, Page 16. Controllers. ...... - Page 17. Effect select ...... Page'l8. Effect placement. . Page 19. Effect 1 parameters, Page 20. Effect 2 parameters. Page 21. Rename program . Page 22, Write program ... Button settings [VARIATION] buttons ta and I. [REC] button. ae [KBD LOCK] button. Song Play mode. Functions of Song Play mode. . Page 1. Performance monitor. Page 2. Channel settings. Page 3. Transpose position. . Page 4. Effect select . Page 5. Bifect placement. Page 6. Effect 1 parameters. Page 7. Effect 2 parameters. Button settings .... ITRACK/CHANNEL| buttons [TRANSPOSE] buttons . [OCTAVE] buttons. . 5. Song Edit mode . Page 1. Load . Page2. Play & realtime recording. Realtime recording Page3. Track parameters Page 4. Event edit. Page 5. Shift note Page 6. Erase song. Page 7. Edit 1 7-1. Delete measure 7-2. Insert measures. . 7-3. Erase measures Page 8. Effect select... > RRRRELSTable of Contents Page9. Effect placement ......... ence ee Page 10. Effect 1 parameters. . 99 age LL. Effect 2 parameters. 99 Page 12. Save. peteeonoscocucscoocooucuoced Button settings Dieeeeeteee see OL [TRACK/CHANNEL| buttons. 101 Effects Eifect type .. Dynamic modulation... Shelving equalizer Settings for each effect. Disk/Global mode. Beeeee ‘i eee eee 12y, Functions in Disk/Global mode ... - cece 9 Data stoted on disk........0.2005 129 Page 1. DISK parameters 130 TL. Loads... 130 1-11. Load all... 131 1-12. Load one 132 1-2. SAVE. cece cteeeeereeteeees eono00c080 +133 13. Utility... fierce DBM Page 2. Master tuning/‘Transpose position .. 135 Page 3. MIDI local control/MIDI clock source /Host baud rate 136 Page 4, MIDI channel settings 1.........e00r2000+ +137 Page 5. MIDI channel settings 2. 138 Page 6. MIDI filter ..... 138 Page 7. Assignable pedal settings - : 139 Page 8. ECS external controller settings ........0.0ccceecseteeeeeseeeree 42 Page 9. Damper switch polatity........60e00cccc000 oe 142 Page 10. Sound hold/Velocity curve : cee M3 Page 11. Main scale select ce cere lS, Page 12. Sub scale select wo voces vere lS, Page 13. User scale settings . ci teeestetetetetennee 146 Page 14. MIDI data dump. .......000000000rcceeee co 147 Page 15. Joystick settings ........ 148 Page 16. Calibration... 5 149 16-1. Joystick (X) calibration. . 149 16-2. Joystick (Y) calibration. a9 16-3. Aftertouch calibration 150 164. Assignable pedal /switch calibration. 150 Appendices. 151 Messages 02... cectteteeetees 151 Troubleshooting. 2 155 General problems vette ee eee eee SS Floppy disk related problems..........0..00ccccceseseeesereeeeee es 56 MIDI note number list : vee eteetttetteeseeee 157 List of detected chords. 0.20.0... 6cccceeetereees oe 158 Drum Map Tables .......0sc00ccceeeseeseesseeseetsreseeaes 160 MIDI Implementation Chart.......... : - ceccees 62 MIDI Data Format ... ceecsseseveterseessseteeteeeesetersaeesess +163Arrangement Play mode 1. Arrangement Play mode Functions of Arrangement Play mode ‘The following table lists the functions of Arrangement Play mode, showing the title and ‘main contents of each display page. owaiy pace | contents 1. Performance monitor Select arrangements, display tempo and chord 2, Style select Select styles 3. Track setings 1 Select a program, set pan and sand level ees Damper pedal sings, vk statis, wap ound pont | exp g 5. Chord lachWariaton change | Chor atch, variation change =R7 6. Etect select Elec type fect ono eRe 7. Effect placement Elec placement, CD pan, UA levels for effects 172 Pe 8. Efect 1 paramotors Parameter setings for efect 1 ==P.10 8 Efect2 parameters __| Parameter stings for effact2 =P.10 10. Rename arrangement | Moly the arangoment name Pt 11. Write arrangomont ‘Store an arrangement into the user bank orp 121. Arrangement Play mode Page 1. Performance monitor When you press the [ARR. PLAY] button you will enter Arrangement Play mode. In this page you can select the arrangement that you wish to play, and adjust the tempo. ‘This page also displays the chord that is produced when you play the keyboard. ‘rangement ARREALL J=120 Tempo ARR (Arrangement) [A11...A88, B11...B88, U11...U88] Use the [ARRANGEMENT BANK] buttons and [ARRANGEMENT NUMBER] but- tons to select an arrangement. The display will show the bank, number, and arrange- ‘ment name. Ifyou select a new arrangement while you play, the new arrangement will start playing from the beginning of the next measure, and the tempo setting will change accordingly. Ifyou do not want the tempo to change when you switch arrangements, press the [KBD LOCK] button. In this case, the transpose setting, the keyboard sound, and the effect set- ‘tings will also be locked. ‘Arrangements can also be selected using a separately sold foot switch or the pedal on an ECS external controller. For details refer to Disk /Global mode “Page 7. Assignable pedal settings” or “Page 8. ECS external controller settings.” J = {lempo} (40...240] Use the TEMPO/VALUE [UP/+] and [DOWN/-] buttons to adjust the playback tempo of the arrangement within the range of |=40-240. When you press the [START/STOP] button the selected arrangement will playback at the specified tempo. If the Disk/Global mode Clock Source parameter is set to MIDI or HOST as the synchro- nization clock, the tempo of the arrangement will be controlled by MIDI Clock messages from an external sequencer or personal computer connected to the iX300. In this case, the screen will display EXT in the location where the tempo would otherwise be dis- played, and it will not be possible to adjust the tempo using the [TEMPO/VALUE] but- tons or the [TAP TEMPO] button. If you wish to adjust the tempo, adjust the tempo of the external sequencer that is connected. Chord name display chord name cepay When you play the keyboard, the chord name will be automatically detected and dis- played in the LCD. When a chord is detected while an arrangement is being played, the arrangement will change to fit that chord. In order for chords to be detected, press the [CHORD SCANNING] button, and select either LOWER, UPPER or FULL to specify the area in which chords will be detected. If you select LOWER and play the keyboard area below the split point, even single notes will be detected as chords, and the arrangement will play accordingly. Ifyou select UPPER and play the keyboard area above the split point, three or moreArrangement Play mode notes pressed together will be detected as chords, and the arrangement will play accord- ingly. If you select FULL and play three or more notes together in any area of the keyboard, a chord will be detected, and the arrangement will play accordingly. ‘To set the split point, hold down the [SPLIT POINT] button and press the key that you wish to set as the split point. [CHORD SCANNING] setting | Keys below the spilt point | Keys above the split point LOWER Single notes oF more = UPPER = Chords of 3 or more nates FULL Chords of. oF more notes Chords of 3 oF more nots If you select a different arrangement while an arrangement is playing, the new arrange- ment will maintain the last-played chord. To cancel the chord that was detected, stop the arrangement and press the [RESET /YES] button. You can also cancel the chord by stop- ping the arrangement and selecting a different arrangement. For details on the chords that can be detected, refer to the list of chords in “8. Appendi ces,” (&Page 151 in this manual). Page 2. Style select All 8 be STY (Style) [A11...A88, B11...B58, U1...U4] Use the [ARRANGEMENT BANK] buttons and the [ARRANGEMENT NUMBER] but- tons to select the Style to be used by the Arrangement. U1-Ud are User Styles. If styles created on the il /i2/i3 are loaded, they can be selected by Ul-U4, If you select a different style while an arrangement is not playing, the backing track set- tings of the arrangement will change to the program, volume, pan, and tempo settings associated with the selected style, At the same time, the BASS track and ACCI-ACC3 tracks will be given octave settings of 0, and the wrap around point will be changed to ORG. For details on octave settings and wrap around point settings, refer to “Page 4. ‘Track settings 2.” If you select a different style while an arrangement is playing, the backing track settings (sounds etc.) will not change, but the arrangement playback pattern will be significantly modified by the selected style. At this time, if the [KBD LOCK] button has been pressed and the LED is lit, the tempo setting will not be changed. If the LED is off, the setting, will change to the default value. To create an original arrangement, select a style that is close to what you have in mind, then change the program, volume, pan, and tempo as desired, make effect settings, and write your new arrangement into the User bank. Styles can also be changed using a footswitch or the pedals of an ECS external controller. To do so, refer to Disk/Global mode “Page 7. Assignable pedal settings” and “Page 8, ECS external controller settings.”1. Arrangement Play mode Page 3. Track settings 1 In this page you can specify the program (sound), pan (stereo location), and the volume levels (send levels) to the two effects for each of the eight tracks in the arrangement. ‘Track Program Pan Send ves Track [DRUM, PERC, BASS, ACC1...ACC3, KB1, KB2] Use the [TRACK /CHANNEL] buttons to select the track whose program, pan, or send level you wish to modify. ‘When you press the [DRUM] button the drum track will appear, and when you press the [PERC] button the percussion track will appear. When you press the [BASS] button the bass track will appear, and when you press one of the [ACCI]-[ACC3] buttons the corre- sponding accompaniment track will appear. ‘When you press the [KBD1] or [KBD2] button, the corresponding keyboard track will appear. fetectestett ta 0 QO 4 The arrangement will play with the track settings that are displayed when you press the [DRUM}-[ACC3] buttons. When you play the keyboard, the sound will be according to the settings of the keyboard tracks. When a track is displayed, you can press the upper (&.) ot lower (¥) [TRACK/CHAN- NEL] button to adjust the volume. Pressing both the upper (4) and lower (¥) buttons simultaneously allows you to mute the track. Program [A11...U88, Dr11 Select the program (sound) that each track will play. To change the current program, use the [PROGRAM BANK] buttons and [PROGRAM NUMBER] buttons to select the desired program. To select a drum program (Dri1-44), press the [PROGRAM BANK] button [USER/ DRUM] several times so that the Dr display appears, and then press a [PROGRAM NUMBER] button to select a drum program. Pan [OFF, L15...L01, CENT, ROT...R15, PROG] Set the stereo location of each track. This will determine the channel A and B level. CENT will place the track in the center, L values will place it toward the left, and R val- ues will place it toward the right. As the values increase, the sound will be further away. from the center toward the left or right. A setting of OFF will turn off the track output to channels A and B. ‘Asetting of PROG will cause the pan setting specified by each program to be used. :/D= (Send levels) [0...9, P] For each track, set the level that is sent from channels C or D to the effect system. Dr44] With a setting of P, the effect send levels specified by each program will be used. For each arrangement, the effect system can use one of four output routings (Serial, Par- allel 1, Parallel 2, Parallel 3), which will determine the placement of the two stereo effect1. Arrangement Play mode processors and how the output signals will be routed. For details on the output routing, refer to “Page 7. Effect placement” (@Page 9 in this manual). Page 4. Track settings 2 For each track in the arrangement, this page lets you set damper pedal operation and set the keyboard range (octave, wrap around etc.) Track Peon Tak Pogan ry i KBLt AGS JazzGuitar ACCIIASS B Damrers DIS: Oe 1 BOTH Wr # 4 Oet=+1 ater awe Trt ss odeve Wrap sound Track [DRUM, PERC, BASS, ACC1...ACC3, KBI, KB2] Use the [TRACK/CHANNEL] buttons to select the track whose program, pan, or send level you wish to modify. ‘When you press the [DRUM] button the drum track will appear, and when you press the {PERC] button the percussion track will appear. When you press the [BASS] button the bass track will appear, and when you press one of the [ACC1}-{ACC3] buttons the corre- sponding accompaniment track will appear. When you press the [KBD1] or [KBD2] button, the corresponding keyboard track will appear. When you play the keyboard, the sound will be according to the settings of the Keyboard tracks. The arrangement will play with the track settings that are displayed when you press the [DRUM}-[ACC3} buttons. When a track is displayed, you can press the upper (dt) or lower (¥) [TRACK /CHAN- NEL] button to adjust the volume, Pressing both the upper (a) and lower (¥) buttons simultaneously allows you to mute the track. Program (AN. Select the program (sound) that each track will play. To change the current program, press the [TRACK/CHANNEL]] button for the track that you wish to modify to access that track in the LCD, and then use the [PROGRAM BANK] buttons and [PROGRAM NUMBER] buttons to select the desired program. To select a drum program (Dr11-44), press the [PROGRAM BANK] button [USER/ DRUM] several times so that the Dr display appears, and then press a [PROGRAM NUMBER] button to select a drum program. Damper DIS, ENA] This enables or disables the damper effect for the keyboard. This setting will be available if you have selected the KB1 or KB2 track. With a setting of ENA (Enable), the damper pedal will function. With a setting of DIS (Disable), the damper pedal will not function. For example if the [KEYBOARD ASSIGN] key has been pressed to make the LAYER, indicator light, and you are playing an organ and a piano program, you can disable the 51. Arrangement Play mode damper only for the organ, so that the damper will apply only to the piano. ‘Also, if you wish to use the damper switch to control the Chord Latch function of “Page 5. Chord latch/ Variation change,” you can select DIS to disable the damper function so that the sound will not be held (sustained) while the chord is latched. Oct (Octave) [-2...0...+2] This raises or lowers the pitch of the currently selected track in I-octave steps over a maximum of 2 octaves. With a setting of 0 the program will play at its normal pitch. However it is not possible to set the octave for the DRUM or PERC tracks. By simultaneously pressing the TEMPO/VALUE [UP/+] and [DOWN/-] buttons, you can return to the value that this parameter had when the cursor was moved to it. ‘There are other ways to change the octave. You can change the octave of a track by press- ing its [TRACK/CHANNEL] button. Also, you can press the [OCTAVE] button to set the octave of the KBD1 track. Track status [OFF, INT, EXT, BOTH] When an arrangement is playing, this setting specifies whether the musical data from the corresponding track will be played internally or transmitted to an external MIDI tone generator. This setting is available when the DRUMS, PERC, BASS, or ACC1-ACC3 tracks are selected. Tracks with a setting of OFF will not play. ‘Tracks with a setting of INT will be played only on the internal tone generator. Nor mally you will use the INT setting. In this case, musical data will not be transmitted from the MIDI OUT or TO HOST connectors. ‘Tracks with a setting of EXT will not be played by the internal tone generator, but their ‘musical data will be transmitted from MIDI OUT or TO HOST to an extemal device. ‘Tracks with a setting of BOTH will be played on the internal tone generator, and their ‘musical data will also be transmitted from MIDI OUT and TO HOST. Wrap (Wrap-around point) [ORG 1...12] Depending on the chord progression, the keyboard area in which the track is playing ‘may appear to be an octave higher than it should be, producing an unnatural feeling. If you set this wrap-around point, any specified chords whose root falls above this point will be “wrapped around” to the octave below. This will prevent the track from sound- ing in an unnaturally high register. ‘This setting is available when the BASS or ACC1-3 tracks are selected. ‘The wrap-around point can be set for each track in semitone steps up to a maximum of 12 steps, relative to the chord root. This value will be the interval between the key speci- fied by the chord variation of the style. However if you set the same wrap-around point for all the backing tracks, all the backing tracks will wrap-around to a lower octave at the same moment during play, also producing an unnatural fecling. You can ensure that the playback feels natural by muting other tracks, playing the chord progression of the song, and setting the wrap-around point individually for each track. ‘Tracks with a setting of ORG will use the wrap-around point specified for the currently- playing style,1. Arrangement Play mode Page 5. Chord latch/Variation change rove ate Chord Latel Fijlitorr Chord Latch ION, OFF] ‘This tums the chord latch function on/off. Chord latch is a function that prevents the chord from changing even when you change your keyboard fingering, as long as the damper pedal remains pressed. If you are using the chord latch function and do not want the damper pedal to function, set the "Page 4. Track settings 2” Damper setting to DIS. Fill 1/Fill 2 [OFF, ->1...34, 1&2...3&4, UP, DOWN] When you press the [VARIATION] button [1}-{4], the arrangement will be played with its corresponding variation. If you press the [FILL] button [1] or [2] during arrangement play, a fill-in will be inserted. This setting specifies how a variation will be selected after the fill-in ends. Fill 1 specifies how a variation will be selected after the Fill [1] button is pressed to play fill-in 1, and Fill 2 specifies how a variation will be selected after the Fill [2] button is pressed to play fill-in 2 With a setting of OFF, the same variation as before will continue to play when the fill-in ends. Settings of 1 - 4 will cause the specified variation to always be played. For example, if Fill 1 has been set to +2, pressing the FILL (1] button during arrangement play will cause fill-in 1 to always be followed by variation 2, regardless of the variation that was playing before the fill-in. Settings of 182-364 will cause two variations to alternate. For example if you specify 2&3 for Fill 1, pressing the FILL [1] button during playback of an arrangement that is set to variation 2 will cause fill-in 1 to be followed by variation 3. The next time you press the FILL [1] button, the fill-in will be followed by variation 2, and so on. ‘However in this example, if the FILL [1] button is pressed during playback of an. arrangement that is set to variation 1 or 4, the variation will not change. With settings of UP or DOWN, the variation after each fill-in will step upward or down- ward each time the [FILL] button is pressed. For example if Fill 1 is set to UP, and you press the FILL [1] button during playback of variation 1, variation 2 will be selected fol- lowing the fill-in. The next time the FILL [1] button is pressed, the selected variation will alternate as 2934-3132...1. Arrangement Play mode a A A eT Page 6. Effect select Here you can select effects, allowing you to add a professional finish to your sound. Etec ype Etect QNOFF @1tHall 242 Sumehonic En: fect? yp0 Ettect ONOFF ‘The iX300's two digital effect processors can be used to apply effects to the arrangement. The two digital processors allow two different effects to be applied simultaneously, to modify the sound of the programs played by the arrangement, and greatly enhance the musical expression. Effect type [00: No Effect...47: Delay/Rotary] ‘The effect type can be selected independently for Effect 1 and Effect 2. For details on each effect type, refer to “6. Effects” (#Page 103 in this manual). Effect ON/OFF [OFF, ON] This switches each effect on off. ‘The selected effect can also be switched on/off using an optional footswitch, foot pedal, or ECS external controller. For details refer to Disk/Global mode “Page 7. Assignable pedal settings” and “Page 8. EC5 external controller settings.”1. Arrangement Play mode Page 7. Effect placement Here you can specify how the two effect processors applied to the arrangement will be combined (including the pan and level settings for channels C and D). Placement Placement: 1L=2 1R=3 cPan Pan tect latiovel | ct 2 ett ovet fect ghtovel oct 2rghtiovel Placement (SERIAL, PARALLEL 1, PARALLEL 2, PARALLEL 3) Specify the placement of the two effects and of the C/D pan and L/R level adjustments of channels C and D. Pan and send levels to the effects are set independently for each track in “Page 3. Track settings 1.” With a setting of SERIAL, effects 1 and 2 will apply to channels A and B. Since the sig- nals from channels C and D will be mixed in at the locations specified by C Pan and D Pan after effect 1, only effect 2 will be applied to them. ar Hob ena [TT cea Arrangement Send_}C—»{C Pan gl/MONO Send_}O—>[ Pan With a setting of PARALLEL 1, effect 1 will apply to channels A and B, and effect 2 will apply to channels C and D. After effect 2, the C Pan and D Pan parameters will set the panning, Finally, the signals from the two effects will be mixed. ono pL AB eects afi ‘Arrangement |-tyfSend_}c: p>tcran a Eee Ls[Sena_}o. ~ Loren With a setting of PARALLEL 2, effect 2 will apply to channels C and D, and after effect 2 the C Pan and D Pan parameters will set the panning, Then the signal will be mixed with channels A and B and sent through effect 1. MONO Yoo ig 4 p> | Effect Arrangement >[ “Send byl Lc Pan |F. "Lefora Lo[ send}:1. Arrangement Play mode 10 With a setting of PARALLEL 3, effect 1 will be applied to channel C, and effect 2 will be applied to channel D. The left/right levels of effect 1 and 2 are specified, and their sig- nals are then mixed with channels A and B. These are the effect send /return settings which mix the dry (unprocessed) sound with the wet (processed) sound. Pan }4 Fa peng HoEsare fan] =H] eee | >it C(C Pan) [OFF, R, 99:01...01:99, L] This sets the panning of the signal from channel C. This setting will appear if a Placement of SERIAL, PARALLEL 1, or PARALLEL 2 is selected. L places the signal at the left. R places the signal at the right. OFF turns off the channel C signal. D (D Pan) {OFF, R, 99:01...01:99, This sets the panning of the signal from channel D. This setting will appear if a Placement of SERIAL, PARALLEL 1, or PARALLEL 2 is selected, L places the signal at the left. R places the signal at the right. OFF turns off the channel D signal. TL/1R (Effect 1 Left/Right Level) [0...9] This sets the level of the signal from effect 1 that is mixed with channels A and B. This setting will appear if a Placement of PARALLEL 3 is selected. As this value is increased, the level of the signal mixed with channels A and B will increase, With a setting of Othe signal will be off. 21/2R (Effect 2 Left/Right Level) (0...9] This sets the level of the signal from effect 2 that is mixed with channels A and B. This setting will appear if a Placement of PARALLEL 3 is selected. ‘As this value is increased, the level of the signal mixed with channels A and B will increase. With a setting of 0 the signal will be off. Page 8. Effect 1 parameters Page 9. Effect 2 parameters Pages 8 and 9 contain parameter settings for the effects that were selected in “Page 6. Effect select,” and allow you to make the effect settings that will be used by the arrange ment. The settings for effects used in other modes are set in the respective mode. The effect parameters that can be set in these pages will depend on the effects that are selected. For details on effect parameters, refer to “6. Effects” (Page 103 in this man- val).Page 10. Rename arrangement Here you can modify the title of the arrangement that is being edited. title of up to 10 characters can be assigned to the arrangement. CCurfert__ Use the cursorto spect the charaetr lation arrangement ‘The following characters can be used. ABCDEF GH I JKLMNOPGRS TUUMUKYZ abedef ShiJk lmnorarstuvunciz Bi 234567 FROLIC pe Use the [CURSOR] keys to move the cursor to the location of the character you wish to ‘modify, and use the [TEMPO/VALUE] buttons to modify the character. Pressing the [SUSTAIN/INS] button will copy the character at the cursor, allowing a character to be inserted at that location. Pressing the [SPLIT POINT/DEL] button will delete the character at the cursor location. "1. Arrangement Play mode Page 11. Write arrangement This operation stores an arrangement whose settings you have modified into the user bank From other pages, you can press the [REC] button to enter this page. When an arrangement is written, the settings of the [CHORD SCANNING] button and [KEYBOARD ASSIGN] button (of the panel buttons which are used by an arrangement) will also be written in addition to the settings that were made in this mode. @ Use the [TEMPO/VALUE] buttons to select the arrangement number that will be the destination. Itis not possible to use the [ARRANGEMENT BANK] and [ARRANGEMENT NUM- BER] buttons to input the arrangement number. @ The title of the arrangement currently existing in the number specified in step (D will be displayed. Make sure that it is OK to erase (overwrite) that arrangement. & Once you perform the Write operation, the erased arrangement cannot be recovered. @ Ifyou are sure you wish to Write the data, press the [RESET/YES] button, 121, Arrangement Play mode Button settings In addition to the parameters that are displayed in the various pages, the iX300 has a variety of parameters that are accessed by pressing buttons. [PROGRAM BANK] buttons and [PROGRAM NUM- BER] buttons Each arrangement has two keyboard timbres, KBD 1 and KBD 2. When you play the keyboard, itis the programs of these timbres that you are hearing. These timbre pro- grams (sounds) can be selected using the [PROGRAM BANK] and [PROGRAM NUM- BER] buttons. However, the program for KBD2 can be selected only if [KEYBOARD ASSIGN] has selected LAYER or SPLIT. Dane)a reer Contents ROWRAM A 64 | euprograms ROM 8 4 | GM programs ROM c 64 | ixa00 preset programs ROM o 64 _|ixa00 preset programs ROM E 64 | ix200 preset programs ROM USER 64 | User programs RAM DRUM 28 | Drum programs ROM (26/RAM (2) © The program assigned to KB1 If the [KEYBOARD ASSIGN] button has selected SINGLE or LAYER, this program will sound no matter which area of the keyboard you play. If the [KEYBOARD ASSIGN] button has selected SPLIT, this program will sound when you play the keyboard area above (and including) the split point. '* The program assigned to KB2 If the [KEYBOARD ASSIGN] button has selected LAYER, this program will sound no ‘matter which area of the keyboard you play. If the [KEYBOARD ASSIGN] button has selected SPLIT, this program will sound when you play the keyboard area below the split point. [TRACK/CHANNEL] buttons For each track DRUMS, PERC, ACC1-3, KBD1 and KBD2, these buttons are used to adjust the volume of the sound program and to mute (silence) the track. When you press one of the [TRACK/CHANNEL] buttons for a track, the settings of that track will be displayed, Hie ees Se After setting the parameter, press the [EXIT] button to return to the previous display. Alternatively, the previous display will reappear automatically if approximately 7 sec- onds pass without any operation being performed. (a: 131. Arrangement Play mode 14 ‘rack Progam KBLE AGS JazzGui Volum UPPER Volume Activity Mute) Octave Bar graph While the track settings are displayed, you can use the [PROGRAM BANK] and [PRO- GRAM NUMBER] keys to select the program for that track. & lf the [KEYBOARD ASSIGN] button is set to either SINGLE or M-DRUM, the pro- gram and volume of the KBD1 track will be displayed even if you press the [TRACK/CHANNEL] buttons to select the KBD2 track. Volume [000...127] Each time you press the upper () [TRACK/CHANNEL] button, the volume 0 will increase by one step. If you continue pressing the button, the volume will continue increasing. Each time you press the lower (¥) [TRACK/CHANNEL] buton the volume) will decrease by one step. If you continue pressing the button, the volume will continue decreasing, ‘The volume will be displayed as a numeric value and as a bar graph at the right of the value ‘The track volume that you specify here will be the volume when the Volume parameter of the backing sequence is set to 127. Activity [- - ~~, (UPPER/LOWER/PLAY]] ‘When both the upper (A) and lower (¥) [TRACK /CHANNEL] buttons of a track are pressed simultaneously, that track will alternate between muted (silent) and un-muted (normal). Muted status is indicated by a display of ----. When a track is not muted, the display will indicate PLAY (however for the KBD1 track and KBD 2 tracks, the display will be UPPER or LOWER, respectively). [TRANSPOSE] buttons If you need to transpose the music, press the TRANSPOSE [+1] or [-1] buttons to access the transpose setting. Spit point ‘Transpose UPPER ‘The pitch can be transposed in semitone steps over a range of 11 steps upward or down- ward. When transpose is modified, not only the sounds played by the keyboard, but also the arrangement track and the chord detection function will be transposed as well. Simultaneously pressing [+1] and [-1] will reset the setting to 0. ‘After setting the parameter, press the [EXIT] button to return to the previous display. Alternatively, the previous display will reappear automatically if approximately 7 sec- onds pass without any operation being performed.1. Arrangement Play mode [SPLIT POINT] button ‘When the [SPLIT POINT] button is pressed, the current split point will be displayed. ‘The split point and all keys above it are referred to as the UPPER keyboard range, and keys below the split point as the LOWER keyboard range. To set the split point, hold down the [SPLIT POINT] button and press the key that you wish to be the new split point. The split point setting is an important factor in how chords you play are detected. For details refer to the explanation of chord name display in “Page 1. Performance monitor” (s=Page 2 in this manual). The area of the keyboard that is muted will also be deter- mined by this split point setting. When the [KEYBOARD ASSIGN] button has pressed to make the SPLIT indicator light, the area above (and including) the split point will be the KBD1 track and the area below the split point will be the KBD2 track, and you can specify the sound (keyboard timbre), volume, and mute settings etc. for each of these tracks. After setting the parameter, press the [EXIT] button to return to the previous display. Alternatively, the previous display will reappear automatically if approximately 7 sec- onds pass without any operation being performed. [OCTAVE] buttons Regardless of the page that is displayed, you can press the OCTAVE [UP] or [DOWN] buttons to set the octave of the KBDI track. To set the octave of the KBD2 track, use the ITRACK/CHANNEL] buttons to display the KBD2 track, and then press the [OCTAVE] buttons, The pitch of each track can be adjusted in steps of an octave, for a maximum of 2 octaves up or down. When both [UP] and [DOWN] are pressed simultaneously, the setting will be reset to 0 After setting the parameter, press the [EXIT] button to return to the previous display. Alternatively, the previous display will reappear automatically if approximately 7 sec- onds pass without any operation being performed. [TAP TEMPO/NO] button When adjusting the tempo in “Page 1. Performance monitor,” you can also set the tempo by pressing the [TAP TEMPO] button several times at the desired rhythm. [REC] button When you press the [REC] button, “Page 11. Write arrangement” will appear. 151. Arrangement Play mode 16 [INTERACTIVE COMP.] button When you press the [INTERACTIVE COMP] button, the following display will appear. Koyikey cancicate ae (Forastomate key detecion) “Type Chord olow Key [ANL, C/A, C#/A#, D/B...B/G#] Specifies the key of the song that you wish to play. The tonic of the major key is dis- played at the left of the slash (/), and the tonic of the minor key at the right of the slash. With a setting of ANL, the automatic key analysis function will operate. If you are not sure of the key, this function will automatically find the key for you. Select ANL and then press the (START/STOP] button to start the arrangement, Play the melody in time with the rhythm. Press the [START/STOP] button to stop the arrange- ment, and press the [TEMPO/ VALUE] buttons to see the keys that fit the melody you played. Major/Minor [Maj, Mm, min, mM] Specifies whether the song you wish to play is in a major or minor key. Maj (major): The chords will be mostly major. ‘Mm (major): The chords will be mostly major, with occasional minor chords added. min (minor): The chords will be mostly minor. ‘mM (minor): The chords will be mostly minor, with occasional major chords added. Type [Easy 1-2, General 1-4, Special 1-2] When the interactive composition function is used to add chords, you can specify the tendency of the chords that will be produced With a setting of Easy, the easiest and safest chords will be assigned. “2” will produce chords that are somewhat more complex than “1.” With a setting of General, conventional chords will be assigned. The selections from 1-4 will produce slightly different tendencies. Try them out, and use the one that is most suitable for your song. With a setting of Special, unique chords will be assigned. “1” and “2” will differ some- what in the way in which chord tendencies are affected by the major/minor setting. Try them out, and use the one that is most suitable for your song. Chord follow {s, FI This specifies the frequency at which the chords assigned by the interactive composition function will change. With a setting of S, chords will be assigned at the beginning of each measure, Le., one type of chord will be assigned to each measure. With a setting of F, chords will be assigned at the beginning and the middle of each mea- sure. Le,, up to two types of chord will be assigned to each measure. Normally there will be no problem with leaving this set to S, but if you are playing a tune that contains large numbers of notes at a slow tempo, you may wish to try a setting of2. Backing Sequence mode 2. Backing Sequence mode Functions in Backing Sequence mode ‘The following table shows how the iX300’s Backing Sequence mode is organized, show- ing the title, main contents, and manual page reference for each display page. wn Display page Contents poly Seta ag ie ine 1 Pinte Teemaeeee, | nu ne mode for extra tracks, start! Fes ta ea 2p mig wena Pe ra ae Temenos [erates ar «copay een [Carat sparen wr = Oa ave [Det rane wns wna [ Esta fon san em cayman [iy omar wr eeu contrite ra at wr 7 oe Sse ing ae wr ccmnea eke oi wn 8, Extra track settings 1 Erte eae P95 aac nr? | seer sn el arse Ten Ete otc tt rar 1 steps espero 6 po Uninc | er. 18 ct perwios [Parr sooo wnae TE Netcast et yet bsg eins wr 15 Farnese Gg a ats oe wea 17. SMF converter - Convert to standard MIDI file SEP 42 72. Backing Sequence mode 18 Page 1. Playback/realtime recording Here you can make initial settings for recording playback. Backing eoquenco Measure Sequenced MBBL | ‘Tempo Chordname display BSQ (Backing sequence) (0...91 Selects the backing sequence that you wish to playback or record. The name of the selected backing sequence will appear in the LCD. You may modify this name if desired. Refer to “Page 16. Rename backing sequence” (Page 41 in this man- va) To specify the arrangement used by the selected backing sequence, press the [EXIT] key while in this page 1, and use the [ARRANGEMENT BANK] and [ARRANGEMENT NUMBER] buttons. To return to the previous display, either press the [EXIT] button or wait several seconds. M (measure number} {001...999] Specifies the location (measure pointer) at which recording or playback will begin. Each track of a backing sequence can record up to 999 measures. When you press the [RESET/YES] button, this measure pointer will be reset to 001. Nor- mally when a backing sequence is played back to the end, this pointer will return to 001 automatically. J = (tempo) IREC, AUT, 40...240] REC can be selected when the [REC] button has been pressed to enter record ready mode. IF you select REC and then record, tempo changes can be recorded in realtime. AUT is used during playback. With a setting of AUT, the recorded tempo will playback. With a setting of 40-240, tempo can be manually adjusted during recording or playback. Since you can record and playback at different tempo settings, a song that is difficult to play can be recorded at a slow tempo, and then played back at the desired tempo. Chord name display ‘When a backing sequence is playing back, the recorded chords will be displayed, and the backing sequence will playback accordingly. During recording, when a chord you play is detected, the backing sequence will change as appropriate for that chord. To detect chords, press the [CHORD SCANNING] button to select either LOWER, UPPER or FULL. If you select LOWER and play the keyboard below the split point, even single notes you play will be detected as chords, and playback will follow the detected chords. I you select UPPER and play the keyboard above the split point, three or more notes that you play simultaneously will be detected as a chord, and playback will follow the detected chord, If you select FULL and play three or more notes simultaneously in any part of the key- board, playback will follow the chord that is detected.2. Backing Sequence mode ‘To change the split point, hold down the [SPLIT POINT] button and press the note that you wish to set as the new split point. [CHORD SCANNING] setting | Keys below the spit point | _ Keys above the spilt point Lowen Single notes o mare = UPPER = [Chords of 3 or more notes Fu Chords of 3 of more notes (Chords of 3 of more notes To cancel the chord that was detected, stop the backing sequence and then press the [RESET/YES] button. If you stop the backing sequence and select a different backing, sequence, the chord name will not be displayed until a chord is detected. For the chords that can be detected, refer to the list of chords that can be detected in “8, Appendices” (Page 151 in this manual). Realtime recording In page 1, pressing the [REC] button will take you to a display page in which you can specify the recording track, recording quantize, and metronome on/off ete. Here you can also specify the recording track and quantize. Set parameters as desired and press the [START/STOP] button to begin recording. Press it again to stop recording, ‘Track acivtyof keyboard tack Track acuity fcontl rack Fecording mode Stat moasure ‘Tack Track acy of chord wack Track End peasue Ar REC REC REC ETr2 AUTP MagL=GaL J=128 GtHI MIOFF 121 GH MEOFF Tempo Quantze Metronome Tempo Quantze Metronome Track CATr, Etr1...ETr8] Selects the track that you wish to record. With a setting of AT, realtime recording can be done on the Keyboard, Control, and Chord arrangement tracks. (When recording, you will need to set the Track Activity in addition to these settings.) Settings of ETr-ET#8 allow you to realtime record on the extra tracks. (When recording, you will need to set the Recording Mode in addition to these settings.) Similar to the keyboard tracks, extra tracks allow keyboard playing to be recorded, and are used when you need to layer musical parts in addition to the keyboard tracks. Track activity [----, REC, (KBTr/CTRL/CHRD), MUTE] This will appear if you have selected ATr as the track This allows you to specify recording, playback, or mute for the control track and chord, track. ‘A display of ---- indicates that this track contains no data. In this case, it will be possi- ble to select REC, but since there is no data, it will not be possible to playback or to select MUTE. A setting of REC lets you perform realtime recording on the track. However, since you will be able to select REC whether or not data already exists in that track, be aware that recording on track which already contains data will cause the previous data to be lost. If track activity is set to REC for the Keyboard track, your keyboard playing will be recorded. If track activity is set to REC for the Control track, selections and changes you make to arrangements, variations, fill-in, intro and ending ete. using the panel controls will be recorded, 192, Backing Sequence mode 20 If track activity is set to REC for the Chord track, chord data that was detected by the chord display function (the specified chords) will be recorded. With settings of KBTr, CTRL, or CHRD, these tracks will only playback, and recording will not take place on these tracks, Witha setting of MUTE, the data of that track will not be played back (recorded). If data already exists in a track and you do not want the track to playback during realtime recording, you can select MUTE for that track. Recording mode [OVWR, OVDB, AUTP, MANP] This will appear when ETr1-8 is selected as the track. ‘The recording mode specifies the method by which realtime recording will occur when you record on the extra tracks. There are four ways in which you can perform realtime recording on the extra tracks. First use OVWR or OVDB to record the data. Then if you wish to re-record part of the data, select AUTP or MANP to re-record the desired section. OVWR (Overwrite recording) will overwrite the newly recorded data onto the track. Any data previously existing on the track will be erased, and replaced by the newly recorded data. OVDB (Overdub recording) will add the newly recorded data to any previously existing data. AUTP (Auto punch recording) allows you to specify a Start Measure and End Measure (located at the right in the display) before you begin recording, so that only the specified area of measures will be re-recorded. MANP (Manual punch recording) lets you manually specify the area to be re-recorded. Playback the data, press the [REC] button at the beginning of the section that you wish to re-record. Recording will begin. When you reach the end of the section to be re- recorded, press the [REC] button once again, and recording will end (normal playback will resume). Instead of pressing the [REC] button, you can also use a pedal which has been assigned to PUNCH IN/OUT. When you press the pedal at the measure from which you wish to re-record, recording will begin. When you press the pedal once again, recording will end. To assign a pedal to PUNCH IN/OUT, refer to Disk/Global mode “Page 7. Assignable pedal settings” or “Page 8. EC5 external control settings.” Q [Recording quantize) ta, §... 11 This setting specifies the timing precision of the recorded notes. With a setting of HI, notes will be recorded precisely at the timing at which they were actually played. (On the iX300, the timing accuracy is 1/96th of a quarter note.) With a setting other than HI, all notes will be recorded at the nearest interval of the spec- ified timing. For example with a setting of J, all the notes you play will be recorded at the nearest quarter note timing interval. If pitch bend or other continuous controller data is recorded at a rough quantize setting, the changes will sound unnatural when the data is played back. To avoid this, record the data ata setting of HT and then use “6-3. Quantize” to adjust the timing of only the note data. M (Metronome) [OFF, ON, REC] This turns the metronome on/off. With a setting of OFE, the metronome will not sound except for the pre-count before recording, With a setting of ON, the metronome will sound during recording and playback. With a setting of REC, the metronome will sound only during recording,2, Backing Sequence mode Page 2. Step recording Here you can step-record data to the Keyboard track, Chord track, Control track, and Extra tracks. By using the Step Recording function, you can record individual steps of note data, con- trol data, or chord data. However if this recording method is used on a measure which already contains data, the previously existing data will be erased and replaced by the newly recorded data When you finish recording, press the [START/STOP] button to exit Step Recording. STEP RECORDING KBTr M@BL (REC+S“S) Recorsing wack MSasue number Recording track [KBTr, CHRD, CTRL, ETr1...£Tr8) Selects the track on which you wish to perform step recording. With a setting of KBT;, step recording will occur on the keyboard track. With a setting of CHRD, step recording will occur on the chord track, allowing you to record a backing sequence chord progression. With a setting of CTRL, step recording will occur on the control track, allowing you to record selections of arrangements used in the backing sequence, or chord variations etc. With a setting of ETRI-ETRS, step recording will occur on one of the eight extra tracks. M (measure number) [001...999] Specifies the location (measure pointer) at which recording or playback will begin. Each track of a backing sequence can record up to 999 measures. When you press the [RESET/YES] button, this measure pointer will be reset to 001 212. Backing Sequence mode 22 Step recording on the keyboard track Set the recording track to KBT;, press the [REC] button, and then press the [START/ STOP] button to get the following display. Use the [CURSOR] buttons to select the time signature, step, velocity, and gate parame- ters, and input data by using the TEMPO/VALUE [UP/+] and [DOWN/-buttons to specify the settings for each parameter. When you finish recording, press the [START/STOP] button to exit step recording. Note data Location 8 STEP CS MOGL it 4/4 d= OSE Ot Time slgnature Step Velocity Gate Note data This indicates the name of the most-recently entered note. This will appear if you have selected KBIr or Elr1-8 as the recording track. Location This indicates the current location (at which data will be entered). ‘The one-digit number at the left of the colon “:” indicates the beat within the measure. ‘The two digits at the right indicate the position within the beat, in 1/96th quarter note units. Time signature 11/4...16/16] This sets the time signature. This will be displayed if you have selected KBTr or ETr1-8 as the recording track. To modify the time signature during the song, use the “Page 8. Event edit” operation to modify the time signature parameter displayed at the bar line. Step Lord dd d/. 18 This specifies the length of the step by which you will move forward each time a note is entered. This will be displayed if you have selected KBTr or ET+1-8 as the recording track ‘The step is displayed as a note symbol. From . (whole note) to £8 (32nd note) you can also specify a . (dot: lengthen the note value by 1.5 times) or a &, (triplet: set the note length 10 2/3 of the original value) In addition to using the TEMPO/VALUE [UP/+] and [DOWN/-] buttons to set the step, you can also use the [VARIATION] buttons, [FILL] buttons, and [INTRO/END- ING] buttons to directly enter the desired note value. Velocity [002...126, KEY] ‘This specifies the force of the note. With a setting of KEY, the velocity with which the note was actually played on the key- board will be input. This will be displayed if you have selected KBTr or ET+1-8 as the recording track. Gate [001...100%] This specifies the duration that the note will sound, relative to the length of the step (ie., with a setting of 100, the gate time will be the same as the step length.) Lower values will produce crisply-played notes (staccato). Higher values will produce smoothly-played notes (tenuto),2. Backing Soqvonce mode Step recording on the control track I you set the recording track to CTRL, press the [REC] button, and then press the [START/STOP} button, the control track step recording display will appear. Use the [CURSOR] buttons and the [TEMPO/ VALUE] buttons to specify the type of event and the data values, and press the [RESET/ YES] button to input the event. ‘When you finish recording, press the [START /STOP] button to exit step recording. Input event Specifies the type of data that you wish to input into the control track. The following events can be input. Alllof these events are input at eighth-note intervals (J). If you need to specify the timing. of an event with greater precision, input the event and then use “Page 8, Event edit” to adjust the location of the event to the desired degree of precision. Event ype values ARPANGENENT™= Ui-86,Ati=08, 611-88 SMe ‘00, 611-58, UIA STY, ELEMENT (ale elamen) (OFF, VARI-VAR4, INT, INT2, ENDY, ENDA, FIL, FL2 KB ASSIGN (heyboaré asign) SINGLE, LAYER, SPLIT, DRUM CHORD SCAN (ctord scanning) OFF, LOWER, UPPER, FULL CHORD HOLD OFF, ON BASS IN. (oss version) OFF, ON TRANSPOSE Me. 1, 00, 41... 411 _ DRUM MUTE PERC MUTE [2Ass mote PLAY, MUTE ‘ACCI MUTE Acce MUTE ‘ACCS MUTE DRUM MAP" — 1-8 KB PROG (KBD! program) * ANt~A@8, B11-B88, C11-CB8, U11-UBB, D1t-Da8, E11-£88, Drit-Drad KB2 PROG (KBD? program) * KBD1 OCT. (KBDI octave) KBD2 OCT. (KBD2 octave) sae * These can also be input using the [ARRANGEMENT BANK] and {ARRANGEMENT NUMBER] buttons, and the [PROGRAM BANK] and [PROGRAM NUMBER] but tons. “* ‘These are collections of pattems which replace certain percussion instruments in the drum maps and drum programs with other percussion instrument sounds, and pro- vide a total of 8 types of patterns, for example letting you replace snare drum sounds with side stick sounds, or exchanging hi-hat cymbal sounds and ride cymbal sounds. By changing the drum map, these allow you to create variety while using the same drum programs and same style elements. For the sounds that are replaced for each drum map, refer to the drum map tables in “8. Appendices.” 232. Backing Sequence mode Step recording on the chord track Set the recording track to CHRD, press the [REC] button and then press the [START/ STOP] button to get the following display. Input data into the chord track either by entering chords directly from the keyboard, or by using the [CURSOR] buttons and the [TEMPO/ VALUE] buttons to specify the chord, tension, and bass, and then pressing the [RESET/ YES] button. When you finish recording, press the [START/STOP] button to end step recording. Measure number Location Chord Specifies the chord to be input into the chord track Tension Specifies the tension that will be added to the chord. Bass note You can specify a bass note that is independent of the chord root. Page 3. Erase backing sequence ‘This function erases all data from the currently selected backing sequence. “The backing sequence that you wish to erase ‘The number of the currently selected backing sequence will be displayed. Press the [RESET/YES] button. Page 4. Copy backing sequence ‘This function copies the entire contents of the currently selected backing sequence to a different backing sequence. COPY B.. SEGUENCE BSEOG = BSERG Copy source (he curanty Coby destration solcted backing sequence) Use the [TEMPO/ VALUE] buttons to select the copy destination of the backing sequence, and press the [RESET/YES] button. If the same backing sequence has been selected for both the copy source and copy desti- nation, the data will not be copied even if you press the [RESET/YES] button, 242. Backing Sequence mode _—— ee orn ee Page 5. Edit 1 In this page you can select one of the following three operations: delete measure (DELETE), insert measure (INSERT), erase data from measure (ERASE). Use the [CURSOR] buttons to move the cursor to the desired operation, and press the [RESET/YES] button to access the sub-page in which that operation can be executed. EDIT 1 ‘The measures that follow the deleted measures will be moved toward the beginning of the song to fil the gap. If you delete measures ftom a single track, the subsequent mea- sures that are moved will be the same time signature as other tracks. Measures whose measure number was affected by the delete measure operation may be shortened or lengthened as a result. 252. Backing Sequence mode Sl kL Ee 5-2. Insert measure This operation inserts measures into the specified location. Insert. Me: KETr MOGL Le ‘Track Measure numberat.\, Time signature ‘which measures wil "Number of measures that beinserod vibe inceted @ Use the [CURSOR] buttons to move the cursor to the track, and use the [TEMPO/ VALUE] buttons to specify the track. If you specify ALL, measures will be inserted into all tracks (chord track, control track, tempo track etc.) @ Move the cursor to specify the measure number at which the measures will be inserted, and the number of measures. You may also specify the time signature of the new mea- sures, but since other tracks will be affected if measures of a different time signature are inserted, refer to the following diagrams before you specify the time signature. @ After settings are complete, press the [RESET/YES] button. < If you insert measures of a different time signature > ‘The modified time signature will apply if tempo is set to | =AUT, Ifa different time signature is selected, the corresponding measures of all tracks will be set to this time signature, meaning that those measures will become either longer or shorter. Inserting two measures of time signature = 7/8 Before Insertion Tat [2e@ [see Tsun Tsi9 ] we (Data unchanged, ‘or Ineorton but ime signature ie mostiog) 02 (Dota is unchanged bu tine signature is moded) vo Cap ere [oom [ae [208 | If you execute the Insert operation with a setting of **/*, the new measures will have the same time signature as the corresponding measures of other tracks which already contain data. Ifother tracks are all empty, the same time signature as the next appearing measure will be used. Time signature = **/"* BeloreInserton vo (ima 2am Tam [eam] a] roe Cea ae [ew Tew Te] (ata unchanged, Alter Insertion but time signature is modiied) woo (ia [ee [sey rm [ea [oon [708 | vo: (an [2m [oe [ew TS Regardless of whether you select a different time signature or not, the measures which follow the inserted portion will be moved backward (toward the end of the song). If you insert measures into only one track, the measures which are moved backward will be given the same time signature as the corresponding measures of the other tracks. Asa result of the insertion, measures whose numbers have changed may be shortened or lengthened. 262, Backing Sequence mode 5-3. Erase measure ‘This operation erases part or all of the data from the specified measure(s). (This opera- tion erases only the data from the measures; the measures themselves will remain.) Meas. (Mv ea1s@a1 ALL Track’ Fist and last measure from Spc the type of data heh data wilbe erased” whieh willbe erased © Use the [CURSOR] buttons to move the cursor to the track, and use the [TEMPO/ VALUE] buttons to specify the track. If you specify ALL, data will be erased from all tracks (chord track, control track, tempo track etc). ® Move the cursor to specify the first and last measure numbers from which data will be erased. If you wish to erase data from only one measure, set the same number for both. Type of data Erased data ALL ‘All data NOTE ‘Allnote massages CTRL ‘All contro! change messages AFT CChannel/polyphonicaftertouch messages BEND ‘All pitch bend messages PROG ‘Al program change messages @ Arter settings are complete, press the [RESET/YES] button. < Erasing control changes > For CTRL (control change) messages such as damper switch (and also for pitch bend ‘messages), erasing the message which turns off the effect (or resets the normal pitch bend value) will mean that the effect will be “stuck” on. If this occurs, either erase the remaining messages, or use “Page 8. Event edit” (Page 30 in this manual) to correct the data 272. Backing Sequence mode 28 Page 6. Edit 2 In this page you can select one of the following three operations: copy measures (COPY), ‘combine tracks (BOUNCE), or adjust the timing of the recorded data (QUANTIZE). Use the [CURSOR] buttons to move the cursor to the operation that you wish to execute, and press the [RESET / YES] button to access the sub-page in which the selected opera~ tion can be executed. INCE) ¢ONT: Copy measure Combine racks Adjust timing of he recorded data 6-1. Copy measure This operation copies measures within a track or between tracks, Cory Mea: KETr BALs061 KB Bat copy Fstans ast Copy destination Fit measure of souree rack — measure tobe wack copy dosation copied @ Use the [CURSOR] buttons to move the cursor to the copy source, and use the [TEMPO/ VALUE] buttons to specify the track. If you specify ALL, all tracks (chord track, control track, tempo track etc.) will be affected. @ Move the cursor to the first and last measure, and specify the measures, If you wish to copy only one measure, set these to the same value @ Inthe same way, specify the copy destination track. If you have specified ALL as the copy source, the copy destination will automatically be set to ALL. @ Specify the first measure of the copy location. If you have specified CTRL (CONTROLLER) or CHORD (CHD) as the track, it will not be possible to execute the Copy Measure operation unless the copy source and destina- tion are the same, © When settings are complete, press the [RESET/ YES] button. Be aware that if data already exists in the copy destination measures, this data will be overwritten and replaced by the copied data. If tracks other than the copy destination track contain time signature data corresponding to the copy destination measures, the copied measures will have the same time signa- ture as the corresponding measures of the other tracks, ‘This may cause the copied measures to be cut short or lengthened. 6-2. Bounce track ‘This operation combines (merges) the backing sequence data of two tracks (keyboard tracks or extra tracks) into one track. The resulting track will use the program, MIDI channel, and other track settings of the merge destination track. Also, all backing sequence data that was previously in the source track will be erased. If both tracks contain pitch bend, damper pedal, or other control change data, merging this data may produce unexpected results. For this reason, you should use the “Page 5. Edit 1” 5-3, Erase Measure operation to erase all control change data from one of the2. Backing Sequence mode _—_— rw ree tracks before you merge the data, Bounce Track (Yes/No? KeTr 3 ETrt sour Mog destation wack @ Use the [CURSOR] buttons to move the cursor to the merge source track, and use the [TEMPO/VALUE] buttons to specify the track. © Move the cursor, and select the merge destination track. @ When settings are complete, press the [RESET/YES] button. 6-3. Quantize This operation quantizes the data to adjust the timing of previously-recorded data. This operation allow more flexibility than the Quantize parameter that is also found in Backing Sequence mode “Page 1. Realtime recording,” since the “6-3. Quantize” opera- tion allows you to specify the type of data and the range of measures that will be quan- tized, letting you avoid undesired effects on other measures or types of data. Quantize (Yes/No? KETr BO1S961 ALL HI Trackidbe Fistandlast Type of data Preosion (quanized measure obo ‘antes @ Use the [CURSOR] buttons to move the cursor to the track selection, and use the (TEMPO/VALUE] buttons to specify the track to be quantized. To quantize the chord track, control track, o tempo track, select CHRD, CTRL, or TEMPO respectively. ® Move the cursor, and specify the first and last of the measures that will be quantized. If you have selected a track other than the tempo track, the following types of data can bbe selected for quantization, “Type of data Data to be quantized ALL ‘At data NOTE. __ ‘All note data TRL ‘Alcontrol change messages _| AFT ‘Al channelipelyphoni aftertouch massag __ BEND ‘Allpich bend messages PROG ‘Ailprogram change messages anne ‘The precision selection is the same as for the Recording Quantize setting of “Page 1. Realtime recording”: HI, §, 4 4, 2,2s, }, 1. With a setting of HI, the data will be unaf- fected. With other settings, the recorded data will be moved to the nearest interval of the specified timing, For details refer to explanation for Recording Quantize in “Page 1. Realtime recording,” (Page 20 in this manual). @ When settings are complete, press the [RESET/ YES] button. 292, Backing Sequence mode Page 7. Shift note ‘This operation shifts the pitch of notes up or down in semitone steps. You can shift the pitches for just a specified range of notes, or for all note data. SHIFT NOTE KETr G@isea1 Sh ‘Spocty/tne rack Fst andlast measure shit amount ‘nhose pitches wil In which pitches wil be hited be ited @ Use the [CURSOR] buttons to move the cursor to the track setting, and use the [TEMPO/VALUE] buttons to specify the track whose note pitches will be shifted. You can select either the keyboard track or extra tracks. @® Move the cursor, and specify the first and last measure in which pitches will be shifted. @ Specify the amount by which the pitch will be shifted. You can shift note pitches in semi- tone steps up to a maximum of 2 octaves up or down. @ When settings are complete, press the [RESET/YES] button. Page 8. Event edit This operation allows you to edit individual events such as notes or MIDI control changes. EVENT EDIT KBTr ‘Spocty the rack o be ected @ Use the [TEMPO/VALUE] buttons to select the track to be edited. @ Press the [REC] button, and then press the [START/STOP] button. @ Use the [CURSOR] buttons to select the parameter, and use the [TEMPO/VALUE] but- tons to modify the data values. The type of events that can be used will differ depending on the track being edited. When you finish editing press the [START/STOP] button to exit the event edit opera- tion, 302. Backing Sequence mode Event editing for KBTr (keyboard track) or Elr!-8 (extra tracks) @ Bar lines Measure numberiindex number Bar tne Tmo signature ‘© Measure number/Index number The index number is a number that indicates the number of the event within the mea- sure. By modifying this number you can step through the various events in the measure. Index number 0 in each measure displays the bar line (the division between measures) and the time signature. ‘Time signature This indicates the time signature of the measure. @ End of track @ Events EVENT MBGL#O1 1114 © Location (1:00...8:95] This indicates the location within the measure. The value is displayed as the number of quarter notes and 1/96th of a quarter note steps. If this is displayed as TIE, the note has been tied from a note in the previous measure. © Event type Event type Values o..c9 Vion. ..v128 0:00...4:00 é) (Foto data (velociy) length (beasiocks) BEND ~8182..08101 2 (itch bend) (Upperiower values) AFIT 000...127 (etertoush) (valve) PROG (000...127: 000.127 3 (@r0gram change) (G109'am bank: program number) oTAL (0000..127 000..127 (control change) (contrl change number) (contol number) PAFT “4 [oA..G9 000...427 (Golyphonicatenouch) (Pte number) (valu) 312. Backing Sequence mode 2. Backing Sequence Ode “1. If connected to a note in the next measure, this will be displayed as TIE. "2. Use the [CURSOR] buttons to set the upper and lower pitch bend values. “3. 02s the drum bank, but the actual drum programs correspond as follows. 000...127 indicate the LSB of the MIDI bank change, and the MSB is 0. ‘will not transmit the program bank. The previously-specified bank will be used. “4, MIDI Polyphonic Key Pressure messages will be transmitted. (The iX300 cannot receive this message.) * You can delete the displayed event by pressing the [SPLIT POINT/DEL] button. How- ever it is not possible to delete BAR (bar line) or End of Track (the end-of-track indica- tor) * You can insert an event before the displayed event by pressing the [SUSTAIN/INS] but- ton. However this is not possible if the bar line of the first measure is displayed. Correspondence between Drum Numbers and actual Drum Programs iad Dee ia raceme 025 Dr13:Analog Kit 116 (Dré1:Bossa Kit | a ea im essai oat panes ia Seat aoe saa ia paca ats oa a Serornata ata eran ei ean ia Ponta iat aenea 109 DraeitFunkyKit | 125 Dr26:GP Kit ro oe ia pean a casimrnre | [ter astoeit2Event editing for CTRL (control track) Moasure numbedindex number Location 2. Backing Sequence mode EVENT NGGt. ARRANGEMENT T Evonttype Event type Values ‘ARRANGEMENT * 11-88, A11-88, B11-88 STYLE A1I=88, 811-58, U4 STY, ELEMENT (style element) (OFF, VARI-VARG, INT, INT2, END, END2, KB ASSIGN (keyboard assign) SINGLE, LAYER, SPLIT, DRUM CHORD SCAN (chord scanning) (OFF LOWER, UPPER, FULL ‘CHORD HOLD OFF, ON BASS INV. (bass inversion) OFF. ON TRANSPOSE: Att, 00, +1411 DRUM MUTE PERO MUTE: BASS MUTE ‘ACCT MUTE, ‘A0C2 MUTE ‘ACCS MUTE. PLAY, MUTE DRUM MAP ** 1-8 61 PROG (KBO1 program) * KB2 PROG (KBD2 program) * AI-A88, 811-888, C11-C88, UTI-UB8, 11-86, E11~£88, Ori1-Dra4 KBD! OCT. (KBD1 octave) KBD2 OCT. (KBD2 octave) 2 He * These can also be input using the [ARRANGEMENT BANK] and [ARRANGEMENT NUMBER] buttons, and the [PROGRAM BANK] and [PROGRAM NUMBER] but- tons. ‘These are collections of patterns which replace certain percussion instruments in the drum maps and drum programs with other percussion instrument sounds, and pro- vide a total of 8 types of patterns, for example letting you replace snare drum sounds with side stick sounds, or exchanging hi-hat cymbal sounds and ride cymbal sounds. By changing the drum map, these allow you to create variety while using the same drum programs and same style elements. For the sounds that are replaced for each drum map, refer to the drum map tables in “8. Appendices.”2 Backing Sequence mode 2. Backing Sequence ode Event editing for CHRD (chord track) Measure numbotingex number Locaton EVENT Magi#aL 1:63 C Mai “C choritype Tension Bass note Chord Specifies the chord that will be input into the chord track. Tension You can specify the tension that will be added to the chord. Bass note ‘You can specify a bass note that is independent of the chord root.Backing Sequence mode Page 9. Extra track settings 1 Here you can set parameters for the eight extra tracks ETr1-ET:8. In the same way as the keyboard track, transpose or detune can be applied to extra tracks as well. The MIDI channel of each extra track can also be specified here. ara rack Progam ETri All Piano ChO2 Kroset80 DT+60 MiDI channel Transpose ——Detune Extra track [Er1...ETr8] Use the [TRACK /CHANNEL] buttons to select the extra track whose settings you wish to modify. Program [A11...U88, Dr11...Dr44] Use the [PROGRAM BANK] buttons and [PROGRAM NUMBER] buttons to specify the program for the extra track. Toselect a drum program (Dr 11-44), press the PROGRAM BANK [USER/DRUM] but- ton several times to display Dr, and press a [PROGRAM NUMBER] button. Ch (MIDI channel) [01G...16] This sets the MIDI channel of each track. The track will receive MIDI data from the key- board, from MIDI IN, and from the TO HOST connector on the channel that you specify here. It is possible to set two or more tracks to the same MIDI channel. Tracks with the same MIDI channel will play in unison. (If data is received on this channel from MIDI IN or TO HOST, all programs will sound.) Alternatively, you can set two or more tracks to the same MIDI channel and place differ- ent musical data in each track. For example one track could be used to record the note data, and another track used to record control data such as volume changes and pitch bend. Xpose (Transpose) [-24...+24] ‘This transposes the track in semitone steps up to a maximum of 2 octaves. With a setting of 0, the program will sound at its normal pitch. Since each program has an upper limit to the pitches that it can produce, notes may fail to sound if you seta high transpose setting and play high notes on the keyboard 362. Backing Sequence mode 36 DT (Detune) [-50...+50] ‘This adjusts the pitch of the selected track in I-cent steps, up to a maximum of 50 cents (1/2 of a semitone). By detuning two tracks relative to each other and playing them in unison, you can create a richer sound. In order to produce this effect, set two tracks to the same channel, and record data only in one of the tracks. Set the same detune amount for both tracks (one positive, the other negative). Page 10. Extra track settings 2 In this page you can make settings for each of the 8 extra tracks to specify the program (Cound), pan (stereo location), and the volume level that will be sent to the two effect systems (send levels). era rack Program ETrit Ads JazzGuitar PantCENT C=8 De! Pan Sendtovels Extra track (Etr1...£1r8) Use the [TRACK /CHANNEL] buttons to select the extra track whose settings you wish to modify. Program [A11...U88, Dr11...Dr44] ‘Use the [PROGRAM BANK] buttons and [PROGRAM NUMBER] buttons to specify the program of the extra track. To select a drum program (Dr11-Drd), press the PROGRAM BANK [USER/DRUM] button several times to select the Dr display, and use the [PROGRAM NUMBER] but- tons. Pan [OFF, L15...L01, CENT, RO1...R15, PROG] Specifies the stereo panning location for each track. This will determine the levels of channels A and B. With a setting of CENT, that track will be placed in the center. L settings will place the sound to the left, and R settings to the right. Higher values will place the sound further to the left or right. With a setting of OFF, the track output to channels A and B will be turned off. With a setting of PROG, the pan settings specified by the program itself will be used. C=/Ds= (Send levels) [0...9, Pl These settings determine the levels at which the sound of each track will be sent from channels C and D to the effect systems. With a setting of P, the effect send levels specified by the program itself will be used.2, Backing Sequence mode Page 11. Effect select Here you can select the effects, allowing you to add a professional-sounding touch to your own backing sequence. tect 1 ype tect ONOFF tec 2 ype Ettect ONOFF ‘The iX300's two digital effect processors can be used to apply effects to the backing sequence. The two digital processors allow two different effects to be applied simulta~ neously, to modify the sound of the programs played by the backing sequence, and greatly enhance the musical expression. Effect type [00: No Effect...47: Delay/Rotary] ‘The effect type can be selected independently for Effect 1 and Effect 2. For details on each effect type, refer to “6. Effects” (Page 108 in this manual). Effect ON/OFF [OFF, ON] This switches each effect on/off. The selected effect can also be switched on/off using an optional footswitch, foot pedal, or ECS external controller. For details refer to Disk/Global mode “Page 7. Assignable pedal settings” and “Page 8. ECS external controller settings.” 372. Backing Sequence mode Page 12. Effect placement Here you can specify how the two effect processors applied to the backing sequence will be combined (including the pan and level settings for channels C and D). Piacement SERIAL nt? PARALLELS 2L=4 2R=5 Pen Pan tect tet lovel_ | tect 2 ft vel It tect 1 ightlevel_ Etec? right evel Placement (SERIAL, PARALLEL 1, PARALLEL 2, PARALLEL 3) Specifies the placement of the two effects and of the C/D pan and L/R level adjustments. of channels C and D. For each track, the pan and send levels to the effects in Arrangement Play mode are set by “Page 3. Track settings 1.” (When using extra tracks, these settings are made in Back- ing Sequence mode “Page 10. Extra track settings 2.”) With a setting of SERIAL, effects 1 and 2 will apply to channels A and B. Since the sig- nals from channels C and D will be mixed in at the locations specified by C Pan and D Pan after effect 1, only effect 2 will be applied to them. MONO Vac Pan SBT eect Backing Send_}o—>[cPan Ft. Sequence Send }O—»[D Pan _) With a setting of PARALLEL 1, effect 1 will apply to channels A and B, and effect 2 will apply to channels C and D. After effect 2, the C Pan and D Pan parameters will set the panning. Finally, the signals from the two effects will be mixed. wu pea }63F ete 35 Backing ad, Send fo __p>[oFan PA ema Ly{ Send}! ~ LPan With a setting of PARALLEL 2, effect 2 will apply to channels C and D, and after effect 2 the C Pan and D Pan parameters will set the panning. Then the signal will be mixed with channels A and B and sent through effect 1. MONO Mono >Lra_ th T rhea Be Backing fecha, Hef Send_ fe _p>{cPen Et Lal Sena J ~ Lp [oPan2. Backing Sequence mode With a setting of PARALLEL 3, effect 1 will be applied to channel C, and effect 2 will be applied to channel D. The left/right levels of effect 1 and 2 are specified, and their sig- nals are then mixed with channels A and B. These are the effect send /return settings which mix the dry (unprocessed) sound with the wet (processed) sound. Lniono Pan} iG eins, Send }o[?] tect 1 >Re Sear po-PY cme pe |_sfrtever CC Pan) [OFF, R, 99:01...01:99, L] This sets the panning of the signal from channel C. This setting will appear if a Placement of SERIAL, PARALLEL 1, or PARALLEL? is selected, L places the signal at the left. R places the signal at the right. OFF turns off the channel C signal D(D Pan) [OFF, R, 99:01...01:99, L] This sets the panning of the signal from channel D. This setting will appear if a Placement of SERIAL, PARALLEL 1, or PARALLEL 2 is selected L places the signal at the left. R places the signal at the right. OFF turns off the channel D signal. TL/1R (Effect 1 Left/Right Level) (0...9] This sets the level of the signal from effect 1 that is mixed with channels A and B. ‘This setting will appear if a Placement of PARALLEL 3 is selected. As this value is increased, the level of the signal mixed with channels A and B will increase. With a setting of 0 the signal will be off. ‘21/2R (Effect 2 Left/Right Level) [0...9] This sets the level of the signal from effect 2 that is mixed with channels A and B. This setting will appear if a Placement of PARALLEL 3 is selected. As this value is increased, the level of the signal mixed with channels A and B will increase. With a setting of 0 the signal will be off. Page 13. Effect 1 parameters Page 14. Effect 2 parameters Pages 13 and 14 contain parameter settings for the effects that were selected in “Page 11 Eifect select,” and allow you to change the effect settings that will be used by the back- ing sequence. The settings for effects used in other modes are set in the respective mode. ‘The effect parameters that can be set in these pages will depend on the effects that are selected. For details on effect parameters, refer to “6. Effects” (Page 103 in this man- ual). 392. Backing Sequence mode 40 Page 15. Next backing sequence Next [OFF, BSEQO...BSEQ9] Specifies the backing sequence that will be played when the current backing sequence has finished playing. With a setting of OFF, the backing sequence will not change when playback ends, and. playback will simply stop. Play/Stop [STOP, PLAY] Specifies whether the specified backing sequence will playback or not when the current backing sequence finishes playing, With a setting of STOP, the next backing sequence will be selected, but will not start playing. With a setting of PLAY, the next backing sequence will playback automatically. (How- ever if the Next parameter is OFF, playback will end.) This function allows two or more backing sequences to be automatically played back in succession. If the Next parameter of the final backing sequence is set to the number of the first backing sequence, and if the Play /Stop parameter is set to PLAY for all the back- ing sequences, the specified backing sequences will playback continuously. For example if you wish to create a loop that repeats backing sequences 0-9, you would set the Next parameter of backing sequence 9 to BSEQO.2. Backing Sequence mode Page 16. Rename backing sequence This allows you to modify the title of the currently-edited backing sequence. AA title of up to 10 characters can be given to a backing sequence. T ‘Curent Move te cursor to specty backing the character postion soqence ‘The following characters can be used. ABCDEFGH I JKLMNOPGRS TUUWEYE abodetsh Bis345 ? Hx OCS Ld dae _ | ae ijk lmmorarstuvuncgz: eae Use the [CURSOR] keys to move the cursor to the location of the character you wish to ‘modify, and use the [TEMPO/VALUE] buttons to modify the character. Pressing the [SUSTAIN/INS] button will copy the character at the cursor, allowing a character to be inserted at that location. Pressing the [SPLIT POINT/DEL] button will delete the character at the cursor location. a2, Backing Sequence mode Page 17. SMF converter This function converts a backing sequence into a Standard MIDI File. This allows data created on the iX300 to be loaded and played back on any device that supports Standard MIDI Files. CONVERT TO. ENC MID FB Fierame Extrson Program bank Insert a floppy disk into the disk drive, and press the [RESET/YES] button. A confirma- tion message will appear. Press the [RESET/YES] button and the data will be converted toa MIDI file ‘The displayed file name will consist of the first 8 characters of the backing sequence title. However if any lower-case letters are used in the title, these will be converted into upper-case letters, and characters other than numerals and letters will be converted to an underscore character (_). You may modify the filename as necessary. The Standard MIDI File extension (.MID) will be displayed at the right ofthe filename. When a backing sequence is converted, it will be saved as a Standard MIDI File in For- mat 0. ‘The DRUM, PERC, BASS, ACC1, ACC2 and ACC3 tracks of the i300 will be assigned the channels that were specified in Disk/ Global mode “Page 4. MIDI channel settings 1” and “Page 5. MIDI channel settings 2.” Extra tracks will be assigned the channels that were specified in Backing Sequence mode “Page 9. Extra track settings 1.” KBD1 data will be assigned the channel specified in Disk /Global mode page 4. You can. also use the MIDI channel parameter in this display page to specify the channel for the KBD2 data. However, be aware thatif this channel is set identically with the channel of a another track, it will automatically be re-assigned to an unused channel. (&& Ifa backing sequence in which the arrangement or style is switched mid-way is con- verted into a Standard MIDI File, certain sections of the playback may lag. PB (Program bank} [NUM, BANK] With a setting of NUM, bank messages will not be added to program change messages. Use this setting when backing sequence data created on the £X300 will be played back by another GM tone generator. However if programs other than bank A and B programs were used by the arrangement, keyboard timbres, or extra tracks that you used, the sounds will no longer be compati- ble. With a setting of BANK, bank messages will be added to program change messages. Use this setting when the standard MIDI file will be played back on a Korg i-series or x- series tone generator. < About Standard MIDI Files > In the past, sequence data created by electronic musical instruments was saved to disk in 1 format that was different for each manufacturer. This meant that sequence data could be played back only by the same device. “Standard MIDI File” is a format that was developed to solve this problem. Most equipment sold today is compatible with Stan- dard MIDI Files, allowing sequence data to be played back on a wide variety of equip- ment.2, Backing Sequence mode Button settings In addition to the parameters that are displayed in the various pages, the iX300 has a variety of parameters that are accessed by pressing buttons. [TRACK/CHANNEL] buttons When page 1 is displayed, these buttons can be used to adjust the volume of the sound program assigned to each of the KBD1, KBD2, ACCI-3, DRUMS, and ET1-8 tracks, and to mute (silence) the track. ‘To select a KBDI, KBD2, ACC1-3 or DRUMS track, press the corresponding [TRACK/ CHANNEL] button, and the settings of the specified track will appear. ‘To select an extra track ETI-8, press the [BACKING SEQ] button to make the LED blink, and press the appropriate [TRACK /CHANNEL ] button to see the settings of the desired track. After setting the parameter, press the [EXIT] button to return to the previous display. Alternatively, the previous display will reappear automatically if approximately 7 sec- onds pass without any operation being performed. Teck Progen Track Progam ETriiAll Piano Volume=1058 1: ASS JazzGuitar Uolume=1278 UPPER -1 Volume Actvy Mute) Octave Volume Bar graph Bar graph While a KBD1 or KBD2 keyboard track or an ET1-8 extra track is displayed, you can use the [PROGRAM BANK] and [PROGRAM NUMBER] buttons to select the program for that track. However for the ACCI-3, BASS, PERC, and DRUMS tracks, the program that was selected in Arrangement Play mode will be used. Volume [000...127] Each time you press the upper () [TRACK/CHANNEL] button for the KBD1, KBD2, ACCI-3, BASS, PERC or DRUMS track, the volume will increase by one [] step. If you continue pressing the button, the volume will continue increasing. = Each time you press the lower (¥) [TRACK/CHANNEL] button, the volume q will decrease by one step. If you continue pressing the button, the volume will continue decreasing, To adjust the volume of an extra track, press the [BACKING SEQ] button, make sure that the [BACKING SEQ] button LED is blinking, and press the corresponding upper (A) or lower (¥) [TRACK/CHANNEL] button. The volume will be displayed as a numeric value and as a bar graph at the right of the value. Activity [+ ~~~, (UPPER/LOWER/PLAY)] ‘This will appear when the DRUMS, PERC, ACC1-3, KBD1 or KBD2 track is selected. ‘When both the upper () and lower (¥) [TRACK/CHANNEL] buttons of the track are pressed simultaneously, that track will alternate between muted (silent) and un-muted (normal). ‘Muted status is indicated by a display of When a track is not muted, the display will indicate PLAY (however for the KBD1 track and KBD 2 tracks, the display will be UPPER or LOWER, respectively). 432. Backing Sequence mode [TRANSPOSE] buttons When page 1 is displayed and you need to transpose the music, press the TRANSPOSE [+1] or [-1] buttons to access the transpose setting, Split pint ‘ranspose SPLITEC4 ‘The pitch can be transposed in semitone steps over a range of 11 steps upward or down- ward. When transpose is modified, not only the sounds played by the keyboard, but also the arrangement track and the chord detection function will be transposed as well. Simultaneously pressing [+1] and [-1] will reset the setting to 0. ‘After setting the parameter, press the [EXIT] button to return to the previous display. Alternatively, the previous display will reappear automatically if approximately 7 sec- onds pass without any operation being performed. [SPLIT POINT] button When page 1 is displayed, pressing the [SPLIT POINT] button will display the current split point. The split point and all keys above it are referred to as the UPPER keyboard range, and keys below the split point as the LOWER keyboard range. ‘To set the split point, hold down the [SPLIT POINT] button and press the key that you wish to be the new split point. ‘The split point setting is an important factor in how chords you play are detected. For details refer to the explanation of chord name display in “Page 1. Realtime recording” (Page 18 in this manual). The area of the keyboard that is muted will also be deter- ‘mined by this split point setting, ‘When the [KEYBOARD ASSIGN] button has been pressed to make the SPLIT indicator light, the area above (and including) the split point will be the KBD1 track and the area below the split point will be the KBD2 track, and you can specify the sound (keyboard timbre), volume, and mute settings etc. for each of these tracks. ‘After setting the parameter, press the [EXIT] button to return to the previous display. Alternatively, the previous display will reappear automatically if approximately 7 sec- ‘onds pass without any operation being performed. [OCTAVE] buttons When page 1 is displayed, you can press the OCTAVE [UP] or [DOWN] buttons to set the octave of the KBDI track. To set the octave of the KBD2 track, use the [TRACK/ CHANNEL] buttons to display the KBD2 track, and then press the [OCTAVE] buttons. The pitch of each track can be adjusted in steps of an octave, for a maximum of 2 octaves up or down, With a setting of 0 the program will play at its normal pitch. Octave can also be adjusted from Arrangement Play mode. After setting the parameter, press the [EXIT] button to return to the previous display. ‘Alternatively, the previous display will reappear automatically if approximately 7 sec- onds pass without any operation being performed. [TAP TEMPO/NO] button ‘When page 1 is displayed, you can set the tempo by pressing the [TAP TEMPO] button several times at the desired rhythm.2, Backing Sequence mode [INTERACTIVE COMP.] button ‘When page 1 is displayed, you can press the [INTERACTIVE COMP] button to get the following display. Koykey candidate Majin (For automatic key play type ‘setecton) Type Chor olow O78 Mad Essut Key IANL, C/A, C#t/A#, D/B...B/G#] Specifies the key of the song that you wish to play. The tonic of the major key is dis- played at the left of the slash (/), and the tonic of the minor key at the right of the slash. With a setting of ANL, the automatic key analysis function will operate. If you are not sure of the key, this function will automatically find the key for you. Select ANLand then press the [START/STOP] button to start the backing sequence. Play the melody in time with the rhythm, Press the [START /STOP] button to stop the back- ing sequence, and press the [TEMPO/ VALUE] buttons to see the keys that fit the mel- ody you played. Major/Minor [Moj, Mm, min, mM] Specifies whether the song you wish to play is in a major or minor key. ‘Maj (major): The chords will be mostly major. ‘Mm (major): The chords will be mostly major, with occasional minor chords added. ‘min (minor): The chords will be mostly minor. mM (minor): The chords will be mostly minor, with occasional major chords added. Type [Easy 1-2, General 1-4, Special 1-21 When the interactive composition function is used to add chords, you can specify the tendency of the chords that will be produced. With a setting of Easy, the easiest and safest chords will be assigned. “2” will produce chords that are somewhat more complex than “1.” With a setting of General, conventional chords will be assigned. The selections from 1-4 will produce slightly different tendencies. Try them out, and use the one that is most suitable for your song. With a setting of Special, unique chords will be assigned. “1” and “2” will differ some- what in the way in which chord tendencies are affected by the major/minor setting. Try them out, and use the one that is most suitable for your song, Replay type 11,2,3,4) When the interactive composition function is used to apply chords to a performance recorded in Backing Sequence mode, this setting specifies how the melody will be ana- lyzed and processed. With a setting of 1, essentially the same method as for Arrangement Play will be used. However, corrections will be made for inaccuracies of timing before the melody is ana- lyzed. This means that in comparison to realtime, chord processing will be more accu- rate even for a performance whose timing is somewhat imprecise With a setting of 2, the melody within the measure will be analyzed before chords are assigned to the measure. With this method, chords can be applied more naturally and safely than in realtime, which can analyze only the melody that was played up to that point (.e,, the melody that you have just been playing). However the chord may change twice within a single measure even if the Chord Follow parameter is set to S. 452. Backing Sequence mode With a setting of 3, processing will be essentially the same as for 2, but there is the possi- bility that unnatural chords may occur depending on the melody. With a setting of 4, the processing method will be essentially the same as for 2, but the chord changes (chord progression) will be analyzed further, so that the chord progres- sion will as natural and as rich as possible. However the chord may change twice within a single measure even if the Chord Follow parameter is set to S. Chord follow Is, Fl This specifies the frequency at which the chords assigned to the melody by the interac- tive composition function will change. With a setting of S, chords will be assigned at the beginning of each measure. Le., one type of chord will be assigned to each measure. With a setting of F, chords will be assigned at the beginning and the middle of each mea- sure. Le,, up to two types of chord will be assigned to each measure. Normally there will be no problem with leaving this set to S, but if you are playing a tune that contains large numbers of notes at a slow tempo, you may wish to try a setting of F3. Program mode 3. Program mode Functions of Program mode The following table lists the functions of Program mode, showing the title and main con- tents of each display page, and the manual page for reference. Display po Contents “ene ee Select rogram, tanspos,oaveperomance | sap 4g 2 Oscilatorbasic/Oscilator2 relate | Osclator type seting, oscar 2 relative P50 3. Oscar tne Osciatorsetings, pan, sond” =P. 4 Pach ES Pitch EG setings P53 5. VOF Fiter settings * "P55 6. VOFEG Fiter EG sotings* *=P.56 7. VOF keyboard tracking | Fiter €6 keyboard tracking settings * SPST 8. VOF velosty sensivty Fitervelosty sensitviy sorings* P59 8. VOAEG “Amp EG settings * P61 10. VOA Keyboard wacking [Amp EG keyboard vacking settings" P62 “VDA veloaty sentivty [Amp EG velocity senstty settings * P64 12. Pich MG Pitch modulation setings 3.66 18, Pitch MG contaer Joystick, alteouch satings* P68 14. VOF MG Fiter modulation stings =P 68 15, VOF MG contoleVDATevel | Joystick, aterouch stings R70 16, Contotire =P 17 Efloct select Erfot ype, fet ent wR | 16. Etec placement Ett placement, GD pan, eect 1 and 2 UR vets |_*P. 79 1 Ect t parameters Etoct 1 parameter setings p74 [20.ettect 2 parameters Erect 2 parameter stings p74 21, Rename program Mody the program name R76 22, Wie program Wie @ program into memory _ =P.75 * Ifyou set Oscillator Type to DOUBLE (double oscillator program) in “Page 2. Oscilla- tor basic/Oscillator 2 relative,” these pages will display either the oscillator 1 or oscillator 2 parameters. Switch between oscillators 1 and 2 by pressing the VARIA- TION buttons {1} and (2. 473. Program mode Page 1. Program play In Page 1 of Program mode you can select the Program that will be played from the key- board of the iX300. You can also use the Performance Edit settings that are shown in this page to perform simple editing, Press the [PROG] button to enter Program mode, and the following display will appear. no AL 2 Transpose octave Program [A11...£88, U11...U88, Dr11...Dr44) ‘The internal memory of the iX300 contains seven banks of Programs, as follows. Number of Ban ik voyame Contents A 4 ‘GM programs 1-64 (HOM) 8 o GM programs 65-128 (ROM) C0.e [eaxa {300 preset programs (ROM) v a User programs (RAM) or 28 Drum programs (ROM: 11-16, 21-26, 31-38, 41-44, RAM: 17-18) Use the [TEMPO/ VALUE] buttons, [PROGRAM BANK] buttons, and [PROGRAM NUMBER] buttons to select the desired Program. To select a Drum Program (Drl1—44), press the PROGRAM BANK [USER/DRUM] button several times to get the Dr display, and then press a [PROGRAM NUMBER] button. The display will show the bank, num- ber, and program name. You can also select programs using an optional footswitch or an EC3 external controller pedal. For details refer to Disk/Global mode “Page 7. Assignable pedal settings” or “Page 8. EC5 external controller settings.” When you select a program, a MIDI program change message will also be transmitted. XPOSE (Transpose) (-11...411] When you need to transpose (shift the pitch), use the [TRANSPOSE] buttons to set the ‘Transpose setting of each program. ‘The pitch can be transposed in semitone steps over a range of 11 steps up or down. Octave [-2...42] Use the [OCTAVE] buttons to set the Octave of each program. With a setting of 0, the program will sound at its standard pitch. The pitch can be shifted in steps of an octave, over a range of 2 octaves up or down. 483. Program mode Performance Edit By pressing one of the [TRACK/CHANNEL] buttons in Page 1, you can perform the Performance Edit operation corresponding to the button that was pressed. When you finish Performance Editing, press the [EXIT] button to return to the “Page 1. Program Play” display. a CEI Performance edit (-10...+10/-3...43] The Performance Edit function of the £X300 allows you to make adjustments to the most important program parameters, without having to bother with detailed editing. This is a convenient way of modifying program parameters during a rehearsal or live perfor- mance, Pettormance ed When you press the upper (or lower (¥) [TRACK/CHANNEL] button, the corre- sponding Performance Edit parameter will be displayed (always with a value of +00), and you can press either button to modify the value. Performance Edit settings are made with a value of -10-+10 (-3-43 for Octave). This editing adjusts the effect of the corresponding program parameter. However, be aware that this setting does not change the value of the program parameter itself, but is only an adjustment that is relative to that setting. When you modify a Performance Edit parame- ter, one or more parameters for each oscillator will be affected (except for Dry:Effect Bal- ance). If the original parameter value is already at its maximum or minimum value, changing the Performance Edit value will have no effect. OSC Octave adjusts the Octave parameter (Page 52 in this manual) of both oscillators, modifying the octave of the program that will sound. This allows 1 octave of change in ‘one-octave steps. VDF Cutoff modifies the VDF Cutoff parameter (Page 55 in this manual) of both oscillators, modifying the tone of the program. Each step will change the parameter value 5 steps. VDE EG Intensity modifies the VDF EG Intensity parameter («Page 55 in this manual) of both oscillators, adjusting the way in which the tone of the program changes over time. Each step will change the parameter value 3 steps. Attack Time modifies the VDA Attack Time parameter (&#Page 61 in this manual) of both oscillators, adjusting the attack length of the program. Each step will change the parameter value 5 steps. Release Time modifies the VDF and VDA Release Time parameters (Page 54, 62 in this manual) of both oscillators, adjusting the release length of the program. Each step will change the parameter value 5 steps. VDA Level modifies the VDA Level parameter (Page 52 in this manual) of both oscil- Jators, adjusting the overall volume of the entire program. Each step will change the parameter value 5 steps. 493. Program mode Velocity Sensitivity modifies the way in which changes in keyboard playing dynamics will affect the sound. The EG Intensity parameter (F#Page 59 in this manual) for VDF Velocity Sensitivity and the VDA Velocity Sensitivity parameter (&Page 64 in this man- ual) for VDA Velocity Sensitivity will be modified for both oscillators. Each step will change the parameter value 5 steps. DRY:EX Balance modifies the Balance parameter between effects 1 and 2, adjusting the balance between the “dry” sound of the program (unprocessed by the effect) and the “wet” sound processed by the effect. Each step will change the parameter value 5 steps. Page 2. Oscillator basic/Oscillator 2 relative 50 Here you can select the basic oscillator type: ie., whether the program will use one or two oscillators, or a drum kit. You can also specify whether the sound of the program will be maintained even after a Note-off message is received, and whether the program will sound monophonically or polyphonically. Assi scaler ype SINGLE Pol Iv+60 Det+65 scelnunal | scaly o8c2 tine Oscillator type SINGLE, DOUBLE, DRUMS] This parameter determines the basic structure of the program. SINGLE (single oscillator program) will cause the program to use only one oscillator. Maximum polyphony will be 32 notes. DOUBLE (double oscillator program) will cause the program to use two oscillators. This allows more complex sounds to be created, but the maximum polyphony will be limited to 16 notes. DRUMS (drum program) will assign a drum kit (instead of a multisample) to the pro- gram. (For details refer to the explanation for the Multisample/Dram Kit parameter which follows later) Assign [MONO, POLY] This specifies the number of simultaneous notes that the program will sound in response to Note messages received on one MIDI channel. MONO will cause the program to sound only one note at a time. POLY will allow the program to play chords. Hold [HOLD, NORM] This specifies whether or not a note sounded by the program will stop when you release the iX300’s keyboard or when a Note-off message is received. HOLD causes the sound to continue sounding even after the note is released. This is, convenient when playing drum sounds. For other types of program you will usually set this parameter to NORM. Even with a setting of NORM, the sound will continue playing forever if the VDA EG Sustain Level parameter (Page 62 in this manual) is set to a value other than 0.3. Program mode lv (OSC2 Interval) [-12...+12] This parameter raises or lowers the OSC2 pitch relative to the OSC1 pitch, allowing a program to sound a two-note parallel “chord” for each note. This can be adjusted in semitone steps over a maximum range of 1 octave. Positive (+) values will raise the OSC2 pitch, and negative (-) values will lower the OSC? pitch. Det (OSC2 Detune) [-50...+50] This parameter detunes OSC1 and OSC? in relation to each other, producing a richer sound. Positive (+) values will cause the OSC2 pitch to rise and the OSC1 pitch to fall, and neg- ative ©) values will produce the opposite effect. This setting indicates the pitch difference between OSC1 and OSC2 in one-cent steps, and as shown by the following table, raising the pitch of one oscillator will lower the pitch of the other. Detune (0861 pitch (0862 pitch 150 ~25 cents "25 canis cents cents ~50 +25 cents -25 cents Dly (OSC2 Delay) [00...99] This parameter delays the onset of the OSC2 sound, so that OSC2 will begin to sound after OSC1. With a setting of 0, OSC1 and OSC2 will sound simultaneously. Page 3. Oscillator tone In this page you can select the waveform used by the oscillator, and make other oscilla- tor-related settings. Most of these parameters can be set at any time regardless of the type of the selected program, but if in “Page 2. Oscillator basic /Oscillator 2 relative” you have set the Oscillator Type to Drum Program, the panpot parameters will not be dis- played at all. Multisamplerum Ke osciiosce Laval BOL A.PianoiLP L4i a P+ LOG C=6 D y 7 ootve an Sendlovel ch EG ltensty OSC1/OSC2 (Oscillator 1/2) If in “Page 2. Oscillator basic/Oscillator 2 relative” you have set the Oscillator Type to DOUBLE, this setting specifies which of the two oscillators you will be editing. If Oscil- lator Type has been set to Drum, this will be displayed as D. You can also switch between Oscillators 1 and 2 by pressing the VARIATION buttons (1] or [2] 513. Program mode 52 Multisample/Drum Kit If Oscillator Type was set either to SINGLE or DOUBLE, this selects the basic waveform that the oscillator will use. The number and name of the multisample will be displayed. (Multisamples with an abbreviation of “NT” will produce the same pitch regardless of the key that is played.) The appendices to the user’s guide contains a list of the available multisamples for your reference. If Oscillator Type is set to DRUM, this will show a Drum Kit name, and you can select a Drum Kit instead of a multisample. Drum programs will use the drum sound assign- ‘ments and pan settings of the selected drum kit. The other settings are the same as for a single oscillator program. L (Level) [00...99] This sets the overall volume that is output by the VDA of the selected oscillator. High settings of this parameter may cause the sound to distort when chords are played. In this case, lower the setting, You can make the oscillator output level be affected by the force (velocity) of your key- board playing. You can also use the VDA EG to make the volume of individual notes change over time. For details refer to “Page 9. VDA EG.” Octave [4', 8', 16', 32'] This sets the basic pitch of the selected oscillator in octave units. The standard pitch of all multisamples is 8 Since each multisample has an upper limit to the pitch that it can produce, setting this, parameter to a’ and in addition using the [OCTAVE] and [TRANSPOSE] buttons to raise the keyboard pitch may, for some sounds, result in no sound when you play upper ranges of the keyboard When editing a drum program, be sure to set this parameter to 8". Other settings will cause the keyboard assignments of the drum kit to be skewed upward or downward. P (Pitch EG intensity) [-99...+99] ‘This specifies the effect that the Pitch EG will have on the pitch of the selected oscillator. Positive (+) settings will cause a greater pitch change as the value is increased. ‘Negative (-) settings will invert the direction of the pitch change. With a setting of 0, the Pitch EG will not affect the selected oscillator, and the pitch will not change at all. Pitch EG settings are made in “Page 4. Pitch EG.” Pan [OFF, L15...L01, CNT, RO1...R15] This sets the stereo location of the selected oscillator. This will adjust the level of the oscillator signals that are sent from channels A and B to the effect section. CNT will place the sound produced by the oscillator in the center. Lettings will place the sound toward the right, and R settings toward the left. As this value is increased the sound will move further away from the center. OFF will turn off the oscillator output to channels A and B. This parameter will not be displayed for a Drum program. The pan settings of each drum kit will be used. C=/D= (Send levels) [0...91 These parameters set the send levels that are sent from channels C and D to the effect section.3. Program mode Page 4. Pitch EG ‘The parameters of this page determine the shape of the Pitch EG (envelope generator). The Pitch EG determines how the pitch of the program changes over time in relation to its standard pitch. snack time Decay ime Stanjvel | Attack level ATBS pHa DED 88 +80 T+80 rei tm / verve soy Polen evel “mo voloclysenitvity For a double oscillator program, both oscillators use the same Pitch EG. However you can separately adjust the sensitivity of each oscillator to the pitch EG. Be aware that the total pitch change (produced by the pitch EG, pitch bend level, and the pitch MG) is limited to 3 octaves. In addition, some multisamples are limited to a nar- rower range of pitch change depending on the conditions. Pn sae (9) ‘tack ove pitch Standard pitch Release Tine te ae -) S (Start level) (-99...+99] Sets the pitch at which the program begins to sound. Positive (+) settings will raise the pitch above standard pitch, and negative (-) settings will lower the pitch below standard pitch. When the Pitch EG Intensity parameter is, either +99 or -99, a setting of +99 or -99 for this parameter will produce a rise/fall of approximately 1 octave. With a setting of 0, the program will start sounding at the standard pitch. AT (Attack time) [00...99] Sets the time over which the pitch will change from the Start Level (6) to the Attack Level (A). With a setting of 0 the movement will take place instantly, and with a setting of 99 the movement will be the slowest: AA (Attack level) £99...499] Sets the pitch at which the program will arrive after the Attack Time has elapsed. Set it in the same way as the Start Level parameter. D (Decay time} [00...99] Sets the time over which the pitch will change from the Attack Level (A) to the standard pitch. Set it in the same way as the Attack Time parameter. 533. Program mode RT (Release time) [00...99] sets the time over which the pitch will change from the standard pitch to the Release Level (R) after the key is released. Set it in the same way as the Attack Time parameter. R [Release level) £-99...499] This sets the pitch at which the program will arrive after the Release Time has elapsed. Set it in the same way as the Start Level parameter. L (Level velocity sensitivity) [-99...499] This specifies the depth to which the Pitch EG levels will be affected by note velocity (keyboard dynamics) With a setting of 0, the Pitch EG levels will not be affected by velocity. Pitch EG level sensitivity Pe fy Pitch EG settings Soy played note ‘Strongly played note T {Time velocity sensitivity) [-99...499] This specifies how the Pitch EG times will be affected by note velocity. Higher settings of this parameter will cause the pitch change to become faster. With a setting of 0, the Pitch EG times will not be affected by velocity. Pitch EG level sensitivity mh Be Pitch EG settings Softy played note ‘Strongly played note 543. Program mode Page 5. VDF Here you can change filter settings to adjust the tone. vorWoF2 oF eo VOF EG intensty [Coir | UDFIECOGS 6694 CLAG ‘Amplitude Cutof frequency A y Color Frequency 0 (dark tone) 99 (bright tone) VDF1/VDF2 When a double oscillator program is selected, this specifies the oscillator whose filter parameters will be edited. You can also switch between oscillators 1 and 2 by pressing the VARIATION buttons [1] or (2). CO (VDF cutoff frequency] {00...99] This specifies the frequency at which the VDF filter will begin to apply. Lower values will produce a darker and more muted tone. EG (VDF EG intensity) {00...99] This specifies the effect that the VDF EG will have on the tone of the oscillator. Higher values will cause the tone to change more greatly. With a setting of 0, the VDF EG will not be used, and the tone will not change over time. VDF EG settings are made in “Page 6. VDF EG.” CL (Color) [00...99] This parameter adds character to the sound. Higher values will boost the frequency components in the region of the cutoff fre- quency, causing filter movements produced by the VDF EG or VDF modulation to be more noticeable. 553. Program mode Page 6. VDF EG Here you can specify the shape of the VDF EG (envelope generator) that will determine how the VDF cutoff frequency will change over time. In "Page 5. VDE,” the EG Intensity parameter allows you to adjust the depth of the effect produced by the oscillator EG. Also, the “Page 7. VDF keyboard tracking” parameter settings allow the EG to be automatically adjusted according to the keyboard position or key velocity. Switch between oscillators 1 and 2 by pressing the VARIATION buttons [1] or [2]. Aackiovel Break pit ‘Atacktime | Decay me ATEG A+99 DT?S B+7e S739 S424 RTSS R+G6 senstine Fela tire uta tore rated vel Ove el st ; Se rany porate Atacktever 83h { Noto-on Feloaso Love Velie specie by VOF __ Time Cut Frequency parameter AT (Attack time) [00...99] This sets the time over which the cutoff frequency will change from the normal VDF set- ting to the Attack Level (A). With a setting of 0 the movement will take place instantly, and with a setting of 99 the movement will be the slowest. A [Attack level) [-99...+99] Sets the level at which the cutoff frequency will arrive after the Attack Time has elapsed, With positive (+) settings the Attack Level will be higher than the normal cutoff fre- quency, and with negative (-) settings it will be lower. DT (Decay time) [00...99] Sets the time over which the VDF cutoff frequency will change from the Attack Level (A) to the Break Point (B). Set it in the same way as the Attack Time parameter, B (Break point) £-99...+99] Sets the level at which the VDF cutoff frequency will arrive after the Decay Time (DT) has elapsed. Set it in the same way as the Attack Level parameter, 563. Program mode ST (Slope time) [00...99] Sets the time over which the VDF cutoff frequency will change from the Break Point (B) to the Sustain Level (5). Set it in the same way as the Attack Start Time parameter. $ (Sustain level) £-99...+99] Sets the level at which the VDF cutoff frequency will arrive after the Slope Time (ST) has Settin the same way as the Attack Level parameter. RT (Release time) [00...99] Sets the time over which the VDF cutoff frequency will change from the Sustain Level (8) to the normal cutoff frequency after you release the key. Set it in the same way as the Attack Time parameter. R (Release level) (-99...+99] Sets the level at which the VDF cutoff frequency will arrive after the Release Time (RT) has elapsed. Set it in the same way as the Attack Level parameter Page 7. VDF keyboard tracking VDF keyboard tracking is a function that adjusts the cutoff frequency according to the Keyboard location of the note that is played. On many real-world instruments, higher notes have a brighter tone, and this can be simulated using VDF keyboard tracking. The effect of the tracking function is determined by the Keyboard Track Amount, Pivot Key, and Mode parameters. Keyboard tracking can be used to modify VDF EG times, so that the four EG time parameters will be shortened or lengthened depending on the location of the keyboard that you play. VOrIVOF2 Amount Photkey Made | UDFLEKb Timeamount | Decaysine \ fleas ine stack time sop tine VDF1/VDF2 When a double oscillator program is selected, this selects the oscillator whose filter parameters will be edited. You can also use the Variation [1] or [2] buttons to switch between oscillators 1 and 2. KbAmt (Keyboard track amount) [-99...+99] Specifies how greatly keyboard tracking will affect the cutoff frequency. The way in which this will function is determined by the Mode parameter, explained below. Positive (+) settings will cause the tone to become brighter as you play above the Pivot Key. Conversely, the tone will become darker as you play below the specified key. Negative (-) will have exactly the opposite effect. With a setting of -50, the cutoff frequency of the note specified by the Key parameter will be used as the standard cutoff frequency for all notes, meaning that the cutoff fre- 573. Program mode Program ro quency will remain the same for all areas of the keyboard. With a setting of 0, the cutoff frequency will change in direct correspondence to the pitch. This will produce the same effect as when the following Mode parameter is turned OFF. Pivot key (C-1...69] Sets the note which will be used as the center for the keyboard tracking function. The function of this key is determined by the setting of the Mode parameter, below. Mode [OF, LO, Hi, AL] ‘This determines the range which will be affected by the keyboard tracking function. OF (OFF) will cause keyboard tracking to be exactly proportional to the keyboard pitch, just as when Keyboard Track Amount is set to 0. LO (LOW) will cause keyboard tracking to apply to the range below the Pivot note. HI (HIGH) will cause keyboard tracking to apply to the range above the Pivot note. AL (ALL) will cause keyboard tracking to adjust the cutoff frequency of all notes, rela- tive to the Pivot note. Changes in cul requoncy produced by Keyboard Track Amount (Amt) and Pwot Kay setings foreach Mode Ccurot traquoncy CCuot requency ‘Cutt requency Ccutot requercy ‘Apt=0 Amt o Mig wm 1 FP am Amt <80 1 i \ \ a= 59 ent 50 Amt =-50 ht 50 : Ai <20 ct PhotKey 68 C1 PieiKey G9 C1 Phoikey Go Ct Pukey 69 Mode: OFF Mode: Low Mose: HIGH Mode: ALL T (Time Amount) [00...99] Specifies how deeply keyboard tracking will affect the VDF EG speed. Higher values will produce a greater change. With a setting of 0, EG speed will not be affected. ‘This parameter only specifies the amount of the effect that the keyboard tracking func- tion has on EG speed. Whether keyboard tracking will length or shorten the various EG times is determined by the following four parameters. A [Attack time) 0,4] Specifies the direction of the change that keyboard tracking will cause for Attack Time, setting of “+” will cause keyboard tracking to shorten the attack time. A setting of "=" will cause keyboard tracking to lengthen the attack time. With a setting of 0, the attack time will not be affected. D (Decay time) 0,41 Specifies the direction of the change that keyboard tracking will cause for Decay Time. This setting functions in the same way as the Attack Time parameter. S (Slope time) L,0, +] Specifies the direction of the change that keyboard tracking will cause for Slope Time. ‘This setting functions in the same way as the Attack Time parameter. 583. Program mode R (Release time} £04 Specifies the direction of the change that keyboard tracking will cause for Release Time ‘This setting functions in the same way as the Attack Time parameter, ryeen Te pracy Wt jean a VOEEG Tine prmole Nols aydin slow Nees aan ach stings poste stings kayooange "food ange for all parameters) Page 8. VDF velocity sensitivity On the iX300, the VDF EG can be affected by your keyboard playing dynamics or by the velocity values of MIDI Note messages received from an external MIDI device. Instru- ‘ments such as a piano, on which strongly played notes are brighter, can be easily simu- lated using this capability. Even when the VDA does not change, using velocity to modify the filter can produce a variety of interesting effects. You can also use keyboard dynamics to modify the speed of the VDF EG. Note velocity can shorten or length each of the four EG segments. VOFIWOF2 — EGintensiy Color UDF IiVet ERIS CL+G0 T=18 Tine aount Falease tne ‘tack ine ‘Slope time \VDF1/VDF2 When a double oscillator program is selected, this specifies the oscillator whose filter parameters will be edited. You can also switch between oscillators 1 and 2 by pressing the VARIATION buttons [1] or [2]. EG (EG intensity) [-99...+99] Specifies the effect that keyboard dynamics will have on the VDF EG. Positive (+) settings will cause EG depth to decrease for softly-played notes, causing cutoff frequency to change less. Negative () settings will cause BG depth to decrease for strongly-played notes. ‘With a setting of 0, the depth will be as specified by the “Page 5. VDE” EG Intensity parameter. VDF EG velocty sensitivity (or positive (+) setings) Note-ft Note-oft Note-of gr al or VOF E6 settings ‘Softy played note ‘Stronaly played note 598. Program mode CL (Color) (-99...+99] Specifies the effect that keyboard dynamics will have on the Resonance. Positive (+) settings will cause Resonance to increase for strongly-played notes, and to decrease for softly-played notes. ‘Negative (-) settings will have the exact opposite result. With a setting of 0, the Resonance of all notes will be as specified by the "Page 5. VDF” Color parameter. T (Time amount) [00...99] Specifies the amount of the effect that velocity will have on VDF EG speed. Higher values will produce a greater change. With a setting of 0, EG speed will not be affected. This parameter only specifies the amount of the effect that velocity has on EG speed. Whether velocity will length or shorten the various EG times is determined by the fol- lowing four parameters. A [Attack time) &, 0, +1 Specifies the direction of the change that velocity will cause for Attack Time. Asetting of “+” will cause the attack time to be shortened for strongly played notes. A setting of “~” will cause the attack time to be lengthened for strongly played notes. With a setting of 0, the attack time will not be affected by velocity. D (Decay time) 0, +] Specifies the direction of the change that velocity will cause for Decay Time. This setting functions in the same way as the Attack Time parameter. 5 (Slope time) 0,4] Specifies the direction of the change that velocity will cause for Slope Time. This setting functions in the same way as the Attack Time parameter. R (Release time) [-, 0, +] Specifies the direction of the change that velocity will cause for Release Time. This setting functions in the same way as the Attack Time parameter. Change overtime Note-on _. \- Ve Note-on y oft VDF EG Time parameter Notes played softly Notes played strongly settings (postive (+) sotings {or all parameters) 603. Program mode Page 9. VDA EG ‘The settings in this page set the shape of the VDA EG (envelope generator), specifying, how the VDA level of the oscillators will change over time. Atactios Decay tine voauvone | atackoe 7 UDALFATEG A+93 TEE B39 S738 S400 RTSS Break int ‘Sustain vel ‘Slope time Pelease tine The parameters in “Page 10. VDA keyboard tracking” allow you to specify how key- board position or playing dynamics will automatically modify the EG. Note Volume "Atack Decay Slope Feiease Time Time’ Te Time VDA1/VDA2 ‘When a double oscillator program is selected, this specifies the oscillator whose VDA parameters are being edited. ‘You can also use the VARIATION buttons [1] or [2] to switch between oscillators 1 and 2. AT (Attack time) [00...99] ‘This sets the time over which the VDA volume will change from 0 to the Attack Level (A). With a setting of 0 the movement will take place instantly, and with a setting of 99 the movement will be the slowest. A (Attack level) [+00...499] Sets the volume level at which the VDA will arrive after the Attack Time (AT) has. elapsed. As this setting is increased, the Attack Level will be louder, and with a setting of +0 the volume will be 0, delaying the timing at which the sound will begin to be heard, DT (Decay time) {00...99] Sets the time over which the VDA volume will change from the Attack Level (A) to the Break Point (B). Set it in the same way as the Attack Time parameter. B (Break point) [400.4991 Sets the volume level at which the VDA will arrive after the Decay Time (DT) has elapsed. Set it in the same way as the Attack Level parameter. 613. Program mode ST (Slope time) {00...991 Sets the time over which the VDA volume will change from the Break Point Level (B) to the Sustain Level (S). Set it in the same way as the Attack Time parameter. S (Sustain level) [+00...+99] Sets the volume level at which the VDA will arrive after the Slope Time (ST) has elapsed. Set it in the same way as the Attack Level parameter. RT (Release time) [00...99] Sets the time over which the VDA volume will change from the Sustain Level (S) toa volume of 0 after you release the key. Set it in the same way as the Attack Time parameter. Page 10. VDA keyboard tracking VDA keyboard tracking is a function that adjusts the oscillator volume according to the Keyboard location of the note that is played. On many real-world instruments such as wind instruments, higher notes have a louder volume, and this can be simulated using VDA keyboard tracking. The effect of the tracking function is determined by the Keyboard Track Amount, Pivot Key, and Mode parameters. Keyboard tracking can be used to modify VDA EG times, so that the four EG time parameters will be shortened or lengthened depending on the location of the keyboard that you play. Prot key VDAWVOA2 Amount Mode ‘Time amount | Decsytime | Release me ‘Atacktime Slope ime VDA1/VDA2 When a double oscillator program is selected, this selects the oscillator whose amplifier parameters will be edited. You can also use the Variation [1] or [2] buttons to switch between oscillators 1 and 2 KbAmt (Keyboard track amount) -99...499] Specifies how greatly keyboard tracking will affect the volume. The way in which this, will function is determined by the Mode parameter, explained below. With a setting of 0, all notes will have the same volume. (This is the same effect as when the following Mode parameter is turned OFF) Pivot key Ic-1...69] Sets the note which will be used as the center for the keyboard tracking function. The function of this key is determined by the setting of the Mode parameter, below. 623. Program mode Mode [OF, LO, HI, AU] This determines the range which will be affected by the keyboard tracking function. OF (OFF) will cause keyboard tracking to be turned off, so that notes in any range of the keyboard will have the same volume. LO (LOW) will cause keyboard tracking to apply to the range below the Pivot note. HI (HIGH) will cause keyboard tracking to apply to the range above the Pivot note. AL (ALL) will cause keyboard tracking to adjust the volume level of all notes, relative to the Pivot note. ‘Change in DA evel produce by Keyboard Trac Aunt (Amt and Pot Key stings for ach Mode a ae ‘Am =f Hi t [voateve VDA Lovet > > CA PhotKey Go C1 PretKey a8 Mode: OFF Mods: Low Mode: HIGH T (Time Amount) [00...99] ‘Specifies how deeply keyboard tracking will affect the VDA EG speed. Higher values will produce a greater change. With a setting of 0, EG speed will not be affected. ‘This parameter only specifies the amount of the effect that the keyboard tracking func- tion has on EG speed. Whether keyboard tracking will lengthen or shorten the various EG times is determined by the following four parameters. A (Attack time) L, 0, +1 Specifies the direction of the change that keyboard tracking will cause for Attack Time. setting of “+” will cause keyboard tracking to shorten the attack time. Asetting of “~” will cause keyboard tracking to lengthen the attack time. With a setting of 0, the attack time will not be affected D (Decay time) &,0, 4] Specifies the direction of the change that keyboard tracking will cause for Decay Time. This setting functions in the same way as the Attack Time parameter. $ (Slope time} [-,0, +] Specifies the direction of the change that keyboard tracking will cause for Slope Time. This setting functions in the same way as the Attack Time parameter. R (Release time) 0, +] Specifies the direction of the change that keyboard tracking will cause for Release Time. This setting functions in the same way as the Attack Time parameter. Note-on ——_Note-of Note-on — Note-off Note-on — Note-ott \VDAEG Time parameter settings Notes played below the pivot key Notes played above the pivot key 633. Program mode Page 11. VDF velocity sensitivity 64 On the iX300, the VDA BG can be affected by your keyboard playing dynamics or by the velocity values of MIDI Note messages received from an external MIDI device. Settings canbe made so that strongly played notes will have a more greatly emphasized attack or decay. ‘The five parameters in the lower line also allow playing dynamics to modify the speed of the VDA EG. Note velocity can shorten or length each of the four EG segments. ‘voATVOAZ amount UDALEUel Pmount=+63 T=H5 Ai~ DIG St+ RIG ‘Tine amount | Decaytime \ Release time stack time ‘Slope time VDA1/VDA2 When a double oscillator program is selected, this specifies the oscillator whose ampli- fier parameters will be edited. You can also switch between oscillators 1 and 2 by pressing the VARIATION [1] or [2] buttons. Amount [-99...+99] Specifies the effect that keyboard dynamics will have on the VDA EG. Positive (+) settings will cause EG depth to decrease for softly-played notes, causing the volume level to change less. Negative (-) settings will cause EG depth to decrease for strongly-played notes. With a setting of 0, the depth will be as specified by the Attack Time, Decay Time, Slope Time, and Release time parameters. VDA EG velocty sensitivity (for positive (+) settings) Noten i% " i ote i; Y AEG love! stings Softy played note Sonal payed note T ffime amount) {00...99] Specifies the amount of the effect that velocity will have on VDA EG speed. Higher values will produce a greater change. With a setting of 0, EG speed will not be affected. This parameter only specifies the amount of the effect that velocity has on EG speed. Whether velocity will length or shorten the various EG times is determined by the fol- lowing four parameters. A [Attack time) [-, 0, +] Specifies the direction of the change that velocity will cause for Attack Time. setting of “+” will cause the attack time to be shortened for strongly played notes. A setting of “~” will cause the attack time to be lengthened for strongly played notes. With a setting of 0, the attack time will not be affected by velocity.3. Program mode D (Decay time) £0, +] Specifies the direction of the change that velocity will cause for Decay Time. This setting functions in the same way as the Attack Time parameter. S (Slope time) [-,0, +] Specifies the direction of the change that velocity will cause for Slope Time. This setting functions in the same way as the Attack Time parameter. R (Release time) £,0, 4] Specifies the direction of the change that velocity will cause for Release Time. This setting functions in the same way as the Attack Time parameter. Note-on Note-off Note-on —_Note-off Note-on —_Note-off VDA EG Time parameter setings Notes played softly Notes played strongly 653. Program mode Page 12. Pitch MG This page contains settings which control pitch modulation. This function simulates the vibrato effects that can be produced on many acoustic instruments For double oscillator programs, the pitch of each oscillator can be modulated indepen- dently. ‘Waveform Frequency Pucypwae | Intensity PMGLERANDM 161 FS8 Daa FI IM KTH v Delay Fado ln Key'syne Keyboard vacking PMG1/PMG2 [Pitch MG1/Pitch MG2) When a double oscillator program is selected, this specifies the oscillator whose Pitch MG parameter will be edited. ‘You can also use the VARIATION buttons [1] and [2] to switch between oscillators 1 and 2 Waveform [TRI...RANDM] Selects the waveform that will be used to modulate the pitch of the oscillator, The fol- Towing waveforms are available. NN | (Intensity) [00...99] ‘This sets the depth of automatic pitch modulation. With a setting of 99, the selected waveform will modulate the pitch over a range of 1-2 octaves. : With a setting of 0, modulation will not be applied, F (Frequency) [00...99] This sets the speed of pitch modulation. Higher values will produce faster modulation. N—T Wit Lower values Higher values 663. Program mode D (Delay) {00...99) This parameter delays the onset of automatic pitch modulation. Higher values will produce a greater delay. With a setting of 0, modulation will begin to apply as soon as the note begins. Fl (Fade-in) {00...991 This parameter allows the automatic pitch modulation to be faded-in, so that it will begin with a small amount of modulation and gradually increase to the full depth that is, specified by the Intensity parameter. Higher values will produce a longer fade-in. With a setting of 0, there will be no fade-in, and modulation will begin immediately at the depth specified by the Intensity parameter. a wer Time $ Key sme ION, OFF] This parameter specifies whether or not the pitch MG will be reset each time you play a note. With a setting of ON, the modulation waveform will be reset each time you play a note. With a setting of OFE, the modulation waveform of the first-played note will continue at the standard frequency, and will not be affected by subsequently-played notes. We sug- gest that you set this OFF when playing chords, so that modulation will apply to each note in unison even if you arpeggiate the chord. KT (Keyboard tracking) [-99...+99] This parameter adjusts the speed of pitch modulation according to the keyboard loca- tion that you play. Positive (+) settings will cause modulation to become faster as you play above middle C,and slower as you play below middle C. Negative (-) settings will have the opposite effect. er8. Program mode Page 13. Pitch MG controller Joystick up PuayeNc2” | Atertouen Frequency contol by joystick + atetouch PMG1/PMG2 (Pitch MG1/Pitch MG2) When a double oscillator program is selected, this specifies the oscillator whose Pitch MG parameters will be edited. You can also use the VARIATION buttons [1] or 2] to switch between oscillators 1 and 2 JS Uoystick up) [00...99] This specifies the maximum depth of the modulation that will occur when the joystick is. moved away from you. This is similar to the “Page 12. Pitch MG” Intensity parameter, but in this case, the speci- fied modulation will not be applied until you move the joystick. Af (Aftertouch) {00...99] ‘This specifies the maximum depth of the modulation that will occur when aftertouch is applied. This is similar to the “Page 12. Pitch MG” Intensity parameter, but in this case, the speci- fied modulation will not be applied until you apply aftertouch. JS+ Af — Freq (Frequency control by joystick + aftertouch) (0...91 This parameter allows the modulation to be speeded up by moving the joystick away from you or by applying aftertouch. Higher settings will allow modulation to be speeded up more. With a setting of 0, the joystick or aftertouch will not affect the modulation frequency. 683. Program mode Page 14. VDF MG ‘These parameters let you use the selected waveform to control the filter cutoff frequency. Unlike pitch, VDF is modulated by a single MG even for double oscillator programs. inenaty Wovstorn | Frecyensy Delay Keysyne Osailator Waveform [TRI...RANDM] Selects the waveform that will be used to modulate the pitch of the oscillator. The fol- lowing waveforms are available, ee Ae eee oe SAWON -sanooth wave owrnard) SSP — I (Intensity) [00...99] This sets the depth of automatic VDF modulation. With a setting of 0, modulation will not be applied. aa NAY Lower values Higher values F (Frequency) (00...99] This sets the speed at which the cutoff frequency will be modulated. Higher values will produce faster modulation. “ZT WW Lower values Higher values 63. Program mode. D (Delay) [00...99] This parameter delays the onset of automatic VDF modulation. Higher values will produce a greater delay. With a setting of 0, modulation will begin to apply as soon as the note begins. S (Key sync) [ON, OFF] This parameter specifies whether or not the VDF MG will be reset each time you play a note. With a setting of ON, the modulation waveform will be reset each time you play a note. With a setting of OFF, the modulation waveform of the first-played note will continue at the standard frequency, and will not be affected by subsequently-played notes. We sug- _gest that you set this OFF when playing chords, so that modulation will apply to each’ note in unison even if you arpeggiate the chord. Oscillator [OFF, OSC1, OSC2, BOTH] This specifies the oscillator(s) to which VDF modulation will apply. You may modulate the cutoff frequency of OSC1 or OSC2 or both. If this is turned OFF, VDF MG will also be off. Page 15. VDF MG controller/VDA level soya down Aetuch Level by atertoueh VDFMG (VDF MG controller) * JS (Joystick down) [00...99] Specifies the maximum depth of modulation that will be applied when you move the joystick away from you. This is similar to the “Page 14. VDF MG” Intensity parameter, but in this case, the speci- fied modulation will not be applied until you move the joystick. Af (Aftertouch) {00...99] This specifies the maximum depth of the modulation that will occur when aftertouch is applied. This is similar to the “Page 14. VDF MG” Intensity parameter, but in this case, the speci- fied modulation will not be applied until you apply aftertouch VDA Level Af (Aftertouch) £-99...499] This specifies the volume change that will be controlled by aftertouch. Positive (+) settings will cause the sound to become louder as you press down on the keyboard, and higher settings will allow a greater change in volume. Negative (-) settings will cause the sound to become softer as you press down on the keyboard. 703. Program mode Page 16. Controllers ‘The settings here determine how the joystick and aftertouch will affect the pitch, filter cutoff frequency, and volume of the program. These parameters will directly control the pitch, cutoff frequency, and volume. Unlike the joystick and aftertouch parameters explained in the Pitch MG and VDF MG sections, they do not control the amount or speed of modulation. oystik UR Ateuch Joysick UR Aertouch P.Bend (Pitch bend) © JS Uoystick L/R) (-12...412] This specifies the amount of pitch change that will occur when you move the joystick to left ot right, in chromatic steps. Assetting of 12 will allow a pitch bend effect of 1 octave. Positive (+) settings will cause the pitch to rise when the joystick is moved toward the right, and fall when the joystick is moved toward the left. Negative (-) settings will produce the opposite effect Depending on the sound or the keyboard location that you play, the pitch may not change in a full #1 octave range. * AF (Aftertouch) [+12...#12] ‘This specifies the amount of pitch change that will occur when you apply aftertouch, in chromatic steps. A setting of 12 will allow a pitch bend effect of 1 octave. Positive (+) settings will cause the pitch to rise when aftertouch is applied. Negative (-) settings will cause the pitch to fall when aftertouch is applied Cutoff + 38 Uoystick L/R) (-99...499] This specifies the maximum amount of cutoff frequency change that will occur when you move the joystick to left or right. Positive (+) settings will cause the tone to become brighter when the joystick is moved toward the right, and darker when the joystick is moved toward the left. Negative (-) settings will produce the opposite effect. + Af (Aftertouch) [-99...+99] This specifies the maximum amount of cutoff frequency change that will occur when you apply aftertouch. Positive (+) settings will cause the tone to become brighter when aftertouch is applied. Negative (-) settings will cause the tone to become darker when aftertouch is applied. 73. Program mode Page 17. Effect select Here you can select effects, allowing you to add a professional finish to the sound of your Program. fect ype Effect ONOFF Etec 2 type fet ONOFF ‘The iX300's two digital effect processors can be used to apply effects to the program. The two digital processors allow two different effects to be applied simultaneously, to mod- ify the sound of the program, and greatly enhance the possibilities of musical expres- sion, Effect type [00: No Effect...47: Delay/Rotary] ‘The effect type can be selected independently for Effect 1 and Effect 2. For details on each effect type, refer to “6. Effects” (Page 103 in this manual). Effect ON/OFF [OFF, ON] This switches each effect on/off. The selected effect can also be switched on/off using an optional footswitch, foot pedal, or ECS external controller. For details refer to Disk /Global mode “Page 7. Assignable pedal settings” and “Page 8. EC3 external controller settings.” 723. Program mode Page 18. Effect placement Here you can specify how the two effect processors which apply effects to the program will be combined (including the pan and level settings for channels C and D). Pecamert nit! PARALLELS 4 Re Pan DPan tect tlattovel | fect 2 lve tects gh vel Etict 2 ght val Placement (SERIAL, PARALLEL 1, PARALLEL 2, PARALLEL 3) Specifies the placement of the two effects and of the C/D pan and L/R level adjustments of channels C and D. Pan and effect send levels for each program are set in “Page 5. VDF.” With a setting of SERIAL, effects 1 and 2 will apply to channels A and B. Since the sig- nals from channels C and D will be mixed in at the locations specified by C Pan and D Pan after effect 1, only effect 2 will be applied to them. a bMONO pLPan TRXBH ettect + Effect 2 i] Program [send fo—>[oPan 3, L»{“Send_}o—>[D Pan With a setting of PARALLEL 1, effect 1 will apply to channels A and B, and effect 2 will apply to channels C and D. After effect 2, the C Pan and D Pan parameters will set the Panning, Finally, the signals from the two effects will be mixed. yiMoNo = pram }A— 3H tect Posam LH» sar Jo Pan pie Le{ “Send fo. ~ Laloran With a setting of PARALLEL 2, effect 2 will apply to channels C and D, and after effect 2 the C Pan and D Pan parameters will set the panning. Then the signal will be mixed. with channels A and B and sent through effect 1 >Lrats Tf ean orm [rere aH pe L.-Sena yo. DPan OND Yole 733. Program mode With a setting of PARALLEL 3, effect 1 will be applied to channel C, and effect 2 will be applied to channel D. The left/right levels of effect 1 and 2 are specified, and their sig- nals are then mixed with channels A and B. These are the effect send /return settings which mix the dry (unprocessed) sound with the wet (processed) sound. ono Pan ys Fr : = = Send of [erate >[Ltevel} | —>[ Fi Level C(C Pan) [OFF, R, 99:01...01:99, L] This sets the panning of the signal from channel C. is setting will appear if a Placement of SERIAL, PARALLEL 1, or PARALLEL? is selected, L places the signal at the left. R places the signal at the right. OFF turns off the channel C signal. D (D Pan) [OFF, R, 99:01...01:99, L] This sets the panning of the signal from channel D. This setting will appear if a Placement of SERIAL, PARALLEL 1, or PARALLEL 2s selected. L places the signal at the left. R places the signal at the right. OFF turns off the channel D signal. IL/IR (Effect 1 Left/Right Level) {0...9] This sets the level of the signal from effect 1 that is mixed with channels A and B. This setting will appear if a Placement of PARALLEL 3 is selected. As this value is increased, the level of the signal mixed with channels A and B will increase. With a setting of 0 the signal will be off. 21/2R (Effect 2 Left/Right Level) (0...9] This sets the level of the signal from effect 2 that is mixed with channels A and B. This setting will appear if a Placement of PARALLELS is selected. As this value is increase. With a setting of 0 the signal will be off. increased, the level of the signal mixed with channels A and B will Page 19. Effect 1 parameters Page 20. Effect 2 parameters 14 Pages 19 and 20 contain parameter settings for the effects that were selected in “Page 17, Effect select,” and allow you to change the effect settings that will be used by the pro- gram. The settings for effects used in other modes are set in the respective mode. ‘The effect parameters that can be set in these pages will depend on the effects that are selected. For details on effect parameters, refer to “6. Effects” (Page 103 in this man- ual).3. Program mode Page 21. Rename program Here you can modify the title of the program that is being edited. A title of up to 10 characters can be assigned to the program. RENAME PROGRAM ALi Biano Curent program Use th cursortospecty the characte ation The following characters can be used. ABCDEFGH I JKLMNOPGRS TUUMEYZ bodefah Lik linorarstuvunesz, Bi 234: . CLIC _ [ose Use the [CURSOR] buttons to move the cursor to the location of the character you wish to modify, and use the [TEMPO/ VALUE] buttons to modify the character. Pressing the [SUSTAIN/INS] button will copy the character at the cursor, allowing a character to be inserted at that location. Pressing the [SPLIT POINT/DEL] button will delete the character at the cursor location. Page 22. Write program ‘This function saves (writes) the edited program into internal memory (UI1-88, Dr17— 18). You can also access this page by pressing the [REC] button from a different page. H BritePiane Program inthe wring destination @ Use the [TEMPO/VALUE] buttons to display the program number of the desired writ- ing destination (the memory location into which the data will be written). You can also use the [PROGRAM BANK] buttons and [PROGRAM NUMBER] buttons to input the program number. ‘When saving a normal program, select U11-88. When saving a drum program, select Drl7 or Drl8. (The selected program will be displayed.) @ If you wish to save the current program into the specified destination, press the {RESET/ YES] button & When you execute the Write Program operation, the data inthe writing destination will be lost, and cannot be recovered. 7576 3. Program mode Button settings In addition to the parameters that are displayed in each page, the iX300 has a variety of parameters that are accessed by pressing buttons. [VARIATION] buttons [1] and [2] When the “Page 2. Oscillator basic /Oscillator 2 relative” parameter Oscillator Type is set to DOUBLE (a double oscillator program), the [VARIATION] buttons [1] and [2] can be used to switch between the oscillator 1 and oscillator 2 displays in Page 3 and Pages 5-13. [REC] button When the [REC] button is pressed, “Page 22. Write Program” will appear. IKBD LOCK] button If you accidentally select a different program without writing your edits, you can press the [KBD LOCK] button (if you have not yet edited the selected program) to bring back the previous program. (Only the sound will be brought back, and the program number will not change.)4. Song Play mode 4. Song Play mode Functions of Song Play mode The following table lists the functions of Song Play mode, showing the title and main contents of each display page, and the manual page for reference. Display page Contents, ‘ne 1. Performance monitor__| Select song, tempo, measure at which playback willbegin_| =P. 78 2. Channel sotings | Pan, send level P.80 38. Transpose postion Position at which transpose willbe applied, and its effect FFP Bt 4. Etec solect| Etfect ype, effect oni P82 5. Etfect placement Effect placement, C/D pan and UR levels to ettects 1 and2 | °F. 6 6. Effect 1 parameters | Effect 1 parameter settings esP.86 7. Etlect 2 parameters _| Efiect2 parameter settings ep o4 If an error message appears while you are using one of the above functions, refer to the list of error messages given in “8. Appendices,” and take the appropriate action. For floppy disk handling, please also read the cautions given on page 13 of the User’s Guide. & (Output of MIDI program bank messages ‘The Disk/Global mode “Page 6. MIDI Filter” Program Filter setting lets you specify ‘how program banks will be output from MIDI. (Page 138 in this manual) ‘When connecting a Korg MIDI device, set this to “o. Ifyou have connected a MIDI device of another manufacturer, and playback is incor- rect, change this setting to “s” or “n.” If “n” is selected, the Program Bank settings will be ignored, and the bank number will not be transmitted from MIDI. 74. Song Play mode Page 1. Performance monitor Songtiename Tempo Measure number Song file name If you wish to successively playback all the songs that are on the disk, select “= ~~~" in the song file name field, and press the [START/STOP] button. The songs will playback in the order that they appear in the directory. If you wish to playback a specific song, you can use the TEMPO/VALUE [UP/+] and [DOWN/-] buttons to select the song for playback. You can also select the song for playback using the [ARRANGEMENT BANK] buttons and the [ARRANGEMENT NUMBER] butions (&® User's Guide page 17). The song will start when you press the [START/STOP] button, and will stop when you press the ISTART/STOP] button once again. During playback, you can press the [RESET /YES] button to return to the beginning of the song and reset the initial tempo (J=120). Unlike format 0 files, Standard MIDI Files in Format 1 require time for the entire file to be loaded. When you press the [START/STOP] button to start a Format 1 Standard MIDI File, a message will appear asking you to “Please wait a moment.” During loading, the [START/STOP] button LED will blink rapidly, indicating that data is being loaded. When the song data has been loaded completely, playback will begin. In Song Play mode, the Song Edit mode and Backing Sequence mode memory area is, used when playing Format I Standard MIDI Files. If song data or backing sequence data is being edited, a message will ask you whether it is OK to erase this data from memory: “Ok to erase BSeq&Song Edit.” If at this point you press the [RESET/YES] button, the backing sequence/song memory will be erased, and the song will begin playing back. If you do not wish to erase the song, data or backing sequence data, save the data ona different disk. For details on saving, edited song data refer to Song Edit mode “Page 12 Save" («Page 100 in this manual), and for saving backing sequence data refer to Disk/Global mode “Page 1. Disk parame- ters” section 1-2 Save (Page 133 in this manual). When you press the [TAP TEMPO/ NO] button, the next song will begin loading. If the size of the file being loaded is larger than the size of the memory buffer (maximum. 156 K), a message of “Can't play all track” will appear after the loading operation has, ended. If such data is played back, some of the tracks will not playback. If you press the [RESET/ YES] button the data that could be loaded will playback. If you press the [TAP TEMPO/NO] button, the operation will stop. < If the file cannot be found > In Song Play mode, only files with an extension of MID are recognized. If the titles of Standard MIDI Files created on another instrument or computer are not displayed, itis possible that the filename extension is other than MID. J ={Tempo) [20...250] ‘This sets the playback tempo of the song. Normally, the song playback will begin at the tempo that was saved in the Standard MIDI File. ‘The tempo can be adjusted in the range of 20-250. However when using the [TAP TEMPO/NO] button to change the tempo, the range is limited to 40-240. The tempo will be reset to 120 if you stop playback and press the [Reset/ YES] button, or if song play- back ends. 784. Song Play mode M (Measure number) [001...999] You can also specify a desired point in the song and playback from there. This can be done whether the file is playing or stopped. Use the [CURSOR] buttons to select the measure field, and use the [TEMPO/VALUE] buttons to specify the measure. If the song is already playing back when the measure is specified, the [START /STOP] button LCD will blink rapidly while the measure is being searched, fin normal playback mode you specify a measure number greater than the last measure of the current song, the song will stop at the last measure, and a message of “Measure not exists. Continue?” will appear. Ifyou now press the [RESET/YES] button, playback will continue with the next song. If you press the [TAP TEMPO/NO] button, playback will stop at the last measure of the ‘current song. When you move to a measure in a song that contains tempo change or program change data, the tempo setting and the program settings for each channel will be updated to the settings intended for the measure to which you moved. However, settings will not be updated for channels which are muted. If you wish to update the settings for these chan- nels as well, change the channel status from MUTE to PLAY. 794. Song Play mode Page 2. Channel settings While a song file is playing back, the settings for each channel that you make in this page will change to the settings of the Standard MIDI File song, When the song playback ends, the values will be reset. (Channel Program ChO1:ALL Pant CENT Pan Send eves Piano Ch (Channel) [01...16] To select channels 1-8, press a [TRACK/CHANNEL] button. To select channels 9-16, press the [SONG PLAY] button once again to make the [SONG PLAY] LED blink, and you can use the [TRACK/CHANNEL] buttons to select channels 9-16. Seifert sy Uo i ‘The sound played by the keyboard will change to the sound of the selected channel, Program (A11...U88, Dr11...Dr44] This displays the sound program played by the selected channel. ‘To change the current program, use the [PROGRAM BANK] buttons and the [PRO- GRAM NUMBER] buttons. ‘To select a drum program (Drll-Dr44), press the PROGRAM BANK [USER/DRUM] button several times to make the display read Dr, and then press a [PROGRAM NUM- BER] button. & Channel 10 will always play a DRUM bank program. (If you wish to playback a Stan- dard MIDI File in which channel 10 is other than DRUM, change the sound program here. Pan [OFF, L15...CENT...R15, PROG) ‘This sets the stereo location of the sound of each channel. This will be the A and B levels of the stereo channel. CNT will place the sound of that channel in the center. settings will place the sound toward the right, and R settings toward the left. As this value is increased the sound will move further away from the center. OFF will turn off the channel output to channels A and B. With a setting of PROG, the pan settings specified by each program will be used with- out change. =/D= (Send levels) ‘These parameters set the send levels of the Standard MIDI File that are sent from chan- nels C and D to the effect section. With a setting of P, the effect send levels specified by each program will used. 804. Song Play mode Page 3. Transpose position Transpose position [KBD/MIDI, ALL/MIDI, ALL/INT] This setting determines whether the setting of the [TRANSPOSE] buttons will apply to the sound played by the keyboard, to the sound that is played back, or to the messages. that are transmitted from MIDI OUT. This setting is valid only in Song Play mode, and in this case, the Transpose Position set- ting of Disk/Global mode "Page 2. Master tuning /Transpose position” will be ignored. ‘The [OCTAVE] buttons always apply only to the sound played by the keyboard, and are not affected by this setting. With a setting of KBD/MIDI, notes will be transposed when they are produced by the keyboard. This means that notes sounded by the internal tone generator or by an exter- nal MIDI tone generator connected to MIDI OUT will be transposed only if the notes, were played on the iX300’s keyboard. Notes played from the sequencer or notes received from MIDI IN will not be transposed. = AM — t =P Lene L, With a setting of ALL/MIDI, notes played on the keyboard and notes played by the sequencer will both transposed. This means that transposed notes will be sent to the internal tone generator as well as to an external tone generator connected to MIDI OUT. Notes received from MIDI IN will not be transposed. = 1 — — te With a setting of ALL/INT, notes will be transposed immediately before they enter the tone generator. This means that the transposed sound will be played, but that the notes transmitted from MIDI OUT will not be transposed. Notes received at MIDI IN will be transposed. Sahay soon sate Transpo 814. Song Play mode Page 4. Effect select Here you can select effects, allowing you to add a professional finish to the song that is played. Ett pe fect ONOFF B1tHall ON 2435umehonic Ens t0N ete 2 9p fect ONOFF Here you can use the iX300's two digital effect processors to apply effects. The two digi- tal processors allow two different effects to be applied simultaneously to modify the sound of the programs that are played, and greatly enhance the musical expression. Effect type [00: No Effect...47: Delay/Rotary] ‘The effect type can be selected independently for Effect 1 and Effect 2 For details on each effect type, refer to "6. Effects” (Page 103 in this manual) Effect ON/OFF {OFF, ON] This switches each effect on/off ‘The selected effect can also be switched on/off using an optional footswitch, foot pedal, or ECS external controller. For details refer to Disk/Global mode “Page 7. Assignable pedal settings” and “Page 8. ECS external controller settings.”4. Song Play mode Page 5. Effect placement Here you can specify how the two effect processors applied to the song will be com- bined (including the pan and level settings for channels C and D). Placement Placements SERIAL G DR Pan Pan Etiecttletlevel_| tect 2 ltt evel fect tmohtlevel Effect right eve Placement (SERIAL, PARALLEL 1, PARALLEL 2, PARALLEL 3) Specifies the placement of the two effects and of the C/D pan and L/R level adjustments of channels C and D. Pan and send levels to the effects are set independently for each channel in “Page 2. Channel settings.” With a setting of SERIAL, effects 1 and 2 will apply to channels A and B. Since the sig- nals from channels C and D will be mixed in at the locations specified by C Pan and D Pan after effect 1, only effect 2 will be applied to them. MONO pLran TABt eects [> etter =e Song Send }o—>[ CPan Le[sena_}o>—>[D Pan With a setting of PARALLEL 1, effect 1 will apply to channels A and B, and effect 2.will apply to channels C and D. After effect 2, the C Pan and D Pan parameters will set the panning. Finally, the signals from the two effects will be mixed. jono pmLPan FABT ettect 1 T. > Song Send_}c: __r>[cPan Ft e Beatz Ls send_}o! LDR With a setting of PARALLEL 2, effect 2 will apply to channels C and D, and after effect 2 the C Pan and D Pan parameters will set the panning. Then the signal will be mixed with channels A and B and sent through effect 1 MONO. Pan Song >[ send }o, Pan Eflect2 Ly[Send_}o Lo[oFan rn 84. Song Play mode With a setting of PARALLEL 3, effect 1 will be applied to channel C, and effect 2 will be applied to channel D. The left/right levels of effect 1 and 2 are specified, and their sig nals are then mixed with channels A and B. These are the effect send /return settings which mix the dry (unprocessed) sound with the wet (processed) sound. MONO Pan} Re Br >! x sae fe Sem ol ene | CC Pan} [OFF, R, 99:01...01:99, U This sets the panning of the signal from channel C. This setting will appear if a Placement of SERIAL, PARALLEL 1, or PARALLEL 2s selected, Lplaces the signal at the left. R places the signal at the right. OFF turns off the channel C signal. D (D Pan) [OFF, R, 99:01...01:99, L] This sets the panning of the signal from channel D. ‘This setting will appear if a Placement of SERIAL, PARALLEL 1, or PARALLEL 2 is selected Lplaces the signal at the left. R places the signal at the right. OFF turns off the channel D signal. IL/1R (Effect 1 Left/Right Level) (0...9] ‘This sets the level of the signal from effect 1 that is mixed with channels A and B. This setting will appear if a Placement of PARALLEL 3 is selected. As this value is increased, the level ofthe signal mixed with channels A and B will, increase. With a setting of 0 the signal will be off. 21/2R (Effect 2 Left/Right Level) (0...9] This sets the level of the signal from effect 2 that is mixed with channels A and B. ‘This setting will appear if a Placement of PARALLEL 3 is selected ‘As this value is increased, the level of the signal mixed with channels A and B will increase. With a setting of 0 the signal will be off. Page 6. Effect 1 parameters Page 7. Effect 2 parameters 84 Pages 6 and 7 contain parameter settings for the effects that were selected in “Page 4. Effect select.” In these pages you can set parameters for the effects that will be used in Song Play mode. The settings for effects used in other modes are set in the respective mode. ‘The effect parameters that can be set in these pages will depend on the effects that are selected. For details on effect parameters, refer to “6. Effects” (& Page 103 in this man- ual).4. Song Play mode Button settings In addition to the parameters that are displayed in the various pages, the iX300 has a variety of parameters that ate accessed by pressing buttons. [TRACK/CHANNEL] buttons These buttons can be used to adjust the volume of the sound program assigned to each channel, or to mute (silence) the channel Press a [TRACK /CHANNEL] button for the desired channel, and the setting display for the corresponding channel 1-8 will appear. To see the setting display for channels 9-16, press the [SONG PLAY] button once again to make the LCD blink, and press a [TRACK/ CHANNEL] button to select channels 9-16. After setting the parameters, press [EXIT] to return to the previous display. Alterna- tively, the previous display will automatically reappear if 7 seconds pass without any operation being performed. Chane! Program Chi Ads JazzGuitar =1278 PLAY Voume —Bargraph Activity (Mute) Volume [000...127] Each time you press an upper (at) [TRACK/CHANNEL] button, the volume of the cor responding channel will increase by 1 step. If you continue pressing, the volume will continue to increase. Each time you press a lower (¥) [TRACK /CHANNEL] button, the volume will decrease by 1 step. If you continue pressing, the volume will continue to decrease. The volume is displayed as a numeric value and as a bar graph to its right. +, PLAY] Each time you simultaneously press the upper (4) and lower (¥) buttons fora channel, that channel will alternate between muted (silent) and un-muted (normal) states, Activity [-- A muted status is indicated by ~~~. When a channel is not muted, the display will show PLAY, indicating that it can be played back.4. Song Play mode [TRANSPOSE] buttons If you need to transpose the music, press the TRANSPOSE [+1] or [-1] buttons, and the transpose setting will appear. Transpose dave ‘The pitch can be transposed in semitone steps over a range of II steps upward or down- ward. When transpose is modified, not only the sounds played by the keyboard, but also all channels of the song play data will be transposed as well. Simultaneously pressing [+1] and {-1] will reset the setting to 0. After setting the parameter, press the [EXIT] but- ton to retum to the previous display. Alternatively, the previous display will reappear automatically if approximately 7 seconds pass without any operation being performed. [OCTAVE] buttons ‘The settings of these buttons will not affect Standard MIDI File playback, but will affect notes played on the iX300’s keyboard. When the OCTAVE [UP] or [DOWN] buttons is pressed, the octave setting page will appear. The pitch can be shifted a maximum of 2 octaves up or down, 865. Song Edit mode 5. Song Edit mode Display page Contents, “noe 1. Load ‘Load a Standard MIDI File "=P. 88 | 2. Play & realtime recording | Playback and record song data =P. 88 8, Track parameters Parameter settings fr each track P90 4. Event eit Moaity individual song data events Pot 5. Shi note TTranepose song data P93 6. Erase song Erase song data Pad 7-4. Delete measure | Delete measures =P. 94 7. Edit t | 7-2. Insert measures | Insert measures rp. 95 7-8, Erase measures | Erase data from measures =P.96 8. Elect select Etfect ype, effect on/ot P97 9. Effect placement Etfect placement EP. 98 10. Effect 1 parameters Effect 1 parametar settings =P.99 11. Effect 2 parameters Effect 2 parameter settings P99 12. Save ‘Save as Standard MIDI Fle F=P.100 875. Song Edit mode Page 1. Load Load Standard MIDI Files. Insert a disk (3.5 inch MS-DOS format, formatted capacity of 720 Kbytes or 1.44 Mbytes) containing Standard MIDI Files into the disk drive, and press the TEMPO/VALUE [UP/ +] or [DOWN/-| button. Files with a filename extension of MID will be displayed (in the order in which they are stored on disk), Select the Standard MIDI File that you wish to load. To load the selected file, press the [RESET/YES] button. After the data has been loaded, press the [START/STOP] button to move to page 2 and begin playback. If you press the [EXIT] button in this page, you will also enter page 2. Page 2. Play & realtime recording 88 Here you can playback the Standard MIDI File that was loaded. The song name will be displayed in the upper line, (ONG EDIT MAN Tehpo Tempo eure ove roe Tempo [40...240] ‘This displays the recording or playback tempo of the song, Ifyou wish to adjust the tempo manually, set the following Tempo Mode parameter to MAN. Tempo mode (AUT, MAN, RECI A setting of AUT will cause tempo to follow the tempo track. A setting of MAN will cause the tempo setting above to be used, and the tempo track will be ignored. If you wish to adjust the tempo manually during playback or recording, select MAN. REC can be selected after the [REC] button is pressed. By selecting REC and then press- ing the [START/STOP] button, you can record tempo changes to the tempo track. Play- back will follow the data of the tempo track. Measure [001...999] This displays the measure being played back or recorded. Octave This indicates the keyboard octave. Use the [OCTAVE] buttons to modify the setting.5. Song Edit mode —————s a et mode, Realtime recording When you press the [REC] button in page 2, you will enter the track recording page. Use the [TRACK/CHANNEL] buttons to select the track which will be recorded. Set the various parameters and then press the [START /STOP] button to begin recording. Press it once again to stop recording. Star measure Recording mode | End measure TrOl AUT MeGisoo2 J=120:AUT Q3HI MtOFF ‘Quentize — MatSnome Tr (Track) {0...16] Selects the track that you wish to record. Recording mode [Ovwr, OVDB, AUTP, MANP] OVWR (Overwrite recording) will overwrite the newly recorded data onto the track. Any data previously existing on the track will be erased, and replaced by the newly recorded data. OVDB (Overdub recording) will add the newly recorded data to any previously existing data. AUTP (Auto punch recording) allows you to specify a Start Measure and End Measure (located at the right in the display) before you begin recording, so that only the specified area of measures will be re-recorded. MANP (Manual punch recording) lets you manually specify the area to be re-recorded. Playback the data, press the (REC] button at the beginning of the section that you wish, to re-record. Recording will begin. When you reach the end of the section to be re- recorded, press the [REC] button once again, and recording will end (normal playback will resume). Instead of pressing the [REC] button, you can also use a pedal which has been assigned to PUNCH IN/OUT. When you press the pedal at the measure from which you wish to re-record, recording will begin. When you press the pedal once again, recording will end. To assign a pedal to PUNCH IN/OUT, refer to Disk/Global mode “Page 7. Assignable pedal settings” or “Page 8. ECS external control settings.” Q [Recording quantize) tH, S.J] This sets the timing precision at which notes will be recorded. With a setting of HI, notes will be recorded at the exact timing at which they were played. (On the iX300, notes can be recorded at a precision of 1/96th of a quarter note.) With settings other than HI all recorded notes will be moved to the nearest interval of the specified timing. For example if this parameter is set to J, all notes will be recorded. at the nearest quarter-note interval. Please be aware that if pitch bend or other continu- ous controller data is recorded at a rough quantize setting, the changes during playback will sound unnatural M (Metronome) [OFF, ON, REC] ‘This turns the metronome on/off. With a setting of OFF, the metronome will sound only during the recording pre-count. With a setting of ON, the metronome will sound during recording and playback. With a setting of REC, the metronome will sound only during recording. 895. Song Eait mode Page 3. Track parameters 90 Here you can view and modify the parameters of each track. Track Program TrOi All Piano 1 Chet NT o=2 MOI chonoet Sendievel Panpot Tr (track) {ChO1...ch16] To select a track 1-8, press the corresponding [TRACK/CHANNEL] button. ‘To select a track 9-16, press the [SONG EDIT] button to make the LED blink, and then press a [TRACK/CHANNEL] button. Program [A11...U88, Dr11...Dr44] This displays the program specified for the selected track. ‘To change the current program, use the [PROGRAM BANK] buttons and the [PRO- GRAM NUMBER] buttons. ‘To select a drum program (Dr11-Dr44), press the PROGRAM BANK [USER/DRUM] button several times to make the display read Dr, press a [PROGRAM NUMBER] but- ton, and then press the [EXIT] button. Ch (MIDI channel) [01...16] ‘This displays the MIDI channel specified for the selected track. When a song is converted into a Standard MIDI File using “Page 12. Save,” the MIDI channels specified here will be used. You may set two or more tracks to the same MIDI channel, but be aware that if Format 0 is used, program change and control data of these tracks will al be mixed together. Pan [OFF, L15...CNT...R15, PRG] This sets the stereo location of the sound of each track. This will be the A.and B levels of the stereo channel. CNT will place the sound of that track in the center. settings will place the sound toward the right, and R settings toward the left. As this value is increased the sound will move further away from the center. OFF will tum off the channel output to channels A and B. With a setting of PRG, the pan settings specified by each program will be used without change. C=/D= (Send levels) (0...9, Pl ‘These parameters set the send levels of each track that are sent from channels C and D to the effect section,5. Song Edit mode Page 4. Event edit Here you can perform detailed editing of individual events such as notes or control changes. Track [01...16, Tempo] Selects the track in which you wish to perform event editing. When you press the [REC] key, the Event Filter setting page will appear. Select “o” for the types of musical events that you wish to view (and edit) in the event edit display, and select “x” for types of event that you do not wish to view. For the various types of event, refer to the “Event types” table on the following page. Note data Control change Aeriouch HOTE!o CTRLt0 AFTT#o BENDIo PROGIO PAFTI0 ten ond Program change Polyphonic atetouch Press the [START/STOP] button to switch to the Event Edit page. ‘When you finish editing, press the [START/STOP] button once again. @ Bar lines Measure numbpndex number EVENT Maa: BAR 1 aca : Barine Time signature ‘* Measure number/Index number The index number is a number that indicates the number of the event within the mea- sure. By modifying this number you can step through the various events in the measure. Index number 0 in each measure displays the bar line (the division between measures) and the time signature. ‘+ Time signature This indicates the time signature of the measure. @ End of track EVENT M123 End of Track == @ Events Location EVENT MBGL#O1 1114 ct Wed ar8e Event pe 15. Song Edit mode * Location 11:00...8:95] ‘This indicates the location within the measure. The value is displayed as the number of quarter notes and 1/96th of a quarter note steps. If this is displayed as TIE, the note has been tied from a note in the previous measure. * Event type Event type Values C1..69 V.002...V:128 0:00..4:00 “1 (oto data) (velit) length (Deasclocks) BEND —8192..8191 2 (itch bend) (upperiower values) ‘AFT 000.127 (etertouch) (val) PROG (000..127: 000.127 3 | oregram change) {or0gfam bank program number) TAL (c000...6127 000...127 (Control change) (contol change number) (contol number PAFT *4 [04.68 (000...127 (bolyphonic atonouch) (Goto number) (value) If connected to a note in the next measure, this will be displayed as TIE. "2. Use the [CURSOR] buttons to set the upper and lower pitch bend values. “3. 02s the drum bank, but the actual drum programs correspond as follows. (000...127 indicate the LSB of the MIDI bank change, and the MSB is 0. --- will not transmit the program bank. The previously-specified bank will be used. *4, MIDI Polyphonic Key Pressure messages will be transmitted. (The iX300 cannot receive this message.) * You can delete the displayed event by pressing the [SPLIT POINT/DEL] button. How- ever itis not possible to delete BAR (bar line) or End of Track (the end-of-track indica- tor). * You can insert an event before the displayed event by pressing the [SUSTAIN/INS] but- ton. However this is not possible if the bar line of the first measure is displayed. Correspondence between Drum Numbers and actual Drum Programs PROGRAM NUMBER | DRUM PROGRAM PROGRAM NUMBER | DRUM PROGRAM 000.015 Di:GM Kit 118 Dra6:On'n OFF 016.028 Driz:Power Kit ” Dear: BiMessed™ 028 DA7.User 1 115 (eae:16beat Kit [02s DriiAnalog Kt 116 DraBossa Kit 026.081 DAr.User 1 47 DraSamba Kit 092,099 Deavezekt | [116 aorta Kit 040..087 ——_—| DriSsBrush Kit [ue eaasGypay Kit 046,056 Drigilser2 [20 DeatiDance Kit 056.063 (| DrGM Kt 12 re2:0reh Kit 064..071 DeigiPere Kit 122 | Dr2s:Funky Kit 072.107 [ortomke | [ta De2tsHouse Kit 108 Orat:Movekit | 24 DesRaveKt | 109 DeazitFunkyKn | | 125 D266 Kit 10 DasiatNor | | 126 DerAainke | 1 Drastainrer | [127 DeeePere Kite 112 DasSteanrin 925. Song Ealt mode Page 5. Shift note This operation shifts the pitch of notes in the specified measures of the selected track up or down in semitone steps. However if the program in the selected channel is a drum bank program, this will have no effect. When you finish making settings, press the [RESET/YES] button. You will be asked for confirmation, so press the [RESET/YES] button once again to execute. Track | End messue Slat measure Shit amount Track [Ch01...ch16, ALL] Selects the track(s). If you select ALL, notes will be shifted in all tracks. Start measure [001...999] Specifies the first measure in which notes will be shifted. End measure [001...999] Specifies the last measure in which notes will be shifted. Sh= (Shift amount) [-24...424] Specifies the amount of pitch shift Asetting of +24 will raise the note pitches by 2 octaves. A setting of -24 will lower the note pitches by 2 octaves. A setting of +00 will have no effect. Page 6. Erase song ‘When a song is loaded, the backing sequence capacity will decrease correspondingly, and it may no longer be possible to load a backing sequence file. If this occurs, use this ‘operation to delete the song data. Press the [RESET/YES] button. You will be asked for confirmation, so press the [RESET/ YES] button once again to erase the song. If you wish to keep the song data, use "Page 12. Save" to save it to floppy disk before you erase it, 935. Song Edit mode S.Seng Ft mod 4 Page 7. Edit 1 In this page you can select one of the following three operations: delete measures (DELETE), insert measures (INSERT), or erase data from measures (ERASE). Use the [CURSOR] buttons to move the cursor to the desired operation, and press the [RESET/YES] button to access the sub-page in which that operation can be executed. EDIT 1 (Fre: (DEL) CINS> (ERASED Delote measure | Erase data flom measure Inson meassre 7-1. Delete measure This operation deletes measures from the specified track. Teil 6019001 Track Frctand lst of the measures tobe deleted © Use the [CURSOR] buttons to move the cursor to the channel, and use the [TEMPO/ VALUE] buttons to specify the channel. ® Move the cursor to select the first and last of the measures that are to be deleted. If you wish to delete only one measure, set the same number for each field, @ After specifying the measures that are to be deleted, press the [RESET/YES] button. < How the time signature is affected > ‘The measures that follow the deleted measures will be moved toward the beginning of the song to fill the gap. If you delete measures from a single channel, the subsequent measures that are moved will have the same time signature as other channels. ‘Measures whose measure number was affected by the delete measure operation may be shortened or lengthened as a result.5. Song Edit mode a Srp ct mos 7-2. Insert measures This operation inserts measures into the specified location. Insert Meas. (Yes/No? TeO1 MOB1 Laat 44 ‘Number of measures that wilbe inserted @ Use the [CURSOR] buttons to move the cursor to the track, and use the [TEMPO/ VALUE] buttons to specify the track. If you specify ALL, measures will be inserted into all tracks (chord track, control track, tempo track etc, @ Move the cursor to specify the measure number at which the measures will be inserted, and the number of measures. You may also specify the time signature of the new mea- sures, but since other tracks will be affected if measures of a different time signature are inserted, refer to the following diagrams before you specify the time signature. @ After settings are complete, press the [RESET/YES] button. < If you insert measures of a different time signature > The modified time signature will apply if tempo is set to]=AUT. Ifa different time signature is selected, the corresponding measures of all tracks will be set to this time signature, meaning that those measures will become either longer or shorter. Inserting two measures of time signature = 7/8 Batore Insertion Tot [sen ) a ‘02 Insert (Datais unchanged, ‘tor nsorton \ bur signature 1s modtiog) woo || Coen Lace T scm 7 wo | (Calais unchanged, bu time signature s modtied) vor Fiza Tere Tam [swe T si | If you execute the Insert operation with a setting of "/**, the new measures will have the same time signature as the corresponding measures of other tracks which already contain data. Ifother tracks are all empty, the same time signature as the next appearing, measure will be used. Time signature = */"* Bofors insertion vor (ia [29 [eo [amy Tor] ree (ia Feo [oe [awe Tse] Insert (Oatais unchanges, ‘Aner nserion buttime signature is mostiod) Toe (iwo T2@4 T sae Twn Tso Tose [704 | ror (iw [2a [320 Team [seo | Regardless of whether you select a different time signature or not, the measures which follow the inserted portion will be moved backward (toward the end of the song). If you insert measures into only one track, the measures which are moved backward will be given the same time signature as the corresponding measures of the other tracks. Asa result of the insertion, measures whose numbers have changed may be shortened or lengthened. 955. Song Edit mode 7-3. Erase measures ‘This operation erases part or all of the data from the specified measure(s). ‘Trdek Frstandlast measure om Specly tho ypo of data ‘nhich data willbe erased.” which Wile erasod @ Use the [CURSOR] buttons to move the cursor to the track, and use the [TEMPO/ VALUE] buttons to specify the track. ® Move the cursor to specify the first and last measure numbers from which data will be ‘erased. If you wish to erase data from only one measure, set the same number for both. ‘Type of data Erased data ALL ‘allgata NOTE ‘Allnote messages CTRL ‘Al contol change messages AFT CChannelpolyphonieattetouch messages BEND ‘Allpich bend messages PROG ‘All program change mossages @ After settings are complete, press the [RESET/YES] button. < Erasing control changes > For CTRL (control change) messages such as damper switch (and also for pitch bend. messages), erasing the message which turns off the effect (or resets the normal pitch bend value) will mean that the effect will be “stuck” on. If this occurs, either erase the remaining messages, or use “Page 4. Event edit” (Page 91 in this manual) to correct the data. 965. Song Edit mode Page 8. Effect select Here you can select the effects, allowing you to add a professional-sounding touch to the song that is played. fect ype fect OFF tet 2 ype Elec ONOFF ‘The iX300's two digital effect processors can be used to apply effects to the song. The two digital processors allow two different effects to be applied simultaneously, to apply various effects to the playback of the Standard MIDI File, greatly enhancing the musical expression. Effect type [00: No Effect...47: Delay/Rotary] ‘The effect type can be selected independently for Effect 1 and Effect 2. For details on each effect type, refer to "6. Effects” (Page 103 in this manual). Effect ON/OFF [OFF, ON] This switches each effect on/off. ‘The selected effect can also be switched on/off using an optional footswitch, foot pedal, or ECS external controller. For details refer to Disk/Global mode “Page 7. Assignable pedal settings” and “Page 8. ECS external controller settings.” 975. Song Eait mode 98 Page 9. Effect placement Here you can specify how the two effect processors applied to the song will be com- bined (including the pan and level settings for channels C and D). Placement SERIAL Placement! PARALLELS 1L=2 1R=3 2L=4 2R=5 tT Pan DPan tect Notiovet | fect 2 let tevel tect ghtlevel Elect 2 ight evel Placement (SERIAL, PARALLEL 1, PARALLEL 2, PARALLEL 3) Specifies the placement of the two effects and of the C/D pan and L/R level adjustments of channels C and D. For each channel, the pan and send levels to the effects are set by “Page 3. Track param- eters.” With a setting of SERIAL, effects 1 and 2 will apply to channels A and B. Since the sig- nals from channels C and D will be mixed in at the locations specified by C Pan and D Pan after effect 1, only effect 2 will be applied to them. _pMoNo Papo El ea [TP tea mr ‘Song Send }o—>[CPan FF, Send }o—>[ Dar With a setting of PARALLEL 1, effect 1 will apply to channels A and B, and effect 2 will apply to channels C and D. After effect 2, the C Pan and D Pan parameters will set the panning. Finally, the signals from the two effects will be mixed. a pre HPL eters es song >[ Sed fo _>(ore pes o. ~ Lao Pan With a setting of PARALLEL 2, effect 2 will apply to channels C and D, and after effect 2 the C Pan and D Pan parameters will set the panning, Then the signal will be mixed with channels A and B and sent through effect 1. bof TSena A _s/MONO (Pa tect [Pe Song Send} _r>[eren Ht a Etat 2 Lol Send ~ Le oren5. Song Edit mode With a setting of PARALLEL 3, effect 1 will be applied to channel C, and effect 2 will be applied to channel D. The left/right levels of effect 1 and 2 are specified, and their sig- nals are then mixed with channels A and B. These are the effect send /return settings which mix the dry (unprocessed) sound with the wet (processed) sound. uwono Pan} eA Z ‘Song Send }o-["] Effect 1 Send of tect 2 CC Pan) [OFF, R, 99:01...01:99, LI This sets the panning of the signal from channel C. This setting will appear if a Placement of SERIAL, PARALLEL 1, or PARALLEL 2 is selected, L places the signal at the left. R places the signal at the right. OFF turns off the channel C signal. D (D Pan) [OFF, R, 99:01...01:99, L] This sets the panning of the signal from channel D. This setting will appear if a Placement of SERIAL, PARALLEL 1, or PARALLEL? is selected. L places the signal at the left. R places the signal at the right. OFF turns off the channel D signal. IL/IR (Effect 1 Left/Right Level) {0...9] This sets the level of the signal from effect 1 that is mixed with channels A and B. This setting will appear if a Placement of PARALLEL 3 is selected. ‘As this value is increased, the level of the signal mixed with channels A and B will increase. With a setting of 0 the signal will be off. 21/2R (Effect 2 Left/Right Level) [0...9] This sets the level of the signal from effect 2 that is mixed with channels A and B. This setting will appear if a Placement of PARALLEL 3 is selected. As this value is increased, the level of the signal mixed with channels A and B will increase. With a setting of 0 the signal will be off. Page 10. Effect 1 parameters Page 11. Effect 2 parameters Pages 10 and 11 contain parameter settings for the effects that were selected in “Page 8, Effect select,” and allow you to change the effect settings that will be used by the song that is loaded. The settings for effects used in other modes are set in the respective mode. The effect parameters that can be set in these pages will depend on the effects that are selected. For details on effect parameters, refer to “6. Effects” ("Page 103 in this man- val). 995. Song Edit mode Page 12. Save 100 Here you can save song data to floppy disk as a Standard MIDI File. At the time of sav- ing, you can also modify the filename. To save the song, press the [RESET/ YES] button. You will be asked for confirmation, 50 press the [RESET/YES] button once again to execute saving, SAVE SONG AGDEMOL Flo name Bank Fomat ype You can specify a file name of up to 8 characters. Use the [CURSOR] keys to move the cursor to the location of the character you wish to modify, and use the [TEMPO/VALUE] buttons to modify the character. Pressing the [SUSTAIN] button will copy the character at the cursor, allowing a charac- ter to be inserted at that location. Pressing the [SPLIT POINT] button will delete the character at the cursor location. Format type (0, 11 ‘Specifies the format of the Standard MIDI File. If you will be playing back the file in Song Play mode, saving the data in format 0 will aliow playback to begin more quickly, and the song will also occupy less memory. If two or more tracks of the edited data use the same channel (for example if you have recorded right hand and left hand parts separately, or recorded drum parts on separate tracks), save the data in format 1 However ifa large amount of data is saved in format 1, some of the tracks may not play back in the iX300"s Song Play mode. PB (Program bank) [NUM, KORG, SERI] Specifies whether or not bank select messages will be added. With a setting of NUM, bank select messages will not be output. However for channels other than 10, if sounds from banks other than A or B were used, playback will not occur with the correct programs. With a setting of KORG, the Korg bank select messages will be output. Banks A and B and the drum bank will be compatible with other Korg GM-compatible products. How- ever in some cases, there may be no sound on some products of other manufacturers. With a setting of SERI, bank select message will be output as follows: AB=00,00, CU=00,01, Dr=00,02, and DE=00,08.5. Song Ealt mode Button settings In addition to the parameters that are displayed in the various pages, the iX300 has a variety of parameters that are accessed by pressing buttons. After setting the parameters, press the [EXIT] button to return to the previous display. Alternatively, the previous page will reappear automatically if no operations are per formed for approximately 7 seconds. [TRACK/CHANNEL] buttons ‘When page 1 or page 2 is displayed, these buttons can be used to adjust the volume assigned to each track, to mute (silence) the track, and to change the program. Press a [TRACK/CHANNEL] button, and the setting display for the corresponding, track will appear. When the channel setting is displayed, you can use the [PROGRAM BANK] buttons and [PROGRAM NUMBER] buttons to select the program for each track. Volume [000...127] To set the volume of a track 1-8, press the corresponding [TRACK /CHANNEL] buttons. Toset the volume of a track 9-16, press the [SONG EDIT] button to make the LED blink, and then press a [TRACK/CHANNEL] button. Each time you press an upper () [TRACK/CHANNEL] button, the volume of the cor- responding channel will increase by 1 step. If you continue pressing, the volume will, continue to increase. Each time you press a lower (¥) [TRACK/CHANNEL] button, the volume will decrease by 1 step. If you continue pressing, the volume will continue to decrease. Activity (PLAY, ~~ ~~, = i Each time you simultaneously press the upper (At) and lower (¥) [TRACK /CHANNEL] buttons for a channel, that track will alternate between muted (silent) and un-muted (normal) states. ‘When a channel is not muted, the display will show PLAY, indicating that it can be played back. A muted status is indicated by ---~, If that track has no data, the display will indica 1015. Song Edit mode 1026. Effects 6. Effects This chapter explains the effect types that can be used in the various modes of the iX300. In Arrangement Play, Backing Sequence, Program, Song Play, and Song Edit modes, each mode has its own pages in which effect settings can be made. Effects are a very important aspect of the overall sound. ‘The word “effects” is used referring to a variety of different digital processing methods that are applied to the sound of an instrument (or to the sound of the entire perfor- ‘mance) to create an impression of depth or spaciousness, or to add a unique character to the sound. Effects are indispensable to adding the finishing touch to the sound. ‘The iX300 provides 47 different types of effect, beginning with those essential for any type of music (reverb, chorus, etc.) and including effects such as exciter and enhancer. Simply reading the explanation for each effect may not be enough to give you an idea of the sound. But the best way to understand each effect is to actually listen to it on the iX300, and hear for yourself the unique character that each effect adds to the sound. Since the iX300 has two independent effect processors, up to 2 types of effect can be applied simultaneously. In addition, you can use a foot pedal to switch effects on/off while you play. Effect type The X300 has 47 different effects, and these can be classified into the following 25 Types. Etfoct number Effect type 0 No Etec 8 Reverb 10-12 Early Retlecion 134 ‘Stereo Delay 6 Dual Delay _| 1618 ~ | Mutitap Delay 1820 (Chorus 2i22 Quadrature Chorus 2 Harmonie Chorus 24 ‘Symphonie Ensemble 25.27 Flanger 28 Excitr 23 Enhancer ost Distortion 52-83 Phaser - 4 Rotary Speaker 35-86 Tremolo 37 Parametric Equalizer [30-30 Chorused/Flanged Delay [40-84 Delay & Reverb - 2 [ Betay & crovus [43 Delay & Finger 445 Delay & Distorton 6 Delay & Phaser a7 Delay & Rotary Speaker 7036. Effects 104 Dynamic modulation If an optional Korg XVP-10 or EXP-2 pedal controller is connected to the ASSIGN PDL/ SW jack, and you set the Disk/Global mode “Page 7. Assignable pedal settings” (Page 139 in this manual) to EFFECT CONTROL, a foot pedal can be used to control the effects in various ways. The aspect of the effect that can be controlled will depend on the effect; for example it might be the balance between the original sound and processed sound, the speed of modulation, or the frequency that is being emphasized. However for some effect settings, dynamic modulation may not have a noticeable result In the LCD, parameters which can be controlled using dynamic modulation while you play are indicated by a+" symbol (except for 34: Rotary Speaker and 47: Delay & Rotary Speaker). In this manual, such parameters are marked by a [yagée_ symbol. Shelving equalizer Many of the iX300’s built-in effects have a two-band shelving-type equalizer that can boost or cut the low and high frequency ranges, and the equalizer will continue func tioning even if the switch parameter is used to turn the effect on /off. However the Ste~ reo Delay (13, 14), Stereo Chorus (19, 20), Exciter (28), and Tremolo (35, 36 effects) are exceptions. If you wish to listen to the un-equalized sound while editing a program, you will have to set the effect selection to 00:No Effect to turn off both effect processors. Settings for each effect Explanations for each of the 25 effect types are given below. 00: No Effect When 00: No Effect is selected, effects will not be applied to the sound. Select this if you want the sound to be dry, with no effects. ‘As an alternative to selecting No Effect, you can also tur off the effects by using an optional foot switch. However the foot switch is designed for realtime control while you play, while selecting No Effect is used when no effects are to be applied to the sound at all.6. Etects ————— 01...09: Reverb Reverb adds reverberance to the sound, creating a more natural impression. This is the most frequently used effect. ‘The iX300 provides nine types of reverb effect. 01: Hall simulates the acoustics of a small concert hall, such as might be used by a string quartet or acoustic jazz band. 02: Ensemble Hall is a slightly larger hall, suitable for orchestral or brass ensembles. 03: Concert Hall has greater emphasis on the early reflections, and is suitable for full orchestras. 04: Room reproduces the feeling of a standard room. 05: Large Room simulates a larger room with greater density, and is similar to gated reverb. 06: Live Stage has a sound similar to what you might hear in a gymnasium, and re-cre- ates the atmosphere of a rock concert. 07; Wet Plate and 08: Dry Plate simulate plate reverbs, devices which are often used to add emphasis to vocals or solo instruments. Wet Plate is heavy, and Dry Plate is light. 09: Spring Reverb simulates a spring reverb device of the type often used in guitar amplifiers. For each of these, the sound passes through a two-band shelving equalizer located before the reverb effect: Some of these reverb effects produce a rapid series of initial delays which are known as Early Reflections. The “wash” of reverberation will follow this, and gradually die away. co }o[ pave bof we = Rev Tire — [Reverie Depends on the efact the time over which the reverberation decays P | Pre dety 0.20018 ‘Sethe dla rom the rect sound ul when the eal rellocins bog. Higher values wil cause the reverboreton fo bo mora dint Ske an ech. | Eany recto evel ‘Depends onthe aftact | Set tie volume ofthe eat retecton component the overberation. AS is vali increased, ho early reectons willbe emphasized more great lowing thom tobe hear loa, HO | High deme 0% 06% et the degree to which he hgh Fequoncies willbe atlonuated. Higher stings wil caus the Fgh re _auences to decay more api | Eavatzeriow TP a8. 12 8 ‘Set ine amount of boost or cut athe showing ype equalizer wl apply tthe region below 1 hi W | Eguazer igh T2a8..12 a ‘Set the amount a boost or ut hat the eheling pe ‘equalzar wt apy tte rgion above 1 KHZ | Drvtat balance DAY, B0%..690, FX | Sel he balance between the cect eound (ORY) and the sound processod by the eft (FX), Wiha seting ‘of DRY, te effect wile tumod ef With a seting of FX, eny th rover sound willbe Read Die 8 Page 104i is maria. 1056. Etfects 10...12: Early Reflections ‘These effects simulate just the early reflection component of natural reverberation. Early reflections play an important role in determining the characteristics of an acoustic, environment. They can be used to add solidity to the sound, fo create echo-like delays, or to add interesting touches to the sound. 10; Early Ref 1 allows you to boost the low frequency components or produce effects similar to gated reverb. This effect is ideal for drum sounds. 11: Early Ref 2 causes the early reflections to decay more gradually. 12: Early Ref 3 produces reflections which increase instead of decreasing, When applied toa sound with a strong attack, this produces a reverse-tape effect. Fach of these three early reflection effects includes a two-band shelving equalizer. tet re o sia! 7 a fof Pee Detey [mf any ret % oy sine — ee — >i T | Ear reecon te 100..8007| ho ne over which tho say rtactons wit cap ear As is mes sett a longer value, he early Fatlectons will became more pronounced P | Predelay 0.20078 ‘Sette delay rom the direct sound unt when the eat elections begin. Higher values wil cause the Fefecions i be mote obvious, producing a clearer echo sound | Eaualzeriow T2828 ‘Sethe amount of Bost oF cuthat the shaving be qualzr wit apply tothe region below 1 KHz | Equatzar igh T2812 ‘Sethe amount of boot or el that the sheng Pe ‘equalize wl apply tothe region above 1 wz >| tee balance ‘DRY.81.,098,FX | Set thebaance betwoon the dec sound ORY) ana the sou processed by te fact (0). Wasting ‘SRY ne tect wb ood of With a FX onthe ery rtocton sound willbe tings the proportion ofthe Set sound and ‘tect soins Diez age 104 nth manus 10613, 14: Stereo Delay 6. Effects This effect produces a stereo delay (echo pattern). Since itis a stereo effect, you can set different delay times for left and right to pan the echoes in interesting ways. The Hi Damp parameter attenuates the high frequencies, making the delay repeats sound more natural. 13: Stereo Delay applies feedback independently for the left and right channels. 14: Cross Delay sends the delay feedback from the left to the right, and from the right to the left channel, making the sound bounce between the left and right channels. ‘These two effects route the left and right channels through a two-band shelving equal- izer before applying the delay. ut eo le Delay L Delay & Feecbacx —I gE Es EA Delay L Delay & Stereo Delay =. Gross Delay T_ [Doty tno 0.,500m ‘St the long ol he et Channa delay. Delay time R 0.500 ‘Set he long of he right channel delay, Feedback 20%, ‘Set the amount of fodback Le, the amount of he ‘olayod signal that wil be tured to the input of the High setings wil produce agreter numberof repeats, and kil ake longer or the ech away. Negalve setings wil iver the pase back, causing tho echows to have a harder one quality, and ess a a hollow fealing HO | High damp ‘Set to dogre o which te high requendes wit be atenuated. Higher eating wil eae tho high o- quoncls o decay mare racy | eavatzeriow 1208.12 68 | ‘Sel he amount of boost orc thatthe shelving Pe equalzor wll apply othe region below 1 Kz. H | Equlzerfigh T1208..12 08 ‘Sethe amount of Boost or cut thal the shelving Wpe ‘equalize wil apply 1 the rogion above 1 > | Deriect balance DRY, Bt.098, FX the balance betwoon the ect sound (ORY) and the sound processod by ho effet (FX). Wiha soting ‘1 DRY, th offoct wil bo tumed of With a sottrg of FX. only th delayed sound wl be heart. Oter set tinge sete peporion of th doc! sound and fect sone, D2 6 Page 104i ts manu 1076. Effects 108 15: Dual Delay 15; Dual Delay applies an independent mono delay to the left and right input signals. Delay Delay te. 0.,a00m ‘Sette delay length of tha ot chan Feedbeck 09% 199% ‘Sette amount of feedback forthe lf channel, the amount of th delayed signa! tha wl berated tothe input ofthe delay. Higher sotinga wil produce a ‘grenter number o delay repeats, and wil Ske longer forthe echoes to de airay Nogetvesotings wilirvert the phase the feedback, causing te echoes tohave ‘a harder tone qully and ls ofa holow teeing ry High damp ‘Setiho dagee to which the high equencis ofthe et chal willbe atenuated. Higher setings wi cause tha igh fequoncies to decay more rap. DryEtectbalance RY, 61.899, x “Sette balance between the cect sound (ORY) and ‘the sound proseased by th aoc (FX) for tho et hanno With a seting of DRY, the fect ibe umes ‘oft Wi a seting of FX, only the echo willbe Mead ‘or sotings St the proparion of he ioc! sound ‘nd effect sure D222 #5 Page 104 nhs manual Delay tine R 0.500"ms Sethe dela length of the ight channel Feedback R 20%, 9% Sethe amount of feedback forthe night channel. The ‘contents ara the camo ae forthe Feedback L parame: High dame 0%. 00% ‘Set tho degree to which th high frequencies othe "ight channel willbe attenuated Higher stings wil cause te hig tequencies to dacay more api Dros balance DAY, B..B99, FX ‘et the balance botwoen the deat sound (ORY) and the sound processed by tha eet (Fx) forthe eight channel The contents ara he same as forthe DRV-PK parameter explained above Daz €'Page 104 n this manual 16...18: Multitap Delay Multitap delay passes the input signals through two independent delays. The multi- echo effect that this produces will create a pair of echoes for each note that is played. 16: Multitap Dly1 is the standard multitap delay. 17: Multitap Dly2 cross-pans the signals, causing the echoed left and right channel sig- nals to change places. 18: Multitap Dly3 exchanges the feedback between channels, causing each pair of ech- (oes to switch between left and right. Each of these three effects provides a two-band shelving equalizer for the left and right channel Le re ten C1 Delay B EO ey olay A Ms D d Dey 8 €0 z Delay A Mutttap Delay 1 aA} Delay A Eo HA Delay B £0 HA Delay 8 age rage 7 Muittap Delay 26. Ettects Matttap Delay 3 Of the two delays, feedback is applied only to one (delay B). This means that the timing. of the second and subsequent echoes produced by both delays will be determined by the Delay B parameter, as shown in the following diagrams. When ey fn Aste nan ye oy olay te A 0.50078 ‘Sat the length of Delay A Delay tine B 0.5006 ‘Sette length of Delay 8. Feedback 99%. Sethe amount of eeaback ie, the amount ofthe Delay 8 signal that wil be ceturd othe input othe ely. Higher setings wil produce a greater numbor ot olay repeats, ari wa ako longr forthe echoes fo Se away. Nogatve stings wlinvert the phase of the feedback, causing the echoes to have a haver tone quality, and less of hollow esting | Eauatzerion “28. ‘Sel the amount of boost or cut thatthe shelving pe equalizer vl apy othe region below 1 Kz H | Equatzerrign 72681208 ‘Sele amaunt of Boost orc thal he shelving WB= equalzer wll apply ote region above 1 Kz S | Dvcetec tance DAY. 81..B99, FX ‘Sette balance botveen the dec sound (ORY) and ‘ho coundprececsod bythe elec (FX) With a soting of DRY, the eect wil be tumed of. With @soting of, FX, only he echoes wie nerd. Oter setings sat "he proportion ofthe erect sound and efx sound Die 6 Page 106i tis manual. 1096. Effects oF 19, 20: Chorus ‘The chorus effects use an LFO (low frequency oscillator) to modulate the delay time, adding depth to the sound. This delay produces a slight variance in pitch, and when itis combined with the original signal, an effect as though multiple instruments were play- ing in unison is produced, As with reverb, this effect is indispensable for music production using electronic musi- cal instruments. It is especially widely used on synth pads such as strings and vocal cho- rus, and applying a chorus effect to such sounds will add a character of enveloping, spaciousness. However much you may like this, itis still not a good idea to apply chorus toall of your sounds. Although chorus does add spaciousness to the sound, it can also tum sound into un-expressive mush. It is up to you, the musician, to use chorus appro- priately for the type of music that you wish to create. 19; Chorus 1 modulates the left and right channel delays in opposite phase, causing the stereo image to sway from side to side. 20: Chorus 2 modulates both channels with the same phase. For either effect, the left and right channel signals are sent through a two-band shelving, ‘equalizer before the chorus effect is applied. To) Cee (Cee Cite VY Chorus Ay ‘Chorus Fig 4 gre we oa o> O-{ea > Chorus 1 Chorus 2 T 0.200% ‘Sele basic day length Bot channels use the same daytime S| Moduatlon speed 008..20 He ‘Sette speed of ho LFO hel madetes ho delay. Fora stancar chorus ete se ow frequency (approximately 1H). | Moduaton depth 0.98 ‘Setthe doth at which the LFO will modus the dolay time, High sotings wil cause the meduaton eect {obo more pronounced. Wiha aeting of thee wi be no chorus floc LFO wavetonn ‘SIN, TRH ‘Select tha wavelorm wih which the LFO wil modulate the delay tne, You ean slact eter sine wave (SIN) cer ttangla wave (TA. | Equazeriow T2g8.12 68 ‘Sette amount of Bost oF cal hat he sheng NPE equalize il apply to be region bolow 1 KHz H | Equazortigh ~1206..412 08 ‘Set the amount of boost ore hal the shelving Ype equalizer wil apply to the rogon above 1 HH. > [Daretoctbaiance DRY. 81..890, FX | Set the balance betwoon tho dct sound (ORY) and tho sound processed by te etect (PX), With a salting ‘Of DAY, bo oft wb tured of. Wh a sting of FX, only the chorus sound wil b heard. Other se tinge setne proporten ofthe direct sound and etfect sod, Dix © Page 10s nthe manual 1106. Eifects 21, 22: Quadrature Chorus ‘The Quadrature Chorus effect is similar to the previously-described Stereo Chorus. The difference is that the modulation applied by the LFO to the left and right channels is 90 degrees out of phase. 21: Quad Chorus is the standard type, and processes the left and right channels inde- pendently. 22: XOver Chorus mixes the chorused signal of each channel with the output of the other channel, producing a cross-over effect. For either effect, the left and right channel signals are sent through a two-band shelving equalizer before the chorus effect is applied. a ND 2f chose (Cea = ees cor dad Cros rover chs eae ae | tere cayenne 8 fioaasoped Ye mess toe Sacco Higher values wil produce faster modulation. Dit "Page 104 in is manual Ww | Mediation depth 0.99 ‘Setthe depth at wich the UFO wi modulate the delay time. Higher setings willeause th moduation effect, tebe more prencunced. With a seting ot thre wil be no chars eect. UFO shape 710.710, Selec to wavetorn wih which be FO wil naaaale $510.,5410 the delay imo, You can select ether ine wave (S) ‘tango wavo (7). Tho num valve sles te cher actor ofthe waveform. rreasingly posive (4) valves ‘wl causo the poak of ho waveform fo become broader, and increasingly negate (-) valve wit ‘cause the peak a the wavelorm fo bocome sharper. | eavatzeriow T2612 a8 ‘Sette amount of boost rout thatthe shelving ype ‘equalize wil apy to the region below 1 Ks. | Eauatzer igh TP aB 12 8 Sel the amount of boost or cut thal the shelving Ype ‘equalizer wil apey tthe region above tke DryEitect balance DRY, 88:7..1108, X | Sel the balance Betwoen the ect sound (ORY) and the Sound processed by he ofect (Xx). Wh a ting ‘OT DRY, be tect wl be tumed of With a seting of FX, ony the chow sound wa be heard. Oter set ‘ngs ste preponion ofthe cect sound an ect sound, 4116. Etects LUE EEE EEE 23: Harmonic Chorus 23: Harmonic Cho. is a type of quadrature chorus in which a filter is used to divide the input signal into low and high frequency ranges, and two chorus systems are applied only to the high frequency range. It is effective on low frequency range sounds such as bass. Doay ime 0.5006 ‘Sel the bate delay length for chorus unt A Day ine 6 0.500 m= ‘Set the base delay length for chorus un 8 | Modulation speca 1.98 ‘Sel the speed of he LFO that modulates he dla. Higher ates wil rouce taster mulation. Dietz "age 104 is manual Ww | aauiation depth 0.98 Sel the depth at which the LFO wit modula the delay time, Higher setngs wil cause the modulaon elect to be move pronounced. With a seting oO here wit Deno chorus ee ‘SP | Fiter spit pore 0.38 ‘Spec the fequeney at which the itor il vie the input signal into high anion troquency ranges. Higher stings wil ase the sit pot fequoncy. The horus eect wil apply ony tthe portion above tis ‘nequoney. The abe below shows the correspondence between this parametr vale ae the actual fe- unc, ‘Drytect balance DY, Bi..B99, FX | Sot he balance betwoon tho direct eound (ORY) and the sound processed by the eect (PX). Wh asetang of DRY, the foc wl be tuned of With asoting ot FX. only the chorus sound wil be head. Other st ting 2 the proporion ofthe ect sound ar etfect Value Frequency e Teo 1 200 He 2 250 He [3 ‘20H 4 aooHe 3 00H é oH 1 7 ‘oo He | fe “00K 2 125i 10 80K rn 200K 2 250K | 9200 aoe] [is [S00 [6 aon 7 | ____s00we 1126. Effects 24: Symphonic Ensemble ‘The Symphonic Ensemble effect is essentially identical to the chorus type effects dis- cussed earlier, but is especially effective when used on large-scale ensembles such as orchestral strings. 24; Symphonic Ens. mixes the left and right channel signals before applying the ensem- ble effect. The signal processed by the effect will be output equally from both channels. A two-band shelving equalizer is applied to the sound of the left and right channels before the ensemble effect is applied. Lot ‘Symphonic EQ >) Ensemble Fight | Modulation aon 0.98 ‘Sette daphat wich th LFO wil modulate the delay time, Higher settngs wil cause he moduston effort, to.be more pronounced. Win a sting of O her wit be no ensemble oct U | eauatzeriow 208.12 8 ‘Set the amount of boost oc thatthe shelving ype eualzar wil apply tothe region blow 1 Wz 1 [ Equazor igh T2082 8 ‘Sette amount of boost oe tat te shelving pe ‘equalzor will apply othe gin above 1 Hz S [Daren balance DRY. B1..889, PK | Seth balance between the dec oun (OR) and tha sound processed by th elect FX). Wiha soting ‘Of ORY, the effect wl be ned of With aseftng of FX, onl the ensemble sound wil bo hear, Otte set tings sel ne proportion of th direct sound and eect sound Dizet< © Page 104 n tis manual This Symphonic Ensemble effect cannot be used simultaneously with any one of the fol- lowing modulation effects. Etect types 16-20 | Chom 2-22 | vaaratuve Chon 23 | Hamre Chon 24 | Symphonie Ensemble 25-27 | Ranger 2-83 | Phaser 94 | Rotary Speaker 35-26 | Tremolo 36-09 | ChonmsedFianged Dal 42 | Delay & Chorus 43 | Detar a Fanger 46 | Deiay & Prasor 47 | Delay & Petar Speaker 1136. Efiects 114 25...27: Flanger Flanging operates on basically the same principle as chorus-type effects, but adds a feed- back loop to the delay output. It produces a chorus-like effect, but can also create a feel- ing of pitch even on nor-pitched sounds. In particular when used on sounds with a rich overtone structure, such as cymbals, flanging can produce very intense effects. 25: Flanger 1 applies modulation to both channels using the same phase. 26: Flanger 2 modulates the two channels in opposite phase, causing the stereo image to move back and forth. 27: XOver Flanger modulates the two channels in opposite phase, and swaps the feed- back signal. For each of these three flangers, a two-band shelving equalizer is applied to the signals of the right and left channels before the flanging effect is applied. at r Pa < ea a} —— A rane AL rane (oo (oo F Penge rane = ea yo eH, ng PHT anger 1 Flangor2 ranger XOver Flanger ¥ [aay ne 0.200 ah ban dl ong Bah umole he fare daay ime | eaten enn o.88 ete epha ich ne LFO wiles ay tine Higher etn wl caute he mada et tc mare pounce Wiha stng Ober i Dorn tanger et Ss | aon ep ie Seti spend tne LPO mods Wo ay Fora standard tanger ect. (approximately 1 2) Dit 85 Pago 104 tis manual F | Feewack “99% 9996 ‘Set the amount feedback: Le, tho amount ofthe ‘signal hat willbe returned othe input ofthe tanger. ‘sth valuois increased, tne resonance produced by the Hanger elect willbe noreased, Nogatve valves will ver the phase ofthe foodback, lowering the itch {tthe ofect sound byt octave | Equazertow “ede. ‘Set the amount ef boc! oct hat ho sholing ype ‘equalize wl apply to tho rogon below 1 Kz low trequency | Equaizer igh areca) Sette amount of boost or et at th shaving pe ‘equalizer wl apply tthe reglon above 1 Hz at the balance between the ect sound (ORY) and 71 ou processed bythe eect FX). eh a setang ‘Of DRY, the oct wil be tured of, With a seting of FX. ony the Manger ett sound wil be heard. Other sotings st the proporion ofthe dec sound end | oct sound Dries balance DAY, 81.899, X6. Effects 28: Exciter Anexciter adds harmonics (overtones) to emphasize a specific frequency region, adding. sparkle and definition to the sound. It is most effective when applied to solo instruments such as electric guitar or lead synth, and will push the sound into the foreground. For example if when playing in an ensemble (whether using the £X300 by itself, or in a band with other instruments) you have ever felt that the £X300 sound you were playing tended to be smothered by the other sounds or by instruments other people were play- ing (unlikely, since the iX300 is a powerful-sounding instrument with plenty of pres- ence!), you might try using this Exciter effect. 28: Exciter processes the signals of the left and right channels independently. A two-band shelving equalizer is provided for each channel. Ses f La tml ee 1D | Harmon density 28.998 Speci he density of he harmonies. AS his value is rereased, to extract wil be deeper. Negative sotings wilateruat the hamones, producing a thin I er sound, 5 | Horapor a0 ‘pect the oarior Fequancy thal wit be emphasized by the oxctor affect. Harmeries willbe added around this frequency Wiehe setings wil aise the equency atwich the erphasis occur 1 [Eauatzeriow “i208. 1248 ‘elthe ameunt of boost or cu thal the heling ype ‘equalizer wil apy tthe rgion below 1 wz | Equazer igh 1208.12 48 Sel he amount of boost or cu thatthe ehelving pe ‘Squalze wal apy tothe rogion above 1 KHz | Drier balance (DRY, B7..809,FX | Set the balanoe between th direct sound (DRY) and the sound procossod by th ots (FX) With asating of DRY, the elec wl Be tuned of, With a Sing of FX. ony the exter elect sound wibe head. Other setings sat ho proportion a he dec sd and fect sauna D2 Pago 104 n tis manus 1156. Effects 29: Enhancer The enhancer effect emphasizes the sound by adding harmonics that increase the clarity of the sound and give it greater definition. A short phase-inverted delay is applied to each channel, giving the sound greater spaciousness. 29: Enhancer processes the left and right channel signals separately. The signals are sent through a two-band shelving equalizer before the exciter effect and delay effect are applied. wt rc Enhancer 1D | Harmonic density a) ‘Spey the desi of the amore that willbe added tothe signal. As this vate is neased, he exctar 1S | Hotspot 120 mphasized bythe exctorporon ofthe eect. Hamanes wit be Higher etings wil iso phasis occurs. ‘sw | Stereo wih 0.99 ‘Sethe proportion al which the delayed signa fo ed to the ouput ofthe athe channel igs wil widen the storeo image ofthe delay eect, T | Delay time 1.90 ‘Sethe basic delay longi. Boh channels use the sare delay tine, | Equatzoriow “i2d8..1248 ‘Sethe amount of boost ort that he shelving ype ‘equalzr wl apply tthe rogionbolow 1 2 | Equaizertigh T2812 8 ‘Sel the amount of boost ar et hat he shaving pe quakzer wil apply tothe rglon above 1 Kz S| Bnretecbotace DY 61.55. FX | Setthetaence betwen he aret sound (DRY) ard the sound procestedy th fc Win sting CORY. eet wil be med ot, Win eng of Pony he exter alot sound wilbheaa. Ober setings stb propoten of the eet sound and sect sound D2= rag 104 inti maa 1166. Eifects 30, 31: Distortion Distortion effects were originally designed for guitar, and simulate the distortion which occurs in the signal when the input signal gain exceeds the input capacity. Distortion adds depth to individual notes, and is effective on solos. If chords are played with this, effect in use, the sound will be muddy, but if you're after a true “rock” atmosphere, it may be just what you want. This effect passes the left and right channels through a two-band shelving equalizer before applying distortion to create a slight “wah” effect. 30: Distortion produces a hard and solid distortion of the type often used in hard rock or heavy metal. It is particularly effective on solo instruments. 31: Overdrive simulates the warm distortion that occurs on a tube amplifier. Applying it toa guitar or organ sound will produce a bluesy sound. Distortion Overdrive Distortion Overarive 0 owe Tan ‘Selo doph of he distortion eee, Higher tings wil ase the ditorton love Ss | Hotspot 0.99 ‘Sethe enter Fequency at which the wah fr willbe applied. As tis vale i raged he wah frequency wil "s, Dist © rage 104 in tis manual a | Resonance 0.98 ‘Set tho amount of resonance tats applied by the wah iter Higher stings wl reduce @deepor wah oct T_ | quatzeriow “i208..12 48 ‘Sethe ancunt of boost rout thatthe shelving p= {equalzer wl aply ote region blow 1 KH. | Eavatzer igh “2 e8..412 48 ‘Set tho amcunt of boos! cut tat he sheng Woe eaualizer will aply othe region above KHz BL | Distrtoniovel 0.98 ‘Sethe ouput vel fhe stood sound Higher set tings wl produce more cetorton, With a seting of thera wibe no dstrton eft. Dry tect balance ‘DRY, B1..699,FX | Set the balance bewoen tho direct sound (ORY) and the sound processetby the etic FX). Wiha seting ‘Of DRY, ict wl bo tumed of. Wiha seting ot FX, only the distortion efoct sound willbe heard Cer sotings sot the proper the dec sound and elect sound. 176. Effects 32, 33: Phaser While chorus and flanger effects modulate the delay time, the phaser effect modulates the phase of the input signal itself, producing a more distinct modulation effect. Phasers {also known more accurately as phase shifters) are especially effective on electric piano and electric guitar sounds, 32: Phaser 1 applies opposite-phase modulation to the signals of the left and right chan- nels, causing the stereo image to move from side to side. 33: Phaser 2 applies same-phase modulation to the left and right channels. A= Phaser 7 ne Phaser = Goes (Ces VV Phaser Ny Phaser get we ge wg Phaser 1 Phaser2 HS [Hotspot 0.98 ‘Sethe corte frequency at which the phase eh ‘fect willbe applied. Higher setings wl ase te te- ‘quency that shite. SS | Modulaton speed 005..s0 2 ‘Set the speed ofthe LFO tat modulates the delay. Higher stings wil produce faster modulation. Dietz © Page 104 inthe manval 1M | Moaistion depth 0.99 ‘et th depth at which the LFO wil modulate tho ase shit, Higher seins willeaus the modulation ‘ecto be more proncunced. Wiha sting of O there velbe no phasor fac. F | Feeaback —— ‘Sethe amount of feedback Lo. te amount of delayed egal that wil be retumed to the int of Do phaser. A bi valoisncreaced, the resonance ro- ‘iced by he phaser eect willbe increased. Negative ‘alos wil invert tho phase ofthe feaback and ineraao te resonance, UFO wavetorm ‘an, TAI ‘elect he waveform thatthe LFO wil us o module he phase of Pe signal You can select eter sine wave (SIN) or angle wave (TA. nec bance OA. @8:.189, FR | Sete balance between the dret seind (ORY and the sound processed yt el (FN. Wa sting Sy, tect wlbe ned ot Wa sting ch xo te paar fect sound lbs hears. Oar etege ste properion ofthe ret ound and | stoctoine 1186. Etects 34; Rotary Speaker This effect simulates the sound of the rotary speakers that are popularly used with elec- tric organs. Rotary speakers contain a motor which rotates the high frequency speaker ho at either a high or a low speed. The rotary speaker effect can be used in a variety of ways, but is generally used by changing the rotary speaker's rotational speed from slow to fast at points in the music where the musician wishes to build up or add excitement. This creates an effect of movement as if the sound were being shaken. 34; Rotary Speaker mixes the input signals from the left and right channels, and then creates the rotary effect using a completely independent LFO (low frequency oscillator). ‘The signal of neither channel will be equalized Let Rotary Speaker Fight VIB | Wirata cept 0.15 ‘Sel he dep ofthe vbrto eet (This cowosponds to the cameter ofthe rotting speaker hom.) Higher values wil produce a more definite vate otect ‘AC | Receeration as ‘When dynamic modulation fused to awh thera tional speed thls parameter sets he time required to aceaiarate rom ow speed high speed (oro decal. ‘rae from hgh ow spoes), High stings wil result in faster accolcation of eoceleraton. S| Son specs 1.98 ‘Soe oational speed for when the LFO i ewihed {o he low spood. Highrsotings wil produce faster rotaton & | Fastepees 198 ‘Sethe rolatonalapaed for when the LFO i etched tothe ast spac Higher songs wil produce faster, retaton, ‘ryEiec balance DAY, 661.196, Fx | Set the Balance between the dec sound (ORY) and ‘ho sound precected by tho ofc (FX). Wiha sting Of DRY, the etoct wil be tuned of. With a sating of, PX onl the rotary speaker fect sound wi behead (ther serings set he proportion of the direct sound and otc sound You can use dynamic modulation to switch between slow and fast while you play. Use a switch-type controller for this purpose. Le., even if a continuous controller is moved rap- idly, this will not cause the rotational speed to follow the motion, and will not affect the way in which the low and high speeds switch. The rotational speed is not affected by the speed at which the controller is moved, but will change to the new speed at the rate specified by the AC (acceleration) parameter. Dz* ®Page 104 in this manual. 1196. Effects 120 35, 36: Tremolo ‘Tremolo is an effect that uses an LFO (low frequency oscillator) to modulate the output volume. Itis particularly effective on slow melody lines or when playing spacious chords, but is not very suitable when playing rapid phrases. 35: Auto Pan applies opposite-phase modulation to the volume of the left and right channels, causing an effect as though the sound were being panned between left and right. 36: Tremolo applies same-phase modulation, producing a standard tremolo effect. For both effects, the sound passes through a two-band shelving equalizer before the tremolo effect is applied. ae ea > =a Aira Wed Fit V2 aan zy Auto Pan Cites A, rena ve EQ de Tremolo TO waveform SN TAI “Seoc tho waveform athe FO wil ‘the input vel of to signal You cans wave (SIN) or ange wave (TA ro mediate ct other sino UFO wiah 29.89 “Adjust the LFO wavelorm, Increasingly postive eet tings wil eau tho poak othe wavelorm to bocome ‘broader, and negate setings wil cause the peak of the waveton to become narfower and sharper. odulaton specs 003..20 He “Set the speed of tho LFO that modulates the put level. Higher setings wil produce fastor moduatn. Modulation depth 0.98 ‘Set the depth at which the LFO wil modula the amplitude. Higher setings wil cause the modulation {ecto be more pronounced. Wiha sting of Otharo ‘lb no tomate eect Equaizerlow T1208. 128 “Set the amount of boost or ct hat he shelving Ype ‘Squalzr wil apply t tho rogion blow 1 KHz Equaizer igh “208.412 08 ‘Sethe amount of boost or ethal the sheting Wpe ‘equalizer wl apply to ha ragen above # hz ‘ry tec balanca DRY, B.. B88, x ‘Set the balance between the dest sound (DAY) and the sound processed by the etet (Fx), With sting ‘1 DRY, ha offct wi be tuned of th a sting of FF, onjy he wemolo fect sound wl be heard. Ofer setings st the properion of he dec sun and ‘fect sound D2= © Page 108 nthe manual6. Etfects ors 37: Parametric Equalizer 37; Parametric Equalizer allows you to modify the tone by adjusting the boost or cut in three frequency bands. This is a useful way to add punch to drums or bass. For the low, center, and high frequency bands, you can specify the cutoff (center) fre- quency and the gain. gt ‘SBand EO ‘Band EO Tow requeney 0.20 Sel he et requency ofthe low tequercy er, Higher setngs wil alse the cue requancy ow ain T2812 Sethe amount of boost or eu that wil be aopied to the region botow the cute Frequency specie by the LF parameter. Mm idl Wequeney ‘St he center frequency ofthe midange titer. Higher ‘soting wl isa to mde roquency. Daeiz £5 Pag 104 ntti manual id gain array ‘Set the amount of boost or out Bat wl be appiod ‘he region centered at the requency spoctiod by he M parameter. wae with ‘Se the with othe band atlecod by the misange fi fer Higher setings wil case the rango being cut boost bythe fier to be narome. HF igh trequency ‘Sette cto frequency of tha high requeny titer Higher stings wil aise the cua hequency. gh gain ‘Set th amount of boost or out hat willbe app o ‘he region above the cu requoncy spectied by tho HE parameter ‘ren balance DB. B99, FX ‘Sette balance babwoon th cect sound (DRY) and ‘ha sound procosbod by tho elect (FX). Wiha soting Cf DAY, th oct wil be tumod of tha seing of ony the equatire sound willbe hears. Othe et {ings etthe proporton of the doe sound and aflct ound 1216. Effects SES 38, 39: Chorused or Flanged Delay ‘These are dual effects which connect two effects in series. Le., the sound of the left and right channels is processed first by a mono-in stereo-out chorus or flanger, and then by a stereo delay. This is especially effective when used on solo instruments, 38: Chorus-Delay connects chorus and delay in series. 39; Flanger-Delay connects flanger and delay. Both the chorus and flanger use quadra- ture modulation; i.e, modulation is applied at a 90 degree phase difference to the left and right channels. Flanger-Delay T | Belay time 0.-50me ‘Sel the base delay length forthe chorus and Tanger fet, Both channels use the same delay time F | Feosack a ‘Selthe amount of feodback ht wil bo retumed othe Inputof te Mangor. As his vale is increased, the res cnanee produced by the flanger ef wll bo increased. Nogatve values wilinvertthe phase of the feodback,iwaring the ich of th ofact sound by 1 catve ‘S| Modaten speed 1.00) ‘Set the spe0d ofthe LFO that modulates the clay of the chores or flanger ighersetings wil cause fasor ‘modulation | Medttaton dept 0.99 ‘Sethe doph al which be LFO wil modulate he lay time, Higher stings wil cause the modulation efot to be more pronounced. With a seting ot Other wil be ne chorus elect or tanger eect, 7_| bey te 0.48078 ‘Sette basic delay length forte delay oft Foodback 9095 0999 ‘Sethe amount ot feaack tat wifbo returned tthe Inputot te delay As tis value increased the num ‘ero dla repeats wil iereaso, and wil ake longer forthe ecnoes to disappear. Negative values wiinvert the phase ofthe Teecback, causing te tone ofthe echo fo bo hacer, and lees hoflow- sounding = [Bayt balance ‘DRY, 39.1199, PK | Forbotn the chonss or angorefoct and he dlay cet set the baaioe tween he rect sour {ORY and the sound processed bythe eft (%). ‘Wah a seting of DRY, the eet wil be tumed of With 2 seting of FX, oly the echoed sound procosted by the chon or anger etect wi be hear. Oor so tings set the proportion ofthe drect sound an eect so, Di2z © Page 104: ie manu 1226. Etects 40, 41: Delay & Reverb ‘These are dual effects which connect a mono delay and a mono reverb. 40: Delay/Hall combines a delay and a hall reverb. 41: Delay/Room combines a delay and a room reverb. You can use dynamic modulation to control the DRY:FX balance parameters of both the delay and reverb while you play. Let Delay Pre by} >[Rev] Fight T [bey te 0.,5007m= ‘Sethe base delay length or the delay efor. F | Feediack 29%, ‘Sethe amour ol feedback, the amount ofthe olay sound hat wil be rturied othe input of he oty. As his value increase the numberof lay repeats wit increase and it wl take longer forthe ech ‘02st dlsappoa. Negatve values wil vero phase the fedback, causing the tone ofthe echo tobe harer, and ess hafow-soundng HO | righ damp 0%. ‘Sele dogree 0 which the high frequency range of the delayed sound willbe atenuated. Higher eetings wl cause more rapid attenuation | Deiter balance DRY. B1..800,FX | Sethe Balance between the direct sound (ORY) and the sound processed bythe foc (FX). With asoting Of DRY, te eect wl be tua of, With aseing of FX, onl the echood sound wil be heard, Other set ngs set the prepotin ofthe dec sound and fect sound Diz 8'Page 106 n tie manual. ever me ‘Depends onthe fest | Sat theme aver which the reverberation wil decay Hishiype over allows aeeting om 02-09 ser ‘nds, and reompe rover alows a seting om 0.2 49 seconds P | Predaay 0..150m ‘This parametor sts ho delay rom the det eound Unt when the ery election of he reverb ar heard Higher setangs wi cause ho overeraion tobe d= tinct producing an echo-ko sound. HO | High damp 0.99% ‘Set the degre o wich the righ tequency range of ‘he revrbaraton wil be atnvatod. Higher estinge il eause more rapid stenuaton | Brio balance DAY, 87.809, FX | Sei the balance between he croct sound (ORY) and ‘he sound processed by the ect (FX). Wiha seting ‘Of DAY, th floc wil be tuned ef With a selling of FX, only he reverberation wil be heard. Other aetings sol the proporton of to cect sound and elect ound. Dietz "Page 104 inthis manual 1236. Etocts 124 42: Delay & Chorus This effect combines a mono delay and mono chorus in parallel. 42: Delay/Chorus is an effect which connects a mono delay and a mono chorus in paral- lel. ‘You can use dynamic modulation to control the DRY:FX parameters of both the delay and chorus effects while you play. Fescback — Daay, hows Delay time 0.500 ‘Sethe base delay lng forthe lay ofc. Feechock 228s, 09% ‘Sethe amount o feedback ie, the amount ofthe Celayee sound that wil be retired tthe put othe oly. A the vaio i nreazod the nua of delay peas wil increase, anit wil take longer othe ec ‘208 leappoar, Negative values wilinver the phase he feedback, cating tho tone of he echo tobe ardor, andes holiow-sounding, WD High dam ‘Sethe degre to which the righ requaney rage ot ‘he delayed sound wil be attenuated Higher satings wil cause more rid attonvation. Diyetect balance ‘ORY, BF. B89, FX ‘Sethe balance between the det sound (ORY) and the sound processed by the eet (PX). Win a sting of DRY, ho lect wil bo tuned off. With a sting of FX, only the echoed sound wilbe hear. Other st tos set he proporton ofthe det scund and eect sound, Dizi Page 104i thie manual Modulation speed 008,202 ‘Set the speed oft LFO that modulates the delay of the chor flock. Fora elandard chow affect, sot a tow frequency (approxiatoly 1 He) Modulation depth ‘Set the modulation depth ofthe chor. Higher set tinge wil case te modo fc 0 be more pro rouncad. Wi sting of 0 tere wil Beno chorus cet LFO wevetonn SIN, TRI “Seoct the waveform that the LFO wil use fo modsale the delay tne. You can ealact ther sine wave (IN) ‘ortangle wave (TF, ‘ry Etoct balance DRY, Bi..B90, Fx ‘Sette balance bohwoon the roa! sound (ORY) and ‘he sound processed by the effect (FX) Wiha song ‘Gf DAY, bs tect wil be turned ot. Wh a seting of FX, only the chorus sound wil be heard. Other so- Dietz rage 104 n nis manual43: Delay & Flanger Effects This effect combines a mono delay and mono flanger in parallel. 43: Delay/Flanger is an effect that connects a mono delay and mono flanger in parallel. You can use dynamic modulation to control the DRY:FX parameters of both the delay and flanger effects while you play. Daay, T_[Daiay ime 0.500 Set the base delay length forthe delay efor F | Feedack 86% 09% at layed eound that wile retumed tothe input othe olay. AS ths value fs ncreased the numberof delay repeats wilincreas, and wil aks anger orth ech- ofthe feedback, causing the tone of he echo to be ‘arden ess hallow sounding he amount feedback Le, tho amount ofthe fo eappear.Nogabve values wil wort the phase Fx, HO | High samp 0.00% Sethe dogroe to which he Figh requoncy range of ‘he delayed sound wit be ateated, Higher soins wl cause more api attenuation | orieteet balance ‘DRY, 61.859, FX | Sottho balance between the direct sound (ORY) and the sound processed byte ec FX) Wiha seting Of DRY, te elec il bo tunes of Wi a sating of {ings set the proportion ofthe direct sound and tect sound Da only he echoed sound wil bo hear, Othe et- EEC Page 104 in tis manual ‘Modulation speed (008..90 He ‘Sot te tow the speed ofthe LFO hat moclaos the delay of | flanger eet Fora sandord Ranger sie, st 2 frequency (approximately 0.18 H2). | Moauiston dopey 0.98 et tings il cause the modulation act tobe re pro- nounced. With a seting of 0 there willbe no modulation otc. the modlaion doph ofthe ange Higher sot F | Feeaieck 2%, 899% Ser Inputof the tango A ths value increase, the es ‘nance produced by the flanger eft willbe iereased, Negative valus wil nvert the phasa of he feedback, loworing the pitch fhe fect sound by 1 octave, the amount feedback tat willbe retoredio be | Dever balance Drv, 67..680,FX | Set the % Cf DRY, the fect wl be tuned of With a sting of {ngs the proportion ofthe cect sound and eect sound Dae "Pago 104 in tis manual te balance between tbe drect sound (ORY) and sound procesed by tho oft (FX). Wiha ating ‘iy he chorus sure il ar. hers 1256. Etfects 4d, 45: Delay & Distortion This effect combines a mono delay and mono distortion or overdrive in parallel. For example, this can be used to apply delay to a lead synth in one channel, and distortion to a guitar in the other channel. 44: Delay/Dist combines delay and distortion. 45: Delay/Overdrv combines delay and overdrive. Both distortion and overdrive include a wah effect. at re wt hu Feedback — Foedbeck — Day Delay Distortion Overdive Fight .o Fight Ms Delay/Distortion Delay/Overdtive Delay tne 0.800 ‘Sethe base delay gt for the delay oot Feedback 9% BE ‘Set he amount of feedback i,t amount othe layed sound tha wl bo rotumed to the input ofthe ‘olay. his val i nreased, te number of delay repeats wilineoase, ant wl take anger the ech- ‘ee lo sappoer Nogave valuse wilinvet the phase {fhe feedback, causing the tone ofthe echo tobe ardor andes holow-sounding ‘rytect balance ‘DRY. B1.,B89, FX | Sethe balance betwoon the Grect sound (DRY) and ‘the sound pressed by to eect (FX). Wh a sting ‘Of DY, ho ofect wl be turned of. Win 2 sang FX. only the echood sound wil be hear. Other et- tgs set the proportion of the cect sound and elect oun © | one Ta ‘Sethe doph of the datorion effec. Higher stings rage the detoron ave 1S | Hotapot 1.09 ‘Sele enter equency a wich the wah iter wil be pple. Ashi value erased the wah Wequany wi A | Resonance 0.99 ‘Sette amount a resonance that is applied bythe wa tito: Higher setngs wil produce a deeper wah ect IL | Distortion evel 198 ‘Sethe outa level athe distorted sound Higher set tings wil produce more dstorten. Wh sting oft thore willbe no distortion elect 1266. Effects Ss 46: Delay & Phaser This effect combines a mono delay and mono phase shifter in parallel. 46: Delay/Phaser is an effect that connects a mono delay and mono phaser in parallel. You can use dynamic modulation to control the DRY:EX parameters of both the delay and phaser effects while you play. Cres Phaser vt roa T [bat ine 0.00 Sao basi day eng ore olay ofa F | reece “09% Set tho amount ol oedbac Le, be amount oe | Detect balance ‘DRY, 67.599, FX | Setthabalanoe between the dec sound ORY) and ‘he scund processed by he eect (FX). Wiha sting {1DRY, te elect wl tuned of, With aseing of x, only the echoed sound wa bo heard. Othe et tinge tthe proporton of the deat sound and afect sound, Dt Sage 108 nis manu Modulation epocd 03.042 Settho speedo the LFO bat modulates the phase of the input agnal. Higher setings wil produce faster modulation 1M | Moctiaton depth 0.98 ‘Sette depth at which the phase wilbe modulated Higher stings wal cause the mecaton eect 0 be ‘mote proncurced. Wiha seting of Other willbe no phasor ict F | Feedback 29%, 899% ‘Sethe amount of owsback ete amount ofthe delayed sna that wil be retuned to the input of te ‘has As this values increased, the resonance pro- ‘ducod by the phaser eet wi be increased, Negative ‘values wil ewer te phase of the feedback and Increase the roscrance ofthe ates > | rec balance ‘DRY, 81.800, Fx | Set the Balance between the dec sound (ORY) and the sound pracescod bythe ect (FX). Wiha sting LORY, th alec wilbo tuned of With a aetng of FX, onl the phasor sound willbe hoard, Other set tings atthe proportn of the ect ound and tect sound l Dai © Page 104i tis manual 1276. Eifects| 47: Delay & Rotary Speaker This effect combines a mono delay with a mono rotary speaker in parallel. 47: Delay/Rotary provid s a mono rotary speaker that produces a heavier tremolo than the stereo rotary speaker (34: Rotary Speaker) effect. Deay Rotary Speake igs T_ | Belay tie 0.5007 ‘Selthe base delay length forthe dala eect Feedback 0% ‘Sele amount of feedback; Je, he amour of he doled eound hat wl bo returned oth Input ofthe ‘olay. As ts vale i increased, te number of delay repeats wil inereasa, anit wil tae longer othe ec (02st dieappear, Nagatve values wil wert he phase a te feodback, causing the tae othe ecto tobe harder, and less hodow sourcing. ‘ry ies balance [Day 61..00, Fx ‘et the balance botwoon the deat sound (ORY) and the sound processed by the eect (FX). Wah a sting of ORY, the etc wl be tuned af Wiha seting of FX, onl the echoed sound willbe heard, Ofer s- {ingeeetthe proportion of th crt sound and eet sound ‘AC | Accoeraton| ‘When dyamie modulation s used io wich te oa onal spec, this parameter ete the time quired to accelerate fom lw speed o high speed (oro dece- ‘ate rom hight low speed), Higher setings wil result in aster acclaation or docsorabon, ‘S| Siow speed ‘Set the roatonal speed for when tho LFO is switched tothe sow speed. Higher satings wil produce faster F | Fastepeed ‘Set the rotational speed for whon the LFO is switched tothe faa peed, Higher eotings wil produce faster Diyetect balance ‘D,B. B09, FX ‘Set the Balance between the dvet sound (ORY) and the sound processed by the elect (x). wh a sting Of ORY, the floc wil be tuned of Wha seting oF FX, onl the rotary speaker effct sound wal be heard Other setings st he proporian ofthe direct sound and eect 0nd ‘You can use dynamic modulation to switch between slow and fast while you play. Use a switch-type controller for this purpose. Le., even if a continuous controller is moved rap- idly, this will not cause the rotational speed to follow the motion, and will not affect the way in which the low and high speeds switch. The rotational speed is not affected by the speed at which the controller is moved, but will change to the new speed at the rate specified by the AC (acceleration) parameter. raat "Page 104 in this manual. 1287. Disk/Global mode 7. Disk/Global mode Functions in Disk/Global mode ‘The following table shows how the Disk/Global mode of the iX300 is organized, and shows the main contents of each page, and reference pages in this manual. ope roe a Trieste oa P19 1. DISK parameters | 1-2. Save ‘Save data to disk 7 SP.133 13 vay [oso an nt a mala 8 2. Master tuning/Transpose position _ FEP.195 3: Ma anni ceo soap ae 8 4, MIDI channel settings 1 amcase oe Resta ia onc ae P1397
CUTILD Load dat rom dak Save data disk Uli 1-1. Load Here you can load data from the selected file into the X300. The following types of data can be loaded: arrangement (ARR), program (PRG), backing sequence (BSQ), and style (STY). ‘There are two methods of loading: LOAD ALL and LOAD ONE. Use the [CURSOR] but- tons to select one of these, and press the [RESET/ YES] button to execute your choice. Whichever function you select in this page, the floppy disk containing the file to be loaded must first be loaded into the disk drive. T Load data om dk Load jst one data item fom disk