User manual KURZWEIL EXPRESSIONMATE REV B

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Manual abstract: user guide KURZWEIL EXPRESSIONMATEREV B

Detailed instructions for use are in the User's Guide.

[. . . ] ExpressionMate User's Guide 1999 All rights reserved. Kurzweil is a product line of Young Chang Co. ; V. is a registered trademark, and Kurzweil, ExpressionMate, MIDIScope, K2500, and K2000 are trademarks of Young Chang Co. All other products and brand names are trademarks or registered trademarks of their respective companies. [. . . ] There are two main features of each Latch Mode. The rst is whether or not it uses controller #49. Some Latch Modes will start arpeggiating as soon as you press the keys, while others will only start arpeggiating when you send controller #49 (the Latch controller) with an On value, and then will stop arpeggiating if you turn that controller Off. You can then assign controller 49 to a switch pedal or button in a Setup to Latch and Unlatch notes for the arpeggiator. (Most of the Factory Setups have Pedal 2 and SW2 assigned to controller 49. In addition, MAP1 remaps incoming sustain messages to latch, so you can use the sustain pedal on your keyboard to latch. ) The second main feature is whether or not the arpeggiator will resync the clock when you rst strike a key. If the Latch Mode does resync the clock, then the arpeggiating will start the moment you strike a key and any subsequent keys will be arpeggiated in time with the clock. But once all keys are let up (or the latch controller is turned off), then the clock wont start again until the next key is pressed. But if the Latch Mode does NOT resync the clock, then the clock begins when you select the Setup and is always running whether or not you are playing any keys. Therefore, if you strike the key between the clock pulses, the ExpressionMate will wait until the next clock pulse to start arpeggiating the note. This allows you to play the keys less accurately but still have the notes triggered exactly in time. One important thing to note: If you have the Arp Clock parameter in the Global Parameters menu set to an external clock, the all Latch Mode parameters will sync to that clock and will therefore the modes which normally resync on key start will NOT resync. Once you start arpeggiating, each note you play is added to an internal list which the ExpressionMate remembers. In some latch modes, they will be removed from the list when you let go of the key, and in others, they will remain part of the list as long as the latch controller is turned On. If you play more than 16 notes, any extra notes will simply be ignored. If you press the same key more than once, each key press is remembered as a separate event in the list and 66 The Arpeggiator Arpeggiator parameters will be included in the arpeggiation parameter. Keep in mind that the Arpeggiator parameters may generate more than 16 different notes, based on the setting of the Shift and/or Glissando parameters. The 16 note limit applies to the actual notes that you play. Latch Modes that use controller #49: Keys1* Keys2* Overplay Arpeggiation Add Auto3 Auto4 Toggle* KeyXp1 - KeyXp4 * These modes can also be used without the Latch Controller Latch Modes that do not use controller #49: Auto1 Auto2 Latch Modes that Resync the Clock: Keys1 Overplay Arpeggiation Add Auto1 Auto4 Toggle KeyXp3 KeyXp4 Latch Modes that do not Resync the Clock: Keys2 Auto2 Auto3 KeyXp1 KeyXp2 67 The Arpeggiator Arpeggiator parameters Ctlr#49 and Latch Modes As explained in the preceding section, to Latch is basically to grab notes for the Arpeggiator. This section explains how Latch controller #49 affects the different Latch Modes. Keys1 - This latch mode can be used with or without the latch controller (#49). If the latch controller is turned off, then it works very simply. If you press one or more keys, they will be arpeggiated. [. . . ] Section 2 changes the Arp shift amount and section 3 changes Arp shift limit. PlayHold/SW1 - Play notes and hold them and press SW1. C2Drms 3/4B - Play C2 to start Arp pattern. They turn on and off part of the pattern. [. . . ]

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