User manual PEAVEY REALPIANO DIGITAL PRO 2

[. . . ] ® OWNERS MANUAL Generalmusic PRO 1/PRO 2 Page 1 GEN ERA LM US IC English Generalmusic PRO 1/PRO 2 Page 2 ® OWNERS MANUAL GEN ERA LM US IC English Generalmusic PRO 1/PRO 2 Page 1 General safety instructions Power source · Be sure that you are using a Generalmusic approved power adaptor to power the instrument Handling the power cord · Never touch the power adaptor or its plug with wet hands. · Never pull on the cord to remove it from the wall socket, always pull the plug. · Never forcibly bend the power adaptor's cord. · If the power adaptor or its cord is scarred, cut or broken, or has a bad contact, it will be a potential fire hazard or source of serious electric shock. [. . . ] We can create this effect in the following way; 1. Use the page buttons to select either the Volume, Reverb or Effect screen for "the other sound". Now use the sound selection buttons and the VAR button to select E. Now you can turn off PERF EDIT to return to normal playing or you can continue to edit the sound combination using the other features in PERF EDIT. Generalmusic PRO 1/PRO 2 Page 28 Section 5 Master/MIDI Functions The Master/MIDI button contains both the MIDI controls of the instrument and a number of important "Master Control Features". Generalmusic PRO 1/PRO 2 Page 29 MIDI functions (PRO 1 Model Only) Tuning This feature allows the entire instrument to be tuned to match another instrument or backing track which may be slightly out of tune. The tuning display uses a standard reference for the pitch of concert A = 440Hz. NOTE: PRO 2 users have a separate front panel control for this same feature (see page 18). 1. Midi Channel This allows you to change the "primary MIDI channel" for the instrument. This is both the send and receive channel for the instrument when only one sound is being used across the entire keyboard. In LAYER mode, this becomes the MIDI channel of Sound #1 and in SPLIT mode it becomes the MIDI channel of the right hand or upper sound. Sound number, (1 or 2) 1. 2. Midi Channel This allows you to change the "secondary MIDI channel". This channel is only in effect when more than one sound is being used - in LAYER or SPLIT modes. The selected channel will be both the send and receive channel for sound #2 - the second sound of a layer or the left hand or lower sound of a split. Common Channel This channel is primarily used for the sending and receiving of PERFORMANCE messages. A program change message received on the common channel will not change one of the individual sounds on the keyboard. Instead, it will be interpreted as a PERFORMANCE CHANGE message. Midi Transpose It is possible, using this function, to have the midi note messages from a particular sound transposed to a higher or lower key. In this way, the PRO 1/PRO 2's internal sounds will not be transposed but the sounds from the attached sound module will play at a different pitch. Use the DATA slider to choose which sounds you want to affect and use the front panel TRANSPOSE buttons to choose the amount of transposition. This feature is particularly useful when, for example, you might want to mix the internal piano sound with a synth sound from another sound module. When you connect the module via MIDI, you find that the synth voice is playing in the wrong octave. Using the Midi transpose function you can transpose the external synth sound without affecting the internal piano sound. Midi IN Filters This function allows you to block the reception of certain MIDI messages which might be unwanted on some occasions. [. . . ] 22 Restore Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Restore user tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Reverb Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]