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Programming Manual: Panel Parameter Descriptions

• Left Panel Parameters
• Control Parameters [1]-[5]
• Glide Parameters [6]-[7]
• Sweep Parameters [8]-[12]
• Envelope Parameters [13]-[25]
• Pitch Parameters [26]-[32]
• Waveshape Parameters [33]-[36]
• Cutoff Parameters [37]-[45]
• Amplitude Parameters [46]-[50]

Left Panel Parameters

Left Panel Switch Sequences

[n] is defined as any numbered switch.

In parameter select mode, select parameter n (after saving current parameter number in OLDPAR). (If n equals current parameter number, OLDPAR is used as the parameter number, and OLDPAR is set to n.)

In copy from A mode, select parameter n and copy from A parameter block in selected program.

In copy from B mode, select parameter n and copy from B parameter block in selected program.

In program select mode, copy program n into current program space (after saving previous program in the safe buffer). (If n equals the current program number, and the modified flag is clear, the safe buffer will be used as the source instead.)

[n] while holding [PARAM SELECT]

Select parameter n, and clear it to its off state. All parameters have 0 and their off value except the two envelope decays, filter tuning, and volume mod 1 depths, which are set to maximum (to give the programmer something audible to start with), and the pitch tuning, which is set to 12 (concert pitch).

[NO LINK] [n]

Copy program n into current program space except for link mode, number and balance, transposes and keyboard split, which are unchanged.

[NO LINK] [NO LINK]

Clear link mode.

[LINK LOWER] [n]

Set up link to program number n, assigning all subsequent notes below keyboard split to link program.

[LINK LOWER] [LINK LOWER]

Set up link lower to program last linked to.

[LINK UNISON] [n]

Set up link to program number n, assigning all subsequent notes to both main and link programs.

[LINK UNISON] [LINK UNISON]

Set up link unison to program last linked to.

[LINK UPPER] [n]

Set up link to program number n, assigning all subsequent notes above or equal to the keyboard split to link program.

[LINK UPPER] [LINK UPPER]

Set up link upper to program last linked to.

[STORE] [n]

Store current program in location n (after storing the previous contents of program n in the safe buffer). (If n matches the current program number and the modified flag is clear, the safe buffer will be used as the source instead of the current program.) Any instruments (such as the link instrument) defined by this program will be redefined by the store.

[STORE] [STORE]

Store current program in location shown in program number display.

[STORE] [n] [n]
[n] [STORE] [n]
[n] [STORE] [STORE]

Exchange the current program with the stored program. (This only works in PROGRAM SELECT mode.)

[EDIT A]

Set edit A mode. Parameter slider will control A parameters.

[EDIT B]

Set edit B mode. Parameter slider will control B parameters.

[EDIT A] and [EDIT B] concurrently

Set edit A and B mode. Display will show A parameter value, but moving the slider will cause both A and B parameters to change to the same value.

[PARAM SELECT]

Enter parameter select mode. Also, abort any two switch sequence. Also used as a parameter clear "shift key" with the numbered switches.

[COPY FROM A] [n]

Enter copy from A mode, with program number n as source.

[COPY FROM B] [n]

Enter copy from B mode, with program number n as source.

[COPY FROM B] [COPY FROM B]

Enter copy from B mode, with current program as source.

[PROG SELECT]

Enter program select mode. Also, abort any two switch sequence.

[DOWN 1 OCT] (main or link)

If already selected, clear transpose. If not selected, transpose up one octave.

[UP 1 OCT] (main or link)

If already selected, clear transpose. If not selected, transpose down one octave.

[SET SPLIT] followed by note

Set the split point at the note played. The split is actually between this note and the next lower note.

[SET SPLIT] [SET SPLIT]

Set the split point at the same point as after the last time the above command was executed.

[TUNE]

Initiate an autotune. When the tuning is complete, the numbers of any disabled boards will be displayed. If the tune switch is still held when the autotune is complete, the bad boards will still be displayed, but they will all be enabled, for diagnostic purposes.

[OVERLOAD] followed by headache

By this point in the manual you are overloaded with technical information. Not to worry, the next edition of the manual [never released] will be cleaned up and will hopefully present the information a little more clearly. In the mean time, relax and enjoy the part that makes sense.

Panel: Main Transpose

This parameter causes -12, 0 or +12 to be added to the key numbers fed into the main program process. The two bits take on the Value 10 for down 1 oct, 00 for off and 01 for up 1 oct. These bits appear in the main transpose LEDs.

Panel: Link Transpose

This parameter is analogous to the main transpose parameter, but only affects notes given to the link process. Do not get confused: the main and link sound generation is controlled by the main and link transposes in the current program. The transposes that are stored in memory in the program that is linked to have no effect.

Panel: Keyboard Split

This parameter is used to determined which keys are assigned to which sounds while in link lower or upper mode. Pressing [SET SPLIT] causes the current setting to appear in the display. Pressing a key will then cause the key number to be stored in this parameter and the display to be restored to what it was before. Pressing [SET SPLIT] twice causes the split to be set to the "standard split," which is simply the most recent split selected by pressing a key on the keyboard. In other words, setting a split using [SET SPLIT] [key] causes the key number to be stored for future access using [SET SPLIT] [SET SPLIT].

Panel: Link Mode & Program Number

Internally, the 2 msbs (most significant bits) contain the mode and the 6 lsbs (least significant bits) contain the number. The 2 msbs take on the value 00 for no link, 10 for link lower, 01 for link upper, and 11 for link unison. The remaining six bits hold the number of the program linked to (or last linked to). Externally, the link mode shows up in the LEDs over the link switches, and the program number shows up in the left half of the 8-digit display whenever the link switches are used to establish a link. Since the link information is a parameter within the program, changing the link constitutes changing the program and sets the modified flag.

Panel: Edit Mode & Parameter Number

Internally, the 2 msbs contain the edit mode and the 6 lsbs contain the number of the parameter that is connected to the parameter slider. The 2 msbs take on the Value 10 in EDIT A mode, 01 in EDIT B mode, and 11 in EDIT A & B mode. The remaining six bits will be 0 for the link balance parameter, 1-5 for the control parameters, and 6-50 for the A or B parameters. Since the parameter number is itself a parameter in the program, selecting a parameter constitutes changing the program, and will set the modified flag.

Panel: Link Balance

The link balance parameter has no effect on the sound unless one of the link modes is active. In that case, the link balance represents the relative gain (in 2dB steps) of the main and link program. Set to 0, both programs run at full volume. Setting it negative, the link program is reduced in gain. Setting it positive, the main program is reduced in gain.This is the only panel parameter that uses the parameter control slider. As such it has its own way of working. Selecting the link balance parameter is done by setting up a link. If a link is already in effect, the link balance parameter may be selected by simply pressing the link switch twice (which is like setting up the link again). As an added convenience, the performer may return to the previously selected parameter after pressing a link switch by pressing [PROG SELECT] or [PARAM SELECT]. While the link balance parameter is selected, the display contains the letter L followed by the link program number in the left side of the display, instead of the usual P and parameter number. This allows a simple means of seeing what program is linked to. This means that the performer can press a link switch to see what he is linked to, and possibly touch up the balance, and then return to the previously selected parameter by pressing [PROG SELECT] or [PARAM SELECT]. Note that the value as shown in the display (the dB value) is twice the internal value as seen by the computer interface. Also, if the parameter is set to -8 (-14 dB) by the interface, it will actually be set to -7.

Panel: Sequence Program

This parameter is used to establish which program will be selected next using the sequence program footswitch. Pressing the footswitch causes this parameter to appear in the large 2-digit display. As long as the footswitch is held, pressing one of the 50 numbered switches will cause this parameter (and the large display) to be changed accordingly. It also causes the parameter to be written into the stored program. Releasing the footswitch causes the program to be selected, if in the PROGRAM SELECT mode. In any other mode, the program is not selected, and that the sequence program parameter is set to 20. Pressing the footswitch would cause 20 to appear in the display. Releasing the footswitch would then cause program 20 to be selected. If, on the other hand, the footswitch was pressed and the performer pressed switch number 30, the number 30 would appear in the display, would be written into the current program, and would be written into program 10. Releasing the footswitch would cause program 30 to be selected. Note that this is the only parameter that can be "written" into one of the stored programs with the lock switch locked.

Control Parameters

Patch [1]

This parameter determines the configuration of the synthesizer channels. There are a total of 16 patch selections, numbered 0 through 15. This is the starting point for all programs. This parameter should be selected and its value set first, to establish the signal paths of the channel boards.

There are basically five configuration types, with subvariations:

SPLIT PATCH

16 independent channels

INDEPENDENT CHANNELS

2 per note, 2 pole, 8 note, 2-pole filtering, independent

PARALLEL FILTERS

Paired channels, notch filtering

SERIES FILTERS

Paired channels, 4 pole and band-pass filter response

VARIABLE MIX

Paired channels, dual 2-pole filter effects

Patch [1], Value = 0 Split Patch

This value produces the greatest number of independent notes (16). The configuration is the simplest available. In this configuration, parameters set using EDIT B have no effect. The A parameters control all 16 channels.

Applications

• When many notes are needed, during sustained arpeggios for example.
• Use Value 0 in place of Value 1 with an Expander to double the number of notes available. First set the Chroma and the Expander to the same program, then set the PATCH value to 0 on both. [SET SPLIT], [1] will temporarily set the patch to 0.
• Simple sounds.

Patch [1], Value = 1 Independent Channels

Both channels (A and B) play on each note, but are separately programmed. Complex sounds may be created by using, for example, one channel for a mellow long decaying sound, and the other for a short percussive sound.

Applications

• Set one channel to high-pass filters, the other to low-pass for contrast.
• Set channels to the same values (program with EDIT A and EDIT B both on), then detune the B channel using DETUNE [4] for richness
• Tune filters and pitch differently, e.g. fifth or octave apart.

Patch [1], Value = 2 Independent Channels, Sync

The signal paths of the two channels are independent, but the frequency of the B oscillator is hard synchronized to the A oscillator. The A oscillator provides the fundamental frequency, the B oscillator the harmonic frequency. For traditional synthesizer "sync" effects, modulate the pitch of the B oscillator with an envelope generator or a sweep generator.

Applications

• Synthesizer "sync" sounds
• Synchronized oscillator sounds, 2-pole filter with a normal channel for added bottom.

Patch [1], Value = 3 Independent Channels, Ring Modulator

Same as Value = 1, except that a ring modulator is substituted for oscillator A. This permits a ring modulator to be used in addition to a normal channel. To set up the ring modulator, set WIDTH [34] to about 32 on both channel A and B. Vary the B TUNE [26] and the DETUNE [4] to obtain the desired ring modulator effect.

Applications

• Bell sounds, effects, metallic sounds
• Ring modulator sounds with a normal synth channel

Patch [1], Value = 4 Independent Channels, Filter FM

The channels are independent, but the output of the B channel modulates the A filter. Audio frequency modulation of filters create rich and unique harmonics. Selecting a different B channel TUNE [26] value, and a different B channel WAVESHAPE [33] will produce different complex effects.

Applications

• Phase shifter effects
• Vocal effects
• Using noise as a waveshape, percussion

Patch [1], Value = 5 Parallel Filters

Both the A and the B oscillators are routed to both A and B filters. The B oscillator's volume is controlled by the B amplifier, and the A amplifier governs the entire output volume. To use as a notch filter, set one filter to high-pass (LP/HP [37], value 1), and the other to low-pass (LP/HP [37], value 0). Set the TUNE [39] value on the LP channel to a low value and the other to a higher value.

Applications

• Use for clavinet, or harpsichord-type sounds
• Modulate with a sweep control for flanging effects

Patch [1], Value = 6 Parallel Filters, Sync

Same as Value 5, but B oscillator is synchronized with the A oscillator (see Value 2 for more about sync).

Applications

• Complex filtering of synchronized oscillators by tuning each filter separately.

Patch [1], Value = 7 Parallel Filters, Ring Modulator

Same as Value 5, but with ring modulator substituted for the A oscillator.

Applications

• Ring modulator effects with notch filter, bells

Patch [1], Value = 8 Parallel Filters, Filter FM

Same as Value 5, except the output of amplifier B is routed to the A filter control input for frequency modulation.

Applications

• Complex harmonics

Patch [1], Value = 9 Series Filter

The two oscillators feed the A filter which in turn feeds the B filter. The B amplifier controls the output of oscillator B, the A amplifier controls the overall output volume. This configuration creates a four-pole filter response, which is useful for brass or flute sounds. The higher harmonics are filtered more than in the single filtered configuration, producing better mellow sounds. The resonance settings of the A and B filters may be set to different values to increase the resonance range.

A band-pass filter response can be established by setting one of the filters to high-pass (LP/HP [37], value 1), and the other to low-pass (LP/HP [37], value 0). Start by setting the high-pass filter slightly higher than the setting of the low-pass filter.

Applications

• Brass, flutes, "fat sounds," many orchestra sounds
• Band-pass; solo violins, reeds
• Band-pass; vocal sounds

Patch [1], Value = 10 Series Filter - Sync

Same as Value 9, except the B oscillator is synchronized to the A oscillator. To mute the A oscillator (to hear only the B oscillator), set the A WAVESHAPE [33] to 1 (pulse), set WIDTH [34] to 0. Set the B TUNE [26] value for for best effects.

Applications

• Fat synthesizer sync sound

Patch [1], Value = 11 Series Filter, Ring Mod

Same as Value 9, except that the A oscillator is replaced with a ring modulator (see Value 3 for ring mod set up). To mute the B oscillator, set the values of MOD 1 DEPTH [47] and MOD 2 DEPTH [49] on the B channel both to 0.

Applications

• Ring modulator, bell effects with four-pole filter

Patch [1], Value = 12 Series Filter, FM Modulation

Same as Value 9, but the output of the B amplifier modulates the frequency of the A filter.

Applications

• Rich harmonics, fat sounds
• Vocal sounds

Patch [1], Value = 13 Variable Mix Filters

The oscillators are mixed and then fed into both filters. Each amplifier controls the level from each filter, allowing asymmetrical notches to be created.

Applications

• Phase shifter, flanger effects (sweeping notch)
• Duo timbre by voicing each channel separately in low-pass mode.

Patch [1], Value = 14 Variable Mix Filters, Sync

Same as Value 13, except the B oscillator is synchronized to the A oscillator (see Value 2 for sync description).

Applications

• Sync effects with notch
• Duo timbre effects

Patch [1], Value = 15 Variable Mix Filters, Ring Mod

Same as Value 13, except the A oscillator is replaced by a ring modulator.

Applications

• Ring modulator, bell effects with notch
• Duo timbre effects

Footswitch Mode [2]

This parameter establishes the mode of the dual footswitch assembly. The right switch is FSW 1 and the left switch is FSW 2. The right switch is normally used as a sustain pedal, and the left switch as a latch. There are eight different modes which change the operation of these switches:

VALUE	SUSTAIN FSW 1 (R)	LATCH FSW 2 (L)
0	Enabled	Enabled
1	Disabled	Enabled
2	Enabled	Disabled
3	Disabled	Disabled
4	Enabled	Note Gate
5	Disabled	Note Gate
6	Enabled	Inverted Gate
7	Disabled	Inverted Gate

When NOTE GATE is selected, notes are only heard when the Left Pedal is held down. When INVERTED NOTE GATE is used, notes are only heard when the left pedal is not held down.

These modes are useful when set differently for Main and Link programs. For example, when using a LINK LOWER set up, it may be desirable to disable the sustain function for the lower part of the keyboard [LINK], and to disable the latch function on the upper part. For this example, the Main program should have FSW MODE [2], Value = 2, and the Link program should be FSW MODE [2], Value = 1.

Note that the operation of either footswitch may be reversed by powering the Chroma with the switch held down, or by pressing [SET SPLIT] [50] while holding down the switch. This makes the switch operate as though it is normally on instead of normally off. Press [SET SPLIT] [50] to restore the switches to their normal condition.

Keyboard Algorithm [3]

This parameter defines the way in which the Chroma assigns synthesizer channels to notes. There are two groups of assignments modes: Monophonic and Polyphonic. The monophonic modes use only one pair of channels, leaving seven pairs to be used for another program. The Polyphonic modes will use all available channels.

The monophonic modes are usually set up for a program which is linked to a polyphonic program. This allows the polyphonic program to use the maximum number of channels [14], and have a lead or bass line which is programmed to a different sound.

Keyboard Algorithm [3], Value = 0 Polyphonic - Least Recently Used

A note is assigned first to a channel set to the same note. Restriking a key will use the same channel. A channel will be assigned second to the longest released channel (the oldest note). The longest held note will be assigned third. The left footswitch latches notes already held, allowing subsequent notes to be played. When a note is latched (and held), a new channel will be assigned to the same note if played.

Keyboard Algorithm [3], Value = 1 Pitch Ordered

Chords are assigned from the top note down to the most recently released channels. This algorithm is most useful with polyphonic glides, as it will permit chords to slide from one position on the keyboard to another with the notes in the same order.

NOTE: When using this value, the LEFT FOOTSWITCH will function as a GLIDE ON/OFF. The left pedal MUST BE DEPRESSED for the glide to function.

Keyboard Algorithm [3], Value = 2 Polyphonic Chord Buffer

Playing a chord causes the notes to be remembered (but not played). When the Left footswitch is pressed, the chord will play. The chord buffer remains intact until all keys are released and a new key is depressed, allowing a new chord to be entered while the previous one still sounds.

This mode is useful for "cueing" a chord during performance. The chord may be loaded when time permits, and "played" with the footswitch while playing a different instrument. Also, the chord buffer may be used in a program which is linked to another program. This way, a chord can be played and then "echoed" by another program when the footswitch is depressed.

Keyboard Algorithm [3], Value = 3 All Channels (Polyphonic)

The most recently played note will be assigned to all channels so that all synthesizer channels play at the same time. If two notes or more are held, the channels are divided among the keys played (up to eight notes, or sixteen if PATCH [1] = 0).

Keyboard Algorithm [3], Value = 4 All Channels (Monophonic)

Only the most recently played note is heard, and is assigned to all available channels.

Keyboard Algorithm [3], Value = 5 Monophonic Last Note, Single Trig

Only the most recently played note will be heard. The envelope generators are single triggered; they will not trigger unless all keys are first released. (Only one pair of channels is used.)

Keyboard Algorithm [3], Value = 6 Monophonic Last Note, Mult Trig

Only the most recently played note will be heard. The envelope generators are multiple triggered; they will trigger on every key depression.

Keyboard Algorithm [3], Value = 7 Monophonic First Note

The first note of a group is heard. All keys must be released in order to hear the next note. Good for bringing out inner voices when linked to polyphonic programs.

Keyboard Algorithm [3], Value = 8 Monophonic Bottom Note

The lowest note of any chord is heard. Good for bass lines when linked to polyphonic programs.

Keyboard Algorithm [3], Value = 9 Monophonic Top Note

Only the top note of a chord is heard. Good for lead line programs when linked to polyphonic programs.

Keyboard Algorithm [3], Value = 10 Monophonic Arpeggiate Up

The notes of a held chord will arpeggiate up at a rate determined by the A Sweep RATE [9]. The notes will be stored with key velocity information as long as the sustain footswitch or a key is held. New velocity values may be established by restriking notes. Latch (left) footswitch will latch the arpeggiating notes.

Keyboard Algorithm [3], Value = 11 Monophonic Arpeggiate Down

Same as Value 10, but arpeggiates down.

Keyboard Algorithm [3], Value = 12 Monophonic Arpeggiate Up and Down

Same as Value 10, but arpeggiates up, then down.

Keyboard Algorithm [3], Value = 13 Monophonic Arpeggiate Down and Up

Same as Value 10, but arpeggiates down, then up.

Keyboard Algorithm [3], Value = 14 Monophonic Sequence Arpeggiation

Notes are played and remembered in the order in which they were played. They are heard at a rate set by the A Sweep RATE [9]. Keyboard velocity values are remembered, and the memory length is about 195 notes. Notes will be remembered as long as the sustain footswitch or a key is held, or as long as the latch switch is depressed. For as long as a key is depressed, or as long as the sustain is held, notes may be added to the list. Releasing all keys and the sustain stops the sequence, and a new sequence may be loaded.

Keyboard Algorithm [3], Value = 15 Monophonic Random Arpeggiation

Notes played are remembered and heard randomly at a rate set by A Sweep RATE [9]. Playing a note more than once increases its chances of being played.

Detune [4], Value = 0 to 31

Tunes the B channel oscillator sharp with respect to the A channel. The displayed value is the number of 32nds of semitone sharp. Since this parameter only affects the B channel, it has no effect when PATCH [1], Value 0 is selected.

Applications

• Use to detune the A and B channels for chorus effect.
• Use with TUNE [26] as a fine tune control when using a ring modulator patch.

Output Select [5], Value = 0 to 3

Routes the channels to one of four audio outputs on the rear panel (0, 1, 2, or 3). The four outputs are normally summed together and sent out the mono output jacks via the rings of these jacks. The jacks may be used as send/receive jacks by inserting a ¼" phono plug: send the signal to the effect (such as a phaser, reverb, etc.) from the tip of the plug, and route the output of the effect back into the ring. [See Performance Manual: Alternate Audio Hookups - Send/Receive for a wiring diagram.]

To set up stereo modes automatically (from within a program), set the OUTPUT SELECT on the Main program to one output, and the OUTPUT SELECT on the Link program to a different value. Store each program after making the change. Note: to use both XLR output jacks, it is suggested that the Link program be set to OUTPUT SELECT [5], Value 3.

The OUTPUT SELECT routes the outputs of the channel pairs, and the routing is established for the entire program. In other words, both the A and B channels will always be routed to only one output. Two outputs may be used at the same time only when a Link is established.

Glide Parameters

Keyboard pitch information is passed through the glide processor, which is capable of slowing down the transitions from pitch to pitch. There are two modes: portamento and glissando. Portamento creates a smooth transition from any pitch to another. In both cases, the rate of change is controlled by the RATE [6] parameter.

Certain keyboard algorithms automatically enable and disable the glide according to how the notes are played.

Rate [6], Value 0 to 31

The rate settings for the glide depend upon the GLIDE SHAPE [7]:

If Shape = Portamento

Value	Result
0	No Portamento
1	10 millisecond portamento
31	10 second portamento

If Shape = Glissando

Value	Result
0	No Glissando
1	25 steps per second
31	1 step per second

Shape [7], Value 0 to 1

Selects the shape of the glide output:

• Value 0 = PORTAMENTO (Smooth slide)
• Value 1 = GLISSANDO (Chromatic steps)

Sweep Parameters

The sweep generator generates low-frequency repetitive control signals. It is used to modulate functions like pitch (for vibrato, or trills), waveform (pulse width modulation), cutoff (tremolo). It has a basic rate that can be adjusted over a wide range. In addition, it can be modulated by 15 other control sources. There are 16 different waveshapes available, and an amplitude modulation selection which includes a delayed sweep envelope. The sweep generator may run independently, or be synchronized to key depressions. Each note may have its own sweep generator, or they may be locked together.

There are a total of 16 separate sweep generators (A and B), and both may be used with different settings within a program. The A sweep generator is used to trigger other functions, such as the arpeggiator used in KYBD ALG [3].

Mode [8], Value = 0 to 3

Controls the type of synchronization among a bank of sweeps.

Value = 0: Asynchronous

The sweeps are free running and independent. In fact, the computer forces them to run at slightly different rates. Use when a high degree of note independence is desirable, such as a string chorus.

Value = 1: Individual Key-Synced

The sweeps are independent of each other, yet each is restarted at the beginning of its cycle when the channel is assigned a new note. Use with patterns or trills so as to obtain a predictable response when keys are first played. When [AMPL MOD] is set to one of the delayed sweep values, the [MODE] value will automatically default to Value 1. The value in the DATA READOUT will not be changed, however.

Value = 2: Single Free Running

All the sweeps (from all channels) function as one, and run freely. The rate modulation always comes from the most recently assigned channel. In this mode, it is like having only one sweep generator for the entire instrument and is useful for synchronizing specific sweep effects like patterns.

Value = 3: Single Key-Synced

Same as Value 2, except that the sweep is restarted at the beginning of its cycle when new notes are played.

Sweep Rate [9], Value 0 through 63

Controls the sweep rate (unmodulated) 0 to 63, (0.12Hz. to 12Hz.).

Sweep Rate Mod [10], Value 0 through 15

Selects the modulation of the sweep rate. The amount of modulation is fixed at a predetermined value. Positive modulation increases the rate, inverted values decrease the rate.

Value
0	No modulation
1	Pressure (optional)
2	Keyboard (higher notes increase the rate, lower notes decrease the rate).
3	Inverted Keyboard (higher notes decrease rate).
4	Velocity (notes struck hard increase the rate).
5	Inverted Velocity (notes struck hard decrease the rate).
6	Envelope 2 (rate increases and decreases according to envelope shape).
7	Inverted Envelope 2 (rate decreases, and increases according to envelope shape).
8	Pedal 1 (pedal increases sweep rate).
9	Inverted Pedal 1 (pedal decreases rate).
10	Pedal 2 (pedal increases sweep rate).
11	Inverted Pedal 2 (pedal decreases rate).
12	Lever 1 (pushing lever forward increases rate).
13	Inverted Lever 1 (pushing lever forward decreases rate).
14	Lever 2 (pushing lever forward increases rate).
15	Inverted Lever 2 (pushing lever forward decreases rate).

Sweep Waveshape [11], Values = 0 through 15

Establishes the waveshape generated by the sweep. The quantities are in standard Chroma pitch units (1 unit = 32 semitones).

Value	Description		Typical Uses
0	Sine		Vibrato, tremolo
1	Cosine		"
2	Offset Sine		Filter mod, waveshape mod
3	Half Sine		"
4	Triangle A		"
5	Triangle B		"
6	Sawtooth		Pitch or Freq mod, Effects
7	Lag Square		Effects
8	Square		Trills
9	Pattern A		Repeat patterns, S/H effects
10	Pattern B		"
11	Pattern C		"
12	Pattern D		"
13	Pattern E		"
14	Pattern F		"
15	Random		S/H effects

Amplitude Modulation [12] Values = 0 through 15

Controls the modulation of the sweep amplitude. When these waveforms are used to modulate other functions, such as pitch or cutoff, the depth modulation is set and is not changed thereafter. The sweep AMPLITUDE MODULATION permits the sweep waveform's amplitude to be modified at the sweep generator source by any of 15 other control functions. The depth of AMPLITUDE MODULATION is fixed.

Value
0	No modulation
1	Pressure (optional pressure sensor)
2	Keyboard (amplitude increases with higher notes).
3	Inverted Keyboard (amplitude decreases with higher notes).
4	Velocity (amplitude increases with harder notes).
5	Inverted Velocity (amplitude decreases with harder notes).
6	Envelope 1 (Env 1 increases amplitude).
7	Envelope 2 (Env 2 increases amplitude).
8	Pedal 1 (pedal increases amplitude).
9	Pedal 2 (pedal increases amplitude).
10	Lever 1 (lever 1 increases amplitude).
11	Lever 2 (lever 2 increases amplitude).
12	0.85 sec. delay (delayed envelope).
13	1.3 sec. delay (delayed envelope).
14	2.6 sec. delay (delayed envelope).
15	5.1 sec. delay (delayed envelope).

The delay envelopes may be used for creating an automatic delayed vibrato. There are four delay lengths to choose from. The four delay values will automatically put the sweep in the independent key triggered mode, even if MODE [8] is set to a different value.

Envelope Parameters

There are two envelope generators per channel, labelled 1 and 2. This means there are two envelopes for the A channel (1A and 2A), and two for the B channel (1B and 2B). The envelope shapes are either AR (Attack, Release), or ADR (Attack, Decay, Release). More complex shapes are created by combining envelopes by using modulation inputs to the Cutoff, Pitch or Amplitude functions. Each envelope has the following parameters which may be varied:

Amplitude Touch

Sets the envelope peak as a function of key velocity.

Attack Time

Sets the ATTACK TIME from key down to envelope peak.

Attack Modulation

Alters the ATTACK TIME value as a function of other control sources such as sweep or keyboard.

Decay Time

Sets the DECAY TIME from the peak of the envelope.

Decay Modulation

Alters the DECAY TIME value as a function of other control sources.

Release Time

Sets the RELEASE TIME from the time a key is released.

Delay (Env No. 2 only)

Delays the onset of an envelope from the time a key is pressed from 0 up to 3 seconds.

Amplitude Touch [13], Values = 0 through 7

Controls the relationship between keystrike velocity and the envelope amplitude (peak). When a key is struck, the Chroma records the key velocity in memory. Depending upon the setting of the AMPLITUDE TOUCH, this velocity value can produce different results. When the value is set to 0, there is no effect, and the amplitude is constant regardless of how hard keys are struck. Values 1 through 5 produce different degrees of sensitivity as a function of key velocity; Values 6 and 7 produce two amplitude values switched at a preset velocity threshold (see below).

Value
0	No amplitude modulation
1	Low sensitivity
2	Medium low sensitivity
3	Medium sensitivity
4	Medium high sensitivity
5	High sensitivity
6	THRESHOLD
7	INVERTED THRESHOLD

Threshold Values

For Values 6 and 7, the point above which the keystrike is considered a "hard strike" is called the attack threshold. Above this threshold, envelopes will have the normal fixed amplitude (1 "Chroma" unit); below the threshold, the amplitude will be zero (no envelope). Using [SET SPLIT], [21] causes the threshold to be set to whatever number is in the DATA READOUT value, regardless of what parameter is selected [see note below]. Setting the threshold close to zero will cause all but the very softest keystrikes to be considered "hard strikes." Setting the threshold close to 31 will cause all but the very hardest strikes to be considered "soft strikes." Values from 10 to 25 are useful.

Using the threshold values, programs may be established which cause the envelopes to "switch" from one type to another as a function of how hard you play. This on hard strikes, or to mute a sound as you strike harder.

Attack [14], Values = 0 through 21

Controls the unmodulated time the envelope takes to reach its peak value.

Value
0	Instant
1	10 msec.
31	10 seconds

Attack Mod [15], Values = 0 through 7

Controls the modulation of the attack time. The amount of modulation is fixed at a (hopefully) useful value. Positive modulation decreases the attack time; negative modulation increases the attack time.

Value
0	No modulation
1	Pressure (optional)
2	Keyboard (attack time decreases with higher notes).
3	Inverted Keyboard (attack time increases with higher notes).
4	Velocity (attack time decreases with hard keystrikes).
5	Inverted Velocity (attack time increases with hard keystrikes).
6	Pedal 1
7	Pedal 2

Decay [16], Values = 0 through 31

Controls the unmodulated decay time constant. When set to maximum, the envelope will remain at peak value for as long as a key is held.

Value
0	Instant
1	10 msec.
30	10 seconds
31	Infinite sustain

Decay Mod [17], Values = 0 through 7

Controls the modulation of the decay time constant. The amount of modulation is fixed at a (hopefully) useful value. Positive modulation increases the decay time; negative modulation decreases the decay time.

Value
0	No modulation
1	Pressure (optional)
2	Keyboard (the decay time increases with higher notes on the keyboard).
3	Inverted Keyboard (the decay time decreases with higher notes on the keyboard).
4	Velocity (the decay time increases with hard keystrikes).
5	Inverted Velocity (the decay time decreases with hard keystrikes).
6	Pedal 1
7	Pedal 2

Release [18], Values = 0 through 31

Controls the release time constant. Value 31 has two preset release times (see below).

Value
0	Instantaneous
1	10 msec.
30	10 seconds
31	THRESHOLD RELEASE (see below)

Release Threshold [SET SPLIT], [22]

When the envelope's release parameter is set to 31, the release time constant becomes touch sensitive. Release velocities below a certain threshold yield one release time while velocities above the threshold yield a different release time. The threshold is a number from 0 to 31, and is set by pressing [SET SPLIT], [22]. Pressing [SET SPLIT], [22] causes the threshold to be set to whatever number is in the DATA READOUT (value), regardless of what parameter is selected. See note under Threshold Values for Amplitude Touch [13].

Slow Release Rate [SET SPLIT], [23]

Using [SET SPLIT], [23] sets the slow release rate. As with the threshold, pressing [SET SPLIT], [23] causes the release time for slow key release to be set to whatever number is in the DATA READOUT, regardless of the parameter selected. The range is from 0 to 31. See note under Threshold Values for Amplitude Touch [13].

Fast Release Rate [SET SPLIT], [24]

Using [SET SPLIT], [24] sets the fast release rate. This is the rate at which an envelope will release for a fast key release. Pressing [SET SPLIT]. [24] causes the release time for fast release notes to be set to whatever number is in the DATA READOUT, regardless of the parameter selected. The range is from 0 to 31. See note under Threshold Values for Amplitude Touch [13].

Envelope 2 Delay [19], Values 0 through 31

Delays the onset of envelope 2 up to 2.4 seconds, or can cause the A sweep generator to trigger the onset of envelope 2 at the beginning of each sweep cycle.

Value
0	No delay
1	80 msec. delay
	(80 msec. increments)
30	2.4 seconds
31	A sweep triggered

Amplitude Touch [20], Values = 0 through 7

Controls the relationship between keystrike velocity and the envelope amplitude (peak). When a key is struck, the Chroma records the key velocity in memory, Depending upon the setting of the AMPLITUDE TOUCH, this velocity value can produce different results. When the value is set to 0, there is no effect, and the amplitude is constant regardless of how hard keys are struck. Values 1 through 5 produce different degrees of sensitivity as a function of key velocity; Values 6 and 7 produce two amplitude values switched at a preset velocity threshold (see below).

Value
0	No amplitude modulation
1	Low sensitivity
2	Medium low sensitivity
3	Medium sensitivity
4	Medium high sensitivity
5	High sensitivity
6	THRESHOLD
7	INVERTED THRESHOLD

Threshold Values

For Values 6 and 7, the point above which the keystrike is considered a "hard strike" is called the attack threshold. Above this threshold, envelopes will have the normal fixed amplitude (1 "Chroma" unit); below the threshold, the amplitude will be zero (no envelope). Using [SET SPLIT], [21] causes the threshold to be set to whatever number is in the DATA READOUT value, regardless of what parameter is selected. See note under Threshold Values for Amplitude Touch [13]. Setting the threshold close to zero will cause all but the very softest keystrikes to be considered "hard strikes." Setting the threshold close to 31 will cause all but the very hardest strikes to be considered "soft strikes." Values from 10 to 25 are useful.

Using the threshold values, programs may be established which cause the envelopes to "switch" from one type to another as a function of how hard you play. This on hard strikes, or to mute a sound as you strike harder.

Attack [21], Values = 0 through 31

Controls the unmodulated time the envelope takes to reach its peak value.

Value
0	Instant
1	10 msec.
31	10 seconds

Attack Mod [22], Values = 0 through 7

Controls the modulation of the attack time. The amount of modulation is fixed at a (hopefully) useful value. Positive modulation decreases the attack time; negative modulation increases the attack time.

Value
0	No modulation
1	Pressure (optional)
2	Keyboard (attack time decreases with higher notes).
3	Inverted Keyboard (attack time increases with higher notes).
4	Velocity (attack time decreases with hard keystrikes).
5	Inverted Velocity (attack time increases with hard keystrikes).
6	Pedal 1
7	Pedal 2

Decay [23], Values = 0 through 31

Controls the unmodulated decay time constant. When set to maximum, the envelope will remain at peak value for as long as a key is held.

Value
0	Instant
1	10 msec.
30	10 seconds
31	Infinite sustain

Decay Mod [24], Values = 0 through 7

Controls the modulation of the decay time constant. The amount of modulation is fixed at a (hopefully) useful value. Positive modulation increases the decay time; negative modulation decreases the decay time.

Value
0	No modulation
1	Pressure (optional)
2	Keyboard (the decay time increases with higher notes on the keyboard).
3	Inverted Keyboard (the decay time decreases with higher notes on the keyboard).
4	Velocity (the decay time increases with hard keystrikes).
5	Inverted Velocity (the decay time decreases with hard keystrikes).
6	Pedal 1
7	Pedal 2

Release [25], Values = 0 through 31

Controls the release time constant. Value 31 has two preset release times (see below).

Value
0	Instantaneous
1	10 msec.
30	10 seconds
31	THRESHOLD RELEASE (see below)

Release Threshold [SET SPLIT], [22]

When the envelope's release parameter is set to 31, the release time constant becomes touch sensitive. Release velocities below a certain threshold yield one release time while velocities above the threshold yield a different release time. The threshold is a number from 0 to 13, and is set by pressing [SET SPLIT], [22]. Pressing [SET SPLIT], [22] causes the threshold to be set to whatever number is in the DATA READOUT (value), regardless of what parameter is selected.

Slow Release Rate [SET SPLIT], [23]

Using [SET SPLIT], [23] sets the slow release rate. As with the threshold, pressing [SET SPLIT], [23] causes the release time for slow key release to be set to whatever number is in the DATA READOUT, regardless of the parameter selected. The range is from 0 to 31.

Fast Release Rate [SET SPLIT], [24]

Using [SET SPLIT], [24] sets the fast release rate. This is the rate at which an envelope will release for a fast key release. Pressing [SET SPLIT]. [24] causes the release time for fast release notes to be set to whatever number is in the DATA READOUT, regardless of the parameter selected.

Pitch Parameters

Tune [26], Values = 0 through 63

Controls the unmodulated pitch of the oscillator relative to the glide keyboard output. The range is in semitones, where 12 represents concert pitch. Therefore, the range is from 1 octave below concert pitch to 4¼ octaves above.

Modulation 1 Select [27], Values = 0 through 15

Selects a control signal for the No. 1 modulation input into the oscillator.

Value
0	Keyboard Glide A
1	Sweep A
2	Envelope 1A
3	Envelope 2A
4	Keyboard Glide B
5	Sweep B
6	Envelope 1B
7	Envelope 2B
8	Lever 1
9	Lever 2
10	Pedal 1
11	Pedal 2
12	Velocity
13	Threshold velocity
14	Pressure
15	Threshold pressure

Note: If the split patch is being used, selectsion 4–7 default to the A sources, as there are no B sources.

Modulation 1 Depth [28] Values = –64 through +63

Adjusts the gain depth of modulation for the No. 1 modulation input into the oscillator. The value represents the number of 1/16 semitone increments for each unit of modulation.

Note: The three pitch modulation depths have different gain ranges.

Modulation 2 Select [29] Values = 0 through 15

Selects a control signal for the No. 2 modulation input into the oscillator.

(SAME AS PARAMETER [27])

Modulation 2 Depth [30], Values = –64 through +63

Adjust the gain for the No. 2 modulation input into the oscillator. The value represents the number of ¼ semitone increments for each unit of modulation.

Note: The three pitch modulation depths have different gain rates.

Modulation 3 Select [31], Values = 0 through 15

Selects a control signal for the No. 3 modulation input into the oscillator.

(SAME AS PARAMETER [27])

Modulation 3 Depth [32], Values = –64 through +63

Adjusts the gain for the No. 3 modulation input into the oscillator. The value represents the number of semitone increments for each unit of modulation.

Note: The three pitch modulation depths have different gain rates.

Waveshape Parameters

Waveshape [33], Values = 0 through 3

Selects the waveshape produced by the oscillator.

Pulse Width [34], Values = 0 through 63

Adjusts the unmodulated pulse width or phase difference between the two sawteeth. The range is in increments of roughly 1.5%. A setting of 32 represents a width of 50%, which yields either a sawtooth of twice the oscillator frequency or a square wave depending upon the waveform value. A setting of 0 represents a width of 0%, which yields either a single sawtooth or no pulse.

Pulse Modulation Select [35], Values = 0 through 15

Selects a control signal for the modulation input into the waveshaper.

Value
0	Keyboard Glide A
1	Sweep A
2	Envelope 1A
3	Envelope 2A
4	Keyboard Glide B
5	Sweep B
6	Envelope 1B
7	Envelope 2B
8	Lever 1
9	Lever 2
10	Pedal 1
11	Pedal 2
12	Velocity
13	Threshold velocity
14	Pressure
15	Threshold pressure

Note: If the split patch is being used, selections 4-7 default to the A sources, as there are no B sources.

Pulse Modulation Depth [36], Values = –64 through +63

Adjusts the gain depth of the modulation for the modulation input into the waveshaper. The value represents the number of 1.5% width increments for each unit of modulation.

Cutoff Parameters

Low Pass/High Pass Filter [37], Values = 0 and 1

Selects the mode of the filter.

Value
0	Low-pass
1	High-pass

Filter Resonance [38], Values = 0 through 7

Adjusts the resonance, or Q, of the filter. The resonance ranges from 0 (no resonance) through 7 (self-oscillate).

Filter Tune [39], Values = 0 through 63

Adjusts the unmodulated tuning of the filter. The range is in whole tone increments, starting at C (16 Hz.).

Note: The filter does not track the keyboard unless it is modulated by the keyboard glide.

Filter Modulation 1 Select [40], Values = 0 through 15

Selects a control signal for the No. 1 modulation input into the filter.

Value
0	Keyboard Glide A
1	Sweep A
2	Envelope 1A
3	Envelope 2A
4	Keyboard Glide B
5	Sweep B
6	Envelope 1B
7	Envelope 2B
8	Lever 1
9	Lever 2
10	Pedal 1
11	Pedal 2
12	Velocity
13	Threshold velocity
14	Pressure
15	Threshold pressure

Note: If the split patch is being used, selections 4-7 default to the A sources, as there are no B sources.

Filter Modulation 1 Depth [41], Values = –64 through +63

Adjusts the gain for the No. 1 modulation input into the filter. The value represents the number of semitone increments for each unit of modulation.

Note: When using the glide as a modulation source, a setting of 32 causes the filter to track the pitch perfectly.

Filter Modulation 2 Select [42], Values = 0 through 15

(Same as Paramater [40])

Filter Modulation 2 Depth [43], Values = –64 through +63

(Same as Paramater [41])

Filter Modulation 3 Select [44], Values = 0 through 15

(Same as Paramater [40])

Filter Modulation 3 Depth [45], Values = –64 through +63

(Same as Paramater [41])

Amplitude Parameters

Amplitude Modulation 1 Select [46], Values = 0 through 3

Selects an envelope for the No. 1 modulation input into the amplifier.

Value
0	Envelope 1A
1	Envelope 2A
2	Envelope 1B
3	Envelope 2B

Note: If the split patch is being used, selections 2 and 3 default to the A sources, as there are no B sources.

Amplitude Modulation 1 Depth [47], Values = 0 through 15

Adjusts the gain of the No. 1 modulation input into the amplifier. The range is exponential, in approximate 2dB steps. A setting of 0 shuts off the amplifier.

Note: At least one of the two modulation inputs must be used in order to get anything out of the amplifier.

Amplitude Modulation 2 Select [48], Values = 0 through 3

Selects an envelope for the No. 2 modulation input into the amplifier.

Value
0	Envelope 1A
1	Envelope 2A
2	Envelope 1B
3	Envelope 2B

Note: If the split patch is being used, selections 2 and 3 default to the A sources, as there are no B sources.

Amplitude Modulation 2 Depth [49], Values = 0 through 15

Adjusts the gain of the No. 2 modulation input into the amplifier. The range is exponential, in approximate 2dB steps. A setting of 0 shuts off the amplifier.

Amplitude Modulation 3 Select [50], Values = 0 through 7

Selects a fixed post-modulation for the amplifier.

Values
0	None. Gain fixed at 1.
1	Pressure. Gain = ½ to 1.
2	Keyboard. Gain = 1 at bottom to ½ at top.
3	Sweep. Gain = (¼ x sweep) + ¾.
4	Pedal 1. Gain = 0 to 1.
5	Inverted Pedal 1. Gain = 1 to 0.
6	Pedal 2. Gain = 0 to 1.
7	Inverted Pedal 2. Gain = 1 to 0.

Note: The first two modulation inputs are added, then multiplied by this modulation input. Settings 1 and 4 through 7 use performance controls. Setting 2 is to compensate for the increase in volume at high pitches that results when the filter tracks the pitch. Setting 3 is for a tremolo effect.

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