Detailed instructions for use are in the User's Guide.
[. . . ] Example screen displays The parameter values shown in the example screens of this manual are only for explanatory purposes, and may not necessary match the values that appear in the Display of your instrument. MIDI-related explanations CC# is an abbreviation for Control Change Number. In explanations of MIDI messages, numbers in square brackets [ ] always indicate hexadecimal numbers. * All product names and company names are the trade‐ marks or registered trademarks of their respective owners.
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Table of Contents
Performance Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] Select the AMS Mixer as the Oscillator Pitch AMS input. Set the Pitch AMS Intensity to any exact half‐step value, such as +5. 00, +7. 00, etc. Set the JS(+X), JS(–X) amount to 0. 00.
Unipolar Triangle Wave
4. In the AMS Mixer, select the JS X as AMS A.
Asymmetric (not recommended)
+99 0 –99
Symmetric
5. Set the Number Of Steps to the same number you used in Step 2.
Now, playing the joystick will create quantized pitch bends. JSX will still produce smooth pitch bends, as usual, so you can use both techniques together.
Gate Control
Shape = 0 (original waveform) Shape = +99 Shape = –99
Fixed Value
AMS Mixer, Type = Gate Control
Control
Quantize
This Mixer Type changes the input from a continuous signal into a series of discrete steps. Instead of moving smoothly between values, it will snap immediately from one value to another. You can use this to change the shape of LFOs or EGs, or to force a controller to land on a few specific values. AMS Mixer Quantize examples
Unipolar (e. g. , JS+Y) +99 Bipolar (e. g. , LFO)
Below AMS Fixed Value At & Above AMS
Original AMS A
0 –99
+99
Quantize Steps = 8
0 –99
+99
Quantize Steps = 16
0 –99
This Mixer Type lets you set up two different AMS sources (or fixed AMS amounts), and then switch between the two using a third AMS source. It’s similar to an audio gate with a side‐chain, but with even more flexibility–since you get to choose what happens when the gate is closed (below the threshold), as well as when it’s open (above the threshold). You can also choose whether the gate will be able to open and close continuously in response to the control source, or whether it only opens or closes at the beginning of the note, and then stays that way over the note’s entire duration. You can use the Gate to: • Use a foot‐switch (or other controller) to apply pitch‐ bend or other effects to some notes, but not to others • The parameter will be applied when the controller reaches a specific threshold. For example, the velocity value could control the filter resonance only if the velocity value exceeds 90. • Use the joystick, switches, or controllers to change between two separate LFOs (or other AMS sources).
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Program Edit
Gate Output
If the value of the Control Source is less than the “Thresh‐ old, ” the Gate outputs the preset value or AMS source selected under “Below Threshold. ” If the value of the Control “Source” is greater than or equal to the “Threshold, ” the Gate outputs the preset value or AMS source selected in the At & Above Threshold parame‐ ter.
4. The Common Keyboard Track parameters are shared by the entire Program, but the actual AMS values are calculated individually for each voice.
Keyboard Track 1
Key
Low Break [C–1. . . G9]
This specifies the note that will be the break point connect‐ ing the two sloped lines in the low region.
Center
[C–1. . . G9]
This specifies the note that will be the break point in the cen‐ ter of keyboard tracking. At this key, the keyboard tracking has no effect on the AMS destinations.
What does Keyboard Tracking do?
At its most basic, keyboard tracking lets you vary the modu‐ lation amount as you play up and down the keyboard. This can be useful for making the timbre consistent across the entire range, or adjusting parameters according to pitch. The PS60 keyboard tracking can be fairly complex, if desired. You can create different rates of change over up to four different parts of the keyboard. For instance, you can: • Make the modulation increase very quickly over the middle of the keyboard, and then increase more slowly– or not at all–in the higher octaves. • Make the modulation increase as you play lower on the keyboard. • Create abrupt changes at certain keys, for split‐like effects. Common Keyboard Tracking
At the Center Key, the AMS value is always 0. AMS +99 Ramp: +99 –99 –99 AMS Ramp = –50 Ramp = +99 Ramp: +99 +50 00 –50 –99
High Break
[C–1. . . G9]
This specifies the note that will be the break point connect‐ ing the two sloped lines in the high region.
Ramp
Please see “Ramp” on page 38.
Bottom-Low
[–Inf, –99. . . +99, +Inf]
This sets the slope between the bottom of the MIDI note range and the Low Break key. For normal key track, use negative values.
Low-Center
[–Inf, –99. . . +99, +Inf]
This sets the slope between the Low Break and Center keys. For normal key track, use negative values.
Center-High
[–Inf, –99. . . +99, +Inf]
This sets the slope between the Center and High Break keys. For normal key track, use positive values.
High-Top
[–Inf, –99. . . +99, +Inf]
0
This sets the slope between the High Break key and the top of the MIDI note range. For normal key track, use positive values. The table below shows how the Ramps affect the AMS out‐ put:
Ramp value –Inf –99 –50 0 +50 +99 +Inf AMS change goes to –99 in 1 half‐step –20 per octave –10 per octave no change +10 per octave +20 per octave goes to +99 in 1 half‐step
Low Break
Center
High Break
How it works: Keys and Ramps
The keyboard tracking works by creating four ramps, or slopes, between five keys on the keyboard. “Break Key” on page 38
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Program Edit
+Inf and –Inf ramps
+Inf and –Inf are special settings which create abrupt changes for split‐like effects. When a ramp is set to +Inf or – Inf, the keyboard tracking will go to its extreme highest or lowest value over the span of a single key. +Inf and –Inf Ramps
Ramp = +Inf
Ramp = –50
Ramp = –Inf
Key Low
Center
Key High
Note: If you set the Center‐High ramp to +Inf or –Inf, the High‐Top parameter will be grayed out. Similarly, if you set the Low‐Center ramp to +Inf or –Inf, the Bottom‐Low ramp will be grayed out.
Keyboard Track 2
This is the second Common keyboard tracking generator. Its parameters are exactly the same as those for Keyboard Track 1. “Keyboard Track 1” on page 61
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IFX (Insert Effect) Common KeyTrack (Common Keyboard Track)
IFX (Insert Effect)
Here, you can adjust settings for the insert effects. For more information, please see “Effect Guide” on page 79. The [IFX] and [MFX/EQ] tab pages allow you to edit all of the effect parameters that cannot be edited from the PS60 itself. Parameter names shown in purple are the effect parameters that can be edited from the PS60.
Separately from this setting, you can use CC#92 to turn off all insert effects. A value of 0 turns them off, and a value of 1–127 returns them to their original settings. This is controlled on the global MIDI channel specified by ʺMIDI Channel (Global MIDI Channel)ʺ (page 72).
Send1 (Mod) Send2 (Rev)
[000. . . 127] [000. . . 127]
IFX Routing
Here you can view and edit the settings for the selected insert effect, its on/off status, and the send level to the mas‐ ter effect.
These adjust the level at which the post‐IFX signal is sent to master effects 1 and 2. This is valid if “Bus (Bus Select)” is set to L/R or Off. [. . . ] [Bn, 06, mm, 26, vv]: Use data entry to set the value. A value of 8192 [mm, vv=40, 00] is center, 0 [mm, vv=00, 00] is –100 cents, and 16383 [mm, vv=7F, 7F] is +99 cents. Note: You can use the universal exclusive Fine Tune message to adjust the overall tuning that corresponds to the Master Tune (page 70) parameter. (Please see “About system exclu‐ sive messages” on page 138. )
Transposing
RPN coarse tune [Bn, 65, 00, 64, 02] This RPN message can be used to adjust the transposition for a timbre. [Bn, 65, 00, 64, 02]: Select RPN parameter 02. [Bn, 06, mm, 26, vv]: Use data entry to set the value. Normally only the upper byte is used.
Universal system exclusive messages
Some system exclusive messages have a function that is agreed‐upon by all manufacturers; these are called “univer‐ sal system exclusive messages, ” and do not contain a manu‐ facturer ID or model ID. [. . . ]