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Obrigado por adquirir o Korg microSTATION Music Workstation. Para ajudá-lo a tirar o máximo proveito do seu novo instrumento, por favor leia
atentamente este manual.
Leia este primeiro. Ele explica como fazer ligações e executar visualizações no ecrã Exemplo
operações básicas.
Os valores do parâmetro mostrado no exemplo telas deste manual são
Guia microSTATION Operação apenas para fins explicativos, e não podem necessário corresponder
aos valores que aparecem no visor do seu instrumento.
Isto explica o que cada parte do microSTATION faz, como fazer
ligações e executar operações básicas, fornece um resumo de cada
modo, e explica o conhecimento básico que você precisa em cada
modo para editar sons e registro no seqüenciador. Este manual explicações sobre MIDI
também explica o arpejador e efeitos. Além disso, ele fornece ajuda CC # é uma abreviatura para Control Change Number. Em explicações
para solucionar problemas, uma lista de mensagens de erro e de mensagens MIDI, os números entre colchetes [] sempre indicam
especificações. números hexadecimais.
Lista microSTATION Nome Voz * Windows XP, Windows Vista e Windows 7 são marcas registradas
Esta lista os nomes dos multisamples, samples de bateria, e da Microsoft Corporation nos os EUA e outros municípios
usuário arpejo, e músicas de demonstração dentro do microSTATION. * Intel, Intel Core e Pentium são marcas registradas da Intel
Consulte esta quando você quer saber mais sobre o conteúdo Corporation nos os EUA e outros países.
pré-carregado.
* Todos os outros nomes de produtos e empresas são marcas
comerciais ou marcas registradas de seus respectivos proprietários.
ii
Índice
. . . . . . . . . . . . . . . . . . . . . . .23 efeitos. . . . . . . . . . . . . . . . . . . . . . . . .
traseiros painéis. . . . . . . . . . . . . . . . . . . . . . 2
da microSTATION a
caber dentro de uma combinação. . . . . . . . . . . . . .30
um computador. . . . . . . . . . . . . . . . . . . . . . . . . . 13
configurações Arpeggiator. . . . . . . . . . . . . . . . . . . . . . .30 efeitos. . . . . . .
Conectando dispositivos MIDI. . . . . . . . . . . . . . . . . . . 14
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 Revertendo as configurações
iii
Gravar com o arpejador. . . . . . . . . . . . . 37 Play / função muda. . . . . Inicialização. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
. . . . . . 65 canções. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Arpejador. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Efeitos. . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . 66 MIDI. . . . . . . . . . . . . . . . . . . . . . .
Usando Efeitos. . . . . . . . . . . . . . . . . . 45
. . . . . . . . . . . . . 66 Damper pedal, pedal não respondem
Uma visão geral do
efeitos do MicroStation. . . . . . . . . . 45
Efeito de I / O. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Efeitos em
corretamente. . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 mídia. .
cada modo. . . . . . . . . . . . . . . . . . . . . . . 46
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Conexões com um
Roteamento e efeito configurações. . . . . . . . . . . . . . . . 46 computador. . . . . . . . . . . . . . . 67 Incluído discos acessório. . . . . . . .
configurações de efeito para um programa. . . . . . . . . . . . . . . . 46 . . . . . . . . . . . . 67
configurações de efeito para uma combinação ou da música. . . . . 49 A
Mensagens de erro. . . . . . . . . . . . . . . . . . . . . . . . . . . 68
modulação dinâmica (Dmod). . . . . . . . . . . . . . . 49
Várias mensagens. . . . . . . . . . . . . . . . . . . . . . . . . 68
Especificações e opção. . . . . . . . . . . . . . . . . 71
função Arpeggiator. . . . . . . . . . 50 Especificações. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Opção. . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 requisitos operacionais. . . . .
Usando o arpeggiator enquanto você joga. . . . . . 50
. . . . . . . . . . . . . . . 73
Tocando com o arpejador no Programa
mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Realizando MIDI Tabela de execução. . . . . . . . . . . . . . . 74
com o arpegiador em Combinação
mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Ligando o
sincronização. . . . . . . . . . . . . . . 54
globais. . . . . . . . . . . . . . . . . . . . . . . . . . . 55
. . . . . . . . . . . . . . . . . . . . . . . 56
carregamento de dados. . . . . . . . . . . . . . . . . . . . . 57
. . . . . . . . . . . . . . . . . . . . . . 62
Apêndice. . . . . . . . . . . . . . . . . . . . . 63
Restaurar as configurações de fábrica. . . . . . . . . . . . . 63
iv
Introdução ao microSTATION
incluindo os osciladores, filtros, amplificadores, LFO / EG e efeitos, 1/480, pode captar todas as nuances de seu desempenho. O sequenciador
proporcionando sons ricos e vívidas. A secção de oscilador utiliza 49 possui operação intuitiva e oferece inúmeras funções que lhe permitem
Mbytes (quando calculado como dados lineares de 16 bits) de fontes PCM produzir música rapidamente. canções de modelo para todos os estilos de
música, a função de gravação de loop, a função seqüência de grade, e
de alta qualidade amostrados a 48 kHz e cobrindo uma vasta variedade de
arpeggiator será poderosamente melhorar a sua criatividade.
sons. A seção de filtro que é tão importante para o som tomada criativa
fornece dois filtros de alta qualidade para cada oscilador, e permite que
você combinar livremente quatro diferentes tipos de filtros: passa-baixa,
passa-alta, passa-banda, e banda-rejeitar.
Usando a função Auto Setup Song, seu desempenho usando um programa
ou a combinação mais o arpeggiator pode facilmente ser gravado para várias
faixas, criando instantaneamente as faixas básicas que formam o núcleo da
sua produção de música.
funcionalidade de modulação é uma parte indispensável deste projeto
detalhado. O sistema de geração de tons EDS-i herda inúmeros recursos
do sistema EDS incluindo: o EG (gerador de envelope), LFO, gerador de arpeggiator polifônico duplo
chaves de rastreamento, AMS (fonte alternativa de modulação), e um Para padrões de arpejo, cinco padrões predefinidos e 640 padrões do
misturador AMS, dando-lhe uma gama enorme de potencial de síntese. usuário de arpejo são construídos em. Além do que um arpeggiator
típico pode fazer, arpeggiator polifônico do microSTATION pode
desenvolver acordes e frases em uma variedade de maneiras,
dependendo do campo ou o momento em que você joga o teclado. Você
Os toques finais ao som são fornecidos pela seção de efeitos, que lhe dá
pode usar isso para executar uma ampla variedade de padrões,
até cinco efeitos de inserção, dois efeitos master, e um efeito total. Além
incluindo tambor ou baixo frases, ou guitarra ou backing teclado riffs. O
de atrasar e reverberação, há um total de 134 de efeitos diferentes,
arpeggiator também é útil como um elemento de criação de sons, como
incluindo os efeitos do tipo de modulação tais como coro, Phaser, e
almofadas, sons de sintetizadores e efeitos sonoros que envolvem
flanger, efeitos do tipo dinâmico, tal como compactação e limitando, e
movimento sutil. Nos modos de combinação ou Sequencer, o
também efeitos, tais como a modelização amp alimentado por Korg do
microSTATION fornece arpeggiators dupla que permitem executar dois
proprietário tecnologia de modelagem “REMS”. Efeito de modulação
padrões de arpejo simultaneamente. Isso permite que as possibilidades
dinâmica (Dmod) permite-lhe controlar os efeitos em uma grande
de desempenho poderosos tais como a aplicação de diferentes padrões
variedade de maneiras.
de arpejo a bateria e programas de baixo,
Programas e combinações
O microSTATION fornece 512 programas do utilizador, bem como 256 +
9 (bateria) programas predefinidos GM2-ROM compatível. Quando sai da
controle em tempo real
fábrica, a memória contém 480 programas de pré-carga organizados em
Os quatro botões de controle em tempo real dará elevada expressividade e
oito categorias para pesquisa conveniente. programas de tambor utilizam
controle em tempo real para criar seu som ou controlar o arpeggiator. Eles
kits de bateria como o oscilador; existem 32 tambor kits de utilizador e 9
também podem ser usados em uma configuração de modo externo para
kits de bateria ROM GM2-compatível. Quando sai da fábrica, a memória
controlar os seus dispositivos MIDI externos.
contém 27 kits de bateria pré-carga que cobrem uma ampla gama de
estilos musicais.
Editor e editor Plug-In
O pacote “microSTATION Editor” e software “microSTATION Plug-In
Existem 384 combinações de usuários. Quando sai da fábrica, a memória Editor” são aplicativos que permitem que você use seu computador
contém 256 combinações de pré-carga organizados em oito categorias para para editar os programas do MicroStation, combinações, kits de bateria,
pesquisa conveniente. A única combinação permite combinar até e padrões de arpejo.
programas de dezesseis como camadas, splits, ou de velocidade-switches,
e, em seguida, adicionar efeitos e dois arpeggiators para criar sons Estes editores permitem edição mais detalhada do que é possível no
complexos que não seria possível para um único programa. fontes de áudio próprio microSTATION. Eles também permitem que você editar e criar
externas podem ser reproduzidos ao mesmo tempo como uma combinação. padrões de arpejo do usuário e kits de bateria, que não podem ser editados
a partir do microSTATION. “Editor de microSTATION” é um editor
independente. “MicroSTATION Plug-In Editor” é um editor que suporta VST,
unidades de áudio e formatos RTAS. Ele permite que você use o
microSTATION de dentro do seu DAW (Digital Audio Workstation) ou outro
aplicativo host como um instrumento plug-in.
1
Introdução ao microSTATION
Painel frontal
2 8
6
5
3
1. Joystick LED TEMPO
Se o modo de controle em tempo real C é selecionado, e você usar o
Você pode controlar parâmetros de síntese ou parâmetros do efeito movendo o
botão 4 para especificar o tempo, este LED piscará em intervalos de
joystick para cima / baixo / esquerda / direita. ( • p. 9)
semínima do tempo atual.
2. botão de volume
5. botão AUDITION
No modo Programa, este botão reproduz repetidamente um riff (frase) que
Este botão ajusta o volume da saída L / MONO, as saídas
é apropriado para o som selecionado. Quando é ligado, o LED na parte
de I, bem como o volume da tomada de auscultadores. ( • p.
esquerda do botão será iluminado.
11)
3. PHONES
6. Arpeggiator
Ligue os auscultadores aqui.
ARP o botão ON / OFF
Este conector irá proporcionar o mesmo sinal que as OUTPUT L / Este botão liga o arpeggiator on / off. O LED na parte esquerda do
MONO e R. botão acende-se se o arpeggiator está ligado. ( • p. 50)
O volume de som é controlada pelo botão de VOLUME.
botão ARP TRAVA
Se este estiver ligado, o arpeggiator continuará jogando mesmo
4. CONTROLO REALTIME
depois de tirar a mão do teclado. Quando é ligado, o LED à
Este conjunto de controladores em tempo real consiste de quatro botões e esquerda do botão acende-se. ( • p. 50)
dois botões. Você pode usá-los das seguintes formas.
indicadores CATEGORIA
Um desses indicadores vai light-up para mostrar a categoria que está
botão externo selecionada.
Se você pressionar este botão para ligá-lo (aceso), botões 1-4 irá transmitir
mensagens MIDI que podem controlar dispositivos MIDI externos. ( • p. 56)
2
Painéis dianteiro e traseiro do painel frontal
15
10
11 12 13
14
9
D ( Pausa) Botão
LOOP botões de função 01-16
Quando os três botões descritos acima estão fora (estado normal),
10.Display
você pode usar estes botões para fazer o seguinte.
Isso mostra os nomes de programas ou combinações, ou os valores dos
parâmetros.
• Para selecionar programas ou combinações.
botão 11.WRITE • (Quando o timbre / LED TRACK está aceso) Para selecionar um timbre ou
Este botão salva o programa ou combinação. faixa.
• • • • botões
Use estes botões para selecionar a página ou parâmetro mostrado no • (Quando o timbre / LED TRACK está aceso) Um LED irá acender-se para
visor, ou para editar um valor. indicar o timbre ou faixa que está atualmente selecionado para edição.
PLAY / MUTE Este acende-se quando os 01-16 botões e LEDs de função pode ser usado
Se este botão está ligado (o LED à esquerda do botão acende-up), para selecionar timbres ou faixas.
você pode usar os botões de função 01-16 para controlar o status de LED GRID SEQ
play / mute dos osciladores, timbres e faixas. A função 01-16 LEDs Este acende-up no modo Sequencer quando você pressiona o botão
indicam o status do jogo / mute do item correspondente. GRID SEQ para ligar a função Grade Sequence.
3
Introdução ao microSTATION
Painel traseiro
67 5 4 3 2 1
interruptor de alimentação
5. Contraste botão
Esta opção ativa o poder on / off. ( • p. 11)
Este botão ajusta o contraste da tela para a melhor visualização de qualquer
conector do adaptador AC
ângulo ou sob condições variáveis de iluminação.
O adaptador AC incluído está conectado aqui. ( • p. 11) As ligações devem ser feitas
com a alimentação desligada. Por favor, esteja ciente de que a operação 6. MIDI IN, OUT conector
descuidada pode danificar o seu sistema de alto-falante ou causar mau
MIDI permite que você conecte o microSTATION a um computador ou
funcionamento.
outros dispositivos MIDI, para enviar e receber notas, gestos controlador,
configurações de som, e assim por diante. ( • p. 14)
Engate do cabo
Utilize-o para fixar o cabo do adaptador AC incluído. Depois de conectar o
adaptador AC, enrole o cabo em volta do gancho localizado no painel
7. DAMPER / PEDAL conector / SW
traseiro do microSTATION para que o cabo não vai ficar puxado para fora Você pode conectar um pedal de sustain, pedal e pedal para esta
inadvertidamente. Deixe folga suficiente na extremidade plugue de modo tomada. ( • p. 13)
que você pode desligá-lo se você quiser. Para mais detalhes, consulte (
“Conexões e energia” na página 8 do guia Easy Start).
4
Informações Básicas Sobre os modos do MicroStation
Informação básica
modo Sequencer
Sobre os modos do MicroStation modo Sequencer permite gravar, reprodução e faixas de edição MIDI.
Você pode:
pode:
modo de combinação
• Ajustar as configurações que afetam todo o microSTATION,
Combinações são conjuntos de até 16 programas que podem ser jogados como sintonizar mestre e canal MIDI global.
simultaneamente, permitindo que você crie sons mais complexos do que um
único programa. No modo de combinação, você pode: • Especificar a função do pedal interruptor atribuível e
atribuível.
• Use duas arpeggiators no seu desempenho. • Salvar ou carregar dados de som ou dados do sequenciador em um cartão SD.
Você pode usar até cinco efeitos de inserção, dois efeitos master,
e um efeito total.
5
Introdução ao microSTATION
PROGRAMA
MS2 (Multisample)
TFX
IFX 5
MS3 (Multisample)
OSC 2
MS1 (Multisample)
drum Kit
MS2 (Multisample)
MS3 (Multisample)
MS4 (Multisample)
COMBINAÇÃO
GLOBAL MODE / MÍDIA
Insert / Master / Efeito total
TIMBRE1 1 PROGRAMA
IFX 1 MFX 1
TIMBRE8 TIMBRE16
PROGRAMA PROGRAMA PROGRAMA
ARPEGGIO PADRÃO
Predefinido padrão: P0 - 4
Padrão de usuário
SEQUENCER
PROGRAMA PROGRAMA
PROGRAMA TRACK 15
Faixa 7 PROGRAMA PROGRAMA
6
métodos básicos de funcionamento Informações básicas
“Seleccionar uma combinação” para obter detalhes sobre a seleção de uma canção,
4. Use o •• botões ou teclas de função 01-16 para
consulte p. 33 “métodos de reprodução”
edite o valor do parâmetro.
• • botões
Estes botões aumentar ou diminuir o valor do parâmetro selecionado
em incrementos de um. Se você segurar um botão por alguns
Editar em cada modo
segundos, o valor vai aumentar ou diminuir de forma consecutiva.
Cada modo contém numerosos parâmetros e comandos, que
são organizados em grupos e páginas.
botões de função 01-16
Se você pressionar o botão NUM LOCK para ligar Num Lock on (LED
Para editar um parâmetro ou executar um comando, use o CURSOR aceso), você pode usar os botões de função 01- 16 para inserir um valor
/ VALUE •• •• botões para mover para o parâmetro ou comando numérico para um parâmetro. Este método é útil quando você sabe o
desejado. valor que você deseja inserir.
Selecionando um parâmetro e editar seu valor Use o 01 (1) -10 (0) teclas para digitar o valor e pressione o botão
Nós vamos usar o modo Programa de exemplo para essa explicação. 14 (ENTER) para confirmar. A 11 (-) botão alterna entre o sinal (+/-)
do valor do parâmetro. O botão 12 (.) Entra em um ponto decimal.
Se você decidir cancelar o valor que você está inserindo, pressione
1. Pressione o botão PROG para entrar no modo Programa.
o botão 13 (CLEAR).
botão KEY
A página PROG JOGO aparecerá. A linha superior do visor
O botão tem uma função que está disponível quando o botão é
mostra o nome da página, e a linha inferior mostra o nome dos
usado em conjunto com uma nota do teclado.
isso é programa seleccionado.
7
Introdução ao microSTATION
Cada modo permite executar vários comandos, como Copiar. 1. ficha sobre uma faixa desejada (Tomar 1).
• Programas • p. 58
Modo Programa ou Combinação • Combinações • p. 58
Veja como comparar o som do programa ou a combinação que • Configurações globais • p. 59
você está editando com o som original (não editado). • canções de modelo de usuário • PG p.48 predefinidos canções modelo / utilizador
são guardadas na memória interna, mesmo quando a energia é desligada.
definições de acompanhamento e ajustes de efeitos de uma música que você criar
1. Durante a edição, pressione o botão (o LED acenderá-up)
podem ser salvos na memória interna pelo comando canção
COMPARAR.
O som que foi salvo antes de você começou a editar será Salvar modelo Song.
recordado. • Para mais detalhes sobre a escrita para a memória interna • p. 58 Consulte as
O som que você estava editando reaparecerá. Nota: Na microSTATION, a ação de escrever para a memória interna é
chamado de “Escrever”, e a ação de salvar a um dispositivo de cartão SD é
Nota: Se você editar o som que lembrou pressionando o botão COMPARE
chamado de “Salvar”.
(ou seja, a definição guardada), o LED ficará escura naquele ponto, e você
não será capaz de retornar às configurações anteriores pressionando o
botão COMPARE novamente.
modo Sequencer
Veja como comparar o “antes e depois” estado de sua gravação
música ou edição de pista.
8
Informações Básicas Usando Controladores
O joystick move-se em quatro direções: esquerda, direita, para cima (para longe
de si) e para baixo (em direção a si mesmo). Cada uma das quatro direcções
podem ser usadas para controlar uma função diferente, tais como modulando os Você pode usar os controles em tempo real para:
parâmetros do programa ou efeitos. Essas atribuições pode ser diferente para
• Aplicar a modulação de sons, ou controlar o tom.
cada programa, mas geralmente, eles fazem o seguinte:
• Controlar o arpegiador.
• Controlar um dispositivo externo MIDI.
Mova o joystick ... Controlador Normalmente controla ... Você é livre para alternar entre estes conjuntos de funções sem
Nome
afetar o conteúdo que você tenha editado em cada modo de
Esquerda JS-X Pitch bend para baixo
controle em tempo real diferente.
Direito JS + X Pitch bend up
Ajustando o tempo
Número nota
No modo C controle em tempo real, o botão 4 (TEMPO) ajusta o
Os sons podem ser programado para mudar em caracteres com base
na nota sendo tocada.
andamento global de todo o microSTATION, a qual afectará as itens
listados abaixo. Ao ajustar o tempo, o LED piscará em intervalos de
Como você jogar mais alto ou mais baixo no teclado, o número da nota pode
semínima.
modular o timbre, tais como tornar-se mais brilhante como você joga mais elevado.
Envelopes também podem se tornar mais rápido ou mais lento; o volume pode
alterar; e assim por diante. • Arpeggiator
• canções modo Sequencer
• Tempo sync LFO
• Tempo de sincronização (BPM) efeitos de atraso
9
Introdução ao microSTATION
damper Pedal
O pedal de sustentação também é às vezes chamado de pedal de sustain.
Ele age como o pedal com mesmo nome de um piano acústico; quando você
mantenha o pedal, as notas continuarão a sustentar, mesmo quando você
levantar as mãos de cima do teclado.
• Portamento on / off
• Programa selecionar para cima ou para baixo
Pedal atribuível
Isso permite que você use um pedal controlador contínua, tal como o
EXP-2 pedal Korg pedal ou Korg XVP-10 EXP / VOL, como um
controlador transferível.
• Volume principal
• Canal Volume, Pan, ou Expression
• modulação de som atribuível
• Efeitos Enviar controle de nível
• Ajustar vários controlos microSTATION (botões de controle em tempo
real, um joystick, etc.)
10
Configuração
1. Desligue o microSTATION.
2. Enquanto mantém pressionado o botão PLAY / MUTE e o
botão de função 08, ligue a microSTATION.
11
Configuração
ligações
Conexões devem ser feitas com a alimentação desligada. Por favor, esteja ciente de que a operação descuidada pode danificar o seu sistema de alto-falante ou causar mau
funcionamento.
Conexões a computadores
PEDAL ASSIGNABLE
AMORTECEDOR
USB
teclado MIDI
saída de monitor
OUTPUT L / MONO e R
Todos os sons de fábrica usar estas saídas.
TELEFONES
1. Conecte as saídas OUTPUT L / MONO e R para as entradas do
seu monitor alimentado ou mixer.
Fone de ouvido
12
Ligações Ligar um pedal de sustain, pedal, switch ou pé
Ligar um interruptor de pé
Conexão de um pedal de sustain,
Se você conectar um no interruptor de pé / off-tipo, como o interruptor do
pedal, switch ou pé pedal Korg PS-1 à tomada DAMPER / PEDAL / SW, você pode usá-lo para
Você pode conectar um pedal abafador, um pedal ou um pedal para o transformar o sostenuto ou o efeito do pedal abafador on / off, para controlar
painel amortecedor / PEDAL / jack SW traseiro do microSTATION, e tap tempo, ou para aplicar a modulação de um som ou um efeito. Esta
usá-lo para controlar uma variedade de funções e efeitos. mudança irá sempre funcionar da mesma maneira, independentemente do
Programa, Combinação ou canção selecionada. Você pode atribuir a função
Você pode usar o pedal para aplicar um efeito amortecedor enquanto você no modo Global / Media.
joga.
Você pode usar o pedal para ligar o sostenuto ou o efeito do pedal abafador de
ligar / desligar, para ligar o arpeggiator on / off, para alternar programas ou
1. Ligar um interruptor de pé, tal como o opcional PS-1 para a tomada
combinações, ou para controlar tap tempo.
DAMPER / PEDAL / SW.
Ligar um pedal
Se você conectar um pedal EXP-2 opcional ou XVP- 10 expressão /
Se você conectar um pedal à tomada DAMPER / PEDAL / SW, você pedal de volume à tomada DAMPER / PEDAL / SW, você pode usá-lo
precisa escolher a configuração adequada no modo / Media Global para aplicar a modulação de sons ou efeitos, ou para ajustar o volume
de especificar o tipo de opção (ou seja, pedal de sustain, pedal ou geral. Este pedal vai sempre funcionar da mesma maneira,
interruptor de pé) que está conectado. independentemente do Programa, Combinação ou canção selecionada.
Você pode atribuir a função no modo Global / Media.
Configurações que você editar no modo / Global Media são mantidas
até que você desligue o poder, mas não serão salvas quando você
desligar a energia. Se você quiser manter essas configurações, você
deve escrevê-los. ( • p. 59) 1. Ligar uma XVP-10 opcional ou VAL-2 às tomadas
DAMPER / PEDAL / SW.
13
Configuração
Sobre MIDI
MIDI significa Musical Instrument Digital Interface, e é um padrão microSTATION
mundial para a troca de vários tipos de dados musicais entre MIDI OUT
MIDI são usados para conectar dois ou mais dispositivos MIDI, dados MIDI IN MIDI OUT
MIDI OUT
MIDI IN
MIDI IN
MIDI OUT
14
Jogando e programas de edição
Sobre os programas da MicroStation Você pode escolher entre as seguintes nove categorias.
No modo Sequencer você pode atribuir um programa para cada faixa MIDI do WOODWIND
seqüenciador interno, ou usar o microSTATION como um módulo de som que VIOLÃO sons de guitarra acústicos e elétricos
é reproduzido a partir de um sequenciador MIDI de 16 canais externo. Nesta Elétricos, sons acústicos e synth baixo
BASS & BASS SPLIT
seção vamos explicar maneiras básicas para usar programas, como o uso dos
botões do painel no modo de programa e edição básica. SYNTH , lento e sons rápidos movimento synth
15
Jogando e programas de edição
3. Agora você pode usar os botões de função 01-16 para selecionar os programa, especificando um banco e número da tabela
programas de números de índice 1-16 dentro da categoria escolhida. acima.
5. Pressione o botão NUM LOCK para ligar Num Lock off (LED
desligado).
usando Controladores
6. Agora você pode usar os botões de função 01-16 para selecionar
Para obter detalhes sobre a execução com o joystick e o controlador
programas de números de índice 17-32 dentro da categoria escolhida.
em tempo real, leia o “Usando Controladores” na página 9.
memórias de programa
(1) ... g 001 ... 128 variação GM2 somente leitura. Banco GM contém
16
Jogando programas de edição de fácil usando as teclas e botões
Edição de um programa
oscilador soará se o indicador está iluminado, e será silenciado se o Este ajusta a frequência de corte do filtro. Ajustar a frequência de
indicador está escuro. corte irá modificar o brilho do som.
Nota: Oscilador 2 não pode ser controlado por um único programa de
oscilador que utiliza apenas um oscilador. Nível
17
Jogando e programas de edição
Operando o botão vai alterar a quantidade de como o filtro é afectada LFO campo e nível de envio efeito mestre.
pela EG. Normalmente, girando o botão para a esquerda fará com que o
filtro de EG mais rasa, e girando o botão para a direita irá torná-lo mais No modo B, as funções mais úteis são atribuídas individualmente para
profundo. Uma vez que o filtro opera EG em relação à frequência de cada programa de pré-carga.
corte do filtro, ambos os botões 1 e 3 vai controlar a mudança de tons
produzida pelo filtro. Modo C controles
No modo C você pode controlar o arpeggiator em tempo real. Para mais detalhes sobre
Os botões de controle em tempo real são uma maneira ideal para modificar o som
Tempo
enquanto você executa. Conforme necessário, pressione o botão do painel frontal
WRITE para executar “Escrever Programas” e salvar o som que você editou. ( • p. 58
“Escrevendo para a memória interna”)
liberação
Nível
Nível de Sustain
Nível
configurações restaurando você editou
Time Attack Nível Sutart
Tempo
Time Release
Decay Time Slope Tempo
usando COMPARAR
Quando você está no processo de edição de um som, pressionando
o botão de COMPARAR irá recordar a última versão salva do som,
Exemplo:
como era antes de começar a edição.
para a direita também. Você também pode salvar programas em um cartão SD. Para mais detalhes, consulte
“Salvando a mídia” na página 58.
5. Deixe o botão 2 na sua posição, e tentar rodar o botão 1 para a esquerda
e direita.
18
Jogando programas Antes de começar a editar
Program structure
Common LFO
Master
Effect
Routing
1, 2
Insert Effects
Filter1 Mod Master Effects
FX Control Bus
OSC 1
Pitch EG
OSC 2
19
Playing and editing programs
For details on how to access each mode and page, refer can be lowered by a maximum of 1 octave.
to the ”Basic operating methods” section ( • p. 7).
Applying vibrato
You can use the LFO to create vibrato.
The PROG EDIT: Pitch EG/LFO “LFO1 Int” setting
Basic oscillator settings specifies the depth of how LFO1 will affect the pitch.
Polyphonic/monophonic playing
Use the PROG EDIT: OSC Common “VoiceMode”
setting to specify whether the program will play Portamento
polyphonically (Poly) or monophonically (Mono). Portamento creates a smooth change in pitch from one
note to the next.
The PROG EDIT: OSC1 (or OSC2) “Portamento”
setting turns portamento on/off, and “PortaTime”
controls the time over which the pitch will change.
With the Poly setting, you can play chords by pressing
multiple keys simultaneously. With the Mono setting, only one note will sound even
if you press multiple keys simultaneously.
Normally you’ll use the Poly setting, but Mono is
With higher values, the pitch change will take longer.
effective when you’re simulating an analog synthesizer
With a value of “000” there will be no portamento.
bass or synth lead.
Try switching between Poly and Mono, and note the difference.
20
Playing programs Using LFOs and Envelopes (EGs)
• OSC1/OSC2: FltLFO1toA–FltLFO2toB,
Using LFOs and Envelopes (EGs) AmpLFO1Int–AmpLFO2Int, P.LFO1 AMS Int,
P.LFO2 AMS Int
The LFOs can modulate many other parameters, in
Attack Time Sutart Level
addition to those listed above.
Time
Release Time
Decay Time Slope Time
Basic LFO settings
Here we’ll adjust settings for the LFO1 of oscillator 1.
1. Choose PROG EDIT: OSC1 “LFO1”.
Rnd1 (S/H) is suitable for controlling a resonant
filter to create the typical sample‐and‐hold effect.
3. After you’ve noted each waveform, choose Triangle.
High Pass
4. Choose PROG EDIT: LFO “LFO1 Speed.”
Band Pass
5. Adjust the speed of LFO1.
6. The “LFO1 Fade” and “LFO1 Delay” settings
control how LFO1 will be applied immediately
after the note‐on.
These parameters control the movement of the LFO
itself. The way that the LFO affects the actual sound is
determined by the following parameters.
• Pitch EG/LFO: LFO1Int Cutoff Frequency
21
Playing and editing programs
Resonance
Resonance emphasizes the frequencies around the Adjusting the amp
cutoff frequency, as shown in the diagram below.
In the Amp section you can use Amp EG, and LFO 1/2
When this is set to 0, there is no emphasis, and to control the volume.
frequencies beyond the cutoff will simply diminish smoothly.
Low resonance
The volume of a note on a violin or wind instrument
High resonance can be varied during the note by the musician (i.e., by
regulating the amount of pressure on the bow or the
force of the breath).
Piano Organ
Volume Volume
Volume remains constant until
Volume decays gradually
note is released
Modulating a filter
Time Time
You can use the filter EG or LFO to modulate the cutoff
frequency of a filter. This is a method of producing rich
variation in the character of the sound.
Amp Modulation
Filter EG You can use the following modulation sources to vary
Use PROG EDIT: Filter/Amp “Flt EG Int” to specify the amp volume.
how deeply the filter EG will modulate the filter. Use
PROG EDIT: Filter EG to adjust the envelope. LFO1/2
This specifies the amount of volume change (tremolo)
produced by the LFO.
Use PROG EDIT: OSC1 (or OSC2) “AmpLFO1Int” and
“AmpLFO2Int” to specify how deeply the LFO will affect the volume.
LFO modulation
You can use LFO1 and LFO2 to modulate the filter.
Filter modulation produced by an LFO will create a
vintage‐sounding auto‐wah effect.
Use PROG EDIT: OSC1 (or OSC2) “FltLFO1toA,”
“FltLFO1toB,” “FltLFO2toA,” and “FltLFO2toB” to Velocity
specify how deeply the LFOs will affect the tonal character. Most programs will produce a lower volume when
you play the keyboard softly, and a higher volume
when you play the keyboard strongly. The PROG
EDIT: Filter/Amp “AmpVel Int” setting specifies how
velocity (keyboard playing strength) will affect the volume.
Normally you’ll set the amp modulation to a positive
(+) value. Raising this setting will increase the
difference in volume between notes that are played
softly or strongly.
22
Playing programs Arpeggiator
1. In PROG PLAY, press the • button to enter PROG
EDIT.
Organ
2. Use the •• buttons to access “Knob Assign,” and
press the • button.
3. Press the • button to choose knob 1.
Strings
Use PROG. EDIT: Amp EG to adjust the envelope.
4. Use the •• buttons to select the function that
will be controlled by knob 1.
5. Press the • button to return to the knob selection
screen.
Master effects
Master effect settings are made in PROG EDIT: MFX.
Effects such as chorus, reverb, and delay are most
suitable for use with the master effects.
The output of each oscillator, of the entire program, or
of the sound that has passed through the insert effects
can be sent via “Send1” and “Send2” to the two master
effects. Any effect type can be used.
23
Playing and editing combinations
DRUM/MALLET/ HITS Drum and percussion, bell, mallet, and sound effects
Selecting a combination
Sounds saved as the user category (when
You can select a combination in any of the following ways.
USER shipped from the factory, contains initialized
combinations)
• Use the CATEGORY SELECT buttons and the ••
buttons or the function 01–16 buttons The front panel CATEGORY indicators show the
selected category.
• Use a connected foot switch: PG p.65
• Receive MIDI program changes: PG p.145 , PG p.60 , The first time you select a category, combination 001
PG p.63, PG p.305 of that category will be shown.
4. Play the keyboard to hear the sound of the
buttons
The lower line of the display shows the index
number and the name of the combination. The “ Overview of the combination memories
” shown at the left of the index number When the microSTATION is shipped from the factory,
indicates that you can press the • button to select its combination memory contains 256 preloaded
combinations within the current category. If a “–” is combinations organized into two banks as shown in the table below.
shown at the left of the number, that category
contains only one combination. In COMBI PLAY when you turn Num Lock on and
If the Global/Media mode “ScrollText” setting is On, press the 14 (ENTER) button, the bank and number are
names etc. that cannot be shown in the display shown in the right side of the upper line of the display.
because of their length will scroll.
Combination memories
On the microSTATION, you select combinations using
index numbers within each category. A category is pre‐
assigned to each combination, or can be specified
when you write a combination.
24
Easy combination editing Performing with the arpeggiator
The banks and numbers (Bank, Combi No.) shown in
the table above are used to specify the writing‐
destination when writing a combination, and to
specify the copy‐destination when executing a copy command.
On the microSTATION itself, you can’t select a
combination by specifying a bank and number
from the table above.
2. Use function buttons 01–16 to switch the LEDs
editing
58. You can also save combinations on an SD card.
For details, please see “Memory protect” on page 59.
All of the microSTATION’s combinations can be edited.
You can create original combinations by editing the
preload combinations, or by starting with an initialized combination.
Even without entering various pages for detailed
editing, you can use the REALTIME CONTROLS
buttons and knobs to effectively edit a combination
simply from the COMBI PLAY page.
1. Press the front panel PLAY/MUTE button to turn it
on (the LED will light‐up).
The function button 01–16 LEDs will indicate the
play/mute status for timbres 1–16. A lit LED
indicates Play, and a dark LED indicates Mute.
Function buttons 01–16 correspond to timbres 1–16.
25
Playing and editing combinations
Editing a combination
You can create an original combination either by
editing a preload combination or by editing an A suggested approach for
initialized combination. You can then save (write) the
edited combination. editing
Note: If a combination uses a program that was being First, select a Program for each Timbre. (Note that you
edited in Program mode, that program will use the edited sound. don’t have to use all 16 Timbres!)
Next, create any desired keyboard or velocity splits,
layers, or crossfades between the different Timbres.
Summary of the edit pages
From the COMBI PLAY page, press the • button to After this, adjust the volumes of the Timbres, and set
enter the COMBI EDIT page. The COMBI EDIT page up any other Timbre parameters as desired.
lets you edit the sound in detail. To add finishing touches to the sound, set up the
It is divided into the following groups. Insert, Master, and Total Effect as desired. These effects
can be different from those associated with the
Group Summary
individual Programs in Program mode, if desired.
Timbre parameters, effect routing settings, assign
Timbres In addition, you can make arpeggiator and controller
arpeggiators to timbres.
settings to create the finished Combination.
Assign the function of knobs 1–4 when realtime
Knob Assign Note: You can use a command to copy a program’s
control mode B is selected.
effect and arpeggiator settings ( • PG p. 27 “Command”).
Tempo Arpeggiator tempo setting.
Command Commands
For details on how to access each mode and page, refer
to ”Basic operating methods”( • p. 7).
Controllers
Timbre1 Parameters FX Routing
Arpeggio
Program
Timbre2 Parameters
Program
Master
Timbre Effects
Timbre3 Parameters
1, 2
Timbre4 Program
Insert Effects Insert Total
OUTPUT
Master Effects Effects Effect
L/MONO, R
1…5
Parameters
Timbre16 Parameters
Program
26
Easy combination editing Changing the program assigned to each timbre
In the first page of Timbre 01, you can select the
A Combination can be set to use any one of these
program used by timbre 1 (“Program Select”). Press the • button once again; a “
methods or to use two or more of these methods
”, “ ,” or “ ” symbol will appear at the left of the index number. simultaneously.
Layer
Layers cause two or more Programs to play
simultaneously when a note is played.
2. Use any of the following methods to select the Program A
• Use the CATEGORY SELECT buttons to specify a
category, and use the •• buttons to select an index number.
Split
• Use the CATEGORY SELECT buttons to specify a
Splits cause different Programs to respond on different
category, turn on the NUM LOCK button, and use
areas of the keyboard.
function buttons 01–16 to enter an index number.
Note: You can also switch programs by received Program A Program B
Split: Different programs will sound in
MIDI program changes from a connected external different areas of the keyboard.
3. Make settings for another timbre. Make sure that
the front panel PLAY/MUTE and NUM LOCK Velocity Switch
LEDs arenʹt lit, and use function buttons 01–16 to Velocity Switches cause different Programs to respond
select a timbre. In this example, press the 02 depending on the velocity (how hard you play the notes).
button to select timbre 2.
Keyboard playing
4. Select a program for timbre 2 in the same way as Program B
Strong
Softdynamics Velocity Switch:
you did in step 2.
Program A
Keyboard playing dynamics
(velocity) switches between
different programs.
On the microSTATION, you can use a different
Program for each of up to sixteen Timbres, and
combine two or more of the above methods to create
even more complex setups.
As an additional possibility, you can set the slope for a
key zone or velocity zone so that the volume
diminishes gradually. This lets you change a split into
a keyboard crossfade, or a velocity switch into a velocity crossfade.
27
Playing and editing combinations
Timbre 2 Brass
Timbre 3 Strings
1. Set the timbre 1 “Bottom” to G3 and the timbre 2
“Top” to G4 so that the two timbres overlap.
C–1 B3 C4 G9
2. Set the timbre 1 “Btm Slope” to 12 and the timbre
2 “Top Slope” to 12.
1. Select a piano program for timbre 1, a brass
program for timbre 2, and a strings program for timbre 3. The sound will change gradually, rather than
switching abruptly.
( • p. 27 “Changing the program assigned to each timbre”)
2. Choose COMBI EDIT: Timbres ‐ Timbre 01 “Status.”
5. Specify the MIDI channel for each timbre. Choose
631
COMBI EDIT: Timbres ‐ Timbre 01 “MIDI Ch.”
1. Choose a brass program for timbre 1, and a strings
program for timbre 2.
( • p. 27 “Changing the program assigned to each timbre”)
6. For timbres 1–3, set “MIDI Ch.” to Gch (global
MIDI channel).
In the same way, use the function 02 or 03 button to 2. Set the timbre 1 and 2 “Status” to INT, and set the
switch timbres, and edit their settings. “MIDI Ch.” to Gch (global MIDI channel).
( • steps 2–5 of ”Split and layer”).
7. Specify each timbre’s key zone (the range of notes
that will play each timbre). Choose COMBI EDIT: 3. Access the COMBI EDIT: Timbres ‐ Timbre 01, Vel
Timbres ‐ Timbre 01, Key Zone “Top.” Zone “Top” setting.
8. Set the timbre 1 “Top” to G9 and “Bottom” to C4. 4. For timbre 1, set “Top” to 127 and “Bottom” to 64.
Note values can also be entered by holding down You can also enter a velocity value by holding down
the front panel KEY button and playing a note on the front panel KEY button and playing a note on the keyboard.
the keyboard.
9. Set the timbre 2 and timbre 3 “Top” to B3 and 5. For timbre 2, set “Top” to 63 and “Bottom” to 1.
“Bottom” to C‐1.
28
Easy combination editing Editing parameters
1. Set the velocity zones of the two timbres so that
they partially overlap. MIDI channel
Use COMBI EDIT: Timbres ‐ Timbre 01–Timbre 16
2. Set the “Top Slope” and “Btm Slope” so that the
“MIDI Ch.” to specify the MIDI channel for each timbre.
sound changes gradually, rather than abruptly
switching between velocity values 63 and 64.
Editing parameters
If you want to play a timbre from the microSTATION’s
keyboard, you’ll need to set that timbre to the global
MIDI channel (Gch). When you play the
Adjusting the volume of each timbre microSTATION’s keyboard, you’ll hear the timbres
The COMBI EDIT: Timbres ‐ Timbre 01–Timbre 16 that are set to match this MIDI channel. Normally
“Volume” settings adjust the volume of each timbre. you’ll set this to Gch. If this is set to Gch, the MIDI
channel of the timbre will always match the global
MIDI channel even if you change the global MIDI channel.
In the preload combinations, timbres where the
Use function buttons 01–16 to switch between timbres.
arpeggiator is assigned might have a MIDI channel
setting other than Gch. Those timbres will sound
only when the arpeggiator is on. (This is a useful
Adjusting the pan of each timbre technique when creating a combination that uses
an arpeggiator.)
The COMBI EDIT: Timbres ‐ Timbre 01–Timbre 16
For details, refer to PG p. 23 “Arpeggiator settings
“Pan” settings adjust the pan of each timbre.
in Combination and Sequencer modes”. Please
take special note of how the arpeggiator A/B
assignments, status, and MIDI channel settings are related.
The timbre’s pan setting works in conjunction with the
pan setting of the program. If the timbre pan setting is
MIDI filter settings
C064, the pan will be the same as specified by the
program setting. Adjusting the timbre pan will shift COMBI EDIT: Timbres ‐ Timbre 01–Timbre 16 MIDI
the sound toward the left or right while maintaining Filter lets you adjust MIDI filter settings for each timbre.
the pan settings of each oscillator. A setting of L001 is
far left, and a setting of R127 is far right.
Each MIDI filter item specifies whether the
corresponding MIDI message will be transmitted and
Switching the play/mute status of each timbre
received. The message will be transmitted and
received if the setting is On.
If you press the front panel PLAY/MUTE button to
The MIDI filter setting is not an on/off switch for the
turn it on (the LED at the upper left of the button will
light‐up), you can use function buttons 01–16 to turn function itself. It merely controls whether MIDI
each timbre on/off. By switching each timbre on/off, messages are transmitted and received.
you can hear its sound and check its settings. For example, suppose you’re creating a bass/piano
split, and you’ve assigned a bass program to timbre 1
and a piano program to timbre 2. If you use the
1. Access COMBI EDIT: Timbres ‐ Timbre 01, MIDI
Status Filter “Damper.”
Here you can specify the MIDI and internal sound
generator status for each timbre. Choose INT if you
want the timbre to play the internal sound generator.
Choose Off for timbres you’re not using. Timbres that
are set to Off, EXT, or EX2 will not sound. Choosing 2. Turn the timbre 1 “Damper” setting Off.
the EXT or EX2 setting lets that timbre control a MIDI‐
3. Press the function 02 button to switch to timbre 2.
connected external sound module.
4. Turn the timbre 2 “Damper” setting On.
For more about this setting, refer to “Status” ( • PG p.
20).
29
Playing and editing combinations
Transpose, Detune
These parameters adjust the pitch of the timbre.
Effects
• In a layer‐type combination, you can set two or
more timbres to the same program, and create a For details, please see “Using Effects” on page 45.
richer sound by using “Transpose” to shift their
pitch apart by an octave or by using “Detune” to
create a slight difference in pitch between the two.
• In split‐type combinations, you can use “Transpose”
Reverting the edited settings
to shift the pitch (in semitone units) of the programs
specified for each key zone. Compare function
Use the Compare function when you want to compare
• If you wish to change the playback pitch of a drum
program, use “Detune”. If you change the the sound of the combination that you’re editing with
Transpose setting, the relationship between the the sound before you began editing (i.e., the saved sound). ( • p.
notes that you play and drum‐note assignments will change. 8 “COMPARE button ‐ the Compare function”)
The Auto Song Setup function automatically applies
the settings of the current combination to a song.
This means that you can instantly set up a song using
Changes you make to these parameters are saved as the combination’s settings, and then begin recording
part of the combination; they will not affect the original program. simply by pressing the Start/Stop button. Since a
performance using the combination’s arpeggiators can
be seamlessly shifted to song production, this lets you
instantly create a song to capture phrases, inspirations,
Filter EG and amp EG and ideas that occurred to you while playing a combination. ( • p.
The COMBI EDIT: Timbres ‐ Timbre 01 Filter/Amp EG 43 “Auto Song Setup function”) ( • PG p. 30 “Tips: Auto Song Setup”)
parameters adjust the filter EG and amp EG
parameters of the program used by the timbre.
Changes you make to these parameters are saved as
part of the combination; they will not affect the original program.
30
Creating songs (Sequencer mode)
Overview
When you turn off the power, the settings made in MIDI tracks 1–16 each consist of setup parameters
Sequencer mode, the song data, and any user located at the start location, and musical data within
pattern data that you recorded will not be backed the track. The master track consists of tempo and time
up. If you wish to keep this data, you must save it signature data.
on an SD card before turning off the power. For details, please see ”Setup parameters & Musical data”( • p.
If you wish to write the programs, track 29) of the Parameter Guide.
parameters, effects, and arpeggiator settings etc.
selected for a song as a template song, use the song Song recording and editing
command Save Template Song. ( • PG p. 48).
Song recording is done on tracks.
Immediately after the power is turned on,
You can record MIDI tracks using realtime recording.
microSTATION will not contain any song data, so
For realtime recording you can choose one of six
if you wish to play a song on the sequencer, you
recording modes. ( • PG p. 34)
must first load data from SD card. ( • p. 61, PG p. 69)
The microSTATION also provides a Grid Sequence
function that makes it easy to create drum patterns.
The specified template song will be loaded
This lets you use function 01–16 buttons and LEDs to
immediately after you turn on the power. Use
enter notes at the desired grid locations.
Global/Media mode “Initial Song” to specify the
template song that will be loaded. You can edit MIDI tracks in units of entire tracks or
individual measures. You can also insert or edit
individual events such as pitch bend, aftertouch, and
control change data.
Song
Setting Performance
parameters data
Setting Performance
parameters data
Master Effect
1, 2
MIDI Track 01..16 Setting Performance
parameters data
Track
FXCtrl Bus
Master Track Tempo and time signature data
31
Creating songs (Sequencer mode)
You can’t turn the Loop function on during multi‐
Alternatively, you can use the song command track recording.
“Location Point” to directly specify the location.
PLAY/MUTE button
REC button When you press this button (the LED at the upper left
When you press this button, the microSTATION will of the button will light‐up), you can use the function
enter record‐ready mode. From record‐ready mode buttons 01–16 located at the right to control the play/
(the button will light‐up), press the Start/Stop button mute status of each track.
to begin recording ( • p. 34 “Let’s try recording”).
GRID SEQ button
KEY (REMOVE) button When you press this button (the LED at the upper left
Normally in each mode, you can specify a note of the button and the LED at the left of the function
number by holding down this button and pressing a key. LEDs will light‐up), the Grid Sequence function will
turn on, allowing you to create drum patterns by using
the function 01–16 buttons and LEDs 1–16 located at
During loop recording, this button operates as the
the right. The Loop function will turn on automatically.
Remove (delete) button. If you hold down this button
and press a key, notes corresponding to that key will
NUM LOCK button
be deleted. If you hold down this button and press the
When you press this button (the LED at the upper left
REC button, all events will be deleted.
of the button will light‐up), the function 01–16 buttons
at the right will operate as numeric keys, CLEAR,
WA ( Start/Stop) button
This button starts/stops recording or playback. ENTER, GROUP DOWN, and GROUP UP.
When the three functions are off (LED off), the
• • (REW) button function 01–16 buttons are used to select tracks.
When the song is playing or paused, pressing this
button will rewind the song. If you hold down this Function 01–16 buttons
button, the button will light‐up, and the song will Depending on the state of the PLAY/MUTE, GRID
rewind while playing. (This does not work during SEQ, and NUM LOCK buttons, these sixteen buttons
recording or while the song is stopped.) can be used to select tracks, switch the play/mute
status, use the grid sequence function, or as numeric keys.
Note: You can use the song command “FF/REW
Speed” to specify the rewind and fast‐forward speed.
D ( Pause) button
This button pauses song playback. While paused, the
button will light‐up. When you press the button once
Function 01–16 LEDs
Depending on the state of the PLAY/MUTE, GRID
again to cancel pause and resume song playback, the
SEQ, and NUM LOCK buttons, these LEDs indicate
button will turn off.
the track selection (when the TIMBRE/TRACK LED is
lit‐up), the play/mute status, or the grid sequence
settings (when the GRID SEQ LED is lit).
32
Performing in Sequencer mode Playing back
2. Press the • button to access the SEQ:
Playing back PLAY ‐ LOOP ‐ P setting “Loop M:”.
Playback methods
In order to play back song data, you must first record 3. Set the first measure of the loop to 1, and the last measure to 4.
the data or load song data into the microSTATION.
Let’s start by loading a demo song and playing it back.
For details on the loading procedure, please refer to
the ”Loading the demo songs” section in the easy start guide.
4. Press the Start/Stop button to play back the demo song.
1. Press the MODE SEQ button to enter Sequencer mode.
Measures 1 through 4 will play repeatedly.
Note: During song playback/recording, you can also
individually loop the MIDI track being played back ( • p.
36 “Loop playback settings”)
2. Use the •• buttons to select the song that you
want to play back.
4. During playback, press the Start/Stop button to
2. In the song select screen, use the function 01–16
stop playback.
buttons to select a track.
When you press the Start/Stop button once again,
When the TIMBRE/TRACK LED located in the right
playback will resume from where you stopped it.
of the front panel is lit, you can use the function 01–
For details on using the LOCATE, Pause, •• (REW), and •• (FF) buttons, please refer to p.
16 buttons to select tracks.
32. You can use the song command “FF/REW Speed” to
The function 01–16 LEDs will light‐up to indicate
specify the speed of rewind and fast‐forward. ( • PG the track thatʹs currently selected.
The display will show a screen where you can select
p. 48) the program for each track; here you can view the
number and name of the program used by each track.
Specifying the location
By pressing the LOCATE button you can move to a
specified location. By default, you’ll move to 001:01.
You can use the song command “Set Location Point” to The category of the program is shown by the
change this location. CATEGORY indicators located at the left of the display.
Alternatively, you can specify the location during
playback by holding down the WRITE button and
3. When you play the keyboard, you’ll hear the
pressing the LOCATE button ( • PG p. 49 “Location Point”)
program that’s assigned to the track.
Note: A program is assigned to each of the template
song’s sixteen tracks, so you can press the function
Loop playback 01–16 buttons to select the sounds of sixteen
By pressing the LOOP button you can make the song different programs within the song.
play as a loop. In this example, we’ll loop measures 1
through 4 of the demo song.
1. Press the LOOP button to turn the Loop function
on (the button will light‐up).
33
Creating songs (Sequencer mode)
MIDI recording
When you use the microSTATION’s sequencer to
record, your keyboard performance and your use of
the joystick and other controllers are recorded in realtime.
“Q” specifies how the timing of the MIDI data you
In most cases, you’ll use “single track recording” perform will be corrected while you realtime‐record
where you record one track at a time. to a MIDI track. (Previously‐recorded data will not be corrected.)
Note: As an alternate to single track recording, you can
also use ”Multi‐track recording”( • p. 44). For example, suppose that you played eighth notes
while realtime‐recording, but your rhythm was
slightly incorrect as shown in figure 1. If you
Ab3
Snare: D3 Hi hat:
Bass drum: C3
The REC button will light, and the Start/Stop button will blink.
The function 01 LED will light, indicating that track
1 is selected for recording.
Metronome sound
Note: From this state, you can press one of the Specify how the metronome will function. For this
function 02–16 buttons to change the track that will example, adjust settings so that the metronome will
be recorded. The display will show a screen where be on only during recording.
you can specify the tempo and the recording mode.
Metronome (Metronome Sound): REC
When in recording‐standby mode, you can use the
• • buttons to access a page for making recording‐
related settings. Use the •• buttons to select a
parameter, and use the •• buttons to change the setting.
Metronome bus
For this example, use the following settings. Specify the output bus for the metronome.
Metro Bus: L/R
Tempo and recording mode
“M” (recording mode): OVW (overwrite)
Select a tempo where you can record comfortably.
Metronome level
Specify the volume level of the metronome.
Metro Lvl: 127
Time signature and quantization
“TS” (time signature): 4/4, “Q” (quantization): Hi
34
MIDI recording Recording with the Loop function
5. Press the Start/Stop button to start recording.
Play the keyboard to record while listening to the drum track.
For details on these parameters, please refer to the
During recording, the function 02 LED will blink at
parameter guide.
regular intervals.
3. Press the Start/Stop button to start recording. Use
6. Press the Start/Stop button to stop recording.
the keyboard to record the drum pattern.
The location will return to the beginning of the song
When you start recording, the function 01 LED
(or the place where you started recording).
which indicates the track thatʹs being recorded will
The function 02 LED will blink at irregular
change from being steadily lit to blinking at regular intervals.
intervals, indicating that this track has been recorded.
4. Press the Start/Stop button to stop recording. The
location will return to the beginning of the song 7. Press the Start/Stop button to play back the drum
The function 01 LED will blink at irregular intervals,
indicating that this track has been recorded. Go ahead and assign a desired program to another
track, and record it in the same way.
When you continue recording other tracks, the way
in which these LEDs are blinking will indicate
which tracks are empty.
Recording with the Loop
5. Press the Start/Stop button to play back the drum
track you recorded. function
Press the Start/Stop button once again to stop the playback. The Loop function lets you record onto a track
repeatedly over a specified range of measures. For
If you’re not satisfied with your performance, press example, you could loop about four measures and
the COMPARE button. You’ll return to the state you individually record each instrument of a drum pattern.
were at prior to recording, allowing you to re‐record from step 2.
Loop recording
In this example, we’ll create a new song and loop‐
Recording the bass track record a drum pattern.
Now let’s record the following bass pattern on track 2,
1. Press the MODE SEQ button to enter Sequencer mode.
the bass track, while you listen to the drum pattern
recorded on track 1.
2. Choose “Create New” to create a new song ( • p. 41
“Creating a new song”).
3. In a new song, a drum program is assigned to track 1.
1. Press the function 02 button to select track 2.
You’ll hear a bass sound when you play the keyboard. Press the function 01 button to select track 1.
2. Press the LOCATE button to return the location,
Then use the •• buttons to select a different drum program.
and play back. Play the keyboard to practice the
bass part while you listen to the drum pattern.
4. Press the LOOP button, and then the REC button.
3. Press the REC button to enter recording‐standby mode.
(The order in which you press these buttons does not matter.)
Just like when you recorded the drum track, the
The LOOP button will light‐up, and track 1 will be
REC button will light‐up, and the Start/Stop button will blink.
in recording‐standby mode.
The display will show the loop region setting
This time you’re recording track 2, so the function 2
switch (“Loop M: ***‐***”).
LED will light‐up.
35
Creating songs (Sequencer mode)
5. Set the loop region to M: 001–004, so that measures The function 02 LED will blink at irregular
1–4 will be loop‐recorded. intervals, indicating that this track has been recorded.
6. Specify the recording‐related parameters (p. 34
“Recording the drum track” step 2).
Then set “Start M” and “End M” to specify the first
The Rehearsal function suspends recording when
and last measure that will play back repeatedly.
you switch tracks during loop recording, while
If “Play Intro” is turned On, the intro portion will play
allowing the recorded content to continue playing
back first, and then the specified region of measures
as a loop. While recording is suspended (i.e., when
will play repeatedly.
rehearsal mode is on), nothing will be recorded
even if you play the keyboard. This lets you find an
Example settings
appropriate sound by playing the keyboard to try
• Track 1: “Loop”: On, “Start M”: 005, “End M”: 008,
out various programs, or rehearse the phrase or
“Play Intro”: On
pattern you’ll be recording.
• Track 2: “Loop”: On, “Start M”: 009, “End M”: 010,
7. Press the Start/Stop button to start recording. “Play Intro”: Off
Play the keyboard to record each instrument of the If you play back from the first measure with the
drum pattern. Start by recording just the kick. Then example settings above, the specified region will play
record the snare, hi‐hat, and so on, successively repeatedly in the following way.
layering the notes to record the entire drum pattern.
Measures 1 2 3 4 5 6 7 8 9 10 11 12 13 Track 1
If you’re not satisfied with the recording
1234567856785
Hold down the KEY button, and at the timing of the
Track 2 9 10 9 10 9 10 9 10 9 10 9 10 9
unwanted notes, press the key whose notes you want to delete.
If track 1 “Play Intro” is Off, the specified region will
This lets you delete specific notes without stopping play repeatedly in the following way.
loop‐recording.
Measures 1 2 3 4 5 6 7 8 9 10 11 12 13 Track 1
When you finish recording the drum track, let’s
switch to the bass program on track 2 and record 5678567856785
without halting recording. Track 2 9 10 9 10 9 10 9 10 9 10 9 10 9
8. Press the function 08 button to select track 2.
You’ll switch to track 2 (the function 02 LED will
light), and Rehearsal will turn on. The location will
return to the beginning, and the drum track will
play as a loop. At this time, nothing will be
recorded even if you play the keyboard.
If you want to use a different bass program, press the • button to choose “Program Select.” Then use
the •• buttons to select a different bass program.
While listening to the drum track, you can play the
keyboard to try out various bass sounds. When
you’ve decided on a sound for track 2, and have
worked out the phrase you’ll be recording, you can
resume recording.
9. Press the function 02 button to turn Rehearsal off.
The function 02 LED will change from being
steadily lit to blinking at regular intervals; now you
can record the track.
Each time you press the function button, you’ll
alternately turn Rehearsal on or off.
10.Play the keyboard to record on track 2.
11.Press the Start/Stop button to stop recording.
36
MIDI recording Recording with the arpeggiator
tracks while you record new tracks. Let’s try out the
Recording with the Play/Mute function.
arpeggiator
Typically, the preset template songs assign arpeggio Playing/muting specific tracks during playback
patterns suitable for the corresponding musical genre
to the drum track and the bass or guitar track. This
We’ll try out the Play/Mute function using the drum
means that you can record the drum track or bass/
pattern and bass pattern you loop‐recorded earlier.
guitar track simply by turning on the ARP ON/OFF button.
1. Press the PLAY/MUTE button to turn it on (the
LED at upper left of the button will light‐up).
1. Choose the song command “Create New” to create a new song ( •
p. 41 “Creating a new song”). The play/mute status will alternate each time you
press the button.
The new song will have the settings of template
song P00: Pop. 2. Press the Start/Stop button to play back the drum
and bass pattern.
2. Press the function 01 button to select track 1 (the drum track).
3. Press the function 02 button.
4. Start recording. Turn on the ARP ON/OFF button.
You can also use the Play/Mute function during
5. Press the REC button and then the START/STOP recording. In this example, let’s add an electric piano
button to start recording. performance to the drum pattern and bass pattern that
Note: The function 01 LED will blink at regular you loop‐recorded earlier. We’ll use the Play/Mute
intervals, indicating that recording has begun. function during this process.
6. During the two‐measure pre‐count, press a key 1. Turn the LOOP button on, and press the REC
and hold it down. button. Then press the function 03 button to select track 3.
The arpeggiator will not start during the pre‐count.
When the location reaches 001:01, the arpeggiator
2. Choose an electric piano sound for track 3.
will start in synchronization with the tempo.
3. Press the Start/Stop button to start recording.
7. When you start recording , wait for about eight
measures and press the START/STOP button to If you need to rehearse, press the function 03 button
stop recording. (the function 03 LED will light‐up).
If you press the function 03 button once again,
The arpeggiator will stop at the same time.
recording will be possible. (The function 03 LED
Note: The function 01 LED will blink at irregular
will blink at regular intervals.)
intervals, indicating that this track has been recorded.
4. Press the PLAY/MUTE button to turn it on. Then
8. Next youʹll record the guitar track. For a new song
press the function 02 button to mute the bass
with the default settings, an arpeggio suitable for
performance of track 2.
acoustic guitar is assigned to track 4. Press the
function 04 button to select the guitar track. Then At this time, the function 02 LED will be unlit, and
record the guitar chording in the same way as the 03 LED will be blinking at regular intervals.
described earlier through step 7.
5. Play the keyboard to record the electric piano
9. Press START/STOP to play back the drum and performance on track 3.
bass tracks you recorded.
6. When you press the function 02 button once again,
the bass of track 2 will be heard.
If you are not satisfied with your recording, hold
Play/Mute function down the KEY button and play the key of the
The microSTATION provides a Play/Mute function undesired note at the timing that it occurs.
that lets you mute the specified MIDI tracks 1–16. For Alternatively, you can delete all events recorded on
example, you can use this to mute the sound of a track that track by holding down the KEY button and
that you temporarily don’t want to hear, or to hear pressing the REC button.
only the rhythm section and ignore other existing
37
Creating songs (Sequencer mode)
You can use the microSTATION’s grid sequence
Grid Sequence function function to create this pattern by turning the “+” locations off and the “ •
” locations on. You’ll use the function 01–16 buttons and function 01–
16 LEDs to make grid settings. You can use the
function 01–16 buttons to specify a sequence of up to
What is the Grid Sequence function?
64 grid steps. For example with a 4/4 time signature
The grid sequence function lets you create phrases and an 8‐beat rhythm, this lets you create a pattern up
such as drum patterns by entering notes on a grid. to eight measures long. With a 4/4 time signature and a
Even if you’re not comfortable recording the drums 16‐beat rhythm, the pattern can be up to four measures long.
from a keyboard, this method allows you to easily
create drum patterns.
12345678
Note: When you record using the Grid Sequence
function, each note’s velocity value and duration (note
length) are recorded at a fixed value specified by “Init
Vel” and “Init Dur” respectively. If you want to create
changes in these values, you’ll need to edit them after recording.
Next we’ll use horizontal lines to indicate the note You can’t use the Grid Sequence function to turn a
numbers (different instrumental sounds). Since we’re grid note on/off while a song is playing or being
recorded. You must first stop playback or recording.
going to use four drum instruments, we’ll draw four horizontal lines.
1. Create a new song.
12345678
( • p. 35 “Recording with the Loop function” steps 1–3)
Open hi-hat
Close hi-hat
2. Assign a drum program to track 1.
Snare
( • p. 35 “Recording with the Loop function” steps 3–5)
Kick
3. Press the GRID SEQ function.
We’ll use a “+” symbol to indicate each intersection
between a vertical and horizontal line. Each “+” The Grid Sequence function will turn on. The LED
symbol indicates a grid location. The following located at the upper left of the GRID SEQ button
illustration shows an empty grid for one 8‐beat measure. and the GRID SEQ LED located at the left of the
function LEDs will light‐up.
When the Grid Sequence function is turned on, the
12345678
Loop function will turn on.
Open hi-hat
Note: The LOOP button will not light‐up when the
Close hi-hat
Grid Sequence function turns on. When you exit the
Snare Grid Sequence function, Loop will remain on, and
the LOOP button will light‐up.
Kick
When the Grid Sequence function turns on, the
In our example, we’ll use this grid to enter the 8‐beat display will show a screen that lets you specify the
one‐measure drum pattern shown below. measures over which the loop will repeat, and the
close : open
quantization setting (“LpEnd” and “Q”).
Hi-hat :
Snare
Kick
For this example, set “LpEnd” to 002.
The illustration below shows how we can use the grid By default, the loop setting will be the loop setting
to depict this 8‐beat drum pattern. The “ • ” symbol (“Loop M***‐***”) that was specified when you
indicates a grid location at which the corresponding turned the Loop function on. If you want to change
drum instrument is heard. the loop start measure, turn off the Grid Sequence
function and use “Loop M***‐***” to change the
12345678
Open hi-hat + + + + + + + • setting. The measures that will be looped can be
Close hi-hat • • • • • • • +
changed in the Grid Sequence function setting screen.
Snare + + • + + + • +
By default, the time signature setting (“TS”) will be
Kick • + + + • • + + the setting of the song. If you want to change this,
38
MIDI recording Grid Sequence function
turn off the Grid Sequence function and use SEQ Loop: 001–002 (two measures), “TS”: 4/4, “Q”: 8th ( )
EDIT: Track Edit ‐ Edit Time Sig, or press the REC
Open hi-hat (A#3) + + + + + + + + + + + + + + + •
button and use the “TS” field to change the time
signature for recording. Close hi-hat (F#3) • • • • • • • • • • • • • • • +
Snare (D3) + + • + + + • + + + • + + + • +
4. Press the Start/Stop button to start playback.
Kick (C3) • + + + • • + + • + + + • • + +
At this point, all grid notes are off, so you won’t
hear anything, but you’ll notice that the function
6. Specify the looped measures and the quantization as follows.
LEDs will be lit‐up.
During playback, function 01–08 LEDs indicate the
• “LpEnd”: 2
location, and function 09–16 LEDs indicate the
status of each grid note. These LEDs will blink in • “Q”: 8th ( )
time with the playback tempo and quantize settings.
Example 1) Loop: 01–002 (two measures), “TS”: 4/4, “Q”: 8th ( )
Note: Use the •• buttons to move between pages. Use the •• buttons to select para
( • p. 7 “Selecting a parameter and editing its value”)
First measure
7. Set the tempo and tempo mode as follows.
Successively lit from left to right
• Tempo: 080.00
• Tempo mode: Manu
Second measure
8. First, enter the kick. Hold down the KEY button,
and press the C3 key. You can also use “KeySelect”
to specify the note to enter.
Example 2) Loop: 001–002 (two measure), “TS”: 4/4, “Q”: 16th (
)
The velocity used when you strike the key is used as
the velocity value of the note that’s entered. You can
Successively lit from left to right
also use “Init Vel” to specify the velocity.
The function 09–16 buttons will turn on or off each
time you press them.
Second measure - Beat 3–4
10.Press the function 09 button to specify the second
location, and then press buttons 09, 13, and 14
buttons to turn on the corresponding grid notes.
Successively lit from left to right
The function 09, 13, and 14 LEDs will light‐up.
5. Press the Start/Stop button to stop.
Now let’s create the drum pattern shown below.
39
Creating songs (Sequencer mode)
11.Press the Start/Stop button to play back, and listen 21.Press function button 02 to specify the second
to the kick pattern you entered. location, and then press the function 16 button to
The function 09–16 LEDs will successively light‐up turn on the corresponding grid note.
from left to right in time with the tempo, and you’ll The function 16 LED will light‐up.
hear the kick at the grid notes that were already lit.
When you’ve listened to the pattern, press the Start/
Stop button once again to stop.
12.Next we’ll enter the snare. Hold down the KEY This completes all input. Let’s listen to the pattern
and press the D3 key. that you entered.
14.Press function button 02 to specify the second
location, and then press buttons 11 and 15 to turn Editing a pattern you entered using the Grid
on the corresponding grid notes. Sequence function
The function 11 and 15 LEDs will light‐up. You can edit the velocity and duration (the length
relative to the quantization) for each note of the
pattern that you created using the Grid Sequence function.
In this example, let’s add some dynamics by editing
15.Press the Start/Stop button to play back, and listen the velocity of the closed hi‐hat in the drum pattern
to the pattern with the snare added. that you created using the Grid Sequence function.
When you’ve listened to the pattern, press the Start/
1. Press the GRID SEQ button to turn the Grid
Stop button once again to stop.
Sequence function on.
16.Next we’ll enter the closed hi‐hat. Hold down the
2. Hold down the KEY button and press the F#3 key
KEY button and press the F#3 key.
to specify the note that you want to edit.
17.Press function button 01 to specify the first
3. Press the • button to access the Grid Edit page,
location, and then press function 09–16 buttons to
and then press the • button to enter grid editing.
turn on the corresponding grid notes.
The function 09–16 LEDs will light‐up.
The upper line of the display shows the note
number you’re editing.
The lower line shows (from the left) the grid
18.Press function button 02 to specify the second
number, velocity value, and duration value. If a grid
location, and then press function 09–15 buttons to
note is off, the velocity value and duration are both
turn on the corresponding grid notes.
shown as “‐‐‐”.
The function 09–15 LEDs will light‐up.
The grid number is shown as “the number
indicated by the function 01–08 LEDs” ‐ “the
number indicated by the function 09–16 LEDs.”
This indication will be between 1‐1 and 8‐8.
Next we’ll enter the open hi‐hat. For this example, let’s change the velocity value to
120 for grid numbers 1‐1, 1‐5, 2‐1, and 2‐5 in order
19.Hold down the KEY button and press the A#3 key. to add an accent to the pattern.
40
MIDI recording Preparations for recording
5. Press the • button to select the velocity value.
Preparations for recording
This section explains how to create a new song and
adjust basic settings for recording, such as specifying a
program, volume, and pan setting for each track.
6. Use the •• buttons to change the velocity value.
Before you record, go to Global/Media mode and
make sure that memory protect is turned off. ( • p.
59 “Memory protect”)
7. Change the velocity value of the other grid notes.
Creating a new song
8. Press the Start/Stop button to play back the
You’ll use the song command “Create New” to create a new song.
pattern, and listen to it.
When you play back, you’ll temporarily exit Grid Edit.
1. Press the MODE SEQ button to enter Sequencer mode.
2. Press the • button to access the Menu.
Using the keyboard to add a pattern to the
pattern that you entered using the Grid 3. Use the •• buttons to select “Song Command,”
and then press the • button.
Sequence function
While using the Grid Sequence function to create a 4. Use the •• buttons to select “Create New,” and
drum pattern, you can also use realtime recording to add sounds. then press the • button.
5. In “Length,” specify the number of measures.
1. Leaving the Grid Sequence function turned on,
press the REC button.
You’ll be in recording‐standby mode.
The loop range, tempo, and quantization will be set Note: You are free to change the number of
to the values specified by the Grid Sequence function. measures later.
6. Press the • button to make the display indicate
“OK?”, and then press the • button.
2. Play the keyboard to check the drum instrument
you’ll be adding. For this example, let’s add hand‐ claps (D#3). A new song will be created.
3. Press the Start/Stop button to start recording.
After a two‐measure pre‐count, the drum pattern
will play as a loop.
With the front panel TIMBRE/TRACK LED lit‐up,
5. When you’ve finished recording, press the Start/
press one of the function 01–16 buttons to select a track.
Stop button to stop recording.
In this way, you can seamlessly use both the Grid
The program selection screen (“Program Select”) will appear.
Sequence function and conventional realtime
recording to record in the way that’s appropriate for your situation.
If you press a function 01–16 button when the
display shows something other than the track
parameters, the display will switch to the “Program
Select” screen for the track whose button you pressed.
41
Creating songs (Sequencer mode)
1. Press the GLB/MEDIA button to enter Global/
Media mode.
4. Use “Pan” to specify the pan of each track.
2. Select the Global/Media: Basic “Initial Song.”
5. Use “Status” to specify the sound source that each
track will play. 3. Select the template that will be loaded as the
default song when the unit is turned on.
You can use the song command “Save Template” to
save your frequently used settings as a user
If you’re using the internal sound generator as a 16‐ template, and use that template as the default song.
track multitimbral sound module, you’ll normally
choose INT or BTH.
For details on these settings, refer to the parameter guide ( • PG p.
38 “Status”).
Loading a template
6. Use “MIDI Ch.” to specify the MIDI channel of each track.
By loading a template, you can easily use the
appropriate settings for the desired style of music.
1. Choose the Sequencer mode song command
“Load Template.”
Normally you’ll use “MIDI Ch.” to specify a 2. Use the “From” field to select the template that
different channel 1–16 for each track. Tracks for you want to load.
which you’ve specified the same MIDI channel will
sound simultaneously when you record or play
back any of those tracks.
7. Use “Bus” to specify the output bus for each track.
3. Execute the Load Template command.
l
( • p. 49 “Effect settings for a combination or song”)
8. Adjust effect settings.
Adjust settings for each of the IFX1–IFX5, MFX1,
MFX2, and TFX effects. ( • p.
49 “Effect settings for a combination or song”)
9. Adjust other settings as necessary.
You can adjust settings such as arpeggiator (ARP),
MIDI filter (MIDI Filter), key zone (Key Zone), and
velocity zone (Vel Zone). ( • PG p.
23 “Arpeggiator settings in Combination and Sequencer modes”)
42
MIDI recording Preparations for recording
You can copy settings from a combination or program, 4. If you want the effect settings of the combination
and use those settings for recording. to be copied as well, set “With FX?“ to Yes.
1. Enter Combination mode, and select the desired combination.
As desired, you can edit each timbre’s pan, volume,
and arpeggiator settings. After editing, execute 6. Press the • button to execute the copy.
“Write Combi” if you want to save your settings.
2. Press the REC button.
The REC button will blink, and the display will
show the following screen. 7. Start recording.
Press the LOCATE button to set the location to
001:01. Press the REC button, and then press the
Start/Stop button.
using these settings will be the first unused song.
The microSTATION will automatically be in If you made a mistake, or want to re‐record for any
recording‐standby mode, and the metronome will reason, you can use the Compare function (press
play according to its settings. the COMPARE button) to re‐record as many times as you want.
Multi‐track recording will automatically be turned
on according to each timbre’s MIDI channel and
arpeggiator settings. If you don’t need to record
multiple tracks, one track will be assigned for recording.
4. Press the Start/Stop button to start realtime recording.
To stop recording, press the Start/Stop button once again.
In Sequencer mode, you can use the song commands
“Copy Combi” or “Copy Prog” to copy the settings
from a combination or program, and set up the song accordingly.
As an example, here’s how to use “Copy Combi” to set up a song.
1. Create a new song. ( • p. 41 “Creating a new song”)
3. Select the combination that you want to copy from
(i.e., the copy‐source combination).
43
Creating songs (Sequencer mode)
If you want to modify the settings of multiple tracks
2. While holding down the function 01 button, press simultaneously, use multi‐track recording.
the 02, 03, 04, 05, 06, 07, and 08 buttons, and then
Note: Control of these parameters is done by
release the 01 button.
transmitting control changes or system exclusive
The TIMBRE/TRACK LED will blink, and the messages. If you want to record this data, you’ll need
function 01–08 LEDs will light‐up; the to turn the Global/Media: MIDI ‐ MIDI Filter “Ctrl
microSTATION will be in multi‐track recording Chg” and “SysEx” settings On. Switch to Global/
standby mode. Media mode and make sure that these are turned On.
Note: The Global/Media: MIDI ‐ MIDI/SEQ Out
Multi‐track recording is indicated by the TIMBRE/
“Parameter” setting lets you specify whether changes
TRACK LED blinking and the function 01–16 LEDs being lit‐up.
you make by editing a parameter will be transmitted
as Pan: CC#10 (pan), Volume: CC#7 (volume), and
If you press the PLAY/MUTE button in multi‐track Send 1/2: CC#93 (send 1 level and send 2 level) control
recording mode, the function 01–16 LEDs will changes, or as system exclusive messages.
indicate the status of each track.
Blinking: Recording track
Lit: Play track. This track will be heard during recording.
You can use the function 01–16 buttons to switch the
status of each. The track status will change each time
you press the button corresponding to that track.
To cancel multi‐track recording, press any one of
the function 01–16 buttons from the multi‐track
recording standby state.
3. Press the Start/Stop button to start multi‐track recording.
This section describes how to do multi‐track
recording. For details on the settings and procedure
for receiving MIDI data from an external MIDI
sequencer and multi‐track recording, please refer to
the parameter guide section “Appendix ‐ Recording
musical data from an external device” ( • PG
p. 312).
You can also use multi‐track recording to
simultaneously record a multi‐track performance
produced using the arpeggiators ( • PG p. 23
“Arpeggiator settings in Combination and Sequencer modes”).
44
Using Effects
Insert Effects
Wet Mono In - Stereo Out + Effect
Insert Effects (IFX 1–5) are stereo‐in/stereo‐out. If you
select Dry (unprocessed) for the “Wet/Dry” parameter, Stereo In - Stereo Out
Effect
Effect
the stereo input signal will be output in stereo without
being processed by the effect. If you select Wet (effect
Master effect 1 can use the effects S01: St.Comp–S87:
applied), the processed signal will be output in one of
Phsr‐Flng and D00: St.MltLmt–D13: Early Ref.
the following ways:
Master effect 2 can use the effects S01: St.Comp–S120: Rev‐Gate.
Insert effect 5 can use the effects S01: St.Comp–S61: Amp‐Trml.
Wet Mono In - Stereo Out + Effect
Effect
Stereo In - Stereo Out
Effect
Total effects can use the effects 01: St.Comp–61: Amp‐ Trml.
Note: The Parameter Guide includes block diagrams
for each individual effect, which include the effect’s
input/output structure. ( • PG p. 219–)
45
Using Effects
Routing
In Combination mode, you can adjust these settings for
each combination, and in Sequencer mode you can 1. Access the PROG EDIT: FX Routing “Bus” parameter.
adjust them for each song.
In Sequencer mode, you can switch between effects or
modify the effect parameters and record these
changes, so that effects will switch automatically or
effect parameters will be modified automatically as the
song plays back. 2. “Bus” specifies the bus where the output from the
oscillators will be sent. Here we’ll choose IFX1 so
that the output of the oscillators will be sent to insert effect 1.
L/R: The oscillator output will not be sent to an
insert effect. It will pass through the total effect, and
then be sent to OUTPUT L/MONO and R.
IFX1–IFX5: The oscillator output will be sent to
insert effect 1–5.
Off: The oscillator output will not be sent to
OUTPUT L/MONO or R, or to insert effects 1–5.
(Choose this if you want to connect the oscillator
output to the master effects in series, at the send
levels specified by “OSC1 Send1,” “OSC1 Send2,”
“OSC2 Send1,” and “OSC2 Send 2.”)
Program mode
Send Return
Oscillator1 Filter1 Amplifier1 Master Effect 1, 2
OUTPUT
Oscillator2 Filter2 Amplifier2 Insert Effect 1–5 Total Effect
L/MONO, R
Send Return
Master Effect 1, 2
OUTPUT
Timbre 1 /MIDI Track 1 Insert Effect 1–5 Total Effect
L/MONO, R
46
Routing and effect settings Effect settings for a program
3. If you’re inputting the oscillator output to the 3. Turn “Chain” On.
master effects without sending it to the insert If “Chain” is On, the insert effect will be connected in series.
effects, use the “OSC1 Send1,” “OSC1 Send2,”
“OSC2 Send1,” and “OSC2 Send 2” settings for
the oscillators to specify the send levels to the
master effects.
These settings are available only if “Bus” is set to L/ R or Off.
Set “Chain To” to IFX2.
If IFX2 is selected, the insert effects will be
connected in series in the order of IFX1 • IFX2. The
connection status is shown in the upper line of the display.
If “Bus” is set to IFX1–IFX5, use the “Send1” and
“Send2” parameters following the insert effect
(PROG EDIT: IFX1–IFX5) to specify the send levels
to the master effects.
4. “FXCtrl Bus” sends the output of oscillators 1 and 4. Set the “Pan (CC#8),” “Bus,” “FXCtrl Bus,”
2 to the FX control bus. “Send1,” and “Send2” parameters to specify the
pan and routing of the signal following the insert effect.
Use this when you want to use a different sound to
control the sound that’s being input to an effect. You
can use two FX control buses to freely control the sound ( • PG p. If “Chain” is On, the settings that follow the last
You can adjust settings for the other insert effects in
the same way.
1. Access the PROG EDIT: IFX1 screen, and press the
• button. “Send1,” “Send2”: Specify the send levels to the
master effects. For this example, set them to 127.
The first page of IFX1 is the selection screen for
insert effect 1 (“IFX Select”). Press the • button once again, and then use the
• • buttons to select the effect type for insert effect 1.
“FXCtrl Bus”: The sound that has passed through
the insert effect is then sent to the FX control bus.
This allows you to use a different sound to control
the input to an effect. You can use two FX control
You can use the “Copy IFX” command to copy buses, giving you a wide range of possibilities for
effect settings from another effect. The “Swap IFX” controlling the effects. ( • PG p. 209 “FX Control Bus”)
command lets you exchange (for example) insert effects 1 and 5.
If you press the • button to enter the page at right,
you’ll see the parameters of the selected insert effect. ( • step 5)
5. Use the pages located to the right of PROG EDIT:
2. Adjust settings for the insert effect 1 on/off status
IFX1 “IFX Select” to edit the parameters of insert effect 1.
and connections.
Use “On/Off” to turn insert effect 1 On.
If this is Off, the result will be the same as if 000: No
Effect is selected; the input sound will be output without change.
For details on the parameters of each effect, please
refer to PG p. 219 and following.
47
Using Effects
Double‐size effects (D00: St.MltLmt–D13: Early Ref) When “Chain” is On, master effects 1 and 2 will be
use twice as much processing area as other effects. series‐connected in the order of MFX1 • MFX2.
D00: St.MltLmt–D10: Rotary OD can be used with
insert effect 1, D00: St.MltLmt–D09: Vocoder can be
used with insert effects 2–4, and D00: St.MltLmt–D13:
Early Ref can be used with master effect 1.
You cannot change the order of connection .
When you use a double‐size effect, the next‐numbered
The order is fixed as MFX1 • MFX2.
effect will be unavailable. For example if you’ve
“ChainLevel” specifies the level from master effect
selected a double‐size effect for IFX1, you won’t be able
1 to master effect 2.
to use IFX2. If you’ve selected a double‐size effect for
MFX1, you won’t be able to use MFX2.
The output from each master effect is input to the
total effect via the PROG EDIT: MFX1 and 2
“Return1” and “Return2” settings.
The procedure is the same as for the insert effects ( • step 5).
After passing through the total effect, the signal is
output from OUTPUT L/MONO and R.
Note: Double‐size effects can be selected only for MFX1 ( • p.
2. Access PROG EDIT: TFX, and press the • button.
48 “Double‐size effects”). If you press the • button to enter the page at right,
you’ll see the parameters for the selected master effect ( • step 5). The first page of TFX is the total effect selection
screen (“TFX Select”). Press the • button once again, and then use the
Use “On/Off” to turn on master effect 1.
If it is Off, the output of the master effect will be muted.
You can’t use double‐size effects with the total effect ( • p.
48 “Double‐size effects”). If you press the • button to enter the page at right,
you’ll see the parameters for the selected total effect ( • step 4).
Use “Return1” to adjust the output level of master effect 1.
3. Use On/Off to turn the total effect On.
If it is Off, the result will be the same as if 000: No
Effect is selected; the input signal will be output
without change.
Note: For each effect’s “Wet/Dry” setting, the Wet
value is the output level of that effect. This value is
multiplied by the return setting (with “Return” =
127 as x1.0) to determine the actual output level of
the master effect.
Note: The output level of master effect 2 is adjusted
by PROG EDIT: MFX2 “Return2.”
48
Routing and effect settings Effect settings for a combination or song
4. Use the pages located at the right of PROG EDIT:
TFX “TFX Select” to edit the effect parameters so Insert effects
that the overall sound is to your liking.
1. Access COMBI EDIT: IFX1, and press the •
button.
The first page of IFX1 is the insert effect 1 selection
screen (“IFX Select”). Press the • button once again, and then use the
For details on the parameters of each effect, please
refer to PG p. 219 and follows. • • buttons to select the effect type for insert effect 1.
In Combination and Sequencer modes, you can specify specify the effect’s on/off status and connections.
how each timbre or track is routed to the insert effects,
3. In the same way as for a program’s insert effects,
master effects, and total effects. The procedure for
use “Pan (CC#8),” “Bus,” “FXCtrl Bus,” “Send1,”
adjusting settings is similar in each mode. Here, we’ll
and “Send2” to specify the pan and routing
explain the procedure for Combination mode.
following the insert effect.
4. Use the pages located at the right of COMBI EDIT:
Routing IFX1 “IFX Select” to edit the effect parameters of insert effect 1.
We’ll explain how to send the output of timbre 1 to
insert effect 1, and then make settings for insert effect 1. You can adjust these settings in the same way as for a program ( •
p. 47).
1. In COMBI EDIT: Timbres ‐ Timbre 01, set “Bus”
You can use MIDI to control each effect’s dynamic
to specify the bus where the output of timbre 1
modulation (Dmod) and the “Pan (CC#8),”
will be sent. In this example, select IFX1 so that
“Send1,” and “Send2” following the insert effect.
the timbre’s output will be input to insert effect 1. These settings are controlled on the MIDI channel
specified by “Ctrl Ch.”
For timbres that are routed to an insert effect,
a “*” symbol is shown at the right of the channel
number Ch01–16. If multiple timbres with
If you want to send a timbre’s output to a master differing MIDI channel settings are routed, you
effect without sending it to an insert effect, use the can specify here the channel on which control will occur.
“Send1” or “Send2” settings of that timbre to
specify the send levels to the master effects.
This setting is available only if “Bus” is set to L/R or Off.
Master effects
Total effect
You can make these settings in the same way as for a program ( • p.
48).
49
Arpeggiator function
As you switch through the programs, you’ll notice
that the LED at the upper left of the ARP ON/OFF
button will be lit for some of the programs ( • p.
The chord you played on the
keyboard is sounded as an 54 “Linking the arpeggiator to program, combinations”)?
arpeggio (broken chord)
The arpeggiator will start when you play the
keyboard. For other programs as well, you can turn
The microSTATION’s arpeggiator is also polyphonic, on the arpeggiator by pressing the ARP ON/OFF
and can produce a variety of chordal transformations or button (the LED at the button’s upper left will light).
phrases based on the pitch or timing of the notes you
play on the keyboard. These functions let you use the 2. As described in the following sections “Settings
arpeggiator to play a wide range of patterns including via controllers” and “Settings in the display”,
drum or bass phrases, and guitar or keyboard backing operate the controllers and notice how the arpeggio changes.
riffs. It is also effective to use the arpeggiator as part of
the sound‐design process when creating subtly‐moving
pads, synth‐sounds, or sound effects.
In a combination or song, turning on the ARP ON/
OFF button might not start the arpeggiator,
depending on the settings of arpeggiators A and B ( • PG p. 24).
50
Using the arpeggiator while you play Performing with the arpeggiator in Program
Making the arpeggio keep playing after you release the Changing the strength of the arpeggiated notes
keys
The ARP LATCH button lets you specify whether the Switch the realtime controls to mode C, and turn knob
arpeggio will keep playing even after you take your 2 adjust the strength of the arpeggiated notes.
hands off the keyboard. Turning the knob toward the left will soften the notes,
On (LED lit‐up): The arpeggio will keep and turning the knob toward the right will strengthen
playing after you take your hands off the keyboard. them. When the knob is at the center position (12
o’clock), the strength will be as specified by the
you take your hands off the keyboard.
Note: The state of the knob is saved when you write the program.
Adjusting the arpeggiator tempo
Note: You may find it useful to switch the realtime
controls to mode A, and adjust knob 1 (CUTOFF),
knob 2 (RESONANCE), and knob 3 (EG‐INTENSITY).
If the selected arpeggio pattern is one of the preset
1. Press the REALTIME CONTROLS SELECT button
arpeggio patterns P0–P4, turning the knob will not
to select mode C. change it. This adjustment is available only if one
of the user arpeggio patterns 000–639 is selected.
2. Use knob 4 (TEMPO) to adjust the tempo.
You can adjust the tempo in a range of 40.00–300.00.
The LED located to the right of “TEMPO” on the Arpeggiator settings
panel will blink at quarter‐note intervals of the tempo.
Enter PROG EDIT: Arp Setup.
Note: The tempo setting is saved when you write
the program. Selecting an arpeggio pattern
Note: You can also specify the tempo by using the
PROG EDIT: Tempo “ :” setting.
Note: The arpeggio playback speed is affected by
the “Resolution” setting (PROG EDIT: Arp Setup). Choose one of the preset arpeggio patterns P0–P4 or
If the GLOBAL/MEDIA: MIDI ‐ MIDI Clock
user arpeggio patterns 000–639. With the factory
“Clock” parameter is set to External MIDI or
settings, a wide variety of arpeggio patterns are stored
External USB, or is set to Auto and MIDI clock is
in 000–511 and in some of 512–639.
being received, the PROG EDIT: Tempo “ =” will
indicate EXT, and the tempo will be synchronized Select the arpeggio pattern setting, and use the ••
with an external MIDI device. In this case, you buttons to choose the desired pattern.
won’t be able to change the tempo on the You can also select a user arpeggio pattern by turning
microSTATION itself. NUM LOCK on, using function buttons 01 (1)–10 (0) to
directly specify a number, and then pressing the 14 (ENTER) button.
Changing the duration of the arpeggiated notes
P0: UP
Switch the realtime controls to mode C, and turn knob
1 to adjust the duration of the arpeggiated notes.
UP
Turning the knob toward the left will shorten the
notes, and turning the knob toward the right will
lengthen them. When the knob is at the center position
(12 o’clock), the duration will be as specified by the
program’s “Gate” parameter (PROG EDIT: ARP Setup).
51
Arpeggiator function
P2: ALT1 Sounding the arpeggio in the order that you play the
notes
ALT1
The “Sort” setting lets you specify whether the
arpeggiated notes will be heard in order of their pitch
regardless of the order that you played them, or heard
in the order that you played them.
P3: ALT2
On: The arpeggiated notes will be heard in order of
ALT2 their pitch, regardless of the order that you played
them on the keyboard.
Off: The order of the arpeggiated notes will be based
on the order that you played them on the keyboard.
UP Sort
P4: RANDOM
Sort OFF,
RANDOM ON, UP
1 2 3 4
Selecting the octave range where the arpeggio Synchronizing the arpeggiator to the keyboard
is sounded
Use the “Octave” radio buttons to specify the range of The “KeySync” setting lets you specify whether the
octaves where the arpeggio will play. arpeggio pattern will start the moment you play the
keyboard, or will always stay in synchronization with MIDI clock.
On: The arpeggio pattern will start from the beginning
when a note‐on occurs. Use this setting if you want the
Octave: 4
UP
performance to be synchronized to the beginning of
the measure in realtime.
Off: The arpeggio pattern will play in synchronization
with MIDI clock.
The “Resolution” parameter lets you set the note value
of the arpeggiated notes, over a range from 3 – .
On: Your keyboard playing will be heard together
with the arpeggiator’s playback.
Off: Only the arpeggiator’s playback will be heard.
52
Using the arpeggiator while you play Performing with the arpeggiator in Combination
However, the arpeggiator will run only if the “ARP
Specifying the range of velocities that will trigger the Assign” setting of each timbre assigns arpeggiator A
arpeggiator or B to that timbre ( • “Assigning an arpeggiator to a timbre”).
The arpeggiator will start when you play notes with
velocities inside the range specified by the “Top Vel”
and “Bottom Vel” settings. Velocities outside this Assigning an arpeggiator to a timbre
range can be used to perform normally, regardless of As an example, we’ll assign a piano sound to timbre 1,
the arpeggiator on/off status. a bass sound to timbre 2, and assign arpeggiators A
and B to timbres 1 and 2 respectively.
1. In COMBI EDIT: Timbres ‐ Timbre01, use
“Program Select” to select a piano program.
Combination mode provides a dual arpeggiator that
lets you run two arpeggio patterns simultaneously.
1. Press the COMBI button to enter Combination 3. With the front panel TIMBRE/TRACK LED lit,
mode, and select a combination ( • p. press the 02 button to switch to timbre 2, and then
24 “Selecting a combination”). use COMBI EDIT: Timbres ‐ Timbre02 “Program
As you switch through the combinations, you’ll Select” to select a bass program.
notice that the LED at the upper left of the ARP ON/
4. In COMBI EDIT: Timbres ‐ Timbre02, set “ARP Assign” to B.
OFF button will be lit‐up for some of the combinations ( • p.
54 “Linking the arpeggiator to program, combinations”).
2. As described in the preceding sections “Settings
via controllers” and “Settings in the display,” use Set the “Pattern,” “Resolution,” “Octave,” “Sort,”
the controllers and notice how the arpeggio changes. “Latch,” “Key Sync.,” and “Keyboard” parameters
for arpeggiator A and B ( • PG p. 9).
The ARP ON/OFF button, ARP LATCH button,
and realtime controls mode C knobs will apply to
both arpeggiators A and B. Their status is saved
when you write the combination.
Note: The latch setting can also be specified using
PROG EDIT: Arp Setup “Latch.”
53
Arpeggiator function
When you play the keyboard, arpeggiator B will
Arpeggiator synchronization
play the program of timbre 6. (Timbre 7 is a dummy For details on synchronization between arpeggiators A
timbre used to play timbre 6. • PG p. 24) and B, and synchronization between the arpeggiators and
Arpeggiator A will play the program of timbre 3. sequencer in Sequencer mode, please see PG p. 203.
• If you turn “Run” Off for A or B, the arpeggiator
that is turned off will stop.
When you turn it On again and play the keyboard,
the arpeggiator will run.
• Take a look at COMBI EDIT: Arpeggiator ‐ Arp‐A
Setup and Arp‐B Setup parameters “Top Key” and
“Bottom Key”; note that arpeggiator A and B are
triggered by keys C4 and above.
54
Settings for the entire microSTATION, and saving/loading data
The Compare function that lets you return to the
state prior to editing is not available in Global/ Media mode.
Note: By using microSTATION Editor, you can cre‐
ate user drum kits, user arpeggio patterns, and user scales.
Global settings
( • PG p. 59 “Effect SW”)
You can adjust the tuning to match with another instrument.
( • PG p. 59 “All ARP”)
( • PG p. 57 “Transpose”)
( • PG p. 59 “Load ARP:”)
Protecting memory
( • PG p. 60 “M.Protect (Memory Protect)”)
55
Settings for the entire microSTATION, and saving/loading data
1. Press the EXTERNAL button to put the realtime
controls in External mode.
2. Access PROG EDIT: External “External Setup.”
( • PG p. 61 “Local Ctrl (Local Control)”)
( • PG p. 62 “Clock (MIDI Clock Source)”)
5. When you operate realtime control knobs 1–4, a
MIDI control change (CC#) will be transmitted on
the assigned MIDI channel.
Controller settings If the display is showing the knob assignment view
In GLOBAL/MEDIA: Controllers ‐ PEDAL/SW, you screen (step 4), you can see the setting assigned to
can adjust settings for the option thatʹs connected to the knob and the value that is transmitted.
the DAMPER/PEDAL/SW jack, the arpeggiator ARP
ON/OFF button, the LATCH ON/OFF button, and
assign MIDI control change messages to knobs 1–4 for
realtime controls mode C.
Note: The microSTATION’s keyboard and other
controllers will function as they usually do in each mode.
Specifying the function of the damper pedal / assignable
switch / pedal
6. When you use a knob in PROG PLAY, the display
will show that knob’s assignment and value.
( • PG p. 65 “PEDAL/SW”)
7. Switch to Combination mode, and set the realtime
controls to External mode.
The settings will be maintained, allowing you to
control a connected MIDI device, etc.
56
Saving & loading data Types of data that can be saved
Even if you switch programs in Program mode or
switch to Combination mode, that setup will remain
Saving & loading data
unchanged. This means that you can select a
different microSTATION sound without changing
the settings that control an external MIDI device, or
conversely, switch the settings that control the
Types of data that can be saved
external MIDI device without changing the
microSTATION’s sound.
You can save the various types of data in the
You’ll need to select the realtime control mode for microSTATION by writing it to internal memory, by
each mode; Program, Combination, and Sequencer.
saving it to an SD card (commercially available), or by
sending it as a MIDI data dump.
2. Access the GLOBAL/MEDIA: MIDI ‐ External • Global settings
(GLOBAL/MEDIA: Basic–Controllers)
Setup section, and press the • button.
The first page of the External Setup section lets you • User template songs U00–U15
select the external setup that you want to edit Song settings such as the song name and tempo,
Data that you edit in Sequencer mode can only be
saved to media; it cannot be saved in internal memory.
4. Use the •• buttons to select the knob that you
want to edit, and then press the • button. • User drum kits 00 (INT)–47 (USER)
5. Use “Channel” to specify the MIDI channel where • User arpeggio patterns 000–639
the knob will transmit data. User drum kits and user arpeggio patterns cannot
be edited from the microSTATION itself. Data
you’ve edited using microSTATION Editor / Plug‐In
Editor will be transmitted to the microSTATION
and written when you execute “Write Drumkit” ( • PG p.
6. Use “CC#” to specify the MIDI control change that 204) or “Write Arpeggio pattern” from the editor ( • PG p. 205).
the knob will transmit.
57
Settings for the entire microSTATION, and saving/loading data
• GM program
• GM drum kits 48(GM)–56(GM) 2. Enter an edit page, and choose “Write Program.”
• Preset template songs P00–P15
Saving to media
The following data can be saved to various types of media. 3. Edit the program name as desired.
Before you can write data into memory, you must
turn off the memory protect setting in Global/ Media mode.
program data for each timbre, but simply applied to the programs used by a combination or
references the number of the program used by song, are referred to as “tone parameters.”
each timbre. If you edit a program that is used by a There are two types of tone parameters as described
58
Saving & loading data Types of data that can be saved
of a relative parameter will indirectly raise or lower 1. Choose GLOBAL/MEDIA: Write Global.
the value of these program parameters.
The display will indicate “OK?”
Program mode:
• The settings of relative‐type Tone parameters are
automatically applied directly to the program
parameters when you write the program. The Tone
parameter values will be reset to zero. The Effect SW settings are not saved.
Combination mode:
• The settings of both relative‐type and absolute‐type Memory in Global/Media mode
Tone parameters are written and preserved as the
When the power is turned on, the Global/Media mode
Tone parameter settings for each timbre. ( • PG
p. 149)
data is called from internal memory into the Global/
Media mode memory area. Then when you modify the
memory, you must perform the Write operation. will be saved in internal the settings are called into the
memory. Power memory area.
When you perform the Write operation, the data in the On
writing your edits, the data of the newly selected
program or combination will overwrite the edited data
in the edit buffer, and your changes will be lost. Memory protect
Note: When you press the COMPARE button in To prevent Programs, Combinations, Songs, Drum
Program mode, or Combination mode, the data from Kits, and User Arpeggio Patterns from being
memory (i.e., the contents that were written into overwritten accidentally, the microSTATION provides
memory) will be temporarily called into the edit a Memory Protect setting that prohibits writing to memory.
buffer. This allows you to compare the settings you are
editing with the original un‐edited settings.
Before you save edited data or load data from media,
Editing applies to the data in the edit buffer. Programs or
use the following procedure to turn the memory protect off.
combinations will play according to the data in the edit buffer.
Edit
When you write, the
Edit Buffer You must also turn memory protect off before loading
program or When you select a program or
combination settings will be combination, its data is called from
the above data from media or via a MIDI data dump,
saved in internal memory. Select internal memory into the edit buffer. or before recording in Sequencer mode.
1. Press the GLB/MEDIA button to enter Global/
Internal Memory Write
Media mode.
Program A Combination
0...127 A 0...127
2. Choose GLOBAL/MEDIA: Basic ‐ Memory Protect.
59
Settings for the entire microSTATION, and saving/loading data
Never remove an SD card from the slot while
loading, saving, or formatting is in progress.
Restoring the factory settings (loading the preload data
and demo songs)
• Remove the card from the SD card slot.
You can reload the preload data from the included
Press the card inward; you will hear a click, and the
accessory disc, as well as the demo song data that’s in
card will pop out part‐way, allowing you to pull it completely out.
the microSTATION’s internal memory.
For the procedure, please refer to “Loading the preloaded data”( • p.
Refer to the operation guide included with your
card, and observe the guidelines for handling and use. 63) and ”Loading the demo songs” (“Easy start guide,” p. 15).
• Preload data: On the included accessory disc, or
Saving download from the Korg website.
Programs, combinations, drum kits, global settings,
Select the appropriate page for the data that you want
user arpeggio patterns
to save to media.
• Demo song data: In the microSTATION’s internal memory.
For details on saving, please refer to PG p. 69 “Save
All” and following.
60
Saving & loading data Loading data
2. Select the PCG file that contains the combination
Loading data from media you want to load, and then press the • button.
(Media-Load)
Note: For details on the media from which data can be
loaded, please refer to p. 60.
• From bank A, choose the combination that you
1. Make sure that the media is ready for loading. want to load, and press the • button.
( • p. 60 “Inserting/removing a card in the SD card slot”) Note: When you play the keyboard, you’ll hear the
selected combination. However, each timbre will
sound using the corresponding internal program.
2. Choose GLOBAL/MEDIA: Media ‐ Load, Load
PCG, and then press the • button. 4. Choose C127 as the load‐destination, and press the
• button.
The PCG files on the media will be displayed.
The display will ask “OK?”
3. Use the •• buttons to select the .PCG file that
contains the program or combination data you 5. To load the data, press the • button.
6. In Combination mode, set the category to ALL,
turn Num Lock on, and specify 384 to select
combination C127.
4. Choose All PCG, and press the • button.
The display will indicate “OK?”
5. To begin the Load operation, press the • button.
All data of the .PCG file will be loaded into the Note: The bank and number are shown in the upper
microSTATION. right of the display in the COMBI PLAY page when
you turn Num Lock on and press the 14 (ENTER) button.
Never remove the media while data is being loaded.
In this example, we’ll explain how to load a song.
Loading individual items from a PCG file
We will assume that this song uses programs, drum
The microSTATION also allows you to load individual
kits, and user arpeggio patterns that you’ve edited. If
items or banks of program, combination, drum kit, or
this is the case, it’s best to load all data.
user arpeggio pattern data. This is a convenient way to
rearrange combinations into the order in which you’ll 1. As described in “Loading all programs,
be playing them live. combinations, drum kits, and arpeggio patterns” ( • p.
Be aware that editing a program will affect the 61), load the PCG file that is used
sound of any combination that uses that program. by the .SNG file you’re going to load.
1. Choose GLOBAL/MEDIA: Media ‐ Load PCG.
61
Settings for the entire microSTATION, and saving/loading data
3. Use the •• buttons to select the SNG file that
you want to load, and then press the • button. Media utility
Formatting media
4. Select the song data that you want to load, and press the • button. Here’s how to format media.
New media that you’ve just purchased, or media that
has been used by another device, cannot be used on
the microSTATION in that state. You must first format
the media so that it can be used on the microSTATION.
3. To execute the Format operation, press the •
button.
When formatting is completed, the display will
indicate “Complete.”
You must format the media on the microSTATION.
Media that was formatted on a different device
might not be recognized correctly.
62
Appendix
2. Remove the SD card from the microSTATION.
Loading the preloaded data 3. Using your computer, copy the preload data
The original preload data is backed up in the (PRELOAD.PCG) from the “Factory Preload
microSTATION, so you can restore any or all of the Sounds” folder of the included disc to the
Programs, Combinations, Drum Kits, User Arpeggio “MICRO_ST” folder on the SD card.
Patterns, and Global settings to their original factory settings.
If the “MICRO_ST” folder already contains a
folder named PRELOAD.PCG, it will be overwritten.
To return the microSTATION to its factory‐set state,
you can load the preload data from an SD card to
4. Choose MEDIA/Load ‐ Load PCG.
which you copied it, or dump the data to the
microSTATION from microSTATION / Plug‐In Editor
running on a USB‐connected computer.
The preload data is provided on the accessory disc
included with the microSTATION. You can also 5. Select the PCG data (file name: PRELOAD.PCG)
download the latest data from the following website. that you want to load, and press the • button.
Korg website: “http://www.korg.com/”
Never turn off the power while the data is being loaded.
63
Appendix
Troubleshooting
If you experience problems, please see the relevant
item and take the appropriate measures. Audio output
No sound
Power supply • Are connections made correctly to your amp, mixer,
or headphones? • p. 12
Power does not turn on
• Is the connected amp or mixer powered‐on, and is
• Is the AC adapter connected to an outlet? • p. 11 its volume raised?
• Is the rear panel POWER switch turned on? • p. 11 • Is Local Control turned on?
• Turn “Local Ctrl” (GLOBAL/MEDIA: MIDI) On.
• PG p. 61
• If a specific oscillator doesn’t sound in program
• Use the rear panel Contrast adjustment knob to mode, is its “Play/Mute” set to Play? • p. 17
adjust the contrast of the display. • p. 4 • If a specific timbre doesn’t sound in Combination
mode, is its “Play/Mute” set to Play? • p. 29
The power is turned on, but the display does not work
• If a specific track doesn’t sound in Sequencer mode,
normally, or an error message is displayed. There is no
is its “Play/Mute” set to Play? • p. 37
sound when you play the keyboard, and the
microSTATION does not function normally. • Make sure that the Status is INT or BTH. • p. 29,
p.42
• This type of problem may occur if a data writing • Are the Key Zone and Velocity Zone set so that
operation to internal memory was not completed sound will be produced when you play? • PG p. 21, PG p.
correctly, for example, if the power of the 22, PG p. 40
microSTATION was turned off while a program or • Is the Oscillator, Timbre, or Track level lowered?
other data was being written. If this occurs, • PG p. 7, PG p. 19, PG p. 37
initialize the microSTATION’s internal memory.
• Could the level of the Master Volume following the
(“Initialization” on page 63)
total effect have been lowered? • PG p. 13, PG p. 26, PG p. 47
able to change modes or switch to a different page: maximum polyphony of 80 voices?
• Recording or playing back a song.
Notes do not stop
In Combination, or Sequencer modes, you can’t edit • Is “Hold” (PROG EDIT: OSC Common) turned Off?
the value of Timbre/Track parameters • PG p. 5
64
Troubleshooting Programs and Combinations
discontinuities in the delay sound, and is not a
malfunction. Songs
• Some effects, such as S19: St.Record, generate noise
intentionally. It is also possible to make a resonant The sound of the program selected for a track is
filter oscillate. Please check the settings.
different than when played in Program mode
• Note that if you use the following effects with the
routing described below, a feedback loop will be
created, possibly producing a loud noise. Please use caution. • When you select a program for a track in Sequencer
mode, the arpeggiator and effect settings of
If the signal from an oscillator or timbre/track Program mode are not assigned automatically.
output, or the signal after an insert effect, is sent to • You can use the SEQ EDIT command “Copy ARP,”
the FX Control bus and that signal is output “Copy IFX,” or “Copy MFX/TFX” etc. to copy the
a loud noise may be output. (It is also possible that
Song does not play correctly after being loaded
a DC component will be output at the maximum
level, producing silence.)
• When using S03: St.Limitr or S06: St.Gate, and the • Are the programs used by the song the same as
“Env Sel” of these effects is set as either FX Ctl1 or when the song was created?
FX Ctl2, and “Trigger Monitor” is On (editable only • When saving the song, it is best to use Save All so
by using microSTATION Editor / Plug‐In Editor). that the programs are saved together with the song.
• When using D09:Vocoder, and the “Mod Src” of this Then when loading, load both the .PCG and the
effect is set as either FX Ctl1 or FX Ctl2, and . SEQ data. • PG p. 69
“Modulator High Mix” is set to other than 0
(editable only by using microSTATION Editor / Plug‐In Editor). Playback does not start when you press the Start/Stop
button in Sequencer mode
• Is the Clock (Global/Media: MIDI–MIDI Clock) set
Can’t play chords
to Internal or Auto? • PG p. 62
• Could the program’s Voice Assign Mode be set to Mono? • PG p.
3 Can’t record in Sequencer mode
• Did you select the MIDI track that you want to record?
Pitch is incorrect
• In the Global/Media: Basic, are the MTune and
Transpose settings correct? • PG p. 57
• Is the Memory Protect Song off (Global/Media: Basic)? • p.
55, PG p. 60
• In the Prog Edit: OSC1 or OSC2, is the PitchSlope set to +1.0? •
PG p. 7
• Is the Clock (Global/Media: MIDI–MIDI Clock) set
to Internal or Auto? • PG p. 62
• In the combination or song, are the Transpose and
Detune settings of each timbre/track set • When using loop recording, could you be in
Settings for oscillator 2 are not displayed as when you were playing that combination
• Have you selected a program that uses oscillator 2?
• Were the settings correct when you executed Copy Combi? • p.
Program does not sound 43
• Could the oscillator or amp level be lowered? • In the Copy Combi settings, set “Multi Rec?” to Yes
• PG p. 7 before you execute the copy. These settings will be
made automatically.
• Is the oscillator’s “Play/Mute” parameter set to Play?
65
Appendix
When the grid sequence function is on, you can’t use • Is the MIDI data being received on the channel on
function buttons 01–16 to turn grid notes on/off which it is being transmitted? • PG p. 60
• If the arpeggiator does not start in Combination or
Sequencer mode, is each arpeggiator’s “Run”
setting turned On? Is “ARP Assign” set to assign the Damper pedal, Foot pedal do not
arpeggiator to a timbre or track? • p. 53, PG p. 19, PG p. 37
respond correctly
• Is “Clock” (GLOBAL/MEDIA: MIDI ‐ MIDI Clock) Damper response is wrong
set to Internal or Auto? • PG p. 62
• Execute the Global/Media mode command
• Is GLOBAL/MEDIA: Basic‐ARP “All ARP” turned Off? • p. HalfDmpr Calib to correctly calibrate the half‐
55, PG p. 59 damper pedal sensitivity. • PG p. 66
• Have you selected effect program 000?
• Select an effect other than 000: No Effect for
“IFX1–5,” “MFX 1, 2” or “TFX.” Media
• Are the Effect SW “IFX1‐5 Off,” “MFX1&2 Off,” and
Can’t format the SD card
“TFX Off” settings (GLOBAL/MEDIA: Basic) turned Off? • p.
55, PG p. 59 • Does the media meet the requirements for use on
the microSTATION? • p. 60
• If you are in Combination and Sequencer mode, and
master effects are not audible when you raise the • Is the media inserted correctly? • p. 60
Send 1 or Send 2 of the timbre/track, does Return 1 or Return 2 from the master effect need to be
• Could the media’s write protect setting be turned on?
raised? • PG p. 25, PG p. 46, PG p. 211 Alternatively, has Send 1 or
Send 2 for each oscillator of the program used by the timbre/track
been lowered? • PG p. 25, PG p. 46 Can’t save/load data on the SD card
• Is the media inserted correctly? • p. 60
• Has the media been formatted? • p. 62
Note: The actual send level is determined by
multiplying the send setting of each oscillator in the • Could the media’s write protect setting be turned on?
program with the send setting of the timbre/track.
• Have you routed the output to an insert effect?
• PG p. 11, PG p. 19, PG p. 46
66
Troubleshooting Connections with a computer
• Is the lens of your optical disc drive dirty?
• Use a commercially‐available lens cleaner to clean the lens.
• Are you able to use USB?
• If you are using Windows XP, go to [Control Panel]
• • [System], and select the [Hardware] tab. In
[Device Manager], check the settings for Universal
Serial Bus Controller and USB Root Hub.
• Has the microSTATION been detected as an
unknown device?
• If you are using Windows XP, go to [Control Panel]
• [System], select the [Hardware] tab, and check
[Device Manager]. If the microSTATION has not
been detected correctly, it will be displayed in
“Other devices” or “Unknown devices.” Reconnect
the USB cable; if the microSTATION is again
displayed as an “Unknown device,” the computer
has failed to detect it correctly. Delete the
“Unknown device” entry, and reinstall the driver.
67
Appendix
Error messages
F
Various messages A
File exists
Meaning: When executing a file rename command, an
identically‐named file existed on the media. Action:
Dest. empty
I
Meaning: When editing, the track you specified contains
Illegal name
no performance data.
Meaning: An invalid file name was specified. Action:
Action: Specify a track that contains performance data.
Change the file name. You may not specify a
Dest. song empty file name that is invalid in MS‐DOS.
Meaning: The song you specified as the copy‐
destination does not exist.
Action: Before you copy, execute the song command
“Create New” to create a song.
68
Error messages Various messages
M remaining number of songs that can be loaded.
Delete unneeded measures.
Action: Either delete an existing file, or use different
media that has sufficient free space. Action: Delete other song data to increase the amount
of free memory.
Media Invalid
Meaning: When you attempted to load an .SNG file or
Meaning: The selected media is unreadable. Standard MIDI File in Global/Media mode,
there was insufficient free space in sequencer memory.
Memory Full
Meaning: When you were editing a song or track in
Sequencer mode, the total amount of all song Action: Delete other song data to increase the amount
data exceeded the sequence data memory of free memory.
N
No readable data
Meaning: The file size is 0, or the data to be accessed by
the load or other operation did not exist in the
file. Alternatively, the data content is
damaged and cannot be loaded or accessed.
No media
Meaning: When executing a command in Global/Media
mode, the execution‐destination media is not inserted.
Action: Insert the media.
No song location
Meaning: When using “Locate”: Append to load an
SNG file, the load operation would exceed the
69
Appendix
Source is empty
Meaning: There was no data in the track you specified
as the source.
Action: Specify a track that contains performance data.
Meaning: The edit you attempted to perform would
exceed the maximum number of events in a
single measure (approximately 65,535 events). Action:
Delete unneeded data.
W
Write failed
Meaning: An error (e.g., a verify error) occurred while
writing data to media.
Action: It may be that the media is physically
damaged; please use other media. Avoid using
the media that produced the error.
Write protected
Meaning: The media where you attempted to write data
is write‐protected.
Action: Disable write‐protect on the media, and
execute the command once again.
70
Specifications and option Specifications
Specifications
Operating temperature 0 – +40 °C (non-condensing conditions)
Keyboard 61-note natural touch mini-keyboard (velocity sensitive; aftertouch not supported)
49 Mbytes (when calculated as 16-bit linear data) 360 multisamples, 484 drum
Preset PCM
samples (including 24 stereo)
OSC1 (Single), OSC1+2 (Double): Stereo multisamples are supported 4 velocity zones per
Oscillator
oscillator, with switching, crossfades and layers.
Four types of filter routing (single, serial, parallel, 24 dB) Two multi-mode filters per voice (low pass,
Filters
high pass, band pass, band reject)
Programs
For each voice, two envelope generators (Filter & Amp), two LFOs, two key tracking generators
(Filter & Amp), and two AMS mixers In addition, pitch EG, common LFO, and two common key
Modulation
Sound Engine tracking generators
For overall processing on the main outputs, such as compression, limiting, and EQ; stereo in -
1 Total Effect
stereo out.
Effects
Total of 134 types (select from 74 types for insert effects, 101 types of master effect 1, 120 types for
Effect types
master effect 2, and 61 types for total effect)
Effects Control Bus Stereo side-chaining for limiter, gates, vocoders, etc.
Program mode: one arpeggiator available. Combination and Sequencer modes: two arpeggiators available.
(512 preload)
71
Appendix
Joystick
Arpeggiator/Audition AUDITION button, ARP ON/OFF button, ARP LATCH ON/OFF button
Cursor/value •••• buttons, function 01–16 buttons (0–9, -, ., ENTER, GROUP DOWN, GROUP
User Interface Value Controllers
UP), COMPARE, WRITE
Buttons: LOCATE, REC, START/STOP, REW, FF, PAUSE, LOOP, KEY, GRID, SEQ, PLAY/MUTE,
SEQUENCER
Function 01–16
SD-Card slot Capacity recognized: FAT32: 2 Gigabytes (GB). SD and SDHC memory cards are supported.
Power AC adapter power supply connector (DC 9V 1700mA), POWER On/Off switch
Power Consumption 6W
Option
XVP-10 Expression/Volume Pedal
72
Specifications and option
* Formats supported by microSTATION Plug‐In Editor:
Operating requirements Windows: VST, RTAS
Macintosh: VST, Audio Unit, RTAS
* microSTATION Plug‐In Editor must also satisfy the
KORG USB-MIDI driver
operating requirements of the host application.
Windows You cannot run multiple instances of the
Computer: microSTATION Editor and microSTATION Plug‐
USB port required (a USB host controller made by Intel In Editor on the operating system. This means that
is recommended) you can’t use this editor to edit two or more
microSTATION units simultaneously.
Operating system:
Microsoft Windows XP Home Edition/Professional/
x64 Edition Service Pack 3 or later
Microsoft Windows Vista Service Pack 2 or later
(including 64‐bit Edition)
Microsoft Windows 7 (including 64‐bit Edition)
Macintosh
Computer:
USB port required
Operating system:
Mac OS X 10. 4.11 or later
Computer:
CPU: Intel Pentium III / 1 GHz or better, Pentium
D or Core Duo or better is recommended Memory:
512 MB or more (1 GB or more is
recommended)
Monitor: 1,024 x 768 pixels, 16‐bit color or better
A computer that satisfies the operating requirements
of Windows XP, Windows Vista or Windows 7 and has a USB port
Operating system:
Microsoft Windows XP Home Edition/Professional
Edition Service Pack 3 or later, Windows Vista Service
Pack 2 or later, and Windows 7
However, only the stand‐alone version will run on 64‐
bit editions of Windows 7 and Windows Vista Service Pack 2.
Macintosh
Computer:
CPU: Apple G4 800 MHz or better (Intel Mac is
supported), G5 or Core Duo or better is
recommended
Memory: 512 MB or more (1 GB or more is
recommended)
Monitor: 1,024 x 768 pixels, 32,000 colors or better
An Apple Macintosh computer that satisfies the
operating requirements of Mac OS X and has a USB port
Operating system:
Mac OS X version 10.4.11 or later
73
[Music Workstation] Date : 2009.12.9
Mode Memorized 3
Messages
Altered
Pitch Bend *C
0, 32
1, 2, 17, 19, 20, 21
4, 5, 7, 8, 10
11, 12, 13
64, 65, 66, 67
Control
70–79
Change
16, 80, 81, 82, 83
91, 92, 93, 94, 95
14, 22, 23, 24, 31
6, 38, 96, 97
100, 101
0–119
0–119
120, 121
System Exclusive * E, *5
Song Position *1
System
Song Select Tune 0 – 127 0 – 127 *1
Common
Clock *1
Command *1
Notes *P, *A, *C, *E: Transmitted/received when Global/Media MIDI Filter (Program Change, Aftertouch, Control Change, SysEx) is Enable, respectively.
Real
* 1:Time
When Global/Media MIDI Clock is Internal, transmitted but not received. The opposite for Ext.MIDI/Ext.USB.
* 2: Valid if assigned as a MIDI control change in Global/Media Controllers. The number shown here is the CC default assignment.
* 3: RPN (LSB,MSB)=00,00: Pitch bend range, 01,00: Fine tune, 02,00: Coarse tune
* 4: Valid if assigned as a MIDI control change in Global/Media External Setup.
* 5: In addition to Korg exclusive messages, Inquiry, GM System On, Master Volume, Master Balance, Master Fine Tune, and Master Coarse Tune are supported. System
75
Appendix
WARNING: Use of this product in any country other than that for which it is intended could be dangerous and could
invalidate the manufacturer’s or distributor’s warranty. Please also retain your receipt as proof of purchase otherwise
your product may be disqualified from the manufacturer’s or distributor’s warranty.