S E C T I O N 1 .

I ntroduction:
Wh y and how do we use MIDI Controllers? What are Zones? Uses and Applications.
C o n g r a t u l a t i o n s on y o u r n e w p u r c h a s e of t h e S L - 1 6 1 / S L - 6 1 S t u d i o L o g i c Ma s t e r C o n t r o l l e r by F A T A R .
I n t h i s m a n u a l we w i l l e x p l a i n t h e c o n c e p t s a n d t e c h n i q u e s of u s i n g Ma s t e r M I D I C o n t r o l l e r s
to g r e a t l y e x p a n d y o u r f l exi bi l i t y, creativity, c o n t r o l a n d p r o d u c t i v i t y i n y o u r live o r studio
k e y b o a r d s e t u p . W h e t h e r y o u a r e u s i n g one m u l t i - t i m b r a l s o u n d m o d u l e or a r a c k f u l l of t h e m ,
t h i s Ma s t e r C o n t r o l l e r K e y b o a r d a n d a l l t h e o t h e r S t u d i o L o g i c Co n t r o l l e r s by F A T A R w i l l grea-
tly e x p a n d y o u r professional a n d creative abilities.
T he c o n c e p t of a c o n t r o l l e r is to c e n t r a l i z e y o u r accessibility to y o u r M I D I mo d u l e s . It gives
y o u a c e n t r a l p o i n t of c o n t r o l over y o u r slave m o d u l e s i n a g i v e n setup.
Have y o u ever tried to line u p patches i n y o u r s o u n d modules so t h a t w h e n y o u selected a
p a t c h on y o u r k e y b o a r d y o u r o t h e r s o u n d m o d u l e s called u p t h e r i g h t p a t c h ? E v e r tried to
locate a p a t c h p o s i t i o n to wr i t e over a s o u n d t h a t y o u h o p e f u l l y w o n ' t need l a t e r ? T ired of
b e n d i n g d o w n to s q u i n t a n d see t h e d i s p l a y a n d p r o g r a m a m o d u l e at t h e bottom of y o u r r a c k ?
A ll of these scenarios are greatly r e d u c e d w h e n u s i n g a Ma s t e r Controller.
T h e c o n c e p t of Z O N E S , S PL IT S a n d L A YER S is as follows:
A Z O N E consists of a s p e c i f i e d r a n g e of keys o n y o u r k e y b o a r d . T h a t r a n g e of notes is assigned
p a r a m e t e r messages t h a t a r e c o m m u n i c a t e d to y o u r slave m o d u l e ( s ) , t h i s r e d u c e s t h e need to
write a n d store p a t c h e s o n y o u r m o d u l e . T h e s e p a r a m e t e r s m a y c o n s i s t of t h e f o l l o w i n g i n f o r -
m a t i o n : p a t c h n u m b e r , v o l u m e s e t t i ng, velocity curve, t r a n s p o s i t i o n v a l u e , p e d a l e n a b l e ,
wh e e l s e n a b l e , etc. . . . W h e n a p a t c h is selected o n y o u r M a s t e r C o n t r o l l e r a l l of t h i s i n f o r m a -
t i o n is s e n t to y o u r m o d u l e s i n s t a n t l y . T h e S t u d i o L o g i c S L - 1 6 1 / S L - 6 1 Ma s t e r C o n t r o l l e r by F A T A R has
t w o (2) c o m p l e t e l y i n d e p e n d e n t z o n e s , m e a n i n g e a c h z o n e c a n t r a n s m i t a l l of its o w n i n f o r -
m a t i o n o n a n y g i v e n M I D I c h a n n e l . T h e r a n g e of notes i n e a c h z o n e c a n be s e t u p to be a d j a -
cent to a n o t h e r Z O N E S r a n g e of notes ( o n e Z O N E e n d s , g o i n g u p t h e k e y b o a r d , as a n o t h e r
Z O N E starts) or a s s i g n e d to o v e r l a p e a c h o t h e r or a n y p a r t of e a c h other's ranges. T h u s we
i n t r o d u c e t h e concept of L A YER S a n d S PL IT S .
A S PL IT is w h e n one Z O N E ' S r a n g e of notes e n d s a n d a n o t h e r Z O N E ' S begins. A s i mp l e exam-
ple w o u l d be Bass i n t h e left h a n d a n d P i a n o i n t h e r i g h t h a n d . A Z O N E ' S r a n g e of notes c a n
be a n y a m o u n t of c o n s e c u t i v e notes r e g a r d l e s s of w h e r e a n o t h e r Z O N E ' S notes b e g i n . W h e n
two o r more Z O N E ' S r a n g e of notes o v e r l a p we c a l l t h i s a L A Y E R .
L A YER S are the way we c a n b u i l d fat lush patches u s i n g the f u l l potential of w h a t y o u r s y n t h s
a n d m o d u l e s h a v e to o f f e r . L et's say we h a v e a b i g p o p b a l l a d t h a t n e e d s y o u r s p e c i a l t o u c h ?
We w a n t to create a "Pad P i a n o " s o u n d to cover t h e s o n g . A s s i g n e a c h Z O N E to cover t h e e n t i -
re k e y b o a r d ' s r a n g e of notes. U s i n g t h e t w o Z O N E S , a s s i g n e a c h of t h e m to p l a y a d i f f e r e n t
p a t c h : (1 ) d a r k r i c h El e c t r i c P i a n o , ( 2 ) s l o w a t t a c k S t r i n g Pad
w i t h t h e release r a t e u p s l i ght l y. If o n e or m o r e p a t c h e s a r e n o t i n t h e s a m e octave as t h e
o t h e r s it's easy to f i x . G o to t h a t Z O N E ' S t r a n s p o s e f e a t u r e a n d m o v e i t u p o r d o w n 1 2 steps
to l i n e i t u p p r o p e r l y w i t h t h e o t h e r s . S o m e t h i n g s o u n d s a little m u s h y w h e n p l a y i n g P i a n o
parts u s i n g t h e S U S T A I N P E D A L ? T ry g o i n g to t h e Z O N E f o r t h e " n o n P i a n o " s o u n d a n d expe-
r i m e n t w i t h d i s a b l i n g t h e S U S T A I N P E D A L f o r t h a t z o n e . W i t h i n m o m e n t s y o u s h o u l d have a
d e e p , r i c h , r a t h e r large a n d m u s i c a l l y u s e f u l s o u n d i n g p a t c h to use o n y o u r b a l l a d .
A re y o u b e g i n n i n g to see t h e pos s i bi l i t i e s h e r e ? Please step i n s i d e t h e m a n u a l a n d we ' l l t a k e
y o u t h r o u g h t h e s i m p l e yet versatile f e a t u r e s of t h e S tudio L o g i c 6 1 0 Ma s t e r Co n t r o l l e r by
F A T A R .
S E C T I O N 2 .
Features:
A guided tour through the Studio Logic 1 6 1 / 6 1 ' s Controls and Features,
THE KEYBOARD
The Studio Logic 1 6 1 / 6 1 has a 6 1 key FATAR semi-weighted piano action. It is a new, improved
version of the classic FATAR action. It is an extremely musical feeling piano style action that
has a very dynamic yet quick response to it. The velocity sensitive action can be modified with
several V E LO CITY CU R V E response settings that will be discussed later in this manual. The 6 1
key action of the SL-1 6 1 / SL-6 1 will transmit channel AFTE R TO U CH on all ZONES.
THE WHEELS
The PITCH and MO DU LATIO N WH E E LS are the standard style, however, they are made with a
new rubberized texture. They have been designed to give the player a more solid tactile sen-
sation during performing and programming for a more musical response.
THE ZONES
The SL-1 6 1 / SL-6 1 has (2) t wo independent ZO NE S with each of them capable of being assigned
to any range of keys across the SL-1 6 1 / SL-6 1 ' s keyboard. As discussed in the introduction to this
manual, the ZO NE S are the heart of creating musically useful Layers and Splits. Each of the (2)
ZO NE S consists of:
1. ZONE ENABLE/DISABLE BUTTON: Located on the front panel above the keyboard itself.
These are used to turn the ZO NE S on and off in PE R FO R MANCE mode. E ach switch functions
independently of each other. In other words, you can have any combination of ZONES on or
off at any point by accessing these ZO NE switches.
While in EDIT mode, the ZO NE B U TTO NS are used to select the desired ZO NE to be edited. While
editing, only one ZO NE at a time can be selected and the buttons now toggle on and off as
you select each ZO NE SWITCH for editing.
2. MIDI CHANNEL SELECT: While in EDIT mode each ZO NE can be set to transmit on any of
the 1 6 MIDI channels available. Only one MIDI channel can be transmitted at a time per ZO NE .
3. BANK SELECT: After selecting a MIDI channel to transmit on, and while in EDIT mode, you
can initiate or select B ANK Changes. The commands are different depending on the external
sound module you are accessing. More on B ANK SE LE CT later in this manual.
4. PROGRAM CHANGE: Patch selection can be made for each ZO NE while in the EDIT mode.
E ach ZO NE can be set to select (send) patch changes 1 to 1 28 (some manufacturers use a numbe-
ring scheme 0 to 1 27, so you may need to add (1 ) to each patchtt to achieve the desired results).
5. SPLIT or KEY NOTE RANGE: This edit function allows you to select the range of active notes
(keys) for each ZO NE . The ZO NE S are completely independent of each other and their split
points can overlap thus creating LAY E R S.
6 .TRANSPOSE: E ach ZO NE can be set to transpose its key range up or down 24 semitones. In
other words, up or down 2 octaves from the synth module' s original setting.
7 .SU STAIN PE DAL E NAB LE / DISAB LE SELECT: Y ou can set each ZO NE to respond or not
respond to sustain pedal information. This is done in the EDIT mode for each ZO NE .
8. WHEELS ENABLE / DISABLE SELECT: Y ou can set each ZO NE to respond or not respond to
PITCH and MO DU LATIO N WH E E L information. This is done in the EDIT mode for each ZO NE .
9. AFTERTOUCH ENABLE / DISABLE SELECT: Y ou can set each ZO NE to respond or not respond
CH ANNE L AFTE R TO U CH information. This is done in the EDIT mode for each ZO NE .
10. SHAPE: V elocity curve settings specific to each ZO NE . These setting will alter the way
velocity information from the keyboard will be transmitted to the receiving MIDI channel.
There are 8 preset velocity curves to choose from that vary the dynamic response of the key-
board. Again, these settings are specific to each ZO NE and are accessed while in the EDIT
mode.
GLOBAL VELOCITY CURVE: This V E LO CITY CU R V E setting is a global one, meaning it affects
the dynamic response of the entire keyboard across all (2) ZO NE S. There are 8 global settings
to choose from. Again, these setting are accessed while in the EDIT mode.
SUSTAIN PEDAL: The Studio Logic SL-1 6 1 / SL-6 1 has a connection jack on the rear panel for a
SU STAIN PE DAL input. The V P-26 by Fatar is recommended.
VOLUME PEDAL: The Studio Logic SL-1 6 1 / SL-6 1 has a connection jack on the rear panel for a stan-
dard V O LU ME PE DAL input.
PO WE R INPUT: The Studio Logic SL-1 6 1 / SL-6 1 has a connection jack on the rear panel for the sup-
plied PO WE R SU PPLY input.
MEMORY STORAGE: The Studio Logic SL-1 6 1 / SL-6 1 will remember all of your preset information when
powered down. All programmed settings are transmitted when the unit is powered up. There
is no need to store edited information, simply exiting the edit mode causes the information
to be stored.
SECTIONS.
R ear Panel Connections and Features:
Powering up. Connecting Pedals and hooking up with your other gear.
POWER INPUT
The Studio Logic SL-1 6 1 / SL-6 1 has a connection jack on the rear panel for the AC PO WE R SU PPLY
INPUT. The AC adapter PO WE R SU PPLY supplied with this unit is a positive tip 9V DC with a
minimum current of 200 mA.
POWER SWITCH
The Studio Logic SL-1 6 1 / SL-6 1 has its PO WE R SWITCH located on the back panel next to the PO WE R
SU PPLY INPUT. There is also a red LE D to indicate the unit is on. U pon powering up the key-
board all preset data is transmitted out through the MIDI O U T connections.
SUSTAIN PEDAL
The Studio Logic SL-1 6 1 / SL-6 1 has a connection jack on the rear panel for a SU STAIN PE DAL input.
This jack will function properly with either type of "normally closed" or "normally open"
SU STAIN PE DALS. U pon powering up the Studio Logic SL-1 6 1 / SL-6 1 will recognize whichever type of
pedal is presently connected to the keyboard, regardless of polarity (e.g. PS1 00 or V FP1 ). Note:
SU STAIN PE DAL must be plugged in prior to powering up to properly sense polarity.
VOLUME PEDAL
The Studio Logic SL-1 6 1 / SL-6 1 has a connection jack on the rear panel for a standard V O LU ME PE DAL
input that uses a stereo or balanced jack (e.g. V P-26 by Fatar). This volume control will chan-
ge the volume equally across all four ZO NE S simultaneously.
M I D I O UT C O N N E C T I O N S
M I D I O U T C o n n e c t i o n s : T he M I D I O U T j a c k s are w h e r e y o u c o n n e c t y o u r S tudio L ogic S L - 1 6 1 / S L - 6 1
Ma s t e r Controller to y o u r v a r i o u s M I D I s o u n d s o u r c e s . U s i n g a s t a n d a r d 5 p i n D I N M I D I cable,
c o n n e c t t h e S tudio L o g i c M I D I O U T to y o u r M I D I i n p u t j a c k o n y o u r s y n t h e s i z e r , s o u n d m o d u -
le or o t h e r M I D I e q u i p p e d k e y b o a r d . You m a y use t h e T HR U ( d a i s y c h a i n ) f e a t u r e on y o u r M I D I
g e a r to c o n n e c t to o t h e r M I D I m o d u l e s if y o u like. A v o i d daisy c h a i n i n g more t h a n 2 m o d u -
les, if possible, to reduce t h e possibility of M I D I log j a m or t i m i n g delays. T he S tudio L ogic
S L - 1 6 1 / S L - 6 1 c o n v e n i e n t l y is s u p p l i e d wi t h two p a r a l l e l ( i d e n t i c a l ) M I D I O U T j a c k s o n t h e r e a r p a n e l
to h e l p r e d u c e t h e possibility of t i m i n g delays w h e n c o n n e c t i n g to m u l t i p l e M I D I s o u n d m o d u -
les. W h e n c o n n e c t i n g m u l t i p l e devices to y o u r S L - 1 6 1 / S L - 6 1 allocate t h e m e q u a l l y across t h e two
M I D I O U T c o n n e c t i o n s o n t h i s keyboard.
S E C T I O N 4 .
Description of F ront P a n e l C o n t r o l s a n d F eatures:
W h a t are they, w h a t do t h e y do a n d h o w do I use t h e m ?
Z O N E S E L E CT
L ocated on t h e top p a n e l t h e r e are t h e ( 2) Z O N E b u t t o n s f o r t h e (1 ) e n a b l i n g a n d d i s a b l i n g of
t h e t h r e e k e y b o a r d Z O N E S w h i l e i n p l a y m o d e a n d ( 2 ) selecting t h e Z O N E S w h i l e i n E D I T M O D E .
T h e L E D i n d i c a t o r s wi l l be lit u p w h e n its c o r r e s p o n d i n g zone is active or selected f o r e d i t i n g .
I n PL A Y m o d e a n y c o m b i n a t i o n of Z O N E S m a y be on or off at a n y p o i n t i n t i me . However, i n
E D I T mo d e t h e Z O N E s wi t c h e s may o n l y be used to select o n e Z O N E at a t i me . O n l y o n e Z O N E
at a t i m e m a y be edited a n d t h e r e f o r e o n l y o n e Z O N E l i g h t m a y be lit at a t i m e w h i l e i n EDIT
mode. You are able to j u m p f r o m Z O N E to Z O N E w h i l e i n edit mo d e by d e p r e s s i n g t h e corre-
s p o n d i n g Z O N E B U T T O N S .
Please note t h a t you m a y o n l y press a z o n e b u t t o n a n d disable o r ^n a b l e a zone while no notes
are depressed o n t h e k e y b o a r d or w h i l e t h e s u s t a i n p e d a l is b e i n g depressed.
UP, DOWN, ENTER/EDIT
The U P and DO WN buttons are used to scroll through the FU NCTIO N selections while in edit
mode.
Depressing the E NTE R / E DIT button enters and exits the EDIT mode. While in edit mode a LE D
is lit next to the corresponding FU NCTIO N that is presently selected for editing.
U sing the U P/ DO WN buttons will cause the LE D to scroll through the FU NCTIO N selections.
10 KEY PAD;
(H) AND (-),
(ON) AND (OFF)
This is the area where you enter desired parameters for selected FU NCTIO NS being edited. The
numerical keypad, (H ) and (-), (on) and (off) are assigned to correspond to the keys of the
central octave of the KE Y B O AR D.
While in EDIT MO DE these keys now function as our data entry method and will not transmit
note information.
In other words, while in EDIT MO DE the entire keyboard is disabled and will not transmit note
information until you exit the EDIT MO DE .
MIDI CHANNEL
U sed to select which MIDIchannel each of the (2) ZO NE S will transmit its information on. To
access this, parameter enter EDIT mode by selecting E NTE R / E DIT.
Select desired ZO NE for editing by depressing its corresponding ZO NE switch. Use the
U P/ DO WN buttons to select MIDI CH ANNE L function. Y ou now enter a one or two digit value
using the 1 0 key keypad to set the ZO NE ' S MIDI transmit channel. Exit the EDIT mode by
depressing the E DIT/ E NTE R button. In exiting the EDIT mode you store the new information
automatically in the SL-1 6 1 / SL-6 1 Master Controller' s memory and enable the keyboard ZO NE to play
and transmit information on the new selected MIDI channel. In order to play and transmit on
a desired ZO NE , select the corresponding ZO NE switch while in play mode so that its LE D is
lit. The ZO NE switch will toggle to turn ZO NE on and off.
BANK SELECT
U sed to transmit or initiate a B ANK CH ANG E message on a given zone. After selecting and
assigning the MIDI CH ANNE L, press DO WN button to switch to B ANK SE LE CT. This mode allows
you to change the sound bank of your synth module or external sound source.
The reception protocol for B ANK SE LE CT depends on the type and make of the sound module
you are transmitting to and can vary from manufacturer to manufacturer. If the synth module
you are using requires only "Control 32" then you will have to only enter the bank number you
wish to select. If your module requires a more complete protocol (Control 32+ Control 0) then
you need to enter Control 32 and then press the key corresponding to the "H " (represents
H igher part of B ank Change B yte) symbol (same as minus key). Then enter the desired num-
ber for Control 0. The key sequence would be as follows: enter 32, then the (-) minus key
which also has the (H ) symbol labeled above it, then the bank number to change to.
PROGRAM CHANGE
U sed to select a PATCH NU MB E R or PR O G R AM CH ANG E for a specific ZO NE . To access this para-
meter you first turn on the desired ZO NE by selecting and pressing its corresponding ZO NE
switch, then enter EDIT mode by selecting E NTE R / E DIT.
Select desired ZO NE for editing by depressing its corresponding ZO NE switch. Now use the
U P/ DO WN buttons to select the PR O G R AM CH ANG E function. E nter the desired number of your
patch selection on the keypad (MIDI Program change messages are from 1 to 1 28). Exit the
EDIT mode by depressing the E DIT/ E NTE R button. In exiting the EDIT mode you store the new
information in the SL-1 6 1 / SL-6 1 ' s Master Controllers memory, transmit the selected patch number
and enable the keyboard to play the new selected PR O G R AM CH ANG E .
SPUn-
U sed to select the range of keys to be active for a specific ZO NE . To set the Key R ange or SPLIT
for a ZO NE , enter the EDIT MO DE by pressing E NTE R / E DIT, toggle up or down till the light next
to SPLIT is lit. Press the ZO NE button for the ZO NE you wish to set, now press the desired
lowest key on the KE Y B O AR D and then the highest key on the K E Y B O AR D to define the range
of keys to be active in that ZO NE . Exiting the EDIT MO DE stores the information and all other
edit parameters that were changed. The ranges of keys can be any one note (by hitting the
same key twice) or the entire length of the KE Y B O AR D by hitting the lowest and then the
highest key. The range can be any contiguous combination of notes in between the highest
and lowest note on the keyboard and completely independent and different for each zone. Y ou
can ovelap any amount of notes from ZO NE to ZO NE . '
TRANSPOSE
U sed to TR ANSPO SE the range of keys on a ZO NE up or down a specific amount of half steps
from middle C. Normally the "4" ZO NE S have a TR ANSPO SE value of "O ". This means that the
middle C corresponds to the central middle "C" on the G rand Staff, (providing the stored patch
in your synthesizer module is set to the same value).
Let' s say you want to transpose and raise the tone of a ZONE by 4 semitones. Enter EDIT
mode, select the desired ZO NE to be edited, select the TR ANSPO SE function using the
U P/ DO WN keys. Now hit 4 on the numerical keypad and exit the EDIT mode. Let' s say you wan-
ted to lower the tone by an octave. Follow the same procedure as above but instead of hit-
ting (4) on the 1 0 key keypad, first hit the minus key then enter 1 2 and exit EDIT mode. Y ou
can TR ANSPO SE a maximum of +/ " 24 semitones (or two octaves) by entering a positive or
negative number up to 24 (+ or -). Positive values are entered by depressing the desired num-
ber keys and negative values are entered by first hitting the (-) key then the desired number
key(s).
SUSTAIN
This FU NCTIO N allows you to enable or disable the SU STAIN PE DAL for each zone. For an exam-
ple, if you want to disable the SU STAIN PE DAL for ZO NE 2: While in the EDIT MO DE press
U P/ DO WN again to select the SU STAIN function. Now that SU STAIN is selected (LE D switched
on), press the ZO NE #2 button to select ZO NE 2 or editing and then O FF key which corresponds
to "E flat" on the numerical keypad. After that, all the other ZO NE S will be affected by the
SU STAIN PE DAL, while ZO NE no. 2 will be excluded. To regain SU STAIN PE DAL control on the
excluded ZO NE , select EDIT, SU STAIN and then press O N.
An obvious application for this FU NCTIO N would be to disable the Sustain Pedal on a ZO NE set
to the lower end of the KE Y B O AR D that is set to a B ass patch. In addition, now use the other
ZO NE S to play a Piano or Pad/ String sound layer leaving the SU STAIN PE DAL functional for
them.
Hopefully you are starting to see even more of the possibilities now becoming available to you
using a Studio Logic Master Controller. With just a bit of creative thought on your part you
should be coming up with interesting and useful patches for your own musical needs.
WHEELS
This FU NCTIO N allows the user to disable or enable the two WH E E LS for each of the four ZO NE S.
Again, as an example, if you wanted to disable the two WH E E LS for ZO NE 1 : enter the EDIT
mode, select ZO NE 1 for editing (pressing ZO NE 1 button), now use the U P/ DO WN buttons to
scroll to the WH E E LS parameter selection (making sure its corresponding LE D is lit,) then
select the O FF key (corresponding to middle Eb on the keyboard.) Now exit the EDIT mode by
depressing the E NTE R / E DIT button. With this edit all the other ZO NE S will be affected by the
WH E E LS while ZO NE 1 will be excluded. To reverse this edit follow the same instructions as
above but instead select the O N button on the keyboard (corresponding to middle Db on the
keyboard.)
A possible application for this feature would be to have a ZO NE or ZO NE S assigned to the lower
part of the keyboard set to sustaining or "Pad" sounds, with the top ends of these ZO NE S
ending somewhere in the middle of the keyboard, leaving room for a split above it.
Perhaps you can transpose the lower ZO NE S up an octave so that you would play chords on
the lower part of the keyboard but sounding in the middle range closer to middle "C". Leave
the SU STAIN PE DAL enabled but disable the WH E E LS for this ZO NE or ZO NE S.
Now use remaining ZO NE S to create a layer using the upper unused remaining notes on the
keyboard. Assign this ZO NE or ZO NE S to a lead patch or patches, disable the SU STAIN PE DAL
for these ZO NE S but leave the WH E E LS enabled.
Now you can perform and hold down chords in the lower part of the keyboard using and hol-
ding down the SU STAIN PE DAL to "latch" the sustained chords.
Now, using both hands to play lead over the top, using the right hand to play melody and the
left to use the PITCH and MO DU LATIO N WH E E LS, R elease the SU STAIN pedal to change chords
then SU STAIN and "latch" again on the next chord and continue playing two handed leads over
the new chord.
AFTERTOUCH
This FU NCTIO N allows you to enable or disable the AFTE R TO U CH for each ZO NE . .For an exam-
ple, if you want to disable the AFTE R TO U CH for zone 3: While in the EDIT mode select ZO NE 3
for editing then press U P/ DO WN buttons to scroll to and select the AFTE R TO U CH function..
Then press O FF key which corresponds to E flat on the numerical keypad. After that, all the
other ZO NE S will be affected by the AFTE R TO U CH while ZO NE no. 3 will be excluded. To regain
AFTE R TO U CH control on the excluded ZO NE , select EDIT, AFTE R TO U CH and then press O N.
An application for this might be as follows: R efer to the patch set up from the preceding exam-
ple in the WH E E LS section above. In your lead patch in the right hand you may be using
AFTE R TO U CH for volume swells or vibrato modulation. While doing this you may find that unde-
sirable vibrato messages are being sent to your sustaining chords in the lower ZO NE S in this
patch. Use the AFTE R TO U CH disable feature in these lower ZO NE S to eliminate aftertouch mes-
sages from your lead performance being sent to your sustaining chords.
SHAPE
This function allows the user to change the dynamic cutves which control the velocity respon-
ses for each of the four ZO NE S. This FU NCTIO N allows you to adapt your Master Keyboard
Controller to the dynamic response of your expander or external MIDI device. It also allows
you to adjust the keyboard' s reaction to your specific touch. The Studio Logic SL-1 6 1 / SL-6 1 ' s SH APE
FU NCTIO N offers you 8 different preset curves to select from, 4 positive and 4 negative. E ach
ZO NE can have its own SH APE setting.
To select a specific SH APE for a ZO NE follow the normal EDIT operation. E nter EDIT mode,
select a desired ZO NE for editing by hitting its corresponding ZO NE switch. Now select edit
function SH APE using the U P/ DO WN buttons and finally select 1 ,2,3 or 4 for SH APE selection.
Selecting a (-) before hitting the number will select an inverted version or NE G ATIV E SH APE
of that curve. By negative shape we mean that the curve has an opposite affect with respect
to the touch. Therefore, a light touch brings about a high response and vice versa. This SH APE
FU NCTIO N is useful when you have two different curves (one + and one -) on two ZO NE S, as
this results in a velocity crossfade effect. As one sound gets lower the other gets louder. SH APE
(-) 1 corresponds to the inverted SH APE 1 , and so on.
SH APE no. 1 has a linear response, which is compatible with most of the MIDI devices pre-
sent on the market. This is the default setting for each of the (2) ZO NE S..
SH APE no. 2 has a less sensitive response, so it requires a stronger touch. This setting is use-
ful to gain a wider dynamic response. Try this SH APE on a Piano or Electric Piano while playing
a ballad or softer piece of music for a more expressive feel to the keyboard. Y ou may also like
this setting while using the SL-1 6 1 / SL-6 1 to program Hi H ats or Drums into a sequencer, it makes it
easier to "pump" a part or vary the accents. It is also useful when the input MIDI device is
too sensitive and you want to lower the relative velocities being transmitted.
SH APE no. 3 has a more sensitive response than Shape no. 1 . Y ou will be able to transmit
higher velocities with a lighter touch. This SH APE may be useful to you if you are playing a
R ock Piano or H onky-tonk B lues style and need to be heard over a loud band. This SH APE sca-
les the relative velocities up.
SH APE no. 4 has an even more sensitive response than SH APE no. 3. U seful for removing some
or all of the dynamic response to the keyboard. U se it when you want to trigger Samples, Loops
or Sound FX easily so that they play at their maximum volume without having to hit the key
as hard.
VELOCITY
The V E LO CITY is similar in function and application to the SH APE feature in that they are both
dynamic response settings for the keyboard and the MIDI velocity information that is tran-
smitted. The difference is that the V E LO CITY parameter is a G LO B AL setting. While in EDIT
mode when you select V E LO CITY , the LE D' s for all 3 ZO NE S light up simultaneously indicating
you are changing a G LO B AL setting covering all three ZO NE S. While in the previous section you
could select a dynamic curve for each ZO NE , now you have 8 different curves that affect the
response of the entire keyboard. This V E LO CITY parameter can help adapt your Controller
Keyboard to your MIDI modules and to your specific touch and feel preferences so as to give
you the most expressive control available.
To select a V E LO CITY curve enter the EDIT mode, use the U P/ DO WN buttons to select V E LO -
CITY, then chose 1 through 8 on the 1 0 key keypad to select your V E LO CITY setting. Exit EDIT
mode to play and audition each of these curves.
10 KEYPAD,
(H) AND (-),
(ON) AND (OFF):
As you have most likely figured out by this point the Studio Logic Master Controller SL-1 6 1 / SL-6 1
uses the keyboard itself in EDIT mode as the 1 0 KE Y KE Y PAD and data entry source. The keys
in the central octave, starting at the middle C, are assigned to specific functions for data entry
in EDIT mode and are clearly labeled as indicated in the diagram below. While you are in the
EDIT mode and using the numerical keypad the keyboard itself does not transmit MIDI notes
and performance information. You must exit the EDIT mode to play notes from the keyboard.
SECTION 5.
Programming the Studio Logic SL-1 6 1 / SL-6 1 Master Controller:
Creating musically useful Patches and how to do it.
B efore we get into some programming examples and tips, the following information is about
the design architecture and how the Studio Logic SL-1 6 1 / SL-6 1 Master Controller operates.
DEFAULT SETTINGS
When your Master Controller is switched on for the first time it will transmit the following
default settings: ^
ZO NE #1 O N, Zones #2,#3 OFF. The three zones are set to transmit on MIDI channels
1 through 3 respectively, their SPLIT is set to the full extension of all 6 1 keys and all
switchable commands are in the O N position.
All ZO NE S set to SH APE #1 , V E LO CITY = 4, TR ANSPO SE = 0.
V O LU ME SE TTING S O F 1 27 if no V O LU ME PE DAL is connected. If a V O LU ME
PE DAL is connected whatever position the pedal is in will be transmitted.
SU STAIN OFF. (PE DAL is enabled but in the off position, CC 6 4 - 0)
PITCH B E ND value = 0, MO DU LATIO N WH E E L value = 0
GENERAL RESET
To reset the unit to the above factory settings:
Power up the keyboard while holding down all three U P-DO WN-E NTE R buttons, hold for a few
seconds then release all three buttons, c
GENERAL PROGRAMMING
INFORMATION
When the Master Controller is powered up it always transmits the contents of the program
memory.
After programming any parameters, the contents of the memory is transmitted when exiting
EDIT mode.
To transmit the contents of the memory while in play mode press the E NTE R / E DIT button twice.
Exiting the EDIT mode automatically stores the newly changed parameters, if any, into the
memory.
When powering down the unit all information in memory is retained and then transmitted
again upon power up.
Y ou can not enter the EDIT MO DE if you are holding down keys or pressing the sustain pedal.
Y ou must release all pedals and keys before entering into the edit mode.
When re-entering the EDIT MO DE it will be on the parameter setting and ZONE selection as it
was left when previously in the EDIT MO DE .
When EDIT MO DE is selected, the keyboard does not sound. To test the programmed variations
and play the keyboard exit the EDIT MO DE .
APPLICATIONS USES AND
USER TIPS
These suggestions are designed as a starting point to help stimulate your own creative usage
of these features for your own musical applications and needs.
THE ZONES
The ZO NE S are the heart of the SL-1 6 1 / SL-6 1 Master Controller. Creative use of the ZONE' S parame-
ters and the ZO NE S themselves gives the player new found flexibility and control over their
sounds and modules. We' ve already discussed how to operate the ZO NE S.
Now we apply them to musical applications. Y ou can use the three (2) ZO NE S in a number of
different ways: H ere are some options and possible applications using the features of this key-
board.
THE BIG LAYER
Set all three ZO NE S to the same range of notes and assign each of them to three similar String
patches or three similar Piano patches.Try two piano patches and a string patch. E xperiment
with disabling some of the features on some of the ZO NE S such as, AFTE R TO U CH or SU STAIN.
While playing one section of a song, leave some of the layers turned off and then switch them
on during the "Chorus" by pressing their ZO NE SWITCH E S to build dynamics in the song. O n
your module try setting and storing your PIANO patches to not respond to MIDI volume (CC#7)
then using a V olume Pedal on your Master Controller you can bring up the Strings behind the
Piano when needed.
THE SPLIT
Set two ZO NE S in your left hand for an Electric Piano/ Pad layer and set ZO NE (2) in the right
hand for a string or horn part. U se the TR ANSPO SE feature to bring these ZO NE S into a useful
range.
ANOTHER SPLIT?
Try a B ass patch using one ZO NE in the lowest two octaves of the keyboard, disable the
SU STAIN PE DAL and TR ANSPO SE up an octave or two to place it in the range of a bass guitar.
Now create a SPLIT in the middle range with ZO NE (2) set to a B reathy Synth or Comping
patch, and the last ZO NE for the top octave or so on a B rass patch with the SU STAIN PE DAL
disabled. Y ou can play a bass line with your left hand, sustain chords you' ve played on the Pad
sound using the Sustain Pedal and now play H orn stabs or lines above it with your right hand.
*Note O n Splits: Always remember to use the TR ANSPO SE feature to place your parts in pro-
per performance range no matter where on the 6 1 keys you may place a ZO NE S upper and lower
limits. Think of the whole keyboard as 6 1 keys or triggers available rather than the traditio-
nal note placement and tuning as on an Acoustic Piano.
A FEW OTHER TIPS
INCLUDED FOR YOUR
CONSIDERATION:
Live and Studio Applications.
Live application: Try using the different SH APE S in each ZO NE to manipulate and balance the
elements in your layers.
Studio application: Connect your MIDI out from your Master Controller to the MIDI in on your
Sequencer and the MIDI out of your sequencer to your Modules. Set your sequencer input fil-
ter to Direct E cho or the appropriate setting to pass all information through (non channeli-
ze). If you come up with an interesting layered patch set your sequencer to multi-record and
hit edit enter twice while your sequencer is recording to record your patch changes to the
sequencer and then continue and play while recording a performance for all your layers. For
another section of your track you can do the same with another patch and record and auto-
mate your patch changes along with your performance. U sing the layers on the SL-1 6 1 / SL-6 1 you
may come up with patches and parts you might not have conceived programming the tradi-
tional one track at a time way.
Live application: U se the inverted or (-) SH APE S to experiment with velocity crossfades.
Live application: Set a ZO NE to only one note. When editing SPLIT parameter in setting up
ZO NE hit the same note twice at either the lowest note or highest note on the keyboard to
set a range of (1 ) one note for that ZO NE . Assign that Zone to a MIDI channel that goes to
your sampler to trigger a Loop or trigger a Sound FX. U se the TR ANSPO SE feature to bring the
sample up or down to a useful range for triggering. If the (+) or (-) 24 steps of transposition
is not enough, assign the Sample trigger note to an appropriate one in the sampler and save
it that way.
Live or Studio application: U sing the B ANK SE LE CT feature get to those often useful and
alternate patches not stored in the first 1 27 patch positions on your synth.
Live application: U se the (2) ZO NE S to set up three different patches, use the ZO NE SWIT-
CH E S to toggle and play one ZO NE at a time for particular songs or sections of songs.
Live or Studio application: U se the TR ANSPO SE feature to create intervals from layered ZO NE S
in octaves or harmonies.
Studio application: Again, use multi-record on your sequencer but this time with a split patch
set up on your SL-1 6 1 / SL-6 1 record two or more parts at once. B ass and comp or chords and melody.
The point is, get creative and innovative using all your new possibilities.
Studio, Scoring to Picture application: Perhaps your sequencer might be locked to video via
SMPTE . Set up a split patch with all O rchestral elements on the SL-1 6 1 / SL-6 1 , perform and play in a
more live sense while watching picture. Jump to another sound as the picture inspires you
while recording all your performances simultaneously to the sequencer in multi-record. After
recording you' ll have each of your instruments parts recorded on it' s own track, now you can
go back and edit or elaborate on your improvisation to picture. If your sequencer doesn' t
record separate MIDIchannels to separate tracks simultaneously you can always filter by chan-
nel parts after recording to separate your to individual tracks for editing.
SECTION 6.
Charts:
U seful Charts and G raphics
Included on the following two pages are 2 identical copies of a template for you to write down
the settings for the patches you come up with. These are included so you can build a library
of your favorite patches and settings. Carefully tear or cut out one of the copies and feel free
to run it through a copy machine to make more blanks for yourself. If you require more copies
call, in the USA, Music Industries Corp. at 1 (800)431 -6 6 9 9 .
PATCH PAR AME TE R CH AR T
ModelSL-1 6 1 / SL-6 1
Studio Logic
Master Controller
PATCH PAR AME TE R CH AR T
Model SL-1 6 1 / SL-6 1
Studio Logic
Master Controller
ZONE VELOCITY
CURVES (SHAPE)
The following charts are graphic displays of the ZO NE specific (SH APE ) velocity curves. They
are here to help you conceptualize and understand how these CU R V E S affect the dynamic
response of your ZO NE S.
GENERAL MIDI
PATCH LIST
The following charts show the standard G eneral MIDI patch locations. If you are using a
G eneral MIDI Module or Keyboard this will come in handy. When you are programming your
ZO NE ' S PATCH CH ANG E S you can refer to this chart for entering numbers of desired Patches.
1 . Piano 1
2. Piano 2
3. Piano 3
4. H onky Tonk
5. Electric Piano 1
6 . Electric Piano 2
7. H arpsichord
8. Clavinet
9. Celesta
1 0. Glockenspiel
1 1 . Muic B ox
1 2. V ibraphone
1 3. Marimba
1 4. Xylophone
1 5. Tubular Bell
1 6 . Dulcimer
1 7. Electric O rgan 1
1 8. Electric O rgan 2
1 9. Electric O rgan 3
20. Church O rgan
21 . R eed O rgan
22. Accordion
23. H armonica
24. B andonion
25. Nylon Guitar
26 . Steel Guitar
27. Jazz Guitar
28. Clean Guitar
29. Muted G uitar
30. Drive Guitar
43. Cello
44. Contra B ass
45. Tremolo Strings
46 . Pizzicato Strings
47. Harp
48. Timpani
49. Strings
50. Slow Strings
51 . Synth Strings 1
52. Synth Strings 2
53. Choir Aahs
54. V oice O ohs
55. Synth V oice
56 . O rchestra Hit
57. Trumpet
58. Trombone
59. Tuba
6 0. Muted Trumpet
6 1 . French Horn
6 2. B rass Section
6 3. Synth B rass 1
6 4. Synth B rass 2 '
6 5. Soprano Saxophone
6 6 . Alto Saxophone
6 7. Tenor Saxophone
6 8. B aritone Saxophone
6 9. O boe
70. English H orn
71 . B assoon
72. Clarinet
86 . Solo V ox
87. Fifths
88. B ass Lead
89. Fantasia ,
90. Warm Pad
9 1 . Poly Synth
92. Space V ox
93. B ow G lass
94. Metal Pad
95. Halo Pad
96 . Sweep Pad
97. Ice R ain
98. Sound Track
99. Crystal
1 00. Atmosphere
1 01 . B rightness
1 02. Goblin
1 03. E cho Drop
1 04. Star Theme
1 05. Sitar
1 06 . Banjo
1 07. Shamishen
1 08. Koto
1 09. Kalimba
1 1 0. B agpipe
1 1 1 . Fiddle
1 1 2. Shanai
1 1 3 . Tinkle Bell
1 1 4. Agogo
1 1 5. Steel Drum
31 . Lead G uitar
32. H armonic G uitar
33. Acoustic B ass
34. Finger B ass
35. Pick B ass
36 . Fretless B ass
37. Slap B ass 1
38. Slap B ass 2
39. Synth B ass 1
40. Synth B ass 2
41 . Violin
42. V iola
73. Piccolo
74. Flute
75. R ecorder
76 . Pan Flute
77. Bottle B low
78. Shakuhachi
79. Whistle
80. O carina
81 . Square
82. Sawtooth
83. Calliope
84. Chiffer
85. Charang
1 1 6 . Wood Block
1 1 7 . Taiko
, 1 1 8. Melody Tom
1 1 9 . Synth Drum
1 20. R eversed Cymbal
1 21 . G uitar Noise ,
1 22. Key Click
1 23. Seashore
1 24. B irds .
1 25. Telephone
1 26 . H elicopter
1 27. Applause
1 28. G unshot
SECTION 7.
TROUBLE SHOOTING
GUIDE
Appendix
PROBLEM Keyboard does not power up?
PO SSIB LE SO LU TIO NS Make sure the power supply is connected to the wall outlet
Make sure the power supply is properly connected to the keyboard
PROBLEM Keyboard does not seem to be sending MIDI notes to my modules
PO SSIB LE SO LU TIO NS Make sure you are not in the EDIT MO DE .
Make sure the ZO NE switch of the ZO NE you are trying to play is on.
Make sure the MIDI channel you are playing on is enabled on your sound source.
Make sure your sound modules audio outputs are connected properly to your mixer or amp.
Make sure your mixer amp or sound system is on and the volume settings are up.
PROBLEM I have made changes in EDIT MODE but the changes do not seem to be present when I
return to PLAY MODE?
PO SSIB LE SO LU TIO N This can happen very easily. When you enter EDIT MO DE make sure you are editing the ZO NE
that you were playing before hitting EDIT. When entering edit mode you will be on the ZO NE
you last edited not necessarily the ZO NE you have on in PLAY MO DE .
PROBLEM I know I am sending MIDI to my module because I see the MIDI indicator light up when
I play but I hear nothing?
POSSIBLE SOLUTIONS Make sure the V O LU ME PE DAL is depressed forward to send full volume!
Make sure your sound modules audio outputs are connected properly to your mixer or amp.
Make sure your mixer amp or sound system is on and the volume settings are up.
PROBLEM The SUSTAIN PEDAL does not seem to work?
PO SSIB LE SO LU TIO NS Make sure it is plugged in properly to the SU STAIN PE DAL INPU T
Make sure the SU STAIN PE DAL is enabled for the ZO NE you are playing
PROBLEM The SUSTAIN PEDAL seems to work in reverse?
POSSIBLE SO LU TIO N Power the keyboard down. With the SU STAIN PE DAL plugged in to the SU STAIN PE DAL INPU T
power the keyboard up. This will cause the SL-1 6 1 / SL-6 1 to sense the proper polarity set-
ting for the type of pedal you are using and adjust properly.
PROBLEM The WHEELS or AFTERTOUCH do not seem to work?
POSSIBLE SOLUTIONS Make sure they are enabled on the ZO NE you are playing
Make sure they are enabled in the Patch in your module you are sending to.
PROBLEM I am playing a ZONE that I know is on but nothing is happening?
PO SSIB LE SO LU TIO NS Make sure you are playing within the SPLIT range of notes set up for that ZO NE
Make sure that the MIDI channel is set correctly.
Make sure the V O LU ME PE DAL is depressed and all other volume setting are up.