SEVEN XI OWNER’S MANUAL ‘coe 20292560ei! PPPPYYPPYVN RBENSGRGRS a Spege ROMS won” RPPNPNPPHNNH PYVPPPKA GRORS RAAAAAD ARR RRARRAAD Ga a ROOOOERNNNDN Poko Beebe: Be AAD DSR RS ROS Warning.. Setting up.. Listening to the DEMO. Basic Instructions ... Using the headphone: Playing a recorded base (Sequencer) Selecting Sounds: Selecting an accompaniment (Stic Playing SevenX accompanied by a Style. Playing SevenX accompanied by a base (Sequencer) .. Playing SevenX and singing Connecting external amplifiers. CO@BONYVOOA Are Description of the Instrument ‘OnvOtt switch and connecting sockets. Microphone and Master Volume input Control pane! Disk-drive.. Working Environments .. Tree structures: WINDOW. Tree structures: Tree structures: Song The LIVE environment The EDIT environment i The DRUM-SI The FOOT SWITCHES The EXPRESSION PEDAL sec The KEYBOARD TOUCH section ‘The PITCH BEND RANGE section MIDLEGit ‘Simplified use of MIDI mode: Detailed use of MIDI.. MIDI filters ... Ello 7 Simplified use of MIDI 2 Configurations Detailed use of MIDI SOUND Edit... The TIMBRE AMPLITUDE Section. The TIMBRE FILTER Section The TIMBRE PITCH Section The TIMBRE EFFECT Section i ‘The INTRO, . VERSE, CHORUS1, CHORUS? Sections The EFFECT Section. SPLIT Edit ‘The DISK environment. The DIR function The LOAD function The SAVE function The DELETE function All tactory and registered trade marks are property of their respective manufacturers pag. 1DOAM PDAAPPAAAAARDARADAAAADDADDADADEDDRDD Ex APPENDI At ‘The MIXER environment ‘The SET UP environment ‘The SOFTWARE UPLOADING section... The D.S.P ASSIGNMENT section. 43 The RENAME function...cccese 46 43 The MK-DIR (Make Directory) functioi 47 43 ‘The FORMAT function 47 - The TUNING environment 48 46 The STYLE SWAPPING secti 50 The SOUND SWAPPING section 50 The DISPLAY Setup section 51 The KARAOKE section..... 52 The OUTPUT ASSIGNMENT environment. The MASTER EFFECT Environment .. The MIKE environments.. The MIKE-1 environment: The VOCAL FOLLOWER environment The MIKE-2 environment... The SEQUENCER environmé The PLAY function The RECORD environment The SONG environment The MEDLEY environment The KARAOKE function.. 61 The TEXT-EDIT environment 62 The MONITOR environment.. 63 The TOOLS environment ‘The NEW SONG functior The DEMIX function The MIX function The DELETE function. The COPY function.. The SWAP function The TRACK-EDIT envi The INPUT environment. The UTILITY environment The GO-TO environment ‘The TRACK PARAMETE The SONG PARAMETERS window. The T-MUTE function The Chord Pattern... Playing with the Chord Pattern Creating a sequence of chords with Chord Patiem .. Uoading a sequence of chords from isk Saving a sequence of chords to disk.. XES Styles list Style management via MIDI IN and via Sequencer. Sounds lis Timbre management EFFECTS... Effects management via MibI iN and Sequencer .. Drum Sets list System Exclusi fidi Implementation Chart... Optional accessories Technical features. Allfactory and registered trade marks are property of their respective manufacturers pag. 2‘Thank you for choosing Farfisa SevenX -Il! its dual level of use makes it ideal for a wide range of users, guitar, accordion and keyboard players, professionals or beginners. What exactly does Sevenx -II's dual level of use consist of? It means that it can be set in two diffe- rent modes: = by using the direct commands which control functions and configurations set up by Farfisa; = by accessing all the contro! and contiguration parameters and the available functions. ‘This dual approach means you have both a simple and a sophisticated instrument. As you leam to use it you will continually surprised with the results. Just a couple of examples: The Sequencer is con- trolled by the four "16 Track Sequencer” keys on the panel and also by accessing the SONG envi- ronment (by using the key marked SONG in the group of keys labelled WINDOW). Styles can be played choosing the ideal speed and the most sui table variations and options or simply by using the "Easy Play” function. SevenX -Il continues in the philosophy of the suc- cessful F_Series along with the other G Series Instruments in providing undateabllity. Updating with Sevenx not only means being able to load extra sounds. styles and functions but ‘To make things simpler “Sevenx -II" from now ‘onwill be written “7X”. aan cveyey oe Ca cseac sca csae This manuat is set out as follows: Chapter 1 contains a presentation of 7X and instructions on how to set it up and how to use the DEMO. Chapter 2 briefly gives instructions on how use the keyboard and on how to make basic choices (change styles, sounds, etc.) Chapter 3 describes the sockets and external buttons on 7X. It completes the description in chapter 2 (except for use of the WINDOW keys). Chapter 4 contains a detailed description of 7X's control, configuration and working environments which are accessed by the WINDOW keys. The WINDOW section and the Edit and Song environ- ments are shown on tree-structure diagrams which give a good idea of how to get at all availa- ble functions at a glance. These are followed by nine paragraphs of instructions. Chapter 5 describes the "Chord Pattern’, a real novelty which has been introduced on’7X for playing Midi guitar. The Appendix contains lists and directions for using MIDI IN and the Sequencer to set styles, sounds and effects, the list of drum sets, System Exclusive messages and how to use them for pro- gramming 7X, the Midi implementation Chart, the accessories and the technical features. FARFISA reserves the right to change 7X-lI's technical features and working modes without further notice. pag. 3SAFETY PRECAUTIONS AND INSTRUCTIONS TON ISK OF ELECTRIC SHOCK (DONOT OPEN ce rer EXPLANATION OF GRAPHIC SYMBOLS: ‘The arrowheadad lightning flash symbol, inside an equilateral triangle, isintended to alert the user to the presence of “dangerous voltages" inside the product. They may be of sufficient level to constitute a risk of electric shock to persons coming into contact with these. The exclamation mark inside an equilateral triangle indicates the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. INSTRUCTION PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS. WARNING: To REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. pag. 4i / IMPORTANT SAFETY AND INSTALLATION INSTRUCTIONS WARNING - wnenusing electrical products, basic precautions must be followed, including the following: 1. Read all the instructions before using the product and refer to the “SETTING UP instructions to ensure correct installation. 2. When the product is used by children, supervision by an adult is advised. 3, Donotuse the product near water, for example neara bath tub, washbow, kitchen sink, orneara swimming pool etc., or ina wet or humid basement. ‘This product, either by itself, or when connected to an external amplifier and headphones or speakers, is. ‘capable of producing sound levels that can cause damage to hearing. Do not operate it for a long period of time at high volume levels or in any case at an uncomfortable volume level, 5. The product should be positioned so that its location will provide adequate ventilation. 6. The product should be positioned away from heat sources such as radiators, heaters or other products that produce heat. 7. This product should only be connected to an power supply of the voltage corresponding to that shown on the label on the instrument using an AC/DC adaptor. This label, containing all electrical data, relevant ‘wamiing messages and the instrument identification data, can be found on the underside of the product 8. Thisproduct may be equipped with a polarized plug (one blade wider than the other). Thisis asafety feature. ifyou are unable to insert the plug into the wall socket, contact an electrician to replace your obsolete wall socket. Do not defeat the safety purpose of the plug. 9. I the product is not used for long periods, the AC/DC adaptor should be unplugged from mains. 10. Care shouldbe takento avoid foreign objects falling nto or liquid being spi through any of the slots or openings in the case. into the inside of the instrument 41, This product should be referred to an approved service centre when: ‘a, The AC/DC adaptor has been damaged. b. Objects have fallen into the instrument or quid has been , Ithas been exposed to rain. d. It appears to operate incorrectly or shows a marked change in performance. @. thas been dropped or if he case has been damaged. it into of over it. 42, Neverattempttorepair your instrument yourself. Any operation shouldbe reterredto authorized personnel, otherwise the guarantee will be declared void. 13. WARNING - Do not place objects on the product's mains lead (power cord) or place the lead [cable] in a position where anyone could trip over, walk on or roll something over it. Do not allow the product, t's bench, Pedalboard or control pedals to rest on or to be installed over mains leads (power cords) of any type. Improper installations of this type create the possibilty of fire hazard and/or personal injury. SAVE THESE INSTRUCTIONS pag. 4aSPECIAL INSTRUCTIONS FOR USERS IN GREAT BRITAIN As the colours of the wires in the mains lead of this appliance may not correspond with the coloured markings, when identifying the terminals in your plug, refer to this diagram: ‘Connect BLUE neural wie woterminal marked N of eclowed Black. Fuse shouldbe changed to rang ype i petleoacy tied ‘Connect BROWN Svo wie to torminal marked L ‘or eloured Rad WARNING: THIS APPLIANCE MUST BE EARTHED IMPORTANT The wires in the mains lead are coloured in accordance with the following code: Blue — Neutral Brown — Live RADIO/TV INTERFERENCE AVOIDANCE ‘This instrumant operates at radio trequencios. Uniass it is correctly installed and used properly - that isin strict accordance with the manufacturers instructions -itmay intarfare with radio and television raception. thas boon carefully designed according tothe rules and regulations in force at the time, and has been equipped with various types of screening designed to provide reasonable protection against such interference in a residential installation, However, there is no guarantee that interference will not coceur in any particular instalation Hfthis equipment doas appear to cause interferencewith radioand TV, which canbe determined by switching tott ‘and checking ithe interference disappears, then switch- ing i on again to see tit reappears, the useris encour- agodtotry to correct the interfaronce by carrying outona ‘or more of the following measures: 4, Turn tho aerial (antenna) ofthe radio or TV to face in different direction, 2. Change the instrument's position with respect to the receiver, 3. Move the instrument away from the receiver. 4. Plugtheinstrumentiato another power socket, which is par of adifforent branch circuit. 5. lnacessary, the user should contactthe dealeroran ‘experienced Radio/TV technician for additional ad- vise. For users In the United States of America: “The user may find the following booklat prepared by tho Federal Communications Commission helpful: "How to identity and resolve Radio/TV interference problems". This book is available from the U.S. Goverment Printing Office, Washington D.C. 20402, Stack No. 004-000- 0388-4, pag. 4b1.2 Setting Up The box contains: 1.7% 2.7X's AC/DC adaptor for the power supply 3. The User's manual ‘4. Acable for connecting 7X to the tv (only for 7X/K). 5.AMidi cable 6. The Manufacturer's Warranty 7.°7X Setup and Operating System diskette 8, *Farfisa Demo Disk" diskette 9. The “Chord Pattern Disk" ‘The AC/DC adaptor conforms to international regulations governing the safety of electrical ‘equipment. Check it over carefully before use to make sure none of the parts are damaged. After reading Para_1.1 (Warning) carefully and having taken 7X out of the box, attach the AC/DC. adaptor plug to the mains of the right frequency and voltage (shown on the adaptor itself) and the jack leading from the adaptor to the sockat on the keyboard (see Para 3.1.2). You may now switch 7K on (see 3.1.1 for ON/OFF switch). ‘When switching on, before showing the LIVE menu, 7X will show a presentation on the display for a few seconds during which time a working test is carried out. ‘The "LCD Contrast’ (see Para 3.3.13) lets you adjust the screen's contrast so that it can be read easily from whatever position itis viewed. ‘7X can be heard directly only through headpho- nes (see Para 3.1.9). An external amplifier Is ne ded if playing out loud. Connect the Left and Right output sockets (see Para 3.1.3) to the cor- responding input sockets on a stereo amplifier, or the Lett socket only to a Mono amp. By connecting a microphone to one of the 2 sockets provided (see Para 3.1.10 and 11) 7X will be able to process your voice with the Sound Processor. 1.3 Listening toa DEMO In Para 2.2. it says “the simplest operation on an instrument like 7X Is not playing it, but getting it to play on its own". In Para 2.2. this statement refers to the Sequencer but it is equally true of DEMO. Whatever situation 7X may be in at the time, if you press the DEMO/« key (on the left-hand side of the panel) a menu will appear with some chol- ‘ces which correspond to the following function keys F1-F2, F9-F4, F5-F6 and F7-F8, When you press these function keys you will hear 7Xs corresponding Demo sequences. To exit the DEMO environment press again the DEMO/* or one of the WINDOW group. Except these, the other keys of panel are deactivated when the display shows the DEMO mask. Vy) pag. 5You will discover Farlisa 7X’s potentialities by using the instrument but you will also find that the features have been set up 60 that they can easily be accessed. ‘To simplify the approach to using 7X this chapter is completely dedicated to basic instructions which would sulfice to use the instrument pro- perly. The following chapters will give you further and more detailed information regarding this key- board. N.B. You can play 7X as soon as it has been switched on by using its basic Configurations (Para 4.2.2.4). All the procedures described here refer to a common use of the Instrument: 7X connected to a keyboard transmitting on the Midi 1 channel through the Midi In 2 port (see Para 3.1.4). ‘As a gradual presentation to 7X let us first consi- der it as an instrument which lets you play up to 4 different instruments at the same time from an external keyboard and at the same time control an automatic accompaniment (Arranger). Instead ‘of having an automatic accompaniment you can play the "solo" part when 7X is set to PLAY (the sequencer is a function which plays pre-recorded bases) and, if he player is also a singer, by con- necting a microphone to the mic socket his/her voice can be processed by adding 2 reverb or other effects. Once you have mastered all the basic functions of 7X the others can be learnt by reading their description in chapters 3, 4 and 5. TX hast + 128 Timbres (apart from over 100 drum sounds), each of which has 4 variations; = 64 Basic Styles, each with 4 variations; = Memory space for approx. 16 Sounds and approx. 8 Styles which can be loaded from isk; = more than 20 different Effects which can be used for processing the sounds of the signal from Mic 1; = numerous types of reverb (Master Effect) which can be used on their own or combined with other kinds of effects. 1n this chapter we will be making two assump- tlons: mf Sl 1. Belore carrying ut any procedure the Display will show the LIVE menu, If you are not sure whether this menu is present, press the LIVE key. It it was already shown this will not mocity the situation in any way and it will appear on the screen in any case. 2) ALthe end of any procedure (by pressing on the same key) the LIVE menu will again be react vated and ready for the next procedure. ‘The first examples will contain the description of these procedures which will then be omitted for sake of space. In this chapter all operations will be described using the 7X Panel for selecting sounds, sty- les, setting the Conductor, etc. The same results can be had by using’ Mid! commands as shown In Appendix A.1. for selecting Styles, A2 for solecting Timbres, A3 for selec- ting Effects, A4 for selecting Drum Sets, AS for 04H (and OSH) commands for the small keys (and Leds) which control all operations other than selecting Style and Timbres. 21 Using the Headphones All the operations that follow can be listened to through headphones which should be attached ‘by connecting the jackplug on a pair of phones to the socket marked HEADPHONES (see Para 3.1.9) and by adjusting the volume (see Para 3.2.12). 2.2, How to play a recorded backing (Sequencer) The simplest operation on an instrument like 7Xis not playing it, but “getting it to play on its own", In fact the Sequencer, although it is more powertul than this, can’be used like a cassette recorder by pressing only 4 keys: PLAY/STOP, PAUSE/CONTINUE, PREVIOUS and NEXT. These 4 keys are on the right-hand side of the panel on the line labelled 16 TRACK SEQUET CER. T6 TRACK SEQUENCER To play a musical base the procedure Is as follows: - insert the disk in the drive (see Para 3.4.37). - press PLAY/STOP; the first song on the disk (the order is generally shown on the label) will be loaded and played (while loading the Led on the key will lash); = press PLAY/STOP again or press PAUSE/CON- TINUE to break off the performance (any keys pressed while the PLAY/STOP Led Is flashing will have no effect): - press PAUSE/CONTINUE to start playing again from when you pressed STOP; ~ press PREVIOUS or NEXT accordingly to move forwards or backwards from one song to another. pag. 623 Selecting Sounds ‘On the leftzhand side of the panel (called Sound and Style Selector) there Is @ table which groups. together the Sound and Style families available ‘on 7X, The second and third rows in particular ‘names of the families of sounds which be learning to select in this section js a complete list of the sounds in endix A.2), Bolow the table are 9 keys without any label (see Para 33.28) and one labelled Sound (see Para 3.3.24) To the right of these are 4 keys corresponding to the names BASS, POLY LOWER, POLY 1U/L, POLY 2 UPPER. (see Para 3.9.29) to be used when selecting sounds. Te oe ee rr eee ane ow SE oe ert ooo0o0ooooo0g ‘When they are pressed the sounds that you will be leatning to play in Paras 2.4 and 2.5 can be BASS with the left hand POLY Lower with the left hand POLY TUL right or left hand POLY 2 Upper right hand, To the right of the second and row in the table there are two Leds which show which of the two groups of families has been selected. SBeati tS RockOrgan 4 AcousBass 1»; |HonkyTonk Peane The procedure for selecting a Sound Is as fot ws: ~ access the LIVE menu on the Display; ~press POLY 1 U/L: = press the SOUND key to select the group of ‘Sound families you require; = press the key (of the 9 in the selection table) corresponding to the family to which the instru- ment you want to play belongs; the last line of the play will show tha names of the eight instru- ments belonging to the family you have selected; ; press the function key corresponding to the ingtrument you wish to select. The Display wil stow the selected instrument in he PolyU. x: ~ you have now finished selecting the instrument, It'you like you can repeat the procedure by first selecting the oer thiee Gass, Poly Loner. and Poly 2 Upper sections and then choosing a sound for each one. Bae ie Se 2.4 Setting Conductor Selecting an instrument does not automatically mean that you can play it, With 7X you can play 4 at the same time. You may also have decided to select a group of instruments to be played al dif- ferent times of the performance. ‘The § keys labelled CONDUCTOR let you decide whether and when to play the one or more ‘Sounds you have selected. ‘As you can see the keys in CONDUCTOR have the same names as the four keys in Sound & Style Selector that we saw in the previous para- graph and each has a Led (a Led is tiny coloured electronic light). By pressing on them the Leds come on and go off in tum. If the Led on one sec- tion is on that means that that section has been selected. Thus the Sound whose name appears ‘on the Display in the box corresponding to that section (see Para 4.1), can be played by split the keyboard (see Para 4.2.5). If the Led is o} that means that that section is not active and that {he corresponcing Saund wil theretore nol pay. The two keys POLY 1 to Lower and POLY 1 Upper mutually exclude each other in the sense that the sound selected in POLY 1 can be played eater inthe Lower Spl orn the Upper Salt ec- ions. Note that if the Bass, Poly Lower and Poly 1 to Lower are not activated, no matter what the posi- tion of the Split be, the whole keyboard will play with the active Sound in Poly 2 Upper (or with the 2 sounds of Poly 2 Upper and Poly 1 Upper). The Display does not show information on the status of the CONDUCTOR keys. 2.5 Playing 7X Now you have configured 7X according to your needs try playing the keyboard. 7 The example we are using refers to a Midi Accordion transmitting on 4 channels (the ones described in Para 4.2.2.5 ACCORDION 2 Configuration) connected to’ Midi in 2 input (see Para 3.1.4), The setting of Accordion 2 Configuration is almost certainly suitable to your Accordion and therefore you will not need to read Para 4.2.2.5 for the moment. Connect Midi Out on the Accordion to Midi In 2 on ‘7X and play. Try selecting and unselecting the 4 Spund sections to get an tea of the results pro- duced. Bear in mind that the BASS section is not dedica- ted only to a series of sounds (such as acoustic and electric bass, contrabass, bass tuba,..): any sound which can be selected for it can be played ‘manually in that section. pag. 72.6 Selecting an Accompaniment (Style) ‘As we saw in Para 2.3 on the left side of the anel there is a table with the names of the fami- lies of 7X’s styles and timbres.tn particular the first line contains the names of the families of sty- les which you will leam to select in this paragraph (the complete list of styles is in Appendix A.1), With the same procedure for selecting a timbre (See Para 2.3) in the LIVE menu: (RockOxgan jcousBass - press STYLE (see Para 3.9.25) to select the group of ‘style families containing the one of your ‘choice; = press the key (from the nine in the table) corre- sponding to the farly to which tha siyle of your choice belongs. In the last line of the display you will see the names of the eight siyles in the family you have selected; = press the function key corresponding to the style of your interest. The name of the style will appear in the STYLE box on the display; ~ selecting a style concluded. 2.7 Playing 7X accompanied by a Style You have already leamt to play 7X "SOLO". With the accompaniment of a Style you can now play with an orchestra behind you. The orchestra is controlled by what you play with your left hand {on the accordion) press the key labelled Poly Lower in the CON- DUCTOR group: ~ press the key labelled Poly Lower Manual ‘Arranger in the Accompaniment group and you ‘see that the Led on the Conductors Bass key on. ‘The procedure for playing the accompaniment Is as follows: = press the key labelled START/STOP in the bot- tom row of keys on the left of the panel; = by changing the status of Poly Lower Manual/Arranger (using the key with the same name) and that of Bass (using the Bass Root LogiciFirst Lett key) and by activating and disacti- vating the chords in memory (using the Memory key) you can change features in the accompani- ment, 2.8 Playing 7X accompanied by a backing (Sequencer) When using the Sequencer on 7X, as already explained in the first paragraph in this chapter, you may avold playing completely as the original arfisa disks have complete songs on them. ‘You can now piay solo parts over these at your leisure as you know how to select sounds. However the following should be borne in mind: Farfisa records the tune of each piece ‘of music in track n* 4 of each base, i.e. the {une that the singer wil be performing, This is done to make it easier to use the Karaoke function (see Para 4.9.4). This solo part may be a nuisance if you wish to play a tune your- self on the keyboard. It is therefore possible to put track 4 “in Muting", Le. the music con- tained in it will not be piayed while Play on the song will proceed normally. To put Track 4 Into Muting proceed as follows: ; aclvate the Sequencer by pressing the SONG key in the WINDOW group; - in SONG and KARAOKE environments (see Par 48, look for the T-MUTE label and press the ‘corresponding F8 function key; = use the vertical arrows to move the cursor to 1n*4 in the column showing the 16 tracks; press the F8 function key (a symbol will appear to the right of the track number). This will Have muted track n°4 and playing the song you will hear the harmonic and rhythmic Sections and be able to play over them as you wish, ‘The same procedure allows you to exclude track n*4 (or any other track) from the Muting status. By repeating the above procedure and finally pressing the F8 function key you will cancel muting of the track (the symbol next to the track number will disappear and when you press Play you will hear that track together with all the others). Ifthe song you are playing Is not a Farfisa ort ginal, the tune may be in a different track from irack’4 of the song may be completely on one track. In the first case, once you have determined which track the tune’is in, you can proceed as above on that track. In the Second case you will have to access the Sequencer (see Para 4.9) activate the MONITOR environment (see Para 4.9.5) find the Midi Channel on which the tune Is transmitted, move the cursor (using the horizontal, arrows - see n°16 in Para 3.3) and press the FB (C-MUTE) function key. pag. 829 Playing and singing with 7X ‘Singing with 7X is very simple: = connect a microphone to the one of the two sockels (see Para 3.2.10 and = set the microphone's sensitivity by using the control on that socket; = ing who playing solo or using the accompa- niment of a Style or of a Base. BASIC INSTE 2.10 Connecting to external ampllfiers To connect your 7X to an external amplifier your only worry will be to check what Kind of input con- nection the external amplifier has in order to use tho right connecting cables. Bearing this in mind, connect the input of a MONO ‘amplifier to the’ LEFT (mono) one of 7's, ‘output sockets or the two input channels of a STEREO amplifier to the LEFT and RIGHT sockets (see Para 3.1.3) and set the volume (see Para 3.2.12).sumone 2b esa Apa pod vossedea mang wey zpie s riro rads’ fered as 09 Bey 02, veo wpesed z Luuvo9) BovseSIN AL e149 vores og 1-96 osroveg 881 St fogeieo soaps iseL sung une ‘ . OL OR ' iro oes ye _ fe Msp ae one 00 ‘onazoon cz ~ weagurducoy epoding ze ropa yes wpouds 1e f ; z . rr eed SHuCEEL we young ‘oe 'Sh 1 soodiven see UE aoa 89 Jexdap 9p auc oye aE. “9k o i ‘pain eh rg ez seston jee oaing zz reneBrees 3.1 The ON/OFF switch and connecting sockets, 4. The ON/OFF switch ‘Switches 7X on and off. 2, The power socket ‘7X is an electronic instrument powered by 15 volt continuous current (see label on the AC/DC adaptor supplied with 7X). Connect only the coaxial Jackplug of the AC/DC adaptor to this socket 3. The General Output These are the jack connections which exit the sound of 7X's internal timores and the sound applied to the Mike inputs (see 10 and 11) after it has been processed. These connections are for connecting 7X to an externat amplifier (through a mixer). Use a cable with a mono 6.5 mm. jackpin to connect the Left (mono) output fo a mono amp or two cables with mono 6.3 mm. jackpins to con- ect both Lett and Right output sockets to a ste- reo amplifier. 4. The MIDI and MIDI 2 Midi ports MIDI (Musical instruments Digital Interface) is @ means for exchanging information between elec- tronic instruments. It can be seen as a series of electronic circuits and rules for exchanging data. Any modem electronic instrument with the same circuits and the same rules can “communicate” with others even if they are of a difierent make, ‘Communication of this kind means that the ci cuits must be connected. The MID! ports are the sockets for connecting MIDI electronic circuits. ‘These Instruments can both receive and transmit MIDI data and therefore the OUT port is the socket which outputs MIDI data whist IN (1 and. 2) are MIDI input ports. The pots marked THRU. ( and 2) are a sort of output and transmit the data received from the respective IN ports, excls- ding those generated inside the instrument. Para 4.2.2 describes the two groups of IN and THRU Bors in dotll explaining the oiference between em. MIDI connections have special cables (one of which is supplied with your 7X) which connect the output socket of one instrument to the input socket of another. Normal MIDI functioning may be summarized as follows: + MIDI IN receives data transmitted from another instrument; 5 MIOFTHRU retrancmts tno MIDI data tom MIDE IN; = MIDI OUT transmits data produced by 7X and those received by MIDI IN (delails on MIDI set- tings are provided in Para 4.2.2.2. and 4.2.2.5. 5. The EXPRESSION PEDAL socket With the 13 note Pedal Board you can play the sound for the Bass section or play the chores ‘which control the automatic Accompaniment. The Expression Pedal is used for controlling the volu- me of the sounds, accompaniment and Sequencer and the chords played on the Pedal Board (Para. 4.2.1.3 describes the functions of these two accessories). This socket takes either the Pedal Board's jackplug (in this case the Expression Pedal will plug into the socket on the pedal board) or the Expression Pedals jackplug, 6. The TV INTERFACE (SCART) socket This socket can ba used for attaching a TV screen for Karaoke and for viewing the LIVE menu. Connect your TV by using the (SCART) socket to the SCART input on your TV (your TV instructions handbook will tell you how to get SCART input images to show on your soreen). Now you willbe able to view two menus: The Karaoke menu: this contains the name of the Song performed by Sequencer (see Paras 2.2 and 4.9.4), the tolal number of beats in the song and the current beal and the lyrics of the song that is being played. All this is shown on the TV screen only when the song is being played (see 35); Para 4.6.6 describes options in viewing Karaoke. The LIVE menu: this is shown on your TV ‘excopt when Sequencer is performing a song. Ut contains the names of the Sounds and their volumes, the Style and its speed, the Master Etfect, Mike Effect and Song in’ Sequencer (Gee following paragraphs for more details). 7. Auxillary output 1 and 2 ‘These are the jack connections which exit the sound applied to the Mike inputs (see 10 and 11) alter it has been processed. These connections are for connecting 7X to an external amplifier (through a mixer) so that the mike signal can be istinguished from the instrumental sounds. Use a cable with a mono 6.3 mm. jackpin to connect ‘one of the two output sockets fo a mono amp or ‘two cables with mono 6.8 mm. jackpins to con- nect both 1 and 2 output sockets to a stereo ampitier. NB. The auxiliary output signal will not be proces- sed by Master Effoct (see Para. 4.7). 8. The SWITCH PEDAL socket This is for connecting a pedal with 1, § or 10. con- trols or the “Remote Control" to 7X. See Para 4.2.1.2, for delails. 9, Headphones output This allows you to Isten to 7X without any exter- nal interference. You can use any quality stereo headphones with a 6.3 mm jackpin. pag. 11DESC! 3.2 The Microphone and Master Volume Inputs 10. The Mike 1 Input and gain control 7X can process (with Effects see Para 4.8.1) a signal from an extemal source and send it to wo outputs described in point 3 (from now on we will consider it to be a microphone but other instru- ments such as an electric guitar can be connec: ted to this socket) ‘The Mike 1 input has two different sockets. A lar- ger one to which you can connect any high qua- lily sound source by using a mono 6.3 mm. Jacke Bin, and @ smaller one to which you can ceecty attach “electret™ microphones with a mono 3. mm, jackpin thus avoiding use of a power supply and preamplification. The name "LIMITER" means there is automatic control over the signal going nto lnput$ to avold tortion in output tis therefore better to attach external instruments, & ‘uitar for example, to this input socket. Next to the two Sockets you will find the Input control (Gain) which you can use to adjust volu- me according to 7X's Sounds and ‘Accompaniment. 11. Mike 2 input sockets and their sensi controls The same indications as given covering Mike 1 input are valid. The only difference is that tha signal on Mike 2 is processed only by 7X's Master Effect (see Para 4.8.2) WARNING Microphones connected to the Mike 1 and Mike 2 sockets should be of “cardivide type and should not be directed towards the speakers (lo avoid distortion and *Larsen* effects, 12. Adjusting the Master Volume IVs possible to adjust the volumes of each Pol the Bass, the Drums, the Sequencer, the Arranger and the microphones separately, as described in Para 4.5. Master Volume controls ‘7X's overall output volume whatever the volumes of each part may be. 4.3 The Control Pane! 13. Contrast control on the Display This can bo used to imorove your reading of the display which may depend on your position with respect to the screen. Use the contrast control to get the clearest image possible. 14, Display ‘Tho display Is a way of checking over the whole instrument. You can check on the current settings. (ie. sounds, styles, volumes, disé-files, MIDI con- ‘ois, etc...) and change them f you wish. ‘The display Is a back-lit liquid-crystal screen with 256 X 64 pixel resolution and is a sophisticated ‘graphical interface using "windows" which can be called up by the user. 15. FI, F2, F3, Fa, FS, FO, F7, FB FUNCTION cys. ‘As you can sea by looking at the panel, apart ‘trom these 8 keys all the others have a label and therefore perform the same operation in all cir- cumstances. ‘On the other hand the & function keys, which ara positioned immediately below the display, control fhe function ascribed to them by the label corre- ‘sponding to them and shown in the last line of the display. This reduces the amount of control keys ‘on the panel and makes the functions easier to use. 16. The cursor control keys We have already mentioned that 7X's interface works by *windows” containing lists of parame- ters. You can scroll through the lists to make changes of just to check through their values. Scrolling is done by moving the cursor which highlights the contents of the window one by ona. The 4 keys in this group move the cursor in the 4 ditlerent directions. 17, The a-dial This is a davice, which together with the cursor keys, ean be used for changing 7X parameters. Once the cursor is on the parameter you can change the value assigned to it by turning the a- dial. Turning clockwise increases the value and turning anti-clockwise decreases it Each parameter has fimits to ts values. The a- dial only performs within these limits 48. The DSP to Mike 1 key This allows you to attach the DSP (Digital Sound Processor) to the signal on the Mike 1 input (Led on) oF use them to process the timbre sounds (Led oft). 19. The DEMO! * key Plays the demo to give you an idea of 7X’s main functions and characteristics (already described in Para 1.3) 20. The EASY PLAY key ‘This key controls the function going by the same mame which makes setting procedures on 7X easier and quicker. You could consider the Easy Play function a serles of “suggestions” made for the Style you have selected. In fact, if you press on this key a group cf 8 labels will appear on the display regarding settings of sounds, effects and other musical parameters governing that style and which can be selected by the corre~ sponding function keys. When you press Easy Piay the line on the display showing the name of the style and the one beneath it will change colour and will show the "suggested" settings. pressing again on the Easy Play key you wi the normal LIVE menu pag. 12Parameters considered in the Easy Play function are: Poly 2 U and Poly 1 U/L sounds and relative variations, volume, octave, type and quantity of effect: volume in the Bass section; variation, volu- Me and speed of Style; Drums volume, Master Effect, status of Verse, Chorus 1 and Chorus 2 keys, the slatus of FHS’ and the Conductor keys. 21. The PANEL Key Panel is a memory location similar to the 96 ones used by the Programs (more about these In 22) which are automatically assigned. When the Panel” function is active the LIVE menu shows the label “Pn” in the box N°8 (see Para 4.1), Selecting Panel: Press the Panel key when the “Prt label is nat shown on the display. How to assign Panel. (This is not 2 recording in so much as the data are written in a single loca- tion as follows): when you select a program or an Easy Play and the "Pn” label is visible on the display. In this case the Panel's memory location will be loaded with tha configuration Panel had Just before it was configured with the Program or Easy Play. The parameters considered by the Panel memory (the same as those considered by the Programs) are listed in 22. 22. The group of PROGRAMS keys “Programs” are 96 locations in memory (12 farni- lies of 8 programs) in each of which the user may save a suitablo configuration of tha instrument for playing a certain kind of music. By merely pres- sing two keys the Programs in memory recall the configuration instartly. She BANK Key calls Up the 6 families A, B, C, D, E and F or the 6 families G, H, |, J, K ano L. The Led will shovr which group is active. ! F/L keys are for cal- ling up one of the Program families. When thoy are pressed the last line of the display will show the 8 labels of programs in the selected family. ‘The programme corresponding to the function key you now press will become active. Recording a Program: you can save the current situation on the panel in one of the 96 programs. Saving is quite a simple operation. Alter having chosen the way you want 7X conligured for a cer- tain kind of music, press the key indicating the family and the function key coresponding to the program you wish to record at tne same time. ‘The display will flicker for a second to show that recording has been carried out and will then fetusn to normal, Selecting a Program: by pressing the Bank key you activate a group of families and by then pres- sing one of the 6 family keys display will show the names of the 8 programs in the selected family In correspondence to the 6 tunction keys (a letter from Ato L indicating the family and a number from 1 fo 8 indicating the program). By pressing one of the function keys the corresponding prograrn will become active and its name will appear in box n° 8 in the LIVE menu on the display (See Para 4.1). ‘The paramaters taken inlo consideration by the Programs or by the Panel function are as follows: Poly 2 U, Poly 1 U/L, Poly L and Bass sounds with respective variation, volume and octave: global “DSP 1o POLYs" or "DSP to MIKE 1 fay and type of etect voice chord fer (Male or Female), status of Master Effect on MIKE-1 (On, Off and Send value) and values of Balance dnd Volume with DSP-TO-MIKE-1; the effect associated to MIKE-1 with parame: ters and entity and also the Master Effect sta- tus on it (On, Off and Send value) with DSP the Volume and Send parameters ; variation, volume and speed of Style, volume of the drums and which Drum. Set is being used for Manual Drums; volume of the Sequencer; type of Master Effect with parameters and entiy, status of Verse, Chorus 1, Chorus 2, Piano Bar, Key Star, 'Manual Drum, Memory, Easy Chord, Bass (RUFL), Poly L (M/A), FHS keys; status of the Conductor keys, scale character, value of each semi-tone for the Custom scale and if this is active only in the right Split section or ‘on the whole keyboard; the position of the keyboard Split, Master Tune, Poly 2's jar of tune, and Piten'Bend's excursion. ‘The group of Sound & Style Selector keys These are for selecting sounds and styles and their variations, for controlling the FHS (Farfisa Harmoning Systema) ard for activating/disactiva- ling the Manual Drums. We shall now examine these separately. 23. The group of Family Selector keys ‘According to which family of sounds (see 24) or styles (See 25) is active, these 9 keys will select the correspondiog family (the one hight by the ed). 24. The Sound key This selacts one of the two groups of sound fami- lies depending on whether the upper or lower Led labelled "Sound" is on. When the upper Led is on the Reed, Wind, Synth Lead, Synth Effects, Effects, Ethnic, Percussive, Special and Custom B families are ‘active. When the lower Led is on the Piano, Mallet, Organ and Accordion, Guitar, Bass, Strings & Orchestra, Ensemble & Choir, Brass and Custom A families are active (the com plete list of sounds is in Appendix A). 25. The Style key Selects the family of accompaniment styles and tums on the Led labelled "Style" (the complete list of styles is shown in Appendix A.1). 28. The Sound/Style Varlation key ; This key lets you choose between 5 alternative Style and Sounds according to whether the cur- ‘sor in the Live menu is in box 1 (Style) (see Para 4.1) or 2, 3, 10 and 11 (Poly Lower, Bass, Poly 1 and Poly 2). I this key is pressed when the box with the name of the syle or one of the ones with the name of @ sound is highilt in the last fine on the display near the first 5 function keys then the pag. 13labels of variations of the current sound will appear. These can be selected by pressing one of the keys and the number of the chosen varia- tion will appear next to the name of the sound. Ft selects the sound or style in its basic condition (NORMAL), Fe, F3 and F4 select 3 different pre- defined variations and F5 selects the variation which can be modified by the user in Sound Edit or Style Edit (CUSTOM) described in Para 4.2.3 and 4.2.4. 27. The TRANSPOSER +/- keys Allow you to transpose the instrument's tone by semitone or by octave. If you press them bath fogether the semi-one transposition on both the keyboard and Sequencer Is zeroed. i wes. When pressing one of the "Bass", “Poly Lower", “Poly 1 U/L" and {POLY 2 Upper” keys togelner wih tha key, within the box corresponding to the soc: tion of the key you have pressed will appear the character ">" showing that the sound has been transposed up by one octave. Whereas, when pressing one of the "Bass", “Poly Lower", “Poly 7 U/L" and "POLY 2 Upper" keys together with the *b7*-" key, within the box corresponding to the section of the key you have pressed will appear the character cr showing that the sound has been transpo- sed down by one octave. If neither of these characters is shown the sound will be played in that section in its original octave. in mi-tongs. Just press the "#" ‘and “b" keys to transpose the Keyboard and ‘sequencer one semi-tone at a time {lo a maxi- mum of 12 semitones). Pressing both keys al the same time will return the valve to 0. I'you wish to change the Transposer value sepa rately for keyboard and sequencer seo Para 4.1 {in particutar the desoription of "Area N° 6") 28. Tho FHS key ‘The Farlisa Harmoning System key controls a function by which each note played in the upper split section is enriched by a suitable pair of notes in the Poly 2 key which depend on the chord played in the lower section. FHS is active ‘or switched off according to whether the respecti- ve Led is on or off 29, The Poly selection keys in Para 2.3 we desoribed the 4 keys with the names of the 4 orchestra sections. 1 4 ng allow you to assign one of 7X5 instruments to each of these sections, selecting them by the usual method : Family, Instrument. When you press them in the LIVE menu the cursor will highlight box 2, 3,10 or 11 (see Para 4.1) accordingly. 90. The MANUAL DRUMS key assigns the per- cussion instruments and effects in ihe active “Drum Set" to the Keyboard (see Para 4.2.1.1) whatever be the Spit setting or selected sound. ‘Tho Led goes on when this function is selected. EINSIROW ent 31. The WINDOW keys These are the very Nucleus of the instrument, each ona being abla to call 7X's 10 fundamental environments which are described in detail in Chapter 4. The interface is shown on the display 2s soon as one of these keys is pressed and that environment is accessed. Remember that the LIVE environment may be called by pressing the LIVE key but will also be active automatically when the instrument is switched en. 32, The ACCOMPANIMENT keys These keys control the accompaniment Style during performance. They specify 7X's tunctio- ning when the accompaniment (complete or just rhythnypercussions ) is active. hs Si starts an accompaniment Biyle it one is not being performed (the Led wil {go on} and stops tho Siyle (the Led will go off) if ‘one Is being played. The Inigo STARTISTOP: «IL it is pressed when automatic accompaniment is not ere it "reserves" an intro of the selected has a similar function to style (the Led will flash) and if you then press STARV/STOP or a note-key, the intro will be performed and the Led will stay on until the very moment when the music ends; - if itis pressed when automatic accompaniment is functioning It “reserves” the ending of the selected style. The Led flashes until the begin- ning of the best following the one playing when the key was pressed andthe ending is performed with the Led on unlil ithas finished (the Led goes off as soon as the music stops playing). has a similar use to INTRO/ENDING: - it itis pressed when the Style is not playing acis in the same way as INTRO/ENDING using a different intro phrase to the latter, = if is pressed when the Style is performing it reselves a “roll of drums", underlined by a varia- tion in the harmonic accompaniment, which is performed at the end of the current beat and lasts one beat. ‘The Fil-In/intro key has a similar function to the INTROIENDING key: J pressed when the, Stes not playing i acts in the same way as INTRO/ENDING using a Gitferent intro phrase to the INTROVENDING and BREAK/INTRO keys; + it its pressed when the Style is performing ft plays a “oll of drums” untl the endo Yat beat mutually ‘exclude each other. = If pressed when Siyle is not playing they can be Used for choosing which parts of the accompani- ment will be played after pressing START/STOP. or al the end of the INTRO phrase. Reservation ‘of a given part is done by pressing the correspon ing key (the Led will go on), pressing the same key again will cancel the reservation (and the Led will go ot). = When pressed while the Style is being perfor- med they change the accompaniment al the end pag. 14of the current beat and fill t in with a drum pat- ter, unlike FILL-IN/INTRO which depends on the stant in which the key is pressed with respect 10 ‘the beginning of the next beat. The Poly Lower Manual/Atranger selects the working mode of the style’s accompaniment. When the Arranger modes set (Led on), activa ting Poly Lor Poly 1 to Lin the Selector (or both), the Bass accompaniment will be set. Each of the three sections can however be switched off by pressing the corresponding key (the Led goes of). ‘The Bass Root Logic / First Left sets the working mode of the automatic accompaniment bass. When the Led is off Root Logic is working, ie. the bass tune follows the basic chord played in the left Spit. When the Lad is on First Lett is working, ie. the bass tune follows the lowest note in the chord played in the lett Split (or the one sent from the "Basses" of the Accordion into the accordion configurations as to par. 4.2.2.4. The EASY CHORD key allows you to play Major, Minor and Seventh chords simaly by pressing the keys 1, 2.07 3 In the left Spl of the keyboard. The tonic note of the chord {in automatic) wil always be the leftmost note in the cases of Minor and Seventh and be only one played fn the case of Mao: The Easy chord function works only when the PIANO Contiguration Is on. (See Para 4.2.2.4). The MEMORY key, when pressed (the Leg goes on), makes the chords played on the left Spit of the keyboard play even when the keys are not baing pressed and they play unlil another chord is played. You can tum off this function by pres- sing te Memory kay (he Led goes of) ‘The KEY START key, when pressed (The Led goes on), makes the selected style start at the moment you press any note (even a chord) in the left Split and stops when no nota is played. This function is turned off by pressing the Key Star key again (the Led goes off). It can work in com- bination with the Memory function and in this case the styl kaeps paying even when the note (or the chord) is released. The PIANO BAR key extends the chord recognizer function, specific to the left Spit, which controls the ‘Automatic Section, o the whole keyboard, whatever the status of the Spit (keyboard spilt in. two or not spit). This function is switched on (Led on) and off (Led off) by pressing the Piano Bar key. NB. After setting Plano Bar, the automatic accom- paniment will be controlled (changing of chords and Key Start) only by playing chords of at least three notes on the keyboard. Moreover the notes that are further right then the fourth (in chords of five or more notes) will be played only by Poly 1 andior Poly 2 (accor- ding to the Conductor's configuration) and with nat be sent fo the automatic accompaniment. ‘The TEMPO 4/- keys let you change the speed of the style. When they are pressed together they sel the style to default speed (defined by Fartisa), 33, The “Down Beat” group of Leds These Leds flash to the time of the shythm when the Style is playing. 34. The 16-TRACK SEQUENCER keys Para 2.2 contains a delalled description of these 4 keys. However, it may be usotul to go over these concepts orice moro to avoid jumping from. ‘one part of the manual to another. The PLAY/STOP kay, when the SONG environ- ment is not active, plays the first song it finds ‘on the disk in the disk-drive (the order is usually that of the label); if, however, SONG is active (which you can tell by whether the Led is on or ff), this key performs the current song or the Medley selection that has been made Whatever song is being played if you press PLAY/STOP it wil stop Immediately. The fla- shing Led shows the status of Play in the Sequencer. PLAY using this key will always play the srg, from its beginning. The PAUSE/CONTINUE key lets you start playing the song again trom where it was intor- fupted by pressing PLAV/STOP or PAUSE/GON- The PREVIOUS and NEXT keys start the pre- vious or the next song to the one being played accordingly. a Medley has been set up (see Para 4.9.3.1) Previous and Next will refer to the order of the set list, whereas if a Medley has not been created Previous and Next will come to mean the songs in the order they are to be found in the Standard Midi Files on the diskette, 35. The CONDUCTOR keys ‘As their name suggasis these keys are like the ‘conductor of an orchestra in the sense that they establish if and when a certain section of the orchestra will play. Each one of them has ils ewn Led to show when itis active. In particular: the Poly 4 Upper and Poly 1 to Lower, which are mutualy exclusive, play a selected sound for Poly 4 Ulin the upper or lower split; the Poly Lower and Poly 2 keys activate the selecied sounds in the lower and upper split respectively; tho Bass key sets the bass timbre on or off in the lower spit, NB. Unlike the timbres In the Poly sections, pro- cessed by 7X's intemal Effects (see Appendix A.3) the Bass section timbre (switched on with the Bass key) will play without any added effect, apart from MASTER EFFECT. 96. The CHORD PATTERN group This group controls the functions of 7X’s section dedicated to guitar players. You can use them to record, save to disk, load from disk and play a sequence of chords (controlled by one or more pedals or by the cursor arrows). A detalled Gescription is to be found in chapler 5. pag. 159.4 The Disk-drive 37. The Disk-drive ‘The disk-drive allows you to save data of all kands on a magnetic support so that they can be used at a later time. The magnetic support is a disk or diskette which can be inserted and removed from the disk-drive (Pata 4.3 and following subparagraphs give detailed descriptions of all operations that can be car- ried out on disk). To insert the disk into the disk-drive properly make sure that the rounded off comer of the disk is on the right. Push the disk firmly into the slot Until it is completely home. Pugh the button ret to th slot o get the csk out again. WARNING: Do not remove the disk from the drive when the Led Is on. Although this will not damage 7X It could cause the keyboard to malfunction. ‘As we have already mentioned the disk is @ form of memory where information can be sto- fed and then read again when needed. Disks bear the lettering DD, meaning Double (low) Densiiy or HO, meaniig High Density and can contain 720 KByte and 1.4 MByte respectively. Briefly speaking a byte is a measurement of the quantity of information (see Appendix A.5). KByte means ‘a thousand bytes” and MByte means “ a million bytes". Disks will store data in memory after they have been “formatted” (see Para. 4.3.7) In the very same way in which they are used in a Personal Computer. 7X uses "MS-DOS" as a standard {MS-DOS js a registered Trade-mark of Microsoft Corporation). This means that you can use the same disks as a Personal Computer as long as they are MS-DOS compatible. Should you insert the wrong kind of disk by Mistake, oF should tne isk Be faulty you wil get an error message on the display of the type: ‘OPERATION IMPOSSIBLE! NOT PROPER FORMAT, ‘CANNOT READ A TRACKE To get rid of the message you should press any one of the function keys, except F7 and F8, or carry out an oparation by using the 4 arrows or the a-dial. Replace the disk in the drive with one of the right format Disks have a protective device so that the Information can be read but not cancelled or changed. Te protect a disk you move the plastic tag in the boitom lefi-hand comer so that the hole is open. Prolection is removed , so that you can write to the disk and add or change data, by moving the tab over and closing the hole: It you attempt to carry out one of the following operations: SAVE, DELETE, RENAME or FOR- MAT (all desorbed in Para 4.3) when the disk is protected, you will get the following message on the display: THIS DISK IS WRITE-PROTECTED. It you then wish to carry cut the operation you will hava to remove the disk from the drive, move the tab, replace the disk in the drive and repeat the ‘command. NB. The message can be removed from the display by using one of the 4 arrows or the a- dial. pag. 16ay y 2 This chapter contains a detailed description of 7X and its working environments, Each of these Is accessed by pressing a key in the WINDOW sel of keys. Each environment has one or more inter- face menus. Each menu is shown on the display screen until you press another of the WINDO! keys which will show you another environment Some of these 10 environments have only ong menu (they are structured on only one level) which manage their functions: this is true of Tuning Mixer, Mike 1 and 2, Master Effect and ive, ‘Some of the other environments have two levels, so that when the main menu is shown each of the function keys will access another menu showing the functions in the subordinate environment. Set Up and Disk both have two levels. Lastly, some environments are structured into geverdl branches. This i the caso wih Edt and ng. Before describing each of these environments itis ‘a good idea to get a picturo of their structure by locking at the tree-structures shown on the next three pages. In particular three structures hava been designed: ‘one is in the WINDOW environment and gives a picture of all 10 environments; one Is the Edit environment and one is the Song environment, Each environment is shown as a list of the func- tions it controls and the sub-environments which can be accessed through it. The table also shows the paragraphs you may consult in the manual for a detalled description of each. This should give you quicker access to descrip- tions in the manual of specific functions. One fast thing that should be mentioned before going on to examine tree structures ig Ine DSP 10 ike 1 key (see Para 3.3, 18) lets you change assignments of DSP to Polys or to the micropho- ne with one command. The same operations can be carried out in the Mike 1 environment as described in Para 4.8.1. pag. 17NVIROM TIVE EDIT (soo Panay) un Posey winoow Tree-structure our: ibe Genera Chard Recogrized is Ship Temes Sound Koyo, Tratspose ea, Trango Style Seclent Polyfooy Midi Nester fae Mii 2 Boyes Timo J ayo Tints WINDOW wncwee TUNING DSK (seoParaeg) tor (ow Pree) TaN Dir Master Tune DSK Load P-2 coarse T MER Save P-2 fine T. iastenerects Delete Tempered S. mace Rename Custom S.Up MIKE EFFECTS Hake Direct 7 ‘SONG ake Custom S. Fl. MIKE? q Format 720K MKE-1 EFFECTS 4 Format 14M. MIXER SETUP (sto Paras) (eco Paes) Bass Software Upl. Arranger DS? Asignm. Drums ‘Sound Swap. a ‘ syle Swap. Pe Display Song Karacke Mike-t Information M EFFECT SONG (en Paaay, (eco Pans} Medley Reverberation Karaoke Monten Enha + Rev. Tools Rees Chor. + Rev. Track Edt Delay + Rev. Parameters Track Muto ae REY (o00 Pa ‘wevages Met. Et Sond. Mst, Etc Send Volume Chomus Delay Echo Flanger Tone pag. 18Edit (soe pe 8.23) trees (eeepc) cure cape Padal wept + ONOFF swich- Foot Switches. iP PG fas Keyb. Touch KBD [] | err svete pass Sound Pads ssespaeazn— | [Hote Leal, mike a] | Aenge P.Bend Range Normal Icontral, Palys Upper or, | | Poy L (soo oea dts) Minimam Ss Sih, Poy 1 pensantzt Maximum Nest Prev Chore Rot} | Poy2 Drum Set Maximum | Icrch + Oru, Sy Los] | Secuencer Constant 2 ee ete, Miko Gonetant’s | |e ectSige : S tio’ Er Ell constant 4 | | Vers, cnaus 192, opt Gonstants | |Now/ rev Seng cut lp J rs , General efurat Constant 8 “nba Sage Such Mii2 tH | parameters Gonstant 9 Noa Sa ‘Sound ‘sre aguain ‘ena par?) sivle (eaopana22e) abeses it Mii 7 | ||Accordion 1 Gansuneva | | Ampltude Senst spit Ascordion 2 ~values 0-127 ‘tick tse ama2 Guitar Low ess Range | | Pan Pot Eo Demis Sens. =i a (eee pars 4234) Vibrato Depth Mcduiation Sensit. ‘eo pea fect. Vibrato Spocd Envelope Spood Timp. Ampituse |||} aces Ftecin26 Transpose Tembee Fier . = Pit “es 0.27 Tebre Pitch Effet Parameters Timbre Effect HUI 9 avelabie Drum Set SiSIMe =| Drums ‘ania gum _ ee] valet 2? Aranger1 Intro a ‘Arranger 2 Secon On Of Ending + Arranger 3 Timbre Verse ‘Arranger 4 voume Chorus 1 eat Send Chorus 2 bee 12,82 Break ocave Effect y oo para Tew i822) ae Soure (cm paras222) Accompaniment Destination ‘eooparas223) Generation ra Dastn I a Parel vaste riar- Si Out In2 Panel aod Sr-) | TeFlters Secrecy | (| eraenaeen {see paa 4223) Rx Faters Nomal -vlues 0+ 16- Expander i cparde Migi Channels Sequencer 2 pag. 19MEDLEY ‘Song {ovo Paseo) Tree-structure Directory all DEL./ COPY Clear ova t34014955) Select Fiter Loop Get Time Non Stop Get Event Back Poke Tim Poke Event en ONS, later eo Para —“ J coe Beas Back Medley (#) Karaoke (%) New Song Monitor (S) Demix Tools Mix Record Delete Track Edt SourceiDest. Parameters (*) Copy Track Mute Swap Back INPUT INPUT, GooParnea7s) | fooPaac79) ail — rise | Coane pres seoPacdae) Volume System Excl. Medley (#) Prog. Change | Meta Event Song (@) Punch In Cont. Change | Tempo Karaoke (%) Punch Out Pitch Bender | Syllabe Volume Click Pol. Key Pres. bre Channet Kee Single f All Pat Poke Time Back Parameters (*) Quantz. Channel-Mute Go Back SEE 90 Para 494 TRACK EDIT UTILITIES Mediey — (#) (aoe Parad) (see Paras.s.7) (tee Para 69.72), Name Input Fi Monitor emo Get Time ne Sor n Migi Channel Clear Poke Time Text Edit Utilities Poke Event Parameters (*) Go-To All Pattern Track Mute Parameters Fix Back Back (wee Parasavs) TEXT-EOIT | TEXT-EDIT foeeFeraascr} | (sores) Name Midi Channel GO-TO PLAY, Marker Clear-Pag Start Loop (090 Paraso73) (00 Para 49.4) Previous-Pag | Delete_Pag, End Loop. i NextPag | Add-Pag. tome PLAYISTOP Enter Clear-Line Previous Bar Previous Home New-Line Prey. Event Next Back Space | InservOverw Continue <> <— Next Event Back Back Next Bar End Back pag. 204.4 The LIVE environment This is the environment which Is automatically accessed when the keyboard is switched on (or gan be accessed by pressing the LIVE key Inthe WINDOW group). ft lets you manage the instru- meni stage" i.e. while you are performing musi¢ “live”. 1 4 8 2 5 8 t = eats | |r Ta Oph Recs oteae [RockOr gan. a ano AcousBass, | as, a/v e1|HonkyTonke Piano i 7 10) a 12 6 " The menu shows 12 distinct areas. In particular, area n° 12, showing the labels of the function keys, will take on different meanings according to the environment in which you are in. Let us take a look at the other 11 areas. * 4: shows the name of the Style and the ‘number of its variation chosen. ° 5: shows the "bar" (beats per minute) value of that Style's Tempo, which can be changed by using the TEMPO -/+ keys In the STYLES group. ‘Atean’ 6: shows the value of the transposer, in ‘semi-tones, of tne keyboard *K" and the Sequencer "S*; this means that you can chan- ge the tone of whal you play manually and the one of the recorded base separately. Area.n’ 4: shows the name of the chord recel- ved.When the Sequencer is active this win- dow will contain the name of the song being played and graphics in the form of a bar will show how much of the song has been played. : bear the names of the Sounds uses respecivey in Poly Lower, Bass, Poly 1 and Poly 2 Upper and also, il relevant, the numbers of the active variations and sym- bois indicating transposed cciaves (see Para 9.3.27 and 29 Atea_n® 9; shows the name of the Mike 1-Effect (see Para 4.8.1) and the name of the Master Elfect (see Para 4.7). ‘brea.n® 7; shows the polyphony used by each section, {fom left to right Bass (Bs), Style Arrangement (A), Style Rhythm (BI, Poly Lower (PU), Poly # (Pt) ane Paty? (P2). Acolumn made up of blocks, each one indica- ling a Polyphony note corresponds to each ion, When Sequencer is active, the column label- led "Ar is replaced by another labelled "Sq", indicating the polyphony of the song being performed. Arga n° &: contains the number of the active Program or the message “Pn if the panel key has been selected (see Paras 3.9.21 and 22): Each of the areas we have described can be rea ched by the cursor which you control by the 4 arrow keys: when the cursor is in one of these areas, the labels of the function keys take on up to 8 differant valuss for the parameter shown. By pressing on one of the function keys the corre- sponding value is assigned to that parameter. Instead of using this method you can use the a dial: in this case ot only 8 choices (8 are always ‘shown on the display) will be available, but allt ssi options available tor that paramater (he ‘one highlighted by the cursor). When you select ‘one of those whose fabel is shown on the display wilh the a-dial it will be hightighted, When the cursor is in area n° 9 the mechanism is slighily diferent. We will Gescribe each of the two cases separately. If : the F1 function key (OFF) Switches off tho Master Effect on the signal to the mcroghone; the F2 function key (ON) switches i on. F3, Fé, FS, F6, F7 and F8 activate up to 6 Effects’ of the family selected in the Mike Effect menu described in Para 4.8.1 (where their control parameters can be changed); even though this is, not shown on the current meru, the (a-dlal varies the quanlity (Send) of the Master Effect on the microphone signal (this value Is shown in the Mike 1 meng and described in Para 4.8.1). Cursor on "Rey" figig: the F1, F2, FS and F4 function keys set the 4 types of Master Eftect of the family selected in Master Effect (see Para 4.7); even though this is not shown on the current marly, the a-dial varies the quantity (Send) of the Masler Effect on the orchestra sections (this value is shown in the Master Effect menu and described in Para 4.7). pag. 2142 The EDIT environment ‘The EDIT environment is divided into six parts each one of which can be accessed by pressing ‘one of the first 6 function keys: F1: GENERAL EDIT F2: MIDI EDIT Fa: MIDI2 EDIT F4: SOUND EDIT F5: STYLE EDIT F6: KEYBOARD SPLIT EDIT ‘Throughout the paragraph 4.2 (and its subpara- graphs), each of these 6 parts will be referred 10 as an “environment”, Excepting KEYBOARD. SPLIT EDIT, and MIDI 2 EDIT each of the other 4 are again subdivided into a series of sections with rameters which are common to all of them. ihe mechanism is quite simple: the menu in each section has 2 jine immedia- tely above the labels of the 8 function, keys which we will refer to from now on as "item line, The "Item-line” shows the names of the sections: a cursor moved by the function keys F7 and F8 scrolls through these names and activates the section with the same name. (The 7X INFORMATION menu is an exception to this and does not contain an item-line). ‘The menus which appear on the display are orga- nized as “windows” containing lists which you Gan scroll through by using the vertical arrows. The central row of the window is the one now being “considered*, es To the lett of the windows which have lists longer than the number of fines available on the screen isa number which informs the user on the total umber of tems in the list that is being shown in that window and the list number of the central item. thera are several windows on the samo menu they can be accessed by the horizontal arrows. ‘The active window, i.e. the one whose list of items can be scrolled ihrough by the vertical arrows is the one highlighted by the central bar. 4.2.1 The GENERAL Edit General Edit is accessed by pressing on the F1 luncion key (GENERAL) afte pressing tne EDIT key in tne WINDOW grcup. The F7 ar ¥8 func {ich keys can be used to access the DRUM-SET, FOOT-SW (Foot Switches), EXPR.PED (Exprossion Pedal), KEYB-TOUCH (Keyboard ouch) and BEND-HANGE (Pitch Bend Range). 4.2.1.4 The DRUM-SET section As you already Kow thal the Manual Drums key lets you use percussion instruments on a Midi instrument connected to 7X.. This group of instru- ments is called Drum Sei, 7X has 9 different Drum sets which are all defined according to General Midi criteria, ‘The only window in this menu lets you choose the set you require from the 8 available choices (gee Appendix 4.4) by using the vertical arrows. You can play the set you have selected on the Key- board immediately. 4.2.1.2 The FOOT-SW (Foot switches) section With this section you can assign functions to the Fool Switches. ‘The window on the lett shows the labels of the 11 switches (The first “SW.P" is the single sw/tch, the other 10 are on the’ muttiple pedal), each one of which has a function already assigned fo t, shown in the square brackets and which can be selected inthe window on the tight, The tunetions are: Tia > (HOLD RICH iG error 2 EER ST Previous Program lext program Rotor StowiFast Glide Hold Left Hold Right Hold Alt Modulation Mike Contro! Grash + Drum Style Lock Polis Upp, OFF Guitar Swiich Next Chora Previgus Chord StarvStop firorend Intro! End Breaking. Previous Song Next Song Pause/Continue Song Ado ereas of Mike 1 pag. 22‘The meaning of these functions is obvious except - for the "Mike Control” tunction (see second N.B. in Para 4.8.1 DSP to MIKE 1 = for the “Guitar Switch” function (see Para 4.2.2.4 "GUITAR Configuration’); - for “Previous Chord" and “Next Chord" functions (see para 5.1); = *Polys Upp. OFF" functions are follows: when ‘you press the pedal to which this function is assi- ‘gned the 2 Poly Upper’s are off. When you press it again the status cf the Polys returns fo the pre- vious status; ‘designing one of the Mike 4 Effects (soe Appendix AS) to a pedal will switch the effect on and off (on the signal to Mike 1 input), N.B. If one of the Mike 1 Effects is assigned when 7X Is working In “DSP to MIKE 1"" (see ara 8.4) It will be disactivated and “DSP to “OLS” will be activated, ‘Yo change or assign one of these functions proceed as follows: ing the vertical arrows select the Swiltch; 5 using the Horizontal arrows move the cursor to the right window where the functions are; using the vertical arrows select your choice: using the horizontal arrows, Move the cursor back to the left window. IMPORTANT; You can connect three different types of pedals 10 7X, with 1, § or 10 controls. The same SWITOH PEDAL socket can be connected to a "Romote Control’, an accessory which consists of a group of 11 switches, 10 ordinary buttons (manual con- trole) and one which is sensitive to the way in which the instrument to which the Remote Control has been attached moves from sice to side. This controls a function simply by titing the instrument. As can be seen in the right hang win- dow, the first parameter is SSP N-STAT (SINGLE SWITCH PEDAL NORMAL STATUS:) to which the values "OPEN" or "CLOSED" can be assi- ned with the a-dial. This is so that the switch Which is sensitive to movement, once it has been attached to the instrument, canbe “open” or *clo- sed". When using the Multiple Pedal with 5 or 10 ontols the "SSP N-STAT” parameter has ro effect. NB. When you exit this section (by using the F7 or F8 function Keys or snother WINDOW key) with the cursor In the window on the right, the hight ghtod function there vill not be assigned to the current Switch In the window on the left. 4.2.1.3 The EXPR-PED (Expression Pedal) section 2 different devices can be connected to the Expression Pedal socket. One is an Expression Pedal with 4 switches which will be described presently and the other is a Pedal Board, with Switch pedal of 13 notes, with which you can play ‘the active timbre in the BASS section or the basic chord accordingly. It the Expression Pedal is con- ected to the Pedal Board, than the Expression Pedal must be attached to'the socket on the back pane! of the Pedal board itself, ! nM m) fF al i ‘The way these two devices work will be split into three actions, each of which will be described separately: the Expression pedal, the 4 Switches (A, B, C and D) on the Expression Pedal and the 'edal 6oard. The latter two depend on the active Mici Contiguration (see Para. 4.2.2.4) while the first (Expression Pedal) is always the same wha- tever the active Configuration or Easy Chord sta- tus. Expression Pedal Lets you adjust the volume of the various 7X orchestra sections, of the two microphones and of the Sequencer. In Expression Pedal Edit you can set onvott the Use of the Expression Pedal separately for Drums, Bass, Arrangement, Poly Lower, Poly 1 Upper, Poly 2 Upper, Microphone and Sequencer. [EXPRESSION PEDAL EDIT Each of these names has a parameter which can be ON or OFF. Select the item with the vertical arrows and set ils value with the a-dial. NB. Assigning the Expression Pedal as It is set In this environment is only true for the Instru- ‘ment connected to the "Expressian Pedal” socket . A Midi type expression pedal (con- ected to the Midi input) would carry out its function on the basis of the settings In "Mid In 1 Flow > Generation" (see Para. 4.2.2.2), If It were connected to the Mid! In 1 or those In “In 2+ Panel Flow > Generation" (see Para. 4.2.2.5), If connected to Ridl In 2. pag. 23,Tho 4 Expression Pedal Switches Apart from the accompaniment state (when in function or in stop) the 4 Expression Pedal swit- ‘ches assign the motie to the chors whose basic note is played on the Pedal Board: « If no switch is touched a Major Is played: ‘Holding the A switch a Minor is clayed; ‘Holding the B switch a 7th is played; ‘Holding the © switch a 7th Minor is played; ‘The D switch controls the Star/Stop of the accompaniment. Holding the C and A switches the chord is dimi- rished. Holding the B and C switches a 7th augmented chord is played. The Pedal Board When the accompaniment is playing the basic of the accompaniment chord is set by using the Chord pedal. When the accompaniment is not playing the Pedal Board lets you play the sound set in the BASS section and also set the basic of the accompaniment chord, A ni ‘The 4 Expression Pedal switches ‘The switches A, B, C and D control the same functions as assigned respectively to PED 1, PED 2, PED3 and PED 4 (see Para. 4.2.1.3) The Chord Pedal Allows you to play the timbre set in the BASS section. IRDION 1 ang RDION ‘Configuration ‘The 4 Expression Pedal switches ‘The switches A, B, C and D control the same functions ag assigned respectively to PED 1, PED 2, PED 3 and PED ¢ (see Para. 4.2.1.3). ‘The Chord Pedat Not active. 4.2.1.4 The KEYB-TOUCH (Keyboard Touch) section This section is for setting the keyboard's sensiti- vity to the touch, [KEVROARD TOUCH EDIT] Eee MOTTA ‘The window on the left shows the 12 choices. NORMAL: is the most suitable keyboard dynamic response for most kinds of music and performers; MINIMUM: wih respect 'o NORMAL, reduces the dynamic range making the keyboard more sensi live fo the touch; MAXIMUM: with respect to NORMAL, increases the cynamic range, making the keyboard less sensitive; The vertical arrows ara to be used for selecting the degree of sensitivity you wish to set and this ig represented graphically in the window on the right, CONST + (Constant 1): deactivates the dynamic answer of the keyboard and plays each note with velocity equal to 20, CONST 2 (Constant 2): deactivates the dynamic answer of the keyboard and plays each note with velo equal to 28 . CONST 3 (Constant 3): deactivates the dynamic swe: ol the Keyboard and plays each note with velocity equal to 36. CONST 4 (Constant 4): deactivates the dynamic ‘answer of the keyboard and plays each note with yale ecu o 82 CONST 5 (Constant 5): deactivates the dynamic answer of the keyboard and plays each note with velocity equal 10 68. . CONST 6 (Constant 6): deactivates the dynamic answer of the keyboard and plays each note with Velocity equal to 84. . CONST 7 (Constant 7): deactivates the dynamic answer of the keyboard and plays each note with yoloay equal o 100. CONST 8 (Constant 8): deactivates the dynamic answer of the keyboard and plays each note with velocity equal io 116. CONST 9 (Constant 9): deactivates the dynamic answer of the keyboard and plays each note with velocity equal to 127. NB. Assigning the sensitivity curve of the external keyboard (connected via Midl), set as In present environment, is valid only if the keyboard Is connected to the Midi In 2 port. H, however, It IS connected to the Midi In 1 port the above set- tings would have no value and the velocity of the notes would be controlled by the value In the Midi “Pax Velocliy” fiter (see Para 4.2.2.3). pag. 244.2.1.5 The BEND-RANGE section (Pitch Bend Range) This section assigns the range, in terms of serni- tones, to the sounds in the right Split section {wren Spit is,activ) and the whote keyboard (when Split is disactivated), DTT PORES RG TS ACARI ‘The procedure for defining the range of Pitch Bend Is as folllo\ = jumn the a-cial to determine the maximum range of control in both clockwise and anti-clockwise directions. Turning the dial clockwise increases the tone of the notes, while turing it anti-clockwi- se makes them lower. ps 4.2.2 MIDI Edit 7X divides Mict management into two environ- ments as there are two groups of Midi ports. The MIDI environment manges the the ports in Midi in 1, Midi Thru 1 and Midi Out while the MIDI 2 environment manages the ports in Midi In 2, Midi ‘Thru 2 and Midi Out (thers Is only one Midi out- put). From sow on MIDI will refer to the Midi 1 rts and Midi Out, while MIDI 2 refers to the idi2 ports and to the seme Midi Out port. ‘The MIDI environment is the "normal" one used and managed in a “simplitied" manner by the easily selectable 4 Modes or in a “detailed” man- nor as described in Paras 4.2.2.1 and 4.2.2.2. MIDI-2 is a “specialized’environment which makes 7X work'in a suitable manner for playing some sol9 instruments and Is also managed In a “simplified” manner through 4 Configurations or in 2 “detailed” manner as described in Paras 4.2.2.4 and 4.2.25. Para 4.2.2.3 describes the Midi “lilters": the Reception filters affect only MIDI IN 4 and the ‘Transmission fillers affect only MIDI OUT. ‘The Simpliied Modes should not be thought of ‘as being a less powertul use of MIDI but rather of away to control MIDI with a minimum amount of rogramming.. ificd Configurations are the same as they do not reduce 7X’s ability lo adapt to an external inslrument but simply make thé opera: lions easier to cary out, ‘The Detailed MIDI and Detaled MIDI 2 modes dofine MIDI communication between 7X and other instruments down to the tiniest detail, according to whether they are connected to the "1" or "2" ports, Mig Fitorsa¢0 ways of controling and cuting out the reception and transmitting of Midi data. They can be set independently channel by channel. SUGGESTED APPROACH AS a first approach to the MIDI environment we sugges! you aoquire the concept of MIDI "Mode" in the following paragraph and then proceed trom Para 422.1 diectly to 42.24 10 gel a grasp of MIDI @ Configurations and then, go Back 9 4.2.2.3 (Midi Filters) leaving 4.2.2.2 and 4.22.5 unt You need to program 7X wih requremenis which are not possible using the Simplified Modes and Configurations, WARNING: ji ‘s The contiguration disk supplied with 7X contains a filo with "SMI" extension which is the original Farfisa setting for the Midi Modes, Configurations and Midi Filters. Should you modify the Midi con- trol parameters and {ind yourself in a eritical siluation that you cannot control, access the DISK environment and reload the’ original set- tings (see Paras 4.3 and 4.3.2) N.B. If you play 7X through the IN 1 port and you do not modity the Mode parameters (see ara 4.2.2.2) the panel keys will not allow you to change settings (sounds, styles, ..) pag. 254.2.2.1 Simplified use of MIDI Modes This paragraph shows you how to manage 7X with a minimum number of operations when you have connected an instrument to Midi In 1. Enter Mici Edit by pressing the F2 (MIDI) function key after pressing EDIT in the WINDOW group. ‘As you can seo the menu is full of data. Let us Begin by considering th ‘em Line’ whch shows EXPANDER, SEQUENCER!, SEQUENCER2, FULL. These are 7X’s 4 modes which can be selecied by the ITEM keys to make the instru- ment work as follows: FULL Mode: When you select this mode: by In 1 are sent to intemal Generation, to the Sequencer-record and to The Chord Recognizer (Ch 1 only); the__messaces oenerated | by the Accompaniment are sent to Internal Generation and the the Sequencer-record; the messages generated by Sequencer-play ae sent to the intemal Generation an 10 Midi the Sysiem Exclusive messages generated by the Panel keys (see Appendix A.5, O4H and OSH commands) are not sent to any Destination. Use this mode when you attach such instruments a5 a Master Keyboard or so players fo Mic in on?X. EXPANDER Mode: When you select this mode: messages received by In 1 are sent the Internal Generation and to Midi Out; by the the _messaces —_aenerated Accompaniments Sequencer-Play are rot sent to any Destination; by the Panel keys (see Append AS, O41 and OSH commands) are not sent fo any Destination, Use this mode when you want Midi Qut to be a replica of Midi Thru 1 and 7X will work as an Expander, Le. it will play its sounds from an exter- nal keyboard (master keyboard) or a Personal Computer connected to In 1. The messages received via Midi will not modify the configuration of the panel and display. Audio | Power Amplifier ey te J CT SEQUENCER! Mode: when this mode is setec- ted: the messages received by In 1 are sent to Midi Out, to the Sequencer-record and to the Chord Recognizer (Ch 1 only); tf by the Accompaniment are sent fo Midi Out and to the Sequencer-record; by Sequencer-play are sent only to Midi Out, the System Exclusive messages generated by the Panol keys (See Appendix A.5, O4H and OSH commands) are not sent fo any Destination. Use this made when you wish to use 7X as a Sequencer. Connect Midi Out to the Midi input on an external expander and even to “solos” you may lke to play on a Master Keyboard connected to Midi In 1 on 7X. The chords received via Midi will control the automatic accompaniment Audio Out Power Amplifier NB. In the Sequencer! Mode 7X's Internal Generation is virtually Inactive (excep! for as specified in Par 4.2.2.5) therefore if an exter- nal amplifier is connected it will not work. pag. 26SEQUENCER? Mode: when this mode is selec: the messages received by In 4 are sent to Internal Generation, to the Sequencer-record and to Tho Chord Racognizer (Ch ¥ only); | y the the _messages generated Accompaniment are sent to internal Generation and the the Sequencer-record; the messages generated by by Sequencer-play are sent to the Intemal Generation; the System Exclusive messages generated by the Panel keys (see Appendix A.5, OSH and ‘5H commands) are not sent to any Destination. Use this mode when you wish 7X to behave as a Module controtied by ts own sequancer and by a master keyboard connected to Midi In 4 Audio Out Power Amplifier lecosonsond S850] N.B. In SEQUENCER? Mode Midi Out Is virual- ly Inactive and thus will not transmit messa- GEE putea (excepting as explained In Para 4.2.2.2 Detailed use of MIDI The infomaiceoerAtin Bara 4.2.2.4 should be taken as 72's “basic” configuratio. n, The folowing paragraph explains how you ‘can modify the Modé control parameters to Midi communication to mest your own personal requirements. One of 7X’s most remarkable features is the management of everything that Is directly or ind rectly related to Midi. From this point of view the instrument should no longer be considered in. the way ils Seuctured rama fe: civied info Poly subdivided into generation devices and special zed channels, 16 of which are extemal and 16 intemal, but invisible fo the user), but rather as @ Syetem which communicates with is functional arts. 7X is a group of Mid! message “sources” ‘and another group af “destinations” to those messages. The sources produce the messages while the destinations interpret ‘and perform them. Selecting one of the 4 medes described in the the previous Para 4.2.2.1 immediately sets the configuration of the keyboard without any further settings being necessary (except setling tha t ters as described in Para 4.2.2.5). Each of these modes is a group of parameters which are set automatically when you select {nat mode. ° Parameters can algo be set individually and differ from each other. Using Midi Fait in the Detailed Mode means iearning the meaning and effect of each parameter so as they may be used in the Most sophisticated way possible. ‘The 4 sets of parameters governing the Mode {and the parameters of the Configurations and he status of the filters) can be recorded on disk with @ name chosen by the user plus the exten- sion ‘SMI. The recording can be recalled with a single command which wil configure 7X as on the disk (see Paras 4.3.2. and 4 5 ie display will show 4 windows, two of which bear the sour~ ces (SOURCE) and destinations (DEST) of the messages and two which contain the relative control parameters. By selecting a source and a destination by using the cur- oF moved by the 4 arrows, the two windows on the right, of the dspiay will stow the relative parameters. The wine ‘dows can be reached by using the horizontal arrows and the tems in eact window are Selected by using the ver cal artows and can be modfied by using the o-dal NB. The left window contains 6 Items. The third one "IN 2 + PANEL" sets the parameters for Mid! 2 which will bo discussed In Para 4.2.2.5. The last item on the list "FILTERS" sets the control para- meters for the Midi Filters and is oxplained In Tho other four are the sources insideration by MIDI.All 4 sources in 7X's Modes will now be conside. ted and for each one there will be & description of the parameters controlling the flow of information with each of the possible Destinations, The following items can be selected in the two windows to the left of the display DEST IDI IN. GENERATION ACCOMPANIMENT — MIDI OUT. SEQUENCER (Play) SEQUENCER (Record) PANEL CHORD RECOGNIZER A complete list of System Exclusive Messages recognized by 7X, i.e. what the machine compu- tas in the Midi Edit environment, is available in Appencix AS. Source: IN 1 This source can be connected to 4 destinations: GENERATION, MIDI_ OUT. SEQUENCER (Record) and CHORD RECOGNIZE. Midi in 1 > Generation Flow MIDIIN1 GENERATION Allexcept Only System Exc System Exe Ht OFF OFF He GENt ON CHS GEN2 CHa GENS CHS GENa CHE GENS CHT GENS cHe GEN? CHO GENS CHio GENS CHIT GEN10 cHi2 GENT! CHi3 GENI2 cHia GEN13 CHIs Genta cHie GENI5 SYS-EX GENIE POLY 1 U POLY 20 POLY Low BASS DRUMS For each MIDI IN 4 channel a GENERATION (GEN xx) and a POLY or rhythmic accompani- ment (percussions and bass) channel is selected {9 which the data are to be seni. You can choose the same item from the GENERATION list for more than one MID! IN 1 channel (but rot vice- versa). You can select OFF in GENERATION tor a MIDI IN 1 channel when, for example, you don't wish a note to be generated for messages on that channel. it you select SYS-EX in MIDI IN, MID! OUT will have only the OFF and ON options which mean respectively “do not affect generation” and "alfect jeneration’. few words should be said about the generation channels GEN 01,...GEN 16: Midi messages serit to these are interpreted and performed (e.g. Program Change 00 received via Midi will play the Piano), but do not affect the instrument and panel settings (all settings previous to Program Change 00 being received via Midi will remain unaltered as will anything being played on the keyboard). Mid! in > Midi Out Flow MIDIIN1 = MIDI OUT Allexcept Only System Exo System Exe cHt OFF OFF GHe GHt ON CHE C2 CHa Ha CHS: CHa CHE CHS CHT CHB CHB cH? CHa CHa CHt0 CHa CHIT CHi0 GH12 Hit CH18 CH12 cH14 CH13 CHS CHa CHie CHS SYS-EX CHi6 For each MIDI IN 4 channel you can select the MIDI QUT channel to which messages are to be sent. You can choose the same MIDI OUT chan- nel for more than one MIDI IN 1 channel (but not vice-versa). You can choose OFF in MIDI OUT for a MIDI IN 1 channel it you don't want messa- ges trom that channel to be retransmitted. if you select SYS-EX in MIDI IN 7, MIDI OUT will have only the OFF and ON options which mean respectively "do not transmit" and “transmit” these messages via Midi Out. Midi in > Sequencer (Record) Flow MIDIIN 4 SEQUENCER (REC) Allexcept Qn SysiemExc System Exc cHt OFF OFF CHE CH ON CHS He CHa CHS CHS CHa CHE CHS CHT CHS CHe cH? CHS CHB cHiO CHS cunt CHiO CHI2 CHI CH13 CHi2 CHI4 CHI3 HIS His cH6 HIS SYS-EX CHB pag. 28For each MIDI IN 1 channel you can select the SEQUENCER channel to which its massages will 10 during RECORD. You can select the same EQUENCER channel for more than one MIDI IN 1 channel (but not vice-versa), You can select OFF in the SEQUENCER for a MIDI IN 1 chan- felt you don't want messages on that channel to be recorded. select SYS-EX in MIDI IN 1, SEQUENCER will have only the OFF and ON options which mean respectively “do not record” and “record” these massages in the Sequencer. Midi In > Chord Recognizer Flow MIDIIN Chord Recognizer Allexceot Only System Exc System Exc CHI OFF OFF CH ON In each MIDI IN channel you can decide whether to Send it "ON" or “OFF” to the CHORD RECO- GNIZER. SYSTEM EXCLUSIVE messages are never sent to the CHORD RECOGNIZER. ‘Source: ACCOMPANIMENT ‘Accompaniment can be connected with 3 of the 4 destinations: GENERATION, MIOFOUT and SEQUENCER (Record) Accompaniment > Generation Flow ACCOMPANIMENT — GENERATION ARR1 ACCM OFF ARR2 ACCM ON ARR3 ACCM ‘ARR4 AGCM B. GROUND BASS ACCM DRMS ACC For each item (Ant, Ar2, Arr, Arr4, Back Ground ang Bass) and rhythm (Drums) of AUTOMATIC ACCOMPANIMENT you can decide whether it be seni "ON? or not “OFF to sound generation. Accompaniment > Midi Out Flow ACCOMPANIMENT —MIDI-OUT ARR ACCM NO ‘/ARR2 ACCM Ht ARR3 ACCM che ARR4 ACCM CHS B. GROUND CHa BASS ACCM CHS DRMS ACCM CHG For cach AUTOMATIC ACCOMPANIMENT sec- tion you can decide which MIDI-OUT channel to transit messages on or you can select NO if you do not wish the massages on this section 19 be transmitted via MIDI-OUT. You can select the same MIDI-OUT channel for more than one ACCOMPANIMENT section (but nol vice-versa). Accompaniment > Sequencer (Record) Flow ACCOMPANIMENT SEQUENCER (REC) ARRI ACCM NO. ARR2 ACCM cat ‘ARR3 ACCM CH2 ARR4 ACCM CHa B. GROUND CHa BASS ACCM CHS DRMS ACCM CHS cH? CHB cH CHio CHIT CHI2 HIS CHI4 CHIS CHIE For each AUTOMATIC ACCOMPANIMENT sec- tion you can decide which SEQUENCER channel to transit messages on or you can select NO if yout do not wien the messages on this section to e recorded in SEQUENCER. You can select the same SEQUENCER (RECORD) channel for more than one ACCOM- PANINENT section (out not vice-versa). Source: SEQUENCER (PLAY) You can connect the Sequencer to 3 of the 4 destinations: GENERATION, MIDIOUT AND CHORD RECOGNIZER. pag. 29‘Sequencer (Play) > Generation Flow ‘SEQUENCER (PLAY) GENERATION Allexcept Only System Exo System Exe cHt OFF OFF GH2 GEN1 ON CHS GEN2 CHa GENS CHS GENS He GENS CH? GENS CHE GEN? CHa GENS cHio GENS CHIT GENIO cHi2 GENT CHS GEN12 cHi4 GENI3 CHIS GENT4 CHG. GENIS SYS-EX GENS POLY TU POLY 2U POLY Low BASS ORUMS For each SEQUENCER channel in PLAY, you can select the GENERATION (GEN xx), POLY or thythmmic accompaniment (bass and percussions) to which Its messages are to be sent. You can select the same item on the GENERATION list for more than one of the SEQUENCER channels (but not vice versa). You can select OFF in GENERATION for the SEQUEN- ‘CER channel if, for exemple, you do not want a note 10 be played for the messages on this channel. If you select SYS-EX in SEQUENCER (PLAY), there are then only the OFF and ON options in GENERATION which mean “do nct affect gene- ration® or “affect generation”. Sequencer (Play) > Midi Out Flow SEQUENCER (PLAY) MIDI OUT Allexcept Only Systom Exe Sysiem Exe cH OFF OFF cH GENt ON CHS GEN2 CHa GENS CHS GENS CHE GENS CH? GEN6 CHE GEN7 CHO GENS CHiO GENO CHit GENO cHi2 GENT CHa GEN12 cHis GENI3 CHIS GENI CHie GENTS, SYS-EX GENTS You can docide to send each SEQUENCER channel in PLAY to one of the Midi Out channels. You can select the same SEQUENCER channel in PLAY for more than one MIDI OUT channel. You can select ‘OFF in the SEQUENGER (PLAY) channel If, for ‘example, you do not want the messages on this anne tobe tansmited trough MIDLOUT If you select SYS-EX in SEQUENCER (PLAY), there gre then only the OFF and ON options in GENERATION which mean “do not transmit t channel’ or “ransmit this channet’ via MIDI-QUT.. ‘Sequencer (Play) > Chord Recognizer Flow SEQUENCER (PLAY) CHORD RECOGNIZER Aliexcopt Only System Exe System Exc cut OFF OFF CHE ON CHS CHa CHS CHE CH? CH8 CHS CHO CHIT CHi2 cHi3 CHI4 CHIS cHie SYS-EX Each SEQUENCER (PLAY) channel can be sent *ON" cor not sent “OFF* to the CHORD RECOGNIZER, SYSTEM EXCLUSIVE messages are never sent to the CHORD RECOGNIZER. Source: PANEL ‘The PANEL source considers all the keys on the 7X panel as Sysiom Exclusive Messages (see Appendix A.S, O4H and OSH commands). You can connect Panel with 2 of the 4 destinations: MIDI OUT and SEQUENCER (Record). Panel > Generation Flow ‘The flow of these messages is "DISABLEO” at all times, Panel > Midi Out Flow System Exclusive messages generated by the panel keys canbe “ALL ON" or “ALL OFF”. Panel > Sequencer (Record) Flow ‘System Exclusive messages generated by the panel keys canbe "ALL ON" or*ALL OFF". Panel > Chord Recognizer Flow ‘The flow of these messages is "DISABLED" at all times. pag. 304.2.2.3 The MIDI Edit Filters ‘This environment is accessed by selecting FILTERS in the SOURCE window inthe MIDIEDIT menu Dan =) am |e ii cH ‘As can be seen, to the right of the SOURCE window there are three other windows, one showing the 15 MIDI channe’s, another with the list of reception. ters (Rx FILTERS) and one wih the Ist of Wansris: sion titers (Tx FILTERS). . ‘The windows can be accessed by using the hori- zontal arrows, the list by the vertical arrows and Values in eacti Ist can be changed by using the & a Midi fitters allow you to control reception and tvan- smission of Midi messages channel by channel. It you select a Midi channel (in the MIDI window) and then move the cursor inlo ane of the two filters windows, you will see the setting in that particular channel, which you may then charige if you wish. Sometimes it is advisable for a titer to have the same value for atl 16 MIDI channels; by using the ALL-CHANNEL function you can avoid having to change all the channels one by one. Use the cursor to highlight fhe filter you wish to give the same value to on all 16 channels; use the a-dial to assign your chosen value; press the FB {ALL-CH) function key to assign the current value to all channels. You can repeat this procedure for any reception or transmission filter. Let us now take a look at the Midi reception and transmission filter controls. Rx Tx VELOC. (Velocity): when set (ON) the effecti- ve value of dynamics will be transmitted or received. By selling a value between 0 and 127, the effect Velocity of the note pressed is substitules with this setting (Werning: setting th value 0 means that the notes cannot be heard). Fx Tx AFTER T. (After Touch): Switches After ‘Touch Midi messages (ON) or (OFF). Rx Tx MODULAT (Modulation): Switches the Midi messages of the Modulation Wheel (ON) or (OFF). Rx Tx PIT.BEN (Pitch Bend): Switches the Midt messages Of the Pitch Bender (ON) or (OFF). Rx Tx P.B.SEN (Pitch Bend Sensitivity): Switches the Midi messages of the Pitch Bend Sensitivity (ON) or (OFF). Rx CLOCK: Lets you choose the kind af MIDI reception you prefer, Possible values are Imernal anc Midi. Nt (INTERNAL): Real Time messages are igno- re LQ (u/0): Real Time messages are Interpreted an performed. E.g. The Mici message “FA” starts the drums at tha speed set by the *F8s! received the crums do not start fo play until the "FBS" are feceived (atter the first FA). Tx CLOCK: Switghes the Midi messages of the Clock (ON) or (OFF) Rx Tx STR/STP (StarvStop): Switches the Midi Start {FAY Stop (FC) codes (ON) or (OFF). Rx Tx EFFECTS: Ignores (OFF) or does not ignore (ON} Midi Effects seltings. Rx Tx VOLUME: Ignores (OFF) or does not ignore (ON) Midi Volume messages. Rx Tx PAN-POT: Ignores (OFF) or does not ignore (ON) Midi Pan Pot messages. Ric Tx EXPR.P (Expresion Pedal): Ignores (OFF) or does not ignore (ON) Mid Expression Pedal messages. Rx Tx HOLD: Ignores (OFF) or does not ignore (ON) Mici Hold messages: RCS Tax BANK: ignores (OFF) or does not ignore (ON) Midi sound bank selections. Fx Tx PRG.CNG (Program Change): Ignores (OFF) ‘or does not Ignore (ON) Midi Program Change mes- sages, Rx Tx ALLNOFF (All Notes Off): Ignores (OFF) or does nat ignore (ON) Midi “All notes off" command, Rx Tx ALLSOFF (All Sounds Of): Ignores (OFF) or does not Ignore {ON} Mat “All Sounds off" command. Rx Tx RES.CNT (Roset All Controls): Switches the Misi messages of the Reset all controls command (ON) or (GFF). Rx Tx TUNING: Switches the Midi management of tuning massages (ON) or (OFF). Rx Tx EVEN-N (Even Noles): Switches the separate management of even notes (ON) or (OFF). Fx Tx ODD-N (Odd Notes): Switches the separate management of odd notes (ON) or (OFF). Rx Tx N-SHIFT (Note Shift): Transposes the value assigned to the notes. ax Tx TOP-LMT (Top Limi: Establishes a Top Lit to the notes received or transmitted via MIDI. Fx Tx BOTLMT (Goto Li: Establishes @ Boom Lint to ihe notes recelved or transmitied via MIDI. Ax Tx PRG.CNT (Progrem Control): Establishes whether Program Change messages received on that channel are 4g Be inlerreteg as changes in Timbre (TMB}. Program (PAG) or Sie [STL (See Appendix At, Style Management via Mici-in and Sequencer). pag. 31