Elka MK88 Bedienungsanleitung

Dieses Handbuch passt für folgende Modelle

1

Inhaltsverzeichnis

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MK88

MK55

MASTER

CONTROL

KEYBOARD

ELK

A

wtHrld

Isko

lo

thank.

you

for

ctiaossrog

ibc

MK

8S.

5S

Master

Control

Keyboard.

Considered

l

brought

ut

ihe

world

as

tuitd

lh-'

rook

versatile,

I

his

instrument

has

t>:-en

specially

designed

to

control

nil

types

ol

Ml

Li

l

mtuipn

unf,

presenl

and

future,

and

is

indeed

areal

''Opvwii&rw!

Ccnlrv!

Cvfitnf".

This

manual

lias

been

carefully

compiled

!n

ensure

lhal

you

obtain

rhe

v<jry

Ijest

results

from

ll’n;

MK

8&f55

a

nd

w-d

iui.uJ

.in)

|lial

you

read

11

thorcughly

beicre

us«ng

the

instrument

INTRODUCTION

The

Ei.KA

MK

tfttbb

is

a

master

control

keyboard

specifically

designed

to

control

up

Jp

T2

t

omparibli*

units

ny

means

of

I

he

MIDI

data

transmission

system

ihese

unis

an

Include

expanders,

keyboard

synthesiser^

sequencers,

rhythm

unite,

petfalboardsand

J

ny

spiral

effecls

units

such

as

reverberation,

etc.

In

ibis

way

a

complete

MIDI

environment

can

Iv-

sui

up.

canlmiled

and

played

from

I

lie

single

keyboard

of

the

MK

8B/55.

]

28

programmable

PERFORMANCE

PRESETS

art-

avfnlabte

I

hew

are

grrvipwl

into

4

internal

banks

r>l

lb

and

A

external

banks

of

IS

which

are

stored

in

a

RAM

cartridge.

I^t:h

PERFORMANCE

PRESET

mertinn^es

all

Hid

pnsfjramrnaple

functions

(SPLITS,

MIDI

CHANNELS

DYNAMICS

etc.)

and

contains

a

"Set

Up

r

'

memory

which

controls

(be

whote

MIDI

envirunmenl

fPRO¬

GRAM

CHANGES.

VOL

LIME

SETTINGS.

SONG

SELECTION

and

so

on).

A

32

character

Liquid

Crystal

Display

enables

you

to

keep

all

the

various

changes

under

control,

as

each

operation

i*

automalfcaily

visualized

lhe

mstruintrn-

makes

use

of

numerous

'REAL

TIMT"

controls

which

permit

the

manipjlulion

of

any

function

in

a

MlDi

system,

including

continuous

control

of

RHYTHM

UNITS

and

SEQUENCERS

The

keyboard

can

be

split

into

6

zones

which

can

be

overtapped

as

and

when

necessary.

Each

of

these

"Split

2oi

c

an

be

pK.j&rammi.’d

..umpHiHy

differently

HIGH

RESOLUTION

DYNAMICS

with

HOL.V

PHONIC

AFTER

TOUCH,

midi

in

and

FULL

CLOCK

CONTROL

complete

the

specification

which

makes

ihis

trial

rument

the

mosl

complete

MASTER

CONTROL

KEYBOARD

yet

obtainable.

]

CONNECTIONS

FIG,

1

DESIGN

0

F

BACK

PAN

EL,

SHOWING

ACCESSO

R

Y

COM

N

EC

TIN

G

D

ET

AILS.

O

O

9

O.ALO

W

l

__,

f

_

—

_

-

_

t

To

AC

|)f.W!r

VX-fl

MIDI

Five

separate

D3iK

sockete

vail

be

seen

under

the

heading

MIDI,

Two

each

for

MIDI

OUT

1

and

MO

GUT

2,

and

enn

Inr

MIDI

IN

MIDI

OUT

Brnn^

a

Master

Cnnlro

KeyrraFird,

this

instrument

doss

not

have

an

uudLt

uutpui,

ir

l

hat

by

itsdl,

il

ts

no".

capable

of

producing

sounds

as

such.

T

he

reason

for

this

being

that

no

sound

generator

Is

present

in

Line

instrument

ilscll.

All

ihe

sounds

Ihal

are

produced

are

depended

on

the

specilicetKins

uMhu

mstrLirnents

connected

via

MID!

The$£

connections

cm

be

made

by

means

of

the

MIDI

OUT

sockets,

MIDI

0U3

1

and

MIDI

OUT

2.

Two

sockets

for

both

MIDI

OU

I

L

and

MIDI

OUT

2

are

provided.

(See

MIDI

CONNECTION

EXAMPLES

section

for

further

Informal

ion).

From

these

two

pairs

of

sockets,

all

the

MIDI

da:a

necessary

to

set

up,

control

and

play

Ihe

various

Junc¬

tions

or

any

MIDI

compatiOle

Instrument

(EXPANDtH,

SYNTHESIZER.

PEDAE.BOARD,

SEQUENCER

elu

)

will

bo

transmitted

Oh

a

lOSSl

Of

32

completely

independent

channels.

Furthermore.

The

MIDI

OUT

2

sockets

also

provide

a

MIDI

CLOCK

ouipul

for

use

wilh

RHYTHM

UNITS

&r.fl

SEQUENCERS

etc.

(See

MIDI

CONNECTION

EXAMPLES

for

information

On

the

connection

of

these

units).

MIDI

IN

When

r>n

eternal

MIDI

CLOCK

OUT

is

connected

tolhis

Input,

the

DELAY’EC40

and

LOOP

fuiiLtiuris

of

Ihe

MK

S&bb

w\

be

automatically

synchronized

with

this

and

ai

the

same

time

Ihc

internal

clock

will

Ixs

disconnected.

The

EXTERNAL

CLOCK

inc'icalor

(on

the

extreme

left

of

the

panel)

(1)

will

show

lhai

an

external

dock

signal

hfjs

ueen

connected

2

CONNECTIONS

earn'd.

This-

socket,

wh.-o.ri

cun

netted

to

the

MID!

OUT

of

an

external

instrument

will

enable

this

same

insifumenl

[Keyboard

or

Pedalbaarrl)

1o

l?e

aeded

to

the

conlml

system

of

the

MK

#S''S5.

In

this

ease,

all

Hit

fund

.on

5

programmed

jnio

the

Spirt

Zones

5

and

Swill

Lc

vijlid

Ipr

this

external

Instru¬

ment

Tins

Includes

all

the

DELAWECHO

and

LOOP

functions.

Foi

more

L-zpliiil

in'urn

id

|

ion

on

the

iibH

uf

MIDI

iff

you

should

read

die

MIDI

CONNECTION

EXAMPLES

section

further

ahead

Alt

connections

mad*

between

(he

MK

8t5

;

55

and

external

units

must

be

made

with

PIN

standard

Mflif

connecting

cables.

i

his

is

the

corwectfon

recommended

far

(he

Initial

sotting

up

procedures.

Other

more

complex

connection

examples

can

be

found

in

the

relative

section

further

ahead.

PEDALS

Two

jacks

marked

PEDAL

1

and

PEDAL

2

are

to

be

found

on

the

extreme

fell

of

Ihe

hack

pane!

(SwFLG.

1).

rhese

provide

connecting

facilities

la

the

two

analog

pedal

devices

(VP

10,

optional

extra

)

which

can

be

used

to

control

various

funelkins

in

(Tie

PEDAL

SECTION

of

the

GENERAL

CONTROLS

These

functions

can

be

seen

in

1

he

GENERAL

CONTROLS

section

of

the

Matrix

Control

Panel

fSJ.,

under

the

heading

Df

PEDAL

Further

explanation

of

Ihe

functions

controlled

by

thnse

pedals

Is

to

be

found

in

rho

section

G

E

N

Efl

At

CO

NT

ROL

S.

furl

tier

a

I

read.

FOOTSWITCH

ES

Up

tfi

lour

foot

swilches

[MP

7

type,

optional)

can

to

connected

to

the

MK

&S/55.

The

functions

controlled

by

to*

of

these,

FOOTSWITCH

1

and

FOOTS

WITCH

2

are

programmable

bv

making

reference

to

Ihe

line

of

functions

corresponding

to

FOOTSWITCH

in

Ihe

GENERAL

CONTROLS

pirt

ol

the

Matrix

Control

Panel

(5),

Further

details

are

contained

in

the

GENERAL

CONTROLS

section

further

ahead.

The

remaining

two

sockets

a

r

e

used

for

Ihe

connection

of

two

ol

the

same

type

or

fooEswitchos,

but

in

Ihfcse

iwn

rases

to

perform

sp.-rilir

n

motions

One

nt

these

is

used

tn

enable

an

advarcomenl

of

the

PER

FQRMAWCE

each

time

the

switch

is

pressed

(PERFORMANCE

ADVANCE}.

The

Other

socket

marked

FIJLl

used

Lti

activate

nr

deactivate

Inis

same

J

unc1ion

MEMORV

CARTRIDGES

The

RAM

MK

cartridges

should

be

inserted

into

their

appropriate

pxil

on

ilia

fronl

panel

£22},

Each

carl

ridge

is

capable

of

Storing

64

PERFORMANCE

PRESETS

grouped

into

4

banks

ol

lfi.

CVtAINS

Connect

1.1

io

power

supply

cable

lean

A.C.

voltage

output

socket

of

the

correct

voltaic.

3

CONTROLS

SPLIT

CONTROLS

(6)

r

-

fie.

:i

SKIT

CON

EftOLS

SECTION

OF

CONTROL

MATRIX

Altar

conneciing

me

instrument

to

an

expander

or

syntecsi/er

via

I

her

MIDI

OUT

L

socket

on

Hie

back

panel,

iwilch

them

ooih

on

The

normal

opc-ratirg

mede

oi

hie

instiument

&

(.tie

SF^L.iT

.MODEL.

This

means

that

the

keyboard

can

t>

spill

into

3

maximum

oi

six

separate

zones,

wricM

leu

be

Independently

proj^mmed.

I

si-*

olhn

nwtfc

1

is

the

Ft

LL

MODE

which

enables

the

voices

of

each

si'll

to

sound

over

site

full

oxtanl

oi

II

m

kuytKtiKL

As

oil

tile

SPl

IT

ZONES

that

yon

program

can

be

acllvalird

in

the

SPLIT

a-ndor

HUL

L

MODE.

you

have

three

r^tete

w^ys

to

use

each

SHJI

ZO^L

1.

SPLIT

ON

FULL

OFF

The

sound

will

only

bo

j<

live

in

the

SPLIT

MOOT

(in

the

retevami

SPLIT

ZONE!

but

not

in

the

FULL

MODt

2.

SPLITON

FULLON

The

sound

will

bo

active

in

both

the

SPLIT

MODE

(in

ltie

relevant

SPLIT

ZONE}

and

(he

FULL

MODE

(across

me

whole

keyboard

I.

3.

SPLIT

OFF,PULL

ON

The

sound

wall

be

only

be

active

in

Ihf

FULL

MODE.

I|

b

iheiulbfo

possiblu

to

proftMin

the

MK

8&S5

and

n's

associated

external

unK

SO

that

completely

dilfe-

rcnT

■

sou*i*:Js

active

across

l

ie

kcyboaitt

in

me

SPLIT

anti

FULL

modes

To

make

use

c-r

She

FULL

MODE

you

shoo

d

connect

an

MP

?

teolswfch

ioptiunai

extra}

to

the

FULL

socket

on

Lhe

tack

pan#

o!

the

Instrument

In

ihi*.

way

.in

die

SPLIT

ZONES

that

you

program

in

ilm

Fuu

MODE

will

be

made

to

runctxm

or

(he

entire

length

oT

the

keyboard

when

you

activate

this

footswilch

tl

one

of

iluj

SPLIT

ZONES

programmed

does

mil

iliny,

you

should

check

lhai

n

has

been

activated

correctly

Ai

this

pent

you

should

teikw

Ihe

instructions

below,

very

c^rtJ'uiiy,

in

order

to

obtain

an

nitial

setting

li

tills

way

yju

wrS

be

in

a

position

to

siart

ptaying

on

the

keyboard

ann

Ih^n

pi-oytl

to

all

ihe

other

uanw

selling

up

operations.

Fo<

the

purpose

of

Ibis

initial

setting

up

praeoelurf,

you

will

ho

programming

the

MK

88

55

with

one

SPLIT

ZONE

(SPLIT

1}

end

Ibis

will

bo

transmitting

on

MIDI

CHANNEL

1.

SPLIT

POINT

1.

Press

one

cl

the

buttons

£1*16)

m

the

row

□

(

Pultons

under

Ihe

central

matrix

oT

oontrofs.

2.

rV'r,-.

PANEL

«in

Hio

?

,lronx‘

right

of

|*it

COrltralb

in-!

!

fmglln*

tad

II'

li

diet

light

to

thuSPL'l

KJlNl

jK.i'jtn:"

b

r

moans

oT

ihe

UP

.‘DOWN

buttons

A

V

(15)

[see

Fig.

4

on

page

5)

found

under

tr>u

control

indicatin'

lights

or

the

Ml

of

me

cenlrai

tomrat

matrix

I

SPLIT

CONTROLS

coin'd.

(SPLIT

POINT)

FIG.

4

PANEL

DETAILS

(WITH

UP/DQWN

BUTTONS

ON

THE

LEFT,

ALSO

USED

FOB

PERF.

SLQ

f

1

f

wr'l

pimivior

P

MJiiHU

K

1

CHHWI

dTHllW

jijpri

■

iniiTH

•-*H

4

f—!d

TP

-

u:

pwrrniT>i

i

l

puwriHpi

i

fiU«L

UCfl

i

T

3

II

MLJiM-T-O

•IDO#-

I

#

4

^

■

**

Hi—.

w**

y

F

+I

■

fa

■

-

4

i

■

'

b

I

p

1

,p

UfrDGWN

BUTTONS.

(15>

PERFORMANCE

PJCSCT

SELECTION

BUTTONS

UG>

FULL-SPLIT

O.N.YiFF

Lused

Id

n

imc

ed

indicator)

BUTTONS

It

should

be

remembered

that

to

make

any

editing

operation

you

should

first

press

the

PANEL

button

(11)

and

then

move

the

indicator

light

tothE

desired

section

in

parts

(5)

and

(6)

on

matrix.

3,

Pmi$

SPLIT

1

-in

tin?

BANKS'S

PL

IT;

FREE

(19)

RWp

Ol

buttons

w

the

lower

right

hand

sme

of

I

he

con!

ml

panel.

4-

Lhe

SPLH

^ONE

should

now

be

achvaled

in

one

or

bolh

of

the

two

modes

using

)he

buttons

corre¬

sponding

to

SPLIT

ON

aid

FULL

ON,

It

should

be

remembered

that

Ll>£

functions

assigned

In

each

SPLIT

/ONE

will

only

heoperaliue

when

playing

in

an

activated

mode

fer

each

respective

SPLIT.

Ihat

fe

SPLIT,

FULL

or

both

r

IG

h

EXAM

PL.

|

t)i

VIA1K

JX

CUM

I

KOL

SYS

I

EM,

ACIIVA11

ON

W

Shi

<!

ON

MODE.

—

tf

5

l

mil

run

I

Hitt

*

l«J„«/iJ.

v

m

CHinEL

w

frl»UUftL

■

■

r

ir

h

icixh

4

m

*

I

a

i

i

rfVHI

■

-

■

AT

Ml

iwt'«>

■

raw.

kLrixi*

MlA-ICMI

■

if

-

W

%l

H

i

■

i

Press

IMb

ballon

B

SPLIl

CONTROLS

cont'd

(SPLIT

POINT

1

II

is

advisable

That

>tw

uttaSPLJ

•

ZONE

activated

over

the

entire

freyboard

if

itiahy

to

li-o'gi

you

tu

become

Limilinr

w,lh

;iH

Ihj-'vurims

functions

wthaiil

beconing

involved

m

I

he

keyboard

spliLtinft

process

li

should

1

x

1

remembered

Uiaiin

ell

me

soiling

up

procedures

to

b&rained

on'

cm

the

m.»n

Lj&ntiHjI

main*

having

Trst

KHvated

Hv.

1

PANEL

mode

button

(11}

as

explained

earlier,

you

should

then

irwvc

th?

uwf

f

at&f

h(jlit

UP

and

DOWN

according''/

to

indicate

fl»

ObnlroJ

that

you

war

l

to

w!

up

Al

this

t»n(

you

siKiuld

UIm:

care

:u

select

trie

SPLIT

ZONE

iii-il

you

w.v-r

to

ore-gramme,

by

means

of

the

SPLIT

Sjullons

in

irm

HAWfc'5

PUT.'FREE

groupal

buttons

(19}

and

then

folkw,-

the

separate

insEmctrons

ftr

each

function

You

can

now

proceed

w-tfi

me

initial

selling

up

of

the

keyboard

as

(ollews-

After

assunng

I

hat

ilia

red

mdicaior

l-gin

is

iLashlng

in

the

SPuT

POINT

[Hellion

proceed

as

r<rilnv*y

1,

P

res?

SPLIT

1

in

[tie

BANK/SPlLtfFREE

group

ot

bullions

(19)

on

the

right

o'

ihe

display.

Hard

liu.

button

down

until

die

display

changes

t&:

proas

lovast

■

P

:

1

.

A

-

-

2,

P

ress

the

(barest

key

requited

n

flit

SPl

IT

ZONE

and

[fie

drsp'ay

w.

I

change

r.j

;

p

£

&

s

3

highest

P

:

1

.

A

-

-

3.

A

t

IIus

i&cjnL

pness

Ihfi

highest

tujy

required

m

tins

SHU1

ZONE

Having

dona

thEs,

you

will

have

set

Ihe

lowest

and

highest

limits

of

the

ZONE

and

Hus

extension

will

now

bo

shown

cn

[tie

display

a

r

>

shrjivh

bdte-w:

1ms

dapiay

example

it,

showihg

a

Tull

keyboard

e>1en$i-3n

foe

SPLIT

1

on

the

FZKSS

model

(A

-

C7)

Split

1

A

-C

7

P

:

1

A

-

-

Feu

the

initrjl

setting

up

procedure,

you

can

rgnore

Ihe

second

SF'Lll

CON

I

ROL

r

rival

iy

TRANSPOSE,

a^d

h

i7ju

directly

down

!o

the

MIDI

LMANNEl

eonteii

by

u*

int

DOWN

bullon

V

(IS)

(net

Fig,

4),

e

SPLIT

CONTROLS

cant'd

MIDI

CHANNEL

After

assuring

that

the

rod

Indicator

light

is

flashing

in

the

MIDI

CHANNEL

position.

you

are

now

a

hi*

1

tn

programme

The

(i-ansmission

channel

for

cadi

ol

the

SPLIT

ZONES

on

Ihe

MK

6B/55.

Remember

thal.

Ihri

MIDI

CHANNEL

musi

be

the

same

on

both

the

MK

B3-'55

and

lhe

external

unit

that

i&

being

controlled

for

each

respcc

live

sec

lion

This

will

ensure

Ihe

transmission

of

all

fnedata

Lhal

you

programme

1.

Press

111=3

tuition

corresponding

(o

OUT

1,

the

penultimate

Irorri

the

right

in

me

row

ol

buttons

witter

Ihe

central

matrix

[16).

This

is

very

important

because,

for

Ihe

initial

selling

up

procedure

you

shourd

have

connected

to

Ihe

MIDI

CUT

t

sodte;

on

the

MK

R&'55

[see

Fig,

1

and

Fig.

2

an

pages

2

and

3).

No

soLrnri

will

be

heard

if

Ihe

MIDI

CHANNELS

have

not

been

programmed

to

the

appropriate

MIDI

OUT

socket

2,

Press

the

button

corresponding

to

Ihe

MIDI

CHANNEL

(hat

yOo

wafll

(0

assign

to

ihe

SPLIT

ZONE

irdi-

caled

on

Ihe

display

(In

this

initial

procedure.

SPLIT

1

)

Remember

that

you

must

assign

a

MIDI

CHANNEL,

from

1

-

16,

to

all

the

programmed

SPLIT

ZONES

when

completely

programming

the

instrument,

after

having

done

the

initial

setting

up

which

is

ossenlial

to

make

die

instrument

play.

M

you

now

play

on

the

keyboard,

you

will

hear

Ihe

voice

lliat

has

been

programmed

nr

the

external

unit

(expander,

keyboard,

pedalboatd

do.)

that

you

have

connected

to

the

MK

if

you

do

not

hear

any

sound,

cheek

that:

a)

I

hit

MIDI

cabin

Is

connected

rwrealy

(o

Iho

MIDI

OUT

1

socket.

bj

thif,

cable

is

connected

In

LIig

MIDI

IN

socket

on

Ihe

external

umt.

o)

SPL

s

T

J

has

been

activated

[SPLIT

ON),

[See

point

4

in

SPLIT

POINT

on

page

5),

d)

She

MIDI

ON,

'OFF

hulten

has

been

activated

if

you

are

using

an

ELK

A

moduli!-,

o)

lhe

MIDI

OUT

and

VflDI

CHANNEL

assignments

have

been

camecont

correctly.

f]

ih«

connections

between

the

external

uml

and

Hie

power

amplifier/mixef

have

lH?en

carried

out

correctly

iiMd

Lhal

ihese

units

have

been

turned

on.

11

all

is

well

you

can

piocetKl

lo

the

programming

of

1

he

oilier

SPLIT

CONI

ROL5:

TRANSPOSE,

DVNAMtC

and

AFTER

TOUCH.

TRANSPOSE

To

programme

a

transposition

s>ou

should

move

the

indicator

lighi

to

TRANSPOSE

by

means

nt

ihe

LIP,'DOWN

buttons

A

T

[15)

a

net

then

proceed

as

follows

1.

I

ir;

I

press

SPLIT

1

in

the

BANWSPLITyFREE

section,

U9)

a

make

sure

measure

in

case

other

splits

have

been

selected

during

previous

programming

and

make

sure

that

il

has

been

activated.

[SPLIT

QN

and'or

FULL

ON)

2.

II

you

want

to

carry

out

a

positive

irons

position

(raise

ihe

key)

(hen

press

button

number

1

(16),

this

correspcnds

to

SET

+,

At

this

point

(he

led

indicator

In

button

l

posilton

will

be

flashing

and

the

display

will

show

this

message;

sat

po

9

.

transp!

F

!

1

A

-

-

SPLIT

CDMTROlS

loi

itU

[TRftNSPOSEJ

You

should

now

press-

one

of

the

leys

on

the

keyboard

1o

make

a

posilive

transposition

ustrrg,

the

lowest

C

key

as

a

reference

point

Tor

example

if

you

want

to

transpose

ttie

keyboard

ty

one

octane

then

you

should

press

the

key

ihal

is

one

oitave

higher

then

bollom

C

Pressing

(he

owest

F

w

i|

shew

+

0.5

on

display,

second

D

-

+1,?

octaves

and

second

G

-

+-

1,7

etc.

These

readings

are

expressed

in

octaves

nil

til

Vi?

Delates.

Having

done

Jhis

r

the

SET

+

red

will

be-

turned

olf

and

the

TRANSPOSE

ON

indicator

turned

on

la

inform

you

that

a

transposition

has

been

programmed

and

the

Tot

Irving

display

will

be

seen

Split

1

+

1,

0

p

;

l

a

-

-

By

the

same

means.

H

you

want

to

make

a

negative

trarsposifon,

proceed

a-i

follows:

1.

Press

SET

-

r

corresponding

to

button

9

>

n

Ihe

central

row

ol

buttons

f

Eft},

The

display

wtl

I

now

sin

fw

sot

nog.

transp!

F

;

1

A

-

-

2,

As

fn

ttie

positive

transposition

procedure,

press

one

of

the

keys

on

(he

keyboard,

txit

Hits

lime

using

1

lie

highest

C

as

a

reference

pant.

For

example

i(

you

reejuire

a

negative

transposition

from

C

down

to

A,

(lien

press

the

A

key

immediately

below

the

(op

key

(Cl.

(Display

will

show

0.3).

If

you

need

in

transpose

down

by

one

octave,

then

you

should

press

the

tey

lhal

Is

one

ocl.ive

below

the

top

C

on

the

keylwartM—

1,0).

Having

performed

Ihis

negalrve

Eransposlion,

ol

one

oc'ave

rcr

example,

the

display

will

r.hnw

the

following

inforn

alien

Split

1

-1,0

P

:

1

A

■

—

—

SFU

1

CONTROLS

coin'd.

[TRANSPOSE]

The

transposition

that

you

have

programmed

boebsactivated

by

means

gf

1

he

bullon

marked

ND„

cw-

r-ispqndirvg

lo

TRANSPOSE

OFT

grid

be;

made

operative

Jgfliil

When

rCguKaJ

by

prr^jriE

VE;$

t

cOrre-

sl'iDhdin^lo

TRANSPOSE

ON.

$e<>

FIG.

GtbelcnvJ.

y

w

VIS

1

TRANSPOSE

ON

OFF

■

H

M

mm

buttons

it

wt

/caff

Hiw\

/

f

OiPlK

i'fliistei\

f

transpose

nr?

\

IRAN&PttSEON

When

diaacli

voted

the

dismay

will

sii-cw

ltic

normal

sp'il

range

o'

SPLIT

ZONE

!

|

RANiPW

OFT

tHANSPOSE

dN

Split

1

Vi

1

A

c

1

-

C

«

Split

1

Pi

1

A

+

1

,

0

DiipJay

fijiarnplfrs

for

a

one

gcbvc

po^ttivi;

(raojpfltitifln,

DYNAMIC

Vlju

Have

19

dillerenl

dynamic

resporses

Citable

far

selecting

and

asstfirirnerit

to

each

SPLIT

£GNC

Hie

lir^i

fl

fiti

■

pcsiliyg

cufYfrS,

wnJch

means

that

Hie

haed(r

you

phry

:hr.-

higher

Iho

dynamic

value.

Tho

second

a

dynamic

responses

are

curves

which

worn

m

an

inverse

way,

these

arc

calico

nesalivc

cur¬

ves.

When

you

select

ene

r;1

Hiese,

playing

the

Keyboard

tightly

will

r^auit

m

a

ii

gh

ctynam-c

value

whilst

Harder

playing

will

decrease

the

dynamic

value

proiwitionalry

according

lu

the

curve

chosen.

These

are

followed

Jjy

two

fUed

levels

corresponding

to

1/3and

2/3

of

Ihe

maximum

level

and

DYNAMIC

VALUE,

I

tie

control

0

!

which

when

selected

l

an

be

assigned

to

the

PEDAL,

WHEEl

U31

and

SLIDER

(2)

Donlfols.

This

procedure

is

fully

captained

m

the

GENERAL

CONTROLS

section,

the

use

ol

two

superimposed

SPLIT

ZONES.

one

having

a

positive

curve

and

thegther

a

negative

curve

wilt

result

m

I

he-

loaiow.ng

Liglil

playing

will

enabe

one

offezt

to

be

heard,

playing, h

cavity

will

result

in

this

decreasing

and

|lic

other

el

fee

l

being

heard

while

pitying

with

mnrfum

press

jo;

m

lire

keyboard

will

(liny

l>:iS»i

riffrHiS^sisiiiiiri-t-

neously.

The

DYNAMIC

SENSiT

iviTV

oi

ihe

keyboard

can

bo

varied

to

yeur

liking

by

moan

i

on

ho

relative

control

on

I

he

hack

panel

(Sec

Fig.

1

on

page

Z>.

Willi

tins

wilroi

turned

lotozirds

liie

-

side

r

the

keyboard:

will

acquire

a

narcer

response

lo

lho

curves,

pro

jammed

whereas

when

Turned

Towards

ihe

-s-

s.ae..

this

response

will

become

more

spontaneous

and

the

keyboard

will

appear

lo

be

tighter

r

i

5PI

IF

CONTROLS

cont'd.

(DYNAMIC)

Jo

select

these

dynamic

responses,

you

should

press

PANEL

(11]

and

then

move

I

lie

flashing

led

indica¬

tor

\o

the

DYNAMIC

position

In

the

SPLIT

CONTROLS

section

of

the

central

cunlrbl

matrix.

After

selecting

ine

SPLIT

ZONE

Ilia!

yoiJ

want

to

program

by

means

of

the

SPLIT

selection

buttons

in

the

BANK/5PL

IT

FREE

group

of

buttons

(19)

lo

he

found

on

(tie

right

of

the

display

press

the

billion

corresponding

to

Lire

DYNAMIC

RESPONSE

hat

you

want

Louse.

N

B.

if

selected,

DYNAMIC

VALUE

must

be

4$$igaed

to

j

control

ns

explained

In

the

GENERAL

CON¬

TROLS

instructions.

wf.ii

r-

rt'niia

£

l

i.

'•

■

Pi

IT

CONTROLS

SECTION

01

CONTROL

MATRIX

f5h[?win£

DYNAMIC

hnd

AFTER

lOLOl

uivkI

AFTER

TOUCH

TJyg

polyphonic

AE

TER

TOUCH

facility

featured

on

tins

Instrument

is

a

mnans

of

controlling

various

para¬

meters

by

varying

the

amount

of

pressure

applied

to

the

key

after

actually

playing

a

note.

This

facility

is

divided

into

two

sedans:

L....8

Response

curves

wilted

tailor

the

effect

to

your

Individual

requirements

9...

17

The

various

functions

at

your

disposal

N.B.

N

fll

s

1

-

4

are

positive

curves

whorens

N

Q-

s

5

-

3

are

negative.

This

means

that

when

using

the

PITCH

BEND

effect,

for

example,

increased

pressure

or

the

key

will

cause

a

rise

En

pitch

with

curves

1

•

4

and

a

felt

in

pitch

with

curves

5

■

§.

The

MK

38/55

Incorporates

Hie

rare

facility

ol

being

able

to

transmit

POLYPHONIC

AFTER

TOUCH

infor¬

mation

which

only

affects

the

particular

note

or

notes

that

e*!ra

pressure

is

applied

to.

il

the

external

unit

or

units

connected

to

the

MK

80/55

do

not

have

Hie

specification

to

receive

this

POLYPHONIC

informa¬

tion,

then

the

TOUCH

POLY

mode

should

net

be

used

as

il

will

net

function

To

check

I

hi

ft,

you

should

consult

I

he

relevant

owner's

manual.

To

set

up

the

AFTER

TOUCH

function

you

should

follow

this

procedure:

Al'rr

pressing

PANEL

(11),

1.

Move

indicatorlight

lo

AFTERTGUCH

by

means

or

UP/DOWN

i,

T

buttons

(15).

2.

Select

hie

SPl

IT

ZONE

lhal

you

are

selling

up,

by

pressing

one

of

Ihp

SPLIT

buttons

Tram

1-6

in

Ihe

BANWSPLlT/FREC

group

of

buttons

(19).

3.

Activate

the

ATTFR

TOUCH

function

by

pressing

Lh&

button

corresponding

to

ON

(extreme

right

in

I

he

line

nl

control

bullous

under

the

central

matrix,

4.

Select

feu

typo

of

response

that

you

require

by

pressing

one

of

the

buttons

1-S

corresponding

to

the

response

curves

of

the

AFTER

TOUCH

10