Novation KS Rack Quick Start Manual

Main Features................................................................ 2 Conventions used in this Manual................................... 2 Quick Start Guide.................................................. 3 Connecting to audio and MIDI equipment...................... 3 Listening to the factory preset sounds........................... 3 Selecting Programs and Drum Maps............................. 3 Selecting Performances................................................. 4 Editing a sound............................................................... 5 Saving a sound............................................................... 6 Editing a Performance.................................................... 7 Saving a Performance.................................................... 8 Listening to the factory demonstration........................... 8 Synthesis Tutorial................................................. 9 Elements of a sound....................................................... 9 Oscillators and waveforms............................................. 9 The Mixer...................................................................... 11 The Filter....................................................................... 11 Envelopes and Amplifier............................................... 12 LFOs............................................................................. 13 Memories...................................................................... 14 Summary....................................................................... 14 MIDI Tutorial......................................................... 15 About MIDI.................................................................... 15 MIDI messages ........................................................... 15 MIDI and Sequencers.................................................. 17 Summary....................................................................... 17 Main Features and Operation............................ 18 Front Panel Layout....................................................... 18 Modes and Menus........................................................ 19 Oscillator Section.......................................................... 22 Mixer Section................................................................ 23 Filter Section................................................................. 24 LFOs Section................................................................ 25 Envelopes Section........................................................ 26 Volume, Headphones and Audio Input Section........... 26 Effects Section.............................................................. 27 Arpeggiator Section...................................................... 28 Hypersync Section........................................................ 29 Part Edit Section........................................................... 31 Display and Data Entry Section................................... 32 Mode and Keypad Section........................................... 33 Advanced Features............................................. 34 Oscillator Menu............................................................ 34 Mixer Menu.................................................................. 37 Filter Menu............................................................ .......37 LFOs Menu.................................................................. 38 Envelopes Menu.......................................................... 39 The Effects Menus...................................................... 41 Delay Menu................................................................ 41 Reverb Menu.............................................................. 42 Chorus Menu................................................................43 Distortion Menu............................................................44 EQ Menu..................................................................... 45 Panning Menu............................................................. 46 Vocoder Menu............................................................ 46 Other Menus..................................................................47 Wheels Menu............................................................... 47 Aftertouch and Breath Menu........................................ 48 Utilities Menu................................................................ 49 Global Menu................................................................. 50 Synchronisation Menu.................................................. 52 Arpeggiator Menu......................................................... 53 Part Edit Menu............................................................. 55 MIDI Specification........................................................ 56 MIDI Program Changes and Bank Select.................... 56 Appendix.............................................................. 57 MIDI Implementation Chart........................................... 57 KS Rack Factory Preset Program Listings.................. 58 KS Rack Factory Preset Performance Listings............ 60 KS Rack Factory Drum Bank Listings......................... 61 MIDI Controller List....................................................... 62 MIDI NRPN List............................................................ 64 Packed Controller / NRPN Details................................ 65 MIDI System Exclusive................................................. 66 Safety notice, CE and FCC Approvals ........................ 73 Technical Specification.................................................. 74 Index..................................................................... 75 CONTENTS Contents • 1 •

Thank you for purchasing the Novation KS Rack Synthesizer. This instrument is a multi-timbral, enhanced version of the popular K- Station keyboard synthesizer. The design of the has evolved from the K- Station and KS 4 / KS 5, using the very latest award-winning Novation technology found in highly-acclaimed products such as Nova and Supernova II. The KS Rack is capable of producing an enormous range of high quality synthesized sounds and is an ideal machine for a home stu- dio set-up or for an experienced producer looking to add an extra dimen- sion of sound power. Using this Manual This manual consists of six sections, Introduction, Quick Start Guide, Synthesis Tutorial, MIDI Tutorial, Main Features and Operation, and Advanced Features. For easy reference, the section name is printed at the top of each page. An Appendix on the final pages lists all menu options and factory preset sounds list. In order to become an expert user as quickly as possible, it is recom- mended that this manual is read in sequence chapter by chapter. If sound synthesis is an unfamiliar subject, then the chapter Synthesis Tutorial will provide a useful introduction to the techniques used to electronically simulate the sound of a musical instrument using an analogue music syn- thesizer. Another chapter, MIDI Tutorial provides an useful introduction to the sub- ject of MIDI and how it is used for communication between instruments and / or sequencers. The chapter also describes how the KS Rack trans- mits and recognizes various types of MIDI messages. If the general principles of Sound Synthesis and MIDI are already familiar, then the Quick Start Guide is the place to begin. Once familiar with the main features of the machine, the Advanced Features section covers the Effects, Arpeggiators, Synchronization, Triggering and the Utilities, and will provide all of the information needed to operate the KS Rack in the most creative, productive way. Have fun ! Main Features Four hundred Program memories Two hundred factory programmed sounds are included and a further two hundred user sound memory locations are provided (factory programmed sounds may be overwritten). One hundred Performance memories Fifty factory programmed multi-timbral Performances are included and a further fifty user Performance locations are provided (factory programmed Performances may be overwitten). Each Performance can consist of up to four different Programs, each with its own unique effects settings, MIDI channel assignments and keyboard settings. Program data for each Performance Part are stored in the Performance memory location. Four Drum Maps Two factory programmed Drum Maps are included with a further two user Drum Maps available (factory programmed Drum Maps may be over-writ- ten). Drum Maps allow a whole drum kit to be mapped across 49 notes of the keyboard with each drum sound available on a different key. Drum Maps consume only one unit of Multi-timbrality. Powerful Oscillators Three Oscillators provide the standard Sawtooth, Square, Variable Pulse, Triangle and Sine waves. Additional sampled waveforms are also avail- able, each containing complex audio information not available in the stan- dard waveforms. The Sawtooth, Triangle and Sine waveforms may be duplicated within a single Oscillator to provide thicker sounding waveforms. Synchronization and FM between two Oscillators allow the generation of metallic or per- cussive timbres. A four section noise source completes the waveform engine. External Audio Input The Mixer allows an external audio signal to be combined with the Oscillators and processed through the Filter, Envelopes and Effects. Envelopes may also be auto-triggered by an external signal. Vocoder The 16 band Vocoder makes it easy to create Robot and Talky sound effects. Four Arpeggiators The arpeggiator features six different operational modes with adjustable gate time for staccato effects. Thirty two rhythmic patterns are available to introduce complex motion effects. In multi-timbral Performance Mode, up to four arpeggiators are available simultaneously, each with their own unique settings. All four arpeggiators can can be individually synchronised to MIDI Clock at different time signatures. HyperSync Sixteen ‘Hypersync’ templates provide fast,effective, musically synchro- nized settings with a simple twist of a control. When selected, synchronisation settings to four Effects and four Program parameters are instantly applied. Settings for the Delay level, Chorus Level, Panning Depth and EQ Modulation Depth are also applied. Using these tempo synchronized features can significantly enhance music production. Comprehensive MIDI Control Specification Adjustments of any controls transmit MIDI Controller numbers or NRPNs for real time recording by a sequencer or computer. Powerful Effects The effects processor includes Distortion, Stereo Chorus, Phaser, Reverb, Synchronized Delay and Synchronized Stereo Panning. Complex, dynam- ic timbres may be created using tempo synchronized effects settings. A final output EQ and Filter section complete with a tempo synchronized LFO allow for a performance to be automatically filtered and time locked from 32nd triplets through to several bars. In multi-timbral Performance Mode, each of the four individual Parts can have its own unique Effects settings. Data Compatibility The KS Rack has been designed to allow the loading of Sysex data dumps from the Novation K-Station and A-Station. This ensures that exist- ing sound libraries and global settings can easily be transferred from the older types of machine. Data is also fully compatible with the Novation KS 4 and KS 5 synthesizers. Conventions Used In This Manual The word ‘Program’ refers to a collection of knob and switch settings that define an individual ‘Sound’. These settings are then saved as a ‘Program’ which has a corresponding name and number in the machine’s non volatile memory. Throughout this manual the two words, ‘Sound’ and ‘Program’ are fre- quently referred to and essentially have the same meaning. The term ‘Drum Map’ refers to a whole kit of drum sounds which are mapped across the keyboard, with each keyboard note triggering a differ- ent drum sound. The word ‘Performance’ refers to a multi-timbral setting where up to four Programs and/or Drum Maps are available for playing simultaneously. This entire arrangement is then saved as a ‘Performance’ which has a name and number assigned in the machine’s non-volatile memory. Each of the four Programs / Drum Maps making up a Performance is referred to as a ‘Part’. The word ‘Preset’ refers to a Program/Performance/Drum Map which was set up at the factory to showcase some of the KS Rack’s powerful sound possibilities. Preset memories may actually be overwritten with new set- tings, but it is possible to restore them to the original factory set Programs, Drum Maps or Performances by loading in a MIDI file if they have been overwritten by mistake. INTRODUCTION Using this Manual - Main Features - Conventions used in this manual

Text in CAPITALS refer to a front panel control or legend (even though the name of the control may actually be in lower case on the front panel). It could be a knob or button. For example, FREQUENCY refers to the Filter frequency control knob. MENUS refers to the Menu Mode button. The fastest way to become familiar with the product is to follow this quick start guide. It covers connecting up to audio equipment, listening to the factory preset sounds, selecting sounds, editing a sound and saving a sound into a memory location. Connecting to Audio and MIDI equipment Before connecting to other units in the system, ensure the power to all units is off. Connect an audio cable from the Left and Right master output sockets to a suitable amplifier or mixing desk stereo inputs. If MONO operation is required, either output may be used. Connect the power cable to the socket ‘Power In’ and connect the cable to the AC mains. Switch on the power. The display will show the name of the last selected Program, Drum Map or Performance and its number. Select Program Mode by pressing the PROG button. Finally, switch on the other units in the Audio system (amplifier, mixer etc.). Listening to the factory preset sounds Set the VOLUME control to a reasonably high output level. This will main- tain a good signal to noise ratio. Make sure that the input volume setting on the system amplifier or mixer is initially set to zero. On leaving the factory, the KS Rack is set to receive MIDI information on Channel 1, so, if using an external master keyboard or sequencer to trig- ger the sounds, ensure that it is set to transmit on this MIDI channel. Playing a connected master keyboard or sequencer will result in the cur- rently selected factory preset sound being heard. A full listing of the factory preset Programs, Drum Maps and Performances can be found on page 59. The first few locations of the user Programs in bank 3 (Program Number 300 onwards) contain initiali- sation examples. These are also described in the list. On leaving the factory, the KS Rack has been configured to automatically select Performance 100 once it is turned on (It is possible to override this so that the KS Rack automatically selects the Program, Drum Map or Performance of your choice - see page 50). The first 50 Performances have been configured at the factory to show- case some of the impressive features available on the KS Rack. To inspect the factory set Performances, refer to the Selecting Performances section of this manual on page 4. These Performances are listed in detail on page 60. Selecting Programs and Drum Maps There are two main modes of operation - Program Mode where the machine is mono-timbral (only one type of sound is available for playing) and Performance Mode where the machine is four Part multi-timbral (up to four different sounds can be played simultaneously). Program Mode is selected by pressing the PROG button. The LED above the button lights to confirm that Program Mode is selected. The standard Program Mode display will be shown. Program’s name 101 Category Name Program Mode is convenient for auditioning individual sounds. Standard Programs are organised into four banks, each bank containing 100 sounds. These are referred to as banks 1, 2, 3 and 4. Bank 1 100 - 199 - First bank of factory preset sounds Bank 2 200 - 299 - Second bank of factory preset sounds Bank 3 300 - 399 - First bank of user sounds Bank 4 400 - 499 - Second bank of user sounds The next four banks contain four Drum Maps. Drum Maps are whole kits of percussion sounds, each sound corresponding to an individual note on the keyboard. A Drum Map is a ‘batch’ of 49 Programs. Each of these sounds has been programmed to closely immitate the sound of a real or electronic type of percussion sound, be it a Bass Drum, Snare Drum etc. Following the 49th Drum Map Program is an extra Program containing the Effects settings used by the Drum Map as a whole. A Drum Map may be selected at any time by pressing the DRUM EDIT button. The last selected drum bank will then be available on the key- board to audition. When any Program in a Drum Map is selected, all other Programs located in the same Drum Map are also available for playing on the keyboard. To return to a normal Program, select a program between 100 and 499 The Drum Maps available are : Bank 5 500 - 549 - First factory preset Drum Map Bank 6 600 - 649 - Second factory preset Drum Map Bank 7 700 - 749 - First user Drum Map Bank 8 800 - 849 - Second user Drum Map There are four methods of selecting Programs, Drum Maps or Performances. Before using any of the methods, Ensure that a Menu is not active (the LED above the MENUS button must not be lit). If a Menu is selected, press the PROG button to select Program Mode. 1 - Using the 0 - 9 Keypad buttons There must always be a three digit entry on the numeric keypad, for example : To select Bank 1 sound 8, press the 1, 0 and 8 buttons. The display will now show the name of the newly selected sound and indicate that sound 108 has been selected. 2 - Using the PAGE buttons The PAGE buttons may be used to move up or down to the next Program. Pressing and holding either button for a short period will cause the Program / Performance number to advance / decrease by a further 9. 3 - Using the PERF / PROG / DATA knob The DATA knob may be used to move up or down to the next Program. Turning the knob slowly will advance the selection by one by one. Turning the knob more quickly will increase the rate of selection. If the the end of a Program bank has been reached, the first Program of the next bank will be selected, for example Program 199 moves to Program 200. QUICK START GUIDE Connecting audio equipment - Listening to preset sounds - Selecting Programs

Each Program is assigned to a category. Categories are used to classify a Program that belongs to a sound group such as Bass sounds, String sounds, Lead sounds etc. It is possible to use the DATA knob to search for sounds within a specific category. This is a convenient way of audioning all sounds that belong to a specific category. To search for a Program within a category, press the BY CATEGORY but- ton. The LED above the button is lit while category searching is enabled. Program’s name 101 Bass Using the DATA knob selects the next Program assigned to the same cat- egory. In the above example the next Bass type of Program will be select- ed. When category searching is enabled, the default category is whatever cat- egory was assigned to the Program when it was originally saved (see Page 6). To search under a different category, use the SELECT left and right buttons. After pressing one of the SELECT buttons, a new category is displayed Program’s name 101 Strings The first Strings Program will not be located until the DATA knob is used to search for the first Strings Program. If no Programs exist using the cur- rent category, ‘NO PROGRAMS’ will be displayed as the Program’s name, but the previously selected Program will still be available. Category searching is cancelled by pressing the BY CATEGORY button again, whereby the LED above it will extinguish. 4 - Using MIDI Program Change commands A MIDI Program change message sent from an external sequencer or controller keyboard will select the appropriate Program or Performance within the currently selected bank. A MIDI Bank Change message (CC32) received along with a Program change message will select the appropriate Program or Performance with- in the bank specifed by the Bank Change message. If Bank Change messages are used, it is recommended that the Bank Change message is sent immediately before the Program Change mes- sage. In Program Mode, A Bank Change value of 1 is used to select Bank 1, a value of 2 is used to select Bank 2 etc. A full table of the bank values used is found on page 56 along with details on how they should be used. Whenever a new Program or Performance is selected from front panel, both Bank Change and Program Change are transmitted via MIDI Out. It is sometimes convenient to record these messages into a sequencer in real-time. Selecting Performances Performances are multi-timbral arrangements where up to four seperate Programs or Drum Maps are available for playing simultaneously. A bank of 100 Performances is available. The first 50 performances have been preset at the factory and showcase the various layering, keyboard splits and multi-timbral arrangements available. The remaining 50 per- formances are blank user locations. Performance Mode is selected by pressing the PERF button. The LED above the PERF button lights to confirm selection. The standard Performance Mode screen is displayed. Performance name 101 123 234 345 456 The cursor is positioned at the Performance number adjacent to the Performance’s name. (Performances are numbered 100 to 199). At this position, selection of Performances is achieved in a similar manner to selecting Programs by means of the Keypad buttons, the PAGE buttons, or the DATA knob. The BY CATEGORY button cannot be used to select Performances. The four sets of numbers beneath the Performance name refer to the Program numbers that are allocated to each of the parts within the Performance. The illustration below shows the relationship between Performances, Parts and Programs. Up to 100 Performances may be saved in the KS Rack. The first 2 are shown in the above illustration - Number 100 and 101. Held in the Performance are up to 4 part ‘slots’. These may have any one of the 400 single Programs selected for each one. For versatility, other information such as MIDI channel, note range etc. is also held in each part along with the program number. Selecting / Changing the Programs on a Part in a Performance The SELECT left and right buttons are use to select the Part where the Program is held. Once selected it may be changed or edited. Press the SELECT left button. The cursor will move to the Program num- ber assigned to Part 1 of the Performance. Subsequent presses of the SELECT left and right buttons will move to the next Program number across the bottom line of the display. Performance name 101 123 234 345 456 The KEYPAD buttons, PAGE up / down buttons and DATA knob may also be used to select a new Program number on the selected Part. The BY CATEGORY button may be used to select a Program in the same way as previously described. To return to selecting a Performance, press the PERF button. Any changes made are temporary until the Performance is written into memory.Using and Editing Performances is covered in more detail on page 7. QUICK START GUIDE Selecting Programs - Selecting Performances Electric Drums 600 Strings 345 Electric Piano 234 PERFORMANCE 100 PERFORMANCE 101 Bass Guitar 123 Part 1 MIDI Channel 1 Outputs 1 & 2 Volume 99 Semitone offset +12 Cents offset -06 Part 2 Part 3 Part 4

Editing Programs Once familiar with the sounds that are available, select Program Mode (selected by pressing the PROG button), to select Program number 499. This is a very basic synthesizer sound which can be used as a starting point to create a new, more interesting sound for your own use. When this sound is played from the keyboard, it will be noticed that the volume of the sound instantly reaches its maximum level when a key is pressed, and dies away instantaneously as soon as the key is released. The most useful editing controls on the KS Rack are found on the front panel and some of these will be now be used to modify (edit) this basic program. While playing the keyboard, adjust the Amplifier Envelope SUSTAIN con- trol. Notice how that the sound level when holding a key down changes. Set this control to just over half. Now adjust the RELEASE control. Notice how, when a key on the keyboard is released the sound will now gradually die away. How quickly the sound dies away depends on the setting of this control. The sound is still a little too bright. Adjust the FREQUENCY control in the filter area. Notice how the sound becomes softer as the control is rotated anticlockwise. Continue to make adjustments until a desired sound is heard. The first small edit is now complete! The edited Program must now be saved into a memory location if it is to be needed for the future. Editing Drum Maps Editing Drum Maps sounds is similar to editing Standard Programs. It is sometimes convenient to think of Drum Maps as whole batch of special Programs (the four Drum Maps available are numbered as Program Banks 5, 6, 7, & 8). However, there are some important differences to bear in mind when editing Drum Maps. 1) Whenever a sound is selected from a Drum Map, all other sounds located within the same Drum Map are immediately available for playing on the keyboard. Each keyboard note triggers a different percussion sound within the same Drum Map. The keyboard notes used to trigger a sound depend on the Program’s program number within the Drum Map. For example, Drum Map Program 500 is always triggered by the lowest note, (C) Drum Map program 501 by the next note upwards and so on. 2) It is the sound selected within the Drum Map which determines which sound within the Drum Map is available for editing on the front panel. Only one Drum Map Program can be edited at a given time. See the following paragraphs. 3) In a Drum Map, there is only one set of Effects available. All sounds in the Drum Map share the same single set of Effects settings. Therefore, altering any Effect while a Drum Map sound is selected will simultaneous- ly affect all other sounds within the same Drum Map. To edit a Drum Map sound, press the DRUM EDIT button. The Drum bank previsouly selected (bank 500 when shipped from the fac- tory) will now be available to play across the keyboard. To edit a specific sound in the Drum Map, hold down the DRUM EDIT but- ton and press the key that corresponds to the sound to be edited. It is only possible to select a single Drum sound in a Drum Map for editing at any one time. If another Drum Program is selected before the previous- ly selected one is written to memory, any edits previously made will be immediately lost. Once a drum sound has been selected, it can be edited in the same way as a standard Program. This flexibility means that a great many new Drum or Precussion type sounds may easliy be created. Any edits made will only become apparrent when the currently selected Drum Program is triggered from the keyboard. All other drum sounds will remain unaffected. The exception is a change to any Effects settings (Chorus, Delay, Pan etc). These are applied to all sounds within the Drum Map. When the standard Program Mode display is shown (available at any time by pressing the PROG button), an asterisk before the Program’s location number indicates whether the Program / Drum Map has been edited in some way. For example : Program’s name *101 Drums QUICK START GUIDE Editing a sound • 5 • SUSTAIN control RELEASE control

Single sounds (standard Programs or Drum Map Programs) may be saved in any memory location from 100 to 849. It is recommended that the user locations are used early on for saving new sound creations. These are Banks 3 & 4 (locations 300 to 499) for standard Programs or Banks 7 & 8 (locations 700 to 899) for Drum Map Programs. The factory preset sounds in Banks 1, 2, 5 and 6 may also be overwritten if desired. Once these factory presets are overwritten, they may only be retrieved by loading in a Sysex dump. (See page 49 for saving a sysex backup of the factory preset or user programs onto an external MIDI sequencer). It is possible to write a standard Program to a location within a Drum Map or to write a Drum Map Program to a location within a standard Program bank. When a standard Program is imported into a Drum Map, the Program will only be available by playing a single key on the keyboard (determined by the destination Program number within the Drum Map). Effects settings of the original Program are not copied across. If a Drum Map Program is written to a standard Program location, the drum sound in question will now be available for playing across the entire keyboard. (the audible results however may not be that satisfying). Effects settings of the original Drum Map are copied across. NOTE: When shipped from the factory, the global memory protect switch is set to on. The memory protect switch is a safety feature designed to prevent memories from being overwritten by accident. In order to save a sound, the global memory protect must be switched off. If an attempt is made to save to a memory while the global memory pro- tect is still switched on, a brief warning message will be displayed. Memory Protect On ! No data will have been written to memory. Switching off Global Memory Protect Press the MENUS button. The LED above the MENUS button will now light, indicating that Menu Mode is selected. Select the Global Menu by pressing the ‘0’ button on the 0 - 9 numeric keypad. If necessary, use the PAGE buttons (immediately to the left of the display window) to scroll up and down the pages within the menu until the display shows Mem Protect and its current setting (ON or OFF). Use the DATA knob to turn memory protect OFF. Exit Menu Mode either by pressing the MENUS button again or by press- ing the PROG button. (the LED above the MENUS button extinguishes, indicating that Menu Mode is no longer active). To save a Program to a memory location Press the WRITE button. Write Program to DestProgName 499 The display will now show the destination memory number where the Program is about to be saved to. In this example, Write to 499. Notice that the destination memory is always initially set to the currently selected Program’s number. It is possible to save a Program to a different memory location. Use the PERF / PROG / DATA knob or Keypad buttons to select a different desti- nation memory if required. Any location within the Standard Program banks or Drum Maps can be selected. Shown on the bottom line of the display is the name of the Program cur- rently located in the destination memory. Press the WRITE button again. Name Program ‘DestProgName’ On this display it is possible to edit the Program’s name. Use the Left and Right SELECT buttons to move the cursor within the Program’s name text. Use the PERF / PROG / DATA knob to edit the character located at the cursor. Press the WRITE button again. Set Program Category Bass On this display, the category of the Program can be set. Setting a catego- ry allows the category search feature (see pages 4 & 32) to easily find specific types of sounds easily. There are 17 different categories avail- able. To complete the saving procedure, press the WRITE button again (display flashes PROGRAM SAVED). This saves the edited Program to memory and once the sound has been written Program Mode will be selected. At any point in the saving procedure, the COMPARE button can be used to audition the Program located at the destination memory. This feature can be useful in helping to avoid over-writing a Program memory contain- ing wanted data. While the COMPARE button is held, the currently edited Program buffer is replaced with the Program located at the saving destination memory. This destination Program can be played from the keyboard. As soon as the COMPARE button is released, the Program buffer is restored complete with any edits previously made. QUICK START GUIDE Saving a sound • 6 • Categories No. Description 0 Bass 1 Arpeggio 2 Motion 3 Dance 4 Pad 5 EP/Clav 6 Strings 7 Brass 8 Organ 9 Sweeps 10 Soft Lead 11 Hard Lead 12 Bells 13 SFX 14 Vocoder 15 Ex Aud Trig 16 Drums

Performance Mode is equivalent to using four KS Rack machines, each playing in Program Mode. Performance Mode enables the machine to be used multi-timbrally. Up to four different Parts (slots that contain pro- grams) can be used and played simultaneously. Performances can be configured in a number of different, interesting ways. Performance Mode is selected by pressing the PERF button. The LED above the PERF button lights to confirm selection. The standard Performance Mode screen is displayed. Performance name 101 123 234 345 456 The cursor is positioned at the Performance number adjacent to the Performance’s name. (Performances are numbered 100 to 199). At this position, selection of Performances is achieved in a similar manner to selecting Programs by means of the Keypad buttons, the PAGE buttons, or the DATA knob. Editing Parts To edit a single part in the performance, press the Part EDIT button corre- sponding to the Part (that contains the Program) to be edited or press the SELECT left and right buttons until the cursor is beneath Program number to be edited. The LED above the Part’s EDIT button lights. At all times, one of these EDIT buttons will be selected. When the MIDI channel is different on each Part (In multi-timbral configuration), the EDIT buttons determine which Part(s) will be heard when the keyboard is played. The bottom row of buttons indicate which of the four Parts is used by the Performance. Any combination of the four available Parts is possible. A green LED above the button indicates whether the Part is ‘active’ (used by the Performance). When a Performance is written to a memory location, the status of these eight buttons are stored. Part Layering Two or more Parts may be played simultaneously on the keyboard. Layering Parts enables even richer sound textures to be easily created. To create a layer, Press the MENU button under the Part Level knob. Use the PERF/PROG/PAGE up or down keys to select the MIDI channel page in the Menu. Use the PERF/PROG/DATA to set the MIDI channel to the same number for each part used for the layer. While Parts are layered together, it is possible to dynamically switch between them while playing, determining which Part(s) are heard by using the keyboard’s note velocity (ie how hard the keyboard note was played). Velocity cross fades are possible. See page 55 for more details on this. Keyboard Splits Each Part may have its own area of the keyboard assigned to it. It is pos- sible to assign the whole keyboard range to a part, just a single note or any range in between. The keyboard ranges of different Parts are allowed to overlap by any amount, so many interesting arrangements are possi- ble. To create a split, Press the MENU button under the PART LEVEL knob. Use the PERF/PROG/PAGE up or down keys to select the PART Low Note or PART High Note page.in the Menu. Use the PERF/PROG/DATA to set the high or low note. While in each part Menu ensure the MIDI channel is set to the same number. When Keyboard-split Parts share the same MIDI channel, they can all be accessed at once by playing the keyboard. Multi-timbral The term multi-timbral means ‘more than one sound type’. It is possible to configure the machine such that ‘more than one sound type’ can be played at the same time. In this configuration, each Part has its own unique MIDI channel setting. This is the ideal arrangement for use with an external sequencer, where each Part can be controlled and played individually. To create a multi-timbral configuration, it is only necessary to have a dif- ferent Program (sound) allocated to each of the parts and for it to have a different MIDI channel number. Combinations of the above arrangements are also possible. For example, it is possible to have two Parts layered together, while another Part is assigned to different area of the keyboard and a fourth Part is set to use a different MIDI channel altogether. The Part Edit section on the front panel is used to determine which Part(s) are used by the Performance and which Part(s) can be edited using the front panel controls. QUICK START GUIDE Editing a Performance • 7 •

Once a Performance has been edited, it must be saved into a Performance memory if it is be recalled for future use. Saved along with the Performance data are the complete Program data contained in each of the four Performance Parts. When a Performance is saved, the original versions of the Part Programs in the Program Mode memory locations are NOT over-written. If a Part contains a Drum Map, only the effects settings for that Drum Map are saved in the Performance. Performances may be saved in any Performance memory location from 100 to 199. It is recommended that the user locations are used early on for saving newly created Performances. These are locations 150 to 199. The factory preset Performances in locations 100 to 149 may be overwrit- ten if desired. Once these factory presets are overwritten, they may only be retrieved by loading in a Sysex dump. (See Page 49 for saving a sysex backup of the Performances to an external MIDI sequencer). NOTE: When shipped from the factory, the global memory protect switch is set to on. The memory protect switch is a safety feature designed to prevent memories from being overwritten by accident. Therefore, in order to save a Performance, the global memory protect must be switched off. See page 6 for details on how to do this. If an attempt is made to save to a memory while the global memory pro- tect is still switched on, a brief warning message will be displayed. Memory Protect On ! No data will have been written to memory. To save a Performance to a memory location Press the WRITE button. Write Performance to DestPerfName 199 The display will show the destination memory number where the Performance is about to be saved to. In this example, Write to 199. Notice that the destination memory is always initially set to the currently selected Performance’s number. It is possible to save a Performance to a different memory location. Use the PERF / PROG / DATA knob or Keypad buttons to select a different destination memory if required. Shown on the bottom line of the display is the name of the Performance currently located in the destination memory. Press the WRITE button again. Name Performance ‘DestPerfName’ On this display it is possible to edit the Performance’s name. Use the SELECT Left and Right buttons to move the cursor within the Performance’s name text. Use the DATA knob to edit the character locat- ed at the cursor. To complete the saving procedure, press the WRITE button again. This saves the edited Performance to memory (display flashes PERFOR- MANCE SAVED) and once it has been written, Performance Mode will be selected To save (Export) an individual Program on a Part in a Performance back to an ordinary Program In Performance Mode it is possible to save (export) any of the Programs contained within the Performance’s four Parts back to an ordinary Program bank memory location from 100 to 849. One of the outstanding features of the KS Rack is that a complete new set of programs are held in each part in performance mode IN ADDITION TO THOSE HELD IN THE SINGLE PROGRAM MEMORIES 100 - 849. Therefore any modifications of programs held in a part in a performance WILL NOT alter any of the programs in the normal single program memo- ries 100 - 849. When tweaking a performance it is useful to be able to export a program out of a performance back to a single memory location. This can then be used in another performance if necessary. Select Performance Mode by pressing the PERF button. Performance name 101 123 234 345 456 Press the WRITE button to start the saving procedure. Write Performance to DestPerfName 101 Press the EDIT button in the Parts section that corresponds to the part that the program is to be exported from. In this example the desired pro- gram is being used on Part 2, so press the Part 2 EDIT button. The dis- play changes to : Export PART to Prog This Program 234 The program destination ( 234 in this example ) can kept or changed using the DATA knob, PAGE UP/DOWN buttons or 0 - 9 keypad. A press of the write button then prompts for a new program name to be entered if required. A further press of the write key prompts for a category and a final press saves the exported program. Listening to the factory demonstration To complete this Quick Start Guide section, some time spent listening to the sounds that the KS Rack is capable of producing will be of benefit when it comes to creating new sounds. Press the MENUS button - the LED above the button will light. Now simul- taneously press the both the keypad 1(osc’s) and 2(filter) buttons. The Factory demonstration will begin to play. Once the demonstration has fin- ished, the previously selected mode will be active. It is possible to stop the demonstration at any time while it is playing by pressing the PROG or PERF button to return immediately to Program Mode or Performance Mode. QUICK START GUIDE Saving a Performance - Listening to the factory demonstration • 8 •

synthesis is an unfamiliar subject. Users familiar with this subject can skip this chapter and move on to the chapter - MIDI Tutorial on Page 15. Elements of a sound To gain an understanding of how a Synthesizer generates sound it is helpful to have an understanding of the components that make up a sound, be it musical or non musical. The only way that a sound may be detected is by air vibrating the eardrum in a regular, periodic manner. The brain interprets these vibra- tions (very accurately) into one of an infinite number of different types of sound. Remarkably, any sound may be described by just three terms, and all sounds always* have them. They are : * Volume * Pitch * Tone What makes one sound different to another is the proportion of these three qualities initially present in the sound and how these three terms change throughout the duration of the sound. With a musical synthesizer, we deliberately set out to have precise control over these three terms and, in particular, how they can be changed throughout the duration of the sound. These terms are often given differ- ent names, Volume is referred to as Amplitude, Pitch as Frequency and Tone as Timbre. Pitch Taking the example of air vibrating the ear drum, the pitch is determined by how fast the vibrations are. For an adult human, the lowest vibration perceived as sound is about twenty times a second, which the brain inter- prets as a bass type sound, and the highest is many thousands of times a second, which the brain interprets as an extreme treble type sound. If the number of peaks in the two waveforms (vibrations) are counted, it will be seen that there are exactly twice as many peaks in Wave B as in Wave A. (Wave B is actually an octave higher in pitch than Wave A). It is the number of vibrations in a given period that determines the pitch of a sound. This is the reason that pitch is sometimes referred to as frequency. It is the frequency of the waveform peaks which are counted during a given period of time. Tone Musical sounds consist of several different related pitches occurring simultaneously. The loudest is referred to as the ‘Fundamental’ pitch and corresponds to the perceived note of the sound. Pitches related to the fundamental are called harmonics. The relative loudness of these har- monics compared to the loudness of all the other harmonics (including the fundamental) determines the tone or ‘Timbre’ of the sound. Consider two instruments such as a harpsichord and a piano playing the same note on the keyboard and at equal volume. Despite having the same volume and pitch, the instruments would still sound distinctly differ- ent. This is because the harmonics present in a piano sound are different to those found in a harpsichord sound. Volume Volume, which is referred to as the amplitude or loudness of the sound is determined by how large the vibrations are. Very simply, listening to a piano from a metre away would sound louder than if it were fifty metres away. Having shown that just three elements make up any sound, these ele- ments now have to be related to a Musical synthesizer. It is logical that a different section of the Synthesizer ‘Synthesizes’ (or creates) these differ- ent elements. One section of the synthesizer, the Oscillators provide raw waveforms which provide the pitch of the sound along with its raw harmonic content (tone). These signals are then mixed together into a section called the Mixer and the mixed oscillator signal is then fed into a section named the Filter which is responsible for further altering the tone of the sound. It does this by removing (filtering) certain undesired harmonic frequencies. Lastly, the filtered signal is fed into a final section, the Amplifier which determines the final volume of the sound. Additional synthesizer sections; LFOs and Envelopes provide ways of altering the pitch, tone and volume of a sound by interacting with the Oscillators, Filter and Amplifier, providing changes in the character of the sound which can evolve over time. Because LFOs and Envelopes only purpose is to control (modulate) the other synthesizer sections, they are commonly known as ‘modulators’. These various synthesizer sections will now be covered in more detail. Oscillators and waveforms The Oscillator is really the heartbeat of the Synthesizer. It generates an electronic wave (which creates the vibrations). This Waveform is pro- duced at a controllable musical pitch, initially determined by the note played on the keyboard or contained in a received MIDI note message. The initial distinctive tone or timbre of the waveform is actually determined by the wave’s shape. Many years ago, pioneers of musical synthesis discovered that just a few distinctive waves contained many of the most useful harmonics for musi- cal synthesis. The names of these waves reflect their actual shape when viewed on an instrument known as an Oscilloscope, and are known as, Sine waves, Square waves, Sawtooth waves, Triangle waves and Noise Waves. Each one has a specific fixed amount of musically related harmonics (except noise waves) which can be manipulated by further sections of the Synthesizer. SYNTHESIS TUTORIAL Elements of a sound - Oscillators and waveforms • 9 • Wave B Wave A Wave B is twice the pitch of Wave A Time Wave B Wave A Volume Wave A is louder than Wave B but is the same pitch Oscillators Mixer Filter Amplifier Audio path of the main Synthesizer blocks

Oscilloscope and illustrate the relative levels of their harmonics. Remember, it is the relative levels of the various harmonics present in a waveform which determine the tone of the final sound. Sine waves These have just a single frequency. This waveform produces the purest sound because it only has this single pitch (frequency). Triangle waves These contain only odd harmonics. The volume of each is the square of its position in the harmonic series. For example, the 5th harmonic has a volume of 1/25th of the fundamental. Sawtooth waves These have a rich proportion of harmonics, containing all the harmonics of the fundamental frequency. The volume of each harmonic is proportional to its position in the harmonic series. Square waves These only have only the odd harmonics present. These are at the same volume as the odd harmonics in a sawtooth wave. It will be noticed that the square waveform spends an equal emount of time in its ‘high’ state and its ‘low’ state. The way in which this defined is known as the ‘duty cycle’. A square wave always has a duty cycle of 50% which means it is ‘high’ for 50% of the waveform cycle and ‘low’ for the remaining 50% of the waveform cycle. On the KS Rack it is possible to adjust the duty cycle of the basic square waveform to produce a waveform which is more ‘rectangular’ in shape. These are often known as Pulse waveforms. As the waveform becomes more and more rectangular, more even harmonics are introduced and the waveform changes its character, becoming more ‘nasal’ sounding. The width of the pulse waveform (often known as ‘Pulse Width’) can be altered dynamically by a modulator which results in the harmonic content of the waveform constantly changing. This can result in the waveform having a very ‘fat’ quality when the pulse width is altered at a moderate speed. When listening to a pulse wave, it does not make any difference to the percieved sound whether the duty cycle is 40% or 60% since the wave- form has just been inverted and the harmonic content between the two is exactly the same. Noise waves These have no fundamental frequency (and therefore no pitched element). All frequencies are at the same volume. Because they have no perceivable pitch, noise waves are often useful for creating sound effects and percus- sion type sounds. Digital waveforms In addition to the traditional types of Oscillator waveforms detailed above, the KS Rack also offers carefully selected digitally sampled preset wave- forms containing useful harmonic elements normally difficult to produce using traditional Oscillator waveforms. SYNTHESIS TUTORIAL Oscillators and waveforms • 10 • Volume Harmonic 1 Sine Wave Sine Wave Harmonic Volume Volume Harmonic 1 3 5 7 Triaangle Wave Triangle Wave Harmonic Volume Sawtooth Wave Volume Harmonic 1 2 3 4 5 Sawtooth Wave Harmonic Volume Square Wave Volume Harmonic 1 2 3 4 5 Square Wave Harmonic Volume 50% 40% 10% 60% Various duty cycles of rectangular (pulse) waves Noise Volume Harmonic 1 2 3 4 5 Noise Harmonic Volume

Analogue synthesizer often has more than one Oscillator. By using more than one Oscillator when creating a sound, it possible to achieve very interesting harmonic mixes. It is also possible to slightly detune individual Oscillators against each other which creates a very warm ‘fat’ sound. There are has three independent Oscillators and a separate Noise Oscillator. The mixer section is included so that the amplitude (volume level) of each of these Oscillators and Noise sources may be independently adjusted and mixed together to form a new more harmonically complex waveform. As well as mixing together the individual Oscillators as shown in the dia- gram above, the mixer section allows the relative volume levels of the Noise Oscillator and any external sound source to be set. The Filter The KS Rack is an Analogue subtractive type of music synthesizer. Subtractive implies that part of the sound is subtracted somewhere in the synthesis process. The Oscillators provide the raw waveforms with plenty of harmonic con- tent and it is the Filter that subtracts unwanted harmonics in a controllable manner. Three types of Filter are available. The type of Filter most commonly found on synthesizers is the Low Pass type. With a Low Pass Filter, a cut- off point is chosen and any frequencies below that point are passed. Any frequencies above are filtered out. The setting of the FREQUENCY knob on the front panel dictates the point below which frequencies are removed. This process of removing harmonics from the waveforms has the effect of changing the sound’s character or timbre. When the FRE- QUENCY knob is set fully clockwise, the filter is set completely open and no frequencies are removed from the raw Oscillator waveforms. In practice, there is a gradual reduction in the volume of the harmonics above the cut-off point. How quickly these harmonics are reduced in vol- ume above the cut-off frequency is determined by the Filter’s slope. This slope is measured in ‘volume units per octave’. Since Volume is meas- ured in decibels, this slope is quoted in number of decibels per octave (dB). Typical values are 12dB or 24dB per Octave. The higher the num- ber, the faster the harmonics are cut and the more pronounced the filter- ing effect. The button on the sectionl marked SLOPE allows either the 12dB or 24dB type filter slope to be selected. A further important feature of the Filter is the RESONANCE control. Frequencies at the cut-off point may be increased in volume by this con- trol. This is useful for emphasizing certain harmonics of the sound. As the RESONANCE is increased, a whistling like quality will be intro- duced to the sound passing through the filter. When set to very high lev- els, RESONANCE actually causes the filter to self - oscillate whenever a signal is being passed through it. The resulting whistling tone being pro- duced is actually a pure sine wave, the pitch of which depends on the set- ting of the FREQUENCY knob (the filter’s cut-off point). This resonance- produced sine wave can actually be used for some sounds as an addi- tional sound source if desired. The diagram below shows the response of a typical low pass filter. Frequencies above the cut off point are reduced in volume. SYNTHESIS TUTORIAL The Mixer - The Filter • 11 • OSC 1 OSC 1 VOLUME OSC 2 VOLUME OSC 3 VOLUME COMPLEX WAVEFORM MIX OF OSC1, 2 AND 3 MIXER INPUT TO FILTER OSC 2 OSC 3 OSC 1 OSC 2 OSC 3 OSC 1 VOLUME OSC 2 VOLUME OSC 3 VOLUME MIXER INPUT TO FILTER COMPLEX WAVEFORM MIX OF OSC1, 2 & 3 Frequency Volume Cutoff Frequency Volume Frequency Cut off frequency

volume. In addition to the traditional Low Pass Filter type, there is also a High Pass and Band Pass Filter. The type of Filter used is selected by using the front panel Filter TYPE button. The High Pass Filter is similar to the Low Pass Filter except that frequen- cies below the cutoff frequency point are removed. Frequencies above that point are passed. When the FREQUENCY knob is set fully anti-clock- wise, the filter is set completely open and no frequencies are removed from the raw Oscillator waveforms. When the Band Pass Filter is used, only a narrow band of frequencies centered on the cutoff frequency point are removed. It is not possible to fully open this type of Filter, allowing all frequencies to pass through. Envelopes and Amplifier In earlier paragraphs, it was determined how the pitch and timbre of a sound are synthesized. This final part of the Synthesis Tutorial describes how the volume of sound is controlled. The volume throughout the dura- tion of a sound created by a musical instrument often varies greatly according to the type of instrument. An Organ sound quickly attains full volume when a key on the keyboard is pressed. It stays at full volume until the key is released, at which point the volume level falls instantly to zero. A Piano quickly attains full volume when a key is pressed and gradually falls back down to zero after several seconds, even if a key is held. A String Section emulation attains full volume gradually when a key is pressed. It remains at full volume while the key is held down, but once the key is released, the volume level gradually falls to zero. On an Analogue synthesizer, changes which occur throughout the dura- tion of a note are controlled by a section known as an Envelope Generator. The KS Rack has two Envelope Generators. The circuit of one of these is always connected to an Amplifier, which controls the Volume of the sound when a note is played. Note that there are no controls in a section on the front panel which deal with the Amplifier directly. The only way to hear and control an audio sig- nal passing through the Amplifier is to modulate it by using Amp Envelope controls. Each envelope generator has four sliders which are used to adjust the shape of the envelope. Volume Frequency Cutoff Frequency SYNTHESIS TUTORIAL The Filter - Envelopes and Amplifier • 12 • Volume Frequency Frequency Volume Cutoff Frequency Cut off frequency Frequency Volume Cutoff Frequency Key "On" Key "Off" Volume Key “On” Key “Off” Volume Time Key "On" Key "Off" Volume Key “On” Key “Off” Volume Time Key "On" Key "Off" Volume Key “On” Key “Off” Volume Time

the Envelope as shown in the illustration. A = Attack Time Adjusts the time it takes when a key is pressed for the envelope to climb from zero to full volume. It can be used to create a sound with a slow fade in. D = Decay Time Adjusts the time it takes for the envelope to decay from full volume to the level set by the Sustain control while a key is held down. S = Sustain Level Sets the volume level that the envelope remains at while the key is held down, after the Decay time has expired. R = Release Time Adjusts the time it takes when key is released from the Sustain level to zero. It can be used to create sounds that slowly fade away in volume. A typical synthesizer will have one or more envelopes. One envelope is always applied to the amplifier to shape the volume of each note played. Additional envelopes can be used to dynamically alter other sections of the synthesizer during the lifetime of each note. The KS Rack has a second Envelope Generator which may be applied in various interesting ways. For example, it may typically be used to modify the filter cut off frequency or change an oscillators pitch during the lifetime of a note. LFOs Like the Envelope Generators, the LFO section on a synthesizer is a Modulator. That is to say, instead of forming a part of the sound synthesis process, it is used instead to change (modulate) other synthesizer sec- tions. For example, altering the Oscillator pitch or Filter cutoff frequency. Most musical instruments produce sounds that vary not just in volume but also in pitch and timbre. Sometimes this variation can be quite subtle, but still contribute greatly towards shaping the final sound. Where an Envelope is used to control a one-off modulation which occurs during the lifetime of a single note, LFOs modulate by using a cyclic repeating wave pattern. As discussed earlier, Oscillators produce a con- stant waveform which can take the shape of a repeating sine wave, trian- gle wave etc. LFOs produce waveforms in a similar way, but at a frequen- cy normally too low to produce an audible pitched vibration that the human ear can perceive. In fact, LFO actually stands for Low Frequency Oscillator. As with an Envelope, the waveforms generated by the LFOs may be fed to other parts of the synthesizer to create the desired movements in the sound. There are two independent LFOs available which may be used to modu- late different synthesizer sections and run at different speeds. A typical waveshape for an LFO would be a Triangle wave. Imagine this slow moving wave being applied to an Oscillator’s pitch. The result would be that the pitch of the Oscillator slowly rises and falls above and below its original pitch. This would simulate, for example, a violinist moving a finger up and down the string of the instrument whilst it is being bowed. This subtle up and down movement of pitch is referred to as the ‘Vibrato’ effect. Similarly, if the same LFO were applied to the Filter Cutoff frequency instead of the Oscillator pitch, a similar wobbling effect known as ‘wow- wow’ would be heard. As well as LFOs being available to modify (or more commonly known as Modulate) different sections of the synthesizer, additional Envelopes may also be used simultaneously. Clearly, the more Oscillators, Filters, Envelopes and LFOs there are in a Synthesizer, the more powerful it becomes. SYNTHESIS TUTORIAL Envelopes and Amplifier - LFOs • 13 • Attack Decay Release Sustain Key "On" Key "Off" Time Volume Key “On” Key “Off” Volume Attack Decay Release Sustain Level Time Time Pitch

modular machines where each part of the synthesizer was housed in a separate unit (block). These blocks could only be physically connected together by combinations of cables known as patch leads. A typical sound produced by this method would often involve connecting dozens of patch leads. Every time a new sound was required, the leads would have to be physi- cally disconnected and reconnected. The positions and connections of the leads would have to be noted down on paper if there was to be any hope of creating that particular sound ever again ! If not reconnected in exactly the same way, the sound would be lost forever. Modern machines such as the KS Rack have all the blocks in one com- pact unit and the sound generating or modifying blocks are arranged in a sensible fashion. Front panel switches and knobs determine how each block functions and where the sound modifying blocks such as the LFOs and Envelopes are routed, instead of having to physically connect them externally with cables. Additionally, The settings of these front panel controls (which of course determine the current sound or ‘patch’) may then be stored in memory locations in the machine which can be recalled at any time. Summary An Analogue synthesizer can be broken down into five main sound gener- ating or sound modifying (modulating) blocks. 1 Oscillators that generate Waveforms at a certain pitches. 2 A Mixer that mixes the outputs from the Oscillators together. 3 A Filter that removes certain harmonics, which changes the characteristic or timbre of the sound. 4 An Amplifier that is controlled by an Envelope generator. This alters the volume of a sound over time when a note is played. 5 LFOs and Envelopes that can be used to modulate any of the above. Much of the enjoyment to be had with a Synthesizer is with experimenting with the factory preset sounds and creating new ones. There is no substi- tute for ‘hands on‘ experience. Experiments with altering knobs and switches will eventually lead to a fuller understanding of how the various controls alter and help shape new sounds. Armed with the knowledge in this chapter, and an understanding of what is actually happening in the machine when tweaks to the knobs and switches are made, the process of creating new and exciting sounds will become easy - Have fun. SYNTHESIS TUTORIAL Memories - Summary • 14 •

with how MIDI works. Experienced users can skip this chapter and move on to the next chapter Main Features and Operation on page 18. About MIDI MIDI is an acronym for Musical Instrument Digital Interface. The MIDI standard was devised in the early 80’s as a means for allowing musical instruments to communicate with each other as well as with other devices such as sequencers and computers. Before the advent of MIDI, it was often very difficult (if not impossible) for instruments to effectively commu- nicate with each other, especially if they had been made by different man- ufacturers. Nowadays, most types of electronic musical equipment are equipped with a MIDI interface fitted as standard, including synthesizers, drum machines, samplers, sequencers, computers and even some effects units. The MIDI standard allows many different instruments to be controlled at once (say from a sequencer) using the same network of MIDI cables. Each instrument in the MIDI chain is usually assigned its own unique MIDI channel and will only respond to information that it may receive on that particular channel. The MIDI standard allows for sixteen different channels to be assigned to the various instruments in a MIDI network, which of course means that it is possible to have up to sixteen instruments playing simultaneously within a MIDI system. Some people may feel that being restricted to just sixteen MIDI channels might be a little limiting, especially if they are composing very complex pieces of music. However, some sequencers and MIDI ports for comput- ers offer a neat way around this problem. They can offer several different MIDI outputs, each of which is treated as a separate MIDI system in its own right with its own set of sixteen MIDI channels. There are three MIDI sockets fitted at the rear, labeled ‘In’, ‘Out’ and ‘Thru’. Each one of these sockets has a specific purpose : The MIDI IN Port This is used to receive MIDI information to the KS 4 / KS 5, such as telling it which notes to play from a sequencer for example. The MIDI OUT Port This transmits any MIDI information which might be generated by the KS Rack. For example, if a one of the knobs were moved on the front panel. The MIDI THRU Port This simply re-transmits any MIDI information that has been received at the MIDI In socket. This socket is useful for connecting other instruments into the same MIDI network. By connecting a cable from the MIDI Thru to another instrument’s MIDI In socket, both the KS 4 / KS 5 and the second instrument could be controlled simultaneously from a sequencer. As seen in the diagram, if desired, the process can be repeated; a third instrument could be added to the same MIDI network, simply by connect- ing a cable from the second instrument’s MIDI Thru to the third instru- ment’s MIDI In, and so on. Some non-Novation instruments may not have a MIDI Thru socket fitted. In these cases, the instrument should be placed at the end of the MIDI chain or a Thru box should be incorporated into the MIDI system. A Thru Box simply provides a number of identical MIDI Thru sockets from a single MIDI In. It is important to realise that MIDI information flows in one direction only along the cable. It is not possible to have a MIDI In socket connected to another MIDI In socket for example. If this were done, the MIDI network would simply not work ! In fact, the only routings allowed are MIDI Out to MIDI In or MIDI Thru to MIDI In. Some devices known as controllers are equipped with only a single MIDI Out socket and are used exclusively to generate MIDI data for controlling other instruments. Examples of common MIDI controllers are controller keyboards (these are simply keyboards with no synthesizer attached), drum percussion pads or footswitch controllers. MIDI messages The KS Rack is capable of transmitting and responding to various types of MIDI events. These are as follows : NOTE MESSAGES A note message is transmitted every time a key on a keyboard is pressed down or released. When a keyboard note is pressed down, the MIDI mes- sage also includes velocity information. The velocity value in the MIDI message represents how hard the key was pressed down. This velocity value can be used to add dynamics to the sound, depending on how hard the note was played. CONTROL CHANGE MESSAGES These messages are transmitted whenever one of the knobs or sliders are moved on the front panel. Most parameters within a menu will also transmit MIDI control change messages when the parameter is altered with the DATA knob. The MIDI specification allows for 128 different types of controller message. These are often referred to as Continuous Controllers (CC0 to CC127). Some controllers are rigidly defined by the MIDI standard for specific pur- poses. For example, CC1 is always used for the modulation wheel. Whenever the modulation wheel is moved, it will transmit MIDI control change information using CC1. All other makes of synthesizers will also use CC1 for modulation wheel data. Certain other control change numbers have no set purpose within the MIDI specification. For example, whenever the Filter FREQUENCY knob is moved, it will transmit using CC105. There is no guarantee however that other makes of synthesizer will use this control change number for the same purpose. MIDI TUTORIAL About MIDI - MIDI messages used by the KS 4 / KS 5 • 15 • Out In Thru In In Thru Sequencer Synth [1] Synth [2] Synth [3] ‘Chain’ method of connecting three MIDI devices to a sequencer Out In In In In Thru Thru Thru Sequencer Synth [1] Synth [2] Synth [3] ‘Star’ method of connecting three MIDI devices to a sequencer MIDI Thru Box

MIDI, but because the number of different types of control change mes- sage is limited to just 128, a a more complicated arrangement had to be employed for additional parameters. This method uses what is known as NRPNs. (NRPN stands for Non Registered Parameter Number). NRPNs consist of three MIDI control change messages grouped together, rather than a single MIDI control change message which is used normally. PITCH BEND MESSAGES These messages are transmitted whenever the pitch bend wheel is moved on a Master keyboard. AFTERTOUCH MESSAGES These messages are transmitted by some keyboards whenever already- held down keyboard notes are pressed further. Aftertouch messages can be used to add extra expressiveness to a sound, for example introducing an extra vibrato effect. The MIDI specification defines two different types of aftertouch message; mono and poly. The type recognised by the KS Rack is mono. Poly after- touch includes information in the MIDI message about which keyboard note was used to trigger the aftertouch effect. Poly aftertouch is very rarely used and only a very few synthesizers ever implemented the sys- tem. PROGRAM CHANGE MESSAGES These messages are transmitted whenever a new sound is selected from the front panel. The MIDI Specification allows a MIDI program change message to select one of 128 different sounds. When the MIDI specifica- tion was originally designed, this was not a problem since synthesizers in rarely had more than 128 memories. Modern synthesizers such as the KS Rack offer many more memories, so it is necessary to send a MIDI program change preceded by an additional MIDI message which specifies which ‘bank’ of sounds the program change message will select from. The bank select MIDI message used for this purpose is a MIDI control change message (CC32 is the control change number used). Whenever a new sound is selected, the bank select MIDI message is transmitted, fol- lowed closely by the appropriate MIDI program change message. If these messages are then layed back to the KS 4 / KS 5 from a sequencer, the appropriate sound will be selected. It is not necessary to send a bank select message before the program change message (though recommended). It is permitted to omit the bank select, but if so, the program change message will select the sound from whatever bank of sounds is currently selected. Channel Messages All of these different types of MIDI message detailed above include infor- mation detailing which MIDI channel was used when the message was transmitted. MIDI channel messages only affect receiving devices using the same MIDI channel. For example, a pitch bend message sent using MIDI channel 1 would have no effect if it were received on a synthesizer set to respond on MIDI channel 2. Some MIDI messages do not include any MIDI channel information defined in them. Some examples of these are : MIDI CLOCK MESSAGES These are synchronization messages sent from a sequencer. When received, they enable tempo-locked features such as the arpeggiator and various effects parameters (such as Panning and Delay sync) to follow the current tempo of the sequencer. The KS Rack itself does not transmit MIDI clock messages, so it can only be synchronized to follow the tempo of other devices and not vice versa. Whenever an external sequencer is started, a Start Song MIDI message is usually transmitted. Certain features can be set to reset their synchroni- sation when a Start Song message is received. SYSTEM EXCLUSIVE MESSAGES This is special type of MIDI message which can contain any type of data, depending what the synthesizer manufacturer decides to put in it! The only constraint with system exclusive messages is that they always con- tain certain header information which is exclusively used by the manufac- turer (and usually the relevant synth model as well). This means that a KS Rack will only accept a system exclusive message designed especially for it. If it receives a system exclusive message trans- mitted by a different make of synthesizer, the message would simply be ignored. Similarly, other makes of synthesizer will ignore any system exclusive messages originally sent by a KS Rack. System exclusive messages have employed for two distinct purposes. They can be used to back up all of the Program, Drum Map and Performance memories and global data. This feature is extremely useful in building up a sound library on a computer or for making a safety copy of data in case the worst should happen. Data backup is discussed in detail on Page 49 in the Advanced Features chapter. System exclusive messages also enable an entire new operating system to be received via MIDI. The latest operating system is always available free of charge at the Novation web site. From there, it can be downloaded as an SMF (Standard MIDI File). Because the operating system update consists purely of MIDI system exclusive messages, it can then be transferred by playing the file on a sequencer directly into the machine. However, as a safety feature, the KS Rack must be set to a special mode where it is able to accept an operat- ing system update. Full details on how to do this are supplied along with the downloaded OS update. For a list of the latest operating system updates, please visit the Novation website : http://www.novationmusic.com A MIDI Implementation Chart provides a concise way of telling at a glance which MIDI messages an instrument will transmit and respond to. A MIDI Implementation Chart for the KS Rack can be found on page 57. How it transmits and responds to MIDI in the different playing modes is also described in detail on page 56. MIDI TUTORIAL MIDI messages • 16 •

A sequencer is simply a device which is capable of recording, storing and playing back MIDI information. Using a sequencer, it is possible to con- struct very complex musical arrangements which would normally be impossible to play ‘live’. It is also very easy to edit the MIDI data and remove any unintended mistakes or make changes in the playing style. Many people nowadays use software sequencing packages on comput- ers, but there are also dedicated hardware sequencers available which perform in a similar way. All sequencers can record MIDI information exactly as played on a syn- thesizer’s or master keyboard. To do this, simply make sure the MIDI Out is connected to the sequencer’s MIDI In and start the sequencer record- ing. Any keys played on the keyboard or wheel movements made will be faithfully recorded. Similarly, it is also possible to record the MIDI informa- tion generated by adjusting the KS Rack’s controls by connecting the KS Rack MIDI Out to the sequencer’s MIDI In. This is known as ‘real time’ recording. As long as the sequencer’s MIDI Out is connected to the KS Rack’s MIDI In, this MIDI information can then be played back into the KS Rack, exactly reproducing all the actions made and notes played while recording the sequence. On most sequencers, it is also possible to enter new MIDI events in ‘step time’ by explicitly defining each MIDI event without having to supply the relevant MIDI data to the sequencer’s MIDI In socket. Obviously, some knowledge of MIDI is needed in order to do this. Nearly all sequencers offer multiple recording tracks. These tracks behave in a similar fashion to multi-track tape recorders, except that instead of holding audio recordings, they hold their own record of MIDI data. Usually, each sequencer track will contain MIDI data associated with a distinct MIDI channel. By using sequencer tracks in this way, it would typically be possible to build up a complex song arrangement with one track being used to control the drums, another the bass line, another the lead sound and so on. On the KS Rack, different sequencer tracks can be used to play each of the four Performance Parts simultaneously. When using a sequencer, some careful thought should be given as to the way the MIDI information is routed through the sequencer. With most sequencers, any MIDI information that appears at the sequencer’s MIDI In socket is immediately re-transmitted again from the sequencer’s MIDI Out socket. If desired, it is sometimes possible to turn this feature off. It usual- ly called ‘echo back’ or ‘soft thru’. Consult your sequencer manual for details. It is very important to realise that if ‘soft thru’ is enabled on a sequencer, the MIDI information re-transmitted by the MIDI Out socket is always con- verted to the MIDI channel used by the currently selected sequencer track. This means that if a track is selected on a sequencer which uses MIDI channel 2, and the sequencer then receives some MIDI information from a KS Rack sent on MIDI channel 1, it will be re-transmitted by the sequencer not on MIDI channel 1, but MIDI channel 2. This would be quite useful for programming knob movements into the sequencer for other MIDI devices or Parts, but can lead to some quite unexpected results if careful note is not kept of exactly what is happening ! Because many sequencers re-channelise MIDI information in this way, it is quite possible to use the KS Rackto supply MIDI information to control other Parts in a Performance or other external MIDI equipment such as a sampler. In Performance Mode, each of the four Parts can be played simultane- ously with each Part responding on its own unique MIDI channel. To reflect this, four tracks should be configured on the sequencer with each track’s MIDI channel setting reflecting the channel used on each of the four KS Rack Parts. When the KS Rack is being used multi-timbrally in this manner, when recording MIDI data from the KS Rack, make it a rule- of-thumb to always select the appropriate sequencer track before select- ing the Part on the KS Rack’s front panel. When controlling external MIDI equipment (in this example a KS 5), the sequencer track must be selected which corresponds to the same MIDI channel that the sampler is using. However, it would be noticed that as soon as knob movements are played into the sequencer from the KS Rack, the KS Rack would be affected as well as the KS 5. To overcome this problem, there is a feature available called Local Control. Local Control Local Control is a parameter found in the Global Menu (see page 50 for details) which in effect, disconnects KS Rack panel controls from the syn- thesis engine. When the front panel controls are moved, they still transmit the usual MIDI information but they have no direct control of the internal sound engine. When Local Control is set to OFF, the only way that controls can be used to affect the sound engine is when the MIDI information sent from the KS Rack is routed through the sequencer (with the correct sequencer track selected), back to the MIDI In socket. When not connected correctly to a sequencer, having Local Control set to OFF is a common cause of mistakenly assuming that the machine is faulty. When the KS Rack appears to ignore its front panel controls, set- ting Local Control to ON or selecting the correct sequencer track will usually rectify the ‘problem’. See page 50 for altering the Local Control setting. Summary MIDI information is transmitted whenever a master keyboard is played, or when front panel controls are moved or a new Program is selected on the KS Rack. MIDI information is split into 16 channels. The KS Rack’s can be set to receive / transmit on any one of these channels at any one time in Program Mode. When used in Performance Mode, up to four Parts can be individually set to receive on different MIDI channels. MIDI information travels in one direction along a MIDI cable. The only per- mitted connections are MIDI Out to MIDI In, or MIDI Thru to MIDI In. MIDI messages can be recorded into a sequencer and later replayed back into the KS Rack, replicating whatever actions occurred when the MIDI messages were originally transmitted. Sequencers usually re-transmit any MIDI information they receive immedi- ately, converting the message’s channel information into whatever MIDI channel the currently selected sequencer track is using. Because of this, the KS Rack’s knob movements or arpeggiator output may be used to control other MIDI devices in a MIDI network. An option called Local Control disables the front panel controls from the synthesizer engine. When set to OFF, moving the front panel controls only results in MIDI information being transmitted. Setting Local Control to OFF allows the KS Rack to control other MIDI instruments without altering settings on the KS Rack directly. MIDI TUTORIAL MIDI and Sequencers - Summary • 17 • Sequencer KS Rack Synth [2]... etc Out Out In In In Thru Typical example of using the KS Rack to control other devices in a MIDI system ‘Soft Thru’ set to On

demo 8 1 2 3 4 9 6 7 5 0 perf/prog/page menus perf/prog/data utilities global osc's mixer filter lfo's env's effects wheels aftertouch breath write Parts 123 HYPERFORMANCE 123 *234* 345 456 part level select by category perf prog menu compare audition drum edit 3 1 2 4 edit edit edit edit 123 HYPERFORMANCE 123 *234* 345 456 power on/off 1 - Oscillator Section Contains the controls associated with the Oscillators. These include the PORTAMENTO, WAVEFORM, SEMITONE tune, DETUNE, PWM DEPTH / PW POSITION, MOD ENV DEPTH and LFO 1 DEPTH knobs and the OSCILLATOR select, SOLO, OCTAVE and PW SELECT buttons. 2 - Mixer Section Contains the controls associated with the Mixer. These include the OSC 1 / LFO 1, OSC 2 / LFO2, OSC 3 / AD and NOISE / RING / EXT / LFO 1 knobs and the MODULATION and NOISE / RING / EXT buttons. 3 - Filter Section Contains the controls associated with the Filter. These include the FRE- QUENCY, RESONANCE, OVERDRIVE, MOD ENV DEPTH and LFO 2 DEPTH knobs and the SLOPE and TYPE buttons. 4 - LFO Section Contains the controls associated with the two LFOs. These include the SPEED, WAVEFORM and DELAY knobs and the LFO and ONE SHOT buttons. 5 - Envelopes Section Contains controls associated with the two Envelopes. These are two sets of ATTACK, DECAY, SUSTAIN and RELEASE controls. Knobs are used for the MOD Envelope and Sliders are used for the AMP Envelope. 6 - Master Volume, Headphones and Audio Input Jacks 7 - Effects Section Contains controls associated with the Effects. These include the EFFECTS LEVEL knob and SELECT buttons. 8 - Arpeggiator Section Contains controls associated with the Arpeggiator. These include TEMPO knob and the ARP ON, ARP LATCH and ARP MENU buttons. 9 - Hypersync Section Contains controls associated with the Hypersync feature. These include the HYPERSYNC knob and the SAVE HYPER and SYNC MENU buttons. 10 - Part Section Contains controls associated with editing and selecting Parts. These include the PART LEVEL knob, the four Part EDIT buttons, the four Part Activate buttons and the Part MENU button. 11 - Display and Data Entry Section Contains the display, the PERF / PROG / DATA knob and the PERF / PROG / PAGE, BY CATEGORY, SELECT, DRUM EDIT, AUDITION and COMPARE buttons. 12 - Mode and Keypad Section Contains the WRITE, MENUS, PERF, PROG buttons and the numeric keypad / Menu select buttons. MAIN FEATURES AND OPERATION Front Panel Layout • 18 • Front Panel Layout 1 10 2 3 4 5 6 7 8 9 11 12

As described in the Quick Start Guide, in Program Mode, the machine operates in a mono-timbral (just one sound available) mode and responds to, and sends information on just one MIDI channel. This mode should be used when only one sound is required for playing, or when individual sounds are to be auditioned. In Performance Mode, additional information is added to each sound (Program) such as MIDI channel and note range and this complete set of information is stored in what is known as a Part. Up to four of these Parts can then be used simultaneously in a Performance. The LEDs located above the PROG and PERF buttons indicate which playing mode is selected. Program and Peformance Modes This mode enables a new single Program (sound) to be selected from the front panel controls. Program Mode is selected by pressing the PROG button. Selecting Program Mode cancels Performance mode. Program’s name 101 In Program Mode, the display will show the currently selected Program’s name and number. Performance Mode is selected by pressing the PERF button. Performance Mode is cancelled when Program mode is selected. Performance name 101 123 234 345 456 In Performance Mode, the display shows the selected Performance’s name and number on the top line of the display. The four sets of num- bers on the bottom line are the Program number references that are asigned to each of the four Parts. If the cursor is located at the Performance number, a new Performance can be selected by using either the data knob, up/down buttons or the keypad. Performance name 101 123 234 345 456 Moving the cursor to any of the Part numbers allows a new Program or Drum Map to be selected for a Part. The cursor is moved using the SELECT left and right buttons. Pressing the SELECT LEFT button will position the cursor at the first pro- gram at the bottom left of the display. Pressing the SELECT RIGHT but- ton will position the cursor at the fourth program at the bottom right of the display. Subsequenct presses of either button will move the cursor one step left or right to select the next Program. Once the cursor is positioned over a Program number it is possible to select a new Program to be used in the Performance by any of the meth- ods described in the following text. To return to selecting a new Performance the PERF button must be pressed. A new Program or Performance may be selected by one of three meth- ods. i) The PERF / PROG / DATA knob may be used. Turning the knob quickly increases the intervals jumped between Programs / Performances. When selecting Programs, the BY CATEGORY button may be used to search only for Programs within a specific category. When pressed, the LED above the BY CATEGORY button lights to indi- cate that category searching is active. The display shows the category assigned to the currently selected Program. Program’s name 101 Bass It is possible to select a different category for searching by using the SELECT left and right buttons. While category searching is active, the PERF / PROG / DATA knob will only select Programs saved with the currently selected category. To cancel category searching, press the BY CATEGORY button again (the BY CATEGORY LED goes out) or the PROG or PERF buttons. Note : Category searching is only available for selecting Programs. It can- not be used to select Performances. ii) The PERF / PROG / PAGE buttons may also be used to step forwards or backwards from the currently selected Program or Performance. If a PERF / PROG / PAGE PAGE button is held down, the Programs or Performances will jump in intervals of ten. iii) Programs or Performances may also be selected by typing a three digit sequence on the numeric buttons. The Program or Performance will not actually be selected until the third digit has been entered. Note that Program Mode does not have to be selected in order to select a new Program via MIDI (from a sequencer for example) nor in Performance Mode in order to select a new Performance via MIDI. A new Program or Performance may be selected via MIDI at any time in any mode. At this time, the relevant playing mode is also selected.. MAIN FEATURES AND OPERATION Modes and Menus • 19 •

If any of the front panel controls are adjusted, the display will show the new value of the appropriate control. If for example, the Filter FREQUENCY knob was adjusted to 100, the display would show : Filter frequency 127 90 The number on the bottom line is the current value of the Filter Frequency. This is the value that is stored in the Program before any tweaks or edits have taken place. The number at the top right is the new edited or tweaked value. This fea- ture make is very easy to see how any control or switch was set in the original program. ‘Pinging’ to new Values Suppose the Filter FREQUENCY knob is fully clockwise (physically point ing to the 5 o’clock position) indicating a fully open setting (127). If the Filter setting of the Program being listened to is actually set to the 2 o’clock position (say 101), a slight movement of the FREQUENCY knob will result in the sound ‘pinging’ instantly to a brighter sound. This is because the Filter frequency will jump to a maximum value of 127 repre- sented by the knob’s current physical 5 o’clock position. The number appearing on the bottom line makes it easy to ‘home in’ on the original value stored with the Program or Performance. Making an Edit with the front panel Controls in Performance Mode Performance Mode is selected by pressing the PERF button. The LED above the PERF button lights to confirm selection. The standard Performance Mode screen is displayed. Performance name 101 123 234 345 456 The cursor is positioned at the Performance number adjacent to the Performance’s name. (Performances are numbered 100 to 199). At this position, selection of Performances is achieved in a similar manner to selecting Programs by means of the Keypad buttons, the PAGE buttons, or the DATA knob. The BY CATEGORY button cannot be used to select Performances. The four sets of numbers beneath the Performance name refer to the Program numbers that are held in each of the parts within the Performance. The illustration below shows the relationship between Performances, Parts and Programs. Held in the Performance are 4 part ‘slots’ that may in turn hold any one of 400 single Programs. For versatility, other information such as MIDI chan- nel, note range etc. is also held in each part along with the program num- ber. This additional information may be edited by pressing the Menu button under the part level knob - See page 54 for more information on these parameters. The SELECT left and right buttons are use to select the Part (where the Program is held) for editing. Press the SELECT left button. The cursor will move to the Program num- ber held in Part 1 of the Performance. Subsequent presses of the SELECT left and right buttons will move to the next Program number across the bottom line of the display. Performance name 101 123 234 345 456 The program number underlined is reflected on the front panel by the red LED being lit. Moving the cursor with the SELECT buttons will also cause the red LED to move in simpathy. Similarly, pressing a different edit button in the parts section will cause the cursor to move. At this time, the KEYPAD buttons, PAGE up / down buttons and DATA knob may be used to select a new Program number on the selected Part The BY CATEGORY button may be used to select a Program in the same way as previously described. To return to selecting a Performance, press the PERF button. Any control that is moved moved on the front panel is now editing the pro- gram that is held in the part of the currently selected performance. The display will behave in the same way as when editing a single pro- gram - See above left. NOTE: Edits made to Programs that are held in a performance DO NOT affect the programs that are held in the single program memory areas 100 - 399. There is a complete additional copy of the program held in the part of the performance. This powerful feature allows changes to be made to sounds within a per- formance without having to worry that, if the program is used elsewhere it will be affected. If, for example the program on part 1 was edited, the display would look similar to the following illustration Performance name*101 *123 234 345 456 An asterisk will appear to inform that this program held in this perform- ance is different is some way to the program in the single program area numbered 123. Also notice that a further asterisk appears next to the per- formance number indicating that, it too has changed from the orginal. MAIN FEATURES AND OPERATION Modes and Menus • 20 • Electric Drums 600 Strings 345 Electric Piano 234 PERFORMANCE 100 PERFORMANCE 101 Bass Guitar 123 Part 1 MIDI Channel 1 Outputs 1 & 2 Volume 99 Semitone offset +12 Cents offset -06 Part 2 Part 3 Part 4

Pressing the write button when the cursor is under the program number will just save the program number to a desired located. The saving prod- cedure is detailed on page 8 of the quick start guide section. This provides a convenient method to EXPORT edited programs out of a performance back to a single program memory location. Saving the edited performance Press the PERF button and the cursor will position itself under the per- formance number. Press the write button to initiate the saving of the per- formance. See Page 8. After saving the performance, the display would appear as below. Performance name 101 *123 234 345 456 Notice that the asterisk has dissappered from the Performance number since both the saved performance and the one being listened to are the same. Alos notice that the asterisk before the program number 123 is still visible since the program held is this performance is different in some way to that held in the single program memort area. Is possible to make the editing displays permanent (for example when the Filter knob is adjusted the values will stay on the display permanently until another conrol is used). It is also possible to vary the time that the dis- plays are shown for. These options are in the Global Menu. See page 51 in the Advanced Features chapter for more details. Menus Many of the advanced features and utilities are available from menus. There are thirteen separate menus, each of which consists of several pages linked together. Menu pages are accessed by pressing any of the relevant MENUS button. When any of the MENUS are activated the LED situated above the MENUS button is lit. As soon as a Menu is entered, the display will show the first page of whichever menu was accessed the previous time the Menu was used. For example, if the Filter Menu had been previously selected, the display would show one of the pages of the Filter Menu. Filter Q norm 13 <> 49 Once any of the Menus have been selected, the PERF / PROG / PAGE buttons to the left of the display are be used to navigate forwards and backwards between the menu’s pages. Once the desired menu page has been reached, the values are altered by using the PERF / PROG / DATA knob. The display behaves in the same way as when a front panel control is adjusted. The current value being shown on the botton line and the new value being shown on the top line. MENU text in capitals is at the left of the display to inform that a MENU is selected. When the Main Menus button is selected, as in the following illustration, different menu may be activated by pressing any of the 0 - 9 keypad but- tons. The ten menus available here are associated with the Oscillators, Mixer, Filter, LFOs, Envelopes, Effects, Wheels, Aftertouch / Breath Control, Utilities and the Global parameters. The Part, Sync and Arpeggiator menus are always selected directly by pressing the dedicated menu buttons within the appropriate section on the front panel. When any menu is selected, the page that first appears may be set using one of the options in the Global Menu. See page 51 for information on how to do this. Once in a Menu it is possible to alter any of the front panel controls as in Program Mode, but it will be noticed that when a knob is moved, the dis- play text for the knob just moved will only be shown on the screen for a short period of time. (This time is set using the Function Display time parameter in the Global Menu - see page 51). After a short time, the dis- play will revert back to showing the current menu page. It is possible to exit a Menu by pressing the current Menu button again, or to move to another menu by pressing a different menu button. If Program Mode, was selected before pressing a menu button, then Program mode will be selected on exit. If Performance Mode was selected before presing a menu button, then Performance Mode will be selected. It is possible to exit any menus by pressing the PROG or PERF buttons. MAIN FEATURES AND OPERATION Modes and Menus • 21 • osc's

Synthesis Tutorial chapter) and these are fed into the Mixer. Most of the controls which determine the pitch and waveform of the Oscillators, and how they react to modulation are in this area of the front panel. OSCILLATOR Select Button There are three independent Oscillators. Each one can be independently controlled by the buttons and knobs in the Oscillator area. To make make the controls active and to see waveform and octave settings for Oscillator 1, press the OSCILLATOR button once or more until LED 1 lights. For Oscillator 2, press until LED 2 lights and for Oscillator 3 press until LED 3 lights. SOLO Button While this button’s LED is lit, only the currently selected Oscillator can be heard. The other two Oscillators are muted. This feature is useful for audi- tioning Oscillators individually while creating complex sounds. press the SOLO buttun again to resume normal operation. Note that this button’s status is not stored when a Program is saved. OCTAVE Button Sets the basic pitch of Oscillator 1, 2 or 3 in Octave jumps. To change the basic pitch of the selected Oscillator to +1 octave for example, repeatedly press the OCTAVE button until the +1 LED lights. NOTE: The 0 position corresponds to the pitch of 440Hz when note A above middle C is played. PW SELECT Button and PWM DEPTH / PW POSITION Knob The function of the PWM DEPTH / PW POSITION knob is dependent on the selection of the PW SELECT button. With the POSITION setting selected, the PWM DEPTH / PW POSITION knob will manually control the pulse width of a square waveform (the selected waveform for the Oscillator must be Square wave for this to happen). In order to under- stand how the Pulse Width knob affects various waveforms, examples, using factory presets are used. See the following paragraphs titled: Obtaining a classic Square/Pulse PWM sound and Obtaining a Double Saw ‘thick’ detuned sound. With the PW POSITION knob in the central position, the Pulse Width wave becomes a square wave. As the knob is adjusted clockwise, or anti- clockwise, the Pulse Width becomes narrower producing what is termed as a Pulse Wave. With the LFO 2 position selected by the PW SELECT button, the width of the Pulse Wave may be modulated by LFO 2. The intensity of this modu- lation is determined by the PWM DEPTH knob. With the Pulse Width knob at central position there is no effect. Turning clockwise or anticlock- wise introduces the effect. Continuous variation in the width of a pulse waveform (which is what is happening when LFO 2 is modulating it) changes the harmonic content. This is pleasing to the ear, especially at lower pitches where all the associated harmonics fall within the audio range. This creates the classic PWM sound, as described below. When modulated by the MOD ENV, the effect is most apparent when using fairly long Mod Env Attack and Decay times. Obtaining a classic Square / PWM sound The PWM sound is one of the classsic analogue synthesizer sounds. Select one of the factory initialisation sounds ( 311 - 499) All of these ini- tial sounds use only use Oscillator 1 as the source waveform. Select a square waveform using the WAVEFORM button in the Oscillators section. Notice how the timbre changes to a more ‘woody’ sound. Select POSI- TION using the PW SELECT button. Rotate the PWM DEPTH / PW POSITION knob and notice how the sound changes to a very thin nasal sound when the knob is towards the clock- wise or anticlockwise end stop positions. (If fact the sound will extinguish completely at maximum settings). Leave the knob at the 12 o’clock posi- tion. Select LFO 2 using the PW SELECT button. Slowly rotate the PWM DEPTH / PW POSITION knob. Notice that there will now be some move- ment in the sound. Select LFO 2 in the LFO’s section using the LFO but- ton. Rotate the SPEED knob in this section and notice how the speed of the movement will change. Experiment with the above controls until the desired sound is achieved. Obtaining a Double Saw ‘thick’ detuned sound A thick ‘Double Saw’ detuned sound using just a single Oscillator may be created easily. If necessary, this sound can be stacked using additional Oscillators to product a ‘huge’ sound. Select one of the factory initialisa- tion sounds ( 311 - 499). All of these initial sounds use only use Oscillator 1 set to a sawtooth as the source waveform. Select POSITION using the PW SELECT button. Rotate the PWM DEPTH / PW POSITION knob fully clockwise. As the control is rotated, a double sawtooth wave is generated. At this fully clock- wise position the pitch will appear to double. Select LFO 2 using the PW SELECT button. Slowly rotate the PWM DEPTH / PW POSITION knob. Notice that there will be some movement in the sound. Select a sawtooth LFO wave using the WAVEFORM button in the LFOs section. Press the LFO button to select LFO 2. Rotate the SPEED knob in this section and notice how the speed of the movement will change. Experiment with the above controls until the desired sound is achieved. PORTAMENTO Knob This knob adjusts the Portamento effect. With this control set to zero, when the keyboard is played, the pitches of notes change instantly from one pitch to another as different keyboard notes are played. Turning the knob clockwise introduces the Portamento effect. Notes will glide smooth- ly from one pitch to the next. Increasing the amount will slow the time taken for the pitch of the first note to reach that of the second note played. WAVEFORM Knob This knob sets the currently selected Oscillator’s waveform. As the knob is turned, the WAVEFORM LEDs indicate which waveform is currently selected. There are 32 waveforms available. The first 4 of these are the traditional waveform shapes found on classic analogue synthesizers. The next 4 are special noise types. The remaining 24 are digitally sampled waveforms that provide useful sources fro emulating more tradional instru- ments and percussion sounds.. When this knob is at the fully anti-clockwise position, the Sine waveform is selected. As the knob is turned clockwise, the other traditional wave- forms are selected. After these, the more complex harmonic waveforms are available. Whenever one of these is selected, the MORE LED will be lit on the front panel. On the following page is a table of all the Oscillator waveforms available. MAIN FEATURES AND OPERATION Oscillator Section • 22 • mod env depth portamento semitone detune pwm depth/ pw position waveform -1 0 +1 +2 position more lfo 2 mod env 1 2 3 lfo1 depth pw select oscillator octave solo

to a full octave. Setting the pitch of Oscillator 1 to zero and adjusting the pitch of Oscillator 2 and 3 by differing amounts results in some musically pleasing intervals. Settings 5 (a perfect 4th), 7 (a perfect 5th), 3 (minor 3rd), 4 (major 3rd), 8 (minor 6th) and 9 (major 6th) offer the best results. Use other settings for intentionally discordant sounds. DETUNE Knob Sets the detune amount in Cents for the selected Oscillator 1,2 or 3. If it is set fully clockwise, the Oscillator’s pitch will be 50 cents sharper than its basic pitch. Fully anticlockwise and it will be 50 cents flat. Slight detuning between each Oscillator will enrich the sound by introduc- ing a beating between the Oscillators (in the same way a 12-string guitar sounds richer than a 6-string). Bass and lead sounds can be fattened up using a small amount of detune. Large amounts of detuning will lead to more extreme effects. MOD ENV DEPTH Knob Controls the amount of pitch modulation to the currently selected Oscillator from the Mod Envelope. In the centre position there is no effect on the oscillator's pitch. Anticlockwise the effect is negative (i.e. the pitch drops and then rises) and clockwise, positive (the pitch rises and then falls). See Envelopes Section, on Page 26 for the setting of the rise and fall times. LFO 1 DEPTH Knob Controls the amount of pitch modulation to an Oscillator from LFO 1. It controls how much above and below the basic pitch the Oscillator regular- ly rises and falls. If the LFO 1 is set to a Triangle wave and the LFO’s speed knob is above the centre of its range, this will produce a vibrato effect. Other effects like a siren or sea gull cry are possible with more extreme settings. Other functions associated with the Oscillators can be found in the Oscillators Menu. See Page 34. Mixer Section The Mixer makes it it possible to combine the outputs of Oscillators 1,2 and 3, the Noise source, the Ring modulator and the external Audio Input. The ability to mix together any or all of these sound sources makes it easy to create complex timbres. OSC 1, OSC 2 & OSC 3 Knobs Normally controls the volumes of the three Oscillators. Fully anticlockwise results in no signal. In this position and with all the other Mixer levels turned down, there will be no audio output. Fully clockwise results in full volume for the appropriate Oscillator. When the MODULATION LED is lit (see below) these knobs control the amount of modulation applied to the mixer. In the central position, no modulation is applied. Turning the knobs clockwise introduces positive modulation (the mixer levels become louder). Turning the knobs anticlock- wise introduces negative modulation (the mixer levels become quieter). MODULATION Button This determines how the various knobs in the Mixer Section are used. When this button is pressed, the LED above the MODULATION button is lit and each of the Mixer Section knobs control the amount of modulation applied from the source specified by the knob. The level of Oscillator 1 is modulated by LFO 1. The level of Oscillator 2 by LFO 2, the level of Oscillator 3 by the AD Envelope (see page 39 for setting the AD Envelope parameters) and the level of the Noise / Ring Modulator / External input also by LFO 1. These modulation assignments are fixed and cannot be redefined. Note : The AD Envelope is a special, dedicated Envelope used for FM synthesis or to control the level of OSC 3 in the Mixer. It should not be confused with the AMP or MOD Envelopes found on the KS 4 / KS 5 front panel. When the MODULATION button LED is not lit, the Mixer section knobs control the levels of the various signals fed through the Mixer. NOISE / RING / EXT Button and Knob The NOISE / RING / EXT button selects which sound source the NOISE / RING / EXT knob will control. With the NOISE position selected, it controls volume of the White Noise Generator. White Noise is useful for creating sound effects such as Wind. With the RING 1 * 2 position selected, it controls the volume of the Ring Modulator. Ring Modulation is useful for creating harder Metallic tones. With the EXT position selected, it controls the volume of an external audio signal connected to the INPUT socket on the KS Rack’s rear panel. This signal can be processed by the filter, envelopes and effects. An external audio signal may be a microphone, CD player, guitar etc. With a little experimentation, quite effective and dramatic changes to the sound can be produced : Filtering, wah-wah, gating, using the Effects Section for adding reverb, chorus etc. Experiment ! Note: All three of these sound sources may be used simultaneously and if so, it may become necessary to reduce the Program Level dB in order to avoid signal distortion (see page 39). MAIN FEATURES AND OPERATION Oscillator Section - Mixer Section • 23 • Oscillator Waveforms No. Description 0 Sine 1 Tri-Angle 2 Sawtooth 3 Square (Pulse) 4 White Noise 5 Hi-Pass Noise 6 Band Pass Noise 7 Hi / Band Pass Noise 8 Organ 9 Harpiscord 10 Electric Piano 11 Slap Bass 12 Rhodes Piano 13 Rhodes Tine 14 Whirly EP 15 Clavinet 16 Analogue Bass Rhythm Sounds 17 Kick 1 18 Kick 2 19 Kick 3 20 Snare 1 21 Snare 2 22 Snare 3 23 Tom Tom (Front) 24 Rimshot 25 Stick 26 Closed Hi-Hat 27 Open Hi-Hat 28 Tamborine 29 Conga 30 Cow Bell 31 Cymbal

FREQUENCY Knob This controls the basic Cut off frequency of the Filter. The Low Pass type of Filter is the most common type of Filter found on classic analogue syn- thesizers and is musically the most useful, especially for bass sounds. As the FREQUENCY knob is adjusted anticlockwise, harmonics are gradually removed from the sound. When almost closed, only the fundamental fre- quency remains. Fully closed and no sound at all passes. With the High Pass Filter type, as the FREQUENCY knob is adjusted clockwise, harmonics are gradually removed from the sound. When almost fully anticlockwise, only the fundamental frequency remains. When Fully clockwise and no sound at all passes. With the Band Pass Filter type, a narrow band of frequencies are passed, centered on the position of the FREQUENCY knob. This kind of Filter is useful when it is desired to pass only a specific frequency present in a sound. RESONANCE Knob This knob controls the Resonance of the Filter. The control will boost fre- quencies at the Cut off frequency. On on some synthesizers, this control is known as Emphasis since it will emphasize certain frequencies. At the zero position there is no effect. Turning clockwise slowly introduces the emphasis. Set fully clockwise, the Filter will begin to self - oscillate, producing a new pitched element (similar to feedback on an electric guitar). Note : At least a small signal must be fed into the Filter in order for the resonance to take effect. It is not possible for the filter to self - oscillate if no signal at all is fed into it. If the KS 4 / KS 5 produces a high pitched whistling sound, it is probably due to this knob is being adjusted too far clockwise. If this self-oscillating effect is not desired, keep the Resonance control away from the extreme clockwise setting. Increasing the Resonance is very good for bringing out modulation (movement or change) in the filter Cut off frequency, such as in Acid bass lines and other very edgy sounds. OVERDRIVE Knob This knob controls how much the filter is overdriven. When used in large amounts it will have the effect of making the sound richer and slightly dis- torted. MOD ENV DEPTH Knob Controls the amount of change to the filter Cut off (set by the FREQUEN- CY knob) by the Modulation Envelope. In its central position there is no change to the filter Cut off frequency. Adjusting the knob anticlockwise from centre will introduce an increasing amount of negative modulation. The filter will close as the MOD ENV runs through its cycle. Adjusting the knob clockwise from centre will introduce an increasing amount of positive modulation. The filter will be opened by the MOD ENV. SLOPE Button Controls how drastically the frequencies above (Low Pass), below (High Pass) or around (Band Pass) the Cut off point are removed from the sound. When the 12dB position is selected, the Cut off slope is gentle so higher harmonics are not attenuated (reduced in volume) as sharply as they are when the 24dB position is selected. TYPE Button Determines whether the Filter is acting as a Low Pass, High Pass or Band Pass type. LFO 2 DEPTH Knob Controls the amount of change to the filter Cut off (set by the FREQUEN- CY knob) by LFO 2. In its central position there is no change to the filter Cut off frequency. Adjusting the knob anticlockwise from centre will intro- duce an increasing amount of negative modulation. The Filter will close and open in time with LFO2 (this creates the popular wow wow effect of LFO2 wavefrom is set to Triangle). Adjusting the knob clockwise from centre will introduce an increasing amount of positive modulation. The filter will open and close in time with LFO 2. NOTE : An external audio signal such as a microphone, guitar or CD play- er may be processed by the filter and effects. Refer to Page 51 in the Advanced Features Chapter for more details on setting up this feature. More functions associated with the Filter can be found in the Filter Menu. See Page 37. MAIN FEATURES AND OPERATION Filter Section • 24 •

KS 5. These produce regular electronic variations which are too low to be heard when converted into audio vibrations. They can modify various ele- ments of the sound, producing regular changes in pitch (vibrato), pulse width or filter Cut off. SPEED Knob Controls the speed of the selected LFO. An LED directly below the knob indicates the speed. Faster speeds are set by turning the knob clockwise. These are suitable for vibrato and tremolo effects. Slower speeds are more appropriate for Pulse Width changes or special effects. WAVEFORM Knob Selects the waveform shape for the selected LFO. As waveforms are selected, the WAVEFORM LEDs update to reflect the currently selected waveform and the screen displays the currently selected waveform type. The first four LFO waveforms are the traditional types commonly found on classic analogue synthesizers. Additional special waveform types (includ- ing rythmic patterns) are also provided as detailed in the table below. When one of these is selected, the MORE LED will be lit. Experiment ! Sine Wave Gives the smoothest continuous change in level to the LFO. When routed to pitch, it introduces vibrato or a siren effect dependent of its speed set- ting. When routed to Filter Cut off, a Wow Wow effect results. Triangle Wave Also gives a smooth change in level to the LFO in a similar manner to the Sine wave. As its name implies, the Triangle wave does not remain at the peak of its waveform cycle for as long as the Sine wave. When routed to pitch, it also introduces vibrato or a siren effect dependent of its speed setting. When routed to Filter Cut off, a Wow Wow effect results. Sawtooth Wave Generates a rising level which then jumps back down to zero level. Routed to the Filter Cut off, it produces a rhythmic pulse effect. Routing it to pitch produces siren type sounds. Square Wave Changes level instantly from minimum to maximum. Useful for trills and computer game effects. Very effective when used to modulate Osc Pitch. Sample and Hold At a regular interval (governed by the SPEED knob), the level of the LFO jumps to a new random level and stays there until the next jump. This cre- ates a rhythmic effect, particularly if routed to the Filter Cut off. Routing this to pitch gives a less musical result, but is useful for computer / ran- dom or machinery sound effects. A ‘quantized’ version is also available. Here, the waveform is either at the top or bottom of its cycle. The effect is similar to a square wave with an unpredictable pulse width setting. Cross fade A single -shot, linear decay from maximum to minimum level. This is use- ful for implementing crossfades with an LFO used as a modfulator. With a postive modulation amount, this LFO waveform ‘fades out’ the modulation. With a negative modulation amount, this LFO waveform ‘fades in’ the modulation. Curved Sawtooth Similar to a standard sawtooth wave, but the waveform slope is in fact an exponentially decaying curve. When the LFO is used in ONE SHOT mode as a simple Envelope Generator (see below), a Curved Sawtooth’s ‘decay’ often sounds more pleasing and natural than the straight, linear ‘decay’ of a standard Sawtooth wave. Pattern trigger Waveforms The last eight waveforms consist of rythmic trigger patterns. These are especially effictive when the LFO is synchronised to the internal or exter- nal MIDI clock. Experiment with the various patterns available to see which ones work best for the Program. DELAY Knob Controls how long after the note is struck the selected LFO begins to take effect. Fully anticlockwise and the selected LFO effect will begin immedi- ately. Turning clockwise will cause the LFO effect to fade in. The time of the fade in is dependent on the knob position. This is used for delayed vibrato effects. LFO Select Button Selects which LFO the SPEED, WAVEFORM, DELAY and ONE SHOT controls relate to. Select position 1 for LFO 1 and 2 for LFO 2. ONE SHOT Button This button makes an LFO play its waveform for only one cycle whenever a keyboard note is played. An LED above the ONE SHOT button indi- cates when the currently selected LFO is in One Shot mode. Normally, the LFOs cycle through their waveform cycles continuously. Setting an LFO to operate in One Shot mode when it has its SPEED parameter set to a fairly slow value allows an LFO to be used (in effect) as a fairly simple Envelope generator. In this case, the SPEED knob con- trols the duration of any ‘Attack’ and / or ‘Decay’ phases in the ‘Envelope’. Reversing the polarity of the amount of LFO modulation applied (for example, from -20 to +20) has the effect of mirroring the LFO waveform about the horizontal axis so that the ‘Attack’ phase becomes the ‘Decay’ phase and vice versa. MAIN FEATURES AND OPERATION LFOs Section • 25 • LFO Waveforms No. Description 0 Sine 1 Tri-Angle 2 Sawtooth 3 Square 4 Sample & Hold 5 Sample & Hold Quantized 6 Cross Fade 7 Fast Attack - Medium Decay Expo Ramp 8 Fast Attack - Fast Decay Expo Ramp 9 Fast Attack - Very Fast Decay Expo Ramp 10 Medium Attack - Fast Decay Expo Ramp 11 Slow Attack - Fast Decay Expo Ramp 12 Very Slow Attack - Fast Decay Expo Ramp 13 Fast Attack - Medium Hold - Medium Decay Ramp 14 Fast Attack - Long Hold - Medium Decay Ramp 15 Fast Attack - Longer Hold - Medium Decay Ramp 16 Attack - Fast Decay - Second Decay Ramp 17 Attack - Medium Decay - Second Decay Ramp 18 Attack - long Decay - Second Decay Ramp 19 Blipper 20 Chromatic Up Ramp ( Set Osc LFO amount to 30) 21 Major Chord Ascending 22 Major 7th Chord Ascending 23 Minor 7th Chord Ascending Rhythm Paterns 24 Pattern 1 25 Pattern 2 26 Pattern 3 27 Pattern 4 28 Pattern 5 29 Pattern 6 30 Pattern 7 31 Pattern 8

The Envelopes are used to shape a sound throughout its duration. The AMP Envelope determines the volume of the sound with respect to its duration. The MOD Envelope may be used to control other sound elements of the synthesizer throughout the duration of the sound. It can control Oscillator Pulse Width, Filter frequency and Oscillator Pitch. ATTACK Slider Sets how quickly the envelope rises to its maximum level when a note is struck. Fully anticlockwise and this rise time or slope is very fast, less than half a thousandth of a second (instantaneous to the ear) increasing exponentially to twenty seconds when fully clockwise. To shorten attack times, turn this control towards zero and to lengthen attack times, turn this control towards maximum. Note : When the attack time is set to Zero, the instantaneous rise time of the Envelope may produce audible ‘clicks’. This is not a faulty condition and may be useful for the creation of certain sounds (for example, ‘key clicks’ on organ simulations). If this is undesirable, increase the Attack time until the clicks are inaudible. DECAY Slider Sets how quickly the envelope falls to a sustain level after the maximum level has been reached. Set to zero, this time is about one thousandth of a second (still instantaneous to the ear ) increasing exponentially to twen- ty seconds when set to maximum. To shorten decay times, move this con- trol towards zero and to lengthen decay times move this control towards maximum. SUSTAIN Slider Sets the level at which the envelope remains following the Decay phase, only while a key is being held on a controller keyboard (or there is a MIDI Note On command present). When set to zero, the envelope will decay to zero without being interrupted. As the control is moved towards maximum, the sustain level increases until, when at maximum, the sustain level is at its maximum level. RELEASE Slider Sets how quickly the envelope falls from the sustain level to zero once the note has been released. When set to zero, this time is about one thou- sandth of a second (instantaneous to the ear) increasing exponentially to twenty seconds when set to maximum. To shorten release times, move this control towards zero and to lengthen release times, move this control towards maximum. Additional settings associated with the Envelopes can be found within the Envelopes Menu. See Page 39. Volume, Headphones and Input Sockets VOLUME Knob This control adjusts the overall output volume on both the Left and Right master audio outputs found on the rear panel. It also controls the Headphone output, also on the rear panel. Using a mixing desk as a com- parison, this control can be thought of as the channel volume fader. PHONES Jack Connect headphones to this jack when you wish to enjoy your KS Rack in privacy ! AUDIO INPUT Jack Use this jack to process external sound sources through the KS Rack’s Filter or Effects. MAIN FEATURES AND OPERATION Envelopes Section - Volume, Headphones and Input Sockets • 26 • Envelopes Amp Mod release sustain decay attack release sustain decay attack volume phones audio input

These effects are saved as an integral part of a sound when writing it to memory. In Performance Mode, each of the four Parts has its own com- plete set of Effects settings. Adding Effects to a sound can dramatically enrich the overall sound tex- ture. Some types of Effect are particularly useful in giving a sound a per- ceived position in three-dimensional space. Adding such sounds to final mix of a piece of music gives a much greater sense of ‘depth’. Each type of Effect has several settings associated with it which give fine control over how the Effect interacts with a sound. These settings may be changed using the various Effects menus. See Page 41 in the Advanced Features section for more details. Effects SELECT Buttons These two buttons are used to select which of the seven Effects is cur- rently being edited. The seven types of Effect available are : Delay This Effect simulates the echoes which would be heard when a sound is reflected off of a hard, flat surface such as stone wall. The KS 4 / KS 5 actually incorporates a stereo version of this echoing effect. To visualize a stereo echo, imagine a sound being produced between two stone walls. The echoes of the sound would bounce off each wall in turn until the echoes eventually dies away. Use the EFFECTS LEVEL knob to introduce the Delay effect. Reverb The Reverb Effect simulates the acoustic properties of a room. In every- day life, the materials that a room is made of and its size determine how sound waves are reflected from the room’s walls. Consider as an exam- ple, how different a sound is when heard in bathroom with tiled walls. Singing in particular can be dramatically improved ! Chorus This is a swirling, stereo Effect, often useful for ‘fattening up’ a sound, cre- ating an impression that several synthesizers are being played in unison, rather than just one. This effect is actually achieved by slightly detuning the sound and adding it back to the original signal. A similar, related effect to Chorus is the Phaser. Phasers phase-shift cer- tain frequencies of a sound and add them back to the original signal. This gives a sound passed through a Phaser, a distinctive swishing quality. At extreme settings, this can sound similar to jet plane passing overhead! In the Chorus Menu, it is possible to select whether the KS 4 / KS 5’s Chorus Effect behaves as a standard Chorus or as a Phaser. Use the EFFECTS LEVEL knob to introduce the Chorus or Phaser effect. Distortion As its name suggests, the Distortion Effect distorts a sound signal. Imagine how a sound recorded onto tape sounds when it has been recorded with the record level far too high. Much loved by guitarists, dis- torted sounds have a very gritty, dirty quality to them. This is especially effective when applied to aggressive lead sounds. The Distortion Effect also exaggerates any low-level harmonics present within the sound. Sounds using a level of RESONANCE in the Filter will especially benefit from added Distortion. Use the EFFECTS LEVEL knob to introduce the Distortion effect. EQ The EQ (short for Equalization) Effect provides a way of diminishing or emphasizing a specific frequency range within the final sound. It is in fact, a form of Filter similar to the one found in the KS 4 / KS 5’s Filter section. It performs a similar function, but it cuts or boosts certain frequencies. The actual frequency range which will be cut or boosted is determined by the EQ Frequency Point (the EQ Frequency setting) which is set within the Effects Menu. See Page 45 in the Advanced Features chapter for details on how to set this. The amount of cut or boost applied will depend on the position of the Effects LEVEL knob. When set to the 12 o’clock position, no cut or boost is applied. As the knob is turned anticlockwise from the 12 o’clock position frequencies below the EQ Frequency point will be boosted and frequen- cies above the point will be attenuated. As the knob is turned clockwise from the 12 o’clock position, frequencies above the EQ Frequency will be boosted and those below attenuated. In the above example, The EQ Frequency point has been set to 50 and the EQ LEVEL set to -10. This has the effect of gently boosting the lower (bass) end of the frequency spectrum and cutting the higher (treble) fre- quecies. In this example, the EQ LEVEL has been set to its maximum possible positive setting of 63. This results in a dramatic boost in the higher (treble) frequencies and a reduction in lower (bass) frequencies. Panning The Panning effect dictates where in the stereo field a sound is placed when heard through stereo speakers or headphones. It is possible to position a sound hard to the left, hard to the right or anywhere in between. The Effects LEVEL knob intoduces an amount of panning modulation which affects the location of the sound in the stereo field. When set fully counter-clockwise, the sound will only be heard in the position set by the manual pan control in the first page of the panning menu. At the fully clockwise position, the sound will be move automatically from the left to the right-hand side at the rate determined by the panning rate control found in the Panning Menu. Vocoder MAIN FEATURES AND OPERATION Effects Section • 27 • Effects distortion EQ panning vocoder reverb chorus delay effects level select 20Khz 1Khz EQ Frequency Point (50) 500hz 5Khz 10hz Unchanged Volume Level Volume Boost Volume Cut EQ Frequency Point (50) Unchanged Volume Level EQ LEVEL set to -10 20Khz 1Khz EQ Frequency Point (50) EQ Amount (-63) 500hz 5Khz 10hz Unchanged Volume Level Volume Boost Volume Cut EQ Frequency Point (50) Unchanged Volume Level EQ LEVEL set to +63

audio signal (called a Modulator), and superimposes these frequencies onto another sound (called the Carrier). It actually does this by feeding the Modulator signal into a bank of band pass filters. Each of these filters (16 of them on the KS Rack) covers a set band in the audio spectrum from low to high frequencies. The KS Rack’s Vocoder always usesa Program (for example a string sound) for the Carrier. It is routed to another complete set of 16 filters which have the same frequency band settings as the bank of filters used for the Modulator. Each of the outputs from the 16 band pass filters in the Modulator bank control the volume of each of filters in the Carrier bank. The final character of the vocoded sound will depend greatly upon the harmonics present in the Carrier Program. Programs very rich in harmon- ics (for example using Sawtooth Waves) will generally give the best results. Typically, the Modulator signal used by a Vocoder would be a human voice speaking into a microphone. This creates the distinctive robot or ‘talky’ like sounds which have recently returned to popularity and are now being used more frequently in modern Pop and Dance music. Bear in mind however, that the Modulator signal need not be restricted to human speech. Other types of Modulator signal can be used (for exam- ple, an electric guitar or drums) and can often give quite unexpected and interesting results. Modulator audio signals such as from a microphone or CD should always be fed into the KS Rack’s AUDIO IN socket, located on the front panel. The pitch of the final vocoded sound will depend on whatever pitch the Carrier (currently selected Program) is playing. Notes can received via MIDI from an external keyboard or sequencer. These notes must be played simultaneously while the Modulator signal is present, otherwise the Vocoder effect will not appear to work. The Vocoder is activated and balanced by using the Effect LEVEL knob. When this knob is turned fully counter-clockwise, the Vocoder is disabled. As the knob is slowly turned clockwise from the full counter-clockwise position, the Carrier signal will be heard. As the knob is moved towards the 12 o’clock position, the Carrier signal will diminish and the fully vocod- ed sound will become more prominent. At the 12 o’clock position, only the fully vocoded will be heard. The Carrier or Modulator signals will not be present. As the LEVEL knob is moved clockwise from the 12 o’clock posi- tion, more of the raw Modulator signal will be introduced until at the fully clockwise position, only the Modulator signal will be present. More settings are available to help shape the final Vocoder Effect. These are detailed on Page 46 in the Advanced Features chapter. Note : In Performance Mode, only one Vocoder can be used. In Performance Mode, this is always routed to Part 1. Altering any vocoder parameters will always result in Part 1 being affected - even if it is not cur- rently selected for editng. Note : If either of the Effect SELECT buttons are pressed while the Effects Menu is active in Menu Mode, the display will be updated to show set- tings relevant to the newly-selected Effect. EFFECTS LEVEL Knob functions This control’s function depends upon the Effect currently selected for edit- ing by the SELECT buttons. In most cases, it will control the Effect’s level, but there are exceptions. All possibilities are detailed in the above table. Arpeggiator Section An Arpeggiator breaks down chords into single notes and plays them one at a time. For example, if a ‘C’ triad chord is held, the notes C, E and G will play one by one in sequence. In Performance Mode, each Part can have its own Arpeggiator running with its own unique settings and time signature. Each Arpeggiator can be synchronised with the Arpeggiators used by the other Parts. Which Arpeggiator pattern is used and how the sequence of notes are played is determined by settings of the functions located in the Arpeggiator Menu. See Page 54 in the Advanced Features chapter for more details on these. TEMPO Knob This controls the speed at which the Arpeggiator plays back its notes. When turned fully anticlockwise, the Arpeggiator will step through a sequence at 64 beats per minute. Clockwise movement increases speed. The maximum speed available is 191 b.p.m. Note ; In Performance Mode, there is only one Arpeggiator TEMPO con- trol which is common to all Parts. It is therefore not possible to have differ- ent Parts running at different TEMPO speeds. When the Global MIDI Clock Source value (see Page 50) is set to INT, this knob also controls the tempo of any synchronized Chorus, Delay, Panning or EQ effects. See the Hypersync paragraph on page 29 and the Synchronisation Menu on page 52 for details on how to synchronise these. When MIDI Clock Source is set to EXT, the tempo of any synchronized Arpeggiator, Chorus, Delay, Panning or EQ will be controlled by the tempo of the external sequencer instead of the TEMPO knob which will have no effect on the speed. If this knob appears to have no effect on the tempo, the reason is proba- bly due to MIDI Clock Source being set to EXT or that the external sequencer is currently stopped (stopped sequencers do not usually trans- mit MIDI Clock messages). ARP ON Button This activates / deactivates the Arpeggiator. While the Arpeggiator is acti- vated, the LED above the button will be lit. While an arpeggio is running, it can be stopped immediately by either pressing the ARP ON button again or by pressing the PERF or PROG buttons. ARP LATCH Button This button enables the Arpeggiator Latch feature which enables the Arpeggiator to remember the last set of notes played on the keyboard. When latched, the LED above the button is lit. The Arpeggiator sequence will continue to play even after notes have been released. Once all notes on the keyboard have been released, the next chord to be played on the keyboard will clear the existing latch memory and only the newly played chord will be Arpeggiated. Note : It is possible to control the Arpeggiator Latch On/Off from an exter- nal Computer/Sequencer/Keyboard. Transmit MIDI CC 64 (Sustain) with a value of 127 to turn the Arpeggiator latch ON and transmit controller num- ber 64 with a value of 0 to turn the latch OFF. MAIN FEATURES AND OPERATION Effects Section - Arpeggiator Section • 28 • Effects Level Knob Effect Selected Function Display Value Delay Delay Level Delay Send 0...127 Reverb Reverb Level Reverb Send 0...127 Chorus Chorus Level Chrous Send 0...127 Distortion Distortion Boost Distortion 0...127 EQ EQ Cut/Boost Equalisation -64...63 Panning Mod Depth PAN Mod Depth 0…127 Vocoder Vocoder On/Balance Vocoder Bal 0...127 Arpeggiator tempo arp latch arp on sync menu arp menu

Pressing this button accesses the Arpeggiator Menu. The LED above the MENUS button in the Mode / Keypad section of the front panel lights to confirm this. The parameters and features available in the Arpeggiator Menu are detailed on page 54. Hypersync Section It is possible to synchronise many Effects parameters and other features such as LFO speed to a common, internal clock or to an external MIDI clock supplied by a sequencer. Synchronisation of each individual setting can be achieved by accessing the various parameters via the Synchronisation Menu. This can be very time consuming so to speed up the process, 16 editable ‘Hypersync’ templates are available which pro- vide effective, musically synchronized settings. When selected, a Hypersync template applies synchronisation settings to four Effects and four Program parameters. Settings for the Delay level, Chorus Level, Panning Depth and EQ Modulation Depth are also applied making a total of twelve Hypersync values. Using tempo synchronized features can significantly enhance music pro- duction. The details of the eight values capable of being synchronized to internal or external MIDI clock are : Delay The time period of the Delay Effect is synchronized. The Delay level can be stored in the Hypersync template. Chorus / Phaser The time period of the Chorus / Phaser is synchronized. The Chorus / Phaser level can be stored in the Hypersync template. Panning The Panning time period is Synchronized. The Panning Depth setting can be stored in the Hypersync template. EQ / Filter The EQ / Filter sweep time is synchronized. The Modulation Depth setting can be stored in the Hypersync template. LFO 1 & LFO 2 The amount of time taken for an LFO to play a single cycle of its wave- form can be synchronized. Each LFO can be synchronized individually. LFO 1 Delay & LFO 2 Delay The delay time period for an LFO can be synchronized. Each LFO can be synchronized individually. HYPERSYNC Knob This selects which Hypersync template is applied to the Program (sound). The display indicates which template is applied when the knob is at non- zero. At the fully counterclockwise position, the Hypersync Menu will de- activate and the normal Progam Mode or Performance Mode display will be activated. When no Hypersync template is selected, all of the original parameter val- ues stored in the Program / Performance are restored to the Sync and Effects settings. The Hypersync ON LED is not lit. As the HYPERSYNC knob is moved clockwise, each of the sixteen tem- plates are selected in turn. For example : Hypersync 01 Syncopated Delay The Hypersync ON LED lights to indicate a Hypersync Template has been selected. The number on the top line of the display indicates which of the sixteen templates is selected. For reference, each template is assigned a name which is shown on the bottom line of the display When shipped from the factory, the first eight Hypersync templates are pre-configured. When the any of these first eight templates are activated the display will show Hypersync 01 Preset Table 1 The actual number will depend on the which number is selected. The pre- set table names may be edited, see the section on the following page, save hyper Editing a Hypesync Template Moving the HYPERSYNC knob displays the next Hypersync Template. (the program currently selected will change its sounds according to the Hypersync values). Once the desired Template has been selected, use the PERF / PROG / PAGE Buttons to access the three Hypersync editing pages. Press the PERF / PROG / PAGE Up button. The display shows: DELY CHOR EQ PAN 1bar 4th 2nd 8th Here the synchronisation rates of the Delay, Chorus, EQ and Panning may edited. The cursor indicates which of the four parameters on the page can be altered with the PERF / PROG / DATA knob. In the above example, the Chorus Delay sync is selected for editing. The SELECT Buttons can be used to move the cursor to select a different parameter for editing. The tables found on page 52 gives the possible synchronisation settings for the various Effects. It is also possible to set each parameter to NCH (no change) or FRN (Free Run) . When set to FRN, the Effect is not syn- chronised and will run at its own independent tempo. MAIN FEATURES AND OPERATION Arpeggiator Section - Hypersync Section • 29 • Hypersync on hypersync save hyper

LFO1..DEL LFO2..DEL 2nd 16th FRN 2bars Here the LFO 1 and LFO 2 synchronisation settings may be edited. The LFO 1 rate and delay settings are the first two entries from left to right. The LFO 2 rate and delay settings are third and fourth entries. In the above example, the LFO 1 delay sync is selected for editing with the PERF / PROG / DATA knob. The SELECT Buttons can be used to move the cursor to select a different parameter for editing. The table found on page 52 gives the possible synchronisation settings for the LFOs. It is also possible to set each parameter to NCH (no change) or FRN (Free Run) . When set to FRN, the Effect is not synchro- nised and will run at its own independent tempo. Pressing the PERF / PROG / PAGE Up button again, shows : DELY CHOR EQ_D PAN 93 127 +63 NCH Here the Delay Level, Chorus Level, EQ Modulation Depth and Panning Modulation Depth can be edited. In the above example, the Chorus Level is selected for editing with the PERF / PROG / DATA knob. The SELECT Buttons can be used to move the cursor to select a different parameter for editing. It is also possible to set each parameter to NCH (no change). Note: If a different Hypersync template is selected before the current tem- plate has been written to memory, any edits made will be lost. SAVE HYPER Button Pressing this button writes an edited Hypersync template into memory. The LED above the button indicates whether any edits have been made to the currently seleccted template. When the button is pressed, the display shows : Write to ? 01 Syncopated Delay The display will now show the destination memory number where the Hypersync template is about to be saved to. In this example, Write to 01. Notice that the destination memory is initially set to the currently selected Hypersync Template’s number. It is possible to save a Template to a dif- ferent memory location. Use the PERF / PROG / DATA knob or Keypad buttons to select a different destination memory if required. Any of the sixteen available Hypersync Template memories can be select- ed. Press the SAVE HYPER button again to proceed. The display shows : Name Hypersync 01 ‘Syncopated Delay’ On this display it is possible to edit the Template’s name. Use the Left and Right SELECT buttons to move the cursor within the Template’s name text. Use the PERF / PROG / DATA knob to select the character located at the cursor. Once the name has been entered, press the SAVE HYPER button once again to write the Hypersync template to memory. During the saving procedure, saving can be abandoned at any point by pressing the PERF or PROG buttons. Program Mode or Performance Mode is selected without saving the Hypersync Template. NOTE: When shipped from the factory, the global memory protect switch is set to on. The memory protect switch is a safety feature designed to prevent memories from being overwritten by accident. Therefore, in order to save a Hypersync Template, the global memory protect must be switched off. See page 6 for details on how to do this. As soon as the Hypersync Template is saved to memory, the display will revert back to the display showing the name and number of the Hypersync Template. Saving a Program after Hypersync has been applied Once a Hypersync template has been applied to a Program, the audible effects to the sound will be noticed immediately. If these settings are required permanently, the Program must be saved in the normal way. To do this refer to Page 6 - Saving a Program. If they are not permanently required, it is only necessary to reload the Program to restore the orginal sound or return the Hypersync knob to the zero position. Once the Program has been saved, applying the same Hypersync Template setting to it will naturally have no effect. If desired the Hypersync Template may be edited such that an entirely new set of setting will be introducded when Hypersync is applied. SYNC MENU Button Pressing this button accesses the Synchronisation Menu. The parameters and features available in the Synchronisation Menu are detailed on page 52. MAIN FEATURES AND OPERATION Hypersync Section • 30 •

MAIN FEATURES AND OPERATION • 31 • Part Edit Section This section contains all the controls associated with configuring the indi- vidual Parts when used in Performance Mode. In Program Mode, these controls are still available for use, but behave as if only one Part is avail- able - Part 1. PART LEVEL Knob Sets the currently selected Part(s) volume level. This allows the correct balance between individual Parts in a Performance to be achieved. In Program Mode, this knob will only affect Part 1. Part EDIT Buttons These four buttons determine which Part will be edited by the front panel controls. In Program Mode, Part 1 is always selected for editing and can- not be de-selected. In Performance Mode, any of the four Parts can be selected for editing . The status of the Part EDIT buttons determine which of the parts will play when using the keyboard. If a Performance is configured for a layered type sound (parts are set to use the same MIDI channels), the keyboard will only play ALL the parts whose MIDI channels match the channel used by the part that is currently selected by the EDIT button. In this way the complete layered sound (that may be a multiple of many parts) may be auditioned. By switching on and off the parts (pressing the buttons below the green LEDs) each individual part may by auditioned. If a Performance is configured multi-timbrally (parts are set to use differ- ent MIDI channels), the keyboard will only play the part currently selected by the EDIT buttons. It would generally be undesirable to audition a col- lection of parts that contain differnet sounds all at once. Multi-timbral Performances are for use with an external sequencer such that different sounds on different MIDI channels can be triggered through- out a song. Part MENU Button Pressing this button accesses the Part Menu. The LED above the MENUS button lights to confirm this. The parameters and features avail- able in the Part Menu are detailed on page 55. Part Active Buttons These four buttons determine which Parts are in use. In Program Mode, Part 1 is always active and cannot be de-activated. No other part can be activated since a single sound only can be played. In Performance Mode, any combination of the four Parts can be used by a Performance. The LEDs above the Part Active buttons indicate which Parts are currently active. An inactive Part will not respond to incoming MIDI messages or can be played by the keyboard. An inactive Part can- not be edited. The Part Active buttons also provide a convenient way of ‘muting’ individual Parts on the fly in a live performance situation. Inactive Parts are in effect, ‘muted’ and do not sound or respond to MIDI messages. Activating a ‘muted’ Part restores normal operation where it can resume playing or responding to MIDI.

Display and Data Entry Section • 32 • Display and Data Entry Section As well as containing the display, this section also contains controls, whose function varies according to which mode the KS Rack is currently in. For more information on modes, refer to the section Modes and Menus on Page 19. PERF / PROG / PAGE Buttons While in Program Mode or Performance Mode, these buttons may be used to advance / decrease the currently selected Program / Performance. If pressed and held down, the Programs or Performances will start advancing / decreasing in steps of ten Programs at a time. While in a Menu, these buttons are used to move up and down through the various linked pages within the currently selected menu. PERF / PROG / DATA Knob In Program Mode or Performance Mode, this knob may be used to step forwards or backwards through the available Programs or Performances. The interval used in stepping through the Programs or Performances is determined by how quickly the knob is turned. In a Menu, this knob is used to adjust the value of the function relevant to the currently selected Menu Page. BY CATEGORY Button Pressing this button enables the category search feature. When category searching is enabled, the LED above this button is lit and the PERF / PROG / DATA knob will only search for Programs within the currently selected category. See page 4 for details on how to select categories and how category searching operates. Category searching cannot be used to select Performances. Left and Right SELECT Buttons Sometimes within menus and on the Performance Mode display, several parameters are available for editing on the same display screen. These buttons are used to move the cursor to a different parameter on-screen. The PERF / PROG / DATA Knob can now be used to adjust the newly- selected parameter. AUDITION Button When pressed, the currently selected / edited Program will play a short sequence of notes. This feature is useful in hearing what the Program sounds like without having to play a connected Master keyboard or sequencer. DRUM EDIT Button This button is selects a Drum Map at any time. Once in a Drum Map, holding this button down and pressing a key on the keyboard will selected the Drum sound for editing on the front panel. Using this button is equivalent to selecting the Program in a Drum Map by the conventional means of using the PERF / PROG / PAGE buttons, PERF / PROG / DATA knob or numeric keypad buttons, but provides a convenient, direct shortcut to the appropriate Drum Program in Program Mode or Performance Mode. COMPARE Button While this button is held down, the currently selected Program (if in Program Mode) or Part (if in Performance Mode) will be recalled from its original memory location, temporarily losing any edits that have bee made to the Program since it was originally selected. Releasing the button restores the edit-buffer, bringing back any changes made to the Program since it was originally selected. In Performance Mode, any part selected for editing with the EDIT buttons is compared. During the process of saving a Program or Performance to a memory location, the COMPARE button compares the current Program / Performance against the destination memory as specified in the saving procedure (see pages 6 and 8). When saving a Performance, it is the whole Performance at the destina- tion which is compared, not just the currently selected Part(s). Displaying a Program / Performance Edit When playing is useful to know whether the current selected sound or Performance has been modified in any way from the originally saved set- tings. If any changes have been made to a Program, (a knob has been tweaked or a button has selected a different function) an asterisk will appear in the display soon after the tweak or button press has been made. It will appear immediately to the left of the Program number when in Program Mode. Edited program *123 If the change is reversed (the control returned to its position as defined by the original Program), the asterisk will disappear. Edited program 123 If a change has been made to a Performance or Part Program, the same applies. This is how the Performance Mode screen would appear if edits had been made to the Programs in Parts 2 and 4. Edited perf *123 123 *234 345 *456 perf/prog/page perf/prog/data 123 HYPERFORMANCE 123 *234* 345 456 select by category compare audition drum edit 123 HYPERFORMANCE 123 *234* 345 456

Mode and Keypad Section • 33 • Mode and Keypad Section This section contains buttons associated with Mode selection, writing Programs and Performances to memory and selecting Programs or Performances directly by three-digit entry. WRITE Button Pressing this button starts the procedure for saving Programs or Performances into memory. The procedure for saving Programs is detailed in the section Saving a Sound on page 6. The procedure for saving whole Performances or Part Programs is detailed in the section Saving a Performance on page 8. If however, this button is pressed while the Global Menu is currently active in a Menu, instead of saving the currently edited Program, the current set- tings of all Global parameters will be saved into memory. (The display will briefly show ‘GLOBALS SAVED’). The next time the machine is switched on, these values will be remembered. MENUS Button Pressing this button selects a Menu. The LED located above the MENUS button will be lit. If already in a Menu when the button was originally pressed, the Menu will be cancelled and Program Mode will be selected (if currently in Program Mode) or Performance Mode (if currently in Performance Mode). From a Menu, Program Mode may be also be selected at any time by pressing the PROG button or Performance Mode selected by pressing the PERF button. PERF Button Pressing this button selects Performance Mode and the LED above the PERF button lights. In Performance Mode, a new Performance may be selected by either the PERF / PROG / PAGE buttons, the PERF / PROG / DATA knob or by typ- ing in a three digit entry by using the 0 - 9 keypad / Menu Select buttons. PROG Button Pressing this button selects Program Mode. The LED above the PROG button lights.. In Program Mode, a new Program may be selected by either the PERF / PROG / PAGE buttons, the PERF / PROG / DATA knob or by typing in a three digit entry by using the 0 - 9 keypad / Menu Select buttons. 0 - 9 Keypad / Menu Select Buttons In a Menu, these buttons may be used to switch to a different Menu. At all other times, pressing one of these buttons will initiate Program Mode or Performance Mode. A three-digit entry must be entered so that the appropriate Program or Performance may be recalled from memory. For this reason, it is important to make sure that the MENUS button has already been pressed before using these buttons to select a different Menu. osc's

• 34 • This chapter details the many advanced features available. Most of these are found in the various Menus available. See page 19 for details on selecting Menu Mode. Each of the various Menus available will now be presented in more detail. The Oscillator Menu To complement the front panel controls in the Oscillator section, there are many other functions located in the Oscillators Menu. This Menu is selected by pressing the keypad ‘1’ button when the MENUS button in next to keypad button one is active. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Polyphony Mode (Menu Page 1) This setting determines if the Program plays polyphonically or mono- phonically. When set to MONO or MONO AG, the Program plays monophonically (ie only one note can be sounded at any one time). If a chord is played on the keyboard, it will be noticed that as each individual note is released, the note sounding will revert back to the nearest played note. The MONO AG setting enables ‘Auto glide’ (portamento) to be triggered whenever a note is played on the keyboard before the previously held down note has been released (legato playing). Using ‘Auto glide’ in this way can greatly add expressiveness to a Program. It is especially effec- tive when applied to lead type sounds. The monophonic settings are often useful when replicating sounds in the ‘real world’ which would normally be played monophonically, for example a bass guitar. As their name implies, the POLY 1 and POLY 2 settings allow polyphonic operation. POLY1 allows successive playing of the same note(s) to be ‘stacked’ together, gradually producing a louder sound texture as the note(s) are repeatedly played. With POLY2, if the same note(s) are played repeatedly, they will use the same synthesizer voices as used previously, thus avoiding the ‘stacked note’ effect. Unison Voices (Menu Page 2) Unison allows more than one voice to be used for each note played on the keyboard. This effect is useful when a very thick sound is required. Up to eight voices may layered one on top of another when just a single note is played. To listen to the effect, select Page 2 in the Oscillator Menu, turn the PERF / PROG / DATA knob clockwise until the display shows 2. Play a note and listen to the sound. It will become thicker sounding. Increasing the number of notes to a maximum of 8 will result in very dense sound- ing textures. Note: As more voices are assigned to Unison, the available polyphony for all Parts will reduce accordingly. For example, using 8 voices in Unison mode will result in just two notes of polyphony being available! Unison Detune (Menu Page 3) Unison Detune is used in conjunction with Unison Voices as described above. When using more than one voice per note, the Unison detune amount sets how much each voice is detuned relative to the others. Adjust the amount until the desired effect is heard. VCO Drift (Menu Page 4) Controls the amount of tuning drift for the Oscillators. Setting a modest value, 10 for example will cause each Oscillator to slowly drift fractionally out of tune. Classic Analogue Synthesizers were known to gradually go out of tune as the internal circuits heated up. This ‘instability’ actually helped to give them their own unique character! Preglide Semitones (Menu Page 5) A Preglide is applied to the pitch of the Oscillators starting at a pitch determined by the Preglide amount in semitones. Gliding up from a pitch occurs when the display indicates between -12 to -1, and gliding down from a pitch occurs when the display indicates between 1 to 12. At a set- ting of 0, no preglide is applied. The time it takes to complete the Glide is determined by the PORTA- MENTO knob on the front panel. The Preglide is triggered with every note received. Portamento Mode (Menu Page 6) Determines the type of curve applied when PORTAMENTO is used. Two types of curve are available, Exponential and Linear. Linear Portamento sweeps through note intervals at a constant rate. When Exponential Portamento is used, the rate of sweep decreases throughout the note sweep’s duration. Start Phase (Menu Page 7) When synthesizing percussive or plucked type sounds, there is a lot of detailed waveform information at the beginning of the sound. It is often useful to have the Oscillator wave start in exactly the same place every time a key is pressed. The start phase option allows the precise starting point of the Oscillator wave to be determined. At a setting of 0, the wave will start at zero Degrees. Each increment on the display shifts the start point of the wave approximately 3 degrees. The wave will start at a random phase when set to OFF. Osc 1 - 2 Sync (Menu Page 8) This function provides a way of producing interesting, piercing, metallic sounds. It does this by using the frequency of Oscillator 1 to periodically restart the waveform used by Oscillator 2. This technique is known as Oscillator Sync. Set this to ON to activate Sync. It should be remembered that the frequency of a waveform corresponds to the number of waveform peaks (cycles) over a given period of time. The frequency also determines the Oscillator’s pitch. Therefore if Oscillators 1 and 2 are detuned from each other, Oscillator 2’s waveform will be periodically interrupted and started again from the beginning of the waveform cycle every time Oscillator 1’s waveform begins a new cycle. The diagram on the following page illustrates this. Oscillator Menu Page Function Display Value 1 Polyphony Mode OSC Pol Mode MONO…POLY 2 2 Unison Voices OSC Unison OFF…8 3 Unison Detune OSC Uni Dtune 0…127 4 VCO Drift OSC Vco Drift 0…127 5 Preglide Semitones OSC Preglide -12…12 6 Portamento Mode OSC Porta Mode EXP-LIN 7 Start Phase OSC Start Phase OFF 0..127 8 Osc 1 - 2 Sync OSC 1>2 Sync OFF-ON 9 Osc 2 - 3 FM Manual Level OSC 23 FM Level 0…127 10 Osc 2 - 3 FM Env Amt OSC 2>3 FM ADEnv -64…63 11 Osc 2 - 3 FM LFO1 OSC 2>3 FM Lfo 1 -64…63 12 Osc Fixed Note Replay OSC Fixed Note 0…127 Voice mode Display Function MONO Mono No Auto Glide MONO AG Mono with Autoglide POLY 1 Normal Poly Mode POLY 2 Poly - no note layering

• 35 • It can be seen that the resulting synced waveform has subsequently been modified into a different shape. Altering a waveform’s shape in this way introduces new harmonics into the sound which gives the resulting waveform its distinctive synced sound qualities. It should be realised that the greater the difference in tuning between the Oscillator waveforms, the more pronounced the sync effect will become, since more drastic changes will be made to the final synced waveform. Changing the pitch of one of the Oscillators during the duration of a note (for example, modulated by an LFO) will add a dynamic quality to the synced sound. FM Synthesis The next two menu options allow sounds based on FM (Frequency Modulation) synthesis to be created. Before looking at the operations of these controls, a little explanation of FM synthesis follows. Earlier in this manual, the basics of subtractive synthesis were intro- duced. Terms such as harmonics, timbre, waveforms and oscillators became familiar. FM Synthesis is the technique of using one waveform to Frequency Modulate - FM- another to produce a resultant more harmonically com- plex waveform. The following diagram illustrates that the higher the modulation between the Modulating wave and the Carrier wave, the more the waveform changes. In the illustration, the Oscillators are producing Sine waves. It is the change in harmonics over time that makes a sound interesting to our ears. In FM synthesis, an envelope generator is inserted between the modula- tor and carrier waveforms so that there is control over of how much of the frequency modulation is taking place with respect to time. Adding this envelope constructs the basic FM building block as shown in the nex illustration. It can be seen that the output waveform begins, being identical to the carrier, but becomes more complex (harmonics are added) as the amount of FM modulation increases via the envelope. It then returns to a simple wave again as the envelope decays. The timbre of the Waveform is changing with time. This is the opposite of subtractive synthesis where a low pass Filter is used to remove harmon- ics. To complete a simple synthesizer, a further envelope is added to control the output volume. The complete FM building block is illustrated below. OSC 2 is able to FM OSC 3 via a dedicated FM envelope. It is important that it is realized that this Envelope is used only for FM purposes and is not one of the Envelopes available on the front panel. The diagram below shows in block diagram format how the KS Rack can produce FM sounds. The easiest way to be totally familiar with FM is to take one of the factory preset FM sounds, for example Bank 2 - 09 (Sound 209), a bell sound and to experiment by modifying the various FM settings. osc 1- modulator osc 3- carrier output waveform modulation level = 0 = 30 = 90 Modulator Oscillator Modulation Level = 0 Carrier Oscillator Output Waveform = 30 = 90 osc 1- modulator osc 3- carrier output waveform envelope modulation level = 20 Modulator Envelope Modulation = 20 Carrier Output Waveform modulator env - used to control FM modulation amount env - used to control amplitude of sound over time carrier Modulator Carrier Envelope used to control FM Modulation amount Envelope used to control Amplitude Osc 3 Operator 1 Operator 2 Osc 2 FM Env Amp Env OSC 2 OSC 3 FM Envelope AMP Envelope Oscillator 1 Oscillator 2 Synced waveform

• 36 • OSC 2 - 3 FM Manual Level (Menu Page 9) Controls the amount that Oscillator 3 is directly Frequency Modulated by Oscillator 2. Whilst playing a note, adjust this value by using the PERF / PROG / DATA knob. Notice that increasing amounts of modulation level make the sound more metallic. OSC 2 - 3 FM Amount from AD envelope (Menu Page 10) Many sounds have complex harmonic movements at the start of the sound. Introducing envelope modulation with a fast attack and decay time to control the FM amount will simulate this fast changing harmonic effect. There is an additional envelope located - See below - that can be applied to control the FM amount between the oscillators 2 and 3. The amount of modulation from the envelope can be adjusted by using the DATA knob. Notice how the ‘spit’ at the beginning of the sound may be accentuated. Experiment with Oscillator 2’s pitch using the OCTAVE button and the SEMITONE and DETUNE knobs. Adjusting the AD Envelope Attack and Decay Times Changing the AD Envelope attack and decay times (which is used as the FM modulation envelope) is done from within the Envelopes Menu. See Page 39 for details. OSC 2 - 3 FM Amount from LFO 1 (Menu Page 11) Allows the FM amount between Oscillators 2 and 3 to be modulated by LFO 1. Osc Fixed Note Replay (Menu Page 12) Rather than playing chromatically across the keyboard (as is the usual case), a sound may be set to just play a fixed note - pitch - when ANY note is palyed from the Keyboard or when triggered from an incoming MIDI note on event. This feature mostly used for sounds that are in a Drum Map. Experiment by selecting the Drum Map (pressing the DRUM EDIT button), selecting a Drum sound for edit (Hold down the DRUM EDIT button and play a key on the keyboard) and selecting page12 in the OSCs Menu. Use the DATA knob to change the pitch of the sound. If desired, save the sound in the normal way. By using this feature on Drum sounds, new interesting timbres may be achieved.

• 37 • The Mixer Menu To complement the front panel controls in the Mixer section, there are other functions located within the Mixer Menu. This is selected by press- ing the keypad ‘2’ button while in a Menu. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. LFO 2 Level Modulation to OSC1 LFO2 may be routed to control the level of the volume from Oscillator 2 in the Mixer section. This is useful if timbre from OSC to be faded in and out on a once only basis (LFO2 set to one-shot mode) or cyclically. Listen to some of the factory presets to hear this function. Noise This setting determines the frequency characteristics of the Noise signal available from the Mixer’s NOISE / RING / EXT knob. Four different types of Noise are available. 0 - This is standard White Noise, with all frequencies present in equal amounts. 1 - This is a high pass filtered Noise and is useful for contructing certain types of percussion type sounds. 2 - This is a band pass filtered Noise and is also useful for contructing certain types of percussion type sounds. 3 - This is different type of high pass filtered Noise and again it is useful for contructing certain types of percussion type sounds. The Filter Menu To complement the front panel controls in the Filter section, there are other functions located within the Filter Menu. This is selected by press- ing the keypad ‘3’ button while the KS Rack is in Menu Mode. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Tracking (Menu Page 1) This controls the amount of change to the filter Cut off (set by the FRE- QUENCY knob) by the pitch of the note played. When the PERF / PROG / DATA knob is turned fully anticlockwise, there is no change to the filter Cut off frequency. With clockwise movement there will be an increasing amount of modulation. The filter will be opened more as higher notes are played on the keyboard. This control is used to define how the timbre of a sound changes over the keyboard. At the fully clockwise position, the filter tracks the pitch changes in a 1 to 1 ratio. This means that with RESONANCE set to a high level, the pitch of the Filter’s self - oscillation will increase in semitone steps as notes are played on the keyboard. This effect is akin to adding an extra (Sine Wave) Oscillator to the sound when notes are played on the keyboard. Velocity Sensitivity (Menu Page 2) This setting is used to modulate the Cutoff FREQUENCY of the Filter up or down in response to the velocity information present in incoming note messages or notes played on the keyboard. Set in the range -1 to -64, the Filter will close (the Cutoff FREQUENCY will decrease) as velocity data is applied. With a range of 1 to 63, the Filter will open (the Cutoff FREQUENCY will increase) as velocity data is applied. Greater values will open (increase the Cutoff FREQUENCY) as velocity data is received. At a setting of 0, note velocity will have no effect. Q Normalise (Menu Page 3) This value controls the Resonance Normalise. At zero, when resonance is applied, the main audio signal will remain at normal levels. Adjusting clockwise will reduce the signal level in relation to the resonance level. This feature enables the Filter to emulate many of the classic Filters such as the Moog type, Oberheim type and Roland TB303* type. * Trademark of the ROland Corporation of Japan Filter Menu Page Function Display Value 1 Tracking FILT Kbd Track 0…127 2 Velocity Sensitivity FILT Velocity 0…127 3 Q Normalise FILT Q Normalise 0…127 Mixer Menu Page Function Display Value 1 LFO2 Level Mod to OSC 1 MIX Osc1 L2 Lev -64...63 2 Noise Type Mix Noise Type White - Band

• 38 • The LFO Menu To complement the front panel controls in the LFO section, there are many other functions located within the LFOs Menu. This is selected by pressing the keypad ‘4’ button while the MENUS buttons is active. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. LFO Velocity (Menu Pages 1 & 7) The intensity of the LFO may be set to respond to velocity. As an exam- ple of this. Set the LFO1 depth control to a postive value from the front panel such that pitch modulation occurs on Oscillator 1. Using this Menu, setting the LFO1 velocity to a positive valu. Notice that, when pressing a key on the keyboard, a soft press reuslts in a very small amount of pitch modulation or wobble and a hard press results in a large amount. When an LFO is used in the mixer section as a modulation source, this feature is useful for controlling the volume of each Oscillator in proportion to how hard a key is struck. LFO Delay Triggering (Menu Pages 2 & 8) When the Voice mode is set to any of the Mono options (see Page 23), different LFO delay settings are available for legato playing styles (notes overlapping). When the first note of a musical phrase is played, it might be desirable to have an initial delay on the LFO. (If the LFO is routed to pitch modulation, a vibrato effect would be introduced after the delay time). For the remain- ing legato notes, a non interrupted vibrato might be required. Setting this to SGL (single) achieves this. Setting this to MLT (Multi) sets the LFO delay to apply to every note played. LFO Keysync (Menu Pages 3 & 9) Each LFO waveform may be restarted every time a key is pressed. For example, if a siren type sound effect was required, an LFO using a sawtooth wave would be set to positively modulate pitch. Each time a new key is pressed, the pitch would climb from the same point (because the LFO waveform would be restarted) rather than being at an undetermined pitch position. Note : If the LFO Common To All Voices function (detailed below) is set to ON for the LFO, altering this value will have no effect. How a keysync is applied to the LFO is determined by the changing the Global Sync Mode settings (found in the Global Menu). See Page 35 in the Advanced Features chapter for details. LFO Keysync Initial Phase Offset (Menu Pages 4 & 10) This setting provides an alternative point in the LFO’s waveform cycle where the waveform will be restarted from when LFO Keysync is set to ON. To hear the difference, set a slow LFO to modulate Oscillator pitch modulation and experiment with different LFO waveforms and LFO Keysync Phase Offset settings. LFO Polarity (Menu Pages 5 & 11) This setting setermines whether the LFO modulates in a positive and neg- ative direction or soley in a positive direction. As an example of how this works, imagine an LFO assigned to modulate an Oscillator’s pitch while a key of middle C is played on the keyboard. When Unipolar is set to OFF, the pitch would be modulated between a note some interval below middle C and another note at an equal interval above middle C. The interval between the notes is determined by the modulation amount applied to the pitch by the LFO. If the LFO was modulating the pitch with Unipolar set to ON, the pitch would only be modulated in a positive direction, so the pitch would modu- late between middle C and another note located at some interval above. It is often useful to set an LFO’s Unipolar setting to ON if an LFO is being used as a simple Envelope Generator (by setting its ONE SHOT mode) . LFO Common to all voices (Menu Pages 6 & 12) Each of the 16 voices (notes of polyphony) have two LFO’s - 32 in total. The sixteen LFOs designated LFO 1 (one per voice) may be ‘phase’ locked together and similarly the sixteen LFO’s designated LFO 2 may be locked. To illustrate this, assume the LFO waveform is a triangle wave and at a specific moment in time all sixteen are at the beginning of a the rising por- tion of the wave. At a later point in time all will be at the beginning of the falling portion of the wave. If this waveform is applied to pitch, when a number of notes are played simultaneously, the pitch of all the notes will rise and fall at precisely the same time. If the LFO is not locked, then each wave will be at a random position rela- tive to the others. In this pitch modulation example, the pitch of all the notes will be changing ‘out of synchronization’ with others. Imagine a String section of eight violin players. With the LFO locked and the LFO being used to create a vibrato, all sixteen of the string players would have the bow in exactly the same position. This obviously does not occur in a real string section and if it did the sound would be very unusu- al. In reality, each player’s bow would be in a different position which gives the strings a ‘chorus’ type sound. To simulate the string section the LFOs would not be locked. Setting this to ON will ‘lock’ the LFO. When LFO Common To All Voices is set to ON, changing the setting of the LFO Keysync function will have no effect. Instead, how a keysync is applied to the LFO is determined by the setting of the Global Sync Mode value (found in the Global Menu). See Page 51 in the Advanced Features chapter for details. LFO Menu Page Function Display Value 1 LFO1 Velocity LFO1 Velocity -64...63 2 LFO1 Triggering LFO1 MonoDelTrig SGL-MLT 3 LFO1 Keysync LFO1 Keysync OFF-ON 4 LFO1 Keysync Phase OffsetLFO1 Init Phase OFF-ON 5 LFO1 Polarity LFO1 Unipolar OFF-ON 6 LFO1 Common to all VoicesLFO1 Common OFF-ON 7 LFO2 Velocity LFO2 Velocity -64...63 8 LFO2 Triggering LFO2 MonoDelTrig SGL-MLT 9 LFO2 Keysync LFO2 Keysync OFF-ON 10 LFO2 Keysync Phase OffsetLFO2 Init Phase OFF-ON 11 LFO2 Polarity LFO2 Unipolar OFF-ON 12 LFO2 Common to all VoicesLFO2 Common OFF-ON Middle C Time Pitch Middle C Time Pitch Unipolar set to OFF Unipolar set to ON

• 39 • The Envelopes Menu To complement the front panel controls in the Envelopes section, there are many other functions located in the Envelopes Menu. This is selected by pressing the keypad ‘5’ button when a Menu is selected. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu func- tions available - See table below. Program Level dB (Menu Page 1) The value of this function adjusts the program output level. This is used to maintain a consistent volume level, avoiding distortion throughout all sound Programs. Delicate sounds (such as those which use just one Oscillator and closed filter settings) can be increased in volume using this control. Conversely, sounds that use all Oscillators and high polyphony (6 to 8 notes played at once), can be reduced in volume to avoid distortion. Using a mixing desk as a comparison, this control can be thought of as the gain or trim control for the channel. If a sound appears to be distorting unintentionally, especially when com- plex chords are being played, reduce the value of this setting. Velocity To Env Level (Menu Pages 2, 3 & 4) These functions determine how the Amp, Mod and FM Envelopes respond to Velocity information. Setting up a sound to make it’s volume respond to velocity Select the second Page in the Envelopes Menu (ENV Amp Vel). Adjust the DATA knob. At a setting of zero, a soft key stroke will produce a sound at the same volume as a hard key stroke. At a maximum positive value (63) soft key strokes will be much quieter than hard key strokes. At a maximum negative value (-64), soft key strokes will be much louder than hard key strokes. Setting up a sound to make its brightness or pitch respond to velocity Select the third Page in the Envelopes Menu (ENV Mod Vel). Adjust the PERF / PROG / DATA knob.Turn the Filter FREQUENCY knob to a near zero setting or until the sound almost disappears. Turn the MOD ENV DEPTH knob in the Filter section to a maximum clockwise position. In the Envelopes section, Set the MOD ENV ATTACK and SUSTAIN knob to zero and the DECAY knob to nearly full. While playing notes on the Keyboard, adjust the PERF / PROG / DATA knob. At a setting of zero there will be no effect on the brightness of the sound. At maximum positive value (63), soft key strokes will produce a tone much softer than hard key strokes. At a maximum negative value (-64), soft key strokes will produce a tone much brighter sound than hard key strokes.To affect the pitch, adjust the MOD ENV knob in the Oscillator section. Adjusting the Velocity Response of the AD Envelope Select a factory preset FM sound (such as 209). Select the fourth page in the Envelopes Menu (AD Env modulation). Adjust the PERF / PROG / DATA knob. Notice how the FM effect at the start of the sound becomes dependent on how hard the keys are struck. Envelope Triggering (Menu Pages 5, 6 & 7) These functions only apply to a sound which has been set up to behave in a monophonic manner (see Voice Mode on Page 34). When the Voice mode is set to any of the Mono options, different enve- lope triggering options are available for legato playing styles (notes over- lapping). When the first note of a musical phrase is played, it might be desirable to have both the Amp and Mod envelopes trigger. For the remaining legato notes,just the Mod envelope re-triggering would create the effect of the phrase becoming quieter and quieter. As well as affecting the two Envelopes available on the front panel, it is possible to set the triggering mode for a third, hidden Envelope termed the AD Envelope. This Envelope has only Attack and Decay stages and is only used for FM synthesis or for modulating the level of Oscillator 3 in the Mixer section. When these are set to SGL (single), the appropriate Envelope will only be triggered when the first keyboard note is played. Any subsequent legato style key presses will not re-trigger the Envelope. When set to MLT (multi), the appropriate Envelope will always re-trigger on each key press, regardless of the playing style used. AD Env Attack (Menu Page 8) When FM synthesis is being used (see Page 35) or the Mixer’s OSC 3 Level is being modulated, this value determines the AD Envelope’s Attack time. Note : The AD Envelope is used only for FM synthesis or modulating OSC 3’s level in the Mixer and should not be confused with the Amp or Mod Envelopes available on the front panel. AD Env Decay (Menu Page 9) When FM synthesis is being used (see Page 35) or the Mixer’s OSC 3 Level is being modulated, this value determines the AD Envelope’s Decay time. Note : The AD Envelope is used only for FM synthesis or modulating OSC 3’s level in the Mixer and should not be confused with the Amp or Mod Envelopes available on the front panel. Audio Input Triggering (Menu Page 10) Is is possible to process an external audio signal through the Filter and / or Effects section. However, it should be remembered that the Amplifier is controlled by the AMP ENVELOPE controls on the front panel. Unless the Amplifier has been triggered (usually by playing notes on the keyboard or from a sequencer), the Amplifier will be set at a zero volume level and no audio signal will be passed through it. This is not a problem when the external audio signal is to be passed sole- ly through the Effects Section (since the Effects come after the Amplifier in the audio signal path). However, if it desired to process the external audio signal through the Filter, it is often convenient to be able to auto- matically trigger the Amplifier and Mod envelopes whenever an external audio signal is present. Setting this function to ON automatically triggers the Amp and Mod Envelopes (thus opening up the Amplifier) whenever the external audio signal strength reaches a certain threshold level. This feature ensures that it is not necessary to play a note from the keyboard or a sequencer in order to hear the external audio signal processed through the Filter. The setting of the threshold level (sensitivity to external audio strength) is done by adjusting the Input Trigger Sensitivity value found within the Global Menu. See Page 51 for details. When the Envelopes are auto-triggered in this way, the KS Rack actually ‘plays’ a default note of Middle C. If the Mixer levels of any of the three Oscillators are set above zero, a pitched element to the sound will be heard (pitched at Middle C) whenever the Amp Envelope is auto-trig- gered. To remove this, make sure each of the Oscillator Mix levels in the Mixer Section are set to zero. See Page 51 for more details of using external audio signals. Envelope Menu Page Function Display Value 1 Program Level dB ENV Prog Boost 0.. 30 2 Velocity to Amp Env Level ENV Velocity>Amp -64...63 3 Velocity to Mod Env Level ENV Velocity>Mod -64...63 4 Velocity to AD Env Level ENV Velocity>AD -64...63 5 Amp Envelope Triggering ENV Amp MonoTrig SGL-MLT 6 Mod Envelope Triggering ENV Mod MonoTrig SGL-MLT 7 AD Envelope Triggering ENV A/D MonoTrig SGL-MLT 8 AD Env Attack ENV A/D Attack 0…127 9 AD Env Decay ENV A/D Decay 0…127 10 Audio Input Triggering ENV Audio Trig OFF-ON 11 External Audio to Effects ENV Audio to FX OFF-ON

• 40 • External Audio To Effects (Menu Page 11) This function determines where the external audio signal is fed into the audio signal path. There are two possibilities. 1. Feeding External Audio Directly To The Effects The external audio signal may be fed directly to the Effects section, bypassing the Mixer, Filter and Envelopes. Once the input sensitivity has been set for the input device (see Page 51), turn the the PERF / PROG / DATA knob until the display shows ON. The external signal should now be heard at the outputs. It may now be processed by all of the various effects including the EQ Filter. 2. Feeding External Audio Through The Filter Setting this function to OFF, feeds the external audio signal into the Mixer and Filter section. In order to hear the filtered signal, repeatedly press the NOISE / RING / EXT button in the Mixer section until the EXT INPUT LED lights and turn up the NOISE / RING / EXT knob. The Amplifier also needs to be triggered by the Amp Envelope. This is done either by playing a note on the keyboard, playing in a MIDI note message from a sequencer, or setting the Amp Envelope to auto-trigger when an external audio signal is present. See the function Audio Input Triggering described above for details on how to do this. Once an external audio signal has passed through the Filter, it can still be processed by the Effects section in the same manner as any other audio source (Oscillator waveforms etc.). See Page 51 for more details of using external audio signals.

• 41 • The Effects Menus To complement the front panel controls in the Effects section, there are many other functions located within the Effects Menus. These are select- ed by pressing the keypad ‘6’ button a when a Menu is selected. The Effects Menus comprise of seven separate sub-Menus (one for each different type of effect available). The actual sub-Menu accessed will be determined by whichever Effect type is currently selected by the SELECT buttons within the Effects / Arp / Hypersync Section. In an Effect sub-Menu, it is also possible at any time, to switch instantly to a new sub-Menu relating to a different effect, simply by selecting the effect using the Effects SELECT buttons. The Delay Menu The comprehensive Delay effects processor has many programmable functions. These may be edited to create the desired delay effect for a particular sound and saved along with the sound. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Time (Menu Page 1) Controls the amount of time it takes for the delayed signal to be heard after the original signal. Feedback (Menu Page 2) Controls how much of the delayed signal is fed back into the delay input. No feedback produces a slapback echo effect, just one delayed sound with no repeats. Small amounts of feedback produce repeated sounds resulting in a multiple echo effect. Large amounts of feedback produces infinite echoes. Stereo Width (Menu Page 3) This sets the Stereo spread between the long and short Delay times. With a width setting of zero, both delays appear in the middle of the stereo field (Mono). At maximum width setting, the longer delay will appear on one output and the shorter on the other, producing a dramatic stereo effect. Left / Right Time Ratio (Menu Page 4) Automatically adjusts the ratio of the longest delay time and the shorter delay time into timings that are musically useful. Use the PERF / PROG / DATA knob to select the most suitable ratio. A Simple, equal 1 to 1 ratio is the first entry in the table. This setting sends a delay of equal time to the left and right output channels. The number in the left column of the table indicates the ratio of the delay time that will be in the left channel versus the number in the right column. For example, if a delay of twice the time is required in the left channel compared to the right, select the 2/1 option. The final 1/OFF and OFF/1 options will result in no delay being heard in the channel indicated by the ‘OFF’. Note: Selecting a 1/1 ratio will produce a mono effect regardless of the Stereo width setting since the timing of the echos are equal. Wheel Level (Menu Page 5) Sets how much the movement of a Master keyboard’s Modulation wheel will introduce the delay effect. Delay Menu Page Function Display Value 1 Time DEL Delay Time 0...127 2 Feedback DEL Feedback 0...127 3 Stereo Width DEL Stereo Width 0…127 4 Left/Right Time Ratio DEL L/R Ratio 1/1…O/1 5 Wheel Level DEL Wheel Send -64...63 Delay Ratios Left/Right 1/1 4/3 3/4 3/2 2/3 2/1 1/2 3/1 1/3 4/1 1/4 1/OFF OFF/1

• 42 • The Reverb Menu The Reverb Effect is an electronic simulation of a room or building that is acoustically reflective. When a sound is made in a room or large building, there are sound reflections from all directions. When a Reverb effect is applied, it is these reflections of the sound that are being added. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Type (Menu Page 1) Different types of rooms and halls have different acoustics, therefore dif- ferent Reverb characteristics. The Reverb processor features six different Reverb types. These range from a small room to a large hall. Turn the PERF / PROG / DATA knob to experiment with different types of Reverb, noting how different ‘rooms’ affect the acoustic properties of the sound. Decay Time (Menu Page 2) This is the time it takes for the Reverb to die away after the original sound has decayed. Very acoustically reflective rooms (like those with metal or glass surfaces) tend to have long decay times and non reflective rooms have short ones. Wheel Level (Menu Page 3) Sets how much movement of a Master keyboard’s Modulation wheel will introduce the Reverb effect. Reverb Menu Page Function Display Value 1 Type REV Type CHAMBER…G HALL 2 Decay Time REV Decay Time 0…127 3 Wheel Level REV Wheel Send -64...63 Reverb Types Display Function CHAMBER Echo Chamber S ROOM Small Room L ROOM Large Room S HALL Small Hall L HALL Large Hall G HALL Grand Hall

• 43 • The Chorus Menu This effect was originally designed to simulate the sound of many people singing together (hence the name Chorus) in contrast to a single voice. Instrumentally, consider the sound of a 12 string guitar compared to a 6 string guitar. The very slight detuning of the individual strings actually gives a richer quality to the sound. Chorus is an effect produced by mixing a continuously delayed version of the audio signal back with the original. The timing of the delayed version is very small and is controlled by the Chorus’s own internal LFO (not to be confused with the two LFOs available on the front panel). The characteris- tic swirling Chorus effect is the result. The Chorus is also capable of behaving as a Phaser. The way a Phaser works is in fact entirely different to the Chorus. A portion of the audio sig- nal is split off and phase shifted at certain frequencies. It is then mixed back with the original signal to generate the characteristic swishing effect. The functions available in the Chorus Menu are : Type (Menu Page 1) Determines whether the Chorus is behaving as a standard Chorus or as a Phaser. Rate (Menu Page 2) Controls how fast the dedicated Chorus LFO is oscillating. A fairly slow speed is recommended. Higher speeds tend to introduce a vibrato like quality to the sound. Note : The dedicated Chorus LFO should not be confused with the two LFOs available on the front panel. Mod Depth (Menu Page 3) The Chorus has it own LFO which is continuously changing the delay time. Mod Depth sets how much of the fixed delay time is being modulat- ed. Large amounts of modulation will produce a more noticeable effect. Moderate amounts are recommended. Note : The dedicated Chorus LFO should not be confused with the two LFOs available on the front panel. Mod Centre (Menu Page 4) The Stereo Chorus can actually be thought of as two continuously vari- able delays. The delay variations are being controlled by the Chorus dedi- cated LFO. The LFO is constantly moving the two delay amounts from minimum to maximum. When one delay is at max, the other is at min (hence the stereo effect). The Mod Centre function moves the middle point between the Min and Max values. Experiment with this control for the desired effect. Feedback (Menu Page 5) This function controls how much of the delayed signal is fed back to the input of the Chorus generator. The Chorus effect benefits from low levels of feedback. When acting as a Phaser (see the Chorus Type setting on Page 29), the effect often requires higher levels of feedback. LFO Sync Initial Position (Menu Page 6) As well as being able to synchronize to MIDI clock (tempo), the dedicated Chorus LFO may have its initial position set after a specific MIDI event is received (see the Global Sync Mode function on Page 51). The initial positions available are shown in the table above. For example, if the Chorus initial position sync is set to RGT , after an appropriate MIDI event, the Chorus effect will move from the right to the left. Wheel Level (Menu Page 7) This sets how much movement of a Master keyboard’s Modulation wheel will introduce the Chorus effect. Chorus Menu Page Function Display Value 1 Type CHOR Type CHORUS-PHASER 2 Rate CHOR Mod Rate 0…127 3 Mod Depth CHOR Mod Depth 0…127 4 Mod Centre CHOR Centre Posn -64...63 5 Feedback CHOR Feedback -64…63 6 LFO Sync Initial Position CHOR Init Posn OFF…RGT 7 Wheel Level CHOR Wheel Level -64...63 Chorus LFO Sync Initial Pos Display Function OFF Off LFT Left MID Centre RGT Right

• 44 • The Distortion Menu Distortion is an effect commonly used by Guitar players. However, it is now increasingly used in the production of modern Dance music. The Distortion effect gives the sound a hard edged, distorted and dirty kind of quality. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Level Compensation (Menu Page 1) If distortion is added to a sound, it will tend to get louder. In order to con- tain or compress the sound back to a level which is consistent with other programs, use this function which compensates for the perceived added loudness of a sound when Distortion is added. Wheel Level (Menu Page 2) This function determines how much movement of a Master keyboard’s Modulation wheel will introduce the Distortion effect. Distortion Menu Page Function Display Value 1 Level Compensation DIST Level Comp 0…127 2 Wheel Level DIST Wheel Level -64...63

• 45 • The EQ Menu Contained in the Effects section is an EQ (Equalisation) Filter which can boost or cut high (treble) or low (bass) frequencies in a similar manner to the ‘tone’ controls often found on domestic hi-fi units. As well as being able to boost low or high frequencies, the final output EQ Filter may be used to create automatic sweeps of EQ and filtering. EQ processing may be synchronized to tempo and locked to musical tim- ings from 32nd triplets through to several bars. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Frequency (Menu Page 1) The EQ frequency set point determines where in the sound spectrum the boost or cut occurs. The Frequency point may be moved anywhere from very low frequencies (0 = less than 10Hz) to very high frequencies (127 = above 20,000Hz) To change the EQ frequency, select Page 1 in the EQ Menu. Adjust the DATA knob for the desired EQ frequency. Mod Depth (Menu Page 2) The real power of the EQ filter is the ability to move the EQ Frequency set point automatically with the dedicated LFO. This control dictates how intense the movements are from the LFO. Any amount of depth will result in EQ changes at the rate determined by the EQ rate control. Note : The dedicated EQ LFO should not be confused with the two LFOs available on the front panel. To change the depth, select Page 2 in the EQ Menu. Adjust the DATA knob for the desired EQ Depth. Mod Rate (Menu Page 3) Determines the rate (speed) of the dedicated EQ LFO. This LFO is able to modulate the EQ frequency (see Mod Depth above). To change the rate, select Page 3 in the EQ Menu. Rotate the DATA knob clockwise to increase the rate and anticlockwise to decrease the rate. Note : The dedicated EQ LFO should not be confused with the two LFOs available on the front panel. LFO Sync Initial Position (Menu Page 4) As well as being able to synchronize to MIDI clock (tempo), the dedicated LFO used to modulate the depth of the EQ may have its initial position set after a specific MIDI event is received (such as Program Change or Start Song - see the Global Sync Mode function on Page 51). To change the EQ Initial position, select Page 5 in the EQ Menu. Use the PERF / PROG / DATA knob to select one of the initial positions shown in the table below. For example, if the desired position is to start moving upwards then set this function to LOW. After an appropriate MIDI event, the LFO wave will start to climb from this low position. Set to MID and it climbs from the centre of the waveform. Note : The dedicated EQ LFO should not be confused with the two LFOs available on the front panel. Setting The EQ Amount Setting of the EQ cut / boost amount at the EQ Frequency position is done by altering the EFFECTS LEVEL knob in the Effects / Arpeggiator / Hypersync section of the front panel. See Page 28. EQ Menu Page Function Display Value 1 Frequency EQ Frequency 0…127 2 Mod Depth EQ FreqMod Depth 0…127 3 Mod Rate EQ FreqMod Rate 0…127 4 LFO Sync Initial Position EQ Init Position OFF…HI 20Khz 1Khz Frequency EQ Frequency Point EQ Amount (+63) 500hz 5Khz 10hz 0hz Volume Unchanged Volume Level Boost Volume Cut 20Khz 1Khz Frequency EQ Frequency Point 500hz 5Khz 10hz Volume Unchanged Volume Level Boost Volume Cut EQ Amount (+63) Unchanged Volume Level Unchanged Volume Level EQ Frequency Point EQ Frequency Point Volume Boost Volume Boost Volume Cut Volume Cut Frequency Frequency EQ Amount (-64) EQ Amount (-64) EQ Frequency set to 5 EQ Frequency set to 50 EQ LFO Sync Initial Position Display Function OFF Off LOW Low Freq MID Centre Freq HI High Freq

• 46 • The Panning Menu The Panning function performs the same function as the Panning knob on a mixing console. It can be used to position a sound anywhere from left to right in the stereo field. Changing the Pan Position of a sound Ensure that Panning is selected by the SELECT buttons in the Effects section. Turn the Effects section EFFECTS LEVEL knob clockwise or anticlockwise to move the sound across the Stereo field. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Manual Pan Position (Menu Page 1) The position of the sound across the Stereo Left to Right field may be set using this page. A value of -64 moves the sound to the far left and a value of +63 moves the sound to the far right. Rate (Menu Page 2) This function controls the Panning LFO’s speed. If the Mod Depth is set to a non zero value, the Panning LFO will move the sound from the Left to the Right at a speed determined by this Rate setting Note : The Panning LFO should not be confused with the two LFOs avail- able on the front panel. LFO Sync Initial Position (Menu Page 3) As well as being able to be synchronized to a MIDI clock (tempo), the Panning LFO may have its initial position set after a specific MIDI event is received (see the Global Sync Mode function on Page 51). The initial positions are shown in the table above. For example, if the Panning initial position sync is set to RGT (Right), after an appropriate MIDI event has been received, the sound will begin in the right output audio channel and then move towards the left. Note : The Panning LFO should not be confused with the two LFOs avail- able on the front panel. The Vocoder Menu Vocoder sounds have recently returned to popularity and are being used more frequently in modern Pop and Dance music, typically to produce distinctive ‘robot voice’ type effects. Activating The Vocoder This is done by using the EFFECTS LEVEL knob found in the Effects section while the Vocoder is currently selected by the SELECT buttons. This control is also used to balance the various elements used to create the Vocoder effect. See Page 28 in the Main Features and Operation section for full details and for a description of how the Vocoder operates. Additional functions relating to the Vocoder are to be found in the Vocoder Menu. Use the PERF / PROG PAGE up/down buttons to scroll through the Menu functions available - See table below. Stereo Width (Menu Page 1) Determines how wide the stereo output of the vocoder will be. The bands of the Vocoder are panned one by one to the left and to the right. Increasing the value moves the individual bands further away from the centre position. Sibilance Level (Menu Page 2) Determines the amount of sibilance there will be present in the final vocoded signal. Typically these are the ‘S’ and ‘T’ types of sounds heard in speech. Adding sibilance gives the Vocoder a more defined sound and helps make vocoded voices more intelligable. Sibilance Type (Menu Page 3) Determines if the vocoder uses real sibilance high-pass filtered from the modulator or artificially generates it using noise. When set to HP, a high pass filter is used to extract the sibilance from the modulator (Note : this will allow some of the modulator signal to be heard). When set to NOI, Noise is used to artificially generate the sibilance. Pan Menu Page Function Display Value 1 Stereo Pan Position Pan Position -64...63 2 Rate PAN Mod Rate 0…127 3 LFO Sync Initial Position PAN Init Posn OFF…RGT Pan LFO Sync Initial Postion Display Function OFF Off LFT Left MID Centre RGT Right Vocoder Menu Page Function Display Value 1 Stereo Width VOC Stereo Width 0…127 2 Sibilance Level VOC Sibil Level 0…127 3 SibilanceType VOC Sibil Type HP-Noi

This menu controls how the much response there is to Pitch and Modulation from the pitch and mod wheelson a Master keyboard. It is selected by pressing the keypad ‘7’ button when the menus buttons is active. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Oscillator 1,2 and 3 Pitch Bend Amount (Menu Page 1,2 and 3) This setting is used to shift the absolute pitch of the Oscillators up or down in response to the Pitch (left hand) Wheel position. Values 1 to 12 will result in a higher pitch from 1 to 12 semitones when the wheel is pushed forward. Display values -1 to -12 will result in a lower pitch. NOTE: If the current program uses more than one Oscillator, it is recom- mended that the bend amount is set equal for each Oscillator. If chord type effects are required when moving the pitch wheel, different pitch bend amounts may be set for each Oscillator. Modulation Wheel Pitch shift in Semitones (Menu Page 4) It may be desirable to drastically change the pitch of all the Oscillators using the Modulation Wheel. This setting is used to shift the absolute pitch of the all the Oscillators up or down in response to the Modulation (right hand) Wheel position. Values 1 to 63 will result in a higher pitch from 1 to 63 semitones when the wheel is pushed forward. Values -1 to - 64 will result in a lower pitch. Oscillator 1, 2 and 3 Pitch Modulation from LFO 1 (Menu Page 5) Enables LFO 1 to modulate the pitch of the Oscillators, introducing a vibrato effect. As the Modulation Wheel is pushed forwards LFO 1 modu- lation will be applied. As the Modulation wheel is pulled back the amount of LFO 1 modulation to the Oscillators pitch will decrease. Adjust this value to set the depth of pitch modulation applied by LFO 1. For best results, ensure that LFO 1 is using a Triangle waveform. This will give a smooth, traditional vibrato effect. Opening or Closing the Filter using the Modulation Wheel (Menu Page 6) The filter Cut off frequency may be raised (opening the filter) or lowered (closing the filter) directly from the modulation wheel using this menu option. Positive values from 1 to 63 will open the Filter when the wheel is pushed forward. A negative values from -1 to -64 will close the Filter when the wheel is pushed forward. Filter Frequency Modulation from LFO 2 using the Modulation Wheel (Menu Page 7) Enables LFO 2 to modulate the Cutoff FREQUENCY of the Filter,. The popular ‘wow-wow’ effect will be heard if LFO 2 waveform is set to Triangle. A positive value 1 to 63 will open the filter in time with LFO 2 above the basic Cut off frequency. A negative value -1 to -64 will close the filter in time with LFO 2 below the basic Cut off frequency. Using a high value and setting LFO 2 to different waveforms will introduce dramatic effects when moving the modulation wheel. Control of Main Volume from the Modulation Wheel (Menu Page 8) By routing the Modulation wheel to the amplifier, the overall volume of the sound may be controlled. Positive values of 1 to 63 increase the output volume of the Amp Envelope as the Modulation Wheel is pushed for- wards. Negative values from -1 to -64 decrease the output volume of the Amp Envelope as the Modulation Wheel is pushed forwards. At a setting of 0, the wheel will have no effect. ADVANCED FEATURES The Wheels Menu • 47 • Wheels Menu Page Function Display Value 1 Osc 1 Pitch Bend Semitones BW Osc1 Bend -12...12 2 Osc 2 Pitch Bend Semitones BW Osc2 Bend -12...12 3 Osc 3 Pitch Bend Semitones BW Osc3 Bend -12...12 4 Osc 1,2,3 Pitch Shift in Semitones MW Pitch Direct -64…63 5 Osc 1,2,3 Pitch Mod (LFO1) MW Pitch Mod -64…63 6 Filter Frequency Shift MW Filter Freq -64…63 7 Filter Frequency Mod (LFO2) MW Filt Freq Mod -64…63 8 Amplifier Gain (post-distortion) MW Output Level -64…63

This menu controls how response there is to Aftertouch and Breath Control (CC2) MIDI messages. It is selected by pressing the keypad ‘8’ button when the Menus button is active. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Ensure that any connected MIDI device is configured to transmit Aftertouch or Breath Control MIDI data (if in doubt, consult the device’s manual for details). In order to hear the effect of any of these settings, press a key on the connected keyboard or blow into the breath controller while adjusting the values. All Aftertouch settings will respond to the Aftertouch generated by playing the keyboard. Atouch : Osc 1, 2, 3 Pitch Shift (Menu Page 1) This setting is used to shift the absolute pitch of the Oscillators up or down in response to incoming Aftertouch data. Set in the range -64 to -1, and any Aftertouch data will shift the pitch of the Oscillators downwards. With a range of 1 to 63, any Aftertouch data received will shift the pitch of the Oscillators upwards. Greater values increase the amount of pitch shifting applied. At a setting of 0, Aftertouch messages will have no effect. Atouch : Osc 1, 2, 3 Pitch Mod (LFO 1) (Menu Page 2) Enables LFO 1 to modulate the pitch of the Oscillators, introducing a vibrato effect. As Aftertouch messages are received, the LFO 1 modula- tion will be applied. As the Aftertouch data falls back towards zero, the amount of LFO 1 modulation to the Oscillators pitch will also decrease. Adjust this value to set the depth of pitch modulation applied by LFO 1. At a setting of 0, Aftertouch messages will have no effect. For best results, ensure that LFO 1 is using a Triangle or Sine waveform. This will give a smooth, traditional vibrato effect. Atouch : Filter Frequency Shift (Menu Page 3) This setting is used to modulate the Cutoff FREQUENCY of the Filter up or down in response to incoming Aftertouch data. Set in the range -1 to -64, the Filter will close (the Cutoff FREQUENCY will decrease) as Aftertouch data is applied. With a range of 1 to 63, the Filter will open (the Cutoff FREQUENCY will increase) as Aftertouch data is applied. Greater values will open (increase the Cutoff FREQUENCY) as Aftertouch data is received. At a setting of 0, Aftertouch messages will have no effect. Atouch : Filter Frequency Mod (LFO 2) (Menu Page 4) Enables LFO 2 to modulate the Cutoff FREQUENCY of the Filter, intro- ducing a ‘wow-wow’ effect. As Aftertouch messages are received, the LFO 2 modulation will be applied. As the Aftertouch data falls back towards zero, the amount of LFO 2 modulation to the Filter Cutoff FRE- QUENCY will also decrease. Adjust this to set the depth of modulation applied by LFO 2. At a setting of 0, Aftertouch messages will have no effect. For best results, ensure that LFO 2 is using a Triangle or Sine waveform. This will give a smooth, traditional ‘wow-wow’ effect. Atouch : Amp Gain (post - distortion) (Menu Page 5) Allows Aftertouch messages to directly alter the Amplifier level, allowing the overall volume of a sound to be altered. Positive values of (1 to 63) increase the output volume of the Amp Envelope as Aftertouch is applied. Negative values (-1 to -64) decrease the output volume of the Amp Envelope as Aftertouch is applied. At a set- ting of 0, Aftertouch messages will have no effect. Routing Breath Control (Menu Pages 6 - 10) It is also possible to use incoming Breath Control MIDI messages to affect and modulate sounds. The principle of using Breath Control is exactly the same as the way in which Aftertouch is applied. The remaining five pages in the menu offer exactly the same features and routings as are available for Aftertouch, but these settings apply to Breath Control information. ADVANCED FEATURES The Aftertouch and Breath Menu • 48 • Aftertouch / Breath Menu Page Function Display Value 1 Atouch: Osc 1,2,3 Pitch Shift AT Pitch Direct -64...63 2 Atouch: Osc 1,2,3 Pitch Mod (lfo1) AT Pitch Mod -64...63 3 Atouch: Filter Frequency Shift AT Filter Freq -64...63 4 Atouch: Filter Frequency Mod (lfo2) AT Filt Freq Mod -64...63 5 Atouch: Amp Gain (post-distortion) AT Output Level -64...63 6 Breath: Osc 1,2,3 Pitch Shift BR Pitch Direct -64...63 7 Breath: Osc 1,2,3 Pitch Mod (lfo1) BR Pitch Mod -64...63 8 Breath: Filter Frequency Shift BR Filter Freq -64...63 9 Breath: Filter Frequency Mod (lfo2) BR Filt Freq Mod -64...63 10 Breath: Amp Gain (post-distortion) BR Output Level -64...63

• 49 • The Utitlies Menu This menu contains various utility functions associated with dumping data via MIDI, restoring memories and wheel calibration. The Utilities Menu is accessed by pressing the keypad ‘9’ button when the Menus button is active. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Transmit Midi Sysex Dump (Menu Page 1) MIDI System exclusive messages (often shortened to Sysex) are used to transfer ‘dump’ a record of the memory contents for storage in an external MIDI device, usually a sequencer. Saving data in this way is useful for building up sound libraries or creating an emergency data backup in case memories are accidentally over-written. It is possible to link two KS Rack machines directly together with a MIDI cable and use Sysex dumping as a means of directly transferring memory contents from one machine to the other. KS 4 or KS 5 sysex dumps are directly compatible with KS Rack machines and vice versa To initiate a Sysex dump, select the desired option using the PERF / PROG / DATA knob. Start the sequencer recording and press the WRITE button to start transmission of Sysex data. If the CURR SOUND option or GLOBAL DATA is selected then the display will flash DONE as confirma- tion that the transmission has taken place. If PROG BANK1 through PROG BANK 4 is selected the display will indi- cate progress of transmission by indicating DUMPING PROG XXX (where XXX is the Program number). Note : Some sequencers (such as Cubase) sometimes have Sysex mes- sages filtered out as a default setting. If the sequencer appears not to have recorded the sysex dump into a track, check that the sequencer is not set to filter out Sysex messages. Consult the sequencer’s manual for details. Receiving a Sysex Dump Once Sysex data has been stored in a sequencer track, the data can then be re-loaded by playing the sequencer track in the normal way. If a single Sound or Performance is received via Sysex, it is important to realise that it is only Program / PerformanceEdit Buffer which has been changed. The newly-received Program or Performance can immediately be played on the keyboard, but if the new Program or Performance is to be kept, it must be saved into a memory location in the normal way, simi- lar to when a Program or Performance has been edited. When a whole bank of sounds or the Global settings are received via Sysex, the data is placed directly into the memories. For this reason, it is important to make sure that the Global Memory Protect switch is set to OFF (see Page 50) before loading a whole bank of Programs or Performances or Global data, otherwise the dump will be rejected. Restore Factory Global Settings (Menu Page 2) When this option is selected, press the WRITE button to restore all Global Data. The display will flash ‘DONE’ and Progam Mode or Performance t Mode will be selected. Note : It is only possible to restore Global Data if the Global Memory Protect switch is turned OFF (see Page 50). Important Note : It is not possible to direclty restore the factory Programs or Performances using the restore function. In order to do this, go to the website www.novationmusic.com and download the factory presets from the download page. Display Contrast (Menu Page 3) Rotate the PERF / PROG / DATA knob to adjust the contrast of the dis- play until it is easy and comfortable to read. Utility Functions Menu Page Function Display Value 1 Transmit Midi Sysex Dump Dump CURR SOUND-GLOBAL DATA 2 Restore Factory Settings Restore ONE PROG-GLOBAL D 3 Display Contrast Contrast 0…64 Transmit Midi Sysex Dump Display Function Dump CURRENT SOUND Current Sound (including edits) Dump PROGRAM BANK 1 Program Bank 1 Dump PROGRAM BANK 2 Program Bank 2 Dump PROGRAM BANK 3 Program Bank 3 Dump PROGRAM BANK 4 Program Bank 4 Dump DRUM BANK 1 Drum Bank 1 Dump DRUM BANK 2 Drum Bank 2 Dump DRUM BANK 3 Drum Bank 3 Dump DRUM BANK 4 Drum Bank 4 Dump PERFORMANCE BANK 1 Performance Bank 1 Dump All Banks Total Data in Prog, Perf and Global Banks Dump GLOBAL DATA Global Data

• 50 • The Global Menu This menu is used to change various settings which remain constant regardless of which Program or Performance is currently selected. The Global Menu is selected by pressing the keypad ‘0’ button the MENUS button is selected. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Memory Protect (Menu Page 1) This is a safety switch, used to prevent accidental erasure of memories and loss of data. When set to ON, writing Programs, Performances or Global data into memory will be prevented, and a brief warning message will be shown on the display. It is recommended that Memory Protect is left ON unless Programs / Performances are being edited for storing into memory, or a System Exclusive dump from a sequencer is to be received. Permanently saving any changes made to Global settings Any changes made to the Global settings will remain valid only while the power is on. To permanently save any new settings, the Global Memory must be saved. To do this, press the WRITE button at any time that the Global Menu is active. A message SAVING GLOBALS will be appear for a short period on the display. Once saved, even if the power is turned off, any new settings will be memorised. NOTE: After permanently saving the Global settings, the currently select- ed Program or Performance will be the default Program or Performance after applying power. MIDI Global Channel (Menu Page 2) Specifies the MIDI channel on which the KS Rack will transmit and accept MIDI messages from a sequencer or other MIDI device while being used in Program Mode. In Performance Mode, the Global MIDI channel is also used to transmit any MIDI messages which are not Part-specific (for example, the TEMPO setting in the Effects / Arpeggiator / Hypersync section). Each Part trans- mits and receives using its own MIDI channel as defined in the Part Edit Menu (see page 55). Master Tune Cents (Menu Page 3) Adjusts the master tuning. At the factory, this value will have been set to 0. This setting of zero is equivalent to concert pitch tuning (middle C = 440 Hz). Local Control (Menu Page 4) This function can be thought of as a switch which when set to OFF, dis- connects the front panel controls from the internal synthesizer sound engine. Moving any of the controls still results in the appropraite MIDI information being transmitted from the MIDI OUT socket, but they will have no direct affect on the sound engine. The sound engine will only be affected if the MIDI signals are routed back into the MIDI IN socket - probably by a sequencer. The KS Rack also supports a third, non-standard Local Control option - SEQUENCER. In this mode, the front panel controls affect the synth engine directly but do NOT transmit MIDI information. This mode can be useful when Parts are being controlled by a sequencer. It is recommended that Local Control is set to ON unless the full MIDI implications are appreciated of having it set otherwise. Please see Page 17 in the MIDI and Sequencers chapter the MIDI Tutorial section of this manual for more details. MIDI Clock Source (Menu Page 5) A master timing clock is required in order to determine the tempo (rate) of the arpeggiator and to provide a time base for synchronization to other musical timings. This clock may be derived internally or received from an external device that is able to send a master timing clock (This is often known as a MIDI clock). This setting determines whether the tempo synchronised features (Arpeggiator, Chorus Sync, EQ Sync, Delay Sync & Panning Sync) will follow the tempo of an external sequencer (external clock) or follow the tempo set by the TEMPO knob found in the Effects / Arp / Hypersync section (external clock). When set to EXT, external clock synchronisation is being used and the temp will be calculated from MIDI Clock messages received from a sequencer. Make sure sure the external sequencer is set to transmit MIDI Clock. Consult the sequencer manual for details. Note : Most sequencers do not transmit MIDI Clock while they are stopped. Synchronization to MIDI Clock will only be possible while the sequencer is actually recording or playing. When set to INT, an internal clock is used for synchronisation purposes. The tempo of the internal clock is controlled by the TEMPO knob found in the Effects / Arp / Hypersync section. MIDI Clock Input Status (Menu Page 6) Sometimes it is desirable to monitor whether a sequencer is actually transmitting MIDI Clock information. This is especially useful for trou- bleshooting if MIDI Clock Source is set to EXT. To see if an external device is sending a MIDI clock, select this Menu Page. If an external clock is being received, the display will indicate the tempo of the external clock. If not - - will be displayed. If ON is dis- played, synchronisation to the internal clock is being used. Global Sync Mode (Menu Page 7) If MIDI Clock Source is set to EXT (external clock), a clock synchroniza- tion type may be selected using this function This allows the first note played after all notes have been released or the first note played after a MIDI Program Change or MIDI Start Song Message to synchronize the Panning, EQ Filter and Chorus LFOs as described on pages 43, 45, and 46. This allows them to have their start position locked in time with the musical piece for stunning effects. Velocity Curve (Menu Page 8) The response to MIDI velocity information from an external device such as a MIDI controller keyboard or a sequencer may be set using this func- tion. A setting of SOFT indicates that smaller changes in velocity (a lighter playing style) will create a large change in response to velocity, be it vol- ume or any other modulation destination that velocity is routed to. A setting of HARD indicates that higher changes in velocity - a much harder playing style, will create large changes in response to velocity. Global Menu (not stored in programs) Page Function Display Value 1 Memory Protection Memory Protect OFF-ON 2 Global MIDI Channel Global Midi Channel 1…16 3 Master Tune Cents Master Tune -64…63 4 Local Control Local Control OFF…SEQ 5 Midi Clock Source Clock Source INT-EXT 6 Midi Clock Input Status Ext Clock Status -- / ON / bpm value 7 Global Sync Mode Global Sync NOTE 1…SNG ST 8 Velocity Curve Velocity Curve SOFT-HARD 9 Function Display Time* Display Time 0…127 10 Prog Mode Display Control* Display Control TIME-PERM 11 New Menu Always Page 1 New Menu Page OFF-ON 12 Input Sensitivity Range Input Sens LIN-MIC 13 Input Trim dB Input Trim -10…20 14 Input Trigger Sensitivity In Trig Sens 0…127

• 51 • Function Display Time (Menu Page 9) In Normal operation, whenever a Menu is selected, the display will show the current page within the currently selected menu. If a knob is moved on the front panel, the display will momentarily switch to show the moved knob’s value. After a while, the display reverts to showing the menu page previously displayed. Use this function to adjust the amount of time these temporary messages are displayed on the screen before reverting back to the previous display. Short values give a very brief display period. Longer values increase the display time. A setting of 0 will inhibit the temporary messages being dis- played altogether. Prog Mode Display Control (Menu Page 10) This function applies a Menu is NOT selected. It determines how the dis- play will function when a front panel control is altered. When set to TIME, the display reverts back to Program Select Mode or Performance Select Mode after a short period of time (determined by the Global Function Display Time setting as described above). Set to PERM, when a front panel control is moved, the display will contin- ue to show the edited values of the controls until another the PROG,PERF or any MENUS buttons are selected. New Menu Always Page 1 (Menu Page 11) All display menus (including this Global one) can operate in one of two different modes. The first mode (factory default setting) specifies that each time a new menu key is pressed, the first Page in the menu list is always selected. For example, pressing the keypad button ‘3’ (selecting the Filter Menu) while in Menu Mode will result in always selecting the menu Page showing the Filter Q Normalise setting. The second mode specifies that the last accessed Page in the menu list is selected the next time that menu is accessed. For example, if the Filter Overdrive setting is being adjusted (Filter menu Page 2), if a different menu is now selected (for example, the Oscillators Menu) and the Filter menu is subsequently selected again, the menu page showing the Overdrive setting would be displayed again. Select OFF for the last accessed menu page to be remembered when a menu is selected and ON for a newly selected menu to always display the first page in its menu list. Using the External Audio Input In order to use an external audio input, the KS Rack must be set up to correctly to respond to the level (amplitude) of the incoming signal. Since the levels of these signals can vary substantially, the Global menu func- tions Input Sensitivity Range and Input Trim dB (detailed below) must be adjusted for optimum performance. This will minimize signal distortion and noise. Input Sensitivity Range (Menu Page 12) Connect the input device to the front panel jack labeled AUDIO INPUT. When connecting devices such as CD players, Turntables, Mixing desks or other line level equipment, set the Input Sensitivity Range to LINE. _____Input sense LIN Set this to MIC for low level devices such as Guitars or Microphones. Once set, play (or talk into the microphone) the input device. The first five character blocks (forming a horizontal bar) to the left of the top line of the display will illuminate according to the level of the signal. It is likely that they will all illuminate, or just the lowest one or two to the left. The Input Trim dB function must now be used to optimize performance. Input Trim dB (Menu Page 13) After Input Sensitivity Range has been set, the sensitivity must be ‘trimmed’ for best performance. Whilst the input signal is present, adjust this value using the PERF / PROG / DATA knob until the the first four blocks on the top line of the display are fully lit and the fifth block lights occasionally as shown in the illustration below. _____ Input trim -3 The sensitivity level is now set correctly. In order to hear the external sig- nal through the effects processor or to make the signal trigger sounds, the current PROGRAM selected has to have external audio enabled. This is done from within the Envelopes Menu (see the Audio Input Triggering and External Audio To Effects functions on Pages 39 and 40). Setting an External Audio Signal to Trigger the Envelopes It is possible to make the KS Rack trigger automatically (thus opening the Amplifier and Filter via the Envelopes) whenever an external signal is present. To do this, it is necessary to determine a threshold level, where the Envelopes are triggered whenever the signal reaches or passes a cer- tain loudness point. The threshold is set by using the following Input Trigger Sensitivity function. Input Trigger Sensitivity (Menu Page 15) This function sets the audio input threshold level, in other words, how loud the external signal has to be in order to trigger the Envelopes. Low values require a very loud signal to auto-trigger. Higher values progressively enable much quieter signals to trigger the Envelopes. Note that it is necessary for a Program to have its Audio Input Triggering setting (in the Envelopes Menu) switched to ON in order for auto-triggering to take place. See Page 39 for details on how to set this. NOTE: If the external audio signal seems to be distorting when using a microphone or guitar (without the distortion effect turned on) try selecting LINE instead of MIC using the input sensitivity function. Experiment with different settings until the external audio signal reliably triggers the sound as required. Whenever the auto-triggerring is used in this way, it actually behaves as if a Middle C note has been played on the keyboard. It may well be neces- sary to use the Mixer controls to turn down the levels of the Oscillators if a pitched element to the sound is not required. This is especially recom- mended if it is desired to hear only the external audio signal passed through the Filter.

• 52 • The Synchronisation Menu This menu gives access to all parameters which may be synchronised to internal or external MIDI Clock. This is selected by pressing the SYNC MENU button located in the Hypersync section. When SYNC MENU but- ton is pressed, the KS Rack immediately enters Menu Mode and the LED above the MENUS button lights to confirm this. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. In all cases, when a feature is synchronized, the tempo is controlled by the Arpeggiator TEMPO knob when MIDI Clock Source is set to INT, or by the external sequencer’s tempo when MIDI Clock Source is set to EXT. See Page 50 for information on setting the Global MIDI Clock Source. Note ; In Performance Mode, there is only one Arpeggiator TEMPO con- trol which is common to all Parts. It is therefore not possible to have differ- ent Parts running at different TEMPO speeds. When controlling any of these features from a sequencer, it is important to ensure that the sequencer is transmitting MIDI Clock messages. Many sequencers do not transmit MIDI Clock messages at all when they are stopped, only when they are recording or playing back. Consult the sequencer manual for details on how to set the sequencer to transmit MIDI Clock. In all cases, when a features is synchronized to MIDI Clock, its front panel controls (for example LFO SPEED) will have no effect. These controls will only become effective onc the feature’s Synchronization rate has been set to OFF, when the feature will no longer be affected by incoming MIDI Clock messages or the Arpeggiator’s TEMPO knob setting. With the exception of the Arpeggiator synchronization. All of these sync settings may be stored within a Hypersync template. See pages 29 and 30 for details on using and editing Hypersync templates. Arp Sync Type (Menu Page 1) Allows the Arpeggiator to be synchronized with an external sequencer. A range of synchronization values are available : LFO 1 and 2 Delay Sync Time (Menu Pages 2 & 4) Allows either LFO’s delay time to be synchronized to internal or external MIDI Clock tempo. The synchronization values available are : LFO 1 and 2 Sync Speed (Menu Pages 3 & 5) LFOs may be synchronized to MIDI Clock. As an example, a very pleas- ing audio effect may be achieved when an LFO is modulating the filter cut off frequency and this is synchronized to the tempo of a musical piece. The synchronixation value selected is the period taken for the LFO to complete one whole cycle of its waveform. To synchronize an LFO, alter this value until the desired musical timing is displayed. See the synchronization table given above (for the LFO Delay synchronization) for details on how these settings relate to the MIDI Clock. Delay Sync Time (Menu Page 6) Enables the time of the Delay repeats to be synchronized to the tempo of a song. The synchronization rates available for the Delay Effect are : Note: When controlling the Delay Sync Time from a sequencer, it is important to ensure that the sequencer is transmitting MIDI Clock mes- sages are a very steady tempo, otherwise ‘clicks’ in the sound may occur while the Delay Effects re-adjusts its buffer to suit the new tempo rate. LFO's / Chorus / EQ / Pan Synchronisation to MIDI Clock table Display MIDI Clocks Sync'd to Display MIDI Clocks Sync'd to OFF - Manual Rate 32nd T 2 32nd Triplet 1bar D 144 1.5 Bars 32nd 3 32nd 2 bars 192 2 Bars 16th T 4 16th Triplet 4bar T 256 4 Bar Triplet 16th 6 16th 3 bars 288 3 Bars 8th T 8 8th Triplet 5bar T 320 5 Bar Triplet 16th D 9 16th Dotted 4 bars 384 4 Bars 8th 12 8th 3bar D 432 4.5 Bars 4th T 16 4th Triplet 7bar T 448 7 Bar Triplet 8th D 18 8th Dotted 5 bars 480 5 Bars 4th 24 4th 8bar T 512 8 Bar Triplet 2nd T 32 2nd Triplet 6 bars 576 6 Bars 4th D 36 4th Dotted 7 bars 672 7 Bars 2nd 48 2nd 5bar D 720 7.5 Bars 1bar T 64 1 Bar Triplet 8 bars 768 8 Bars 2nd D 72 2nd Dotted 9 bars 864 9 Bars 1 bar 96 1 Bar 7bar D 1008 10.5 Bars Sync Menu Page Function Display Value 1 Sync Type SYNC ARP Tempo 32T...1 bar 2 LFO1 Sync Del Time SYNC LFO1 Del OFF…12bars 3 LFO1 Sync Speed SYNC LFO1 Spd OFF…12bars 4 LFO2 Sync Del Time SYNC LFO2 Del OFF…12bars 5 LFO2 Sync Speed SYNC LFO2 Spd OFF…12bars 6 Delay Sync time SYNC DEL Sync OFF…2 bars 7 Chorus/Phaser Sync Time SYNC ChorRate OFF…12bars 8 EQ Filter Sync Time SYNC EQ Rate OFF…12bars 9 Panning Sync Time PAN Rate OFF…12bars Arpeggiator Sync to MIDI Clock table Display MIDI Clocks Synchronised to OFF - Manual Rate 32nd T 2 32nd Triplet 32nd 3 32nd 16th T 4 16th Triplet 16th 6 16th 8th T 8 8th Triplet 16th D 9 16th Dotted 8th 12 8th 4th T 16 4th Triplet 8th D 18 8th Dotted 4th 24 4th 2nd T 32 2nd Triplet 4th D 36 4th Dotted 2nd 48 2nd 1bar T 64 1 Bar Triplet 2nd D 72 2nd Dotted 1 bar 96 1 Bar Delay Synchronisation to MIDI Clock table Display MIDI Clocks Synchronised to OFF - Manual Rate 32nd T 2 32nd Triplet 32nd 3 32nd 16th T 4 16th Triplet 16th 6 16th 8th T 8 8th Triplet 16th D 9 16th Dotted 8th 12 8th 4th T 16 4th Triplet 8th D 18 8th Dotted 4th 24 4th 2nd T 32 2nd Triplet 4th D 36 4th Dotted 2nd 48 2nd 1bar T 64 1 Bar Triplet 2nd D 72 2nd Dotted 1 bar 96 1 Bar 2bar T 128 2 Bar Triplet 1bar D 144 1.5 Bars 2 bars 192 2 Bars

Chorus Sync Rate (Menu Page 7) Similar to Delay Sync, the Chorus internal LFO may be synchronized to internal or external MIDI clock tempo. The available Sync resolutions are the same as those available for the LFO Delay time. These are given in the table on page 52. EQ Filter Sync Mod Time (Menu Page 8) The rate (speed) of the dedicated EQ LFO may be locked to the tempo of the musical piece to allow auto EQ Filtering effects.The synchronization table given on page 52 for the LFO Delay time describes the musical tim- ings available for the EQ Filter. Pan Sync Rate (Menu Page 9) A very pleasing audio effect may be heard when the Panning effect is synchronized to the tempo of a musical piece. The synchronization table given on page 52 for the LFO Delay time describes the musical timings available for the Pan The Arpeggiator Menu To complement the front panel controls in the Arpeggiator section, there are many other functions located in the Arpeggiator Menu. This is select- ed by pressing the ARP MENU button located in the Arpeggiator section. When ARP MENU is pressed, the LED above the MENUS button lights to confirm this. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. Mode (Menu Page 1) This determines the Arpeggio mode used by the Arpeggiator. There are eight types of mode available : Up The arpeggio starts at the lowest note played and sweeps up through the notes until it reaches the highest note. It then starts at the bottom again and repeats the sequence. Down The arpeggio starts at the highest note played and sweeps down through the notes until it reaches the lowest note. It then starts at the top again and repeats the sequence. Up/Down The arpeggio starts at the lowest note played and sweeps up through the notes until it reaches the highest note. It then sweeps back down. This is useful when playing three notes in songs with a 3/4 time signature. Up/Down - end repeat The arpeggio starts at the lowest note played, plays it twice, and sweeps up through the notes until it reaches the highest note. It then plays the top note again and sweeps back down. Order Played The arpeggio plays the notes in the order they were played on the key- board. Once at the end of the notes played it repeats the sequence. Random Notes played will be arpeggiated in a random order. Chord All notes held on the keyboard are played simultaneously. The Synchronisation Menu - The Arpeggiator Menu Arpeggiator Menu Page Function Display Value 1 Mode ARP Mode UP … CHORD 2 Octave Range ARP Octaves 1…4 3 Pattern Pattern OFF - 1 - 32 4 Pattern Velocity On - Off Pattern On - OFF 5 Gate Time ARP Gate Tim 0...127 6 Keysync ARP Keysync OFF-ON 7 Arp Note Desitination ARP Notes INT- EXT- I + E Arp Mode Display Function UP Up DN Down UD1 Up/Down UD2 Up/Down - end repeat ORD Order Played RND Random CHORD Chord DRUM Drum sequence

• 54 • Drum Sequence This mode is designed for use with Drum Maps and when applied, sup- plies a rythmic drum sequence, instead of a standard Arpeggiator pattern. This is similar in effect to using a preset drum machine. When this mode is selected, the Pattern parameter (see below) supplies one of 33 differ- ent drum sequences to be applied to the Drum Map. Octave Range (Menu Page 2) Sets how many octaves the Arpeggio pattern will sweep through. The sweep range is selectable from 1 to 4 octaves. Pattern (Menu Page 3) Normally allows various rythmic patterns to be applied to the Arpeggiator modes. 32 different patterns are available. Experiment with different pat- terns numbers to achieve the desired rhythm. When set to OFF, each note played has an equal duration. If the Mode parameter on page 1 of the Arpeggiator Menu is set to Drum, this parameter instead, selects one of the 33 available drum sequences to be applied. The sequenced drum patterns available are detailed in the fol- lowing table While a Drum pattern is playing. The Part EDIT button blinks to indicate the start of the pattern as it loops around. Note : When Drum sequences are being used, the Arp Sync Type parameter found in the Synchronisation Menu (see page 52) has no effect on the drum pattern being played. Similarly, the Octave Range, Pattern Velocity and Gate Time parameters in the Arpeggiator Menu also have no effect. Pattern Velocity (Menu Page 4) When set to ON, the note velocities for each note played by the Arpeggiator will be preset values. When set to OFF, the note velocities used when playing the keyboard notes are used by the Arpeggiator. Gate Time (Menu Page 5) Sets the gate time or duration of the notes being played by the Arpeggiator. Small values of gate time produce a Staccato effect. Large values produce a Legato effect. Anticlockwise and the gate time is very short, clockwise and the gate time is long. Keysync (Menu Page 6) When activated, the arpeggio pattern will re-start whenever a new note is played on the keyboard. Arp Note Destination (Menu Page 7) For flexibility, the Arpeggiator output may be routed to a number of desti- nations. Setting the Arp destination to INT routes the Arpeggiated notes to the internal sound engine. This could be considered as the normal mode of operation. Only notes played on the keyboard to generate the Arpeggio are transmitted as MIDI note on/off messages. Setting the destination to EXT will route the ONLY the notes played by the Arpgeggiator to the MIDI output socket (transmitted as MIDI note on/off infomation). Setting the destination to I + E (internal and external) will route Arpgeggiated notes to both the MIDI output socket and the internal sound engine. As with the EXT option, it is the notes generated by the Arpeggiator which are tranmitted via MIDI. The Part Edit Menu For versatility, when a program is selected to play on a Part, other infor- mation is necessary, such as the MIDI channel it is playing on, the physi- cal output audio jack on the rear panel that is being used etc. etc. In the example illustration, on Part 1, as well as having the Bass Guitar Program (sound), the MIDI channel is set to 1, the Outputs are set to 1 & 2 , the volume is set to 99 and the tuning offsets have values. To change these values, the Part Edit Menu is used. Electric Drums 600 Strings 345 Electric Piano 234 PERFORMANCE 100 PERFORMANCE 101 Bass Guitar 123 Part 1 MIDI Channel 1 Outputs 1 & 2 Volume 99 Semitone offset +12 Cents offset -06 Part 2 Part 3 Part 4 Pattern Name Bar Length 1 Ballad1 2 2 Ballad2 2 3 BossNova 1 4 Break 2 5 Bungle 2 6 Dynamo 4 7 Electro 2 8 SloGruve 2 9 Funk 2 10 Garage1 2 11 Garage2 2 12 Garage3 2 13 Groove80 2 14 Hat 2 16 Drums 8 16 Drums 2 17 House3 4 18 IndaLoop 2 19 Kick 2 20 Musesick 8 21 Oh808oh 2 22 PastLife 2 23 Pop 1 24 Regal 2 25 Reggae 2 26 Ronnie 1 27 Ruler 2 28 SloBreak 2 29 Smacked 2 30 Snare 2 31 Trance 2 32 Umm 8 33 KicknHat 2 Drum Patterns

• 55 • Press the Part MENU button and the LED above the MENUS button will ligh. Use the PERF / PROG / PAGE up/down buttons to scroll through the Menu functions available - See table below. In Program Mode, it is still possible to access this Menu and make the settings apply to the sound when played in Program Mode. Since only one sound may be played in Program mode, only Part 1 is permanently selected for editing. MIDI Channel (Menu Page 1`) This sets the MIDI channel used by the Part for transmission and recep- tion. In Program Mode, the Global MIDI Channel as set in the Global Menu (see page 50). in used for transmission and reception of MIDI. If the machine is in Program Mode when this Menu is activated, it is not possible to change the MIDI channel here since the Global MIDI channel is used in this moder. In Performance Mode, the MIDI channel used for the each Part may be set using this Menu option. It is possible to set the same MIDI channel on each part. This would be the case when playing sounds that are layered one on top of the other. Lowest Note (Menu Page 2) Sets the lowest note on the keyboard which will trigger the Part. Any incoming MIDI notes below this Lowest Note will not trigger Part and it will not sound. If it is desired for the Part to be played over the entire MIDI note range, set this value to the lowest possible setting. Any other setting allows key- board splits to be achieved from within a Performance. Highest Note (Menu Page 3) Sets the Highest note on the keyboard which will trigger the Part. Any incoming MIDI notes above this Highest will not trigger Part and it will not sound. If it is desired for the Part to be played over the entire MIDI note range, set this value to the Highest possible setting. Any other setting allows key- board splits to be achieved from within a Performance. Semitone Detune (Menu Page 4) Allows the tuning of the Part to be shifted by up to 24 semitones (two octaves) is a positive or negative direction. This semitone detuning is in addition to any semitone tuning offsets defined for the Oscillators by the SEMITONE knob in the Oscillator sec- tion. Cents Detune (Menu Page 5) Allows the fine tuning of the whole Program / Part to be shifted by up to -64 or +63 cents. This fine detuning is in addition to any fine tuning offsets defined for the Oscillators by the DETUNE knob in the Oscillator Section. Velocity Curve (Menu Page 6) This option allows the parts to respond in different ways to how hard a key is pressed on the keyboard or from an incoming MIDI note-on mes- sage. In the ’Normal’ position the Program plays in a normal velocity sen- sitive way. In the ‘Inverse’ position the response is inverse to the normal velocity curve - Louder sounds are produced by playing softly rather than hard. This feature allows a velocity cross fade between two or more sounds on a part to be created. The CROSS FADE - LOW and CROSS FADE - HIGH options are similar but provide a normal response when used together in two different parts. The remaining options provide normal velocity curve responses - ‘UP TO’ or ‘FROM’ specific Velocity values. This enables ‘Velocity Switch’ arrangements to be made by setting up appropriate curves on two parts. For examlpe - TO VALUE 100 on one Part and FROM VALUE 101 on another. Audio Output Used (Menu Page 7) This option determines which Audio outputs the Part sends its output sig- nal to. When the 1 & 2 or 3 & 4 options are selected, the Chorus, Phaser, Delay and Panning Effects operate in stereo. The signals sent to the audio outputs are in true stereo. The Left signal is present on jacks 1 or 3 and the Right signal is present on jacks 2 or 4. It is also possible to the output signal to a single output jack. (This would be the case if using a MONO type sound such a Bass). Any of the four audio outputs can be selected in this way. When a Part is assigned to a single audio output, the signal is mono and all of the Effects become MONO. Note : In a Performance, it is possible to send all four Parts to any combi- nation of output assignments. Any number of Parts can share the same output routings if required. Pedal Options (Menu Page 8) The response to a pedal connected to the Pedal Input on the Rear panel may be set using this Menu option. The value may be any of the MIDI controllers 1 - 119. For example, the Filter uses controller number 105 to control the cut-off. Setting to this value will cause the Filter cut-off to change when the pedal is moved. If this facility is used on Layered sounds, different a number may be set on each part such that when the pedal is moved, the sound is affected in different ways. Footswitch Options (Menu Page 9) The response to a Foot switch connected to the Foot switch Input on the Rear panel may be set using this Menu option. If OFF is selected there will be no response to a press on the switch. If Sustain is selected (the default) the sound on the part will sustain until the foot switch is released. If Arp On/Off is selected, the Arppegiator will be switched on and off in the part. Part Edit Menu Page Function Display Value 1 MIDI Channel PART Midi Chan 1 - 16 2 Lowest Note PART Low Note C-2 … G8 3 Highest Note PART High Note C-2 … G8 4 Semitone Detune PART Semi Offset -24 … +24 5 Cents Detune PART Cent Offset -64 … +63 6 Keyboard Velocity Curve PART Velocity 0.. 127 7 Audio Output Used PART Output 1 & 2 … 3 & 4, 1,2,3,4 8 Pedal Options PART Pedal Controllers * See text 9 Footswtich Options PART FootSw Sustain.. Arp On/Off

• 56 • MIDI Specification Program Mode In Program Mode, the keyboard notes, front panel controls, mod & pitch bend wheels and menu parameters all transmit on the Global MIDI Channel. This is set from page 2 of the Global Menu (see page 50) In Program Mode, all MIDI messages are only accepted if they are received on the Global MIDI Channel. Performance Mode Each Part may be set to use its own MIDI channel. Any number of Parts may share and use the same MIDI channel (resulting in layered Parts). The Part selected for editing (it’s RED edit light on) will determine which MIDI channel will be used for transmission when the keyboard is played. the mod or pitch bend wheels moved, the front panel controls moved or a menu parameter changed. This MIDI channel can be changed in thePart Menu. Some controls (such as the TEMPO knob) are not Part-specific and apply to the mahcine as a whole. In these cases, the Global MIDI Channel is always used for MIDI transmission. It is possible that the Global MIDI channel will be a different channel to those used by any of the Parts in the currently selected Performance. For MIDI reception of these non Part- specific controls, they may either be received on the Global MIDI Channel or on the MIDI channel used by any Part - providing of course that Part is ‘active’. This feature allows these messages to always be accepted regardless of which sequencer track is currently selected since sequencers ‘re-chan- nelise’ the incoming MIDI data. When receiving MIDI information in Performance Mode, each Part will only respond to MIDI on its own MIDI channel (as defined in the Part Edit Menu). A Part will only respond to incoming MIDI if it is ‘active’ (ie its Part Active button LED is lit). In Performance Mode, it is possible to utilise the Part Active buttons as ‘mute’ buttons. A ‘muted’ Part will not respond to or transmit MIDI. MIDI Program Changes and Bank Select Whenever a new Program or Performance is selected, a Bank Select Message followed immediately by a Program Change message will be transmitted. If these messages are played back into the machine from a sequencer, the appropriate Program or Performance will be selected. The Bank Select MIDI message consists of a single controller message. Continuous Controller Number (CC32) (Bank Select LSB) is used. The machine does not transmit or respond to CC 0 (Bank Select MSB). Sending a CC 0 message from a sequencer does no harm. The message will be ignored and the machine will behave as if the CC 0 had contained a data value of zero. As well as determining which Program or Performance bank the Program Change Message will select from, the value of the Bank Select Message also determines whether Program Mode will be selected or the current playing mode retained. The following table lists the CC 32 values used. Referring to the table above, when CC 32 values in the range of 1 to 8 are received, the following Program Change message will select a Program or Drum Map from the appropriate bank. It is these Bank Select values which are transmitted whenever a new Program or Drum Map is selected using the front panel controls (an exception is when the PROG button is pressed to select Program Mode - see below). CC 32 values in the range 1 to 8 should always be used when a new Program is to be assigned to a Performance’s Part. They can also be used when the KS 4 / KS 5 is already operating in Program Mode (Program Mode will remain selected). CC 32 values of 33 to 40 are similar to values 1 to 8 in that they select Programs or Drum Maps. Unlike the 1 to 8 values, they always force the KS Rack to operate in Program Mode. This means that the machine will immediately switch to Program Mode even if these messages are received while Performance Mode is operating. These CC 32 values are only transmitted by the KS 4 / KS 5 at the time the PROG button is pressed to select Program Mode. A Bank select message (CC 32) with a value of 65 selects Performance Mode. The following Program Change message will then select from Performances 1 to 100. If the KS Rack is currently operating in Performance Mode, any Bank Select and Program Change messages may be received on either any of the Part’s MIDI channels or on the Global MIDI channel. A Program Change message always immediately follows a Bank Select message. Only Program Change values of 000 to 099 are valid. When selecting a Drum Map, only Program Change values of 000 to 049 are valid. All other values will be ignored if received. When a Bank Select Message is received, the Program / Drum Map / Performance will only change after the accompanying Program Change message has been received. CC 32 Bank Select messages No. Description 1 Program 100 - 199 (Mode Unchanged) 2 Program 200 - 299 (Mode Unchanged) 3 Program 300 - 399 (Mode Unchanged) 4 Program 400 - 499 (Mode Unchanged) 5 Drum Map 500 - 549 (Mode Unchanged) 6 Drum Map 600 - 649 (Mode Unchanged) 7 Drum Map 700 - 749 (Mode Unchanged) 8 Drum Map 800 - 849 (Mode Unchanged) 33 Program 100 - 199 (Selects Program Mode) 34 Program 200 - 299 (Selects Program Mode) 35 Program 300 - 399 (Selects Program Mode) 36 Program 400 - 499 (Selects Program Mode) 37 Drum Map 500 - 549 (Selects Program Mode) 38 Drum Map 600 - 649 (Selects Program Mode) 39 Drum Map 700 - 749 (Selects Program Mode) 40 Drum Map 800 - 849 (Selects Program Mode)

MIDI Implementation Chart Function Transmitted Received Remarks Basic Default 1 - 16 1 - 16 Memorised Channel Changed 1 - 16 1 - 16 Mode Default MODE 3 - 4 Memorised in Program Messages X X Data Altered **************** Note data can be Note True 0 - 127 0 - 127 transmitted by the Number Voice **************** Arpeggiators Velocity Note On O v = 1 - 127 O v = 1 - 127 Note Off X X Aftertouch Keys X X Channel X O Pitch Bend X O 8 Bit data Control Change 1, 3, 5 - 10 1 - 3, 5 - 10 See Controller & NRPN 12 - 37, 40 - 65 12 - 37, 40 - 65 tables for full details 67 - 85, 87 - 89 67 - 85, 87 - 89 91 - 95, 98, 100 92 - 95, 98, 100 102 - 112, 114 - 119 102 - 112, 114 - 127 Program 0 - 99 0 - 99 Change True **************** System Exclusive O O Program, Performance & Global data dumps. OS upgrades System Real-Time X O Start Song, Clock System Common X X Aux Local Control O O Messages All Notes Off O O Active Sense X X Reset Control X O All Sound Off X O Date 9/12/02 Version 1.0 Model : Novation KS Rack O : Yes X : No Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO

APPENDIX There are two banks of Factory Preset single sounds. The first two banks are numbered from 100 - 299. Bank1 Bank1 No. Category Name No. Category Name 100 Bass ArkBass 150 Bass Hertz Ears 101 Dance Trance Attack 151 Dance Acid drop 102 Arpeggio Moving Target 152 Arpeggio Impress Me 103 Dance Mr Gurner 153 Dance Classic 303 104 Pad Hark Angel 154 Pad Pad it Out 105 EP/Clav Rodywhirl 155 EP/Clav Girls Toy 106 Strings Legato Strings 156 Strings Wake up 107 Strings PPG Me 157 Brass Obie Joyful 108 Organ My mighty Organ 158 Organ Plucky Organ 109 Soft Lead First Solo 159 Strings Film It 110 Bass Accoustic Bass 160 Strings No Drama 111 Arpeggio MonoSeq 161 Motion Arp an Sass 112 Bells Crystal Harp 162 Arpeggio Insect a Side 113 Softlead Sine On 163 Arpeggio Lets Dance 114 Pad Come On In 164 Pad Sweet Thing 115 Pad Get me to Heaven 165 Soft Lead Velo 303 116 Strings Big Big String 166 Strings Wooden Arc 117 Brass BrassString 167 Bass Thud Bass 118 Organ ChinOrgan 168 Organ Skanking 119 Hard Lead Nose Bleed 169 Soft Lead Zy Lophone 120 Bass It’s The Bass 170 Bass Don't Fret 121 Hard Lead Sync Leader 171 Hard Lead Classic Sync 122 Arpeggio MONO Dance 172 Arpeggio Pooch 123 Dance Trancer 173 Pad Glider 124 Pad Home Front 174 Pad KLM 125 EP/Clav Fine Tines 175 Motion Rise up 126 Strings Symphones 176 Strings How Long String 127 Brass EV Bas 177 Arpeggio HarpiArp 128 Organ Mr Ben 178 Organ Draw the Bar 129 Soft Lead Summertime 179 EP/Clav ElectroClav 130 Bass F Bass 180 Bass Flat Puppet 131 Soft Lead Arksun 181 Hard Lead Prog Rocker 132 Arpeggio Loop the Loop 182 Arpeggio Sticky Spitter 133 Pad Perfect Poly 183 Dance Je' t'aime 134 Pad Beauty Lives 184 Pad Time Traveler 135 EP/Clav EPic 185 Arpeggio Gaviscon 136 Strings Arco Strings 186 Strings String of Pearls 137 Brass Give me the Horn 187 Strings Pull the String 138 Dance Throater MW 188 Bass Wow Bass 139 Pad Moving Out 189 EP/Clav Quite Times 140 Bass Techno Prison 190 Bass In the Moog 141 Arpeggio Machinery 191 Pad Fade to Grey 142 Arpeggio Bugs 192 Arpeggio Maroder 143 Motion Lazy Strumit 193 Organ Dance Worgan 144 Pad Fifthmas 194 Pad Infinite Pad 145 EP/Clav Harpsi Cord 195 Dance Club it 146 Soft Lead Square Law 196 Soft Lead Pipe It 147 Brass Classy Brassy 197 Arpeggio Simon Templar 148 Motion Dancing fifths 198 Hard Lead Wired 149 Soft Lead Elp Me 199 Arpeggio Ride the Pluck KS Rack Factory Preset Program Listings

APPENDIX Bank2 Bank2 No. Category Name No. Category Name 200 Bass Passion Bass 250 Bass Bootsy Bass 201 Dance Cake dear? 251 Hard Lead Rub the Band 202 Arpeggio Rhythm Flight 252 Arpeggio Told you So 203 Dance Go Lieth 253 Dance On the Ice 204 Pad Paddle Wheel 254 Arpeggio Banjo Strump 205 Bass Bass Addict 255 Hard Lead Squeeze One Out 206 Trance Join the Club 256 Trance Squeeler 207 EP/Clav Chick Career 257 Brass Liquid Brass 208 Bass Thick Bass 258 SFX Suck Me In 209 Bells Big Benny 259 Brass PWM block 210 Bass Travelator 260 Bass Dark Paper 211 Hard Lead Arabia 261 Hard Lead Suck the Guitar 212 Arpeggio Game Show 262 Arpeggio Fly By 213 Dance A Touch 2 Much 263 Soft Lead Soft Finger 214 Dance Azzeed 264 Pad Lets Pluck 215 Dance Trance Bass 265 Dance Get the Timp 216 Trance A Wasp 266 Sweep Pins and Needles 217 Dance Ian Vandal 267 Pad Silly Pad 218 Bass String Bass 268 Bass BulgeBass 219 EP/Clav Choco Eclav 269 Drums / Perc Witneys Pluck 220 Bass Fruit Gums 270 Bass Rubber Bass 221 Arpeggio Sun Cream 271 Soft Lead Toy string Guitar 222 SFX Hyperspice 272 Arpeggio OctaBass 223 Dance Circus of Humans 273 Dance Swallow It! 224 Soft Lead PP3 274 Arpeggio Arp Fantasy 225 Arpeggio Round In Circles 275 EP/Clav Light Finger 226 Pad Flush 276 Bass ResoBass 227 Dance All OSCS blazing 277 Sweep At Mosfet 228 Organ F' Ground 278 SFX Cyber Landing 229 EP/Clav Plink 279 Bass Garge Bass 230 Bass Lay Tex 280 Bass Eastern Bass 231 Sweep / Brass Ky Lee Sweep 281 Soft Lead Arp not Arp 232 Arpeggio ChatterBox 282 Arpeggio Press a Chord 233 EP/Clav Metal Tines 283 Dance Chambers 234 Arpeggio Rand n Rand 284 Pad Glass Whisper 235 Strings Bow and Flex 285 Arp Ali Gatter 236 Hard Lead Twin Overdrive 286 Arpeggio Blippy 237 Brass Softy 287 Brass Welcome Brass 238 Motion Acidout 288 Hard Lead Lick Quid 239 Hard Lead Edgeit 289 Pad The END 240 Bass On the Bounce 290 Bass Slip Bass 241 Hard Lead It Feels Like 291 Hard Lead Monster Modular MW 242 Arpeggio Whos from Mars 292 Ep/Clav Wurlit 243 EP/Clav Klavicord 293 Dance Stop It Soon 244 Pad Radio Head 294 Pad Talk the Talk 245 Soft Lead Go to Church 295 Motion Kotoswitch 246 Trance Suspender 296 Arpeggio HarpBeat 247 Brass Simple Saw 297 Pad Fminate 248 Arpeggio Arp Pad 298 SFX Space Storm 249 Bass FemBass 299 Vibratine Vibratine KS Rack Factory Preset Program Listings

below. The table indicates which Parts and Drum Pattern (if any) are used, and the recommended TEMPO setting for use with the Performance. APPENDIX KS Rack Factory Preset Performance Listings • 60 • Perf Perf Part 1 Part 2 Part 3 Part 4 Drum Bank Tempo Number Name Prog No. Prog No. Prog No. Prog No. Patt Name 100 Staple Diet 105 116 - - Ballad 500 90 101 Time Bomb 226 225 - - - - - 102 Arp Gurn 103 103 - - KicknHat 600 140 103 The Organ Twins 108 108 - - - - - 104 Both Nostrills 151 119 - - - - - 105 DX Heaven 292 105 - - Garage1 500 130 106 Xylo Dance 269 169 - - - - - 107 Prog Rock Burns 280 181 - - - - - 108 Velo Arp Pad 141 173 - - Electro 600 120 109 Angels Solos 104 109 - - - - - 110 Global Comms 290 115 - - House1 600 125 111 Bigger Benny 209 209 - - - - - 112 Softly Softly 104 196 - - - - - 113 Trance Licker 101 102 - - Trance 600 140 114 Mix Filler 116 116 - - - - - 115 Synced Flys Nest 175 202 - - - - - 116 Africa 174 269 - - Oh808oh 600 100 117 SuperSync 171 171 - - - - - 118 How Long 208 286 284 - - - - 119 Cheeba Diva 145 274 - - - - - 120 Free & Ease 215 217 - - Trance 600 140 121 Push Out the Ark 131 144 - - - - - 122 Soloed Fifths 109 109 - - - - - 123 Walk the Organ 170 108 - - Pop 600 125 124 Velo Syn Loop 116 132 - - - - - 125 Padded Fifthmas 154 144 - - - - - 126 Gurners Seq 103 103 111 - KicknHat 600 145 127 Lulabye Bye 126 271 - - - - - 128 Ice Winter 222 201 - - - - - 129 Sprung 299 269 - - SloGruve 600 75 130 Two Vandals 217 217 - - - - - 131 303 & 101 200 153 - - - - - 132 Clav for You 154 179 - - Pastlife 500 125 133 Mr & Mrs Gurner 103 103 - - - - - 134 World Com 287 115 - - - - - 135 Wide Draws 128 128 - - Reggae 500 85 136 Is It You 112 134 - - - - - 137 Bellisima 226 118 - - - - - 138 Kis5 FM 135 189 - - SloBreak 500 90 139 Hammer House 266 291 - - - - - 140 Filmwalker 221 207 - - - - - 141 Rrravers 198 107 - - Bungle 600 180 142 Ding Walls 224 253 - - - - - 143 The Strings 106 176 - - - - - 144 Gospel 108 168 - - - - - 145 Winker 220 153 - - Garage2 500 145 146 Split Ends 178 108 - - - - - 147 Brass & Bass 109 110 - - - - - 148 PercUp 540 500 504 600 - - - 149 Sympo Brass 117 176 - - - - -

• 61 • 36 38 40 41 43 45 47 37 39 42 44 46 48 50 52 53 55 57 59 49 51 54 56 58 60 62 64 65 67 69 71 61 63 66 68 70 72 74 76 77 79 81 83 73 75 78 80 82 C1 C2 C3 C4 84 Drum Map 500 - Standard Drum Kit Drum Map 600 - Electronic Kit Kick1 Rimshot Snare1 Clap Snare2 Elect Tom Low Closed Hat1 Elect Tom L Mid Closed Hat Elect Tom Mid Open Hi-Hat Elect Tom H Mid Elect Tom High Crash Cymbal 1 Elect Tom V High Ride Cymbal Crash Cymbal 2 Ride Cymbal 2 Tambourine Crash Cymbal 3 Cow Bell Crash Cymbal 4 Vibraslap Ride Cymbal 3 Bongo Low Shaker Bongo High Snare 3 Snare 4 Snare 5 Snare 6 Snare 7 Snare 8 Snare 9 Snare 10 Snare 11 Kick 3 Kick 4 Kick 5 Kick 6 Kick 7 Kick 8 Kick 9 Kick 10 Kick 11 Kick 12 Kick 13 Kick 14 Kick 15 808 Kick 1 808 Rimshot 808 Snare 1 Clap 1 909 Snare Tom Low Closed Hat1 Tom L Mid Closed Hat Tom Mid Open Hi-Hat Tom H Mid Tom High Crash Cymbal Crash Cymbal 2 Ride Cymbal Crash Cymbal 3 909 Tom Low Tambourine 909 Tom L Mid Cow Bell 909 Tom Mid Ride Cymbal 2 909 Tom H Mid 909 Tom High 808 Clap 2 808 Tom Low 808 Tom Mid 808 Tom High 909 Snare 2 909 Snare 2 808 Snare 3 909 Snare 4 808 Snare 3 909 Snare 5 909 Snare 6 Synth Kick 1 Synth Kick 2 Synth Kick 3 Synth Kick 4 Synth Kick 5 Synth Kick 6 Synth Kick 7 Synth Kick 8 Synth Kick 9 Synth Kick 10 Synth Kick 11 Synth Kick 12 Synth Kick 13 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 Ref MIDI Note No. Prog No. Description Ref MIDI Note No. Prog No. Description 36 38 40 41 43 45 47 37 39 42 44 46 48 50 52 53 55 57 59 49 51 54 56 58 60 62 64 65 67 69 71 61 63 66 68 70 72 74 76 77 79 81 83 73 75 78 80 82 C1 C2 C3 C4 84

• 62 • MIDI Controller List Some controllers adhere to the normal midi-specified use (eg modwheel, volume) but most are used arbitrarily (and therefore may clash with parameter assignments of other products). We have tried to avoid misuse of some "standard" controllers which could cause problems. Unless noted, controllers are transmitted and received. Unless noted, parameters have the range 0-127. *** denotes a signed value where 64 represents zero. Unless noted, this is -64..0..+63 stored as 0..64..127 another example is -12..0..+12 stored as 52..64..76 --- denotes controller not used Some controllers use the available 7 data value bits to control more than one parameter. These are noted as "packed parameters" and details are given. The term "pulse width" is properly applied when squarewave is selected. For other waveforms, read "pulse width" as "double waveform phase offset". Double waveform phase offset is zero when the signed pulse width position parameter is 64 (meaning 0). Common parameters are transmitted and received on the global midi channel but in performance mode, they can also be received on the midi channel of any active part. # MIDI-SPECIFIED USE KS SERIES USE 0 bank msb IGNORED/NOT TRANSMITTED 1 modwheel msb MODWHEEL 2 breath msb BREATH CONTROL (receive only) 3 undefined msb ARP PATTERN (0..7 = up, down, ud1, ud2, order, random, chord, drum) 4 foot controller msb --- 5 portamento time msb PORTAMENTO TIME 6 data entry msb USED FOR NRPN DATA VALUES 7 volume msb PART VOLUME 8 balance msb PREGLIDE SEMITONES *** -12..+12 (0=preglide disabled) 9 undefined msb ARP/GENERAL SYNC RATE (64..191 bpm) (common) 10 pan msb PAN POSITION *** 11 expression msb EXPRESSION PEDAL 12 effect control 1 msb NON-SYNC PAN RATE 13 effect control 2 msb SYNC PAN RATE 0..34 (non-sync, 32Triplet..12bars) 14 undefined msb VOCODER STEREO WIDTH (common) 15 undefined msb VOCODER SIBILANCE LEVEL (common) 16 gen. controller 1 msb MODWHEEL DISTORTION *** 17 gen. controller 2 msb DISTORTION COMPENSATION 18 gen. controller 3 msb MODWHEEL DELAY SEND 19 gen. controller 4 msb NON-SYNC DELAY TIME 20 undefined msb SYNC DELAY TIME 0..19 (non-sync, 32Triplet..2bars) 21 undefined msb DELAY FEEDBACK 22 undefined msb DELAY STEREO WIDTH 23 undefined msb DELAY RATIO 24 undefined msb MODWHEEL REVERB SEND *** 25 undefined msb REVERB DECAY 26 undefined msb MODWHEEL CHORUS SEND *** 27 undefined msb NON-SYNC CHORUS RATE 28 undefined msb SYNC CHORUS RATE 0..34 (non-sync, 32Triplet..12bars) 29 undefined msb CHORUS FEEDBACK *** 30 undefined msb CHORUS MOD DEPTH 31 undefined msb CHORUS MOD CENTRE POINT 32 bank lsb BANK SELECT 1..8 (bit 6 set forces perf mode, bit 5 set forces program mode) 33 modwheel lsb EQ LEVEL *** (0, 1..63, 64, 65..126, 127 = LP, LPshelf, flat, HPshelf, HP) 34 breath lsb EQ FREQUENCY 35 undefined lsb NON-SYNC EQ MOD RATE 36 foot controller lsb SYNC EQ MOD RATE 0..34 (non-sync, 32Triplet..12bars) 37 portamento time lsb EQ MOD DEPTH 38 data entry lsb --- 39 volume lsb --- 40 balance lsb OSC1 SEMITONE *** -12..+12 41 undefined lsb OSC1 CENT *** -50..+50 42 pan lsb OSC1 BENDWHEEL PITCH AMOUNT *** 43 expression lsb OSC1 LFO1 PITCH AMOUNT *** 44 effect control 1 lsb OSC1 MOD.ENV PITCH AMOUNT *** 45 effect control 2 lsb OSC1 PULSE WIDTH POSITION *** (0=50% or in-phase double wave) 46 undefined lsb OSC1 LFO2 PULSE WIDTH MOD *** 47 undefined lsb OSC1 MOD.ENV PULSE WIDTH MOD *** 48 gen. controller 1 lsb OSC2 SEMITONE *** -12..+12 49 gen. controller 2 lsb OSC2 CENT *** -50..+50 50 gen. controller 3 lsb OSC2 BENDWHEEL PITCH AMOUNT *** 51 gen. controller 4 lsb OSC2 LFO1 PITCH AMOUNT ***

• 63 • # MIDI-SPECIFIED USE KS SERIES USE 52 undefined lsb OSC2 MOD.ENV PITCH AMOUNT *** 53 undefined lsb OSC2 PULSE WIDTH POSITION *** (0=50% or in-phase double wave) 54 undefined lsb OSC2 LFO2 PULSE WIDTH MOD *** 55 undefined lsb OSC2 MOD.ENV PULSE WIDTH MOD *** 56 undefined lsb OSC3 SEMITONE *** -12..+12 57 undefined lsb OSC3 CENT *** -50..+50 58 undefined lsb OSC3 BENDWHEEL PITCH AMOUNT *** 59 undefined lsb OSC3 LFO1 PITCH AMOUNT *** 60 undefined lsb OSC3 MOD.ENV PITCH AMOUNT *** 61 undefined lsb OSC3 PULSE WIDTH POSITION *** (0=50% or in-phase double wave) 62 undefined lsb OSC3 LFO2 PULSE WIDTH MOD *** 63 undefined lsb OSC3 MOD.ENV PULSE WIDTH MOD *** 64 sustain pedal SUSTAIN / MOMENTARY ARP LATCH ON 65 portamento on/off ENVELOPE MONO MULTI MODES (see packed parameter 1) 66 sostenuto pedal --- 67 soft pedal UNISON / VOICE TYPE / FILTER TYPE (see packed parameter 2) 68 legato footswitch UNISON DETUNE 69 hold 2 INDIVIDUAL OSCILLATOR RANDOM DETUNE 70 sound controller 1 PORTAMENTO MODE (0=exp, 1=lin) 71 sound controller 2 OSC 1,2,3 OCTAVE / OSC 1>2 SYNC (see packed parameter 3) 72 sound controller 3 OSC1 LEVEL (to filter) 73 sound controller 4 OSC2 LEVEL (to filter) 74 sound controller 5 OSC3 LEVEL (to filter) 75 sound controller 6 NOISE LEVEL (to filter) 76 sound controller 7 OSC 1*2 RINGMOD LEVEL (to filter) 77 sound controller 8 EXTERNAL INPUT (to filter) 78 sound controller 9 LFO DELAY MONO MULTI MODE (see packed parameter 4) 79 sound controller 10 LFO 1,2 KEYSYNC / LOCK / ONE-SHOT (see packed parameter 5) 80 gen. controller 5 lsb NON-SYNC LFO1 SPEED 81 gen. controller 6 lsb SYNC LFO1 SPEED 0..34 (non-sync, 32Triplet..12bars) 82 gen. controller 7 lsb LFO1 DELAY (GRADUAL ONSET TIME/ ONE-SHOT MODE DELAY) 83 gen. controller 8 lsb NON-SYNC LFO2 SPEED 84 portamento control SYNC LFO2 SPEED 0..34 (non-sync, 32Triplet..12bars) 85 undefined LFO2 DELAY (GRADUAL ONSET TIME/ ONE-SHOT MODE DELAY) 86 undefined --- (may be used in future software releases) 87 undefined ARPEGGIATOR SYNC SETTING 0..15 (32Triplet..1 bar) 88 undefined ARPEGGIATOR GATE TIME *** (+64 GIVES TIED NOTE IN MONO MODE) 89 undefined ARPEGGIATOR CONTROL (see packed parameter 6) 90 undefined DISTORTION LEVEL 91 effects 1 depth REVERB SEND LEVEL 92 effects 2 depth DELAY SEND LEVEL 93 effects 3 depth CHORUS SEND LEVEL 94 effects 4 depth PAN MOD DEPTH 95 effects 5 depth VOCODER BALANCE (0=off 64=full vocoder 127=modulator only) (common) 96 data increment --- 97 data decrement --- 98 nrpn lsb NRPN NUMBER 99 nrpn msb IGNORED / NOT TRANSMITTED (for future compatibility, assume value is 0) 100 rpn lsb --- 101 rpn msb --- 102 undefined FILTER FREQUENCY LFO2 MOD DEPTH *** 103 undefined FILTER Q NORMALISE (127=zero filter drive at max resonance) 104 undefined FILTER OVERDRIVE 105 undefined FILTER FREQUENCY 106 undefined FILTER RESONANCE 107 undefined FILTER FREQUENCY MOD.ENV DEPTH *** 108 undefined AMPLITUDE ENVELOPE ATTACK 109 undefined AMPLITUDE ENVELOPE DECAY 110 undefined AMPLITUDE ENVELOPE SUSTAIN 111 undefined AMPLITUDE ENVELOPE RELEASE 112 undefined AMPLITUDE ENVELOPE VELOCITY DEPTH *** 113 undefined --- (may be used in future software releases) 114 undefined MOD. ENVELOPE ATTACK 115 undefined MOD. ENVELOPE DECAY 116 undefined MOD. ENVELOPE SUSTAIN 117 undefined MOD. ENVELOPE RELEASE 118 undefined MOD. ENVELOPE VELOCITY DEPTH *** 119 undefined VOICE TO OUTPUT & EFFECTS LEVEL BOOST (0..30dB) 120 all sounds off ALL NOTES OFF WITH FAST RELEASE (receive only) 121 reset controllers RESET CONTROLLERS (receive only) 122 local on/off LOCAL ON/OFF (ALSO VALUE 63 IS USED FOR SEQUENCER MODE) 123 all notes off ALL NOTES OFF (receive only) 124 omni off ALL NOTES OFF (receive only) 125 omni on ALL NOTES OFF (receive only) 126 mono mode setup ALL NOTES OFF (receive only) 127 poly mode on ALL NOTES OFF (receive only)

• 64 • MIDI NRPN List The KS series uses NRPNs as detailed below. Since less than 128 of them are used, only one NRPN msb (bank) is needed. Therefore only the NRPN lsb is transmitted/received and the NRPN msb is ignored and is not transmitted. For future compatibility, assume that the NRPN msb is 0. NRPN lsb KS SERIES USE 0 FM FIXED LEVEL 1 FM ENVELOPE DEPTH *** 2 FM ENVELOPE VELOCITY DEPTH *** 3 FM ENVELOPE ATTACK 4 FM ENVELOPE DECAY 5 OSCs 1,2,3 MODWHEEL DIRECT PITCH DEPTH *** 6 OSCs 1,2,3 AFTERTOUCH DIRECT PITCH DEPTH *** 7 OSCs 1,2,3 BREATH DIRECT PITCH DEPTH *** 8 OSCs 1,2,3 MODWHEEL LFO1 PITCH DEPTH *** 9 OSCs 1,2,3 AFTERTOUCH LFO1 PITCH DEPTH *** 10 OSCs 1,2,3 BREATH LFO1 PITCH DEPTH *** 11 FILTER KEYBOARD TRACKING (0=NONE, 127=PRECISE PITCH TRACK) 12 FILTER MODWHEEL DIRECT FREQUENCY DEPTH *** 13 FILTER AFTERTOUCH DIRECT FREQUENCY DEPTH *** 14 FILTER BREATH DIRECT FREQUENCY DEPTH *** 15 FILTER MODWHEEL LFO2 FREQUENCY DEPTH *** 16 FILTER AFTERTOUCH LFO2 FREQUENCY DEPTH *** 17 FILTER BREATH LFO2 FREQUENCY DEPTH *** 18 AMPLITUDE MODWHEEL DIRECT DEPTH *** 19 AMPLITUDE AFTERTOUCH DIRECT DEPTH *** 20 AMPLITUDE BREATH DIRECT DEPTH *** 21 EFFECTS TYPE CONTROL (see packed parameter 7) 22 EFFECTS GLOBAL SYNC CONTROL (see packed parameter 8) 23 AUDIO INPUT CONTROL (see packed parameter 9) 24 VOCODER SIBILANCE TYPE (0=hp, 1=noise) (common) 25 EFFECT TYPE SELECTOR/KEYBOARD OCTAVE (see packed parameter 10) 26 OSC, SOURCE, PW, LFO SELECTORS (see packed parameter 11) (end of A/K-station similarity) 27-49 --- (may be used in future software releases) 50 OSC1 WAVEFORM (0..31) 51 OSC2 WAVEFORM (0..31) 52 OSC3 WAVEFORM (0..31) 53 LFO1 WAVEFORM (0..31) 54 LFO2 WAVEFORM (0..31) 55 LFO1 UNIPOLAR (0= centre-zero, 1=all positive) 56 LFO2 UNIPOLAR (0= centre-zero, 1=all positive) 57 LFO1 KEYSYNC START PHASE (0..357 degrees) 58 LFO2 KEYSYNC START PHASE (0..357 degrees) 59 LFO1 SYNC DELAY TIME 0..34 (non-sync, 32Triplet..12bars) 60 LFO2 SYNC DELAY TIME 0..34 (non-sync, 32Triplet..12bars) 61 MIX MODULATION SELECTOR (0=normal, 1=pots control mod levels) 62 FILTER TYPE (0..2 = LP, BP, HP) 63 OSC1 LFO1 LEVEL MOD *** 64 OSC2 LFO2 LEVEL MOD *** 65 OSC3 A/D ENV LEVEL MOD *** 66 NOISE LFO1 LEVEL MOD *** 67 RING1*2 LFO1 LEVEL MOD *** 68 AUDIO INPUT LFO1 LEVEL MOD *** 69 OSC123 WAVEFORM KEYSYNC PHASE (0..357 degrees) 70 NOISE TYPE (0..3 = white, hp, bp, hp*bp) 71 ARPEGGIATOR PATTERN (0..32 0=off, 32 patterns. In DRUM MODE, 33 patterns) 72 FILTER FREQUENCY VELOCITY CONTROL *** 73 ARPEGGIATOR PATTERN VELOCITY MODE (0=use note-on velocity, 1= use velocity in pattern) 74 FIXED NOTE CONTROL (0=off, 1-127 fix the note to midi 1..127 ie C#-2..G8) 75 LFO1 OUTPUT LEVEL VELOCITY CONTROL *** 76 LFO2 OUTPUT LEVEL VELOCITY CONTROL *** 77 OSC1 LFO2 LEVEL MOD *** 78 OSC 2>3 FM LFO1 DEPTH MOD *** 79 DRUM NOTE ON-TIME (0=turn off by note-off, 1-127=1msec..10sec auto-turn-off, ignoring note-off) 80-81 --- (may be used in future software releases) 82 CATEGORY (0..23) (currently not transmitted) 83 EXPRESSION PEDAL CONTROLLER NUMBER 84 FOOTSWITCH FUNCTION (0=sustain, 1=arp latch on override) 85 PART OUTPUT (0..5 = 1+2, 3+4, 1, 2, 3, 4) 86 PART MIDI CHANNEL (0..15 Note that in program mode, the global channel is used) 87 PART LOW NOTE LIMIT 88 PART HIGH NOTE LIMIT 89 PART SEMITONE OFFSET *** 90 PART CENT OFFSET *** 91 PART VELOCITY FUNCTION (0..15 0=normal, 1=inverse, 2=xfade hi, 3=xfade lo, 12 limit settings) 92-99 --- (may be used in future software releases) 100 PERFORMANCE VOCODER PART SELECTION (0..3 for parts 1..4) (common) 101-111 --- (may be used in future software releases)

• 65 • NRPNs FOR GLOBAL DATA (not part of programs or performances) NRPN lsb KS SERIES USE 113 GLOBAL MIDI CHANNEL (0..15) 114 MIDI CLOCK SOURCE (0=internal 1=external) 115 MASTER TUNE CENTS *** 116 VELOCITY CURVE (0=soft 1=hard) 117 EXTERNAL INPUT RANGE (0=line 1=mic) 118 EXTERNAL INPUT TRIM (-10..+20 dB) 119 EXTERNAL INPUT TRIGGER SENSITIVITY (0 is most sensitive) 120 GLOBAL SYNC TYPE (0,1,2 = note when all notes off, first note after prog change, midi song start) 121 PARAMETER MOMENTARY DISPLAY TIME (off.200..1200mS) 122 MENU INITIAL PAGE MODE (0=first 1=last used) 123 PROGRAM MODE PARAMETER DISPLAY MODE (0=timed 1=permanent) 124-127 --- (may be used in future software releases) Packed Controller / NRPN Details Refer to the lists of MIDI Controllers and NRPNs on pages 61 - 63. 1 ENVELOPES MONO SINGLE-MULTI bit 0 amp env trigger 0=single 1=multi bit 1 mod env trigger 0=single 1=multi bit 2 fm env trigger 0=single 1=multi 2 UNISON / POLY MODE / FILTER TYPE bits 0-2 3-bit unison count 0=off 1..7=2..8 voices bits 3-4 2-bit voice polyphony mode 0=mono 1=mono autoglide 2=poly 3=poly with "same note voice stealing" bit 5 filter type 0=12dB 1=24dB per octave 3 OSC 1,2,3 OCTAVE / OSC 1>2 SYNC bits 0-1 2-bit osc1 octave -1,0,1,2 bits 2-3 2-bit osc2 octave -1,0,1,2 bits 4-5 2-bit osc3 octave -1,0,1,2 bit 6 osc1>2 sync 1=on 4 LFO 1,2 DELAY MONO MULTI MODE bit 0 lfo1 delay multi 1=on bit 1 lfo2 delay multi 1=on 5 LFO 1,2 KEYSYNC / LOCK / ONE-SHOT bit 0 lfo1 one-shot mode 1=on bit 1 lfo1 keysync 1=on bit 2 lfo1 lock 0=independent per voice 1=all voices same phase bit 3 lfo2 one-shot mode 1=on bit 4 lfo2 keysync 1=on bit 5 lfo2 lock 0=independent per voice 1=all voices same phase note that when lock is on, keysync becomes global sync (ie note when all notes off, first note after prog change, song start message) 6 ARPEGGIATOR CONTROL bits 0-1 2-bit number of octaves 1,2,3,4 bit 2 arpeggiator off/on 1=on bit 3 arpeggiator keysync control 1=on bit 4 arpeggiator latch control 1=on 7 EFFECTS TYPE CONTROL bits 0-2 3-bit reverb type (values 6,7 not used) bit 3 chorus/phaser control 0=chorus 1=phaser 8 EFFECTS GLOBAL SYNC CONTROL bits 0-1 2-bit chorus global sync off,left,centre,right bits 2-3 2-bit pan global sync off,left,centre,right bits 4-5 2-bit eq frequency global sync off,low,mid,high 9 AUDIO INPUT CONTROL bit 5 audio input trigger control 1=enabled bit 6 audio input to fx control 1=enabled 10 EFFECT TYPE SELECTOR / KEYBOARD OCTAVE bits 0-2 3-bit effect type (del, rev, chor, dist, EQ, pan, vocoder) Value 7 not used) bits 3-6 4-bit signed keyboard octave shift -3..+3 (+4 on KS4) 11 OSC / NOISE-RING-EXT / PW / LFO SELECTORS bits 0-1 2-bit osc select. Values 0,1,2 for osc 1,2,3. Value 3 not used bits 2-3 2-bit source select. Values 0,1,2 for noise, ring, ext. Value 3 not used bits 4-5 2-bit PW select. Values 0,1,2 for position, lfo2, mod env. Value 3 not used bit 6 0=lfo1, 1=lfo2

• 66 • MIDI System Exclusive Message Formats SYSEX MESSAGE COMMON FORMAT F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE (1 = synth) 42h KS SERIES (KS4, KS5, KS rack) SyCh SYSEX CHANNEL (always transmitted as 7Fh : for receive can be 7Fh or the global channel) M MESSAGE TYPE (current sound, program, global data etc) C CONTROL BYTE (used to control destination bank when program dumps are received) Vv SOFTWARE VERSION (bits:- 0VVVV.vvv eg 00001000 = version 1.0) Vi VERSION INCREMENT 0..99 (hold keypad "5" during power-up to view the full version eg 1.0.06) B PROG BANK 1..8, PERF BANK 1 (zero if not appropriate) P PROG/PERF NUMBER 0..99 (zero if not appropriate) DATA BLOCK ( data block(s) ) . ( included if ) . ( appropriate to ) DATA BLOCK ( message type ) F7h END OF EXCLUSIVE Note: Currently, the software version and increment bytes are transmitted for information only and are ignored when a message is received. Future soft- ware releases may, on receipt of some message types from an earlier version, alter the data before storing it. This will only apply to messages which contain data blocks. To ensure future compatibility, librarian programs should always maintain a match between the Vv and Vi byte values and the data block content. SYSEX DATA DUMP MESSAGES PROGRAM-MODE CURRENT SOUND DUMP When received in program mode, this will be the active sound. It is not stored in flash. In performance mode, this message is ignored. The source bank and program number are irrelevant and the control byte is ignored. F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 42h KS SERIES SyCh SYSEX CHANNEL transmitted 7Fh : received 7Fh or current receive channel 00h MESSAGE TYPE current program dump 00h CONTROL BYTE transmitted 0 : received don't care Vv SOFTWARE VERSION Vi VERSION INCREMENT 00h PROGRAM BANK transmitted 0 : received don't care 00h PROGRAM NUMBER transmitted 0 : received don't care PROGRAM BLOCK 256 bytes, see below F7h END OF EXCLUSIVE PROGRAM DUMP When received, the sound is stored in flash at the supplied bank and program number if C = 1. If C = 0, the bank used is the currently selected bank. F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 42h KS SERIES SyCh SYSEX CHANNEL transmitted 7Fh : received 7Fh or current receive channel 01h MESSAGE TYPE program dump C CONTROL BYTE 0 or 1 destination bank control Vv SOFTWARE VERSION Vi VERSION INCREMENT B PROGRAM BANK transmitted 1-8 : received don't care if C=0 P PROGRAM NUMBER 0-99 for program banks 1-4, 0-49 for drum banks 5-8 PROGRAM BLOCK 256 bytes, see below F7h END OF EXCLUSIVE

• 67 • PRORAM BANK DUMPS A program bank (1-4) dump consists of 100 consecutive program dumps. A drum bank (5-8) dump consists of 50 consecutive program dumps. The first 49 (program number 0-48) are drum sounds (the effects parameters of these are not normally used). The last (program number 49) has the effects settings for the entire drum bank (the voice parameters are not used). When a single bank dump is transmitted, C=0 such that the receiving KSx current bank will be the destination. When an all banks dump is transmitted, C=1 such that the receiving KSx will store the programs in the bank given in the B byte. When a third party librarian or device receives either a program dump, it can ignore the C value but when it transmits one of these dumps to a KSx, it must be aware of the effect of the C value. PERFORMANCE-MODE CURRENT SOUND DUMP When received in performance mode, this will be the active sound. It is not stored in flash. In program mode, this message is ignored. The source bank and program number are irrelevant and the control byte is ignored. F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 42h KS SERIES SyCh SYSEX CHANNEL transmitted 7Fh : received 7Fh or current receive channel 02h MESSAGE TYPE current performance dump 00h CONTROL BYTE transmitted 0 : received don't care Vv SOFTWARE VERSION Vi VERSION INCREMENT 00h PERFORMANCE BANK transmitted 0 : received don't care 00h PERFORMANCE NUMBER transmitted 0 : received don't care PART 1 PROGRAM BLOCK 256 bytes, see below. The performance parameters are stored in this block PART 2 PROGRAM BLOCK 256 bytes PART 3 PROGRAM BLOCK 256 bytes PART 4 PROGRAM BLOCK 256 bytes F7h END OF EXCLUSIVE PERFORMANCE DUMP When received, the performance is stored in flash at the supplied performance number. F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 42h KS SERIES SyCh SYSEX CHANNEL transmitted 7Fh : received 7Fh or current receive channel 03h MESSAGE TYPE performance dump C CONTROL BYTE 0 or 1 destination bank control Vv SOFTWARE VERSION Vi VERSION INCREMENT B PERFORMANCE BANK transmitted 1 : received don't care P PERFORMANCE NUMBER 0-99 PART 1 PROGRAM BLOCK 256 bytes, see below. The performance parameters are stored in this block PART 2 PROGRAM BLOCK 256 bytes PART 3 PROGRAM BLOCK 256 bytes PART 4 PROGRAM BLOCK 256 bytes F7h END OF EXCLUSIVE PERFORMANCE BANK DUMPS A performance bank dump consists of 50 consecutive performance dumps, either performances 0-49 or 50-99 depending on the selected dump item. The reason for splitting the bank into two halves is simply to keep sysex/midi files reasonably small.

• 68 • GLOBAL DATA DUMP When received, the flash global data block is overwritten. The source bank and program number are irrelevant and the control byte is ignored. F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 42h KS SERIES SyCh SYSEX CHANNEL transmitted 7Fh : received 7Fh or current receive channel 04h MESSAGE TYPE global data dump 00h CONTROL BYTE transmitted 0 : received don't care Vv SOFTWARE VERSION Vi VERSION INCREMENT 00h (PROGRAM BANK) transmitted 0 : received don't care 00h (PROGRAM NUMBER) transmitted 0 : received don't care GLOBAL DATA BLOCK 256 bytes, see below F7h END OF EXCLUSIVE SYSEX REQUEST MESSAGES (receive only) PROGRAM MODE CURRENT SOUND DUMP REQUEST In performance mode, this message is ignored. F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 42h KS SERIES SyCh SYSEX CHANNEL 7Fh or current receive channel 40h MESSAGE TYPE current program dump request 00h CONTROL BYTE don't care Vv SOFTWARE VERSION don't care Vi VERSION INCREMENT don't care 00h PROGRAM BANK don't care 00h PROGRAM NUMBER don't care F7h END OF EXCLUSIVE PROGRAM DUMP REQUEST F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 42h KS SERIES SyCh SYSEX CHANNEL 7Fh or current receive channel 41h MESSAGE TYPE program dump request C CONTROL BYTE reply will copy this value for C Vv SOFTWARE VERSION don't care Vi VERSION INCREMENT don't care B PROGRAM BANK 1-8 : don't care if C=0 P PROGRAM NUMBER 0-99 for program banks 1-4, 0-49 for drum banks 5-8 F7h END OF EXCLUSIVE PERFORMANCE MODE CURRENT SOUND DUMP REQUEST In program mode, this message is ignored. F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 42h KS SERIES SyCh SYSEX CHANNEL 7Fh or current receive channel 42h MESSAGE TYPE current performance dump request 00h CONTROL BYTE don't care Vv SOFTWARE VERSION don't care Vi VERSION INCREMENT don't care 00h PERFORMANCE BANK don't care 00h PERFORMANCE NUMBER don't care F7h END OF EXCLUSIVE

• 69 • PERFORMANCE DUMP REQUEST F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 42h KS SERIES SyCh SYSEX CHANNEL 7Fh or current receive channel 43h MESSAGE TYPE performance dump request C CONTROL BYTE reply will copy this value for C Vv SOFTWARE VERSION don't care Vi VERSION INCREMENT don't care B PERFORMANCE BANK don't care : in the returned performance dump this will be 1 P PERFORMANCE NUMBER 0-99 F7h END OF EXCLUSIVE GLOBAL DATA DUMP REQUEST F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 42h KS SERIES SyCh SYSEX CHANNEL 7Fh or current receive channel 44h MESSAGE TYPE global data dump request 00h CONTROL BYTE don't care Vv SOFTWARE VERSION don't care Vi VERSION INCREMENT don't care 00h (PROGRAM BANK) don't care 00h (PROGRAM NUMBER) don't care F7h END OF EXCLUSIVE DATA BLOCKS USED IN SYSEX MESSAGES See Midi Controller Map for further details of parameters and meaning of ***. PROGRAM DATA BLOCK (256 bytes) byte parameter 0 UNISON / VOICE TYPE / FILTER TYPE (see packed parameter 2) 1 UNISON DETUNE 2 INDIVIDUAL OSCILLATOR RANDOM DETUNE (VCO DRIFT) 3 PORTAMENTO TIME 4 PREGLIDE SEMITONES *** -12..+12 (0=preglide disabled) 5 PORTAMENTO MODE (0=exp, 1=linear) 6 OSC 1,2,3 OCTAVE / OSC 1>2 SYNC (see packed parameter 3) 7 OSC1 SEMITONE *** -12..+12 8 OSC1 CENT *** -50..+50 9 OSC1 BENDWHEEL PITCH AMOUNT *** 10 OSC1 LFO1 PITCH AMOUNT *** 11 OSC1 MOD.ENV PITCH AMOUNT *** 12 OSC1 PULSE WIDTH POSITION *** (0=50% or in-phase double wave) 13 OSC1 LFO2 PULSE WIDTH MOD *** 14 OSC1 MOD.ENV PULSE WIDTH MOD *** 15 OSC2 SEMITONE *** -12..+12 16 OSC2 CENT *** -50..+50 17 OSC2 BENDWHEEL PITCH AMOUNT *** 18 OSC2 LFO1 PITCH AMOUNT *** 19 OSC2 MOD.ENV PITCH AMOUNT *** 20 OSC2 PULSE WIDTH POSITION *** (0=50% or in-phase double wave) 21 OSC2 LFO2 PULSE WIDTH MOD *** 22 OSC2 MOD.ENV PULSE WIDTH MOD *** 23 OSC3 SEMITONE *** -12..+12 24 OSC3 CENT *** -50..+50 25 OSC3 BENDWHEEL PITCH AMOUNT *** 26 OSC3 LFO1 PITCH AMOUNT *** 27 OSC3 MOD.ENV PITCH AMOUNT *** 28 OSC3 PULSE WIDTH POSITION *** (0=50% or in-phase double wave) 29 OSC3 LFO2 PULSE WIDTH MOD *** 30 OSC3 MOD.ENV PULSE WIDTH MOD *** 31 OSCs 1,2,3 MODWHEEL DIRECT PITCH DEPTH *** 32 OSCs 1,2,3 AFTERTOUCH DIRECT PITCH DEPTH *** 33 OSCs 1,2,3 BREATH DIRECT PITCH DEPTH *** 34 OSCs 1,2,3 MODWHEEL LFO1 PITCH DEPTH ***

• 70 • byte parameter 35 OSCs 1,2,3 AFTERTOUCH LFO1 PITCH DEPTH *** 36 OSCs 1,2,3 BREATH LFO1 PITCH DEPTH *** 37 OSC1 LEVEL (to filter) 38 OSC2 LEVEL (to filter) 39 OSC3 LEVEL (to filter) 40 NOISE LEVEL (to filter) 41 OSC 1*2 RINGMOD LEVEL (to filter) 42 AUDIO INPUT LEVEL (to filter) 43 FILTER OVERDRIVE 44 FILTER RESONANCE 45 FILTER Q NORMALISE (127=zero filter drive at max resonance) 46 FILTER FREQUENCY 47 FILTER KEYBOARD TRACKING (0=NONE, 127=PRECISE PITCH TRACK) 48 FILTER MODWHEEL DIRECT FREQUENCY DEPTH *** 49 FILTER AFTERTOUCH DIRECT FREQUENCY DEPTH *** 50 FILTER BREATH DIRECT FREQUENCY DEPTH *** 51 FILTER FREQUENCY LFO2 MOD DEPTH *** 52 FILTER FREQUENCY MOD.ENV DEPTH *** 53 FILTER MODWHEEL LFO2 FREQUENCY DEPTH *** 54 FILTER AFTERTOUCH LFO2 FREQUENCY DEPTH *** 55 FILTER BREATH LFO2 FREQUENCY DEPTH *** 56 OSC 2>3 FM FIXED LEVEL 57 OSC 2>3 FM ENVELOPE DEPTH *** 58 OSC 2>3 FM ENVELOPE VELOCITY DEPTH *** 59 OSC 2>3 FM ENVELOPE ATTACK 60 OSC 2>3 FM ENVELOPE DECAY 61 AMPLITUDE ENVELOPE VELOCITY DEPTH *** 62 AMPLITUDE ENVELOPE ATTACK 63 AMPLITUDE ENVELOPE DECAY 64 AMPLITUDE ENVELOPE SUSTAIN 65 AMPLITUDE ENVELOPE RELEASE 66 MOD. ENVELOPE VELOCITY DEPTH *** 67 MOD. ENVELOPE ATTACK 68 MOD. ENVELOPE DECAY 69 MOD. ENVELOPE SUSTAIN 70 MOD. ENVELOPE RELEASE 71 (not used, set to 0) 72 NON-SYNC LFO1 SPEED 73 SYNC LFO1 SPEED 0..34 (non-sync, 32Triplet..12bars) 74 LFO1 DELAY (GRADUAL ONSET TIME / ONE-SHOT MODE DELAY) 75 NON-SYNC LFO2 SPEED 76 SYNC LFO2 SPEED 0..34 (non-sync, 32Triplet..12bars) 77 LFO2 DELAY (GRADUAL ONSET TIME / ONE-SHOT MODE DELAY) 78 LFO 1,2 DELAY MONO MULTI MODE (see packed parameter 4) 79 LFO 1,2 KEYSYNC / LOCK / ONE-SHOT (see packed parameter 5) 80 ENVELOPE MONO MULTI MODES (see packed parameter 1) 81 AMPLITUDE MODWHEEL DIRECT DEPTH *** 82 AMPLITUDE AFTERTOUCH DIRECT DEPTH *** 83 AMPLITUDE BREATH DIRECT DEPTH *** 84 ARPEGGIATOR/GENERAL SYNC RATE (64..191 bpm) (common) 85 ARPEGGIATOR SYNC SETTING 0..15 (32Triplet..1 bar) 86 ARPEGGIATOR GATE TIME ***(+63 gives tied notes in mono mode) 87 ARP MODE (0..7 = up, down, ud1, ud2, order, random, chord, drum) 88 ARPEGGIATOR CONTROL (see packed parameter 6) 89 VOCODER BALANCE (0=off 64=full vocoder 127=modulator only) (common) 90 VOCODER STEREO WIDTH (common) 91 VOCODER SIBILANCE LEVEL (common) 92 EQ LEVEL *** (0, 1..63, 64, 65..126, 127 = LP, LPshelf, flat, HPshelf, HP) 93 EQ FREQUENCY 94 NON-SYNC EQ MOD RATE 95 SYNC EQ MOD RATE 0..34 (non-sync, 32Triplet..12bars) 96 EQ MOD DEPTH 97 DISTORTION LEVEL 98 MODWHEEL DISTORTION *** 99 DISTORTION COMPENSATION 100 DELAY SEND LEVEL 101 MODWHEEL DELAY SEND 102 NON-SYNC DELAY TIME 103 SYNC DELAY TIME 0..19 (non-sync, 32Triplet..2bars) 104 DELAY FEEDBACK 105 DELAY STEREO WIDTH 106 DELAY RATIO 107 REVERB SEND LEVEL 108 MODWHEEL REVERB SEND *** 109 REVERB DECAY

• 71 • byte parameter 110 CHORUS SEND LEVEL 111 MODWHEEL CHORUS SEND *** 112 NON-SYNC CHORUS RATE 113 SYNC CHORUS RATE 0..34 (non-sync, 32Triplet..12bars) 114 CHORUS FEEDBACK *** 115 CHORUS MOD DEPTH 116 CHORUS MOD CENTRE POINT 117 PAN POSITION *** 118 NON-SYNC PAN RATE 119 SYNC PAN RATE 0..34 (non-sync, 32Triplet..12bars) 120 PAN MOD DEPTH 121 EFFECTS TYPE CONTROL (see packed parameter 7) 122 EFFECTS GLOBAL SYNC CONTROL (see packed parameter 8) 123 AUDIO INPUT CONTROL (see packed parameter 9) 124 VOCODER SIBILANCE TYPE (0=hp, 1=noise) (common) 125 VOICE LEVEL TO OUTPUT & EFFECTS (0..30Db) 126 EFFECT TYPE SELECTOR/KEYBOARD OCTAVE (see packed parameter 10) 127 OSC, SOURCE, PW, LFO SELECTORS (see packed parameter 11) (end of A/K-station similarity) 128 OSC1 WAVEFORM (0..31) 129 OSC2 WAVEFORM (0..31) 130 OSC3 WAVEFORM (0..31) 131 LFO1 WAVEFORM (0..31) 132 LFO2 WAVEFORM (0..31) 133 LFO1 UNIPOLAR (0= centre-zero, 1=all positive) 134 LFO2 UNIPOLAR (0= centre-zero, 1=all positive) 135 LFO1 KEYSYNC START PHASE (0..357 degrees) 136 LFO2 KEYSYNC START PHASE (0..357 degrees) 137 LFO1 SYNC DELAY TIME 0..34 (non-sync, 32Triplet..12bars) 138 LFO2 SYNC DELAY TIME 0..34 (non-sync, 32Triplet..12bars) 139 MIX MODULATION SELECTOR (0=normal, 1=pots control mod levels) 140 FILTER TYPE (0..2 = LP, BP, HP) 141 OSC1 LFO1 LEVEL MOD *** 142 OSC2 LFO2 LEVEL MOD *** 143 OSC3 A/D ENV LEVEL MOD *** 144 NOISE LFO1 LEVEL MOD *** 145 RING1*2 LFO1 LEVEL MOD *** 146 AUDIO INPUT LFO1 LEVEL MOD *** 147 OSC123 WAVEFORM KEYSYNC PHASE (0..357 degrees) 148 NOISE TYPE (0..3 = white, hp, bp, hp*bp) 149 ARPEGGIATOR PATTERN (0..32 0=off, 32 patterns. In DRUM MODE, 33 patterns) 150 FILTER FREQUENCY VELOCITY CONTROL *** 151..166 PROGRAM NAME (16 ascii characters) 167 ARPEGGIATOR PATTERN VELOCITY MODE (0=use note-on velocity, 1= use velocity in pattern) 168 FIXED NOTE CONTROL (0=off, 1-127 fix the note to midi 1..127 ie C#-2..G8) 169 LFO1 OUTPUT LEVEL VELOCITY CONTROL *** 170 LFO2 OUTPUT LEVEL VELOCITY CONTROL *** 171 OSC1 LFO2 LEVEL MOD *** 172 OSC 2>3 FM LFO1 DEPTH MOD *** 173 DRUM NOTE ON-TIME (0=turn off by note-off, 1-127=1msec..10sec auto-turn-off, ignoring note-off) 174 (not used, set to 0) 175 (not used, set to 0) 176 CATEGORY (0..23) 177 EXPRESSION PEDAL CONTROLLER NUMBER 178 FOOTSWITCH FUNCTION (0=sustain, 1=arp latch on override) PART PARAMETERS (note that most of these operate in both program and performance mode) 179 PART LEVEL 180 PART OUTPUT (0..5 = 1+2, 3+4, 1, 2, 3, 4) 181 PART MIDI CHANNEL (0..15 Note that in program mode, the global channel is used) 182 PART LOW NOTE LIMIT 183 PART HIGH NOTE LIMIT 184 PART SEMITONE OFFSET *** 185 PART CENT OFFSET *** 186 PART VELOCITY FUNCTION (0..15 0=normal, 1=inverse, 2=xfade hi, 3=xfade lo, then12 limit settings) PERFORMANCE PARAMETERS stored in each part's data block 187 PART ORIGINAL PROGRAM BANK (1..8) 188 PART ORIGINAL PROGRAM NUMBER (0..99)

• 72 • PERFORMANCE PARAMETERS stored in part 1's data block only byte parameter 189 PERFORMANCE PART EDIT SELECTION (bits 0..3 are 1 for parts 1..4 respectively) 190 PERFORMANCE PART ON SELECTION (bits 0..3 are 1 for parts 1..4 respectively) 191 PERFORMANCE TEMPO BPM (this is the performance's version of parameter 84) 192..207 PERFORMANCE NAME (16 ascii characters) 208 PERFORMANCE VOCODER PART SELECTION (0..3 for parts 1..4) 209..255 (not used, set to 0) GLOBAL DATA BLOCK (256 bytes) byte parameter 0 POWER-UP PERFORMANCE MODE PERFORMANCE BANK (always 1) 1 POWER-UP PERFORMANCE MODE PERFORMANCE NUMBER 2 POWER-UP PROGRAM MODE PROGRAM BANK 1..8 3 POWER-UP PROGRAM MODE PROGRAM NUMBER 0..99 banks 1-4, 0-49 banks 5-8 4 POWER-UP MODE (0=program, 1=performance) 5 MEMORY PROTECT (0=protected 1=not protected) 6 (not used, set to 15) 7 MIDI LOCAL CONTROL (0=off 127=on 63=sequencer mode) 8 GLOBAL MIDI CHANNEL (0..15) 9 MIDI CLOCK SOURCE (0=internal 1=external) 10 MASTER TUNE CENTS *** 11 VELOCITY CURVE (0=soft 1=hard) 12 EXTERNAL INPUT RANGE (0=line 1=mic) 13 EXTERNAL INPUT TRIM (-10..+20 dB) 14 EXTERNAL INPUT TRIGGER SENSITIVITY (0 is most sensitive) 15 GLOBAL SYNC TYPE (0,1,2 = note when all notes off, first note after prog change, midi song start) 16 PARAMETER MOMENTARY DISPLAY TIME (off.200..1200mS) 17 MENU INITIAL PAGE MODE (0=first 1=last used) 18 PROGRAM MODE PARAMETER DISPLAY MODE (0=timed 1=permanent) 19-255 (not used, set to 0)

• 73 • FCC Information ( U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this Manual, meets FCC requirements. Modifications not expressly approved by Novation may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3 NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interfer- ence, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (Circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/re orient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. The statements above apply ONLY to products distributed in the USA. CANADA The digital section of this apparatus does not exceed the “Class B” limits for radio noise emissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications. Le present appareil numerique n’emet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la “Classe B” prescrites dans le reglement sur le brouillage radioelectrique edicte par le Ministere Des Communications du Canada. This only applies to products distributed in Canada. Ceci ne s’applique qu’aux produits distribues dans Canada. Other Standards ( Rest of World ) This product complies with the radio frequency interference requirements of the Council Directive 89/336/EC. Dette apparat overholder det gaeldenda EF-direktiv vedr¯rendareadiost¯j.Cet appareil est conforme aux prescriptions de la directivecommunautaire 89/336/EC Diese Ger‰te entsprechen der EG-Richtlinie 89/336/EC. Specifications subject to change: The information contained in this manual is believed to be correct at the time of going to press. However, Novation reserves the right to change or modify the specification without notice or obligation to update existing units. Copyright 2002 Novation Electronic Music Systems Ltd. V1.2 1. Read all the instructions and observe the graphic symbols above before using the product. 2. Do not use this product near water - for example near a bathtub, washbowl, kitchen sink, in a wet basement, near or in a swimming pool, a swamp or the like. 3. This product should be used only with a cart or a stand that is recommended by the manufacturer. 4. This product, either alone or in combination with an amplifier and headphones or speakers may be perfectly capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. 5. The product should be located so that its location or position does not interfere with or obstruct its normal flow of ventilation. 6. The product should be located away from heat sources such as radiators, heat registers or other products that produce 7. The product should be connected to a power supply only of the type described in these operation instructions or as marked on the product. 8. The power supply cord of the product should be unplugged from the outlet when the product is left unused for a long period of time. 9. Care should be taken so that objects do not fall, or liquids are not spilled into the enclosure through openings. 10. The product should be serviced by qualified service personnel when: A. The power supply cord has been damaged; or B. Objects have fallen or liquids have been spilled onto the product; or C. The product has been exposed to rain; or D. The product does not appear to operate normally or exhibits a marked change in performance; or E. The product has been dropped or the enclosure has been damaged. 11. Do not attempt to service the product beyond those means described in this operating manual. All other servicing should be referred to qualified service personnel. IMPORTANT SAFETY INSTRUCTIONS Warning - When using electric products, basic precautions should always be followed, including the following:

• 74 • Architecture Voices 16 Modes Program (Mono Timbral) Performance (Four Part multi timbral) Part Edit Note range / Fine/semi-tone detune / On-Off / Output select / MIDI channel Audio Input 1 x 20 Bit A/D Audio Outputs 4 x 24 Bit D/A Oscillators 1, 2 and 3 Waveforms Square / Saw / Variable Pulse / Tri / Sine / Double Saw / Double Tri / Double Sine / 16 Complex Cycle Waveforms Noise Sources White / Crack / Metal 1 / Metal 2 Octave Range Shift -1 / 0 /+1 / +2 Mod Env Depth -64 to +63 LFO1 Depth -64 to +63 PWM Source Mod Env / Manual / LFO2 Ring Mod 1 * 2 FM 2 * 3 2 * 3 FM Level 0 – 127 2 * 3 FM Mod Level 0 – 127 FM Env Attack Rate 250uS-20 Seconds FM Env Decay Rate 1mS-20 Seconds Comprehensive Aftertouch, Breath and Pitch / Mod Wheel control of both static pitch and modulation of pitch Mixer Osc 1 Static Level 0 – 127 Osc 1 Mod Level / Lfo1 -64 to +63 Osc 2 Static Level 0 – 127 Osc 2 Mod Level / Lfo2 -64 to +63 Osc 3 Static Level 0 – 127 Osc 3 Mod Level / AD Env -64 to +63 Noise Static Level 0 – 127 Noise Mod Level / Lfo1 -64 to +63 FM StaticLevel 0 – 127 FM Mod Level / AD Env -64 to +63 Ext Input Static Level 0 – 127 Ext Input Mod Level / AD Env -64 to +63 Filter Frequency 5Hz-24kHz Slope 12dB / 24dB Modes Low Pass High Pass Band Pass Resonance 0-Self Oscillation (24dB mode) Mod Env Depth -64 to +63 LFO 2 Depth -64 to +63 Cut Off 0 – 127 Keyboard Tracking 0 – 127 Velocity 0 - 127 Overdrive 0 – 127 Q normalise 0 - 127 Comprehensive Aftertouch, Breath and Pitch / Mod Wheel control of both static filter freq and modulation of filter freq Amplifier & Modulation Envelopes Velocity -64 to +63 Attack 250uS-20 Seconds Decay 1mS-20 Seconds Sustain 0 – 127 Release 1mS – 20 Seconds Delay (Mod Env) 1mS-20 Seconds LFO1 - LFO2 Modes Cyclic / One-shot Waveforms Sine / Tri / Saw / Squ / Sample & Hold / Sample & Hold / Quantize / Random 12 Intricate Wavetables Speed 0 Hz – 1Khz Delay Fade In 0 – 5 Seconds LFO Sync Internal – MIDI Clock Arpeggiator Arpeggiators 4 Independent Controls Speed / Range / Gate Time MIDI Clock / Sync / Keysync Modes Up / Down / Rand / Chord Patterns 16 Rhythmic Interfacing MIDI Sockets In / Out / Thru Audio Input Line Level 1 x Mono 1/4” Jack Audio Outputs Line Level 1 x Mono 1/4” Jack Pedals Sustain / Expression 1/4” Jack Effects Reverb Level / Echo Chamber, Small Room, Large Room, Small Hall, Large Hall, Grand hall / Decay / Wheel Level Chorus - Phaser Level / Rate / Type / MIDI Clock Sync / Feedback / Mod Depth / Centre / MIDI clock sync initial Position, Wheel Level Distortion Drive / Compensation / Wheel Level Panning Position / Mod Depth / Speed / MIDI clock Sync, Initial Position Delay Depth / Time / Feedback / MIDI Clock Sync / Stereo Width / Ratio / Wheel Level 16 Band Vocoder On –Off / Sibilance Level / Sibilance Type EQ / Filter Depth / Freq / Mod Depth / Mod Speed. MIDI clock sync / MIDI clock sync Initial position General Power (AC Mains) 85 - 270 V.A.C 250mA Dimensions (mm) W=852 H=94 D=300 (KS4) W=1018 H=94 D=300 (KS5) Weights KS4 = 7.5kg / KS5 = 9.5kg Specifications

A-Station .........................................................................2 Active Sensing ...............................................................57 AD Envelope ...............................................23, 35, 36, 39 Aftertouch ..............................................16, 21, 48, 49, 57 Calibration ....................................................................49 All Notes Off ..................................................................57 All Sound Off .................................................................57 Amp Envelope .......................................18, 23, 26, 39, 40 Amplifier ............................................9, 12, 14, 47, 48, 51 Amplifier Gain ..........................................................47, 48 ARP LATCH Button .................................................18, 28 ARP MENU Button ............................................18, 29, 53 Arp Note Destination .....................................................54 ARP ON Button .......................................................18, 28 Arp Sync Type ...............................................................52 Arpeggiators ..................2, 18, 27, 28, 29, 50, 52, 53 - 55 ATTACK Control ................................................18, 26, 39 Attack Time ...........................................13, 25, 26, 36, 39 Audio Input ....................................................2, 28, 39, 51 Audio Input Triggering .......................................39, 40, 51 AUDITION Button ....................................................18, 32 Auto Glide ......................................................................34 Back-ups ................................................................16, 49 Band Pass Filter ..........................................12, 24, 28, 37 Bank Change messages ...........................................4, 56 BPM ...............................................................................28 Breath Control .........................................................21, 48 BY CATEGORY Button ...........................4, 18, 19, 20, 32 Calibration ....................................................................49 Carrier ............................................................................28 Categories ...................................................................4, 6 Cents Detune (Parts) .....................................................55 Channels ...............................7, 15, 16, 31, 50, 54, 55, 56 Chorus .............................................27, 28, 29, 43, 50, 53 Feedback ......................................................................43 LFO Sync Initial Position ..............................................43 Mod Centre ...................................................................43 Mod Depth ....................................................................43 Sync Rate .....................................................................53 Type ..............................................................................43 Wheel Level ..................................................................43 Clock Messages ..........................................16, 50, 52, 57 COMPARE Button ...............................................6, 18, 32 Connections .....................................................................3 Contents ..........................................................................1 Controllers ...................................2, 15, 16, 55, 57, 62, 63 Conventions .....................................................................2 Cut-off Frequency ........................................11, 12, 24, 25 Data Compatibility .........................................................2 DECAY Control ..................................................18, 26, 39 Decay Time ...........................................13, 25, 26, 36, 39 Decay Time (Reverb) ....................................................42 Delay .....................................................27, 28, 41, 50, 52 Feedback ......................................................................41 Sync Time .....................................................................52 Wheel Level ..................................................................41 DELAY Knob ............................................................18, 25 Delay Time .....................................................................41 Demonstration .................................................................8 DETUNE Knob ............................................18, 23, 36, 55 Display ...............................................................18, 32, 49 Display Contrast ............................................................49 Distortion .....................................................27, 28, 44, 51 Level Compensation .....................................................44 Wheel Level ..................................................................44 DRUM EDIT Button .......................................5, 18, 32, 36 Double Saw Sounds ......................................................22 Drum Map Banks .......................................................3, 56 Drum Maps ....................................... 2, 3, 5, 6, 36, 56, 61 Editing .............................................................................5 Effects .........................................................................3, 6 Saving .............................................................................6 Selecting ...............................................................3, 4, 56 Drum Patterns ...............................................................54 Duty Cycle .....................................................................10 EDIT Buttons ............................................................7, 18 Effects ........................2, 6, 18, 23, 27, 28, 29, 40, 41 - 46 Chorus ............................................27, 28, 29, 43, 50, 53 Delay ....................................................27, 28, 41, 50, 52 Distortion ....................................................27, 28, 44, 51 EQ ..................................................27, 28, 29, 45, 50, 53 Panning ................................................28, 29, 46, 50, 53 Reverb ..............................................................27, 28, 42 Vocoder ....................................................................2, 28 EFFECTS LEVEL Knob ........................18, 27, 28, 45, 46 Elements Of A Sound ......................................................9 Envelope Triggering .......................................................39 Envelopes .....9, 12, 13, 14, 18, 21, 23, 25, 26, 39, 40, 51 EQ .........................................................27, 29, 45, 50, 53 Frequency ...............................................................27, 45 Level .............................................................................27 LFO Sync Initial Position ..............................................45 Mod Depth ....................................................................45 Mod Rate ......................................................................45 Sync Mod Time .............................................................53 External Audio .............................2, 23, 24, 28, 39, 40, 51 External Audio To Effects ........................................40, 51 Feedback (Chorus) ......................................................43 Feedback (Delay) ..........................................................41 Filter ........9, 11, 12, 14, 18, 21, 24, 37, 40, 47, 48, 51, 55 Aftertouch Modulation ...................................................48 Breath Control Modulation ............................................48 Frequency Modulation From LFO 2 Using Mod Wheel 47 Frequency Modulation From Mod Wheel .....................47 Self Oscillation ..............................................................24 FM Synthesis ...............................................23, 35, 36, 39 FM Anount .....................................................................36 FM Manual Level ...........................................................36 Foot Switch ....................................................................55 Frequency (EQ) .............................................................45 FREQUENCY Knob ............11, 12, 15, 18, 20, 24, 37, 39 Front Panel Layout ........................................................18 Function Display Time .............................................21, 51

Gate Time .....................................................................54 Global MIDI Channel .........................................50, 55, 56 Global Parameters ................................19, 33, 49, 50, 51 Dumping .......................................................................49 Restoring ......................................................................49 Saving .....................................................................33, 50 Global Sync Mode .................................38, 43, 45, 46, 50 Harmonics ..........................................................9, 10, 35 High Pass Filter .................................................12, 24, 37 Highest Note ..................................................................55 Hypersync .........................................2, 18, 27, 29, 30, 52 Naming .........................................................................30 Saving ...........................................................................30 HYPERSYNC Knob .................................................18, 29 Index ......................................................................75 - 78 Input Sensitivity Range ..................................................51 Input Trigger Sensitivity ...........................................39, 51 Input Trim dB .................................................................51 K-Station .........................................................................2 Keyboard Splits ...............................................................7 Keypad Buttons .....3, 4, 6, 18, 19, 20, 21, 33, 34, 37, 38, ...................................................39, 41, 47, 48, 49, 50, 51 Keysync .........................................................................54 KS Rack ...........................................................................2 Left / Right Time Ratio ................................................41 Level Compensation ......................................................44 LFO Button ..............................................................18, 25 LFO Common To All Voices ..........................................38 LFO Delay .........................................................18, 25, 29 LFO Delay Sync Time ...................................................52 LFO Keysync .................................................................38 LFO Keysync Initial Phase Offset ..................................38 LFO Polarity ...................................................................38 LFO Sync Initial Position (Chorus) ................................43 LFO Sync Initial Position (EQ) .......................................45 LFO Sync Initial Position (Panning) ...............................46 LFO Sync Speed ...........................................................52 LFO Triggering ...............................................................38 LFO Velocity ..................................................................38 LFO 1 DEPTH Knob ................................................18, 23 LFO 2 DEPTH Knob ................................................18, 24 LFO 2 Level Modulation To OSC 1 ...............................37 LFOs ...................9, 13, 14, 18, 21, 22, 25, 29, 30, 38, 52 Local Control .....................................................17, 50, 57 Low Pass Filter ..................................................11, 12, 24 Lowest Note ...................................................................55 Manual Pan Position ...................................................46 Master keyboard .....................................3, 16, 17, 50, 56 Master Tune ...................................................................50 Memories .......................................................................14 Memory Protect ...............................................6, 8, 49, 50 Menu Mode ...................................................6, 21, 28, 52 MENU Button (Part) ............................................7, 18, 31 MENUS Button ........................3, 6, 18, 21, 33, 34, 51, 52 MIDI ...................2, 15 - 17, 31, 48, 49, 50, 54, 55, 56, 57 Aftertouch ...................................................16, 48, 49, 57 Bank Select ............................................................16, 56 Breath Control ........................................................21, 48 Channels ..............................7, 15, 16, 31, 50, 54, 55, 56 Clock ..............................................16, 25, 28, 50, 52, 57 Connections ............................................................15, 17 Controllers ..................................2, 15, 16, 55, 57, 61, 62 Implementation Chart .............................................16, 57 Note messages ................................................15, 36, 57 NRPNs .............................................................16, 64, 65 Pitch Bend ..............................................................16, 57 Program Change ..........................................4, 16, 56, 57 Specification .................................................................56 Sustain ....................................................................28, 55 System Exclusive (Sysex) ..........2, 8, 16, 49, 57, 66 - 72 MIDI Clock Source ............................................28, 50, 52 MIDI IN Port .............................................................15, 17 MIDI OUT Port ...............................................4, 15, 17, 54 MIDI THRU Port .............................................................15 Mod Centre (Chorus) .....................................................43 Mod Depth (Chorus) ......................................................43 Mod Depth (EQ) ............................................................45 MOD ENV DEPTH Knob (Filter Section) ...........18, 24, 39 MOD ENV DEPTH Knob (Oscillator Section) .........18, 23 Mod Envelope .......................................18, 23, 24, 26, 39 Mod Rate (EQ) ..............................................................45 Mode (Arpeggiators) ......................................................54 MODULATION Button ..............................................18, 23 Modulation Wheel ...............15, 18, 41, 42, 43, 44, 47, 49 Calibration ....................................................................49 Modulators .........................................................13, 28, 35 MORE LED ....................................................................25 Mixer ...............................9, 11, 14, 18, 21, 22, 23, 37, 40 Multi-timbral Operation ....................................................7 New Menu Always Page 1 ...........................................51 Noise ..............................................................9, 11, 23, 37 NOISE / RING / EXT Button ..............................18, 23, 40 NOISE / RING / EXT / LFO 1 Knob ..................18, 23, 40 Noise Type .....................................................................37 NRPNs ...............................................................16, 63, 64 OCTAVE Button (Oscillator Section) ...................18, 22 OCTAVE Buttons (Keyboard) ............................18, 26, 36 Octave Range (Arpeggiators) ........................................54 ONE SHOT Button ..................................................18, 25 Operating System Updates ...........................................16 OSC Fixed Note Replay ................................................36 OSC Sync ................................................................34, 35 OSC 1 / LFO 1 Knob ...............................................18, 23 OSC 2 / LFO 2 Knob ...............................................18, 23 OSC 3 / AD Knob ....................................................18, 23 OSCILLATOR Select Button ....................................18, 22 Oscillators ......2, 9, 11, 14, 18, 21, 22, 23, 34 - 36, 47, 48 Aftertouch Modulation ...................................................47 Breath Control Modulation ............................................47 Detuning .......................................................................22 LFO 1 Pitch Modulation ................................................47

Mod Wheel Pitch Shift ..................................................47 Pitch Bend Amount .......................................................47 Selecting .......................................................................22 Output Sockets ..........................................................3, 54 OVERDRIVE Knob ..................................................18, 24 PAGE Buttons ......3, 7, 8, 18, 20, 21, 29, 32, 37, 46, 47, ...............................................................48, 50, 52, 54, 55 Panning .................................................27, 29, 46, 50, 53 LFO Sync Initial Position ..............................................46 Manual Pan Position ....................................................46 Rate ..............................................................................46 Sync Rate .....................................................................53 Part Activate Buttons ...............................................18, 31 Part EDIT Buttons .........................................7, 18, 31, 54 PART LEVEL Knob ..............................................7, 18, 31 Parts ..........................................2, 7, 8, 20, 31, 32, 54, 55 Editing .............................................................................7 Exporting ........................................................................8 Layering ..........................................................................7 Muting ...........................................................................31 Selecting ...........................................................19, 20, 33 Part MENU Button .........................................7, 18, 31, 55 Pattern Velocity ..............................................................54 Patterns ...................................................................25, 54 Pedal ..............................................................................55 PERF Button .......................4, 7, 8, 18, 19, 21, 28, 33, 51 PERF / PROG / DATA Knob .........3, 4, 6, 7, 8, 19, 20,21, .................................30, 32, 34, 36, 39, 40, 42, 44, 45, 51 Performance Mode ............3, 7, 8, 19, 21, 28, 30, 31, 32, ......................................................................33, 49, 52, 56 Performances ........................2, 4, 7, 8, 20, 32, 49, 55, 60 Comparing ....................................................................32 Dumping .......................................................................49 Editing .............................................................................7 Saving ..........................................................8, 21, 32, 33 Selecting .......................................................4, 19, 33, 56 Phaser ...........................................................................43 Pitch ..............................................................9, 13, 23, 38 Pitch Bend Wheel ........................................16, 18, 49, 57 Calibration ....................................................................49 Polyphony Mode ............................................................34 PORTAMENTO Knob ........................................18, 22, 34 Portamento Mode ..........................................................34 Preglide Semitones .......................................................34 Presets ...........................................2, 3, 6, 29, 49, 58 - 60 PROG Button ......................3, 5, 8, 18, 19, 21, 28, 33, 51 Prog Mode Display Control ...........................................51 Program Banks ....................................................3, 16, 56 Program Change ...........................................4, 16, 56, 57 Program Level dB ..........................................................39 Program Mode ...................3, 6, 8, 19, 21, 30, 31, 32, 33, ......................................................................49, 51, 55, 56 Programs ..........................2, 3, 5, 6, 8, 20, 30, 32, 39, 49 Comparing ....................................................................32 Dumping .......................................................................49 Editing .......................................................................5, 20 Exporting ..................................................................8, 21 Saving ..........................................................6, 30, 32, 33 Selecting ..................................................3, 4, 19, 33, 56 Pulse Width ...................................................................10 PW SELECT Button ................................................18, 22 PWM DEPTH / PW POSITION Knob ......................18, 22 Q Normalise ...........................................................37, 51 Rate (Chorus) ...............................................................43 Rate (Panning) ..............................................................46 RELEASE Control ...............................................5, 18, 26 Release Time ..........................................................13, 26 RESONANCE Knob .....................................11, 18, 24, 37 Reverb ...............................................................27, 28, 42 Decay Time ..................................................................42 Type ..............................................................................42 Wheel Level ..................................................................42 Ring Modulation .............................................................23 Safety CE Notices & Approvals .................................73 Sample & Hold ...............................................................25 SAVE HYPER Button ...............................................18, 30 SELECT Buttons (Effects) ...............18, 27, 28, 29, 41, 46 SELECT Buttons ...............................4, 18, 19, 20, 30, 32 Semitone Detune (Parts) ...............................................55 SEMITONE Tune Knob ...............................18, 23, 36, 55 Sequencer ..............3, 4, 8, 17, 28, 29, 40, 49, 50, 52, 56 Sibilance Level ..............................................................46 Sibilance Type ...............................................................46 SLOPE Button ...................................................11, 18, 24 SMF (Standard MIDI File) ..............................................16 Soft Thru ........................................................................17 SOLO Button ...........................................................18, 22 SPEED Knob .....................................................18, 22, 25 Start Phase ....................................................................34 Stereo Width (Delay) .....................................................41 Stereo Width (Vocoder) .................................................46 Subtractive Synthesis ....................................................11 SUSTAIN Control ...........................................5, 18, 26, 39 Sustain Level ...........................................................13, 26 Sustain Messages .........................................................28 SYNC MENU Button ..........................................18, 30, 52 Sync Mod Time (EQ) .....................................................53 Sync Rate (Chorus) .......................................................53 Sync Rate (Panning) .....................................................53 Sync Time (Delay) .........................................................52 Synthesis Tutorial ............................................................9 System Exclusive (Sysex) ...........2, 8, 16, 49, 57, 66 - 72 Technical Specification ...............................................74 TEMPO Knob ..................................18, 27, 28, 50, 52, 56 Thru Box ........................................................................15 Tone .................................................................................9 Tracking .........................................................................37 TYPE Button ............................................................18, 24 Type (Chorus) ................................................................43 Type (Reverb) ................................................................42 Unipolar ........................................................................38 Unison Detune ...............................................................34

Unison Voices ................................................................34 Utilities .....................................................................21, 49 VCO Drift .......................................................................34 Velocity ..........................................................................57 Velocity Curve ..........................................................50, 55 Velocity Sensitivity ...................................................37, 50 Velocity To Env Level ....................................................39 Vibrato ...............................................................13, 24, 38 Vocoder ...............................................................2, 28, 46 Activating ......................................................................46 Sibilance Level .............................................................46 Sibilance Type ..............................................................46 Stereo Width .................................................................46 Volume ....................................................9, 12, 26, 47, 54 VOLUME Knob ........................................................18, 26 WAVEFORM Knob (LFO Section) .........................18, 25 WAVEFORM Knob (Oscillator Section) ...................18, 22 Waveforms ......................9, 10, 11, 22, 23, 25, 34, 35, 38 Cross Fade ...................................................................25 Curved Sawtooth ..........................................................25 Digital ............................................................................10 Noise ...................................................................9, 10, 11 Pattern Trigger ..............................................................25 Pulse .............................................................................10 Quantized Sample & Hold ............................................25 Sample & Hold .............................................................25 Sawtooth ......................................................9, 10, 25, 28 Sine ..............................................................9, 10, 22, 25 Square ................................................................9, 10, 25 Triangle ......................................9, 10, 13, 23, 24, 25, 38 White Noise ...................................................................37 WRITE Button .................................................6, 8, 18, 33