Rompler Synths

 A ROMpler is a digital synthesizer that plays back pre-recorded sounds stored in its Read-Only Memory (ROM) instead of generating them from scratch. The term is a blend of "ROM" and "sampler". Unlike a traditional sampler, a rompler cannot record new audio; its sounds are pre-loaded by the manufacturer and are often realistic emulations of instruments like pianos, guitars, and strings, or synthetic tones. 

Note that earlier digital synthesizers, which used short-cycle sampled waveforms, are usually not considered romplers but are either called "PCM synthesizers" or "wavetable synthesizers" because the sampled waveform in this case is usually only made of a single full cycle (or a handful of full cycles) of the wave and would therefore be a fraction of a second in length. 

Why use romplers?

Romplers are known for their unique, imperfect, and "vintage" character, often heard in genres like IDM and ambient music. The way samples are stretched and looped can create subtle imperfections that add a distinctive "character" to the sound.

Using pre-made samples speeds workflow & provides "instant results" with ready-to-use Instrument Racks. The sounds are typically presented as "presets," offering instant access to a variety of high-quality tones without the need for complex programming.

While the core sound source is fixed, most romplers allow for sound shaping through filters, envelopes (like ADSR), and effects.

The advantage about using  rompler is their ease for the new user.

Its basicall a load of sample libraries, in a box.

Is the lack of sound source editing something to be ashamed of.??

They come with samples already loaded so you can focus on creating melodies.

The Orbit, for instance, contains samples of a Moog Modular, ARP 2500 and 2600, TR-808 and Fairlight CMI Ilx.

Popular early romplers include the Roland D-50 and the Korg M1. 

Classic hardware romplers include the Roland JV-1080 and JD-990, Korg M1 and Triton, and E-mu Proteus series. 

Popular software romplers, which can also be called sample-based synthesizers, are reFX Nexus, Spectrasonics Omnisphere, Native Instruments Kontakt, and UVI Falcon. 

Modern hardware examples include the Korg Kronos and Wavestate. 

Software

Flex - fruity loops

Nexus 3/4

KONTakt - native instruments

Roland Zenology

Steinberg HALion

Hardware

E-MU Proteus series

EMU orbit

Korg M1

Wavestate - korg

Kurzweil K2000, K250,

Roland U-110

Roland sound canvas

Roland JV 1080

Roland JV 1010, 2028, etc

Roland JD 800, JD 900

Roland MC 303

Roland MC 505

Roland MC 808

Roland MC 909

Yamaha XG, tg55, mu50

Yamaha Tg 33

Yamaha motif

Hz/volts - synths and sequencers

Analog synthesizer manufacturers typically adopt one of several standards:

Hz per volt - used by Yamaha and Korg 

1V per octave - used by Moog, Roland, ARP and Doepfer

1.2V per octave - used by Buchla and EML 

0.32V per octave - used by EMS

0.26V per octave - used on oscillator 3 of the EMS VCS3 

I've been playing a lot recently with my old Korgs.

I keep coming back to them. They are real classics !!!

They use the hertz/volts CV standard, meaning they follow a linear characteristic

where each successive octave requires a doubling of the control voltage.

In practical terms this means that the number of instruments which you can 

successfully integrate with your vintage Korg synths is limited.

Here is a list .. 

I'll update as I go along. 

If I have missed any, please let me know so I can add it to the list.

Arturia

Beatstep - cheap & flexible.

Beatstep Pro

Key step

Keystep Pro

Microfreak - one of the few modern synths whose sequencer can be configured to output Hz/v

Arturia Minibrute 2s

The MiniBrute 2S works. I suspect the rest of the "brutes" also work with old Korgs.

The standard used on most Eurorack modules and on Arturia's Brute series 

of synthesizers is V/Oct (1Volt per octave),

however, it can be changed to Hz/V (Hertz per Volt) using Arturia's MIDI control center.

CVs in the range 0V-1V, 0V-2V, 0V-5V, and 0V-8V.

Five clock standards are supported, including  analog clock, 24ppqn and 48ppqn. 

Of special note, the Brutes, beatsteps, etc  can convert analog clock to MIDI Clock and  then

transmit this over MIDI and USB. 

Thus you can synchronise MIDI equipment to those analogue clocks.

Keystep

The default is 1V/Oct , though this can be changed to Herz/Oct.

(1.2V /Oct is not supported).

Keystep pro

By default, the transmitted pitch voltage is compatible with the 1.0 V per octave standard,

To use a 1.2 V per octave or a Hertz per Volt (Hz/V) standard you can change the corresponding setting in the MIDI Control Center.

Microfreak

By default, the transmitted Pitch voltage is compatible with the 1v per octave standard.

To use the 1.2 V per octave standard, you have to change the corresponding setting in Utility>CV/Gate>Pitch Format or in the MIDI Control Center.

Gate signals can also have different output ranges (S-Trig, V-Trig 5V, V-Trig 10V). These too can be changed in Utility>CV/Gate>Gate Format or in the MIDI Control Center.

Doepfer

A-190-1 MCVS 

This is a MIDI to CV/SYNC Interface in Eurorack

You can set the CV to Hz/V and the trigger to -ve polarity

Expert Sleepers

Disting Mk1/2 (Eurorack)

Disting Mk 3

Disting Mk4

Silent way - software

It runs as a plug-in for your DAW

Elby Electronics

ED102 - Octave-Volts-Hertz

This is a eurorack module

Elektron

A4 - Analog 4

The synth's sequencer has a very flexible CV/gate

config. I use it with Buchla & well as Korg.

The CVs are digitally controlled which makes for high precision.

Endorphin.es

Shuttle control

PITCH 1V/OCT, PITCH 1.2V/OCT AND HZ/V are

the control voltages available

SHUTTLE CONTROL outputs +5V at C4 note 

(the highest voltage SHUTTLE CONTROL can transmit). 

Then 1 octave lower C3 will return +2.5V, C2: 1.25V, C1: 0.625V, C0: 0,313V, C-1: 0.156V and the last one C-2: 0.078125V (with pretty bad resolution however). 

As you may see, the accuracy in the lower octaves is bad and on the edge of SHUTTLE CONTROL's CV resolution possibilities. 

That is why the useful range for controlling such type of synthesizers is roundabout 3 to 4 octaves.

Future Retro

Mobius sequencer

G-storm

This is a eurorack module

Electro KVP Pitch CV + Gate Voltage Processor for MS-20

Harvestman aka Industrial Music Electronics 

English Tear (eurorack)

Hexinverter 

Mutant brain - polyphonic CV/gate 

                        CV output resolution: 12bits (V/oct or V/Hz)

Keith McMillen

QuNexus - keyboard/sequencer

Use the editor to set this to 1 Volt per Octave, 1.2 Volts per Octave (Buchla) , or Hertz per Volt

Kenton

Pro-solo

Pro-2000

Modular Solo

Korg synths & sequencers

One thing to always remember is that although the MS-20 uses Hz/V, the

original Korg designers showed some forethought & added a TOTAL IN 

socket on the patch panel.

This can be used as a V/Oct CV Input (with some careful adjustment of the

frequency modulation MG/T.Ext knob) 

It's not a proper V/Oct CV in (I think its better suited to filter, than pitch) 

but certainly better than nothing.

MS10

MS 20

MS 20 mini

MS 50 

VC 10 (vocoder)

X-911 (guitar synth)

MS-01 - foot controller pedal

MS-02 - CV/trigger interface

MS-03 - signal processor

               (Pitch to Voltage circuit)

MS-04 - pedal (CV modulation)

SQ-10 sequencer

SQ-1 sequencer

SQ- 64

Tracks A,B and C are for melodic/chords tracks and all have GATE/CV and MOD control voltage outputs for modular gear 

CV out can be: Hz/V, 0.26V/oct, 0.32V/oct, 1V/oct, 1.2V/oct  - 

with voltage bias adjustment and 0V reference note adjustment (per track)

Gate out: 10V, 5V, V-Trig, S-Trig

Mod out: 0V-10V,  voltage bias adjustment

Track D - the drum track has 16 possible tracks, via MIDI with 8 drum trigger 

outputs for working with modular gear.

FK - 3 Korg Vol pedal (not really part of the MS range, but still works well with them)

FK - 5 korg pedal

Sigma - KP-30 analog monophonic synthesizer

Cool joysticks & 19 presets

It possesses Hz/V CV & gate 

inputs/outputs

SE-500 Stage Echo

This is a Tape Echo machine.

Its has trigger inputs for feedback and turning the effect on/off.

There is also a CV input for controlling the speed

Torso Electronics

T-1 algorithmic sequencer

Ladik

U-202 V/oct to Hz/V converter (4HP) eurorack

U-201 Hz/V to V/oct converter (4HP)

Metasonix

S1000 Wretch Machine

RK7 VCO (eurorack)

RK4 Bandpass Filter/Osc (eurorack)

RK6 Dual-triode 12dB LPF

R-60 MIDI/CV interface

TM-3 SN80 Tube VCO 

TM-2 filter

TM-1 Waveshaper/Ring Modulator

R54 Vacuum Tube Oscillator & Filter

R-55 Thyratron VCO

TS-23 DUAL THYRATRON VCO

+ Phillip Rees 

Little MCV - Midi to CV converter

These are out of production, but I do see them come up

occasionally second hand on Reverb and Ebay

 Can generate control voltages for the common one-volt-per-octave (logarithmic VCO, as used by Roland and Moog) system and the so-called volts-per-hertz (linear VCO, as used by Korg) system. CV type is selected by a slider.

+ Polyend

 

 Polyend 2 - eurorack MIDI to CV converter

   1-4 Gate (0-5V or 0-10V),

   1-4 Pitch (0-10V, V/Oct, Hz/V, Buchla standard 1.2v/oct).

   A really handy module that allows you to use the sequencer

   of your choice

Pioneer 

Toraiz Squid sequencer

2x CV OUT (V/Oct, Hz/V) 

CV output range: 1V, 2V, 5V, 10V, ±5V (V/Oct) / 8V (Hz/V) 

2 GATE OUT (V-Trigger, S-Trigger) 

GATE output range: 5V, 10V (V-Trigger)

Sequentix 

Cirklon sequencer

Its a MIDI sequencer but the 

CVIO option adds 16 CV and 8 gate outputs.

The CV outputs support V/octave and Hz/V modes plus portamento/glide and micro-tuning options. 

The gate outputs can be configured in 5V v-gate or S-trig modes.

Squarp 

Pyramid sequencer

CV V/oct or CV Hz/V, 

or exotic voltages like 1.2, 0.32 or 0.5 V/oct.

Synthstrom

Deluge - synth/sequencer

The Deluge has been designed to support the widest range of CV / gate standards possible. 

A number of settings are available in the settings menu.

Each CV output may be set, in 0.01V increments, to any value between 0.01V and 2.00V per octave, or to “Hz per volt”. 

TouellSkouarn 

Jedonian 1V/Oct-Hz/V bidirectional Converter (eurorack)

Moog

The original Taurus I

PAIA

4700/2700 modular

Fatman

XOR Electronics

Nerdseq - eurorack tracker sequencer

Yamaha Synths

CS-5

CS-10

CS-15

CS-20 / CS 20M

Cs-30 ... has a built in sequencer.

Cs-40 / CS40M

These old Yamahas are Hz/V but have a different range

than say the Korg MS-10 or 20. 

The CS is scaled I believe at half the voltage of the MS 

(Yamaha's probably 0.25 to 0.5 to 1v and so on instead of Korg's 1V to 2V to 4V)

It's still double each octave ....so they have the same scaling curve) but the range

is different.

In practical terms this means you can sequence it with something like a SQ-1 

but you will probably find it won’t go down to the lower 0.25V?? octave of the CS.  

(I don't think the SQ-1 goes below 1V in Hz/V mode).

It's interesting that Yamaha never made a independent CV/gate sequencer.

It's a shame, as this would have made things a whole

lot easier

So the question is why even bother to add these connections??

I think the answer was to aid with expansion.

ie joining more than one synth.... 

in order to make a multiple-system synthesizer

Zlob

Dual VCO

This is a DIY eurorack VCO

There is a control voltage input, and a switch for selecting exponential or linear cv in.
The exponential setting should be good for Korg & Yamaha keyboards & sequencers 

-------------------------------------------------------------

Final thoughts & conclusions

As I compiled the list I found that there were actually quite a lot of sequencers

that use the Hz/V standard. 

It's a testament to the MS20 in particular. It's legendary status ensured that lots and lots

of manufacturers chose to add a Hz/V option.

(Some even down right copied the synths).

I think it would be great if more manufacturers added a Hz/v option to new synths to add to this legacy.

I'd love to expand my MS system with a new 3 oscillator Korg MS 30 

For the moment (as far as synths that can use this standard go),

I'll have to be satisfied with using old Korg, PAiA & Yamaha synths.

Yamaha FM Chips

Some famous Yamaha FM chips. The numbering system is very confusing.
(This is only a small selection of the total produced)
Many of these chips are still available and are excellent for DIY projects.
ALM Busy Circuits Akemie’s eurorack modules are made with some of these old Yamaha chips (YMF262  aka OPL3).

These came out around 1983
     YM21280 (OPS) operator chip (Yamaha DX7& DX5)
     YM21290 (EGS) envelope  (Yamaha DX7 & DX5)
                                  16 voices (6-op) (32 in DX1/DX5)

1983
     YM2151 (OPM, 4Operator Type-M)
      Used in Yamaha SFG-01 and SFG-05 FM Sound Synthesizer units. & Yamaha CX5M.
      Yamaha's first single chip FM synthesis implementation.
       Used in Sega arcade boards from 1985 & Sharps X1 & X68000(1987) home computer
       The YM2151 chip developed into the YM2164 which found its way into the DX21, DX27, DX100

1984
    YM2203 (OPN) Type N
     4 operators per channel, 3 channels. Eight algorithms.
     Used in lots of video games & NEC computers

1984
     YM3526 (OPL)
      Low cost, 9 channel.
      2 operators. Used in the Commodore 64 expansion as wellas several arcade games ..eg Terra Cresta

1985 - DX21, DX27, DX100, FB-01, SFG-05 + Korg DS-8, 707
    YM2164 (OPP, FM Operator Type P)
     4 operators, 8 voices

1985
     YM3812(OPL2)...... famous for its wide use in IBM PC-based sound cards
     such as the AdLib, Sound Blaster and Pro AudioSpectrum (8bit),
     as well as several arcade games by Nichibutsu, Toaplan and others.

1985 ?
    YM3526(OPL).... 2 operator FM synthesis chip.
                                   used in a Commodore 64 expansion, the Sound Expander,
                                   as well as several arcade games, such as Terra Cresta and Bubble Bobble.



1986 --- used in the DX7 markII , TX802
     YM2604 (OPS2)... operator chip
     YM3609 (EGM) ..... envelope chip

1988
   YM2612(OPN2)..... Sega Mega Drive/Genesis & the DAFM synth
   FM/PCM hybrid chip

   FM channels: 5-6 channels (5 channels with PCM, 6 channels without PCM)
   The YM2612 has six channels with four operators per channel.
   Used in arcade machines, Sega Mega Drive/Genesis (1988), Fujitsu FM Towns (1989)
   8 algorithms. The envelopes, frequencies and LFOs can be changed to get a good range of FM sounds.

    The YM3438 is a modified CMOS version of the YM2612 
   I recently built a DAFM synth using the YM3438.

1987
       YM2414 (OPZ, four Operator Type-Z), 2 LFOs, 8 waveforms
       Used in TX81Z, DX11, YS100, YS200, PortaTone PSR-6300 and PSR-80

1987
         YM2413 (OPLL) .... cost reduced FM synthesis sound chip. Used in the SEGA Mark III &
                                        Yamaha SHS-10 (1987)

        YM2413-B   (OPLL revision2)
        YM2413-F（OPLL-compatible flat package)

1988
        YMF262-M（OPL3-L）
        Used in  many of ALM Busy Circuits Akemie’s eurorack modules... like the castle.
        OPL3 stands for FM operator type L. Mostly SMD format. ... really cheap on ebay.
        The YMF262 was used in many sound cards, such as the Sound Blaster Pro 2.0,
        Sound Blaster 16 ASP and Creative Labs AWE family
         

     Four op FM. .... pairing 2 channels together to create up to six 4 operator FM voices
    4 channel sound output
    4 new waveforms (alternating-sine, "camel"-sine, square and logarithmic sawtooth).
    In addition, 5 different rhythm sounds (BD,SD,Tom TOM, Top Cymbal & Hi hat cymbal) are available.
   Manual


1989
    YM2424 (OPZII, FM 4Operator Type-Z-II)
     Used in the Yamaha V50 synth

1990 ???
    YM2610(OPNB)
     used in  NeoGeo hardware. Needs an external DAC.Four FM channels
     (The YM2610B variant added two extra FM channels for a total of six)
     In the original chip, sound comes from 4 different generators, each having their own channels:

• SSG (Software Sound Generator): 3 channels -- compatible with YM2149 (Atari ST)
• FM (Frequency Modulation): 4 channels. 4 operators per channel.
• ADPCM (Sample playback): 7 channels
• Noise : one channel

1994
       YMF292 (SCSP)
        Used in the Sega Saturn, Sega Model 2/3
        This is actually a hybrid FM/PCM. It uses 32 channels (4-op).

1994
        YMF271 (OPX)

        used in Seibu SPI arcade board
        Again, its a hybrid FM/PCM chip.
        I think there are 9 channels  .. can configure the number of operators?? (Up to 4 op)

1994 ??
     YMF276-M（OPN2C-upper compatible?)
     It's a 6 channel FM synthesizer based on the Yamaha YM2203c.
     used in  FUJITSU FM TOWNSII

1985
      YM2608B(OPNA)
      Used in the NEC PC98 ... PC-8801 (1985)/PC-9801 (1986)
      16 voices, six FM channels, 4 operators.
      Uses the same algorithms as the DX21 ??


----------------------------------------------------------------------
  
    YM3438(OPN2C)
    YMF288-M(OPN3-L)

    YMF286-K（OPNB-compatible）
    YMF281-D（OPLL Another version?）
    Y8950（MSX AUDIO）

 -----------------------------------------------------------------------
**** OPL  is a  FM Operator Type-L

-------------------------------------------

About the different types of Sound chips:
These ICs, were used in arcade game system boards, video game consoles, home computers, and PC sound cards.etc etc.
They are not all FM.

There are 4  main systems:
1. PSG - programmable sound generators
2. Wavetable synthesis
3. FM synthesis
4. Pulse Code Modulation

Link - wikipedia

----------------------------
FM Index
---------------------------

Yamaha TX81z

Some pics of this Yamaha Tone Generator.

Though its only 4 operators , it sounds great.

Maybe a new classic??
It can be configured to act as 8 independent instruments.  .... each controlled on a different midi channel.

It's a 1-unit rackmount module ...basically a key-less version of the DX-11.
The sounds are similar to the DX-21 and DX-27. 

 The TX81Z has 5 banks of 32 voices. Banks A-D contain factory preset voices.
Use the PARAMETER keys to select banks I, A, B, C, D. Use the DATA ENTRY keys to select voices 1-32 in each bank.

 

...jUST 8 algorithms 

 A pull-out card lists the main operations of the TX81Z.

 --------------------------------------

You can edit your own voices... In single mode , press the edit-compare button.

 Use the PARAMETER keys to move through the parameters, Use the DATA ENTRY keys to change the datavalue. When the LCD shows several parameters at once, use the CURSOR keys to move the blinking cursor to the parameter you want to set.

..

While editing a voice, you can compare it with the original voice. Press EDIT/COMPARE. The LED will begin blinking, and the LCD will show a “c” in theupper left corner, indicating “Compare”.Use the PARAMETER keys to lookthrough the parameters. 

This editor looks good

https://detunes.gumroad.com/l/tx81z-editor

----------------------------
FM Index
--------------------------- 

Yamaha DX5 - 2. Function Mode

The DX5 has the same 3 modes: Play, Function & Edit that you find in the DX7.
It's also colour coded like the DX7.

1. Play (white)
2. Function (green)
3. Edit (violet)

The Function Mode
The colour for the Function Mode is Green.
This concerns the programmable parameters that are not concerned with voice programming.
It concerns the various effects you can apply while playing (like after touch & Modulation wheel settings) as well as things like voice data load/save operations and checking the battery.

To access the Function Mode you need to press this GREEN FUNCTION BUTTON

Below are the Function Job Tables. (you won't see this on a DX7).

tHESE are on the front panel of the DX5 itself.

It shows the various jobs that can be done by using the performance memory / function switches.
(B1 to B8 & P1 to P8)

These switches are dual use (we are using the green function bit)
The Job groups are further divided into 4 sections:
a) Tune (B1)
b) Performance Memory Parameter (B2 to P3)
c) Memory Management (P4 to P7)
d) MIDI (P8)

a) Tune (B1)

Master Tune (B1 - Job1)
Adjusts the overall tuning ...
Both A and B channels are effected simultaneously.
Master Tune data cannot be stored.

-63 to + 63 range.
+0 = A3 is at 440Hz
 -63 = overall pitch of keyboard is 75% lower than standard.
+63 = overall pitch of keyboard is 75% higher than standard.
Use the data entry slider to adjust.

Dual Mode Detune (B1-Job2) 
To get to job 2 just press the B1 button again 
This allows you to detune A & B channels
Creates chorus effects

Range : 0 to 15

0= no detune.

b) Performance Memory Parameter (B2 to P3)

Poly/Mono (B2-Job1)
Controls mono vs poly voice
Use Data Entry -1 for poly , and +1 for mono

In mono mode, acts like a last note priority monophonic keyboard.
In poly mode, The KEY ASSIGN MODE setting is impt.

SINGLE = 32 notes can be played simultaneously.
SPLIT = 16 notes can be played simultaneously on each side of the split point.
DUAL =  16 notes can be played simultaneously.

Source Select (B2-Job2) 
Selects the control source for the two voice generators.
To get to job 2 just press the B2 button again
The control source can be the Keyboard (Normal), a external sequencer, a computer.

Data Range: 0 to 16
0= keyboard
1-16 = corresponding midi channel.
Voice channels A and B can have different Source select settings.

Pitch Bend Range (B3-Job1)
Selects the pitch range of the pitch bend.
range 0 to 12
The pitch bend range will have no effect if Pitch Bend Step is set to a value between 1 & 12.

Pitch Bend Step (B3-Job2)
To get to job 2 just press the B3 button again
Stepped pitch bend effect : Range Between 0 to 12
           0 = smooth pitchbend with no steps.
           1 =  semitone steps
          12 = 1 octave steps.
Voice channels A and B can have different step settings.

Portamento / Glissando (B4-Job1)
Portamento = smooth
Glissando = stepped ... semitone steps.

Portamento Mode (B4-J2)
 To get to job 2 just press the B4 button again
Four modes are available:
1. Retain (Poly mode)
2. Follow (Poly mode)
3. Fingered (mono mode)
4. Fulltime (mono mode)

Portamento Time (B4-job3)
adjusts speed of portamento or Glissando
Range: 0 to 99
 Voice channels A and B can have different settings.

Sustain Pedal Assign (B5-Job 1)
Turns on or off the sustain pedal footswitch.
Voice channels A and B can have different settings.
(Uses yamaha FC4 or FC5 pedals - plugs into the reAR of keyboard) 

 Portamento Pedal assign (B5- J 2)
Turns on or off the portamento pedal footswitch
(Uses yamaha FC4 or FC5 pedals - plugs into the reAR of keyboard)

Output Level Attenuate (B6-J1)
Controls the volume from the output hacks
Voice channels A and B can have different settings.
range :0 to 7

Program output Assign ( B6-J2)
Turns on & off the output from the (P) Program jacks
These are the phone & XLR jacks
Voice channels A and B can have different settings.

Modulation Wheel Sensitivity (B7-J1)
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
 Voice channels A and B can have different settings.

Modulation Wheel Assign (B7 - J2)
Chooses which type of effect the wheel produces.
Three types :
1. EBC -  EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth

Foot Controller Sensitivity (B8 -J1)
Uses a yamaha FC7
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings

Foot controller Assign ( B8-J2)
Chooses which type of effect the FC produces.
Three types :
1. EBC -  EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth

Breath Controller Sensitivity (P1-J1)
Uses a yamaha BC1
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings

Breath Controller Assign ( P1-J2)
Chooses which type of effect the BC produces.
Three types :
1. EBC -  EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth

After Touch Sensitivity (P2 J1)
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings
After Touch Assign (P2 J2)
Chooses which type of effect the after touch produces.
Three types :
1. EBC -  EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth

Split Point ( P3-J1)
Sets the keyboard split-point.
The SP is entered by appropriate keyboard key. The value will be displayed
on the LCD.

Key Shift (P3-J2)
Used to transpose the pitch of the entire keyboard.
range -24 to +24


Performance Name (P3-J3)
Gives each performance memory a name.
Can be 30 characters in length.


MIDI  (P8)


----------------------------
FM Index
---------------------------