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S E C T I O N 1 .

In trodu ct ion: ,Why and how do we use MIDI Controllers? What are Zones? Uses and Applications.

C o n g r a t u l a t i o n s o n y o u r n e w p u r c h a s e o f t h e S L - 8 8 0 S t u d i o L o g i c M a s t e r C o n t r o l l e r b y F A T A R .I n t h i s m a n u a l w e w i l l e x p l a i n t h e c o n c e p t s a n d t e c h n i q u e s o f u s i n g M a s t e r M I D I C o n t r o l l e r st o g r ea t l y ex p an d y o u r f l ex ib i l i t y , c r ea t i v i t y , co n t ro l an d p ro d u c t i v i t y i n y o u r l i v e o r s t u d iok e y b o a rd s e t u p. W h e t h e r y o u a r e u s i n g o n e m u l t i - t i m b r a l s o u n d m o d u l e o r a r a c k f u l l o f t h e m ,this M a s t e r C o n t r o l l e r K e y b o a r d a n d a l l the o th er S tu d io Lo g ic Co n t ro l l e r s b y F A T A R w i l l grea-t l y e x p a n d y o u r p r o f e s s i o n a l a n d c r e a t i v e a b i l i t i e s .

Th e co n cep t o f a co n t ro l l e r i s t o cen t r a l i ze y o u r access ib i l i t y t o y o u r M IDI mo d u les . I t g iv esy o u a cen t r a l p o in t o f co n t ro l o v er y o u r s l av e mo d u les i n a g iv en se tu p .

H a v e y o u e v e r t r i e d t o l i n e u p p a t c h e s i n y o u r s o u n d m o d u l e s s o t h a t w h e n y o u s e l e c t e d ap a t c h o n y o u r k e y b o a r d y o u r o t h e r s o u n d m o d u l e s c a l l e d u p t h e r i g h t p a t c h ? E v e r t r i e d t olo ca t e a p a t ch p o s i t i o n t o wr i t e o v er a so u n d t h a t y o u h o p efu l l y wo n ' t n eed l a t e r ? T i r ed o f b e n d i n g d o w n t o s q u i n t a n d s e e t h e d i s p la y a n d p r o g r a m a m o d u l e a t t h e b o tt om o f y o u r r a c k ?

Al l o f these scenar ios are g reat ly reduc ed w he n u sin g a M aster Contro l ler .

T h e c o n c e p t o f Z O N E S , S P L I T S a n d L A Y E R S i s a s f ol lo w s :A Z O N E consists o f a s p e c i f i e d r a n g e o f k e y s o n y o u r k e y b o a r d . T h a t r a n g e o f notes is assignedp a r a m e t e r m e s s a g e s t h a t a r e c o m m u n i c a t e d t o y o u r s l a v e m o d u l e ( s ) , t h i s r e d u c e s t h e n e e d tow r i te a n d s to r e p a t c h e s o n y o u r m o d u l e . T h e s e p a r a m e t e r s m a y c o n s i s t o f t h e f o l l o w i n g i n f o r -m a t i o n : p a t c h n u m b e r , v o l u m e s e t t i n g , v e l o c i t y c u r v e , t r a n s p o s i t i o n v a l u e , p e d a l e n a b l e ,w h e e l s e n a b l e , etc.... W h e n a p a t ch is selected o n y o u r M a s t e r C o n t r o l l e r a l l o f t h i s i n f o r m a -t i o n is sent to y o u r m o d u l e s i n s t a n t l y . T h e S t u d i o L o g i c S L-8 8 0 M as t e r Co n t ro l l e r b y F A T A R h a sf o u r ( 4) c o m p l e te l y i n d e p e n d e n t z o n e s , m e a n i n g e a c h z o n e c a n t r a n s m i t a l l o f i ts o w n i n f o r -m a t i o n o n a n y g i v e n M I D I c h a n n e l . T h e r a n g e o f n o t e s i n e a c h z o n e c a n b e s e t u p t o b e a d j a -cent to a n o t h e r Z O N E S r a n g e o f notes ( o n e Z O N E e n d s , g o i n g u p th e k e y b o a r d , a s a n o t h e rZ O N E starts) o r as s ig n ed to o v e r l a p e a c h o t h e r o r a n y part o f each other's ranges. T h u s w e

i n t r o d u c e th e concept of L A Y E R S

a n d S P L I T S .A S P LIT is w h e n one Z O N E ' S r an g e o f notes e n d s a n d a n o t h e r Z O N E ' S begins. A s i m p l e e x a m -p le w o u l d b e Bass i n the left h a n d a n d P i a n o i n th e r i g h t h a n d . A Z O N E ' S r a n g e o f notes c a nb e a n y a m o u n t o f c o n s e c u t i v e notes r e g a r d l e s s o f w h e r e a n o t h e r Z O N E ' S notes b e g i n . W h e ntw o o r mo re Z O N E ' S r a n g e o f notes o v e r l a p w e c a l l t h i s a L A Y E R .

L A Y E R S a re th e w a y w e c a n b u i l d fa t lush patches u s i n g th e f u l l potential of w h a t y o u r s y n t h sa n d m o d u l e s h a v e t o o f f e r . L e t ' s s a y w e h a v e a b i g p o p b a l l a d t h a t n e e d s y o u r s p e c i a l t o u c h ?W e w a n t to create a "Pad P i a n o " s o u n d to c o v e r the s o n g . A s s i g n e a c h Z O N E to c o v e r t h e enti-r e k e y b o a r d ' s r a n g e o f notes. U s i n g the t h r e e Z O N E S , ass ig n each o f t h em to p l a y a d i f f e r e n tp a t ch : (1 ) d a rk r i ch E l ec t r i c P i an o , (2 ) b r i g h t r i n g y E l ec t r i c P i an o , (3 ) s l o w a t t ack S t r i n g P adwi th t h e r e l ease r a t e u p s l i g h t l y . I f o n e o r mo re p a t ch es a r e n o t i n t h e same o c t av e as t h eo t h e r s it's e a s y to f i x . G o to t ha t Z O N E ' S t r a n s p o s e f e a t u r e a n d m o v e it u p o r d o w n 1 2 steps

t o l i n e i t u p p r o p e r l y w i t h t h e o t h e r s . S o m e t h i n g s o u n d s a l i t t l e m u s h y w h e n p l a y i n g P i a n oparts u s i n g the S U S T A I N P E D A L ? T r y g o i n g to the Z O N E f o r th e " n o n P i a n o " s o u n d a n d e x p e -r i m e n t w i t h d i s a b l i n g th e S U S T A I N P E D A L f o r t ha t z o n e . W i t h i n m o m e n t s y o u s h o u l d h a v e ad e e p , r i c h , r a t h e r l a r g e a n d m u s i c a l l y u s e f u l s o u n d i n g p a t c h t o u s e o n y o u r b a l l a d .A r e y o u b e g i n n i n g t o s e e t h e p o s s ib i li ti e s h e r e ? P l e a se s te p i n s i d e t h e m a n u a l a n d w e ' l l t a k ey o u t h ro u g h t h e s im p le y e t v e r sat il e f ea tu res o f t h e S tu d io L o g ic 8 8 0 M as t e r Co n t ro l l e r b yF A T A R .



S E C T I O N 2 .

Features:A guided tour through the Studio Logic 880's Controls and Features, j

T H E K E Y B O A R D ^PTh e Studio Logic 880 has a 88 key F A T A R semi-weighted piano action. It is a new, improved '

version of the classic F A T A R action. It is an extremely musical feeling piano style action thathas a very dynamic yet quick response to it. The velocity sensitive action can be mod ified withseveral V E L O C I T Y C U R V E response settings that will be discussed later in this manual. The 88key action of the SL-880 will transmit channel A F T E R T O U C H on all ZONES.

T H E W H E E L S ^

The PITCH and MODULATION WHEELS are the standard style, however, they are made with anew rubberized texture. They have been designed to give the player a more solid tactile sen- Jsation during performing and programming for a more musical response. \

T H E Z O N E S ^

The SL-880 has (3) three independent Z O N E S with each of them capable of being assignedto any range of keys across the SL-880's keyboard. As discussed in the introduction to thismanual, the Z O N E S ar e the heart of creating musically useful Layers and Splits. Each of the (3)ZONES consists of:

1 . Z O NE ENA B LE/ D I S A B LE B UTTO N: Locat ed on t he f r ont pane l above t he keyboar d i t se l f .These are used to turn the Z O N E S on and off in P E R F O R M A N C E mode. Each switch functionsindependently of each other. In other words, you can have any combi nat i on o f Z O NES on oroff at an y point by accessing these Z O N E switches.

While in EDIT mode, the Z O N E B U T T O N S are used to select the desired Z O N E to be edited. Whileediting, only on e Z O N E at a time can be selected and the buttons no w toggle on and off a s

you select each Z O N E SWITCH for editing.

2. MIDI C H A N N E L SELECT: While in EDIT mode each Z O N E can be set to transmit on any ofthe 16 MIDI channels available. Only one MIDI channel can be transmitted at a time per Z O N E .

3. B A N K S E L E C T : After selecting a MIDI channel to transmit on, an d while in EDIT mode, yo uca n initiate or select BANK Changes. The commands are different depending on the externalsound module you are accessing. More on BANK S E L E C T later in this manual.

4 . P R O G R A M C H A N G E : Patch selection can be made for each ZONE while in the EDIT mode.Each ZONE can be set to select (send) patch changes 1 to 128 (some manufacturers use a numbe-ring scheme 0 to 127, so you may need to add (1) to each patchtt to achieve the desired results).

5. S PLI T or K E Y N O T E R A N G E : This edit function allows you to select the range of active notes(keys) for each Z O N E . Th e Z O N E S are completely independent of each other an d their splitpoints can overlap thus creating LAYERS.

6 . T R A N S P O S E : Each ZONE can be set to transpose its key range up or down 24 semitones. Inother words, up or down 2 octaves from the synth module's original setting.

7 .SUSTAIN PEDAL ENABLE / DISABLE SELECT: You can set each ZONE to respond or notrespond to sustain pedal information. This is done in the EDIT mode for each ZONE.

8 . W H E E L S E N A B L E / D I S A B L E S E L E C T : You can set each ZONE to respond or not respond toPITCH and MODULATION WHEEL information. This is done in the EDIT mode for each ZONE.

9 . A F T E R T O U C H E N A B L E / D I S A B L E S E L E C T : You can set each ZONE to respond or not respond

CHANNEL AFTERTOUCH information. This is done in the EDIT mode for each ZONE.

10. S H A P E : Velocity curve settings specific to each Z O N E . These setting will alter the wayvelocity information from the keyboard will be transmitted to the receiving MIDI channel.There are 8 preset velocity curves to choose from that vary the dynamic response of the key-board. Again, these settings are specific to each ZONE and are accessed while in the EDITmode.



G L O B A L V E L O C I T Y C U R V E : This V E L O C I T Y C U R V E setting is a global one, meaning it affectsthe dynamic response of the entire keyboard across all (4) zones. There are 8 global settingsto choose from. Again, these setting are accessed wh ile in the EDIT mode.

SUSTAIN PEDAL: The Studio Logic SL-880 has a connection jack on the rear panel for aSUSTAIN P E D A L input. Th e VP-26 by Fatar is recommended.

VOLUME PEDAL: The Studio Logic SL-880 has a connection jack on the rear panel for a stan-dard V O L U M E P E D A L input.

P O W E R INPUT: Th e Studio Logic SL-880 has a connection jack on the rear panel for the sup-plied P O W E R S U P P L Y input.

M E M O R Y S T O R A G E : Th e Studio Logic SL-880 will remember all ofyour preset information whenpowered down. All programmed settings are transmitted when the unit is powered up. Thereis no need to store edited information, simply exiting the edit mode causes the informationto be stored.

SECTIONS.

Rear Panel Connections and Features:Powering up. Connecting Pedals and hooking up with your other gear.

P O W E R I N P U TThe Studio Logic SL-880 has a connection jack on the rear panel for the AC POWER SUPPLYINPUT. Th e A C adapter P O W E R S U P P L Y supplied with this unit is a positive tip & V D C with aminimum current of 200 mA.

P O W E R S W I T C HThe Studio Logic SL-880 has its POWER SWITCH located on the back panel next to the POWERS U P P L Y INPUT. There is also a red L E D to indicate the unit is on. Upon powering up the key-board all preset data is transmitted out through the MIDI OUT connections.

S U S T A I N P E D A LTh e Studio Logic SL-880 has a connection jack on the rear panel for a SUSTAIN P E D A L input.This jack will function properly with either type of "normally closed" or "normally open"SUSTAIN P E D A L S . Upon powering up the Studio Logic SL-880 will recognize whichever type ofpedal is presently connected to the keyboard, regardless of polarity (e.g. PS100 or VFP 1). Note:

SUSTAIN P E D A L must be plugged in prior to powering up to properly sense polarity.

V O L U M E P E D A LThe Studio Logic SL-880 has a connection jack on the rear panel for a standard VOLUME PEDALinput that uses a stereo or balanced jack (e.g. VP-26 by Fatar). This volume control will chan-ge the volume equally across all t h re e Z O N E S simultaneously.



M I D I O U T C O N N E C T I O N S

M I D I O U T C o n n e c t i o n s : T h e M I D I O U T j a c k s ar e w h e r e y o u c o n n e c t y o u r S tu d io L o g ic S L -8 8 0M a s t e r C o n t r o l l e r t o y o u r v a r i o u s M I D I s o u n d s o u r c e s . U s i n g a s t a n d a r d 5 p i n D I N M I D I c a b l e ,c o n n e c t t h e St ud io L o g i c M I D I O U T to y o u r M I D I i n p u t j a c k o n y o u r s y n th e s iz e r , s o u n d m o d u -l e o r o t h e r M I D I e q u i p p e d k e y b o a r d . Y o u m a y u s e t h e T H R U ( d a i s y c h a i n ) f e a t u r e o n y o u r M I D Ig e a r t o c o n n e c t t o o t h e r M I D I m o d u l e s i f y o u l i ke . A v o i d d a is y c h a i n i n g m o r e t h a n 2 m o d u -les , i f possib le , to reduce the possib i l i ty o f MIDI log jam or t iming delays . The Stud io LogicS L - 8 80 c o n v e n i e n t l y is s u p p l i e d w i t h tw o p a r a l l e l ( id e n t i c a l ) M I D I O U T j a c k s o n t h e r e a r p a n e lt o h e l p r e d u c e t h e po s si b il it y o f t i m i n g d e la y s w h e n c o n n e c t i n g t o m u l t i p l e M I D I s o u n d m o d u -l es . W h e n c o n n e c t i n g m u l t i p l e d ev i ces t o y o u r S L-88 0 a l lo ca t e t h e m e q u a l l y ac ro ss t h e twoM I D I O U T c o n n e c t i o n s o n t h i s k e y b o a r d .

S E C T I O N 4 .Descr ip t i o n o f F ro n t P an e l Co n t ro l s an d F ea tu res :

W h a t a r e t h e y , w h a t d o t h e y d o a n d h o w d o I u s e t h e m ?

Z O N E S E L E C T

Lo ca t ed o n th e to p p a n e l there are the (3) Z O N E buttons fo r th e (1) e n a b l i n g a n d d i s a b l i n g o f the three k e y b o a r d Z O N E S w h i l e i n p l a y m o d e a n d ( 2 ) selecting the Z O N E S w h i l e i n E D I T M O D E .T h e L E D i n d i c a t o r s w i l l b e l i t u p w h e n i t s c o r r e s p o n d i n g z o n e i s a c t i v e o r s e l e c t e d f o r e d i t i n g .

I n P L A Y m o d e a n y c o m b i n a t i o n o f Z O N E S m a y b e o n o r o f f a t a n y p o i n t i n t i m e . H o w e v e r , i nE D I T m o d e th e Z O N E s w i t c h e s m a y o n l y b e used to select o n e Z O N E at a t i m e . O n l y o n e Z O N Eat a t i m e m a y b e edited a n d t h e r e f o r e o n l y o n e Z O N E l i g h t m a y b e lit at a t i m e w h i l e i n E D I Tm o d e . Y o u are able to j u m p f r o m Z O N E to Z O N E w h i l e i n edit m o d e b y d e p r e s s i n g the co r r e -s p o n d i n g Z O N E B U T T O N S .

Please note that you m ay only press a zone button and disable or^ nab le a zone while no notesare d ep ressed o n t h e k ey b o ard o r wh i l e t h e su s t a in p ed a l i s b e in g d ep ressed .



UP, DOW N, ENTER/EDIT

Th e U P and D O W N buttons are used to scroll through the F U N C T I O N selections while in editmode.

Depressing the ENTER/EDIT button enters and exits the EDIT mode. While in edit mode a L E Dis lit next to the corresponding F U N C T I O N that is presently selected for editing.

Using the UP/DOWN buttons will cause the L E D to scroll through the F U N C T I O N selections.

10 K EY P A D ;(H) A N D (-),

(ON) A N D ( O F F )This is the area where you enter desired parameters for selected FUNCTIONS being edited. Thenumerical keypad, (H) and (-), (on) and (off) are assigned to correspond to the keys of thecentral octave of the KEYB OARD.While in EDIT M O D E these keys now function as our data entry method and will not transmitnote information.In other words, while in EDIT M O D E the entire keyboard is disabled and will not transmit noteinformation until you exit the EDIT M O D E .

MIDI C H A N N E L

Used to select which MIDI channel each of the (4) zones will transmit its information on. Toaccess this, parameter enter EDIT mode by selecting ENTER/EDIT.Select desired Z O N E for editing by depressing its corresponding Z O N E switch. Use theUP/DOWN buttons to select MIDI C H A N N E L function. Yo u now enter a one or two digit valueusing the 10 key keypad to set the Z O N E ' S MIDI transmit channel. Exit the EDIT mode bydepressing the EDIT/ENTER button. In exiting the EDIT mode you store the new informationautomatically in the SL-880 Master Controller's memory and enable the keyboard ZONE to playand transmit information on the new selected MIDI channel. In order to play and transmit ona desired Z O N E , select the corresponding Z O N E switch while in play mode so that its L E D islit. Th e Z O N E switch will toggle to turn Z O N E on and off.

B A N K S E L E C TUsed to transmit or initiate a BANK C H A N G E message on a given zone. After selecting andassigning the MIDI C H A N N E L , press D O W N button to switch to BANK S E L E C T . This mode allowsyou to change the sound bank of your synth module or external sound source.Th e reception protocol for BANK S E L E C T depends on the type and make of the sound moduleyou are transmitting to and can vary from manufacturer to manufacturer. If the synth moduleyou are using requires only "Control 3 2 " then you will have to only enter the bank number youwish to select. If your module requires a more complete protocol (Control 32+ Control 0) thenyou need to enter Control 32 and then press the key corresponding to the "H" (representsHigher part of Bank Change Byte) symbol (same as minus key). Then enter the desired num-ber for Control 0. The key sequence would be as follows: enter 32, then the (-) minus keywhich also has the (H) symbol labeled above it, then the bank number to change to.

P R O G R A M C H A N G E

Used to select a P A T C H N U M B E R or P R O G R A M C H A N G E for a specific ZONE. To access this para-meter you first turn on the desired Z O N E by selecting and pressing its corresponding Z O N Eswitch, then enter EDIT mode by selecting ENTER/EDIT.

Select desired Z O N E for editing by depressing its corresponding Z O N E switch. No w use theUP/DOWN buttons to select the PROGRAM CHANGE function. Enter the desired number of yourpatch selection on the keypad (MIDI Program change messages are from 1 to 128). Exit theEDIT mode by depressing the EDIT/ENTER button. In exiting the EDIT mode you store the newinformation in the SL-880's Master Controllers memory, transmit the selected patch numberand enable the keyboard to play the new selected PROGRAM CHANGE.

SPLIT

Used to select the range of keys to be active for a specific ZONE. To set the Key Range or SPLITfor a Z O N E , enter the EDIT M O D E by pressing ENTER/EDIT, toggle up or down tillthe light nextto SPLIT is lit. Press the Z O N E button for the Z O N E you wish to set, now press the desiredlowest key on the KEYBOARD and then the highest key on the KEYBOARD to define the rangeof keys to be active in that Z O N E . Exiting the EDIT M O D E stores the information and all otheredit parameters that were changed. Th e ranges of keys can be any one note (by hitting the



same key twice) or the entire length of the K E Y B O A R D by hitting the lowest and then thehighest key. The range can be any contiguous combination of notes in between the highestand lowest note on the keyboard and completely independent and different for each zone. Youcan ovelap any amount of notes from ZO NE to ZONE. '

T R A N S P O S E

Used to TRANS POS E the range of keys on a ZO NE up or down a specific amount of half stepsfrom middle C . Normally the "3" Z O N E S have a T R A N S P O S E value of "O" . This means that themiddle C corresponds to the central middle "C" on the Grand Staff, (providing the stored patchin your synthesizer module is set to the same value).Let's say you want to transpose and raise the tone of a ZONE by 4 semitones. Enter EDITmode, select the desired Z O N E to be edited, select the T R A N S P O S E function using theUP/DOWN keys. Now hit 4 on the numerical keypad and exit the EDIT mode. Let's say you wan-ted to lower the tone by an octave. Follow the same procedure as above but instead of hit-ting (4) on the 10 key keypad, first hit the minus key then enter 1 2 and exit EDIT mode. Y o ucan TRANSPOSE a maximum of +/" 24 semitones (or two octaves) by entering a positive ornegative number up to 24 (+ or -). Positive values are entered by depressing the desired num-ber keys and negative values are entered by first hitting the (-) key then the desired numberkey(s).

S U S T AI NThis FUNCTION allows you to enable or disable the SUSTAIN PEDAL for each zone. For an exam-ple, if you want to disable the SUSTAIN PEDAL for ZONE 2: While in the EDIT MODE pressUP/DOWN again to select the SUSTAIN function. No w that S U S T A I N is selected ( L E D switchedon), press the Z O N E #2 button to select Z O N E 2 or editing and then O F F ke y which correspondsto " E flat" on the numerical keypad. After that, all the other Z O N E S will be affected by theSUSTAIN P E D A L , while Z O N E no. 2 will be excluded. T o regain SUSTAIN P E D A L control on theexcluded ZONE, select EDIT, SUSTAIN and then press ON.

An obvious application for this F U N C T I O N would be to disable the Sustain Pedal on a Z O N E setto the lower end of the K E Y B O A R D that is set to a B a s s patch. In addition, now use the otherZ O N E S to play a Piano or Pad/String sound layer leaving the SUSTAIN P E D A L functional for

them.

Hopefully you are starting to see even more of the possibilities now becoming available to youusing a Studio Logic Master Controller. With just a bit of creative thought on your part youshould be coming up with interesting and useful patches for your own musical needs.

W H E E L SThis FUNCTION allows the user to disable or enable the two WHEELS for each of the three ZONES.Again, as an example, if you wanted to disable the two WHEELS for ZONE 1: enter the EDITmode, select Z O N E 1 for editing (pressing Z O N E 1 button), now us e the UP/DOWN buttons toscroll to the WHEELS parameter selection (making sure its corresponding LED is lit,) thenselect the OFF key (corresponding to middle Eb on the keyboard.) Now exit the EDIT mode bydepressing the ENTER/EDIT button. With this edit all the other Z O N E S will be affected by the

W H E E L S while Z O N E 1 will be excluded. T o reverse this edit follow the same instructions a sabove but instead select the ON button on the keyboard (corresponding to middle Db on thekeyboard.)

A possible application for this feature would be to have a Z O N E or Z O N E S assigned to the lowerpart of the keyboard set to sustaining or "Pad" sounds, with the top ends of these Z O N E Sending somewhere in the middle of the keyboard, leaving room for a split above it.Perhaps you ca n transpose the lower Z O N E S up an octave so that you would play chords onthe lower part of the keyboard but sounding in the middle range closer to middle "C". Leavethe SUSTAIN P E D A L enabled but disable the W H E E L S for this Z O N E or Z O N E S .Now use remaining ZONES to create a layer using the upper unused remaining notes on thekeyboard. Assign this Z O N E or Z O N E S to a lead patch or patches, disable the SUSTAIN P E D A Lfo r these ZONES but leave the WHEELS enabled.

Now you can perform and hold down chords in the lower part of the keyboard using and hol-ding down the SUSTAIN PEDAL to "latch" the sustained chords.Now, using both hands to play lead over the top, using the right hand to play melody and theleft to use the PITCH and M O D U L A T I O N W H E E LS , Release the SUSTAIN pedal to change chordsthen SUSTAIN and "latch" again on the next chord and continue playing two handed leads overthe new chord.



A F T E R T O U C H

This FUN CTION allows you to enable or disable the AFTE RTO UCH for each ZO NE. .For an exam -ple, if you want to disable the AFTERTO UCH for zone 3: While in the EDIT mode select ZONE 3for editing then press UP/DOWN buttons to scroll to and select the A F T E R T O U C H function..Then press O F F key which corresponds to E flat on the numerical keypad. After that, all theother Z O N E S will be affected by the A F T E R T O U C H while Z O N E no. 3 will be excluded. T o regainAFTERTO UCH control on the excluded ZONE, select EDIT, AFTERTO UCH and then press ON.

An application for this might be as follows: Refer to the patch set up from the preceding exam-ple in the W H E E L S section above. In your lead patch in the right hand you may be usingA F T E R T O U C H for volume swells or vibrato modulation. While doing this you may find that unde-sirable vibrato messages are being sent to your sustaining chords in the lower Z O N E S in thispatch. Use the A F T E R T O U C H disable feature in these lower Z O N E S to eliminate aftertouch mes-sages from your lead performance being sent to your sustaining chords.

S H A P E

This function allows the user to change the dynamic cutves which control the velocity respon-ses for each of the three ZONES. This FUNCTION allows you to adapt your Master KeyboardController to the dynamic response of your expander or external MIDI device. It also allows

you to adjust the keyboard's reaction to your specific touch. The Studio Logic SL-880's SHAPEFUNCTION offers you 8 different preset curves to select from, 4 positive and 4 negative. EachZ O N E ca n have its own S H A P E setting.To select a specific SHAPE for a ZONE follow the normal EDIT operation. Enter EDIT mode,select a desired Z O N E for editing by hitting its corresponding Z O N E switch. No w select editfunction S H A P E using the UP/DOWN buttons and finally select 1,2,3 or 4 for S H A P E selection.Selecting a (-) before hitting the number will select an inverted version or N E G A T I V E S H A P Eof that curve. By negative shape we mean that the curve has an opposite affect with respectto the touch. Therefore, a light touch brings about a high response and vice versa. This S H A P EFUNCTION is useful when you have two different curves (one + and one -) on two ZONES, asthis results in a velocity crossfade effect. A s one sound gets lower the other gets louder. S H A P E(-) 1 corresponds to the inverted SHAPE 1, and so on.

S H A P E no. 1 has a linear response, which is compatible with most of the MIDI devices pre-

sent on the market. This is the default setting for each of the (4) zones..

S H A P E no. 2 has a less sensitive response, so itrequires a stronger touch. This setting is use-ful to gain a wider dynamic response. Try this S H A P E on a Piano or Electric Piano while playinga ballad or softer piece of music for a more expressive feel to the keyboard. You may also likethis setting while using the SL-880 to program Hi Hats or Drums into a sequencer, it makes iteasier to "pump" a part or vary the accents. It is also useful when the input MIDI device istoo sensitive and you want to lower the relative velocities being transmitted.

S H A P E no. 3 has a more sensitive response than Shape no. 1. Yo u will be able to transmithigher velocities with a lighter touch. This S H A P E may be useful to you if you are playing aRock Piano or Honky-tonk Blues style and need to be heard over a loud band. This SHAPE sca-les the relative velocities up.

SHAPE no. 4 has an even more sensitive response than SH APE no. 3. Useful for removing someor all of the dynamic response to the keyboard. Use it when you want to trigger Samples, Loopsor Sound FX easily so that they play at their maximum volume without having to hit the keyas hard.

V E L O C I T Y

Th e V E L O C I T Y is similar in function and application to the S H A P E feature in that they are bothdynamic response settings for the keyboard and the MIDI velocity information that is tran-smitted. The difference is that the V E L O C I T Y parameter is a G L O B A L setting. While in EDITmode when you select V E L O C I T Y , the L E D ' s for all 4 zones light up simultaneously indicatingyou are changing a GLOBAL setting covering all three ZONES. While in the previous section youcould select a dynamic curve for each Z O N E , now you have 8 different curves that affect the

response of the entire keyboard. This VELOCITY parameter can help adapt your ControllerKeyboard to your MIDI modules and to your specific touch and feel preferences so as to giveyou the most expressive control available.To select a VELOCITY curve enter the EDIT mode, use the UP/DOWN buttons to select VELO-CITY, then chose 1 through 8 on the 10 key keypad to select your V E L O C I T Y setting. Exit EDITmode to play and audition each of these curves.



1 0 K E Y P A D ,(H) A N D (-),

(ON) AND (OFF):As you have most likely figured out by this point the Studio Logic Master Controller SL-880uses the keyboard itself in EDIT mode a s the 10 K E Y K E Y P A D and data entry source. The keysin the central octave, starting at the middle C, are assigned to specific functions for data entryin EDIT mode and are clearly labeled as indicated in the diagram below. While you are in theEDIT mode and using the numerical keypad the keyboard itself does not transmit MIDI notes

and performance information. You must exit the EDIT mode to play notes from the keyboard.

SECTION 5 .

Programming the Studio Logic SL-880 Master Controller:

Creating musically useful Patches and how to do it.

Before we get into some programming examples and tips, the following information is aboutthe design architecture and how the Studio Logic SL-880 Master Controller operates.

D E F A U L T S E T T IN G S

When your Master Controller is switched on for the first time itwill transmit the followingdefault settings: ^

Z O N E # 1 ON , Zones #2,#3 O F F . Th e three zones ar e set to transmit on MIDI channels1 through 3 respectively, their SPLIT is set to the full extension of all 88 keys and allswitchable commands are in the ON position.

A l l Z O N E S s e t t o S H A P E # 1 , V E L O C I T Y = 4 , T R A N S P O S E = 0 .VOLUME SETTINGS OF 127 if no VOLUME PEDAL is connected. If a VOLUMEP E D A L is connected whatever position the pedal is in will be transmitted.SUSTAIN OFF. (PEDAL is enabled but in the off position, CC 64 - 0)PITCH BEND value = 0, MODULATION WHEEL value =0

G E N E R A L R E S E T

To reset the unit to the above factory settings:

Power up the keyboard while holding down all three UP-DOWN-ENTER buttons, hold for a fewseconds then release all three buttons, c



G E N E R A L P R O G R A M M I N GI N F O R M A T I O N When the Master Control ler is powered up i t always transmits the contents of the program

memory.( ,'

After programming any parameters, the contents of the memory is transmitted when exitingEDIT mode.

To transmit the contents of the memory while in play mode press the ENTER/EDIT button twice.Exit ing the EDIT mode automatical ly stores the newly changed parameters, i f any, into thememory.

When powering down the unit all information in memory is retained and then transmittedagain upon power up.

You can not enter the EDIT M O D E if you are holding down keys or pressing the sustain pedal.You must release all pedals and keys before entering into the edit mode.

When re-entering the EDIT M O D E itwill be on the parameter setting and ZONE selection as itwas left when previously in the EDIT M O D E .When EDIT MODE is selected, the keyboard does not sound. T o test the programm ed variations

and play the keyboard exit the EDIT M O D E .

A P P L I C A T I O N S U S E S A N DU S E R T IP S These suggestions are designed as a starting point to help stimulate your own creative usage

of these features for your own musical appl ications and needs.

T H E Z O N E S

The Z O N E S ar e the heart of the SL-880 Master Controller. Creative use of the Z O N E ' S parame-ters and the Z O N E S themselves gives the player ne w found flexibility and control over theirsounds and modules. We've already discussed how to operate the ZONES.Now we apply them to musical applications. You can use the three (4) zones in a number ofdifferent ways: Here are some options and possible applications using the features of this key-board.

T H E B I G L A Y E R

Se t all three Z O N E S to the same range of notes and assign each of them to three similar Stringpatches or three similar Piano patches.Try two piano patches and a string patch. Experimentwith disabling some of the features on some of the Z O N E S such as, A F T E R T O U C H or SUSTAIN.Wh ile playing one se ction of a song , leave some of the layers turned off and then switch themon during the "Chorus" by pressing their Z O N E S W I T C H E S to build dynamics in the song. O nyour module try sett ing and storing your PIANO patches to not respond to MIDI volume (CC#7)then using a Volume Pedal on your Master Control ler you can bring up the Strings behind thePiano when needed.

T H E S P L IT

Se t two Z O N E S in your left hand for an Electric Piano/Pad layer and set Z O N E (3) in the righthand for a string or horn part. Use the T R A N S P O S E feature to bring these Z O N E S into a usefulrange.

A N O T H E R S P LIT ?

Try a B ass patch using one ZON E in the lowest two octaves of the keyboard, disable theSUSTAIN P E D A L and T R A N S P O S E up an octave or two to place it in the range of a bass guitar.Now create a SPLIT in the middle range with Z O N E (2) se t to a Breathy Synth or Compingpatch, and the last Z O N E for the top octave or so on a Brass patch with the S U S T A I N P E D A Ldisabled. Yo u ca n play a bass line with your left hand, sustain chords you've played on the Padsound using the Sustain Pedal and now play Horn stabs or lines above it with your right hand.

*Note On Splits: Always remember to use the T R A N S P O S E feature to place your parts in pro-per performance range no matter where on the 88 keys you may place a ZONES upper and lowerlimits. Think of the whole keyboard as 88 keys or triggers available rather than the traditio-nal note placement and tuning as on an Acoustic Piano.



A F E W O T H E R T IP SIN C L U D E D F O R Y O U R

C O N S I D E R A T I O N :Live and Studio Applications.

Live application: Tr y using the different S H A P E S in each Z O N E to manipulate an d balance theelements in your layers.

Studio application: Connect your MIDI out from your Master Controller to the MIDI in on yourSequencer and the MIDI out of your sequencer to your Modules. Set your sequencer input fil-ter to Direct Echo or the appropriate setting to pass all information through (non channeli-ze). If you come up with an interesting layered patch set your sequencer to multi-record andhit edit enter twice while your sequencer is recording to record your patch changes to thesequencer and then continue and play while recording a performance for all your layers. Foranother section of your track you can do the same with another patch and record and auto-mate your patch changes along with your performance. Using the layers on the SL-880 youmay come up with patches and parts you might not have conceived programming the tradi-tional one track at a time way.

Live application: U s e the inverted or (-) S H A P E S to experiment with velocity crossfades.

Live application: Set a Z O N E to only one note. When editing SPLIT parameter in setting up

Z O N E hit the same note twice at either the lowest note or highest note on the keyboard toset a range of (1) one note for that Z O N E . Assign that Zone to a MIDI channel that goes toyour sampler to trigger a Loop or trigger a Sound F X . Use the T R A N S P O S E feature to bring thesample up or down to a useful range for triggering. If the (+) or (-) 24 steps of transpositionis not enough, assign the Sample trigger note to an appropriate one in the sampler and saveit that way.

Live or Studio application: Using the B A N K S E L E C T feature get to those often useful an dalternate patches not stored in the first 127 patch positions on your synth.

Live application: Use the (4) zones to set up three different patches, use the Z O N E SWIT-C H E S to toggle and play one Z O N E at a time for particular songs or sections of songs.

Live or Studio application: U s e the T R A N S P O S E feature to create intervals from layered Z O N E Sin octaves or harmonies.

Studio application: Again, use multi-record on your sequencer but this time with a split patchset up on your SL-880 record two or more parts at once. Bass and comp or chords and melody.The point is, get creative and innovative using all your new possibilities.

Studio, Scoring to Picture application: Perhaps your sequencer might be locked to video viaS M P T E . Set up a split patch with all Orchestral elements on the SL-880, perform and play in amore live sense while watching picture. Jump to another sound as the picture inspires youwhile recording all your performances simultaneously to the sequencer in multi-record. Afterrecording you'll have each of your instruments parts recorded on it's own track, now you cango back and edit or elaborate on your improvisation to picture. If your sequencer doesn'trecord separate MIDI channels to separate tracks simultaneously you ca n always filter by chan-

nel parts after recording to separate your to individual tracks for editing.

SECTION 6 .

Charts:Useful Charts and Graphics

Included on the following two pages are 2 identical copies of a template for you to write downthe settings for the patches you come up with. These are included so you can build a libraryof your favorite patches and settings. Carefully tear or cut out one of the copies and feel freeto run it through a copy machine to make more blanks for yourself. If you require more copiescall, in the USA, Music Industries Corp. at 1(800) 431-6699.



B L A N K P A T CH P A R A M E T E RC H A R T :

M o d e l S L - 8 8 0 S t u d ioL o g i c M a s t e r Co n t r o l l e r



B L A N K P A T C H P A R A M E T E RC H A R T :

Model SL-880 StudioLog ic Ma s te r C on t ro l l e r



G L O B A L V E L O C I T YC O U R V E S The following charts are graphic displays of the ZONE specific (SHAPE) velocity curves. They

are here to help you conceptualize and understand how these CURVES affect the dynamicresponse of your ZONES . .



G E N E R A L MIDI PATCHLIST The following charts show the standard General MIDI patch locations. If you are using a

General MIDI Module or Keyboard this will come in handy. When you are programming yourZ O N E ' S P A T C H CHANGES you can refer to this chart for entering numbers of desired Patches.

1. Piano 12. Piano 23. Piano 34. Honky Tonk5. Electric Piano 16. Electric Piano 27. Harpsichord8. Clavinet9. Celesta10. Glockenspiel11. Muic Box12. Vibraphone13. Marimba14. Xylophone

15. Tubular Bell16. Dulcimer17. Electric Organ 118. Electric Organ 219. Electric Organ 320. Church Organ21. Reed Organ22. Accordion23. Harmonica24. Bandonion25. Nylon Guitar26. Steel Guitar27. Jazz Guitar

28. Clean Guitar29. MQted Guitar30. Drive Guitar31. Lead Guitar32. Harmonic Guitar33. Acoustic Bass34. Finger Bass35. Pick Bass36. Fretless Bass37. Slap Bass 138. Slap Bass 239. Synth Bass 140. Synth Bass 241. Violin42. Viola

43. Cello44. Contra Bass45. Tremolo Strings46. Pizzicato Strings47. Harp48. Timpani49. Strings50. Slow Strings51. Synth Strings 152. Synth Strings 253. Choir Aahs54. Voice Oohs55. Synth Voice56. Orchestra Hit

57. Trumpet58. Trombone59. Tuba60. Muted Trumpet61. French Horn62. Brass Section63. Synth Brass 164. Synth Brass 265. Soprano Saxophone / 66. Alto Saxophone67. Tenor Saxophone68. Baritone Saxophone69. Oboe

70. English Horn71. Bassoon72. Clarinet73. Piccolo74. Flute75. Recorder76. Pan Flute77. Bottle Blow78.Shakuhachi79. Whistle80. Ocarina81. Square82. Sawtooth83. Calliope84. Chiffer85. Charang

86. Solo Vox87. Fifths88. Bass Lead89. Fantasia90. Warm Pad91. Poly Synth92. Space Vox93. Bow Glass94. Metal Pad95. Halo Pad96. Sweep Pad97. Ice Rain98. Sound Track99. Crystal

100. Atmosphere101. Brightness102. Goblin103. Echo Drop104. Star Theme105. Sitar106. Banjo107. Shamishen108. Koto109. Kalimba110. Bagpipe111. Fiddle112.Shanai

113. Tinkle Bell114 . Agogo11 5. Steel Drum116. Wood Block11 7. Taiko118. Melody Tom119. Synth Drum120. Reversed Cymbal121. Guitar Noise122. Key Click123. Seashore124. Birds125 . Telephone126. Helicopter127 . Applause128. Gunshot



S E C T I O N 7 .

T R O U B L E S H O O T I N GGUIDE A p p e n d i x :

P R O B L E M Keyboard does not power up?P O S S I B L E S O L U T I O N S • M a k e s u r e th e p o w e r s u p p l y is c o n n e c t e d to the w a l l outlet

• Make s u r e t he pow er s upp l y i s p r ope r l y connec t ed t o t he keyboa r d

P R O B L E M Keyboard does not seem to b e sending M I D I notes to m y modules?P O S S I B L E S O L U T I O N S M a k e s u re y o u a re n o t i n t h e E D I T M O D E .

M a k e s u r e the Z O N E s w i t c h of the Z O N E y o u are t r y i n g to p l ay is o n .M a k e s u r e th e M I D I c h a n n e l y o u a r e p l a y i n g o n i s e n a b l e d o n y o u r s o u n d s o u rc e .M a k e s u r e y o u r s o u n d m o d u l e s a u d i o o u t p u t s a r e c o n n e c t e d p r o p e r l y t o y o u r m i x e r o r a m p .M a k e s u r e y o u r m i x e r a m p o r s o u n d sys tem is o n a n d the v o l u m e settings are u p .

PR OB LE M I have made changes in EDIT MOD E but the changes do not seem to be present when Ireturn to PLAY MODE?

POSSIBLE SOLUTION •This ca n happen very easily. When you enter EDIT M O D E make sure you are editing the Z O N Ethat you were playing before hitting EDIT. When entering edit mode you will be on the Z O N Eyou last edited not necessarily the Z O N E you have on in P L A Y M O D E .

P R O B L E M I know I am sending M I D I to m y module because I see the M I D I indicator light u p w h e nI p lay but I hear noth ing?

P O S SI B L E S O L U T I O N S • M a k e s u re t h e V O L U M E P E D A L is u p !• M a k e s u r e y o u r s o u n d m o d u l e s a u d i o o u t p u t s a r e c o n n e c t e d p r o p e r l y t o y o u r m i x e r o r a m p .• M a k e s u r e y o u r m i x e r a m p o r s o u n d s y s t e m i s o n a n d t h e v o l u m e s e t t i n g s a r e u p .

P R O B L E M The S U S T A I N P E D A L does not seem to work? c

P O S S I B L E S O L U T I O N S • M a k e s u re it i s p l u g ge d i n p r o p e r ly to t h e S U S T A I N P E D A L I N P U T•M a k e sure th e S U S T A I N P E D A L is e n a b l e d f o r th e Z O N E y o u are p l a y i n g

P R OB L E M T h e S U S T A I N P E DAL s e em s t o wo r k in r ev e rs e ?POSSIBLE SOLU TION • Powe r the keyboard down. With the SUST AIN PEDA L plugged in to the SUSTAIN PEDAL INPUT

power the keyboard up. This will cause the SL-SL-880 to sense the proper polarity setting forthe type of pedal you are using and adjust properly.

P RO BL E M T h e WH E E L S or AF T E R T OU C H d o n ot s e em t o wo r k ?POSSIBLE SOLUTIONS •Make sure they are enabled on the Z O N E you are playing

• Make sure they are enabled in the Patch in your module you are sending to.

P R O B L E M I am playing a Z O N E that I know is on bu t nothing is happening?

P O S S I B L E S O L U T IO N S•

M a k e s u r e y o u are p l a y i n g w i t h i n th e S P L I T r a n g e o f notesset

u p f o r tha t Z O N E•M a k e s u r e tha t the M I D I c h a n n e l is set cor rec t ly .• M a k e s u r e the V O L U M E P E D A L is depressed a n d a l l o t h e r v o l u m e setting are u p .

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