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INDICE

• Caratteristiche generali 3

• Connessioni 3

• Pannello comandi 4

• Programmazione 4

• Edit 5

• MIDI Channel 5

• Bank Select 5

• Program Change 5

• Split 5

• Transpose 5

• Sustain 6

• Wheels 6

• Aftertouch 6

• Shape 6

• Velocity 7

• Utilizzazioni MIDI 7

• Reset generale 7

•Varie tabelle 7

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CARATTERISTICHE GENERALI

envenuti nel mondo delle Studiologic Midicontrollers.
La mastekeyboard SL-880 é un MIDI Con troller pr ofessi onale con un so ftware n on sofisti cato ma
che soddisfa le esigenze del musicista che vuol lavorare in studio o in situazione live.

B

La masterkeyboard SL-880 si presenta con:

• Nuova tastiera dinamica a 88 tasti pesati e con meccanica a martelletto.

• After touch.

• 2 ruote di modulazione di cui una Pitch bender e l’altra Modulation.

• Pannello di controllo con 7 tastini di cui 4 per abilitare o disabilitare le zone di tastiera, un
tastino di Enter/Edit, 2 tastini per lo scroll (up/down) dei parametri in ambiente Edit, 10
leds per segnalare il parametro su cui si interviene, 4 leds posti sopra i tastini di zona per
indicare il loro stato di attività (on — off).

• 4 zone di tastiera per splits o layers programmabili.

• Tastierina numerico-funzionale posizionata sull’ottava centrale della tastiera.

• Pannello posteriore con: 2 uscite MIDI parallele, 1 jack input per il Sustain, 1 jack per il
Volume generale, l’ingresso di alimentazione DC, l’interruttore di alimentazione e il relativo
led di segnalazione.

• 1 locazione di memoria per storare l’ultima programmazione eseguita su tutti i parametri di
tutte le zone sulle quali si é lavorato. Alla riaccensione la macchina ripresenta l’ultima pro­grammazione e l’ultima situazione di zone attivate.

CONNESSIONI

MIDI OUTPUTS

1

1) Collegare l’adattatore di tensione alla presa elettrica di rete (verificando che la ten-

sionedell’adattatore corrisponda alla tensione di linea). Collegare il cavo d’uscita dell’a­dattatore all’ingresso di alimentazione della Mastekeyboard (la SL-880 accetta come ali­mentazione 9VDC con polarità positiva + al centro (in caso contrari o n on si accen de) e n eces­sita di una corrente minima di 200 mA).

2) Collegare il/i cavi MIDI al vostro o ai vostri expander o altri dispositivi MIDI.

3) Se si ha la necessità di controllare il sustain o il volume, collegare agli appositi jacks,

per il volume un pedale di controllo lineare con jack stereo (es:VP26), per il sustain un
qualsiasi pedale con il contatto o normalmente aperto o normalmente chiuso dato che se
il pedale è collegato alla Mastekeyboard quando si accende, viene riconosciuto automati­camente il tipo di contatto usato. (es: PS100/VFP1)

4) Attivare la Mastekeyboard SL-880 premendo il pulsante sul retro. Ora si predisporrà

sull’ultima situazione di lavoro prima dello spegnimento riguardante le zone attive e tutti i
parametri programmati in precedenza.

2

SUSTAIN VOLUME

POWER

9V DC 0,2 A

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PANNELLO COMANDI

Il pannello comandi d ella parte superiore della tasti era si presen ta come mostr ato in figura n ella pagi­na seguente, con 10 led e la relativa serigrafi a d el parametro di programmazione, i 4 tastini di zona
con relativo led indicante l’attivazione, il tastino di enter/edit e i 2 tastini di up/down per posizio­narsi con il led sul parametro voluto.

MIDI CHANNEL

BANK SELECT

PROGRAM CHANGE

TRANSPOSE

1234

ZONES

SPLIT

SUSTAIN

UP DOWN ENTER/EDIT

WHEELS
AFTER TOUCH
SHAPE
VELOCITY

Per assegnare i valori o gli stati dei parametri, si userà la tastierina numerico-funzion ale posizi on a­ta sull’ottava centrale della tasti er a; a partire dal do centrale avremo i caratteri a disposizione come
segue:

EDIT

Per entrare in Edit peremere il tastino “Enter/Edit”, si accenderà il primo led rosso in alto a
sinistra e il Led della zona n°1.
Se si vogliono editare i parametri della zona n°1 si può procedere, altrimenti premere il tasti­no della zona interessata.

MIDI CHANNEL

Il primo parametr o é con tr assegn ato MIDI CHANNEL, quindi se si vuole cambiare il n° di cana­le MIDI basta premere il tasto relativo al numero voluto sulla tastierina numerica.
ATTENZIONE! Dato che nella pr ogrammazi one di Def ault i canali assegnati son o rispettivamen te
1,2,3,4 e dato che in due zone differenti non si può assegnare lo stesso numero di canale
MIDI, il software non accetta il numero di canale se questo é presente in un’altra zona; quin­di per farlo accettare si deve rimuovere dalla zona quel numero di canale MIDI non più voluto.

N.B. Ogni comando di Edit e variazione di sistema viene trasmesso in uscita MIDI o uscendo
dall’Edit o premendo il tastino di zona interessato o passando ad un altro parametro median­te i tastini Up/Down.

Quando si é in ambiente Edit, si ha la libertà di muoversi tra i vari parametri e tra le diverse
zone facendo attenzione a quale Led di zona é attivato. Quindi si é liberi di programmare una
zona per volta uscendo dall’Edit, oppure eseguire una programmazione globale di tutte e due
le zone.

Ora procediam o con la progr amm azi one di altri par am etri con centr an d oci su una zon a d ato ch e
la procedura é poi ripetitiva per le altre.

PROGRAMMAZIONE

ON

02457986 /H

OFF

1

3

La masterkeyboard SL-880 alla prima accensione si predisporra’ in una programmazione di default
che descriviamo qui di seguito:

Zona attiva n°1 — zona 2,3,4 in off — le quattro zone trasmettono rispettivamente la n°1 sul canale
midi n°1, la n°2 sul canale midi n°2, la n°3 sul canale midi n°3, la n°4 sul canale midi n°4.
Tutte le zone hanno estensione completa a 88 tasti, i controlli tutti in stato on, curve di dinamica
n°1, transpose = 0.

Per disattivare una zona ed attivarne un’altra, ricordarsi che non si deve premere alcun tasto
della tastiera e non si deve avere il pedale sustain premuto.

LE OPERAZIONI VANNO ESEGUITE IN SEQUENZA: se ad esempio si vuol disattivare la zona 1 ed
attivare la zona 2, premere il tastino zona n°1 ed il suo Led si spegnerà, poi premere il tasti­no zona n°2 ed il suo Led si accenderà.
N.B. se in questo momento si spegnerà lo strumento, alla sua riaccensione si vedrà la zona
n°2 attiva in quanto il softwar e pr eved e di m em orizzar e le pr ogrammazioni d ei par am etri d elle
zone e quali sono le zone attive al momento dello spegnimento.
Prima di procedere con la spiegazione della programmazione, ricordare che se si hanno tasti
premuti sulla tastiera o é premuto il pedale sustain, non si possono attivare o disattivare le
zone come non si può entrare in Edit; viceversa quando si é in Edit la tastiera non suona dato
che è abilitata la tastierina numerica per assegnare valori e stati ai parametri di programma­zione delle zone.

BANK SELECT

Dopo aver assegnato il MIDI CHANNEL se si preme il tastino Down si passa al parametro BANK
SELECT che serve per commutare il gruppo o banco di suoni dell’expander o tastiera MIDI.
Il protocollo di ricezione di questo comando si differisce a seconda del tipo o marca di modu­lo MIDI che si usa:
Se il modulo richiede come Bank Change solamente il Control 32, basta digitare sulla tastieri­na il nu mero di b anc o de s idera to .
Alcuni moduli richi edon o per comm utar e il Ban co di suoni un pr otocollo più completo (Con tr ol
32 + Contro 0). Quindi se si richiede la stringa completa di Control 32 più Control 0, digitare
prima il numero per il Control 32 poi premere il tasto contrassegnato con H che sta a signifi­care la parte alta del Byte della stringa di Bank Change e digitare il numero voluto per il
Control 0.
Fatto ciò il comando di BANK SELECT per quella zona é completo (Sequenza esplicativa: digi­tare il numero per il C32, premere il segno (-) e digitare il numero per il C0).

PROGRAM CHANGE

Premendo ancora il tastino Down passiamo alla programmazione del PROGRAM CHANGE il cui
valore numerico corrisponde al numero di suono del modulo MIDI. Digitare il numero voluto
sulla tastierina (i numeri accettati sono da 1 a 128).

SPLIT

Premendo ancora il tastino Down passiamo alla programmazione degli Splits cioé si determina
per la zona interessata l’esten sion e di tasti er a attiva U na volta d etermin ata la zon a sulla qu ale
si vuole eseguire lo Spit é sufficiente premere con le dita sulla tastiera i due tasti che deli­mitano lo Split voluto.
La programmazi one di Def ault prevede per tutte le 4 zon e una esten sion e completa ad 88 tasti.
Ad esempio se si vuole che la zona n°2 suoni solamente dal Do centrale verso l’alto, quando
si é in Edit ed é acceso il Led rosso in corrispondenza della dicitura SPLIT, si dovrà premere il
tastino Zona n°2 e a questo punto si premeranno sulla tastiera il Do centrale e poi il Do fina­le. Uscendo dall’Edit ora la Zona n°2 sarà attiva nel modo voluto e qusto settaggio rimarrà in
memoria (come del resto i valori degli altri parametri).
Se si hanno chiari i punti di Split delle due Zone quando si é in Edit si possono programmare
tutti gli Split agendo su una Zona alla volta.

TRANSPOSE

Premendo ancora il tastino Down passiamo alla programmazione del Transpose se necessario.

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SUSTAIN

WHEELS

In condizioni norm ali le 4 Zon e hann o il valor e di tr anspose = 0 ci oé il Do cen tr ale d ella tastie­ra corrisponde al Do centrale della chiave musicale di Do. Se per una Zona si vuole innalzare
l’intonazione di 4 semitoni, quando si é posizionati con il Led nella sezione Transpose basta
digitare per la zona interessata il numero 4 sulla tastierina numerica; Se come altro esempio
si vuole abbassare l’intonazione di una ottava si dovrà prima premere il tasto nero (Slb) eti­chettato con — e poi digitare il numero 12.
Riassumendo: Per effettuare Transpose positivi digitare il numero di semitoni voluti. Per effet­tuare Transpose negativi digitare prima il segno meno (-) poi il numero dei semitoni voluti.
N.B.: La SL-880 accetta come numero massimo +/-24 semitoni quindi +/-2 ottave.

Premendo ancora il tastino Down passiamo alla programmazione del Sustain se necessario.
Per programmazione si intende la possibilità di memorizzare per ogni zona l’abilitazione o la
disabilitazione del ped ale Sustain. Ad esempi o se n ella Zon a n°3 si ha la n ecessità di non vole­re che il pedale Sustain abbia effetto, quando si é posizionati con il Led nella sezione Sustain
si premerà il tastino di Zona n°3, poi si digiterà il comando OFF che corrisponde alla nota Mlb
della tastierina numerico-funzionale. A questo punto l’altra Zona subirà l’effetto del pedale
Sustain mentre n ella Z ona n°3 n on avrà effetto. Se si vorrà ripristin ar e il con tr ollo in quella Z ona
basterà rientrare in Edit e digitare il controllo ON.

Premendo ancora il tastino Down passiamo alla programmazione delle Wheels se necessario. Per
programmazione si intende la possibilità di memorizzare per ogni zona l’abilitazione o la disa­bilitazione delle 2 ruote di modulazione. Ad esempio se nella Zona n°3 si ha la necessità di
non volere che le Wheels abbiano effetto, quando si é posizionati con il Led nella sezione
Wheels si premerà il tastino di Zona n°3, poi si digiterà il comando OFF che corrispondealla
nota Mlb della tastierin a numerico-funzionale. A questo punto l’altra Zona subirà l’effetto delle
due ruote di modulazione mentre nella Zona n°3 non avranno effetto. Se si vorrà ripristinare
il controllo in quella Zona basterà rientrare in Edit e digitare il controllo ON.

VELOCITY

Premendo ancora il tastino Down passiamo alla programmazione della Velocity.
Questo parametro é globale e quindi non individuale per ogni singola zona; infatti passando
a questo ultimo parametro si vedranno accendere tutti e 4 i Led delle Zone.
Mentre nel parametro precedente si definiscono per ogni singola Zona le curve di risposta
dinamica, in questo parametro globale si possono scegliere 8 sensibilità di risposta alla velo­cità del tocco.
Anche questo parametro aiuta il musicista ad adattare la propria tastiera al modulo MIDI nel
miglior modo possibile per rendere più espressivo e controllabile il proprio modo di suonare.

Ora dopo aver agito su tutti i parametri che interessano nella programmazione per uscire dal­l’ambiente Edit basta premere il tasto contrassegnato con “Enter/Edit”.

UTILIZZAZIONI MIDI

Ricordiamo le principali funzionalità della Masterkeyboard: Accendo lo strumento, dopo qual­che secondo è pronto a trasmettere dati MIDI voluti e saranno attive le Zone che erano state
abilitate prima dello spegnimento.
Quando si entra in EDIT la tastiera non suona dato che i tasti dell’ottava centrale sono abili­tati per digitare numeri e controlli di programmazione.
Per verificare le varazioni esguite in programmazione si dovrà uscire da EDIT, si spegnerà il
Led del parametro programmato e la tastiera sarà di nuovo pronta a suonare con la variazio­ne eseguita e memorizzata.
Quando si entra in EDIT per la prima volta dopo l’accensione, il Led acceso sarà il primo cioè
Midi Channel; se il parametro voluto sarà un’ altro ci si dovrà spostare con i tastini di Scroll
cioè UP o DOWN.
Quando si entra in EDIT per una seconda volta o più volte, la macchina ricorda quale è stato
l’ultimo parametro e l’ultima zona sui quali si è intervenuti; tutto ciò velocizza la modalità di
programmazione e modifica, senza rispostarsi sulla zona e papametro precedentemente abita­ti.

AFTER TOUCH

SHAPE

Premendo ancora il tastino Down passiamo alla programmazione dell’After Touch se necessario.
Per programmazione si intende la possibilità di memorizzare per ogni zona l’abilitazione o la
disabilitazione dell’After Touch.
Ad esempio se nella Zona n°3 si ha la necessità di non volere che l’After Touch abbia effetto, quan­do si é posizionati con il Led nella sezione After T. si premerà il tastino di Zona n°3, poi si digiterà
il comando OFF che corrispondealla nota Mlb della tastierina numerico-funzionale. A questo punto
l’altra Zona subirà l’effetto di After T ou ch mentr e nella Zon a n°3 non avrann o effetto. Se si vorrà ripri­stinare il contr ollo in quella Zona basterà rientrare in Edit e digitare il controllo ON.

Premendo ancora il tastino Down passiamo alla programmazione delle Shape, cioè delle curve
di dinamica. Se si vuole adattare la propria masterkeyboard alla risposta dinamica dell’expan­der o dispositivo MIDI o se si vuole adattare il primo tocco alla risposta di tastiera nel miglior
modo, la SL-880 nel parametro Shape offre 4 tipi di curve diverse le quali possono essere
memorizzate come per gli altri parametri. Per ogni zona posso assegnare un tipo di Shape dif­ferente se necessario.
La SHAPE n°1 ha una risposta lineare ed abbastanza rispondente alla maggioranza dei dispo-
sitivi MIDI in commercio.
La SHAPE n°2 ha una risposta meno sensibile quin di si dovrà su onar e con un poco più di forza;
in alcuni casi si può definire più espressiva; può essere utile usarla se il dispositivo MIDI in
ricezione é troppo sensibile.
La SHAPE n°3 ha una risposta più sensibile della Shape n°1 e potrebbe essere usata se il
dispositivo MIDI in ricezione é poco sensibile o per alcuni suoni particolari.
La SHAPE n°4 ha una risposta ancora più sensibile della Shape n°3.

La Masterkeyboard SL-880 possiede 4 Shape positive e 4 Shape negative per un totale di 8.
Per assegnare una Shape negativa prima di digitare il numero desiderato si dovrà digitare il
segno meno (-). P er Shape n egativa si in tend e che la curva rispon d e in mod o con trari o al tocco
cioé se si suonerà piano la dinamica risponderà a livelli alti, se si suonerà forte la dinamica
risponderà a livelli bassi.
Questa possibilità può essere sfruttata programm ando d ue zone con curve di din amica un a
tiva e una negativa per ottenere un crossfade o incrocio di suoni mediante il controllo della dinamica.
La Shape -1 corrisponde alla Shape 1 invertita e così via per le altre.

posi-

RESET GENERALE

Se durante le prime prove di programmazione non si riesce ad ottenere una propria progam­mazione voluta o per errori di digitazione o per mancanza di conoscenzadella macchina, c’è
possibilità di ripristinare la Masterkeyboard alla programmazione originale di Default.
Per eseguire questo Reset Genrerale operare come segue:

• Spegnere la Masterkeyboard

• Tenere premuti i 3 tastini UP — DOWN — ENTER contemporaneamente

• Riaccendere Masterkeyboard tenendo premuti i tastini ancora per qualche secondo

• Rilasciare i tastini
Ora la macchina è ripristinata con la programmazione di Default (vedi tabelle).

VARIE TABELLE

Tabella di riferimento programmazione di Default

ZONA 1 ATTIVATA CANALE MIDI n°1 PROGR. CH.=— TRANSPOSE = 0 CONTROLS= ON SHAPE= 1 VELOCITY= 4
ZONA 2 DISATTIVATA CANALE MIDI n°2 PROGR. CH.=— TRANSPOSE = 0 CONTROLS= ON SHAPE= 1 VELOCITY= 4
ZONA 3 DISATTIVA TA CANALE MIDI n°3 PROGR. CH.=— TRANSPOSE = 0 CONTROLS= ON SHAPE= 1 VELOCITY= 4
ZONA 4 DISATTIVA TA CANALE MIDI n°4 PROGR. CH.=— TRANSPOSE = 0 CONTROLS= ON SHAPE= 1 VELOCITY= 4

All’accensione la macchina trasmette i seguenti dati:
volume delle zone attive = con pedale volume disinserito: valore 127
Con pedale volume inserito: valore riferitoalla posizione del pedale

PITCH BEND = VALORE 64
Premendo 2 volte il tastino enter/edit la macchina trasmette tutti i dati di programmazione.

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INDEX

SECTION 1. 9

SECTION 2. 10

• The keyboard 10

• The wheels 10

• The zones 10

SECTION 3. 11

• Power Input 11

• Power Switch 11

• Sustain pedal 11

• Volume pedal 11

• MIDI Out connections 12

SECTION 4. 12

• Zone select 12

• Up, Down, Enter/Edit 12

• 10 Key Pad; (H) (-) (On) (Off) 13

• MIDI Channel 13

• Bank Select 13

• Program Change 13

• Split 13

• Transpose 14

• Sustain 14

• Wheels 14

• Aftertouch 14

• Shape 15

• Velocity 15

• 10 Key Pad; (H) (-) (On) (Off) 15

SECTION 5. 16

• Default settings 16

• General reset 16

• General programming information 16

• Applications uses and user tips 17

• The zones 17

• The big layer 17

• The split 17

• Another split? 17

• A few tips included for your con si d er ati on 17

SECTION 6. 18

• Blank Patch Parameter Chart 18

• Blank Patch Parameter Chart 19

• Global velocity courves 20

• Programs General MIDI 21

SECTION 7. 22

• Trouble shooting guide 22

ENGLISH

SECTION 1.

Introduction:
Why and how do we use MIDI Controllers? What are Zones? Uses and Applications.

Congratulations on your new purchase of the SL-880 Studio Logic Master Controller by FATAR.
In this manual we will explain the concepts and techniques of using Master MIDI Controllers
to greatly expand your flexibility, creativity, control and productivity in your live or studio
keyboard setup. Wheth er you ar e usin g on e multi-timbral sound module or a rack full of th em,
this Master Controller Keyboard and all the other Studio Logic Controllers by FATAR will greatly
expand your professional and creative abilities.
The concept of a controller is to centralize your accessibility to your MIDI modules. It gives
you a central point of control over your slave modules in a given setup.

Have you ever tried to line up patches in your sound modules so that when you selected a
patch on your keyboard your other sound modules called up the right patch? Ever tried to
locate a patch position to write over a sound that you hopefully won’t need later? Tired of
bending down to squin t and see th e display and pr ogram a m odule at th e bottom of your r ack?
All of these scenarios are greatly reduced when using a Master Controller.

The concept of ZONES, SPLITS and LAYERS is as follows:
A ZONE consists of a specified r an g e o f k eys on your k eyboar d . That r an g e o f n otes is assi gn ed
parameter messag es that ar e communicated to your slave module(s). This reduces th e n eed to
write and store patches on your module. These parameters may consist of the following infor­mation: patch number, volume setting, velocity curve, transposition value, pedal enable,

wheels enable, etc…. When a patch is selected on your Master Controller all of this informa-

tion is sent to your mod ules in stan tly. The Studio Logic SL-880 Master Con tr oller by F ATAR has
four (4) completely independent zones, meaning each zone can transmit all of its own infor­mation on any given MIDI channel. The range of notes in each zone can be setup to be adja­cent to another ZONES range of notes ( one ZONE ends, going up the keyboard, as another
ZONE starts) or assigned to overlap each other or any part of each other’s ranges. Thus we
introduce the concept of LAYERS and SPLITS.

A SPLIT is when one ZONE’s range of notes ends and another ZONE’s begins. A simple exam­ple would be Bass in the left hand and Piano in the right hand. A ZONE’s range of notes can
be any amount of consecutive notes regardless of where another ZONE’s notes begin. When
two or more ZONE’s range of notes overlap we call this a LAYER.
LAYERS are the way we can build fat lush patches using the full potential of what your synths
and modules have to offer. Let’s say we have a big pop ballad that needs your special touch.
We want to create a “Pad Piano” soun d to cover th e song. A ssi gn each ZONE to cover th e en ti­re keyboard’s range of notes. Using the four ZONES, assign each of them to play a different
patch: (1) dark rich Electric Piano, (2) bright ringy Electric Piano, (3) slow attack String Pad
with a bit of a release, (4) voice or ambient Synth Pad also with release rate up slightly. If
one or more patch es are n ot in the sam e octave as the others it’s easy to fix. Go to that ZONE’s
transpose feature and move it up or down 12 steps to line it up properly with the others.
Something sounds a little mushy when playing Piano parts using the SUSTAIN PEDAL? Try
going to the ZONES for the “non Piano” sounds and experiment with disabling the SUSTAIN
PEDAL for one or the other or both of those zones. Within moments you should have a deep,
rich, rather large and musically useful sounding patch to use on your ballad.

Are you beginning to see the possibilities here? Please step inside the manual and we’ll take
you through the simple yet versatile features of the Studio Logic SL-880 Master Controller by
FATAR.

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ENGLISH

ENGLISH

THE KEYBOARD

THE WHEELS

THE ZONES

SECTION 2.

Features:
A guided tour through the Studio Logic SL-880’s Controls and Features.

• The Studio Logic SL-880 has a full 88 key weighted piano style hammer action. It is a new,
improved version of the classic FATAR hammer mechanism action. It is an extremely musical
feeling piano action that has a very dynamic yet quick response to it. The velocity sensitive
action can be modified with several VELOCITY CURVE response settings which will be discus­sed later in this manual. Th e 88 key weigh ted action o f the SL-880 will tran smit channel AFTER­TOUCH on all ZONES.

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

• The SL-880 has four independent ZONES with each of them capable of being assigned to any
range of keys across the SL-880’s keyboard. As discussed in the introduction to this manual,
the ZONES are the heart of creating musically useful Layers and Splits. Each of the (4) ZONES
consists of:

1. ZONE ENABLE/DISABLE BUTTON: Located on the front panel above the keyboard itself.
These are used to turn the ZONES on and off in PERFORMANCE mode. Each switch functions
independ en tly o f each oth er. In other words, you can have any combin ati on o f ZONES on or o ff
at any point by accessing these ZONE switches.

While in EDIT mode , the ZONE BUTTONS are used to select the desired ZONE to be edited. While
editing, only one ZONE at a time can be selected and the buttons now toggle on and off as
you select each ZONE SWITCH for editing.

2. MIDI CHANNEL SELECT: While in EDIT mode each ZONE can be set to transmit on any of
the 16 MIDI channels available . Only on e MIDI chann el can be tr an smitted at a tim e per ZONE.

3. BANK SELECT: After selecting a MIDI channel to transmit on, and while in EDIT mode, you
can initiate or select BANK Changes. The commands are different depending on the external
sound module you are accessing. More on BANK SELECT later in this manual.

4. PROGRAM CHANGE: 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 (som e man uf actur ers use a num­bering scheme 0 to 127, so you may need to add (1) to each patch# to achieve the desired
results).

5. SPLIT or KEY NOTE RANGE: This edit function allows you to select the range o f active n otes
(keys) for each ZONE. The ZONES are completely independent of each other and their split
points can overlap thus creating LAYERS.

6. TRANSPOSE: Each ZONE can be set to transpose its key range up or down 24 semitones.
In other words, up or down 2 octaves from the synth module’s original setting.

POWER INPUT

POWER SWITCH

There are 8 preset velocity curves to choose from that vary the dynamic response of the key­board. Again, these settings are specific to each ZONE and are accessed while in the EDIT
mode.

GLOBAL VELOCITY CURVE: This VELOCITY CURVE setting is a global one, meaning it affects
the dynamic response of the entire keyboard across all 4 ZONES. There are 8 global settings to
choose from. Again, these setting are accessed while in the EDIT mode.

SUSTAIN PEDAL: The Studio Logic SL-880 has a connection jack on the rear panel for a
SUSTAIN PEDAL input.

VOLUME PEDAL: The Studio Logic SL-880 has a connection jack on the rear panel for a stan­dard VOLUME PEDAL input. The VP-26 by Fatar is recommended.

POWER INPUT: The Studio Logic 800 has a connection jack on the rear panel for the supplied
POWER SUPPLY input.

MEMORY STORAGE: The Studio Logic SL-880 will r emember all o f your pr eset inform ation wh en
powered down. All programmed settings are transmitted when the unit is powered up. There
is no need to store edited information, simply exiting the edit mode causes the information
to be stored.

SECTION 3.

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

The Studio Logic SL-880 has a connection jack on the rear panel for the AC POWER SUPPLY
INPUT. The AC adapter POWER SUPPLY supplied with this unit is a positive tip 9V DC with a
minimum current of 200 mA.

The Studio Logic SL-880 has its POWER SWITCH located on the back panel next to the POWER
SUPPLY INPUT. There is also a red LED to indicate the unit is on. Upon powering up the key­board all preset data is transmitted out through the MIDI OUT connections.

MIDI OUTPUTS

1

SUSTAIN VOLUME

2

POWER

9V DC 0,2 A

10

7. SUSTAIN PEDAL ENABLE / DISABLE SELECT: You can set each ZONE to respond or not
respond to sustain pedal information. This is done in the EDIT mode for each ZONE.

8. WHEELS ENABLE / DISABLE SELECT: You can set each ZONE to respond or not respond to
PITCH and MODULATION WHEEL information. This is done in the EDIT mode for each ZONE.

9. AFTERTOUCH ENABLE / DISABLE SELECT: You can set each ZONE to respon d or not respond
CHANNEL AFTERTOUCH information. This is done in the EDIT mode for each ZONE.

10. SHAPE: Velocity curve settings specific to each ZONE. These settin g will alter the way velo­city information from the keyboard will be transmitted to the receiving MIDI channel.

INSTRUCTIONS MANUAL

SUSTAIN PEDAL

The Studio Logic SL-880 has a connection jack on the rear panel for a SUSTAIN PEDAL input.
This jack will function properly with either type of “normally closed” or “normally open”
SUSTAIN PEDALS. Upon powering up the Studio Logic SL-880 will recognize whichever type of
pedal is presently connected to the keyboard, regardless of polarity (e.g. PS100 or VFP1).
Note: SUSTAIN PEDAL must be plugged in prior to powering up to properly sense polarity.

VOLUME PEDAL

The Studio Logi c SL-880 has a conn ecti on jack on th e r ear pan el f or a stan d ar d VOLUME PED AL
input that uses a stereo or balanced jack (e .g. VP-26 by Fatar). This volume control will chan­ge the volume equally across all four ZONES simultaneously.

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ENGLISH

MIDI OUT CONNECTIONS

The MIDI OUT jacks are where you connect your Studio Logic SL-880 Master Controller to your
various MIDI sound sources. Using a standard 5 pin DIN MIDI cable, connect the Studio Logic
MIDI OUT to your MIDI input jack on your synthesizer, sound module or other MIDI equipped
keyboard. You may use the THRU (daisy chain) feature on your MIDI gear to connect to other
MIDI modules if you like. Avoid daisy chaining more than 2 mod ules , if possible, to reduce the
possibility of MIDI log jam or timing delays. The Studio Logic SL-880 conveniently is supplied
with two parallel (identical) MIDI OUT jacks on the rear panel to help reduce the possibility
of timing delays when connectin g to multiple MIDI sound modules. When connecting multiple
devices to your SL-880 allocate them equally across the two MIDI OUT connections on this
keyboard.

MIDI CHANNEL

BANK SELECT

PROGRAM CHANGE

TRANSPOSE

1234

ZONES

SPLIT

SUSTAIN

UP DOWN ENTER/EDIT

WHEELS
AFTER TOUCH
SHAPE
VELOCITY

10 KEY PAD; (H) AND

(-), (ON) AND (OFF)

MIDI CHANNEL

Depressing the ENTER/EDIT button enters and exits the EDIT mode. While in edit mode a LED
is lit next to the corresponding FUNCTION that is presently selected for editing.

Using the UP/DOWN buttons will cause the LED to scroll through the FUNCTION selections.

This is the area where you enter desired parameters for selected FUNCTIONS being edited. The
numerical keypad, (H) and (-), (on) and (off) are assigned to correspond to the keys of the
central octave of the KEYBOARD.
While in EDIT MODE these keys now function as our data entry method and will not transmit
note information.
In other words, while in EDIT MODE the entire keyboard is disabled and will not transmit note
information until you exit the EDIT MODE.

Used to select which MIDI channel each of the 4 ZONES will transmit its information on. To
access this parameter, enter EDIT mode by selecting ENTER/EDIT.
Select desired ZONE for editing by depressing its corresponding ZONE switch. Use the
UP/DOWN buttons to select MIDI CHANNEL function. You now enter a one or two digit value
using the 10 key keypad to set the ZONE’s MIDI transmit channel.

Exit the EDIT mode by depressing the EDIT/ENTER button. In exiting the EDIT mode you store
the new information automatically in the SL-880 Master Controllers memory and enable the
keyboard ZONE to play and transmit information on the new selected MIDI channel. In order
to play and transmit on a desired ZONE, select the corresponding ZONE switch while in play
mode so that its LED is lit. The ZONE switch will toggle to turn ZONE on and off.

ZONE SELECT

UP, DOWN, ENTER/EDIT

SECTION 4.

Description of Front Panel Controls and Features:
What are they, what do they do and how do I use them?

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Located on the top panel there are the 4 ZONE buttons for the (1) enabling and disabling of
the four keyboard ZONES while in play mode and (2) selecting the ZONES while in EDIT MODE.
The LED indicators will be lit up when its corresponding zone is active or selected for editing.
In PLAY mode any combination of ZONES may be on or off at any point in time. However, in
EDIT mode the ZONE switches may only be used to select one ZONE at a time. Only one ZONE
at a time may be edited and therefore only one ZONE light may be lit at a time while in EDIT
mode. You are able to jump from ZONE to ZONE while in edit mode by depressing the corre­sponding ZONE BUTTONS.
*Please note that you may only press a zone button and disable or enable a zone while no
notes are depressed on the keyboard or while the sustain pedal is being depressed.

The UP and DOWN buttons are used to scroll through the FUNCTION selections while in edit
mode.

OFF

1

3

BANK SELECT

Used to transmit or initi ate a BANK CHANGE m essage on a given zon e. After selectin g and assi­gning the MIDI CHANNEL, press DOWN button to switch to B ANK SELECT. This mode allows you
to change the sound bank of your synth module or external sound source.
The reception protocol for BANK SELECT depends on the type and make of the sound module
you are transmitting to and can vary from manufacturer to manufacturer. If the synth module
you are using requir es only “Con trol 32” th en you will have to only en ter th e bank n umber you
wish to select. If your module requires a more complete protocol (Control 32+ Control 0) then
you need to enter Control 32 and then press the key corresponding to the “H”(represents
Higher part of Bank Change Byte) symbol (same as minus key). Then enter the desired num­ber for Control 0. The key sequence would be as follows: enter 32, then the (-) minus key
which also has the (H) symbol labeled above it, then the bank number to change to.

PROGRAM CHANGE

Used to select a PATCH NUMBER or PROGRAM CHANGE for a specific ZONE. To access this para­meter you first turn on the desired ZONE by selecting and pressing its corresponding ZONE
switch, then enter EDIT mode by selecting ENTER/EDIT.

Select desired ZONE for editing by depressing its corresponding ZONE switch. Now use the
UP/DOWN buttons to select the PROGRAM CHANGE function. Enter the desired number of your
patch selection on the keypad (MIDI Program change messages are from 1 to 128). Exit the
EDIT mode by depressing the EDIT/ENTER button. In exiting the EDIT mode you store the new
information in the SL-880’s Master Controllers memory, transmit the selected patch number
and enable the keyboard to play the new selected PROGRAM CHANGE.

SPLIT

Used to select the ran ge o f k eys to be active for a specifi c ZONE. To set the Key Range or SPLIT
for a ZONE, enter the EDIT M ODE by pr essing ENTER/EDIT, toggle up or down till the li gh t next
to SPLIT is lit. Press the ZONE button for the ZONE you wish to set, now press the desired
lowest key on the KEYBOARD and then the highest key on the KEYBOARD to define the range
of keys to be active in that ZONE. Exiting the EDIT MODE stores the information and all other
edit parameters that were changed. The ranges of keys can be any one note (by hitting the
same key twice) or the entire length of the KEYBOARD by hitting the lowest and then the
highest key. The range can be any contiguous combination of notes in between the highest
and lowest note on the k eyboar d an d completely in d epen d en t an d differ en t for each zone . You
can ovelap any amount of notes from ZONE to ZONE.

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INSTRUCTIONS MANUAL

INSTRUCTIONS MANUAL

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TRANSPOSE

SUSTAIN

WHEELS

Used to TRANSPOSE the range of keys on a ZONE up or down a specific amount of half steps
from middle C. Normally the “4” ZONES have a TRANSPOSE value of “0”. This means that the
middle C corresponds to the central middle “C” on the Grand Staff (providing the stored patch
in your synthesizer module is set to the same value).
Let’s say you want to transpose an d r aise the ton e o f a ZONE by 4 semiton es . Enter EDIT m od e,
select the desired ZONE to be edited , select th e TRANSPOSE functi on usin g th e UP/DOWN k eys .
Now hit 4 on the numerical keypad and exit the EDIT mode. Let’s say you wanted to lower the
tone by an octave. Follow the same procedure as above but instead of hitting (4) on the 10
key keypad, first hit the minus key then enter 12 and exit EDIT mode. You can TRANSPOSE a
maximum of +/- 24 semitones (or two octaves) by entering a positive or negative number up
to 24 (+ or -). Positive values are entered by depressing the desired number keys and negati­ve values are entered by first hitting the (-) key then the desired number key(s).

This FUNCTION allows you to enable or disable the SU STAIN PEDAL for each zone. For an e x am­ple, if you want to disable the SUSTAIN PEDAL for ZONE #3: While in the EDIT MODE press
UP/DOWN again to select the SUSTAIN function. Now that SUSTAIN is selected (LED switched
on), press the ZONE #3 button to select ZONE 3 for editin g and th en OFF key which corr esponds
to “E flat” on the numerical keypad. After that, all the other ZONES will be affected by the
SUSTAIN PEDAL, while ZONE #3 will be excluded. To regain SUSTAIN PEDAL control on the
excluded ZONE, select EDIT, SUSTAIN and then press ON.

An obvious application f or this FUNCTION would be to disable the Sustain Pedal on a ZONE set
to the lower end of the KEYBOARD that is set to a Bass patch. In addition, now use the other
ZONES to play a Piano or Pad/String sound layer, leaving the SUSTAIN PEDAL functional for
them.

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

This FUNCTION allows the user to disable or enable th e two WHEELS for each of th e four ZONES.
Again, as an example, if you wanted to disable the two WHEELS for ZONE #1: enter the EDIT
mode, select ZONE #1 for editing (pressing ZONE #1 button), now use the UP/DOWN buttons
to scroll to the WHEELS parameter selection (making sure its corresponding LED is lit,) then
select the OFF key (corresponding to middle Eb on the keyboard.) Now exit the EDIT mode by
depressing the ENTER/EDIT button. With this edit all the other ZONES will be affected by the
WHEELS while ZONE #1 will be excluded. To reverse this edit follow the same instructions as
above but instead select the ON button on the keyboard (corresponding to middle Db on the
keyboard.)

A possible application for this featur e would be to have a ZONE or ZONES assign ed to the lower
part of the keyboard set to sustaining or “Pad” sounds, with the top ends of these ZONES
ending somewhere in the middle of the keyboard, leaving room for a split above it.
Perhaps you can transpose the lower ZONES up an octave so that you would play chords on
the lower part of the keyboard but sounding in the middle range closer to middle “C”. Leave
the SUSTAIN PEDAL enabled but disable the WHEELS for this ZONE or ZONES.
Now use remaining ZONES to create a layer using the upper, unused, remaining notes on the
keyboard. Assign this ZONE or ZONES to a lead patch or patches, disable the SUSTAIN PEDAL
for these ZONES but leave the WHEELS enabled.
Now you can perform and hold down chords in the lower part of the keyboard using and hol­ding 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 the left to use the PITCH and
MODULATION WHEELS, Release the SUSTAIN pedal to change chords then SUSTAIN and “latch”
again on the next chord and continue playing two handed leads over the new chord.

An application for this mi ght be as follows: Refer to th e patch set up from th e precedin g ex am­ple in the WHEELS section above. In your lead patch in the right hand you may be using
AFTERTOUCH for volume swells or vibrato modulation. While doing this you may find that
undesirable vibrato messages are being sent to your sustaining chords in the lower ZONES in
this patch. Use the AFTERTOUCH DISABLE feature in these lower ZONES to eliminate aftertou­ch messages from your lead performance being sent to your sustaining chords.

SHAPE

This function allows the user to chan ge the dynamic curves which control the velocity respon­ses for each of the four ZONES. This FUNCTION allows you to adapt your Master Keyboard
Controller 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 SHAPE
FUNCTION offers you 8 different preset curves to select from, 4 positive and 4 negative. Each
ZONE can have its own SHAPE setting.

To select a specific SHAPE for a ZONE follow the normal EDIT operation. Enter EDIT mode,
select a desired ZONE for editing by hitting its corresponding ZONE switch. Now select edit
function SHAPE using the UP/DOWN buttons and finally select 1,2,3 or 4 for SHAPE selection.
Selecting a (-) before hitting the number will select an inverted version or NEGATIVE SHAPE
of that curve. By negative shape we mean that the curve has an opposite affect with respect
to the touch. Therefore, a light touch brings about a high response and viceversa.

This SHAPE FUNCTION is useful when you have two different curves (one + and one -) on two
ZONES, as this results in a velocity crossfade effect. As one sound gets lower the other gets
louder. SHAPE (-) 1 corresponds to the inverted SHAPE 1, and so on.

SHAPE no. 1 has a linear response, which is compatible with most of the MIDI devices pre­sent on the market. This is the default setting for each of the (4) ZONES.

SHAPE no. 2 has a less sensitive response, so it requires a stronger touch. This setting is use­ful to gain a wider dyn amic r espon se . T ry this SHAPE on a Pi an o or Electric Pi an o while playing
a ballad or softer piece of music for a more expressive feel to the keyboard. You may also like
this setting while using the SL-880 to program Hi Hats or Drums into a sequencer, it makes it
easier to “pump” a part or vary the accents. It is also useful when the input MIDI device is
too sensitive and you want to lower the relative velocities being transmitted.

SHAPE no. 3 has a more sensitive response than Shape no. 1. You will be able to transmit
higher velocities with a lighter touch. This SHAPE may be useful to you if you are playing a
Rock Piano or Honky-tonk Blues style an d need to be heard over a loud band. This SHAPE sca­les the relative velocities up.

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

VELOCITY

The VELOCITY is similar in function an d appli cati on to th e SHAPE featur e in that th ey ar e both
dynamic response settings for the keyboard and the MIDI velocity information that is tran­smitted. The difference is that the VELOCITY parameter is a GLOBAL setting. While in EDIT
mode when you select VELOCITY, the LED’s for all 4 ZONES light up simultaneously indicating
you are changing a GLOBAL setting covering all four ZONES. While in the previous section you
could select a dynamic curve for each ZONE, now you have 8 different curves that affect the
response of the entire keyboard. This VELOCITY parameter can help adapt your Controller
Keyboard to your MIDI modules and to your specific touch and feel preferences so as to give
you the most expressive control available. To select a VELOCITY curve enter the EDIT mode,
use the UP/DOWN buttons to select VELOCITY, then chose 1 through 8 on the 10 key keypad
to select your VELOCITY setting. Exit EDIT mode to play and audition each of these curves.

AFTERTOUCH

14

10 KEYPAD, (H) AND

This FUNCTION allows you to enable or disable the AFTERTOUCH for each ZONE. For an exam­ple, if you want to disable the AFTERTOUCH for ZONE #3: While in the EDIT mode select ZONE
#3 for editing then pr ess UP/DOWN button s to scr oll to an d select the AFTERTOUCH function..
Then press OFF key which corresponds to E flat on the numerical keypad. After that, all the
other ZONES will be affected by the AFTERTOUCH while ZONE #3 will be excluded. To regain
AFTERTOUCH control on the excluded ZONE, select EDIT, AFTERTOUCH and then press ON.

(-), (ON) AND (OFF)

INSTRUCTIONS MANUAL

As you have most likely figured out by this point the Studio Logic Master Controller SL-880
uses the keyboard itself in EDIT mode as the 10 KEY KEYPAD and data entry source. The keys
in the central octave , startin g at the mi d dle C, are assi gned to specifi c functi on s for d ata entry
in EDIT mode and are clearly labeled as indicated in the diagram below. While you are in the
EDIT 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.

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3

SECTION 5.

Programming the Studio Logic SL-880 Master Controller:

ENGLISH

APPLICATIONS USES AND

USER TIPS

THE ZONES

THE BIG LAYER

These suggestions are designed as a starting point to help stimulate your own creative usage
of these features for your own musical applications and needs.

The ZONES are the heart of the SL-880 Master Controller. Creative use of the ZONE’s parame­ters and the ZONES themselves gives the player new found flexibility and control over their
sounds and modules. We’ve already discussed how to operate the ZONES. Now we apply them
to musical applications. You can use the four (4) ZONES in a number of different ways. Here
are some options and possible applications using the features of this keyboard.

Set all four ZONES to the same range of notes and assign each of them to four similar String
patches or four similar Piano patches. Try two piano patches and two string patches.
Experiment with disabling some of the features on some of the ZONES such as, AFTERTOUCH
or SUSTAIN. While playing one section of a song, leave some of the layers turned off and then
switch them on during th e “Ch orus” by pr essin g th eir ZONE SWITCHES to build dynamics in the
song. On your module try settin g and storin g your PIAN O patches to n ot respon d to MIDI volu­me (CC#7) then using a Volume Pedal on your Master Controller you can bring up the Strings
behind the Piano when needed.

DEFAULT SETTINGS

GENERAL RESET

GENERAL PROGRAMMING

INFORMATION

Creating musically useful Patches and how to do it.
Before we get into some programming examples and tips, the following information is about

the design architecture and how the Studio Logic SL-880 Master Controller operates.

When your Master Controller is switched on for the first time it will transmit the following
default settings:

• ZONE #1 ON, Zones #2,#3,#4 OFF. The four zones are set to transmit on MIDI channels 1
through 4 respectively, their SPLIT is set to the full extension of all 88 keys and all swit­chable commands are in the ON position.

• All ZONES set to SHAPE #1, VELOCITY = 4, TRANSPOSE = 0.

• VOLUME SETTINGS OF 127 if no VOLUME PEDAL is connected. If a VOLUME PEDAL is connec
ted whatever position the pedal is in will be transmitted.

• SUSTAIN OFF. (PEDAL is enabled but in the off position, CC 64 = O)

• PITCH BEND value = 0, MODULATION WHEEL value = 0

To reset the unit to the above factory settings:

• Power up the k eyboard while h oldin g d own all three UP-DOWN-ENTER button s , h old for a few
seconds then release all three buttons.

• When the Master Controller is powered up it always transmits the contents of the program
memory.

• After programming any parameters, the contents of the memory is transmitted when exiting
EDIT mode.

• To transmit the contents of the memory while in play mode press the ENTER/EDIT button
twice.

• Exiting the EDIT mode automatically stores the newly changed parameters, if any, into the
memory.

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

• You can n ot en ter the EDIT M ODE if you ar e h olding d own k eys or pr essin g the sustain ped al.
You must release all pedals and keys before entering into the edit mode.

• When re-entering the EDIT MODE it will be on the parameter setting and ZONE selection as
it was left when previously in the EDIT MODE.

• When EDIT MODE is selected, the keyboard does not sound. To test the programmed varia­tions and play the keyboard exit the EDIT MODE.

THE SPLIT

ANOTHER SPLIT?

A FEW OTHER TIPS

INCLUDED FOR YOUR

CONSIDERATION

Set two ZONES in your left hand for an Electric Pi an o/Pad layer and set two ZONES in the right
hand for a string or horn layer. Use the TRANSPOSE feature to bring these ZONES into a use­ful range.

Try a Bass patch using one ZONE in the lowest two octaves of the keyboard, disable the
SUSTAIN PEDAL and TRANSPOSE up an octave or two to place it in the range of a bass guitar.
Now create a LAYER in the middle range with two ZONES set to a Breathy Synth or Comping
patch, and the last ZONE for the top octave or so on a Brass patch with the SUSTAIN PEDAL
disabled. You can play a bass line with your left hand, sustain chords you’ve played on the
Pad sound 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 TRANSPOSE feature to place your parts in pro­per performance r ang e n o matter wh ere on th e 88 k eys you may place a ZONES upper an d lower
limits. Think of the whole keyboard as 88 keys or triggers available rather than the traditio­nal note placement and tuning as on an Acoustic Piano.

Live and Studio Applications.
Live application: Try using the different SHAPES in each ZONE to manipulate and balance the
elements in your layers.

Studio application: Connect your MIDI out from your Master Controller to the MIDI in on your
Sequencer and the MIDI out of your sequencer to your Modules. Set your sequencer input fil­ter to Direct Echo or the appropriate setting to pass all information through (non channeli­ze). If you come up with an interesting layered patch set your sequencer to multi-record and
hit edit enter twice while your sequencer is recording to record your patch changes to the
sequencer and then continue and play while recording a performance for all your layers. For
another section of your track you can do the same with another patch and record and auto­mate your patch changes along with your performance. Using the layers on the SL-880 you
may come up with patches and parts you might not have conceived programming the tradi­tional one track at a time way.
Live application: Use the inverted or (-) SHAPES to experiment with velocity crossfades.
Live application: Set a ZONE to only one note. When editing SPLIT parameter in setting up
ZONE hit the same note twi ce at eith er the lowest note or highest note on the keyboard to set
a range of (1) one note for that ZONE. Assign that Zone to a MIDI channel that goes to your
sampler to trigger a Loop or trigger a Sound FX. Use the TRANSPOSE feature to bring the sam­ple up or down to a useful range for triggering. If the (+) or (-) 24 steps of transposition is
not enough, assign the Sample trigger note to an appropriate one in the sampler and save it

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INSTRUCTIONS MANUAL

INSTRUCTIONS MANUAL

17

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