Owner’s Manual SD1
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Trio Octa 1: This maintains the note sung in the centre, with the keynote of the chord always in the bass. If the Vocalize Lead is active (On),
the note sung is doubled.
Trio Octa 2: This performs a third above the note sung and doubles the note sung in the higher octave. If the Vocalize Lead is active (On),
the note sung is doubled.
Trio Octa 3: This performs a third above and the unison with the note sung and doubles the note sung in the lower octave. If the Vocalize
Lead is active (On), the note sung is doubled
Trio Octa 4: This performs a fifth below the note sung and maintains the fundamental note of the chord in the bass. If the Vocalize Lead is
active (On), the note sung is doubled
Duet Open: This performs only the fifth above the note sung. If the Vocalize Lead is active (On), the note sung is doubled.
Duet Down: This performs the third below the note sung, transposed by one octave downward (lower tenth). If the note sung is the keynote
of the chord, the Vocalizer creates the third in the bass, belonging to the lower octave with regard to the note sung. If the note
sung is the third of the cord, the Vocalizer creates the keynote in the bass, belonging to the lower octave. If the note sung is
the fifth of the chord, the Vocalizer creates the third in the bass, but still belonging to the same octave as the note sung. If the
Vocalize Lead is active (On), the note sung is doubled.
Duet Up: Performs the third above the note sung. If the Vocalize Lead is active (On), the note sung is doubled.
3 Open 1: Performs the higher third as well as the lower fifth and octave, compared to the note sung.
3 Open 2: Performs the higher third, as well as the lower third and fifth compared to the note sung.
AUTOMATIC CHORD2
In this mode the Vocalizer always uses all three voices available, so the Vocalize Lead function cannot be activated. The voices generated by
the Vocalizer depend on the chord recognised on the keyboard area to the left of the split point, independently from the position of its inver-
sion, and on the note sung. If the note sung is extraneous to the chord, this note will not be reproduced by the Vocalizer but will be present as
a direct audio signal. The Full algorithms are a reproduction of the recognised chord. The Jazz algorithms are more sophisticated harmonisa-
tions to model the chords with sixths and sevenths.
The following algorithms are available for Automatic Chord 2:
Full Trio 1: This performs the unison and two notes of the chord below the note sung.
Full Trio 2: The harmony presents an interval above the note sung.
Full Trio 3: All the voices are generated above the note sung.
Jazz Trio 1: The harmonisation follows a complex table, according to which a major chord is interpreted like a sixth chord. Similar to Full
Trio 1, the generated notes remain below the note sung.
Jazz Trio 2: Uses the same harmonisation table as the previous one, but similar to Full Trio 2 the harmony presents an interval above the
note sung.
Jazz Trio 3: Uses the same harmonisation table as the previous Jazz algorithms, but similar to Full Trio 3 all the voices are generated above
the note sung.
KEYBOARD HARMONY
In this operating mode the note sung does not influence the harmonisation, which depends only on the chord played. The complete keyboard
of the SD1 is enabled to recognise the chord and the single inversions, producing different harmonisation.
The algorithms available for Keyboard Harmony are:
Harmony Right:
The chord is recognised on the keyboard area to the right of the split point, with all its inversions, regardless of the note sung.
Harmony Left: The chord is recognised on the keyboard area to the left of the split point, with all its inversions, regardless of the note sung.
Full 1: Similar to Full Trio 1 in Automatic Chord 2 mode, with the difference that instead of the note sung a single note on the keyboard
area to the right of the split point is taken as reference. The chord, instead, is recognised on the keyboard area to the left of
the split point, regardless of the inversion of the note played to the right of the split point.
Full 2: Similar to Full 1, but with the voices generated above the note played to the right of the keyboard split point.
Full 3: Similar to Full 2, but with all the voices generated above the note played to the right of the keyboard split point.
Jazz 1: Applies the harmonisation table used for Jazz Trio 1 of Automatic Chord 2, with the difference that the inversions of the chord
played on the keyboard area to the left of the split point are determined by the note played to the right of the split point. The
voices generated remain below the note played to which the unison note is added.
Jazz 2: Similar to Jazz 1 with just one voice generated above the note played on the keyboard area to the right of the split point.
Jazz 3: Similar to Jazz 2 with all voices generated above the note played on the keyboard area to the right of the split point.
MIDI Mode: This is a special mode allowing the musician to control the voices generated by the Vocalizer via the MIDI data, no matter if
these come from a track of a Midifile being reproduced or from a MIDI In 2 input.
When using a Midifile, if the track dedicated to the Vocalizer has been correctly programmed, it is recommended to disable the F4 Octave func-
tion, in particular to avoid setting it on Automatic. In a Midifile it is sufficient to enter Control Change 16 with value 0 in the desired track to des-
tine it to the Vocalizer control. If the Midifile is reproduced by an external sequencer, it is recommended to use the MIDI In 1 input. Vice-versa,
in case of control by a MIDI accordion or by another keyboard, you need to select MIDI In 2. If the Vocalizer track is to work with the internal
sequencer, access the GM menu, select the destination track and reproduce a couple of initial beats. With Part Mode you enable the chosen part
selecting Vocalize and confirming the operation pressing the ENTER key.
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