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nord Stage 3 - Keyboard Split Settings; Choosing a Split Position; Split Width Settings; Keyboard Zones Editor

nord Stage 3
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6. PROGRAM | 27
KEYBOARD SPLIT SETTINGS
After a split has been activated, use the ZONE SELECT buttons (accessed
with SHIFT) beneath each instrument’s (or the Extern’s) Value Dial to as-
sign an instrument to one or more zones. The four Zone LEDs beneath
the instrument’s Level Rotary will indicate the assignment.
CHOOSING A SPLIT POSITION
The Keyboard Split position page allows for assigning each of the three
split points a keyboard split position, or for deactivating a split point by
setting it to Off. There are 10 keyboard split positions to choose from,
ranging from F2 to C7. To adjust a split point, give it focus by pressing
its corresponding soft button (Low, Mid or High), corresponding to the
three first PROGRAM buttons, and turn the dial.
LEDs are provided above the keyboard, indicating which split positions
are active at all times.
SPLIT WIDTH SETTINGS
Normally the transition between two keyboard zones is “straight”, in
that there is no overlap between the sounds selected for each zone. By
adjusting the Split Width setting for a split point, the sounds can instead
be mixed or “cross-faded” across the split point, producing a smoother
transition between the sounds.
To adjust Split Width, keep the ON/SET button held down and press the
4 soft button, corresponding to the PROGRAM 4 button. This will bring
up Keyboard Split width page, where the width or “cross-fade” range of
each split point can be set.
Select the split point to adjust by pressing its soft button (Low, Mid or
High) and turn the dial to change its setting.
Off: With the Off setting there will be no cross-fade between sounds at
the split point.
Sml: The Sml setting represents a width of 12 semitones, meaning that
the sound below the split point will reach 6 notes above it, after which it
will be completely faded out. Sounds above the split point will similarily
reach 6 notes below it.
Lrg: The Lrg setting provides a width of 24 semitones, 12 below the
split point and 12 above it.
M Both panels use the same KB Zone configuration. Instrument
assignments are individual for each panel.
KEYBOARD ZONES EDITOR
Thee KB ZONES editor allows for a clear overview and easy set-up of
keyboard zones and how sound engines are assigned to them. A set-up
using the Organ (O), Piano (P), Synth (S) and Extern (E) sections on Pan-
el A, and the Piano section of Panel B may look like the example below.
The position and length of each bar indicates which keyboard zone(s)
that section has been assigned to.
To adjust which zones a sound engine (or the Extern section) is assigned
to, the ON/OFF buttons for each section and the Zone soft buttons are
used in combination. As an example here is how to set up the Piano in
Panel B so that it covers zones 2 and 3:
1 Make sure the Piano section on Panel B is turned on.
2 Press SHIFT + KB ZONES (Program 5 button) to open the editor
window.
3 The display will indicate which zones the Piano sound is currently
assigned to. Unless a KB Split has been set up previously, this will
most likely be all four zones (the entire keyboard).
4 Press and hold the Piano ON/OFF button on Panel B and then
press the Zone 2 and 3 soft buttons (Program 2 and 3 buttons).
The Piano sound will now be assigned to Zone 2 and 3. Using our
previous example, this is what that will look like:
You could also turn the Program dial, while holding down the
Piano On/Off button. This will scroll through all the possible Zone
combinations.
Depending on the Zone combination selected, the necessary Split
points will be assigned automatically. Their exact position and width
needs to be set from the SPLIT SET page however (see the previous
section).
Setting up the Organ, Synth and Extern sections is done in the same
way.
STORE
The STORE button is used for storing an edited
program or song to a location in the program banks.
Storing a program or song will overwrite the existing
data in the selected memory location. For how to store
Synth Presets, see page 34.

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