Timbrality
U")8#&_%FI(%#&:P;&$5#&DE0<&8()&-.#%($#&#"$5#%&F-)-RFK%(7H&I5"85&F#()2&"$&.7(32&(&2")/7#&.($85H&
-%&F@7RRFK%(7H&I5"85&F#()2&"$&.7(32&F@7R.7#&.($85#2&($&$5#&2(F#&RF#P&j3&*#C(@7$&"$&%@)2&")&
F-)-RFK%(7&F-*#P
Entering multitimbral mode
d-@&8()&(**&.($85#2&$-&$5#&F"a&@2")/&U5"S&x&.%#2#$&K@\-)2&<H&:H&nH&()*&GP&15#&2(F.7#&*"2.7(3&I"77&
(@$-F(R8(773&K#&2.7"$&")&G&.(%$2H&")*"8(R)/&3-@[%#&)-I&%@))")/&F@7RRFK%(7&F-*#P&15#&)#I&.($85&
8()&K#&"FF#*"($#73&5#(%*P
d-@&8()&)-I&J@2$&2I"$85&.($85#2&@2")/&$5#&.%#2#$&K@\-)2H&8-)$%-7&$5#&.($85&.(%(F#$#%2&7"B#&3-@[%#&
@2#*&$-P&15#&B)-K2&85()/#&$5#&.($85&.(%(F#$#%2&-C&$5#&8@%%#)$73&5"/57"/5$#*&9LC-8@2#*N>&.(%$P&15#&
7(2$&.(%$&(8R'($#*&"2&*"2.7(3#*&")&(&7"/5$#%&25(*#&-C&/%#3P
Focus on a part
U")8#&_%FI(%#&:P<H&3-@&8()&@2#&$5#&U#7#8$&B)-K&$-&28%-77&()*&C-8@2&-)&(&.(%$&-C&3-@%&85--2")/P
!%#22")/&$5"2&K@\-)&8-FK")(R-)&9U5"S&x&.%#2#$&<H&:H&nH&-%&G>&(/(")&-)&()&(8R'#&.(%$&I"77&%#F-'#&
$5#&.%#2#$&C%-F&$5#&.(%$P&V5#)&-)73&(&2")/7#&.($85&"2&7#SH&$5#&*"2.7(3&/-#2&K(8B&$-&F-)-RFK%(7&
F-*#H&*"2.7(3")/&-)73&(&2")/7#&2(F.7#P
ef16b&15#&2(F#&.(%$&8())-$&K#&.%#2#)$&")&F@7R.7#&.(%$2P&15#&DE0<&I"77&%#C@2#&$-&(**&$5#&2(F#&
.($85&$I"8#P&U")8#&_%FI(%#&:Pn&"$&I"77&25-I&$5"2&I"$5&(&.-.@.P
MIDI configuration
!($85#2&8()&%#2.-)*&$-&*"Z#%#)$&+XAX&85())#72H&()*&8()&K#&2#)2"R'#&$-&.7(3&F-*#P&15"2&8()&K#&
*-)#&")&$5#&.($85&F#)@P&V5"85&F(B#2&F@7RRFK%(7&F-*#&2-&w#a"K7#P&15"2&I(3&3-@&8()&#'#)&%#8-%*
()*&/%()@7($#&(&7"'#&2(F.7#&-)&-)#&.(%$&()*&.7(3&85-%*2&()*&2-7-2&-)&-$5#%&.($85#2H&(77&($&$5#&
2(F#&RF#P
ef16b&X)8%#(2")/&$5#&)@FK#%&-C&.(%$2&I"77&3"#7*&5"/5#%&.-73.5-)3P&E#2$%"8R-)2&$-&.-73.5-)3&(..73&
()*&(%#&-@$7")#*&")&$5#&)#a$&2#8R-)P
60