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Full text of "Korg DW6000 manual"



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PROGRAMMABLE 

DIGITAL WAVEFORM 

SYNTHESIZER 

OWNER'S MANUAL 




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KORG 

PROGRAMMABLE DIGrXAL WAVEFORM SYNTHESIZER 




Thank you and congratulations on your choice of 
the Korg DW-6000. To obtain optimum perfomi- 
ance from this advanced digital synthesizer, 
please read this manual carefully before using. 



I Has two Digital Oscillators per voice. Each 
.oscillator has eight digitally encoded wave- 
forms stored in two 256 l<ilobit ROM chips. 
Unlike the simple sawtooth and pulse waver 
forms of other synths, the DW-6000's w^vr' 
forms are digitally encoded samples of ictu- 
al acoustic instruments, to enable mora con- 
vincing, realistic sound synthesis. 



A new kind of 6-voice programmable poly- 
phonic synthesizer featuring an advanced 
Digital Waveform Generator System (DWGS) 
for sonic richness, plus powerful VCF, VGA 
and EG modules, for excellent control and 
flexibility. 



'The DW-6000 features analog processing via 
VCF and VGA modules, for ease of operati^ 
You enjoy the uniqueness of digital sou™ 
plus the fat sounds and ease of use of analog 
control. ; 




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FEATURES OF THE KORG DW-6000 



More flexible dynamic controi, witli two 6- 
'parameter "ADBSSR" digital envelope gener- 
ators per voice, one each for the VGA and 
VCF, respectively. 



7Programnnable Key assign nnode lets you se- 
lect unison and polyphonic modes so you 
can use the DW-6000 as a versatile mono- 
phonic soloing or polyphonic synthesizer. 



' 64 different programs can be stored and ac- 
^cessed by fingertip control. A footswitch can 
be used to advance the program number, for 
on-stage convenience. 14 Rapid second 
tape interface permits unlimited storage and 
rapid reloading of program libraries. 



Polyphonic Portamento, controllable by foot 
(switch. Its setting can be stored for each pro- 
grammed sound. 



'MIDI equipped for full interfacing with other 
MIDI equipped devices, including synthesiz- 
ers, sequencers, remote (keyboards, expander 
modules, rhythm machines, and personal 
computers. 



Noise generator Included for special effects. 



i Built-in stereo chorus for spacid'us stereo re- 
production. 



IMPORTANT ^AFFTY PRFrAIITinN^ ^ 

Please read and observe the following "J^^^^^'^^,, ,. ^ , ,,. ., . ,, 

^ To avoid malfunction do not use this unit in the 

precautions to assure reliability and safety. fonowmg locations tor long periods of time: 

• In direct sunligfit. 

•Exposed to extremes of temperature or humidity. 

• In sandy or dusty places. 

■ POWER SUPPLY 

• Use only with rated AC voltage. If you will be using 
this unit in a country having a different voltage, be 
sure to obtain the proper transformer to convert to 
rated voltage. 

•To help prevent noise and degraded sound quality, 
avoid using the same outlet as other equipment or 
branching off extension cords shared by other 
equipment. 

■ INPUT/OUTPUT JACKS AND CONNECTIO 
CORDS 

Be sure to use standard "guitar" cables with phone 
plugs, such as the cable supplied with this instru- 
ment, for input and output connections to the rear 
panel of the DW-6000. Never insert any other l<ind of 
plug into these jacks. 

■ PREVENTING ELECTRICAL INTERFERENCE 

As a microprocessor based device, the DW-6000 is 
extremely flexible in operation, yet may possibly 
perform erratically if exposed to electrical in- 
terference from other electrical devices and fluores- 
cent lamps. Avoid operating the DW-6000 near pos- 
sible sources of interference. If something seems to 
be wrong, try turning off the power, waiting about 
ten seconds, the turning it back on. This resets the 
computer circuits to their initial state so perform- 
ance should return to normal. 

■ HANDLE GENTLY 

Knobs and switches are designed to provide pc^*^ 
five operation with a light touch. Excessive force 
may cause damage. 

■ MAINTENANCE 

Wipe the exterior with a soft, dry cloth. Never use 
paint thinner, benzene or other solvents. 

■ KEEP THIS MANUAL 

Store this manual in a safe place for future refer- 
ence. 

■ MEMORY BACKUP 

•To protect your programmed memory contents, 
the DW-6000 utilizes a built-in rechargeable back- 
up battery power supply. Battery life is rated at five 
years or more, so replacement is recommended 
after five years. Contact your Korg dealer or autho- 
rized service center at that time. 

• For maximum security, save your sound programs 
on tape, using the built-in tape interface systap^ 
Then if memory contents are accidentally eras"-- 
or altered, you can simply load the data back into 
DW-6000 internal memory in seconds! 



CONTENTS 




• FRONT PANEL LAYOUT 


6 


• REAR PANEL LAYOUT 


8 


• DW-6000 OVERVIEW 


9 


1 BASIC SETUP 


10 



2 Ctrl POTIMO DDOODARAQ This explains how to select any of th© 64 different sounds stored in the ,. 

OC.LC.V I IIHUI r nWallMIVIO OW-eOOO's memory. The PROGRAMMER section on the front panel is used 11 

_ n — . for this purpose. 

■ Features & Functions 1 1 

■ About Program Numbers 1 1 

■ How to Select a Program Number 12 

3 CREATING SOUNDS mow loma^n^w sounds 13 

■ Features & Control Functions 1 3 
■About the DW-6000'5 "Digital Access Control System" 1 3 

'Ifet ■ The DW-6000 Approach to Sound Synthesis 1 4 

^^ ■ How to Make New Sounds 1 4 

■ Parameters and Values 1 5 

• 0SC1 15 

• 0SC2 16 

• NOISE 16 

• VCF 17 

• CHORUS 18 

• VCFEG,VCAEG 19 

• MG 20 

• BEND 21 

• PORTAIVIENTO 21 

• MIDI 22 

4 WRITING PROGRAMS TO MEMORY 23 

■ Features & Functions 23 

■ Which Sections' Settings Can Be Stored in Memory? 23 

■ Program Write Procedure 24 

■ Repositioning Sounds in Memory 24 

5 PERFORMANCE FEATURES 25 

6 TAPE INTERFACE ~ ~~ ^ 

■ Saving Program Data on Tape 29 

■ A Word About Data Tones 29 
■VERIFY Procedure 30 

■ LOAD Procedure 31 



7 MIDI 33 

■How MIDI Worlds 33 

■ DW-eOOO M IDI Features 36 



SPECIFICATIONS/OPTIONS 40 



MIDI IMPLEMENTATION 42 

DATA DUMP REFERENCE ~^ 47 



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FRONT PANEL LAYOUT 



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REAR PANEL LAYOUT 






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MIDI equippea syn- 
thesizers, sequencers, or 
computers. 




Computer 



Tape decks, radio- 
cassette recorders, or 
tape recorders. 



(WEth recording and 
playback functions) 



Footswitch 




m . 

{:j_GND type footswitch) 



Mixers, arnplifiers, or 
stereo systems. 







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DW-6000 OVERVIEW 



The DW-6000 uses a new digital method of sound generation called "Digital 
Wavefornn Generator System" or DWGS. Korg developed DWGS to provide a higher 
level of realism and richness together with the ease of operation of conventional 
analog processing. 



What is DWGS? 

Conventional synthesizers use VCOs or DCOs whicii pro- 
duce simple waveforms such as the typical sawtooth, 
triangle, pulse, square, etc., found on normal synthesiz- 
ers. However, to obtain the richness of real instrument 
sounds, you need a more complex harmonic structure 
than these conventional waveforms provide. Korg's 
-S^GS uses eight digitally encoded waveforms having 
we complex harmonic structures required for profes- 
sional music. These waveforms are based on actual 
samples of real musical instrument sounds (violin, 
acoustic piano, electric piano, saxophone, etc.), 
recreated by additive harmonic synthesis. 
The DW-6000 uses two DWGS oscillators per voice so 
you can mix different waveforms in variable proportions 
to create even more complex and unusual sounds. 
What's more, the DW-6000 uses analog VGA and VCF 
modules so you retain the familiar operation of conven- 
tional synths. You get fast, predictable results without 
the programming and control difficulties of "digital" 
systems. On the DW-6000, synthesis is straightforward, 
following basic synthesizer theory of pitch, timbre, and 
volume parameters. 



DW-6000 
Basic Functions 

This manual covers the followmg basic functions. 



$oiin£l Creation 

How to create and alter 

sound. 



Writing Proflfams 

How to store sounds in 
the DW-6000's program 
memory. 



Selecting Programs 

How to call up your 
stored sounds. 



Peirformance Effects 

How to use effects 
such as Pitch bend, 
modulation and porta- 
mento wtiile playing. 



r 



Oscillator Section (Digital) 







(*-,i 



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[Wimiiiiii I mI I 



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OUT 
PUT 



1. BASIC SETUP 



Before using the DW-6000, fallow these steps. 



[IIMake sure the power switch is off. 
(The power switch is on the left side of the rear panel, 
as seen from the rear.) 



r-' 



[•Ul POWER 



mPlug the AC cord into a wall socket. 




Attached power cord 



Rear view 



13] Turn down amplifier volume and connect the DW-6000 
OUTPUT jack{s) to the amplifier or mixer input jack(s). 
Set the LOW/HIGH switch according to the kind of amp 
or mixer input used. 



• ID • @@© @» 



7 



To amp or mixer 
Type of input 



HFor operation without an amp or mixer, plug standard 
stereo headphone into the PHONES jack on the rear 
panel. 



Use L/MONO for 
connection to a sin^f~~~^. 
gle amp or mixen 
channel. 



Switch position 



Audio amp (AUX IN) 


HIGH 


Guitar amp (INPUT) 


LOW 


Keyboard amp (INPUT) 


HIGH or LOW 


Mixing console 


HIGH or LOW 



OJ • Cj 9 



TT 



7 



stereo headphone 



[5] Be sure that the rear panel TAPE switch is set to the 
DISABLE position. 

(If at ENABLE, you will not get any sound when you play 
the keyboard.) 



TAPE 

ENABLE DISABLE 



1 r 



r 



[6] Turn on the power after everything is properly con- 
nected. ) Be sure amplifier volume is down.) 



Um POWER 



n 



[7| Adjust amp volume. Adjust volume control on DW-6000 
front panel. 



-r^ 



10 



2. SELECTING PROGRAMS 



i^is explains how to select any of the 64 different sounds stored in the DW-6000's 
nnemory. The PROGRAIVIMER section on the front panel is used for this purpose. 



Features & Functions 



4 PROGRAM NO. display 




5 6 V S 






# 



1 2 3 4 



y 



1 PROGRAM 
switch 



NUMBER 
keys 



3 BANK 
HOLD switcli 



f PHOGRAM swmSH 



When this switch is activated (and its LED indicator is 
on), different programs may be selected using the 
NUMBER keys. 



1 NUMBER keys 



Press these l<eys to specify program numbers, which 
range HRs from 11 through 88. Programs are arranged 
in eight "banl^s," signified by the left digit, with eight 
programs per bank, signified by the right digit; 8x8 = 
64 total programs. 



Bi^NK MOLD switch 



This holds the left "bank" digit so that you can use 
single number keys to quickly access any of the eight 
program numbers within a single bank. 



:t PaqGRAM NQ. display 



Shows selected program number. 



About Program Numbers 



The DW-6000 can be store up to 
64 different sound programs in its 
internal memory. Each of these 
\;0)grams has a number from 11 
through 88 (the digits and 9 are 
not used). When you want to store 
a sound, you must assign it a pro- 
gram number. When you want to 
recall that sound, you select it by 
the same program number. 



I Every so und gets a program number 



Writing programs 



Sound program memory (64 total) 




You select the program number of the sound that you 
want to play or edit. 



11 



S SELECTING program; 



How to Select a Program Number 



»>■ 



When you first turn on the DW-6000's power, the display will appear as shown here and the PROGRAM LED indicator 
will be on. 



^rri 



■ J:V^:T1'i;!.l 



r 



l:f.1:f:T,'.U;jj;!.l 

-LED is on 




PROGRAM PARAMETER 



^4-J 



VALUE will . display the 
programmed value for 
parameter / / of program 



Now if you play the keyboard you will hear the sound of 
program number \ '. Adjust the volume and see what it 
sounds like. 
To select other programs: 



-^ 



mPress the PROGRAM switch (if not already on). An LED 
will light above the switch. 



B- 



LED is on 



[U Press the NUMBER keys to seiect any program number ( / ,' ~8'3 ) . 
Example: To select program numberi?^... 



Press 




Display 



A dash appears in the right 
hand digit until you select the 
second digit. (This means it is 
waiting for you to select the 
second digit.) 



@ 



Press 




liiii'Wiriii'jii 



BANK HOLD 

If you turn on the BANK HOLD switch the left digit (bank number) will be "locked." Depressing NUMBER keys will nov^ 
only change the right digit "program number." This is the fastest way to select different programs within a bank. 



3] Pressing the BANK HOLD switch preserves the left 
digit of the selected program number. 




E^m 






IJ=l.!r1:M,',IJ[.l 



I Now press BANK HOLD. 

'LED dot lights. 
An LED dot lights up to in- 
dicate that the bank num- 
ber (2) will not change. 



BAWKHOLD 

□ 



^Now if you press any of the NUMBER keys, only the 
right hand digit will change. 



i-.].r.W:T.v.i?i.i 



Only this digit changes when you press the 
number keys. 



OWhen you want to change to a program number in a dif- 
ferent bank, press the BANK HOLD switch again to 
cancel BANK HOLD. You can now enter both digits us- 
ing the NUMBER keys. 



3ANK HOLD 




rn 


^^ 


' - -'-■! 


K^BjI 







LkiiMiiim 



The LED dot goes out 
when BANK HOLD is off._^ 



3. CREATING SOUNDS 

to Make New Sounds 



Features & Control Functions 



8 PARAMETER 

NUMBER display 9 VALUE display 



1 KEY ASSIGN section 




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5 6 7 8 



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PROGRAMMER 



2 EDIT 

SLIDER 



3/4 DOWN/UP 
keys 



5 PARAMETER 6 NUMBER Keys 7 BANK 
switch HOLD 

switch 



;1 KEY ASSIiiNlsectlon 



The DW-6000 offers the user a choice of three dif- 
ferent ways to assign voices from the keyboard (call- 
ed "Key Assign Modes"): P0LY1 is the "standard" 
polyphonic keyboard mode, for playing chords and 
melody lines. 

P0LY2 is intended particularly for portamento chord 
work. UNISON combines all voices and one note, for 
rich and fat soloing sounds. 



t£DlTSLlOER 



Permits rapid and easy adjustment of parameter 
VALUES {aspects of the sound) over a wide range. 



3tt,DQWMUPI^m 



Press to change parameter values up or down a step 
at a time. 



5 PARAMETER switch 



When this switch is on, you can create and modify 



sounds by selecting different parameters {using the 
NUMBER keys) and varying their VALUEs (using the 
EDIT slider and/or DOWN/UP buttons). 



€ NUMBER Keys 



These keys are used to select diffeent Parameter 
Numbers (when the parameter switch is on). 



ISflANK HOLD switch 



This holds the Parameter Number's left digit, so that 
the NUMBER keys can be used to select only the right 
digit. This can speed up Parameter Number selection 
when you are working on several parameters within 
the same "family" (that is, having the same left digit). 



8 PARAMETER NUMBER display 



Shows selected parameter number. 

Shows current VALUE for selected parameter. 



^bout the DW-6000's "Digital Access Control System" 



The various aspects of a sound, such as its pitch, timbre 
and variations in volume, are called "Parameters." To 
create or change a sound, you adjust the values of each 
of these parameters. 

On the DW-6000, there are 34 parameters per program; 
each parameter has a number, and each parameter's 
value is also represented by a number. These numbers 
are shown on the front panel display. To create or 
change a sound, you select parameters and change (or 

[—•Using the Parameter Index 



"Edit") their values. 

When the DW-6000 stores a sound in memory or calls it 
back from memory, it is actually storing and recalling the 
values you have given it for the sound's various parame- 
ters. All possible parameters and values are listed in the 
"parameter index" chart on the right side of the DW-6000 
front panel. To create or change a sound, you first use 
the number keys to select a parameter number, then you 
use the edit slider and up/down keys to change its value. 



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Example: 

Changing the 0SC1 (oscillator 1) waveform. 
Parameters related to 0SC1 Here we have a choice of 
values from / to S- Parameter number IE' . 



ES3^F~ 



13 



3! 



First select parameter number ;^ (using the number keys 
with the parameter switch turned on). Then adjust the 
value (using the edit slider or up/down keys). 



13 



3 CREATING SOUNDS 



The DW-6000 Approach to Sound Synthesis 



To create new sounds on the DW-6000, you change or edit 
old programs. You do not start with a "blank slate". There 
are 64 sounds already in memory, if you have a new sound 
in mind, the easiest approach is to first select a sound that 
resembles the sound you want to create. Then "edit" 
{change the selected sound until you get the sound you 
want, if you don't find a similar sound, it doesn't matter; 
start with any sound you like.) 

After you finish editting your sound, you store it into 
memory. This is called "writing a program to memory". At 
this point you can give it a different program number 
{thereby preserving the sound you started with) or the 



same program (thereby erasing or "overwriting" the old 
sound). 



Selecting a 
Program: Find- 
ing a current 

programmed 
sound that re- 
sembles the 
new one you 
..wish to create. 



Creating 

Sounds (Edit- 
ing): Changing 
the values of 
the parameters 
•that ne^ to be 
changed to ob- 
tain the desired 
sound. 


— 


Wriliflgthe 
Program to 
Memory: Giving 

the sound a 
program num- 
ber and storing 
it in meroory. 



How to Make New Sounds 



HlWtth the PROGRAM switch on, use the number keys to select programs and play the keyboard to find out what the^ 
sound like. Stop when you find one that resembles the new sound that you want to create. 



ElPress the PARAMETER switch so that its LED lights up. 



y 



■LED is on 



[31 Refer to the parameter index chart to find the number of the parameter that you want to change. Press the number 
keys to select the desired parameter. -' 

Example: Selecting VCF CUTOFF frequency This is parameter number 3 ! , so 



Press 



y 



A dash in the 
right hand digit 
indicates that it 
is waiting for 
^ismasxaBByour next input. 
Display of PARAMETER NUMBER 




Press 





Ei miaa 



BUse the Edit slider or 
change the parameter's 
value. Suggestion: Use 
the Edit slider to make 
large changes in value, 
then use the Up/Down 
keys to "fine tune" the 
sound. (VALUE display) 



Up/Down buttons 





The LED dot in the corner of the VALUE 
display indicates that the value of the cur- 
rently selected parameter has been changedji^-. 
The dot goes out if you return to its origina 
value. 



LED dot lights. 



Repeat steps m and S for each parameter that needs to be changed. 



[6] If you want to return to the original value of a 
parameter, just press both Up/Down keys at the same 
time. 



^^ 



Press simultaneously. 



BANK HOLD 

Often you will want to work on several parameters within 
the same "family", that is, having the same left digit. In 
such cases, turn on the BANK HOLD switch. This locks 
the left digit so that the NUMBER keys can be used to 
change the right digit only. 
Example: 

Select parameter number3 / (VCF cut off frequency), then 
press BANK HOLD. 




IJJifJ.'JJ.J^;M;!i 



The left digit is locked to. "3.' 



LED dot tights. 




Press 



lJ:1;»,'MJJ i | : 



Q 



Now you can quickly access any of the parameters that 
pertain to the VCF section, (Resonance, EG Intensity, etc.) 
To release BANK HOLD, press the switch again. You ma^ 
then select both digits of a parameter number. 



^To store your new sounds in memory, follow the operation procedures described in 'WRITING PROGRAMS TO MEMORY' 
on page 23. 



3 CREATING SOUNDS 



Parameters and Values 

This section describes each module (such as Oscillator 1, VCF, etc.), its parameters 
(such as Octave, Waveform, etc.) and the results of using different values within 
each parameter. 



OSCl 



I* ! I'lliff " Ut,tA^;b 

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' S \ tj 



n ^ 



3 1 



Parametei^ in this module determine tiie basic pitoh 
range (OCTAVE) and timbre (WAVEFORIVI). 



WAVEFORM 



OCTAVE 

Here you select the basic pitch range of oscillator 1. The 
higher the value, the lower the pitch. You have three 
choices which correspond to IB' (16 foot), S' , 4'. 



VALUE 


OCTAVE 


H' 


4' (high) 


8* 


8' {middle) 


IB' 


16' (low) 



I LEVEL 

Sets output level (volume) of oscillator 1. This is useful 
for adjusting overall volume to match other programs, 
and for balancing OSCl with 0SC2 and/or noise as 
desired. 



VALUE 


OUTPUT LEVEL 


n 
u 


No sound from 
0SC1 


I 


t 


31 


Maximum volume 



The choice of waveform will have more effect on the tonal 
characteristics (timbre or tone color) of the sound than will 
any other parameter. You have eight basic waveforms to 
choose from. 



< 
> 

r- 
c 
m 


WAVEFORM 


SPECTRUM 


INSTRU- 
MENT 
FAMILY 


1 


L_ 




Brass & 
Strings 


II 


^ 


1 


1 II 1 1 


B 






Violin 




^/ 


III 


.11,1 


3 


K A. 




Acoustic 
Piano 




Nl 


! 1 1 




II liiii" 




4 


/v. 




Electric 
Piano 


1 


■^n/ 






II, 




s 


Vvy ,., 




Synth-Bass 




''>AI 


ill 




nil 


s 


(^ . 




Saxophone 




v^ 


1 


ll 1 1. mill 1 1 1 


-I 


n. -. 






Clavl 






'■■^ 










8 


VArJlflAr 






Bell & Gong 






W"Y^ 











m 



%Jy^Irfltom^ilCM 



Bi^V" 



OCTAVE 

8' H' 



cc 



P3 



JNTERVAL 



This is yoyr second sound soorce, designed to be us- 
ed together with 0SC1 to create thicker, richer and 
more comjiriex sounds. 



KiniQP 



jESdJIV ihteL 

Provides white noise {a mixture of all frequencies) as a 
separate sound source. This is useful lor adding 
"breath noise" to simulated acoustic instrument 
sounds, and for creating special effect sounds such 
as wind, surf, gunshot sounds, etc. 



i OCTAVE 

As with 0SC1, you have a choice of three pitch ranges: V, 
8', and IS'. 

^O WAVEFORM 

Once again, you have eight waveforms to choose from. 

V 

I LEVEL 
Adjusts output level as in 0SC1 



MH LEVEL 
Adjusts noise volume. 



VALUE 


LEVEL 


n 
u 


No noise 


t 


t 


3 1 


Maximum 



fT) 



INTERVAL 

This lets you transpose or offset the pitch of 0SC2 so that 
it sounds a constant interval above 0SC1. Selectable in- 
tervals are: Unison (same as 0SC1), a minor 3rd, major 3rd, 

perfect 4th, or perfect 5th above. 



VALUE 


INTERVAL 


( 


Unison 




IVlinor 3rd 




IMajor 3rd 


i-l 


Perfect 4th 


c 


Perfect 5th 



*You will get different in- 
tervals (from those 
shown above) depending 
on the OCTAVE values 
for the iwo oscillators. 



m 



QBI DETUNE 

For fine pitch adjustment of 0SC2 relative to 0SC1. The 
higher the value, the greater the pitch difference between 
the two oscillators. Detuning can help achieve a fatter, 
more animated sound. 



VALUE 


PITCH DIFFERENCE 


(J 
I 

s 


Minimum (no detuning— same pitch) 

t 

Maximum {about 25 cents) 



3 CREATING SOUNDS 



• 



VCF 









22 



3H 



POLARITY 



IS 



This DW-SOOOOs six voEtage controHed filters (one per 
voice) remove or emphasize portions of the basic 
waveform liarmonics. This affects the timbre of the 
0SC1, 0SC2, and NOISE waveforms. These VCF are 



ioW"pass filters, which remove ft^quencios above the 
selected CUTOFF frequency (while al lowing lower fre- 
quencies to pass through). 



eSBI CUTOFF 

This determines the cutoff frequency of the low-pass filter, 
higher the cutoff frequency, the less effect the filters 
¥^e on the basic waveforms (since more frequencies are 
passed). 

Low-pass filter cutoff frequency. 



Frequencies lower 
than cutoff fre- 
quency are passed. 



Frequency 



Cutoff frequency 
Value — 



■63 



At the highest value, 'oB, all harmonics are passed. The 
lower the value, the more harmonics are cutoff, so the 
sound becomes progressively rounder or less bright. 



VALUE 


TIMBRE 


n 
u 

X 

S3 


Dull or rounded 

t 

Bright, unchanged 
timbre 



RESONANCE 

This emphasizes the harmonics near the cutoff frequency, 
producing a characteristic peaky or bandpass type of 
jnd. 



Harmonics near 
cutoff frequency 
are boosted. 




*- Frequency 



The higher the value, the higher the resonance peak and 
the more obvious the effect. At or near the maximum value 
(5 /), the VCFs go into self-oscillation, producing a pure 
sine wave, which can be used as an additional sound 

source for special effects. 
The pitch of the VCF tone 
is affected by the Gut Off, 
Keyboard Track, EG INT, 
and iVIG VCF parameters. 



Cutoff frequency 



VALUE 


EFFECT 


n 
u 

t 

3 1 


None 

: 

Self-oscillation, 

very "peaky" 

sound. 



KBD TRACK 

Keyboard tracking affects how the cutoff frequency 
changes as you play notes higher or lower on the key- 
board. At full tracking {VALUE - 2), cutoff rises in exact 
proportion to keyboard pitch, maintaining the same 
relative timbre for all notes, as is the case with most 
jsical instruments. At half tracking (VALUE 1) it rises a 
octave for every full octave on the kayboard. (The dif- 
ference will be obvious if resonance is set to a high value.) 



VALUE 



KBD TRACK EFFECT 



(off) 


No change in cutoff frequency 


; (half) 


50% 


.3 (full) 


100% 



3 CREATING SOUNDS 



I POLARITY 

Determines how the VCF cutoff frequency is affected by 
the VCF EG (Envelope Generator). With normal polarity 
(VALUE = 1), the cutoff frequency rises during the EG's 
Attacl< and falls during Decay (as with most musical in- 
struments); use "Inverted" polarity (VALUE = ?), for 
special sounds where you want the opposite effect. 



VALUE 


POLARITY 


' 


Cutoff frequency Is swept up during 

A^ the attack portion of the envelope, 

/ ' \ and down during the decay portion, 
' ^ etc. 


c' 


Cutoff frequency is swept down dur- 
\ / ing the attacl< portion, and up dur- 

\ A / ing the decay portion of the enve- 

V lope. . ^ ^^ 



EG INT 

The "EG Intensity" parameter determines how much the 
VCF Envelope Generator (EG) will affect the cutoff fre- 
quency. The higher the value, the more obvious the 
change in tone color (timbre). 



VALUE 


INTENSITY 


n 
u 

t 

3 1 


No effect 

t 

Maximum change in tone color. 



r- 



I 



CHORUS 

iiljtUk^ ON/OfF j ■ 

\ 3b s 



CHORUS 

The built-in stereo chorus can be used to add warmth and 
ambience to sounds. It is especially effective when both 
outputs (R and L) are used for stereo reproduction, or 
listening through stereo headphones. Chorus can be set 
to On (1) or Off (0). 



VALUE 


EFFECT 


n 
u 


OFF 


t 


ON 



r'"- 



3 CREATING SOUNDS 



VCF EG. VGA EG 



ATTACK 
I -} ( u ^ •" ..I ( 

mlSS^Kf ATTACK 

S~ I I"' « .■ ? ' 



H^ 



KRE#.Kt>. 

- 3 1 



s? 



C5ECAV 

J I - 



S3 



These two envelope generators control the "contour" 
(or (Ganges over time, in terms of the sound's attack, 
sustain, decay, and other dynamic characteristics) of 
each programmed sound. The VCF EG determines 
how the timbre, or brightness, changes over time. 
The VGA EG determines how volume changes over 
time. The DW-6000 utilizes advanced 6-stage EG 
modules with "break point" ami "slope" rate 
parameters in addition to the conventional attack, 
decay, sustain and release parameters. Six parame- 
ters of ADBSSR envelope generators. 



vv 



H'5 



% 



RELEASE I 



SO 



r!+ 



ss 



Do 



Six parameters of VCF EG and VGA EG. 




■■*- Time 



ATTACK (Rate) 

Controls how long it takes for the volume or cutoff fre- 
quency to rise from zero to its maximum level after a note 
Is played on the keyboard. 



DECAY (Rate) 

Determines how long it takes for the volume or cutoff fre- 
quency to fail from its maximum attack level to the break 
point level. 



BREAK P. (Break Point Level) 

Determines the level at which volume or cutoff frequency 
i^ops dropping during the decay, if this Is set to the same 
^ value as the sustain level, then the envelope becomes a 

conventional ADSR type (as if It had no break point or 

slope parameters). 



SLOPE (Rate) 

Determines how long it takes for volume or cutoff frequen- 
cy to change from the break point level to the sustain 
level. Note that if the break point is lower than the sustain 
level, then the slope functions as a second attack. If the 
break point Is higher than sustain, then slope functions as 
a second decay. 







f 




< 

o 
c 

3 




\ / 


s 

3 




\ 


o 




\ / 


o 




\ 


o 






o 




^^ 




Time — •- 




Time — -«- 


Envelope generated by a 


Piano-type envelope using 


compressed guitar sound 


ttie second decay- 


using the second attack. 





I SUSTAIN (Level) 

Detemiines the level at which volume or cutoff frequency 
is held after the attack, decay, and slope phases are com- 
pleted, for as long as the note is held down on the 
keyboard. 



RELEASE (Rate) 

This determines how long it takes for the sound to fade 
away after you release the note on the keyboard. 



VALUE 


ATTACK 


DECAY 


BREAK P. 


SLOPE 


SUSTAIN 


RELEASE 


n 
u 

t 

3 1 


Short 

I 
Long 


Short 
t 

Long 


Low 

I 
High 


Short 

t 
Long 


Low 

t 
High 


Short 

I 
Long 



In VCF EG, these changes are equal to the timbre, or 
brighttess, change over time. 



3 CREATING SOUNDS 



i 



MG 



£3 



£'; 



This stands for Modulation Generator. The !VIG section 
utilizes a low frequency osciilator to modutate the 
DW-6000's oscillator pitch (creating vibrato effects) 
and/or VCF cutoff frequ^icy (creattng filter mod or 

"wah-wah'' effects). 




i 



FREQ 

Determines the speed of the cyclic pitch or tonal variation. 
The higher the value, the faster the speed. 



VALVE 


SPEED of vibrato or wah-wah 


t 


Slow 

t 

Fast 



I DELAY 

Determines the amount of delay following key depression 
prior to the onset of vibrato or other modulation effects. At 
0, there is no delay, and modulation begins immediately 
when the first note is played. The higher the value, the 
longer the delay. 



VALUE 


DELAY TIME 


n 

u 

X 

3( 


None; modulation effect starts 
immediately 

: 

Long delay 



PITCH (vibrato depth) 

Controls the amount of pitch variation in the vibrato effect 
(that is, the depth of frequency modulation). 



VALUE 


VIBRATO DEPTH 


n 
u 

X 

31 


No effect 

X 

Deep modulation 



VCF (wah-wah depth) 

Controls the depth of cyclic wah-wah effects (that is, the 
depth of VCF cutoff frequency modulation). 



VALUE 


WAH-WAH DEPTH 


n 
t 

3', 


No effect 
1 

Deep modulation 



f^. 






3 CREATING SOUNDS 



n 






isay 



tC 



This module lets you determine the maximum change 
In pitch produced by Ihe joystick, (t also Ifts you 
choose whether or not ihe joysttck will affect the VCF 
cutoff frequency. (See "Performance Features" for 
details.) 



PORTAMENTO 



f 



13 0- -31 



This module lets you produce a polyphonic note 
gliding effect at various rates, (See "Performance Fea- 
tures" for details.) 




I PITCH (bends) 

'':ermines the maximum change in pitch produced by 
Mioving the joystici< to the left or right, in exact semitone 
steps. The higher the value, the greater the pitch change 
{up to 1 octave). 



TIWIE (Portamento) 

Determines how gradual the change in pitch is. 

Next to this note Play this note 



VALUE 



PITCH BEND 




None 



1 octave 



(change in 
semitone steps 
according to 
the vaiue) 



Portament effect (change in pitch 
from one note to the next.) 



VCF 

Enables or disables "sweeping" of the VCF cutoff frequen- 
cy via the joysticl^. When this is on, you can use the joy- 
stick to change the brightness of sounds while playing. 



VALUE 


PORTAMENTO TIME 


n 
u 

t 

3 1 


No portamento effect 
(instant change) 

X 

Slow change in pitch from one 
note to the next. 



VALUE 


JOYSTICK VCF EFFECT 


/ 


OFF 
ON 



When the VCF parameter value is 1 (ON) then moving the 
joystick to the right produces a brighter sound; moving it 
to the left oroduces a darker or duller sound. 



3 CREATING SOUNDS 



MIDI 



SI 
I 






The DW-60Q0 is a MIDI equipped synthesiser, and thus 
can control or be controlled by other MIDI equipped 
synthesizers, sequencers, rhythm maichines and/or 
computers. The MIDI control parameters (parameters 
81, 82 and 83) are not stored in p rogram memor y for 



each program. Rather they can be set once for all pro- 
grams. Except for the OMNI parameter (see below), 
the DW-6000's MIDI parameters retain their last value, 
even when power is turned off. (See MIDI section for 
further details.) 



CHANNEL 

This lets you choose the DW-6000's MIDI Receive channel, 
that is, the channel on which the DW-6000 will receive and 
obey information sent to it over MIDI. (When the DW-6000 
is in the "OiyiNI" mode, as designated by parameter 83, it 
will receive information sent to it on ALL channels, 
regardless of the setting of the Channel parameter.) 



VALUE 


CHANNEL NO 


1 
t 

15 


CH 1 

t 

CH 16 



ENABLE 

This parameter determines what information received over 
MIDI the DW-6000 will respond to. At Value = / , the 
DW-6000 responds to MIDI "note" data only. At Value = E', 
it responds to all MIDI commands within its capabilities 
(such as Program change, modulation, etc.; see the MIDI 
data list at the back of this manual for a full listing of MIDI 
functions). The last setting of the ENABLE parameter is re- 
tained when power is turned off. 



VALUE 


Possible Transmit/Receive Data 


f 

I 


only note DATA 
all DATA 



^U OMNI 

This parameter determines whether the DW-6000 will res- 
pond to MIDI information on ail channels, or on the chan- 
nel specified by its Channel parameter (81). 
A value of turns off the OMNI mode so that the DW-6000 
responds to data sent on its assigned channel only (as 
selected by parameter 81). A value of 1 turns on the OMNI 
mode so that the DW-6000 responds to data on all chan- 
nels. 

The OMNI ON mode (Value = •' ) is automatically selected 
when the DW-6000 power is turned on. OMNI OFF mode 
(Value = G) is automatically selected whenever the Chan- 
nel Parameter (Parameter 81) is selected by the user. 



VALUE 


OMNI MODE 


n 
u 

$ 

1 


OFF 
ON 



1) 



22 



^.WKIIINU KHUUHAIVI5 lU IVILIVIUHY 

^his section explains how to store a sound after you liave created It. 



Features & Functions 




— 3. PROGRAM NO. DISPLAY 



^^ 



5 6 7 8 



^ 



2 3 4 



y ^ J 




1 NUMBER Keys 



Used to specify the program number 



2 WRIT! Switch 



Pressing this switch enables a memory write opera- 
tion so that you can store the currently sounding pro- 
gram in program memory. 

K«J=I.M:H>,M!l.l.liBH 

Shows presently selected program number. 



1. NUMBER KEYS 2. WRITE SWITCH 



Which sections' settings can be stored in memory? 



^The key assign section. 



P0LY1 POLYS UNISON 



ffiQ 



»i 



KEY ASSIGN 



#AII parameters except MIDI. 

PARAMETER LIST 



, 1 


OCTAVE 

IS' s' r 


\E 


WAVEFORM 

t - - 3 


LEVEL 








^ 1 


OCTAVE 

!S' 8' •-!' 


^^ 


WAVEFORM 


LEVEL 

23 u- ^31 


^s' 


.'"7 


INTERVAL 

3 '-1 S 


^5 


DETUNE 


2B 0^ 


LEVEL 

" 3 1 


WE^W 


CUTOFF 


32 


RESONANCE 
u ^ " Zl 1 


KBO TRACK 

_ _ OfT HALf FULL 

33 u ! ^ 


^v 


A-v 


POLARITY 

-t 
C 


3S 


EG INT 

U -It 


tiSS^S^ 




3 1 


\3B G 


ON 


S'/ 


W ATTACK 
U " "^ It 1 


HR 


DECAY 
|1 ^ ^ D 1 


BREAK P. 


vv 


u 


SLOPE 
"" D 1 


vs 


SUSTAIN 

(-< ^ ^ -1 i 

u _' t 


HB 0- 


RELEASE 

" 3 t 




1^113 


W ATTACK 
U ^ "-11 


52 


DECAY 

a " " D t 


BREAK P. 

5^ 0^-31 


sv 


n 
u 


SLOPE 


55 


SUSTAIN 

n ^ -1 1 

U -II 


SB £- 


RELEASE 

-31 


s/ 


so 1 


FREQUENCY 
n ^ ^ ~i 1 


S2 


DELAY 


OSC 

6^ — 3i 


5w 


n 
u 


VCF 
-I J 








-I 1 
1 1 


OSC 


12 


VCF 

OFF ON 
f7 1 
U 1 


tM:\amt\M ™. 























4 WRITING PROGRAMS TO MEMORY 



Program Write 
Procedure 

[E Create a sound (as described in the previous section of 
this manual). 

USet the rear panel WRITE switch to the ENABLE posi- 



tion. 



WRITE 

ENABLE DISABLE 

n r 



d Press the WRITE switch (button) on the front panel. 



Q 



At this point the display will show the originally selected 
program number, flashing 

°"^"doff- -Flashing 



SUse the NUMBER keys to select the program location 
where you want to store your sound. 

Example: 

^ Storing your sound at program number^S'. 

3 

Press [ ] KS^H Display will show 

a dash in the right 
digit. 

I Mil ^m 



L J 



rr 



Repositioning Sounds 
in IVIemory 

If you always use particular sounds in the same order In 
a song or stage performance, then you can simplify your 
life by storing the sounds in the same order in which they 
will be used. That Is, store your first sound under pro- 
gram number 1, the second sound under program num- 
ber 2, and so on. You can then use a footswitch to ad- 
vance from one sound to the next, as you need it. Sounds 
are repositioned by copying them from their present pro- 
gram number to a different program number. 



[ESet the rear panel WRITE switch to the ENABLE posi- 
tion. 



WRITE 

ENABLE DISABLE 

n r 



fT* 



muse the NUIVIBER keys to select the program number 
of the sound that you want to reposition. 

Example: 

Copying the sound in program number I I to another 
program number. 



©Turn on the PROGRAM switch. 



a 



LED is on. 



©Press the NUMBER keys to select program number,' /. 



'^ 



Press 



y 



ESZEl 



Your sound now occupies the memory space called program 
number^'-/. The previous contents of this space have been eras- 
ed. 

I 1 

I Caution 

[ Be sure to return the rear panel WRITE switch to the 
I DISABLE position after completing this procedure. This 
I helps protect against accidental overwriting (erasure) of 

I memory contents. 

I 



3, Press the WRITE switch (button) on the front panel. 
Flashing 

Previously selected 
program number 
flashes on and off. 



Q 



a Use the NUMBER keys to select the program number 
where you want the sound to be located. Note that 
this erases the previous contents of the new program 
number. But is does not erase the contents of the old 
program number. That means that you now have the 
same sound at the old and new program number. 

il Follow steps m through H above, to rearrange your 
sounds in the order that is most convenient for perfor- 
mance. 



-tt^ 



X rtKI-UKIVIANUt ht Al UI1t2» 



TUNE 



Used to tune the DW-6000 to match the pitch of other in- 
struments. 



& 



KEY ASSIGN 



ffiB 



The DW-6000 has six separately ar- 
ticulated "voices" or "synthesizer 
modules." Different effects can be 
achieved by changing the way 
these are assigned to notes played 
on the keyboard. The KEY ASSIGN section gives you a 
choice of three ways of assigning voices to notes. 

The KEY ASSIGN section controls which synth module is 
used to generate the sound of which note, 
^ynth module 1 



When these notes are played on the keyboard.. 



Select from among the 
six modules. 




Four of these modules will be used. 



POLY 1 Mode 



This mode is used for normal polyphonic playing. The 
DW-6000's six voices are assigned sequentially as notes 
are played. If you play more than six notes, then the most 
recent notes will cancel out the earliest notes still sound- 
ing. In this mode, sounds using long release times wi!l 
create an effect of "overlapping" notes, which will create a 
spacious sound. 



Synth module 1 




2 --.3 



4-5 



'P0LY2 Mode 



This is most useful for certain instrumental sounds, and 
for sounds using polyphonic portamento effects. If a one 
note passage is being played, one synth voice (out of six) 
is used continuously, if two notes are played, two voices 
are used continuously, and so forth. 



Synth modules used. 

When one note is played then the first module is 
always used. 



2 3 4 5 5 



When two notes are played then the first and second 
modules are always used. 



•UNISON Mode 

This mode assigns all six voices to each key depression, 
following a "last note played" priority system, for mono- 
phonic soloing capabilities. Because all six voices are 
automatically detuned when this mode is selected, this 
produces a very fat, rich sound. 



5 ■ 6 



r^ 



Synth modules used. 

All modules are used for each note played. 



- 2 , - . 3 - i k 5 - 6 



When you write a sound program to memory, the selected 
key assign mode is stored along with your other parame- 
ter values. When you select that program number, the 
stored key assign mode will be automatically selected. 
You can, of course, temporarily change the Key Assign 
mode at any time while playing. But that alone does not 
change the stored Key Assign mode. Therefore, if you 
change key assign mode, then change to a different pro- 
gram number, then change back to the previous program 
number, you will get the stored key assign mode, not your 
latest key assign mode choice. 



5 PERFORMANCE FEATURES 



^■ 



JOYSTICK 



The joystick can be used for 
pitch bends and VCF cutoff 
frequency modulation {left 
and right movement). It can 
also be used to change vi- 
brato and cycifc wah-wah in- 
tensity (up and down move- 
ment). 

The amount of pitch bend 
during ieft-right joystick 
movement depends on the 
value of parameter number 




VALUE 


Change in pitch 


D 


None 

{change in semitone 
J steps according to the 
value) 
1 octave 



The speed of vibrato and v\/ah-wah effects depends on the 
value of parameter 5 / {iVlG FREQ) 



-^^'i 



VALUE 


Vibrato or wah-wah speed 


n 

u 


Slow 


t 


X 


31 


Fast 



7^ 



Parameter IE (BEND VCF) determines whether left-right 
joystick movement will affect the VCF cutoff frequency. 
When the value is 1, then left movement lowers the cutoff 
frequency, producing a "darker" sound. Moving it to the 
right raises the cutoff frequency, giving a brighter sound. 



To change the values of parameters, follow the steps described in the following section. 

[Tl Depress the PARAMETER switch. 



VALUE 


Effect of L/R joystick movement on 
VCF cutoff. 


n 
u 

1 


Disabled (no effect) 
Enabled 



^ 



IS Use the NUMBER Keys to select the parameter that you 
want to adjust. 

Examp/e: To select parameter number 7 ,'... 

7 1 



Press 



Q Press Q 



-Display shows selected parameter number. 



JJi»tl:4Jd:i; [. ) 



m Use the edit slider and up/down keys (in the VALUE sec- 
tion) to change the parameter value. 




VALUE display shovi/s present 
value for selected parameter. 



H Depress PROGRAM switch and play keyboard. 




LED is on 



5 PERFORMANCE FEATURES 



PROG UP (Program Up) 

Connect a footswitch (such as the Korg PS-1) to this jack 
to enable convenient incrementing of the program num- 
ber. Every time you press the footswitch, the program 
number advances one step. If BANK HOLD is on, then it 
advances within the bank (that is, the left digit does not 
change but the right digit goes in a loop from 1 up to 8 and 
then starts over from 1 , etc.) 



Rear panel 




Korg footswitch 
PS-] (optional) 



PORTAMENTO 



Portamento is a gradual change in pitch from one 
note to the next. 
T^Portamento effect 



After 
this note... 



m 



This note 
is played. 

4^ 



Gradual change in pitch. 



3z: 



-<s»- 



V 
This is the portamento time. 



To set the value of this parameter, follow the usual proce- 
dure of selecting the parameter number and your desired 
value (as described in the previous section). 

If a foot switch is connected to the PORTAIWENTO jack 
on the rear penel, then the portamento effect will be turn- 
ed on for as long as the switch is kept depressed. When 
on, the portamento time will be the value selected in the 
portamento parameter (13). 

(Rear panel) 



To use portamento, the PORTAMENTO parameter (IS) 
value must be greater than 0. 



13 



3 1 



VALUE PORTAMENTO TIME 


a 
I 

3: 


No effect 

Maximum (most gradual pifcfi 
change) 




Korg footswitch 
PS-1 (optional) 



DAMPER 



( Rear penel ) 



.hen a footswitch is connected to this jack, it can be us- 
ed like a piano damper or "sustain" pedal. Depressing the 
footswitch has the same effect as keeping keys depress- 
ed on the keyboard. 




Korg footswitch 
PS-1 (optional) 



xamp e. ^^ responds as shown here. 



When the footswitch is pressed. 




Key on 



Key off 



Time 




Key on Key off 



DAMPER ON- 



DAMPER 
OFF 



Time 



(The effect is the same as if the key had. been kept depressed.) 



27 



6.TAPE INTERRVCE 



The DW-6000 is equipped with a tape interface that lets you SAVE all sound prc^ 
gram memory contents on cassette tape. Later you can LOAD the data from the 
tape back into the DW-6000 intemal memory. The DW-6000 display keeps track of 
tape interface operations to help assure successful data transfer and detect possible 
problems. Operation is so fast (about 14 seconds) that you can even change your 
programs during a performance. 

Note: MIDI parameter values are not included in tape Interface operations. They cannot be saved on tape or loaded 
from tape. 



Features & Functions 



5 DISPLAY 

\ 



:-.M^;> 



SZEE3 



J\:fV'iii^ty 



^\ 




5 6 7 8 



& 



^-L-L-LJ^ 



DOWN UP PR0GB4M PARAMETER 



^ 




c 



SiM E lOi 



PROGRAMMER 



1 SAVE 



Press this key to write DW-6000 program memory 
contents to your connected tape recorder. 



2 LOAD 



Press this button to read data from your tape recorder 
while playing baci< a tape. 



3 VERIFY 



This is used to check recorded data (immediately after 
the SAVE procedure) to mal^e sure that it has been 
properly recorded on the tape. 



Jpaa 



4 CANCEL 
3 VERIFY 
2 LOAD 
1 SAVE 



4 CANCEL 



If an error occurs during SAVE or LOAD operations, 
pressing this key !ets you start over again. If you press 
the CANCEL key during SAVE, LOAD, or VERIFY^^ 
operations, it will immediately interrupt and cancel 
the operation. 



5 DISPLAY 



This gives you messages to keep you informed of 
tape Interface operations and possible problems. 



The Three Basic Tape Interface Operations 



1 



/ SAVE 

During a SAVE Operation, the 
DW-eOOO sends ail oif its stored 
sound program data (the Rg^ 
meter values for all 64 prog^W 
numbers) out the TO TAPE jack 
on the rear panel. The con- 
nected tape recorder Is us ^^^ 
record this data during a Sw^ 
operation. 



I 



VERIFY 

This should always be perform- 
ed immediately after a SAVE 
operation. VERIFY is used to 
check whether or not the SAVE 
operation has been successful. 
You play back the tape (through 
the FROM TAPE jack) that you 
have just SAVED the data on, 
and the DW-6000 checks to see 
vi/hether it exactly matches the 
DW-6(KX) memory contents. 



3 . ■' LOAD 

/ During a LOAD operation, you 
play back a previously saved 
data tape (through the FROM 
TAPE jack), and the DW-6000 
replaces the current program 
data with the data on tape. 



<> 



28 



6 Tape Interface 



r^ 



Saving Program Data on Tape 

Follow the procedures below to write DW-6000 program memory contents to your 
connected tape recorder. 



H Connect the DW-6000 rear panel TO TAPE jack to the 
microphone (mic) input jaci^ on the tape recorder. (If the 
recorder has no mic jack, use a "line in" or other input 
jack.) 

You may need a plug adaptor or special connection 
cord If the input jack is not the usual "mini jack" size. 



OQiO 



USet the DW-6000 rear panel TAPE switch to the 



^ENABLE (ENA) position. 

.'ifT* TAPE 

ENABLE DISABLE 






1 r 



The DISPLAY will now appear as shown here. 
rthis shows the the DW-6000 is in the 
, — I I tape interface mode. 



m Prepare the tape recorder for recording. Begin record- 
ing and let the tape advance until it is past the leader 
tape (at the beginning of the cassette). 



SlPress the recorder's pause key at the point from which 
you will begin recording data. 

At this point, the DW-6000 is sending out a test tone as 
a reference for setting recording level (input level) on 



the tape recorder. Adjust the tape recorder's recording 
level as you would normally (refer to tape recorder's in- 
struction manual). 



SlAfter setting recording level, release the pause key so 
that the recorder begins recording. 



m Press the SAVE key on 
the DW-6000. 



,/M^ 






The DW-6000 will start sending data and the DISPLAY 
will appear as shown here. 



—This shows the 
bank number (left 
digit of program 
number) /-^during 
data output. 



[ZlWhen the DISPLAY again shows IRPE , then you can 
stop the tape recorder. 



■;I.1iI;V,l-iiiMUa 




This completes the SAVE procedure. However, it is 
good practice to repeat the SAVE procedure several 
times, as a hedge against the possibility of losing data 
because of tape dropouts. 



18J Reset the DW-6000 rear panel TAPE switch to the DIS- 
ABLE poslton. 



Do not change any settings on the DW-6000 until you complete the VERIFY procedure (In the following section). 



A Word about Data Tones 

If you listen to a tape of recorded data, you will hear the following tones: 



,fBt tone ^ower pitched '^luu...'^ . 



Data tone (medium-pitched "gaa...") 
Ewltene (tii^-pitctied "pee™,'^ 



Level set tone (lower pitched "puu...") 



Leader tone: indicates the start of VERIFY and LOAD 

operations. 

Data tone: The actual digital data from DW-6000 sound 

program memory. 

End tone: indicates the end of the operation. 



29 



6 Tape Interface 



^. 



VERIFY Procedure 

The VERIFY procedure should always be used immediately after you finish a SAVE 
operation. This is to make sure that data has been properly recorded. It is also useful 
for determining the best playback level setting for your recorder. 



H Connect the DW-6000 rear panel FROM TAPE jack to 
the output jack (earphone, line out, etc.) of your 
recorder. Set the LOW/HIGH switch to match your tape 
recorder's output signal level. 



rFROMTAPE" 

LOW HIGH 



ir 



Recorder output jack 


HfQH/LOW 


AUX (line out) 


LOW 


Earphone or 
headphone output 


HIGH 



From recorder 



Ei Set the DW-6000 rear panel TAPE switch to the EN- 
ABLE position. The DISPLAY will appear as shown 
here. 



1 r 



rr*:^ 



13 Set the tape recorder's playback volume a bit higher 
than usual. If the recorder has tone controls, set them 
to the center positions. 



gj Rewind the tape. Begin tape playback. Stop the tape 
(using the stop or pause key) when you reach the begin- 
ning of the leader tone. 



m Press the VERIFY key on the DW-6000. 



M Start the tape recorder (press the play key or release the 
pause key). 

The DISPLAY will show "VERIFY" to confirm the 
VERIFY mode. 




..,:>* j 



The DISPLAY 
will show the 
bank number {,' 
3) for the 
VERIFY opera- 
tion. 



(7) If the recorded data match the DW-6000 internal 
memory data then the DISPLAY will give a "Good" in- 
dication. The DISPLAY will appear as shown here if 
data is successfully verified. 



I I^M Miiiiii I 



• If you get an error (Err) message as shown here 

Press the CANCEL Key, lower (or raise) the tape 
recorder's output volume, and repeat steps 4-6. 



I I ^— III Mill i| 



D 



If the DISPLAY does not change after ten seconds of 
tape playback 

Raise the tape recorder's output volume level and 
repeat steps 4-6. 






M When you get a "Good" message, you can stop the 
tape recorder. Make a note of the recording level, 
playback level, and HIGH/LOW switch setting that 
resulted in the "Good" message. 



H Set the DW-6000 rear panel TAPE switch to the 
DISABLE position. 



Note: You will not get a " Good " message if tlie recorded data is dilierent In any way from ttie data in the DW-6000's in- i 
temal memory. If you change a single parameter value or the key assign mode and then try VERIFY, you will get an er^ 
ror "En^ message. , .- 

If you still don't get a ' uood " message after trying many different output level settings on the tape recorder (and i 
HIGH/LOW switch settings on the DW-6CIO0) then your recording level may be wrong. Try saving again at a different I 
recording level. | 



30 



6 Tape Interface 



LOAD Procedure 

This procedure is used to put recorded 
memory. 



data bacl< into the DW-6000's internal 



a] Connect the DW-6000 rear panel FROM TAPE jack to 
the output jack (earphone, line out, etc.) of your 
recorder. Set the LOW/HIGH switch to match your tape 
recorder's output signal level. 



# E 



Recorder output jack 


HIGH/LOW "; 


AUX (line out) 


LOW 


Earphone or 
headphone output 


HIGH 



From recorder 



[2! Set the DW-6000 rear panel WRITE switch and TAPE 
switch to the ENABLE (ENA) positions. 



n r 



'^^^ 



[31 Set the tape recorder's playback volume to the level 
that produced a " Good " indication when you use the 
VERIFY procedure, if the recorder has tone controls, 
set them to the center positions. 



I4l Rewind the tape. Begin tape playback. Stop the tape 
(using the stop or pause key) when you reach the begin- 
ning of the leader tone. 



H Press the LOAD key. 



I I I I 11^^ III I hi I 



[6] Start tape playback (press the play key or release the 
pause key). The Display will appear as shown here. 



This shows the 
bank nunnber (; 
~g) if data is 
loaded. 



P4f the data is successfully loaded into internal memory 
nen the DISPLAY will give a "Good" indication. 



^ III Mil ^ 

The " Good " display Indicates the completion of loadint; 



If you get an error (frr) message as shown here 

Press teh CANCEL Key, lower (or raise) the tape 
recoerder's output volume, and repeat steps 4-6. 



» If the DISPLAY does not change after ten seconds 
of tape playback 

Raise the tape recorder's output volume level and re- 
peat steps 2-6. 



gl When you get a '' Good " message, you can stop the tape recorder. 



iSi Set the DW-6000 rear panel WRITE switches to the 
DISABLE positions. 



1 r Follow the VERIFY procedure to check if 

innn| the data from the tape is precisely loaded 

— .► on the programmer or not. 



, oet the DW-6000 rear pane! TAPE switches to the 
DISABLE positions. 



n r 



31 



6 Tape Interface 



.•— ^, 



Tape Interface Precautions 



1 



After a SAVE, LOAD, or VERIFY operation, 
reset the rear panel TAPE switch to DISABLE. 
If it remains set to ENABLE, the DW-6000 can- 
not be played. 



If the tape recorder head is dirty, wow and flut- 
ter are excessive, or there are fluctuations in 
output (due to weak batteries, etc.), SAVE, 
LOAD, or VERIFY operation may not be cor- 
rectly done. 



3 
4 



When using a stereophonic tape recorder, use 
the left channel only for the SAVE operation. 
Otherwise, VERIFY and LOAD operations 
may not be done. 



Do not vibrate the tape recorder by moving it 
or change the output level settings during 
SAVE, LOAD, or VERIFY operation. Other- 
wise, incorrect operation may result. 



^ 



I IM'. 



S2 



7.MIDI 



MID! (which stands for "Musical Instrument Digital Interface") is a "universal 
language" adopted by most musical instrument manufacturers which allows MIDI 
equipped instruments to communicate and control each other, regardless of what 
company they are made by. The DW-6000 is MIDI equipped, so it can be connected 
to other MIDI equipped synthesizers, sequencers, rhythm machines, and personal 
computers. 

HOW MIDI Works 

(1) The MIDI Control System. 



in the early days of electronic music, it was possible to "in- 
terface" (ie, interconnect) older monophonic synthesizers 
together by using two simple voltage signals. One was a 
,''*^V (control voltage) signal tliat determined pitch. The 
•other was a trigger signal that started and stopped each 
note. 

But such techniques are too cumbersome and unreliable 
for today's computerized polyphonic synthesizers. So the 
MIDI format was developed. In contrast to the older 
CV/Gate voltage signals, MIDI uses 8-bit digital words 
transmitted serially from instrument to instrument to com- 
municate pitch, note on/off, and all kinds of information. 



15 



Sending Side 



Item to be controlfed {Example: Note on) 



Encoded as 
a number. 



I'': Digitalization (Example: lOOIOCKM^ 




Data is decoded so that it can be used by the 
synthesizer's Internal computer system. 



(2) MIDI Jacks and Connections. 



All MIDI jacks are the same physically (using 5-pin DIN 
connectors). However, there are three kinds of MIDI jacks 
according to their purpose or application. 



n 



33 




• MIDI IN: Receives MIDI data. 

• MIDI OUT: Sends MIDI data. 

• MIDI THRU: Retransmits MIDI data received by 
the MIDI IN jack without any change. This is used 
to allow 2-4 instruments to work off the same out- 
put signal. (Some MIDI instruments do not have 
MIDI THRU jacks.) 



MIDI cables (5-pin DIN cords) used fof MtDf cor^ 
nectlons should be no longer than 15 meters {50 
feet). 



■j^ 
■1^^ 



7 MIDI 



(3) MIDI Channels 

If you are using more than two MIDI synths (or other MIDI 
units), then you can assign them different channel num- 
bers (sort of lil<e TV channels). There are 16 possible chan- 
nels (designated as channel 1, channel 2, and so on} for 
sending and receiving. 



MIDI Channels 



DATA 



chl 



DATA 



ch2 



MIDI OUT 



Sequencer (send- 
ing instructions 
and data on 
channel 1). 



ch3 



ch4 



cJi5 



ch6 



ch7 



ch8 



ch9 



chIO 



chl I 



chl 2 



chl 3 



chi4 



chl 5 



If assigned to a different 
channel (and not in OMNI 
mode) then the synth 
wouid not respond to this 
information. 



MIDI IN 



Synthesizer (set 
up to receive only 
channel 1). 



If you are using a MIDI sequencer or computer then you 
can assign particular instructions and data to particular 
channels. By assigning the various receiving synthesizers 



and drum machines to different channels, you can make 
each instrument play a different part of your musical corn* 
position. This kind of complex MIDI system is shown here. 



Sending data on 
channels 1-8. 




MIDI OUT 



Sequencer or 
computer 




THRU 




THRU 



Synthesizer A 
(Set to receive 
channeM) 



Synthesizer B 
(Set to receive 
channel 2) 



Synthesizer C 
(Set to receive 
channel 3) 




THRU 



Rhythm machine: 
(or other synth) • 
(Set to receiive ; 
channe! 8) 



Each receiving unit responds to instructions from the se- 
quencer or computer sent on its assigned channel. 



34 



(l 



(4) Kinds of MIDI Data. 

MID! can be used to send many kinds of messages that 
contain instructions and information to be used by tine 
receiving syntliesizer and/or rhytlim macinines. Tlie main 
kinds of MIDi data are described below. 



CHANNEL A^OICe MESSAGES 



Tliese te!i ttie receiving synthesizer(s) wliich sounds to 
use, which notes to play, and when to start and stop 
playing those notes. They may aiso include instructions 
to use portamento, modulation, and other effects, 

aWOTE DATA 

This information includes the notes to be piayed and 
when to start and stop playing them. 

NOTE ON EVENT: This tells the receiving synth to start 
■^ playing a note (equivalent to depressing a key on the 
keyboard). 

NOTE OFF EVENT: This teiis the receiving synth to 
stop playing a note (equivalent to releasing the key on 
the keyboard). 

The NOTE DATA above aiso include the foiiowing infor- 
mation. 

• NOTE NUMBER: 

Every note has a number (representing the keys on a 
keyboard). This number tells the receiving synth which 
note to piay. 

VELOCITY: This determines how loud the note is 
piayed. (Not all synths can send or receive this data; 
however, no problems are created by mixing velocity 
and non-velocity sensitive keyboards.) The relationship 
between velocity value and "volume" is shown in the 
chart below. 



J 



Fig. 2 

1 

I— #- 



:^ p -"P 



64 
-4— 



127 
-1 



«/ / M M 



7 MIDI 



@ PROG RAM CHAN G ES 

This is used to select the sound program number to be 
used. Therefore, the receiving synth(s) can be made to 
change its sound by remote control. 

©CONTROL CHANGES 

This can be used to control pitch bends, modulation, 
sustain (damper), portamento, and other effects. 

O PITCH BEND 

This is used to control pitch bend effect. 



CHANNEL MODE MESSAGES 



These determine the channel mode used for communica- 
tions. 

O OMNI MODE 

When in the Omni mode, the receiving synths will re- 
spond to all information regardless of which channel it 
is sent on. When the Omni mode is off, a synth will re- 
spond only to data sent on its particular specified 
channel. If you turn off the Omni mode, then be sure 
that the sending synth is set to the same channel 
number as the receiving synth. 

Q POLY MODE/MONO MODE 

This determines whether note data will be handled as 

polyphonic (chords) or monophonic (one note played at 

a time). 

In the poly mode, the receiving synth will, of course, be 

limited by the number of voices that it has. 

In the mono mode, only one note will be played at a 

time, even if receiving multiple note data. 



Fig. 1 Note number in piano range 



63 66 68 70 73 75 



80 82 85 87 90 92 91 97 99 102 104 106 




35 



7 MIDI 



SYSTiM REAL tHWE MESSAGE 



Used for synchronizing rliythm machines and sequencers. 
Includes tempo and start/stop data. 



SYSTEM COMMON MESSAGES 



Used when there are many MIDI units in a complex 
system. This can tell the units to start at the same time or 
get in tune with each other. 



iWlii IXCLUSIVE MESSAGES 



Can be used for passing data partaining to one manufac- 
turer's products {since each manufacturer has his own 
particular ID number). Usually used for program SAVE/ 
LOAD and parameter-change operations. 

All MIDI Synthesizers and other equipment use the same 
language for communication. But this does not mean 
that ail units can send or respond to all information. For 
example, a synthesizer that does not have portamento 
capability will simply ignore MiDi data conceming that 
function. (The DW-6000, for example, ignores velocity 
data, but sends and receives portamento on/off informa- 
tion.) 



DW-6000 MIDI Features 

(1) Transmission/ 
Reception Received 

The DW-6000 can send and receive tlie following 
kinds of MIDI data 



IrahSFnissidn 



• Note data: note on/note off 

• Program changes 

• Pitch bend 

• Pitch modulation 

• VCF modulation 

• Damper pedal On/Off 

• Portamento On/Off 

• System exclusive information 



HR^epti 



• Note data: note on/note off 

• Program changes 

• Pitch bend 

• Pitch modulation 

• VCF modulation 

• Damper pedal On/Off 

• Portamento On/Off 

• Channel mode messages: (Omni-on, Omni-off, Poly, 
Mono, all-note-off) 

• System Exclusive information 



(2) Features & Functions 



MIDI 


i 

THRU 


1 
OUT 




1 
IN 


© 


© 




© 


3 MIDI THRU 


2 MIDI 


OUT 


1 MIDI IN 



1 MIDI IN 



Receives MIDI data. 



2 MIDI OUT 



Transmits MIDI data pertaining to the DW-6000. "" 

'3 MIDI THRU"~~~ "" j 

Retransmits unchanged MIDI data received through the 
MIDI IN jack. 



See DW-6000 IMPLEMENTATION notes 
details about system exclusive information. 



for 



■^ 



36 



7 MIDI 



(3) Parameter and Value for MIDI 



liiiMIV 



8^ 



^ 83 



I CHANNEL 

Selects the channel on which the DW-6000 will be able to 
receive MIDI data (when not in the OMNI mode). 
The most recently selected channel number is retained by 
the DW-eOOO when power is turned on and off. The DW- 
6000's Transmit channel is permanently set to CH-1. 



ENABLE 

This selects which kinds of received MIDI data the 
DW-6000 will send and receive {respond to). At value ' 
(NOTE DATA), the DW-6000 sends and receives only "note 
data." At value 2 (All), it sends and receives afl MIDI data 
specified in the DW-6000 MIDI specifications (implementa- 
tion notes). 

For example, if you don't want program numbers to be 
changed by some external device through MIDI, then set 
this value to/ . 



VALUE 


CHANNEL 


/ 


CH-1 


: 


: 


ts 


CH-16 



VALUE 


Kind of Data Sent/Received 


/ (NOTE DATA) 
c' (ALL) 


note data only 
All data 



The most recently selected ENABLE value is retained 
when power is turned on and off. 



OMNI 

The Omni mode (value 1) is selected by default when the 
power Is turned on. When the Omni mode is on, the DW- 
6000 receives MIDI data on all channels (regardless of the 
parameters/ setting). However, the Omni mode can also 
be turned on and off from the controiling (sending) device, 
^hen the Omni mode is off, then the DW-6000 receives 
Dl data sent only on the MIDI channel specified by para- 
meter 81. 



VALUE 


OMNI MODE 


n 
u 

1 


OFF 
ON 



To change parameter values, follow the usual procedure as reviewed below. 



Q] Press the parameter switch so that its LED illuminates. 




LED is on. 



(2 Use the NUMBER iteys to select the desired parameter 
number. 




Selected parameter number shown here. 



■JJ.I:Uh4H:IJI. 



O Use the Edit Slider and/or Up/Down keys (in the VALUE 
^section) to set the parameter value. 




ffi 




37 



7 MIDI 



n 



(4) Typical MIDI Setups 



Using another MIDI synthesizer (PoIy-800) to control the 
DW-6000. 
















MIDI OUT M 




'■■'■''" MIDI !N 






POLY-800 etc. 




DW^OOO J 















Connect Poly-800 (or other MIDI keyboard) MIDI OUT to 
DW-eOOO MIDI IN jack using a MIDI cable (5-pin DIN cord). 
Connect the audio signal outputs of both units to amp or 
mixer inputs. 

Notes played on thie Poiy-800 will also be sounded on the 
DW-6000. Joystick movement and program number 
changes will cause corresponding changes on the DW- 
6000 (if the ENABLE #82- parameter is set to ALL). 
Experiment with different combinations of sounds (and 
detuning) on the two synths. 

Using a Remote Keyboard. 







MIDI OUTp 


^MIDI IN 


\ 1 


DW-6000 


Remote keyboard 





Connect remote keyboard (Korg RK-100, for example) MIDI 
OUT to DW-6000 MIDI IN jack. In this case you will want to 
use the remote keyboard to control everything including 
program number changes and joystick effects. 



2-Way Control. 




OUT 



POLY-800 etc. 



DW-6000 



Here you need two MIDI cables to connect each synth . 
MIDI OUT to the MIDI IN of the other. The synth being 
played becomes the controlling (sending) synth. 



lUsfng a MIDI sequencer to control the DW-6000. 




MIDI !N 



Digital Sequencer 



DW-6000 



Use the DW-6000 to write note data to the se- 
quencer. 

Sequencer uses 
stored data to 
contro! the 
DW-BOOO. 

OUT m W MIDI IN 




Digital Sequencer 



DW-6000 



If using a digital sequencer, it is usually possible to pro- 
gram it in real time by simply playing on the DW-6000. 
O The DW-6000 sends note data to the sequencer. This 
stored note data can then be played back, reproducing 
the original note sequence on the DW-6C)00. (Refer to 
sequencer's instruction manual for details.) 
Note that for programming, you have the DW-6000's 
MIDI OUT connected to the sequencer's MIDI IN. For 
playback, you have the sequencer's MIDI OUT cori^ 
nected to the synth's MIDI IN. 
Q If using a multi-track digital sequencer, you can set 
the DW-6000 to receive on a particular channel and 
have it play a different part from other synth. 



38 



I 



7 MIDI 



Using a Computer for Automated Performance. 



I 



Computer 



Display Disk drive 



(with appropriate software) 




MiDI INf* THRU 



MiDi interface 



DW-6000 



EX-800etc. 



To MID! IN jack of other synth or rhythm machine 




Software, such as Korg's new KSQ-800 4 Track MIDI Se- 
quencer, is available for some computers to enable 
automated control of MIDI synths and drum machines. 
Tfie interface is necessary to convert the computer output 



to the proper MIDI signal format. 

By using the MIDI THRU jack you can connect additional 

synths and rhythm machines. 



■ The number of synths (and/or rliythm machines) con- 
^nected in series using MIDI THRU jacks should be 

limited to two or three. Results may be unpredictable 
If more units are used. The solution is to use a parallel 
MIDI connection device such as the Korg KMT-60 MIDI 
THRU Box. 

■ Be sure to read and follow the instructions for opera- 
tion of all other equipment to be connected. 



If the DW-6000 is being used in a MIDI connected 
system and starts producing erratic results (making a 
continuous sound, going out of tune, producing erratic 
modulation, etc.) press the front panel WRITE button. 
This resets the circuitry. 



• 



39 



SPECIFICATIONS 



Keyboard 


61 keys (C ~ C) ^ 


Voice 


6 Voice 


oscr 


Octave (16', 8', 4'), Waveform (1 ~8), Level adjustment 


0SC2* 


Octave (16', 8', 4'), Waveform(1 ~8), Interval (Unison, Minor 3rd, Major 3rd, Perfect 4th, Perfect 5tfi), 
Detune (24 cents MAX), Level adjustment 


Noise* : Level adjustment (White noise) 


VCF* : Cutoff Frequency, Resonance Keyboard Track (OFF, HALF, FULL), EG Pciarity {/^,V-J), EG In- 
tensity 


Chorus* 


ON/OFF 


VCF EG* 


Attack time, Decay time, Break Point level, Slope time, Sustain level, Release time 


VCA EG* 


Attack time, Decay time, Break Point level, Slope time. Sustain level, Release time 


MG* 


Frequency, Delay time, CSC intensity, VCF intensity 


Bend* 


Maximum OSC Bend (±1 Octave MAX), VCF Bend ON/OFF 


Portamtnto* 


Portamento time 


MIDI 


Receive Channel (ch 1 ~ 16), ENABLE (NOTE DATA/ALL), OMNI (ON/OFF) 


Volume 


Adjustable 


TUNE 


±50 cents 


Joystick 


X asix (OSC Bend, VCF Bend) +Y axis (OSC modulation) -Y axis (VCF modulation) ) 


Key assign mode 


POLY 1, POLY 2, UNISON 


Programmer 


Value (edit slider, UP/DOWN switches), PROGRAM/PARAMETER switches. Number select but- 
tons (1 ~ 8), WRITE switch, BANK HOLD switch 


Display 


Program Number, Parameter Number, Parameter Value, Bank hold indicator 


Tape interface 


Save, Load, Verify, Cancel 


Input jacks 


FROM TAPE (HIGH LOW), DAMPER (iGND) PORTAMENTO (iGND) 
Program up (^GND) 


Output jacks 


Output (R, UMONO, HIGH/LOW), PHONES, TO TAPE 


Tape switch 


ENABLE/DISABLE 


Write switch 


ENABLE/DISABLE 


MIDI jacks 


IN, OUT, THRU 


Power supply 


Local voltage 


Power consumption 


34W 


Weight 


9.3kg 


Dimensions 


998 (W) X 338 (D) X 101 (H) mm _ 


Accessories 


AC power cord, Connection cord, Data Cassette ' 



(* Programmable) 



OPTIONS 



MIDI CABLE, LIGHT BAG, HARD CASE, 

STAND SHB, PEDAL SWITCH PS-1 , DYNAMIC STEREO HEADPHONES 



40 



MIDI IMPLEMENTATION 



Q 



TRANSMITTED DATA 



CHANNEL MESSAGE 



STATUS 


SECOND 


THIRD 


DESCRIPTION 


10 
10 1 

oil 


k k k k k k k 
k k k k k k k 
1 
10 
10 
10 
10 1 
10 1 


10 
10 
Ovvv vvOO 
Ovvv vvOO 

1 M II II 
0000 0000 
II 1 1 II 1 


NOTE OFF (NOTE l) 
NOTE ON (NOTE I) 
OSC MODULATION (NOTE 2) 
VCF MODULATION (NOTE 3) 
DAMPER PEDAL OFF 
DAMPER PEDAL ON 
PORTAMENTO OFF 
PORTAMENTO ON 


I 1 


Oppp PPPP 




PROGRAM CHANGE 
ppppppp = 0-63 (NOTE 4) ~- 




1110 


0000 0000 


b b b b b b b 


PITCH BEND 
LSB 0-0-0 
MSB 0-40H-7Ftt (NOTE 5) 



1. NOTE NUMBER (Okkkkkkk) =36-96. 

2. PITCH MODULATION range has 5 bits resolution (OvwwOO) 

3. VCF MODULATION range has 5 bits resolution (OwvwOO) 

4. PROGRAM NUMBER (Oppppppp) correspond to DISPLAY NUMBER on the PANEL which will be the 
following: 



DISPLAY NUMBER 

#11 

#12 



PROGRAM NUMBER 
^ 



^ 1 



#87- 
#86- 



-♦62 
^-63 



5. PITCH BENDER range has 7 bits resolution (Obbbbbbb) only by MSB. 



3 



2. SYSTEM EXCLUSIVE MESSAGE 




©DEVICE ID 




BYTE 

MM 


DESCRIPTION 




EXCLUSIVE 




10 10 


KORG ID 42H 




M 


FORMAT ID 30H 




10 


DW-6000 ID 04H 




1 II 1 M 1 


EOX 


-N 



IJfTtlisi 6. If receive DEVICE ID REQUEST DEVICE ID message will be sent. 



42 



MIDI IMPLEMENTATION 



©WRITE COMPLETED 




BYTE 


DESCRIPTION 




MM 


EXCLUSIVE 




10 10 


KORG ID 42H 




M 


FORMAT ID 30H 




10 


DW-6000 ID 04H 




G 1 1 


WRITE COMPLETED 21 H 




Ml! 1 II 


EOX 





l^ltlilfi 7. If receive WRITE REQUEST and program write complete, WRITE COMPLETED message will be sent. 



^WRITE ERROR 




' BYTE ,', ■ 


, DESCRIPTION 


\ \ \ \ 
10 10 
M 
10 
10 10 
MM 1 M 


EXCLUSIVE 
KORG ID 42H 
FORMAT ID 30H ■■ 
DW-6000 ID 04H 
WRITE ERROR 22H 
EOX 



;Oi=l 8. If received WRITE REQUEST and program v^rite incomplete (when WRITE DISABLE is chosen on the 
rear panel ), WRITE ERROR will be sent. 



^^DATE SAVE (DATA DUMP) 






BYTE DESCRIPTION 




■•■ ' ' 1 -• ;:' iK.' '-:i. -f^r """r ', '; = ^ 


MM 


EXCLUSIVE 






10 10 


KORG ID 42H 






11 


FORMAT ID 30H 






10 


DW-6000 ID 04H 






10 


DATA DUMP 40H 






Ovvv vvvv 


DATA 26bytes (SEE DW-6000 BIT MAP) 




Ovvv vvvv 








1 II 1 M 1 


EOX 







iL^Mia 9. If receive DATA SAVE REQUEST, DATA SAVE (DATA DUMP) vwill be sent. 



43 



MIDI IMPLEMENTATION 



RECOGNIZED RECEIVE DATA 



'i 



I.CHANNEL MESSAGE 










STATUS 


SECOND 


TMfRD 


DESCRIPTION 


10 n n n n 


k k k 


k k k k 


X X X 


X X X X 


NOTE OFF (NOTE 1 1) 
velocity will be ignored. 


10 1 n n n n 


k k k 


k k k k 


V V V 


V V V V 


NOTE ON (Ovvvvvvv>0)(NOTE 11) 
velocity will be ignored. 




k k k 


k k k k 








NOTE OFF (NOTE 1 1) 


1 1 1 n n n n 





1 


V V V 


V V X X 


OSC MODULATION (NOTE 12) 







10 


V V V 


V V X X 


VCF MODULATION (NOTE 13) 







II 1 


V V V 


V V V V 


VOLUME (NOTE 14) 




i 











DAMPER PEDAL OFF 




10 





1 1 1 


1 1 1 1 


DAMPER PEDAL ON -^ 




10 


1 








PORTAMENTO OFF 




1 D 


1 


111 


MM 


PORTAMENTO ON 


1 1 1 n n n n 


111 


1 1 1 








ALL NOTES OFF 




DIM 


110 








OMNI OFF (ALL NOTES OFF) 




111 


1 1 1 








OMNI ON (ALL NOTES OFF) 




111 


1 1 1 


X X X 


X X X X 


(ALL NOTES OFF) 




I 1 1 


1 1 1 1 








(ALL NOTES OFF) - 


110 n n n n 


p p p 


p p p p 




PROGRAM CHANGE (NOTE 15) 




1 1 1 n n n n 


X X X 


X X X X 


b b b 


b b b b 


PITCH BEND 
LSB will be ignored. 
MSB will be recognized. (NOTE 16) 



10. nnnn: 0-15. When the mode is OMNI ON, all the data will be received. When the mode is OMNI OFF, 
only data of the channel designated by Parameter #81 will be received. As to MODE MESSAGE, 
however, designated channel data only will be received even if the mode Is OMNI ON. 

11. NOTE NUMBER (Okkkkkkk) = 24-108. If the data except above range were received, the data will be 
transposed to the same note on the nearest octave. 

12. PITCH MODULATION range has 5 bits resolutions (Ovwwxx) bit - bit 1 will be ignored. 

13. VCF MODULATION range has 5 bits resolution (Ovwwxx) bit - bit 1 will be ignored. 

14. VOLUME range has 7 bits resolution (Ovwww). p^ |_,; 

15. PROGRAM NUMBER {Oppppppp} = 0-63. If the data is larger than 63, it will be recognized as a 
number which is taken 64 from it 

16. PITCH BENDER range has 7 bits resolution (Obbbbbbb) only by MSB. 



44 



MIDI IIVIPLEMENTATION 



'SYSTEM EXCLUSIVE MESSAGE 
IDEVICE ID REQUEST 



BYTE ^ 



PESCRIPTiON 



I I I I 

10 

10 

1 I I I 



G 

10 



I I 1 



EXCLUSIVE 
KORG ID 42H 
FORMAT ID 40H 
EOX 



©WRITE REQUEST 



BYTE 



DESCRIPTION 



I I I I 

jO I 
COM 



1 

p p p 

1 I I I 





10 



10 

1 

p p p p 

I I I 



EXCLUSIVE 

KORG ID 42H 

FORMAT ID 30H 

DW-6Q00 ID 04H 

WRITE REQUEST I I H 

PROGRAM NUMBER ppppppp = 0-63 

EOX 



©DATA SAVE REQUEST 



BYTE . 



DESCRIPTiON 



I I I 
10 
11 


'o I 

1 I I I 




10 

10 

oil! 



EXCLUSIVE 

KORG ID 42H 

FORMAT ID 30H 

DW-6000 ID 04H 

DATA SAVE REQUEST I OH 

EOX 



45 



MIDI IMPLEMENTATION 



O 



©DATA LOAD (DATA DUMP) 




BYTE- 

!m,.i. , ■ ' ■ ., ■ J .... 


DESCRIPTION 


1 1 1 1 


EXCLUSIVE 




10 10 


KORG ID 42H 




11 


FORMAT ID 30H 




10 


DW-6000 ID 04H 




10 


DATA DUMP 40H 




Ovvv vvvv 


DATA 25bytes (See DW- 


6000 BIT MAP) 


Ovvv vvvv 






Ml! 1 1 1 


EOX 





@ PARAMETER CHANGE 
BYTE 



n 



Mil 
10 
M 

10 
Ovvv 
Ovvv 
Mil 




10 

10 
0! 
vvvv 
vvvv 
Oil! 



DESCRIPTION 



EXCLUSIVE 

KORG ID 42H 

FORMAT ID 30H 

DW-6000 ID 04H 

PARAMETER CHANGE 41 H 

PARAMETER OFFSET (See DW-6000 BIT MAP) 

PARAMETER VALUE (See DW-6000 BIT MAP) 

EOX 



o 



^_ 



46 



DATA DUMP REFERENCE 



DW-6000 BIT MAP 



PARAMETER 
OFFSET 


PARAMETER- vKlUE ''^'^i'^ 


f* \3i ■ ^ ■; be ■ .. bg ■ .^4 ■ ■■ , fe. '^ ■ 62 b 


1 ' bo 











ASSIGN MODE BEND DSC 


1 











PORTAMENTO TIME 


2 











OSCI LEVEL 


3 











0SC2 LEVEL 


4 











NOISE LEVEL 


5 








CUTOFF 


L 6 











RESONANCE 


7 











VCF EG INT 


8 











VCF EG ATTACK 


9 











VCF EG DECAY 


10 











VCF EG BREAK P. 


1 1 











VCF EG SLOPE 


12 











VCF EG SUSTAIN 


13 











VCF EG RELEASE 


14 











VCA EG ATTACK 


(5 











VCA EG DECAY 


16 











VCA EG BREAK P. 


^■i 17 











VCA EG SLOPE 


18 








BEND 
VCF 


VCA EG SUSTAIN 


19 





OSCI OCT 


VCA EG RELEASE 


20 





0SC2 OCT 


MG FREQ 


21 





KBD TRACK 


MG DELAY 


22 








POU\RITY 


MG OSC 


23 








CHORUS 


MG VCF 


24 








OSCI WF 


0SC2 WF 


25 








0SC2 INTERVAL 


0SC2 DETUNE 



f^ 



47 



DA1A DUMP REFERENCE 



iDW-6000 BIT MAP AND CORRESPONDING PARAMETER 
VALUES 



PARAMETER NAME 


PARAMETER 

OFFSET 


BIT CORRESPONDING PANEL DISPLAY 


ASSIGN MODE 





bs-b. 


00 = POLY1 0l=POLY2 IO = UNISON ll=INH!BIT 



PARAMETER NAME 


P™^^"^^*^ BIT CORRESPONDING PANEL VALUE 


PARAR8ETER 
NUMBER • 


BEND OSC 


Q 


bj-bo 


0000-1100 = 0-12 I10l~l 1 1 1 =!NHIBIT 


71 


PORTAMENTO TIME 


1 


bj — bo 


00000- 1 1 1 1 1 =0-31 


73 


OSCI LEVEL 


2 


bj — bo 


00000-1 1 1 1 l=0~3l 


13 


0SC2 LEVEL 


3 


b^-bo 


00000- 1 1 1 1 1=0-3 


23 


NOISE LEVEL 


4 


b4-ba 


00000-1 1 1 1 i=0-3 


26 


CUTOFF 


5 


bs — bo 


000000-1 1 1 1 1 1=0-63 


31 


RESONANCE 


6 


bfl-bo 


00000-111 11-0-3 


32 


VCF EG INT 


7 


b4-bo 


00000-1 [ 1 1 1=0-31 


35 


VCF EG ATTACK 


8 


b4~ bo 


00000- 1 1 1 1 1=0-31 


41 


VCF EG DECAY 


9 


b4^ bo 


00000-1 1 1 1 1=0-31 


42 


VCF EG BREAK P. 


10 


b4-bo 


00000-1 1 1 1 l=-0-3l 


43 


VCF EG SLOPE 


1 1 


b4-bo 


00000-1 1 II 1=0-31 


44 


VCF EG SUSTAIN 


12 


b4-bo 


00000-1 1 1 1 1=0-31 


45 


VCF EG RELEASE 


13 


b4-bo 


00000-1 1 1 1 1=0-31 


46 


VGA EG ATTACK 


4 


b4-bo 


00000- 1 1 1 1 1=0-31 


51 


VGA EG DECAY 


5 


b4-bo 


00000-1 1 1 1 1=0-31 


52 


VGA EG BREAK P. 


6 


b4~ bo 


00000-1 1 1 1 1=0-31 


53 


VCA EG SLOPE 


7 


b4-bo 


00000-111 11=0-3 


54 


BEND VCF 


8 


bs 


= (OFF) l = l(0N) 


72 


VCA EG SUSTAIN 


8 


b4-bo 


00000- 1 1 1 1 1=0-31 


55'^ V 


OSCI OCT 


9 


b6-b5 


00= IB 01=8 10 = 4 i 1 =1NHIBIT 


1 1 


VCA EG RELEASE 


9 


b4-bo 


00000-1 IN 1-0-31 


56 


0SC2 OCT 


20 


bs-bs 


00= 15 01 =8 10 = 4 11 =INHIBIT 


2! 


MG FREQ 


20 


b4-bo 


00000- 1 1 1 1 1=0-31 


6f 


KBD TRACK 


21 


be" bs 


00 = 0(OFF) OI=l(HALF) I0 = 2(FULL) II=INHIB!T 


33 


MG DELAY 


21 


b4-bo 


00000-1 1 1 1 1=0-31 


62 


EG POLARITY 


22 


b. 


0=l(Ar^) l=2(\M) 


34 


MG OSC 


22 


b4~bo 


00000-11111=0-31 


63 


CHORUS 


23 


b. 


= 0(OFF) I = I(0N) 


36 


MG VCF 


23 


b4~bo 


00000-1 1 1 1 1=0-3 


64 


OSCI WF 


24 


b5-b3 


000-1 11=1-8 


2 


0SC2 WF 


24 


bz — bo 


000-111 = 1-8 


22 ^. 


0SC2 INTERVAL 


25 


bs-bs 


000=1 00l = -3 010 = 3 011=4 100 = 5 lOI-l 11 = INHIBIT 


24 


0SC2 DETUNE 


25 


b; — bo 


000-1 10 = 0-6 1 1 l = INHIBIT 


25 



48 



DA1A DUMP REFERENCE 



IINTERFACE WITH PERSONAL COMPUTER 



When using a computer for DW-6000 control and communications, a system exclusive message and the following data types are 
employed. 



DEVICE ID 



WRITE COMPLETED 



WRITE ERROR 



: Identifies tiie equipment. Sent upon 
receiving a DEVICE ID REQUEST. 

: Sent in response to a WRITE REQUEST, 
this indicates that the PROGRAM WRITE 
task has been successfully completed. 

: Sent in response to a WRITE REQUEST, 
this means that the synth is set to the 
WRITE DISABLE mode so PROGRAM 
WRITE task cannot be completed. 
DATA SAVE (DATA DUMP): In response to a DATA SAVE REQUEST, 
this sends the data for the sound 
^ — s^ presently being produced. 

The above examples require that the DW-6000 and com- 
puter interface be connected via their respective MIDI IN 
and MIDI OUT Jacks as shown here. 



Rte^iKS;; 



DEVICE ID REQUEST : A request for the equipment's MIDI iden- 
tification number. 

WRITE REQUEST : A request for the DW-6000 to write data 

for the present sound to program 
memory. 

DATA SAVE REQUEST : A request for the DW-6000 to send data 
for the present sound. 

PARAMETER CHANGE : Used to change parameters of the cur- 
rent sound. 



CompulGr 



I 






niiT 
Interface 

IM 


^ 


MiDi DW-6000 

■■OUT . 




* 



The above data types are used for communication in the 
following ways. 

O To find the ID number for equipment connected to 
ttie computer. 

DEVICE ID REQUEST 

„ . Sending 

Corr,puter p^^^.^.^g 



PW-60OO 



Receiving 
Sending 




DEVICE ID 



@To edit sound data within the DW-6000. 

PROGRAM DATA SAVE 
CHANGE REQUEST 



Or-Co;rt;uter' Sending 
>• :.. ^ Receivm 



PARAMETER 
CHANGE 



DW-6000 



Receiving 
Sending 




DATA SAVE 



Note: PROGRAM CHANGE is not a SYSTEM EXCLUSIVE message. 
®To edit data already available in the computer. 



WRITE COMPLETED 

OR 

WRITE ERROR 



Computer |^"^.'^.9 
•^ Receiving 



DATA LOAD 



PARAMETER WRITE 
CHANGE REQUEST 



DW-6000 



Receiving 
Sending 





WRITE COMPLETED 

OR 

WRITE ERROR 



49 



■^ 



DA1A DUMP REFERENCE 



O To load all 64 sound programs from the computer to the 
DW-6000. 



Computer 



Sending 
Receiving 



PROGRAM DATA SAVE 
CHANGE REQUEST 



DW-8t)00 



Sending . 
Receiving - 
Repeated 64 times. 



lli^l 



DATA SAVE 



0To save all 64 sound programs from the DW-6000 to 
the computer. 



~) 



Computer 



DW-6000 



Sending 
Receiving —1 



Sending 
Receiving 



WRITE 
DATA LOAD REQUEST 




Repeated 64 tinnes. 



WRITE COMPLETED 

OR 

WRITE ERROR 



^1 



o 



50 






KORG Distributors List- 



N 



Avinguda Meriixell, 25, ANDORRA lA VELU\ 

(Prinoipatd'Andorra) 

Phone: Z0132.?2115 

AUSTRALIA 

Billy Hyde Music Pty., LW. 

P.O. Box 472, 7 Union Street. South Melboumi 

Victoria 3205 

Phone: (03) 690 6022 

AUSTRJA 
Weiss & Kadlec 
TrlesierStrasse261, 1232 Wien 
Phone: 0222/674539 

BAHRAIN 

Marshall Boutique 

P.O. Box Ho 925. Government Road 

Phone: 251 SB4 

BARBADOS 

A & B Music Supplies Ltd. 

Handle/ House, Prince Alfred St., Bridgetown 

Phone, (809) 427-5384/429-5217 

BELGIUM 

Coninx Music import 
Grote Markt 5. 3600 Qenk 
Phone: (011)357736 

BERMUDA 

Riihiluoma'sThe Music Markers 

Queen St. Black Stone 1617 Hamilton 
Phone: {809-29) 5OS90 

BRASIL 

F. Purwin 

Caijia Postal P.O. Box 14.475 
22412 Hiode Janeiro 
Phone: (021)267-1939 

CANADA 

Erikson (A IDivision of Jam Industries Ud.) 

37B Isabay Street. St-Laurent Qaetec. H4T 

1W1 

Phone: 514-738-3000 

CANARY ISLANDS 

Mus^canarias S.L. 

Posl code 38004, Rambia de Pulido 60. Santa 

Gru£ de Tenerite 

Phone: 27 06 00 

CHILE 

Induslrias Muslcales Arriagada 
MoneOa 720 Of 110 EP. Santjago 
Piione, 331819 

COSTA RICA 

Almacen J,M. AcunaV. 
Apanado 926. San Jose 

CYPRUS 

Leon's Music Stores 
P.O. Box 1440, Limassoj 
Phone: 051 -73 1 1 1 . 05 1 -66079 

DENMARK 

Hagstrom MUSIK EN GROS 
Bresundsvej 148, DK-2300 Kebenhavn S 
Phone: 01/554812 

ECUADOR 

Casa Musical Victor Freire 

Aguirre No. 1.107 y Seis de UarzD Guayaouil 

P.O. Box 8521 

Phone: 522572 

EGYPT 

Abdailah George Youssef 

P.O. Box 2904, El Horrieh, Heliopolls, Cairo 
Phone 875618 

EL SALVADOR 

Almacenes Siman S.A. de C.v. 
P.O. Box (06) SOO, San Salvador 
Phone: 22-0555 

ENGLAND 

Rose Morris & Co., Ltd. 

32-34, Gordon House Road, London NWS 1NE 

Phone: 01-267 5151 

FIJI ISLANDS 

CiNEPHOTO ELECTRONICS v 

Dev of South Sea Suvenirs 
P.O. Box 268, Suva City 
Phone: 315356 

FINLAND 

Kaukorjiarkkinal Oy 

Kutojantie 4, SF-02630, ESPOO S3 

Phone: 358-0-623711 



FRANCE 

Gaffarel Musique SA 

12. Av.. Alsace-Lorraine, Z, i des Bethunes, 
Salnt-0uen-l"Aum6ne, 95310 Cergy 
Phone: 13) 037 28 65 

FRENCH POLYNESIA 

COMSCSENCE MUSIC SHOP 

Rua Jeanne d'Arc, PC Box 1850, Papeete 

Tahili 

Plmne 2 85 63 

PEDRON MUSIC HOUSE 
B-P- 2725. Papeete Tahiti 

Prone. 3 71 S9 

GREECE 

Bon Studio 

6 Z5i~;Str , Athens 10683 

=-:- = : 3633.572 

HONG KONG 

Tom Lee Piano Co., Ltd. 
9 Cameron Lane, Kowloon 
Phcne: 3-7221098 

HUNGARY 
KONSUMEX 
Hungarian Foreign Trade Company 

1441 Budapest, P.O. Box 58 
Phone: 530-511 

ICELAND 

TonkvisI 

Laufasvegi 17. 101 Reykjavik 
Phone: 25336 

ITALY 

CGD Messaggerie Musicali spa 
via Mf. Quintiliano, 40, 20138 Milano 
Phone; 02/60841 

ISRAEL 

Sommerfeld Music Centre 
8, Ben-Yehuda Road, Tel-AvIv 
Phone: 286775 

JORDAN 

Sonatina For Trade & Art Production 
PC. BOJ 3152, Jabal Amman, Amman 
Phone: 44591 

Twang filusic Center 
PO, Box 35034, Amman 
Phone: 44201 

KOREA 

White Tiger Enterprise Co. 

ai-2 Vunhi-Dong, Sudaemoon-ku. Seoul 

Phone: 322-5557 

KUWAIT 

Technicp Trading Co., Ltd. 

P.O. Box 5032, KUWAIT, Arabian Gulf 

Phone: 423917 

LEBANON 

Antoun's 

Sadat St Ras Seirul 

Phone: 803244 

MALTA 

Audio a Auto Sound 

61 Vrllambrosa Street, Hamrun 

Phone: 606457 

MEXICO 

Casa de Musica, S.A. de C.V. 

Bolivar Mo, 75, cod Postal 06080 Mexico, DP 

Phone: 512-73-37. 747-23-17 

Casa Veerkamp, S.A. 
Grandes Almacenes de Musica 
Mesones 21 col. Centre de La Cuidad 
Deieg Cuauhtemoc 06OBO Mexico D F 
Phone, (91-5)585-33-i1 

Casa Wagner de Guadalajara, S,A. 

Corona 202. Guadaia ara, Jal 
Phone: 13-14-14 

NEW CALEDONIA 

SOUNDS PACIFIC 

29 Rue de L'Alma. Noumea 

Phone: 27 23. 93 

NEW ZEALAND 

Custom Music Limited 
PO. Box 4331, (16B ST MARKS RD, 
t^eyiTMARKET) Auckland l 
Phone: 600-272. 500-535 

NORWAY 

Hagslronn Musikk A/S 

Nadderudvn 63. 1347 Hosie 
Phone 248090 



PANAMA 

Compania Alfaro, S.A. 
Apartado 200, Panama 1 
Phone. 23 0292 

PARAGUAY 

Music HallSAIC 
Paima 567, Asuncion 

PHILIPPINES 

Tretiel industries Inc. 

261-267, J S, L Building Edsa, Mandaluyom 



G.A. Vupangco 4 Co., Inc. 

339 Suendia Av Extension Makati, Metro 

fvlanila 

Phone: 85-97-26 

POLAND 

Centrala Handlowa Przemyslu Muzycznego 
ul. DIuga 5, 00-2B3 Warszawa 
Phone: 31.15-73, 31-32-31 

R.O.C 

Hal Kuo Mtjsical trstrument Co., Ltd, 
2nd Fl , No, 23, Sec. 1, Chung Hsiao-West 
Road, Taipei, Taiwan 
Phone: 02-314-3113 

REP. OF SOUTH AFRICA 

Hohner [South Africa) (PTY) LTD. 
2nd Floor, Mayveen House, 160 President 
Street, {cor. Nuggel Street) 2001 Johannesburg 
Phone: 402-3726 

SINGAPORE 

City Music Co., Ptd., Ltd. 

1 Sophia Road, « 02-1 2)13 Peace Centre, 

Singapore 0922 

Phone, 337 7058. 337 7545, 337 3549 

Yamaha Mas\o (Asia) Pte., Ltd. 
80 Tannery Lane. Singapore 1334 
Phone: 747 4374 

SPAIN 

Letusa S.A. 

Las Fraguas s/n, Apartado de Correos 1 25, 

Alcorcon (Madrid) 

Phone' 612 3376 

SWEDEN 

MUSITECH AB 

Malmborgsgatan 4, S-21 1 38 Malmo 
Phone: 040 706 25 

SWITZERLAND 

Musik-Meyer AG 
Spitalslr. 74, 6952 Schileren 
Phone: 01 730 55 05 

SYRIA 

Meka Music House 

MQRDITCH KAZANJIAN 

P.O. Box No. 340, Shouhada St Azizieh Alecpo 

Phone: 20861 

Sarkis Kalaydjian 

102 Maternite St. (Meydan). Aleppo 

Phone: 43357 

THAILAND 

Beh Ngiep Seng Ltd.. Part. 

No 110 Nakorn Kasem Soi 1 Bangkok 

Phone: 222-5281 

THE NETHERLANDS 

Milestone B.V. 

Gildenweg 16. Zwi|ndreoht. P.O. Box 207 

Phone: (07S) 10 0044 

UAE. 

Abdulla Sultan Al-Sharhan 
PO Box 1675, Deira-Dubsi 
Phone 221509 

U^A 

Jnlcord 

89 Frost St.. Westbury, New York 1 1590 

Phone: 516-333-91 DO 

URUGUAY 

Man/Pizzo Internacional 

Casllla de Correo 6243, Montevideo 

WEST GERMANY 

Wustk-Meyer GmbH 

Postlach 1729, 3550 Marburg/Lahn 

Phone: O6421/B10S1 



1 
I 

I 



i 



i 



r 



M 



i 



}. v**"' 



^r% 



^ ; 




KEIO ELECTRONIC LABORATORY CORPORATION 

15-12, Shimotakaido l-chome, Suginami-ku, Tokyo, Japan. 



-% 



©KEIO ELECTRONIC LABORATORY CtiRP 1935 



6005 ETH PRINTED IN JrPAN 



V 



K 



DW-6000 





6 VOICE POLYPHON 


C SYNTHESIZER MIDI IMPLEMENTATION CHART 




Function 


Transmitted 
ENABtE: DISABLE 


Recognized 
ENABLE: DISABLE 


Remarks 




Basic Default 
Channel Changed 


X 


Back up Last Number 
-16 






Defalt 
Mode Messages 
Altered 


1 

X 


OMNI ON/OFF 


ignored 




Note 

Number : True voice 


36-96 


D -127 
24-108 


If the data except these range were 
received, the data wiil be transposed 
to same note on the nearest octave. 




Velocity Note ON 
Note OFF 


X 90 V =64 : X 
X 80 V =64 : X 


X : X 
X : X 






After Key's 
Touch Channel 


X : X 
X : X 


X : X 
X : X 






Pitch Bender 


O : X 


O : X 






1 
2 

7 
Control 

64 

65 
Change 


O : X 

O : X 
X : X 
: X 
O : X 


O ■ X 
O : X 
O : X 
O : X 
O : X 


Pitch Modulation 

VCF Modulation 
Volume 
Damper Pedal 
Portamento Switch 




Program 

Change : True # 


O 0-63 : X 


O - 1 27 : X 
0-63 


0=11, 7 = [8, 8 =21 
56=81, 63 = 88 




System Exclusive 


O : X 


O ■ X 






System : Song Position 

: Song Select 
Common : Tune 


X ; X 
X r X 
X : X 


X ; X 
X ; X 
X : X 






System : Clock 
Real Time : Commands 


X : X 
X : X 


X : X 
X : X 






Aux : Local ON/OFF 
: All notes OFF 

Messages : Active Sensing 
: Reset 


X 

X 
X 
X 


X 

O 123-127 

X 
X 


Mode messages 
will be received 
always. 




.Notes 


When "NOTE DATA" designated by Parameter #82, all the recognized message except 
NOTE ON, NOTE OFF and Mode messages will be not received/transmitted. 

DISABLE; "NOTE DATA" designated by Parameter #82. 
ENABLE: "ALL" designated by Parameter #82. U 



Mode 1: OMNI ON, POLY 
Mode 2: OMNI ON, MONO 



Mode 3: OMNI OFF, POLY 
Mode 4: OMNI OF, MONO 



O: Yes 

X : No 




3aOW NDISSV 


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o "" 

Q_ 


>- 


>■ 


>■ 


>- 1 >- — 


aiAlli OiN3IAIViyOd 


P 


o 


o 


o 


o 


o 


o 


o o 


D 

2 


JdO/NO dOA 


^ 


o 


o 


o 


o 


o 


o 


o o 


n 


DSO 


1 — 


tM 


CM 


CM 


CM 


CM 


CM 


CM 


CN 


5 


dOA 


3~ 


O 


O 


O 


o 


o 


a 


CM 


O 


OSO 


nn 

U3 


o 


O 


O 


CO 


o 


CM 


o 


o 


Avnaa 


U3 


^ 


O 


O 


o 


^ 


;: 


o 


o 


D3yd 


Co 


CO 


o 


<» 


00 


03 


CO 


r^ 


CO 


LU 

> 


Hsvaiay 


tR 


m 


s 


tj> 


o 


r^ 


[V 


CD 


00 


Niv±sns 


tR 


OO 


CJ5 

CM 


O 


CO 


o 


?: 


PO 


CO 


3dons 


s 


CO 
CM 


CO 
CM 


CM 


CM 


?) 


CO 


CO 


s 


d >i¥3da 


[R 


ro 


CD 
CM 


CM 


tn 


?i 


c»i 


CO 


to 


AVOia 


D^ 


to 


m 


cn 


CD 


CO 


CO 


CO 
CM 


s 


>I3VJL1V 


Ul 


O 


O 


o 


o 


o 


o 


■^ 


00 


m 
11. 
O 

> 


asvanay 


^ 


^ 


CD 
CM 


CM 


CO 


CD 


CO 


05 


r^ 


Nivisns 


^ 


1^ 

IN 


O 


o 


o 


o 


CN 


CD 


CO 


3d01S 


3- 
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UO 
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r^ 


o 




CM 1 ^ 


CM 


■d >iv3ag 


5P 


CO 


CM 
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CO 


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^ 

r^ 


00 


CD 


r^ 


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CM 


CO 


CD 


CM 


CM 


CO 


O 


>l3VilV 


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CO 


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o 


o 


o 


o 


O 


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snuoHO 


ddO/NO 


^ 


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^ 


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^ 




^ 


O 
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CM 


ID 
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CO 


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FR 


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30NVNOS3y 


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O 


O 


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O 


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CD 
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CO 


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o 


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CO 


CO 


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CO 


CO 


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CM 


CO 
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CO 


CO 


CO 


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13A31 


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CO 


m 


Cvl 


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CM 


l/\ldOd3AVAA 


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CO 


CO 


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Tj- 


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CO 


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CD 


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CD 


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o 


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o 


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o 


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o 


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CN 


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CM 


CN 


r^ 


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u 

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O 


O 


CO 


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o 


o 


o 


o 


CN 


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o 


CO 


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nn 


o 


O 


n 


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o 


o 


lO 


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o 


O 


o 


o 


O 


o 


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o 


o 


o 


o 


cn 


o 


o 


O 


o 


o 


lO 


o 


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00 


CO 


CO 


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CO 


CO 


00 


03 


O ' 


CO 


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03 


CO 


00 


3 

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3SV313a 


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LO 


K, 


I- 


o 


o 


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o 


CO 

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00 


CO 


CD 


in 


r^ 


Nivisns 


tfl 


o 


o 


IN 


CO 
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CO 


CO 


CO 


CN 


o 


O 


CO 


O 


3d01S 


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m 


o 


IN 


Csi 


in 


o 


CN 


CO 


CO 


^ 


CN 


O 


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in 


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S 


M 


o 


m 


m 


o 


CO 


CO 


CO 


CO 


CN 
CN 


CO 


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m 


CO 


AVQ3a 


D^ 


S 


CO 


CQ 


CO 


03 


o 


CO 


M 


CO 


O 


CO 


CO 


CO 


05 


MOViJ-V 


Ln 


O 


o 


^ 


O 


o 


o 


o 


CO 


CO ; 


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o 


o 


^ 


o 


C3 

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3SV313a 


^ 


m 


Ln 


cn 


CO 


m 


o 


CN 


^ 


DO 

CN 


^ 


CO 


CM 


CD 


CO 


Nivisns 


^ 


O 


o 


O 


o 


LD 


o 


o 


C-J 


CN ■ 


n : o 


o 


C» 


o 


3d01S 


3- 

3- 


m 


o 


O 


CD 
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03 


o 


CD 
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CN 
CN 


CD 

CM ■ 


03 CN 
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o 


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oo 


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O 

CM 


o 


O 


CO 


^ 


o 


n 

CN 


CD 


CO 


CM 


CO 

CM 


o 


00 


o 


AV03a 


3=^ 


tn 


m 


O 


cn 


03 


cn 


o 

CO 


CD 


CM 


M 


r^ 


CD 


^ 


CD 


>IOVJUV 


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O 


o 


O 


O 


O 


o 


o 


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CO 


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o 


CO 


O 


snaoHD 


ddO/NO 


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^ 


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^ 


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o 


o 


^ 


^ 


u. 

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Hi 


CM 


n 


o 


CD 


CM 


o 


03 


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LO 


CN 


to 


o 


cn 


00 


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^ 


^ 


- 


^ 


- 


^ 


^ 


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FR 


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CN 


CN 


CN 


CN-» 


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30NVNOS3y 


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o 


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O 


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CO 


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o 


o 


o 


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CO 


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CN 


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ddoino 


rn 


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o 


<X> 

m 


00 

CN 


00 


CN 


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CO 

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CM 

ID 


cn 


r^ 


3SI0N 


13A31 


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cn 


CO 


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n 


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o 


CO 


CO ■ 


o 


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CO 


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n 


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CN . ! O 


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co^ 


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CM 


CN 


CN 


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R^ 


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^ 


- 


- 




^ 


- 


^ 


^ 


^ 


- 


- 


- 


13A3n 




CD 


IN 


CO 


m 


o I ^ 


5 


ICl 

CN 


o . 


CO 


CO 


CO 


CO 


o 


lAlaOd3AVM 




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m 


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00 


n 


CN 


^ 


CN 


,T)- 


CD 


in 


CO 


^ 


CO 


3AV130 


nli 


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CD 


to 


CD 


CO 


CO 


CO 


cp, . 


CO 


CO 


^ 


CO 


CD 


o 

CO 

o 


laAai 


nn 


n 


IN 


CO 


CO 


o 


CO 


CN 


LO 

CN 


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CO 


CO 


in 


n 


O 


l^aOd3AVM 


Oi 


CD 


^ 


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CO 


CD 


c^ 


CO 


in 


GO. 


CD 


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CO 


CN 


CD 


3AV1D0 


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<a 


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CD 


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CD 


CD 


CD 


CD 


00 


CD (D 


>* 


00 


CD 


PROGRAM 
NAME 


< 

CQ 

CC 

< 

5 


D 

Z 
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O 


C/5 
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Z 
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o 

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tn 

LU 
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> 


LU 

u 

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cc 

CO 


o 

DC 
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Q- 

x: 

1 
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X 

1- 

>- 
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LU 

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X 

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O 
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< 


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LU 
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X 

a: 
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\- 

u 
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co 

o 

< 


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LU 

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o 


CC 

o 
o 

\^ 

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LI. 


5 

D 
CC 

a 

> 


is 


CM 


CN 
CN 




CM 


to 

CN 


CD 

CM 


CN 


00 
CN 


CO 


CM 1 CO 

ro CO 


CO 


LO 
CO 


CO 



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>; 

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o "- 

Q_ 


11 


o -" 


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o ■^ 

c^ 


ii 


CL. 


2^ 


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o ^ 




aiAlll 01N3lAIV±H0d 


P3 


o 


O 


o 


o 


o 


o 


O 


o 


o 


o 


o 


O 


o 


o 


LLI 


ddO/NO dOA 


[i 


o 


^ 


o 


o 


o 


o o 


o 


o 


^ 


o 


o 


o 


o 


3S0 


r- 


CN 


CN 


CM 


CJ 


1 CM 


CvJ 


OJ 


(M 


CM 


o 


CM 


CM 


CM 


CM 




dDA 


3- 
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O 


CO 


O 


o 


o 


O 


o 


^ 


O 


o 


O 


O 


o 


o 


3S0 


aj <^ 


o 


t^ 


o 




o 


o 


O 


o 


O 


m 


o 


■<* 


ANnaa 


^ 


O 


o 


o 


o 


o 


t^ 


r^ 


o 


o 


o 


o 


en 


o 


^ 


D3yd 


"^ 


03 


en 


r^ 


CO 


m 


CO 


CO 


CO 


^ 


^ 


00 


00 


00 


00 


LU 

3 

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asvaiid 


i^ 


CM 


to 

CM 


J 


o 


CM 


ISl 


01 


o 


CO 


CO 


LD 


en 


00 


03 


Nivisns 


tR 


CO 


CO 


o 


CO 


CO 


CO 


o 


CO 


o 


« 


O 


to 


o 


CO 


3dons 


S 


o 


00 


CO 


CO 


CO 


CO 


o 


o 


CM 


CO 


n 


o 


o 

CM 


CD 
CM 


d xvaaa 


ffi 


CO 


en 


m 


CO 


CO 


CO 


LO 


CO 


n 


CO 


CO 


to 


CM 


'^ 


Avoaa 


\}\ 


O 


CO 


CO 


CO 


m 


CO 


lO 


o 


CO 


CO 


CO 


o 


CM 


CO 


MOVIJ.V 


Ul 


CO 


m 


CM 

c\l 


o 


^ 


o 


o 


o 


o 


en 


o 


o 


O 


O 


lU 

o 

> 


dsvaiaa 


^ 


o 


CO 


la 


o 


IN 


to 


r^ 


o 


CO 


o 


en 


00 


to 


CM 
CM 


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^ 


o 


CO 
C>J 


O 

CM 


o 


in 


o 

CM 


o 


o 


o 


CO 


O 


o 


"d- 


to 


3d01S 


? 


o 


CM 


CM 




CO 


CO 


en 


o 


CM 
CM 


CO 


^ 


00 


CO 


to 

CM 


■d Mvayg 


5P 


o 


O 


O 

C^I 


CM 


o 


CM 


CM 


o 


CO 
CM 


CO 


ID 


CO 

CM 


r> 


CO 


Avoaa 


3=^ 


CI 




o 

CM 


t-^ 


00 


o 


cm 


CD 


r- 


CO 


CM 


CO 


CD 


CM 


XDVllV 


? 


o 


CO 

Cvj 


O 


o 


o 


CO 


O 


o 


o 


CM 


O 


o 


O 


^ 


snuoHD 


ddO/NO 


^ 


- 


^ 


- 


- 


- 


^ 


- 


- 


o 


^ 


^ 


- 


- 


- 


o 

> 


XNI 93 




o 


CO 


^ 


cs 


<o 


CO 


CD 


00 


in 


CO 


CM 
CM 


o 

CM 


CO 


o 

CM 


AilHVnOd 


2r 


- 


^ 


^ 


- 


- 


^ 


- 


^ 


^ 


^ 


^ 


^ 


- 


- 


>i3vyi asM 


FR 


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o 


CM 


C^l 


CM 


- 


^ 


- 


^ 


CM 


CM 


o 


- 


CM 


30NVNOS3d 


!^ 


o 


o 


in 


en 


^ 


o 


CM 


o 


CO 


CO 


^ 


o 


o 


O 


Jdoino 


try 


O 


o 


O 
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o 


in 


IN 


LO 


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CO 


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r^ 


■^ 


CM 
CO 


O 


3SfON 


13A31 


^ 


o 


CO 


CO 


o 


CO 


O 


o 


o 


o 


O 


o 


o 


O 


O 


O 
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^ 


CO 


^ 


o 


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- 


CM 


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^ 


CO 


o 


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CD 


LD 


IVABSiNI 


^ 


lil 


^ 


- 


^ 


- 


^ 


- 


irj 


- 


- 


^ 


LO 


- 


- 


1dA31 


Rl 




CO 


CO 


CO 


00 


o 


CO 


in 


CO 


o 


CO 


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CO 


00 
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lAiyOddAVM 


l>4 


CO 


't 


CM 


^ 


CM 


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r^ 


in 


in 


■* 


CD 


CO 


CO 


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3AVi30 


fxi 


CD 


CD 


00 


CD 


CO 


CO 


QO 


^ 


CD 


CD 


CO 


CD 


00 


CO 


O 
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13A3n 


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CO 


S 




CO 


CVJ 
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CO 


CD 
CN 


CO 


CO 


O 


ro 


cn 

CM 


CO 


ID 
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WH0d3AVM 


lil 


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CO 


CN 


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C>J 


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I^ 


^ 


LD 


CO 


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CO 


to 


CM 


3AVi30 


n; 


(0 


to 


CO 


to 


00 


CO 


^ 


CD 


CD 


(D 


CD 


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00 


CD 


PROGRAM 
NAME 


< 

CD 

ir 
O 

LU 
Q. 


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LU 

t 

O 

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LU 


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to 

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n: 
1- 
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cr 

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in 

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LU 
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cc 

h- 


Q 

cc 
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cc 

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LU 
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o 
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CN 

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CM 

CO 

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LU 
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X 

o 
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CL 

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LU 

z 
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X 


z 
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CO 


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o ^ 


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o ^ 


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2^ 


2^ 






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3l/\lii OiNaiAIVlHOd 


P 


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o 


O 


o 


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o 


o 


o 


o 


o 


o 


o 


o 


Q 

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ddO/NO dOA 


F^ 


O 


o 


O 


- 


^ 


o 


o 


o 


o 


o 


o 


o 


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o 


DSO 


r— 


CN 


CN 


c-l 


o 


o 


CN 


CM 


CM 


CM 


CN 


CM 


CM 


o 


CM 




dOA 


s. 


o 


O 


O 


m 


o 


O 


o 


O 


O 


^ 


o 


o 


01 


o 


OSO 


U3 


o 


O 


in 


o 


in 


o 


o 


O 


CN 


CN 


o 


CD 


o 


LO 


A\n3a 


C8 


ro 


O 


o 


o 


o 


i 


o 


O 


O 


o 


O 


o 


o 


oayj 


s 


CO 


CO 


OO 


o 


to 


03 


OO 


CO 


00 


CO 


03 


00 


CO 


CO 


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< 
o 
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3SV3n3U 


!:R 




J 


CO 


CM 


CO 


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03 


00 


m 


r- 


o ; s 


CM 
CN 


LO 


3iVisns 


y^ 


m 


o 


J; 


CO 


CO 
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CO 


O 


o 


o 


O 


s 


CM 


CO 


m 


3d01S 


S 


CO 


LO 


ro 


00 


CM 


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O 

CM 


IN 
CN 


CO 


00 

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CO 


CM 


CO 


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d »v3aa 


K 


CO 


o 
in 


^ 


CO 


1^ 
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CO 
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CO 


CO 

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CO 


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to 


m 


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^ 


^ 


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CO 


CO 


CO 


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CO 


CM 


>IDV11V 


un 


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00 


03 
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O 


o 


O 


o 


O 


O 


o 


O 


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a 

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1