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Thank´s for your help, I already recived these manual from you
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Thank you for your manual It has the basic things to and i use the Oszi for Longer Time.
THX
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Actually, I was looking for this information for 3 years!...now thanks to you, the manual is on my hands and of great help, cause I understand now where I was doing wrong connections and wires...excellent, I'll be back to you if in need, thank you.
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This manual covers the main equipment features only. While it also includes the procedure for saving and loading from the now long obsolete memory cards it does not mention the how to operate with the optional floppy drive interface so I am still at a loss about how to use this! Note that there is a separate manual covering the MIDI interface and programming via the keyboard, not included in this download. You will also need to get hold of this if you want to use the MIDI interface properly. Basically there is little difference between this manual and the free to download manual for the similar PR60 model.
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Good list of manuals. I found a very rare one and easily get. Should be promptly to download, as we must to wait hours even after confirmed payment.
MULTI MODE
IMPORTANT NOTES ABOUT MULTI PARAMETERS The parameters in the multi such as level, pan, tuning, etc., are unique to the multi and override any similar parameters in the program assigned to any part. For example, it is possible to set a pan position within a program. You may load a sound, the pan position of which is set to L50. However, when you first assign that sound to a part, the part will be set to MID, the MULTI�s PAN setting. This has another implication. If you assign a sound to a part and set the part�s pan position to R50, for example, if you then assign a new program to that part later on, the new program will also be panned to R50 within the multi. The same would be true of any of the other multi parameters such as level, FX send, tuning, output assign, etc.. The reason for this is that, if you have assigned a sound to a part and set that part�s parameters in a particular way, it is assumed that this is because you want it to sound that way. To use the example of panning again, let�s say you assign a piano sound to a part and set the pan position to R25 - you might back the level off a bit as well. If you then feel that the piano sound is not the right one and want to try a different one, the new sound will be in exactly the same position and at the same level in the mix. If the multi always adopted the program�s parameters when a sound is assigned to a part, selecting a new piano sound in this example would reset the part�s pan and level parameters and you would then have to adjust these parameters. Then when you assign another new piano sound, you would have to reset the parameters all over again. If you have set many parameters like level, output assignment, FX routing and send levels, etc., all of these would need to be reset manually every time you assign a new sound to a part. The way the multi works means that once you have set the parameters for any of the parts, they remain constant regardless of which sound you place in them and you do not have to keep resetting them manually all the time. You will note that the above does not apply when setting up a multi-timbral set of programs in the SINGLE mode (i.e. using the �old Akai� method). In SINGLE mode, as you select new programs and renumber them, so the program�s parameters will be used. This may or may not be an inconvenience depending on the way you want to work.
Page 48
S3200XL Operator�s Manual - Version 1.00
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