WK 3

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pr The lightning flash with arrowhead symbol,
within an equilateral triangle, is intended to alert
qu
D
CAUTION the user to the presence of uninsulated “dan-
in RISK OF ELECTRIC SHOCK
gerous voltage” within the product’s enclosure
co DO NOT OPEN
that may be of sufficient magnitude to consti-
el tute a risk of electric shock to persons.
T
CAUTION: TO REDUCE THE RISK OF The exclamation point within an equilateral tri-
G ELECTRIC SHOCK, DO NOT REMOVE COVER angle is intended to alert the user to the pres-
(OR BACK). NO USER-SERVICEABLE PARTS ence of important operating and maintenance
INSIDE. REFER SERVICING TO QUALIFIED
SERVICE PERSONNEL. (servicing) instructions in the literature accom-
panying the product.
15 IMPORTANT SAFETY INSTRUCTIONS

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK OR INJURY TO PERSONS
14 1. Read all the instructions (Safety, Installation and FCC if applicable) before using the product.
2. Do not use this product near water (example, near a swimming pool, spa, tub, sink or wet basement) and do not expose
13 to rain.
3. This product should be used only with a cart or stand that is recommended by the manufacturer, or should be used with
the components supplied. If this product requires assembly before being played, take special care to follow the assembly
instructions found at the back of the manual.
4. This product, whether alone or in combination with an amplifier and headphones or speakers, may be capable of produc-
ing sound levels that could cause permanent hearing loss. Do not operate for long periods of time at a high volume level
12 or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an
11 audiologist.
10 5. WARNING: Do not place this product or any other objects on the power cord, or place it in a position where one could
walk on, trip over or roll anything over power or connecting cords of any kind.
6. This product should be located so that its location does not interfere with its proper ventilation.
9. 7. This product should be located away from heat sources such as radiators, heat registers, or other products that produce
heat.
8. 8. This product should be connected to a power supply only of the type described in the operating instructions or as marked
on the product.
7. 9. This product may be equipped with a polarised line plug (one blade wider than the other). This is a safety feature. If you
6. are unable to insert the plug into the wall outlet, contact an electrician to replace your obsolete outlet. Do not defeat the
safety purpose of the plug.
5. 10. The power supply cord of the product should be unplugged from the outlet when left unused for long periods of time.
11. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.
12. This product should be serviced by qualified service personnel when:
a) the power supply cord or the plug has been damaged; or
4. b) objects have fallen, or liquid has been spilled into the product; or
c) the product has been exposed to rain; or
d) the product does not appear to operate normally or exhibits marked changes in performance; or
3. e) the product has been dropped, or the enclosure damaged.
13. Do not attempt to service the product beyond that described in the user-maintenance instructions. All servicing should
2. be referred to qualified service personnel.
1. 14. Some Generalmusic products may have benches and/or accessory mounting fixtures that are either supplied as part of
I the product or as optional accessories. Please ensure that benches are correctly assembled and stable and any optional
fixtures (where applicable) are well secured before use.
15. Electromagnetic Interference (RFI) This electronic product utilises digital sample wave processing technology (S.W.P.)
that may adversely affect radio/TV reception. Read the FCC note on the inside back cover of the owner’s manual for
additional information.
SAVE THESE INSTRUCTIONS
GROUNDING INSTRUCTIONS
This product may be grounded. If it should malfunction or breakdown, grounding provides a path of least resistance for
electric current to reduce the risk of electric shock. This product is equipped with a cord having an equipment-grounding
conductor and a grounding plug. The plug must be connected to an appropriate outlet that is properly installed and grounded
in accordance with all local codes and ordinances.
DANGER - Improper connection of the equipment-grounding conductor can result in a risk of electric shock. Check with a
qualified electrician or serviceman if you are in doubt as to whether the product is properly grounded. Do not modify the plug
provided with the product - if it will not fit the outlet, have a proper outlet installed by a qualified electrician.

ii
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The Utility section 5. 14

The Style Tempo 5. 16
Examples of how to use the Styles 5. 18
• 6 Disk 6. 1
Load operations - Play a Song or MidiFile direct from disk 6. 5
Loading WS and CD compatible files 6. 11
Save Operations 6. 14
Utility functions 6. 21
General disk handling information 6. 26
Precautions to observe when using WK3 disks with a computer 6. 28
• 7 Songs 7. 1
• Selecting and playing back Songs 7. 2
Song Playback 7. 3
R Displaying lyrics 7. 8
• 8 Song/Styles 8. 1
Selecting and playing back Song/Styles 8. 2
Song/Style Playback 8. 3
• 9 Digital Signal Processor 9. 1

• Selecting the effect types 9. 2
Bypassing the effects 9. 4
Regulating the Send levels 9. 5
• 10 MIDI 10. 1
• Principal MIDI applications 10. 6
Piloting WK3 with a master keyboard 10. 9
Additional MIDI parameters 10. 12
• 11 New Release (OS update) 11. 1

• How to set the new functions 11. 2
Auto Arrange 11. 2
Fingered 1 11. 3
Fingered 2 11. 3
• Auto Name 11. 5
REFERENCE GUIDE
• 12 Selection 12. 1
• Selecting Performances 12. 1
Selecting Styles 12. 2
Selecting Sounds 12. 4
Selecting Samples 12. 6
Selecting Songs & Song/Styles 12. 7
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ii Contents
i
○
• 15 Edit DSP effects 15. 1

How to edit an effect 15. 1
The Reverb parameters 15. 4
The Effects parameters 15. 4
Reverb/Effects tables 15. 6
• 16 User Style recording 16. 1

Recording User Styles 16. 3
Programming the User Style Performance 16. 7
• 17 Song/Style Recording 17. 1

Recording Song/Styles 17. 2
Programming the Song/Style Performance 17. 6
• 18 Song Recording 18. 1

Recording Songs 18. 2
Programming the Song Performance 18. 6
• 19 Sequencer Edit 19. 1

Quantize function 19. 2
Clear function 19. 4
Master Track function 19. 9
Copy function 19. 13
A • 20 REC / EDIT 20. 1

Regulating the Mic/Line signal 20. 3
Preparing to sample - select the Splits 20. 4
Programmable Pads Assign 20. 12
• APPENDIX
Tables A. i
Midi Implementation chart A xii
Audio/Video Interface
Installation instructions A. xiv
Specifications A. xvi
• Index A. 17
•
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iv Contents
ii
SPECIFICATIONS • Digital Signal Processor

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• Polyphony & multitimbricity WK3 features an on-board Two Digital Effects

Processors, controlled in real time, enrich the
Maximum polyphony: 64 voices . Multitimbric- sound with effects (reverbs and modulations).
ity: 16 parts (Song mode) or 8 parts (Style Each Performance can store its own effects
mode). Each part is assigned to a track. In configuration and an editor is available to cre-
Style mode, 5 tracks are assigned to the auto- ate user-effects which are stored in the Per-
accompaniment section and 3 tracks to the formances.
keyboard.
• Sequencer
• Sound Generation
The 16-track Sequencer includes a series of
Sounds are based on sampled waveforms functions that allow Style, Song/Style and
• (PCM, Wavetables and Subtractive Synthe- Song recording (real time system), playback
sis technology) and modified by a series of and editing. Also featured is a Lyrics function
macro functions. The instrument’s 32 oscilla- (Text) which displays Song lyrics during play-
tors generate “single” Sounds (32-note poly- back. The Quick Rec function allows the rap-
phonic) or “layered” Sounds (16 note poly- id recording of a Song/Style by using existing
phonic), depending on the number of oscilla- Styles. The standard System-RAM allows you
tors used to elaborate the Sound (1 or 2). to store up to 7 Song/Styles and 7 Songs.
• ROM Sounds • Chain, Preload, Play Direct from Disk
• ROM (permanent memory) contains 4 Mega- The Chain function allows you to chain the
bytes of samples, which are the source of al- Song/Styles and Songs in memory and play
most 400 ROM-Sounds. them one after the other with a single com-
• Sound Edit mand. The Preload function allows you to
load new data into memory (Songs: WK for-
• WK3’s Sound Edit function permits quick mod- mat and Midi files) while the sequencer is in
ification of Sound and Drumkits, producing E- play or while you play in real time. The Di-
Sounds (“Performance-Sounds”) which are rect-from-Disk function allows you to play a
stored in the Performances. The modifications Song or MIDI File directly from disk without
are stored in Performance tracks to allows loading the data into memory.
Songs, Styles or Performances to load the cor-
rect sounds. • Automatic Accompaniments
• Sample-RAM Styles provide automatic musical accompa-
niments, consisting of 5 tracks. Every Style
WK3 is fitted with a battery-backed Sample- has 4 Variations. Up to 16 disk-based Styles
• RAM dedicated to the storage of Samples. (User programmable) can be loaded and au-
Disk-based Samples can be loaded into Sam- tomatically stored in memory.
ple-RAM, or can be recorded with the WK3
sampler, a feature made available by install- • Disk Drive
ing the optional Audio/Video Interface. Data can be stored on 3.5” HD floppy disks in
WK3 format (1.44 megabyte) or standard MS-
DOS (1.44 megabyte). The Atari ST/Falcon
•
S
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ii Introduction
i
IMPORTANT INFORMATION
○
c 1. The WK3 should contain the following items from the factory:
A a) Instrument;
b) 3 Floppy disks (2 Operating System (OS) -Disks, 1 Demo);
c) Owner’s manual.
2. When contacting your retailer or authorized Generalmusic technical assistance centre, always pro-
vide the model name and serial number of your instrument (found on the identification plate).
Generalmusic on Internet: http://www.generalmusic.com

The information in this publication has been carefully prepared and checked. The manufacturers however decline
all liability for eventual errors. All rights are reserved. This publication may not be copied, photocopied or
reproduced in part or in whole without prior written consent from Generalmusic S.p.A. Generalmusic reserves
the right to apply any aesthetic, design or function modifications it considers necessary to any of its products
without prior notice. Generalmusic declines all liability for damage to property or persons resulting from
improper use of the instrument.
2. Make sure that all internal electronic options are installed by an authorised Generalmusic service technician.
Check with an authorised Generalmusic dealer for information on the closest service center.
Gem by Generalmusic © 1996. All rights reserved.
Apple, IBM, Macintosh, Microsoft, MS-DOS, Windows, Atari, are registered trademarks of the respective
1. companies.
I
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iv Introduction
v
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vi Introduction
○
GENERAL SAFETY INSTRUCTIONS

Power source
• Be sure that your local AC mains voltage matches the voltage specified on the name plate before
connecting to the mains.
• DC power cannot be used to power this instrument.
• If the instrument is to remain unused for long periods of time, remove the power cord from its wall
outlet. For safety purposes, remove the power cord in cases of storms with lightning.
Handling the power cord
• Never touch the power cord or its plug with wet hands.
• Never pull on the cord to remove it from the wall socket, always pull the plug.
• Never forcibly bend the power cord.
• • If the power cord is scarred, cut or broken, or has a bad contact, it will be a potential fire hazard or
G
source of serious electric shock. NEVER use a damaged power cord; have it replaced by a qualified
technician.
If water (or other liquid) gets into the instrument
• Do not allow liquids to penetrate the instrument. Do not place containers of liquids on the instru-
ment. If water or liquids penetrate the instrument, remove the power cord from the wall socket at
once, and contact the store where the unit was purchased.
• As a general precaution, never open the unit and touch or tamper with the internal circuitry.
If the instrument plays in an abnormal way
I
• Turn off the power immediately, remove the power cord from the mains outlet and contact the store
where it was purchased.
• Discontinue using the unit at once. Failure to do so may result in additional damage or other
unexpected damage or accident.
Important notes
If
• Place the keyboard on an appropriate stand or on a hard, flat surface.
• Do not place heavy objects on the keyboard and avoid leaning on it.
• Before turning on the instrument, be sure to set the volume to a reasonable level (master volume
slider at about two thirds of the course).
If
• Before connecting your instrument to other devices, always remember to turn off the power to all
units; this will help to prevent damage or malfunction.
General user maintenance
• Clean the external casing and keys of your WK3 Keyboard using a soft, clean, slightly damp cloth
and polish with a soft, dry cloth.
• Never use industrial cleaners, detergents, abrasive cleansers, waxes, solvents or polishes as they
may damage the instrument finish.
H
• Always turn off the power supply after use and never turn the unit on and off repeatedly in quick
succession as this places an undue load on the electronic components.
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User Guide
1
PLAY AND RECALL KEYBOARD SOUNDS

○
IN REAL TIME 1
1. Play on the keyboard.
You will hear the “Piano” sound play across
the full keyboard extension.
The group of Keyboard Activators (Upper 2,
Upper 1, Lower) shows Upper 1 selected (led
on), indicating that the UPPER 1 keyboard
section is active to play.
The current keyboard mode is set to SPLIT < --------- SINGLE SOUND (Upper 1 or Upper 2) --------- >
MODE and the Upper 2 and Lower keyboard
sections are enabled for activation.
4.
2. Press UPPER 2. 2
A second sound is introduced, layered with
the first. Pressing a single note on the key-
board plays two sounds simultaneously.
3. Press LOWER and play with both hands.

< -------- LAYERED SOUNDS (Upper 1 & Upper 2) -------- >
A third sound is introduced and the keyboard
is now divided with a Split Point at note B3.
The LOWER keyboard plays over the range 3
3. C2 - B3. The UPPER 1 and UPPER 2 sec-
tions are assigned to the range C4 - C7.
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© Note: If you deactivate LOWER in SPLIT

MODE, the UPPER 1 & UPPER 2 sections are
reassigned to the full keyboard extension.
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2.
4. Adjust the overall volume.
Use the MASTER VOLUME control to adjust SPLIT Keyboard
< ------- Lower ------- >< ----- Upp 1 &/or Upp 2 ------- >
the general volume of the instrument.
A comfortable level is about two thirds of the
maximum course of the slider. 4
1.
I
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1•2 User Guide

1
PLAY KEYBOARD SOUNDS WITH AUTO-

○
MATIC ACCOMPANIMENTS (STYLES) 1

A Style will already be selected but you can se-
lect another Style in the following manner:
1. Press SINGLE TOUCH PLAY.

The ARRANGE ON/OFF and ARRANGE
MEMORYbuttons will activate.
2. Press a Style Group button in the SONG/STYLE

2 Style Groups
GROUPS (8 Beat, 16 Beat, etc.).

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© Note: Avoid pressing the User, Song/Style and

Real Song buttons for the time being.
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3. Select a Style.
Use Function buttons F1…F8 to select one 3
of the 8 displayed Styles.
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5. © Note: If a Style is not selected within the first 2/

3 seconds, the display returns to the previous
situation automatically.
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4.
4. Press START/STOP
The Drum accompaniment starts to play.
5. Play a note (below split point B3) with the left 4

hand and a melody with the right.
You’ll hear a fully orchestrated arrangement
3. accompanying the keyboard sound.
The combination of sounds that play and the
keyboard mode will depend on the Style se-
lected.
You can change the combination of keyboard
2. sounds by intervening on the keyboard acti-
5
vators (Upper 2, Upper 1 and Lower).
Styles are discussed in detail in the relative
chapter afterwards.
1.
le
A
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1•4 User Guide

1
PLAY WITH EFFECTS OR BYPASS THEM

○
One or both effects buttons in the Digital Signal

Processor will be active (led on), showing that
the current Performance is being processed by
one or both effect types (Reverb and/or Mod/
Delay Effect).
You can temporarily modify the way in which a
Performance or Style is processed by changing
the On/Off configuration of the Reverbs and Ef-
fects buttons.
When the leds are on, the current Performance
is being processed by the effects; when off, the
respective effect is bypassed.
Bypass 1
1. To bypass an effect, press an active button.
The led of the button goes off, indicating that
2. the current Performance is no longer being
processed by the relative DSP.
T
To activate an effect 2
2. Press a deactivated button.
The led of the button turns on to indicate that
1. the current Performance is being processed
by the relative DSP.
B
22 Reverb and 22 Mod/Delays are available
and both signal processors are user-program-
re mable (See chapter 15, «Edit Effects»). How
is to select the effects is discussed in chapter
9, «Digital Signal Processor».
fe
th
P
Y
D
o
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P
O
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1•6 User Guide

1
REGULATE THE GENERAL EFFECT

○
VOLUMES AND ACTIVATE LOUDNESS

1/2
It is possible to regulate the general effect vol-
umes to suit the surroundings and activate the
Loudness function.
Although each Performance recalls appropriate
effect volume settings and mixer settings for each
track, a general setting can be applied to render
the effects more or less intense with a single com-
mand.
5.
The Loudness control introduces a particular
equalisation (a simultaneous control of the Bass 3/4
and Treble tones - similar to that found on home
stereo units). When Loudness is ON, it favours
certain frequencies at low volume.
1. Press the GENERAL button (close to the EDIT PER-

4.
FORMANCE section).
The first page of Edit General is opened.
3. 2. Press the PAGE+ button once.
2. 3. Select the parameters with the Function buttons:

Rev=Reverb (F1/F2), Eff=Effect (F3/F4),
Loud=Loudness (F5/F6).
4. Modify the selected parameter with the Dial.
1.
5
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© Hint: You can use the F1-F2, F3-F4 sliders to

c change the parameter values directly without
st selecting them. The Loudness control can be
a switched ON and OFF by toggling with the F5 or F6
e Function buttons.
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T
5. Press ESCAPE per return to the default display.
m
th The settings remain in memory (RAM) after
tr turning off the instrument.
ef
Al
L
u
It
V
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1•8 User Guide

1
○
Demo
Listen to the Demo Styles

You can listen to the automatic playback of your
WK3 to get an idea of what the instrument is ca-
pable of doing. The Demo Styles can be played
back in any operating mode. Initially, set the in-
strument’s Master Volume control to about the
1
half way mark.
1. Press the DEMO button.

3.
The 2x40 backlit Liquid Crystal Display (LCD)
shows three Styles to choose from and the
“ALL” option.
2
2. Select a Style or the “ALL” option.
Use the corresponding Function buttons.
If you select one of the 3 demo Styles, the
selected Style starts to play instantly. When
it reaches the end it stops automatically.
If you select «ALLDEMO», the Styles play
as a chained “medley”. When the end of the
last Style is reached, it loops back to the be-
ginning of the first demo Style and starts to
3
repeat the entire sequence. Playback con-
tinues to repeat until stopped.
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© Note: During the demo playbacak, all buttons

on the control panel are temporarily disabled. The
only operative control is the Master Volume slider.
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3. To stop the demo Style, press the corresponding

Function button, or ESCAPE, or DEMO.
1.
h The demo Style (single Style or «ALL») stops
st instantly and WK3 is restored to normal op-
OR
b eration. Using the Function buttons does not OR
p escape from the Demo display.
Y Using ESCAPE or DEMO stops the Demo

Style and closes the DEMO display.
Li
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1•10 User Guide

1
4. Rotate the DIAL to select a WK3 Song or Midifile.

○
4
Scroll through the files and select a Song or
Midifile.
5. Press START/STOP to start the playback.

The message “Wait!!” appears for a few sec-
onds then playback begins.
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©
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Note: If you press Escape during the “WAIT!”

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5
period, you can abort the Direct play function.
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6. To stop the “direct” playback at any time, press

START/STOP.
When the Song or Midifile stops, WK3 re-
mains in Song mode.
Don’t forget to remove the Floppy disk from
the drive. 6
6.
5.
4.
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1•12 User Guide

1
4. Press START/STOP to start the recording.

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4/5
A metronome will beat time (drum sticks). You
will have a one measure (bar) lead into the
recording to get ready.
5. Start playing after the one bar lead.

Any notes you play during the lead-in will not
be recorded.
6. When you have finished recording the Drum

track, stop the recording with START/STOP.
The metronome continues to beat time and
the led of the recorded track in the sequencer 6
continues to flash. This allows you to start
the sequencer again and record other events,
adding them to those already recorded
(overdubbing) - this is essential for the drum
track. More about this in the Song chapter.
8. 7. Select another track to record in the Sequencer.
The previous track is confirmed (led on) and
the next track enters record mode (led flash-
7
ing). The recorded track is shown in “play”
mode.
7. 8. When you have finished recording the track, se-
lect another one to record in the Sequencer, this
time without pressing Start/Stop.
The sequencer stops recording, the previous
track is confirmed (led on) and the next track
enters record mode (led flashing). The re-
corded tracks are shown in “play” mode. 8
Repeat points 7 and 8 as many times as re-
quired until you have recorded your multi-
6. track Song. While you record another track,
the track(s) in “play” will playback exactly as
you recorded them.
At this point, it is also possible to intervene
5. on the recorded data to correct or cancel the
events. More about event editing in the
Sequencer Edit chapter 19.
4.
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1•14 User Guide

1
SAVE THE SONG TO DISK

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Although WK3 retains user-programmed data in

1
RAM after turning off, thanks to the battery-
backed RAM, you can save the recorded Song
to floppy disk for future use and restore WK3 to
the factory-set conditions.
The «Disk» chapter also details how to save a
WK3 Song as a Standard MIDI File.
1. Have an empty disk ready and insert it into the

disk drive.
2/3
6.
Read through the «Disk» chapter of the User
Guide to learn how to prepare a new disk.
2. Press DISK.
3. Press PAGE+ twice to pass to the SAVE page.
4. Select the Song to save and confirm with ENTER.
Select the Song with the Function buttons.
5. Enter confirms the selection and sets the drive 4
in motion.
5. Write a name for the Song file.

Up to 8 characters can be inserted using the
4. keys of the keyboard. The extension «.WK3»
indicates that the Song file is a WK3 format
3. Song.
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©
2. Note: The name of the Song file does not
necessarily have to have the same name as the 5
Song.
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6. Press ENTER once then once more to save the

Song to disk.
1.
ENTER once prompts a second confirmation 6
request. ENTER the second time confirms
T the procedure. ESCAPE cancels the opera-
tion.
th
to When the **SAVING** operation has finished,
b the SONG will be on disk and the display re-
R turns to the previous situation.
Al
S
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1•16 User Guide

2
Front panel
○
display
control speaker &
speaker & panel
tweeter tweeter
UPPER 1
UPPER 2 UPPER
ACC. 3
LOWER PAGE 2 1 2 SEQUENCER
ACC. 2 3
MIC ACC. 1 TEMPO CHORDS / MEASURES UPPER 2 4
MASTER BASS 5
LINE DRUMS 9 6
VOLUME
10 7
11 12 8
13
14 15
16
MAX
LOWER
DRUMS
BASS ACC. 1
PERFORMANCE LOWER UPPER 1 TEXT ACC. 2
QUANTIZE ACC. 3 TRACK
CLEAR M. TRACK LOWER UPPER 2 SELECT
COPY UPPER 1
REW
UPPER FF CHORD/
PAGE 1 COM.
F8 RECORD
F7 F 1 F 2 F 3 F 4 F 5 F 6 F 7 F 8
F5
F6 MEASURE
MIN HOLD UPPER
F3 F4 DISPLAY 2
F2
F1
GROUPS SOUND GROUP
STYLE / SONG S
P erf. 1 Perf. 2 Perf. 3 Perf. 4 Perf. 5 Perf. 6 Perf. 7 Perf. 8 UPPER 1 PIANO
SONG / STYLE STYLE LOCK CHROM
USER 1
DANCE 2 REAL / SONG REED ORGAN
GUITAR
DANCE 1 USER 2 PIPE
SYN LEAD BASS
FUNK LATIN 2 SYN PAD STRINGS
16 BEAT
ROCK LATIN 1 SYN SFX ENSEMBLE
8 BEAT TRAD. 2 PERFORMANCE GROUPS LOWER ETHNIC BRASS
TRAD. 1. STORE PERF. PERCUSSIVE
US. TRAD. SFX
JAZZ.
ENTER TEMPO
b TRANSPOSE OCTAVE
DATA
EDIT PERFORMANCE DIGITAL SIGNAL PROCESSOR SOUND BANKS

PERFORM. MIDI MIXER SOUND GENERAL REVERBS EFFECTS EDIT 1 2 3 SAMPLES REC / EDIT DISK DEMO
ESCAPE
KEY START / CONTINUE VAR. 1 VAR. 2 VAR. 3 VAR. 4
PROGRAMMABLE PADS
AUTOMATIC STYLES UTILITY
ARRANGE ARRANGE LOWER ARRANGE SINGLE TOUCH TEMPO HARMONY HARMONY INTRO ENDING FADE IN / OUT FILL FILL FILL
ON / OFF MEMORY MEMORY MODE/SPLIT PLAY LOCK ON / OFF TYPE
START / STOP
TAP TEMPO
keyboard alphanumeric
power switch configuration
trackball disk drive
headphones
Rear Panel
Holes for music stand
RGB S VHS MICRO / GAIN DAMPER PED. 2 PED. 1 VOLUME PEDALBOARD OUT IN CONTRAST VOLUME RIGHT / MONO LEFT RIGHT / MONO LEFT
VIDEO ONE MIDI INPUT OUTPUT
Rear Panel (Connections)
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2•2 User Guide

2
Control panel (central section)

○
PAGE
8 UPPER
2
TEMPO CHORDS / MEASURES UPPER 2
10 11 LOWER
PERFORMANCE LOWER UPPER 1
TY
UPPER
PAGE 1
ARM
DISPLAY
HOLD
13 F 1 F 2 F 3 F 4
9 F 5 F 6 F 7 F 8
UPPER
2
STYLE LO
CK
14 P erf. 1 Perf. 2 Perf. 3 Perf. 4 Perf. 5 Perf. 6
16
Perf. 7 Perf. 8 UPPER 1
12
RF. PERFORMANCE GROUPS LOWER
STORE PE
15 b TRANSPOSE
ENTER TEMPO
DATA
OCTAVE
18 17 19
ESCAPE
20 21
ARMONY INTRO ENDING FADE IN / OUT FILL FILL FILL
TYPE
START / STOP
TAP TEMPO
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2•4 User Guide

2
○
Front Panel (buttons & controls)

ul
• 1. SLIDERS • EDIT: gains access to the effects selectors and effect
R MASTER VOLUME. Regulates the overall volume of the send controls. Pressed a second time gains access to
• entire instrument (speakers, headphones and outputs). the effects editor (Edit).
th MIC/LINE. Controls the volume of the signal fed into the 6. AUTOMATIC STYLES
vi Mic/Line Input (operational with the optional Audio/Video
A series of buttons which control the Styles.
T Interface only).
• ARRANGE ON/OFF: Enables (On) or disables (Off) the
5 DRUM, BASS, ACC1, ACC2, ACC3, LOWER, UPPER2,
Style arrangements.
UPPER1 sliders. Independent volume controls for the
• ARRANGE MEMORY: The Style arrangements continue play-
fe keyboard sections (Upper 1, Upper 2, Lower) and Style
ing (led on) or stop (led off) after releasing the keys from
G Tracks (Drum, Bass, Acc1, Acc2, Acc3).
the keyboard area dedicated to Style chords (below the
4 F1…F8 sliders: When WK3 operates in multi-track mode split point).
(Song), the sliders control the volumes of tracks 01-08 or • LOWER MEMORY: The Sound assigned to the Lower key-
•
09-16. Tracks 09-16 are accessed with the Track Select board section continues playing (led on) or stops playing
•
button (Sequencer section) which toggles between tracks (led off) after releasing the keys from the Lower keyboard
•
01-08 and 09-16. In many edit situations, sliders F1…F8 (below the split point).
•
are used as date entry controls.
ifi • ARRANGE MODE/SPLIT: Gains access to 7 options associ-
T 2. STYLE/SONG GROUPS ated to the Style arrangements: Mode, Bass to Lowest,
Split Point, One Finger, Fingered, Free, Chord display.
3 These buttons gain access to Styles (8 Beat, 16 Beat,
S
Rock, etc.), Programmable Styles (User1 & User2), 7. UTILITY
Song/Styles (Song/Style) or Songs (Real Song).
R Four useful functions which simplify Style playing: Single
T 3. EDIT PERFORMANCE Touch Play, Tempo Lock, Harmony On/Off, Harmony Type.
2 These buttons gain access to the edit of the function spec- 8. THE DISPLAY
ified on the buttons.
ar A 2x40 LCD (Liquid Crystal Display) display to communi-
• PERFORMANCE: edit of the Performance parameters.
0 cate the current status of the instrument. The contents
• MIDI: edit of the MIDI parameters.
b are defined by the silkscreened markings around the pe-
• MIXER: edit of the Mixer parameters.
0 rimeter.
• SOUND: edit of the macro Sound & Drumkit parameters.
(S
F 4. GENERAL
Tr Gains access to the Edit General parameters which af-
k fect the instrument as a whole. 9. FUNCTION BUTTONS F1…F8
U
D 5. DIGITAL SIGNAL PROCESSOR Select the displayed items in selection or edit situations.
In The on-board dual Digital Signal Processor which pro- 10. PAGE +, PAGE –
M vides Reverbs and Modulated effects to further enhance Select Performances in increasing (Page+) or decreas-
M the WK3 sounds. ing (Page–) order when WK3 is set to Style/RealTime
e • REVERB: activates (led On) or bypasses (led Off) the mode. In the various Edit modes, they pass from one
M Reverb DSP. edit page to another.
1 • EFFECTS: activates (led On) or bypass (led Off) the Mod-
ulation/Delay DSP.
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2•6 User Guide

2
○
• LEDS 1 - 16, TRACK SELECT: Activators for tracks 1 - 08 POWER

and 9 - 16 for multi-track recordings (Songs). TRACK SE- On/Off switch to turn WK3 on and off.
LECT toggles between the first and second set of 8 tracks.
• FF, REW: Fast forward (FF) or “rewind” (Rew) buttons
for Songs and Song/Styles.
• QUANTIZE, CLEAR, MASTER TRACK, COPY: buttorn which
activate sequencer editing tasks.
a
• TEXT: pressing this button (led on) displays Song Lyrics
vi
(active for Songs with a Lyrics track only). HEADPHONES
1
Two jacks for stereo headphones. Inserting a jack in the
2 23. SOUND GROUPS left socket excludes the internal speakers.
This button gains access to the WK3 Sounds aranged in The Headphones volume is controlled by the Master Vol-
G
8 Groups of 8 Sounds. Each Group is further sub-divid- ume slider.
2 ed into 3 Banks (1,2,3).
fr 24. SOUND BANKS 1, 2, 3
[F
These buttons select the Sound Banks 1, 2 and 3 in cy-
E
clic order in Sound selection situations.
2 THE TRACKBALL
25. SAMPLES
w
Gains access to the Samples bank (battery-back SAm-
it
ple-RAM). Once accessed, the Samples can be assigned
d
to the Tracks and Pads, as any other Sound.
G
2 26. REC/EDIT
Gains access to the Sample recording and editing proce- The Trackball is an on-board programmable “physical
to
dure (available only if WK3 is fitted with the optional Dig- controller” which affects the way the WK3 plays.
pl
ital Audio Video Interface) and the Pads Assign function Moving the Trackball in left/right directions generates
G
which allows you to assign sounds to the Pads. Pitch Bend data which affects the tracks of the current
2 Performance enabled for the effect.
27. DISK Moving the controller in Up/Down directions generates
cli
Enters the Disk operating functions (Load, Save, Utility Modulation messages.
T
[Format, Erase]) which allow the transfer of files to and
THE DISK DRIVE
2 from disk.
e 28. DEMO
8
Gains access to the demonstration Songs.
T
2 29. PROGRAMMABLE PADS
13 buttons arranged in keyboard-octave style which pro- The Disk Drive is located under the keyboard towards
(a
vide sounds or samples that can be played in real time in the right edge of the instrument and handles 3.5” double
•
any mode. density (2DD) or high density (2HD) floppy disks.
a
•
fo
•
LE
a
•
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2•8 User Guide

2
○
Rear Panel (Connections)
1. AUDIO/VIDEO INTERFACE (OPTIONAL) 6. MIDI

• VIDEO (RGB, SVHS): RGB/Composite Video port to con- Standard MIDI interface consisting of a MIDI IN, MIDI
nect an RGB monitor or domestic television. SVHS/Com- OUT and MIDI THRU to communicate with other exter-
posite Video port outputs SVHS signals. For Europe, WK3 nal devices fitted with a MIDI interface (keyboards, com-
is set for the PAL standard while USA requires WK3 to e puters, etc.). MIDI cables are not supplied with the in-
set for the NTSC standard (in Edit General). (operational strument.
b only with the optional Audio/Video Interface). When using WK3 on its own, these sockets do not re-
re • IN - MIC/LINE - GAIN: Audio Input for Microphone or Line quire to be connected.
ibl signals for sampling operations. The general volume of
7. CONTRAST
to the signal is regulated with the MIC/LINE control on the
S command panel. Gain adjusts the strength of the signal Regulates the display contrast. Different display viewing
5 fed into the Mic/Line input. (Operational only with the angles may require a slight adjustment of the contrast.
optional Audio/Video Interface).
at 8. INPUT
th 2. DAMPER, 1, 2 Stereo (Left-Right/Mono) Audio Inputs for a musical in-
A Function assignable pedal connectors for optional foot strument, cassette recorder or CD player. For mono con-
4 switches. The polarity is programmable. nections use the RIGHT/MONO jack. The VOLUME con-
trol regulates the level of the signals fed into the INPUT
S 3. VOLUME jacks.
C Connector for assignable Volume control (Master Volume,
9. OUTPUTS
3 Section Volume).
Stereo Left-Right/Mono Outputs to listen to the WK3
s 4. PEDALBOARD sound through an external device such as a mixer or au-
F An optional Generalmusic pedalboard can be connected dio amplifier. For Mono reproduction, use the RIGHT/
2 this socket. The Pedalboard and Computer ports oper- MONO jack.
ate alternately.
o 10. Mains socket
fe 5. COMPUTER Insert one end of the supplied power cord into this socket
c Serial port which permits WK3 to be connected directly and the other end to a wall outlet.
th to a computer (Apple Macintosh or IBM PC and compat-
si ibles.) Data interchange between WK3 and PC or Mac
•I requires appropriate setting in Edit General. The Pedal-
o board and Computer ports operate alternately.
s
is
p
n
•
1
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2•10 User Guide

3
○
STYLE LOCK and SINGLE TOUCH PLAY buttons

The sounds that are recalled by selecting Per-
formances or Styles are governed by the status
of the SINGLE TOUCH PLAY and STYLE LOCK
buttons.
SINGLE TOUCH PLAY led on: Single Touch Play

Selecting a Style recalls the sounds of the auto STYLE-PERFORMANCE
accompaniment track and relative patterns, as
well as the appropriate keyboard sounds for the SINGLE TOUCH
STYLE PLAY
P selected Style. Memorised Tempo data is also

s recalled (if Tempo Lock is off). The sound com- 8. BEAT
S binations are determined by the default Style Per- SINGLE TOUCH
m formance. PLAY
fo SINGLE TOUCH PLAY led off:

(p STYLE-PERFORMANCE
s Selecting a Style recalls the arrangement sounds,
S the patterns and Tempo data without changing
the keyboard sounds.
Style lock
S
STYLE LOCK led on: RT-PERFORMANCE
s
ar When you select a Performance, the Style re- STYLE LOCK RT-PERFORMANCE
m mains unchanged. Only the keyboard sounds Perf 1

are recalled without changing the arrangement
8. BEAT
sounds. STYLE LOCK
S
STYLE LOCK led off: RT-PERFORMANCE
th
th Selecting a Performance recalls appropriate
S sounds for the keyboard and the arrangements
(provided different user-programmed Style Per-
SI formances have been stored in the Performance
fo memory slots). The elements recalled are the
bi Style, the Variation, Effects and the Tempo. The
re sound combinations are determined by the Style
s Performance.
w
a
S
SI
b
of
fo
T
S
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3•2 User Guide

3
○
Song/Style Performance vice, all 16 tracks are taken into consideration

and the programmed configurations memorised
Song/Style Performances are associated to the
to the Performances will be recalled as pro-
Song/Styles and are stored in the Song/Style
grammed.
m button of the STYLE/SONG GROUPS. Song/
e Style Performances recall the arrangement Selecting Sounds and Performances via MIDI is
th sounds, the chords that trigger the Style arrange- discussed in a later chapter.
gr ment patterns and the recorded keyboard sounds.
al These Performances cannot be accessed from
the PERFORMANCE GROUPS; they are ac- TRACKS
m cessed for editing purposes by pressing the PER-
S FORMANCE button in the EDIT PERFORM- A Track is the smallest part of a Performance and
Vi ANCE section. A modified Style Performance can each type of Performance contains a number of
be saved to any of the 7 Song/Style slots availa- tracks that correspond to the playing mode to
T
ble in memory. which the Performance is associated.
A sound can be assigned to each track and the
WK3 main (default) display always shows the
S
Song Performance
sounds assigned to the keyboard sections (Up-
S
Song Performances are associated to the Songs
per 1, Upper 2, Lower). In the first page of «Edit
th
and are stored in the Real Song button of the
Performance», it is possible to see the sounds
e
STYLE/SONG GROUPS. The Song Perform-
assigned to all the tracks of the current Perform-
G
ance combines up to 16 different Sounds and can
ance. The Tracks are simultaneously viewed from
n
be exploited in two ways: to assign a sound to
01-08 and from 09-16. The Track Select button
di
each track of the on-board sequencer for song
in the Sequencer section allows you to switch
re
recording purposes, and for the reception of 16
from the track set 01-08 to 09-16.
e
b different parts via MIDI. Song Performances can-
a not be accessed from the PERFORMANCE The Sounds assigned to each track are viewed
S GROUPS; they are accessed for editing purpos- in «Edit Performance» as Program Change num-
a es by pressing the PERFORMANCE button in bers. For the selected track, the corresponding
S the EDIT PERFORMANCE section. A modified Sound name and Bank number is also shown on
Song Performance can be saved to any of the 7 the top line of the display.
S
Song slots available in memory. The status (active or mute) of the keyboard tracks
(Upper 1, Upper 2, Lower) can be changed by
bl
The Performances via MIDI?......... the direct intervention on the corresponding sec-
b
Via MIDI, the Performances are a source of 16 tion activators (Upper 1, Upper 2, Lower). The
A
Sounds, regardless of the status of the instru- active/mute status of the other tracks (Styles,
F
ment. Song/Style and Songs) is changed by direct in-
c tervention on the corresponding track buttons of
th Whenever you enter «Edit Performance», you will the sequencer.
T always have access to 16 tracks. If you are pro-
m gramming WK3 for Real Time or Style modes,
s the configuration of tracks 9-16 does not influ-
S ence either playing mode, but if you are program-
b ming WK3 for use as a multi-timbral slave de-
S
S
S
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3•4 User Guide

3
○
Connections
This section takes a brief look at the types of con- INPUT - (LEFT-RIGHT/M + VOLUME &
nections that can be achieved using the rear-pan- MIC/LINE + GAIN)
el sockets.
Left - Right/M + Volume
The Left - Right/M inputs are intended primarily
MAINS POWER for use with external audio sources (a musical
instrument, cassette recorder or CD player, etc.)
Connect the supplied power cable to the rear- which can exploit WK3’s internal amplification
e panel mains socket and the other end to a suita- system. For stereo connections use the LEFT
n ble wall outlet. Be sure to read all saftey instruc- and RIGHT/MONO jacks. For mono connections
th tions regarding electrical connections and shock use the RIGHT/MONO jack.
a hazards at the beginning of the manual.
T The VOLUME control regulates the level of the
input signals fed into the INPUT jacks. The sig-
u nal received at these jacks is fed to the instru-
L OUTPUT ment’s main mix and is delivered by the internal
e
The rear-panel LEFT - RIGHT/M audio outputs speakers as well as the LEFT-RIGHT/M outputs.
in
deliver the output of WK3 for connection to an The input signals are not, however, processed
n
amplification system (keyboard amplifier, domes- by the internal effects processor.
ti
a tic stereo system, mixing console, etc.). The sig- Mic/Line + Gain
d nals can be delivered either processed by WK3’s
internal Digital Signal Processor (wet) or not proc- The Mic/Line audio input is intended for sam-
T
essed (dry). For stereo reproduction, use both pling and is operational only when the optional
O LEFT and RIGHT jacks. For mono reproduction, digital Audio Video Interface (AVI) is installed.
use only the RIGHT/M jack. Microphone and/or Line signals are accepted and
To exclude the instrument’s internal amplification can be processed by the internal effects proces-
h and use the audio outputs only, insert a jack into sor.
ti the left heaphones socket. Connecting an exter- Samples can also be captured on the instrument’s
bl nal amplification system does not automatically Sample-RAM , but only if the optional AVI device
p exclude the internal speakers. is installed.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
C
© WARNING - Be sure to turn down the volume of The Gain control regulates the level of the input
the external amplification system before connecting signal before entering the system.
audio cables. Inserting jacks into the connectors
can cause noise which may damage the speakers The general volume of the Mic/Line input signal
of the amplification system.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
is regulated with the MIC/LINE panel slider.
el
n
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3•6 User Guide

3
COMPUTER
○
WK3 can be connected directly to a com- APPLE MACINTOSH
puter by means of the COMPUTER con-

nector. This connection is alternative to
MIDI; both types of communication are mini DIN, 8-pin, male mini DIN, 8-pin, male
not permited simultaneously. 678 mini DIN, 8-pin, male mini DIN, 8-pin, male 678
HSKo 1 1 HSKo
HSKi 2 2 HSKi
It is not possible to use the COMPUTER TXD- 3
GND 4
3 TXD-
4 GND
3 4 5 3 4 5
and PEDALBOARD connectors at the 12
RXD- 5
TXD+ 6
5 RXD-
6 TXD+
12
GPi 7 7 GPi
same time (see «Edit General»). RDX+ 8 8 RDX+
Types of computer connection IBM PC/AT
Macintosh and compatibles. Connect

to the MAC Modem port via a serial ca-
ble, standard DB8-DB8 or the General- mini DIN, 8-pin, male
678 mini DIN, 8-pin, male mini DIN, 9-pin, female

music cable (optional). Programme the HSKo 1 7 RTS D-sub, 9-pin, female
sequencer to communucate with WK3 HSKi 2

TXD- 3
8 CTS
3 TXD
1 5
GND 4 5 GND
at the velocity of [1 MHz]. 3 4 5
12
RXD- 5 2 RXD
6 9
PC IBM and compatibles. Connect to

the PC Serial port via standard DB8-
DB9, DB8-DB25 cables or the General- IBM PC/AT
G
music serial cable (optional). Select the
appropriate communcation velocity in
a
WK3 to communicate with the PC («Edit mini DIN, 8-pin, male
m
General»). 678 mini DIN, 8-pin, male mini DIN, 25-pin, female
D HSKo 1 4 RTS D-sub, 25-pin, female

HSKi 2 5 CTS 1 13
TXD- 3 2 TXD
th GND 4 7 GND
3 4 5
RXD- 5 3 RXD
P 12 14 25
at
s
m
bl mini DIN, 8-pin, male
to 678 mini DIN, 8-pin, male mini DIN, 25-pin, female
HSKo 1 4 RTS D-sub, 25-pin, male

M HSKi 2 5 CTS 1 13
TXD- 3 2 TXD
GND 4 7 GND
3 4 5
T RXD- 5 3 RXD
12 14 25
s
a
It
n
M
n
p
C
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3•8 User Guide

3
○
The Display
pr THE MAIN “DEFAULT” DISPLAY
ty Main display showing Styles disabled
w The main display activates every time WK3 is
“ turned on. The term “default” is also used to in-
T dicate the power-up status. This type of display
always shows the sounds assigned to the key- Main display showing the current Style chord (Arr On/Off =ON)
O board sections (Upper 1, Upper 2, Lower), re-
gardless of their active/mute status. Also shown
is the name of the current Performance, the Tem-
st po setting (valid for Styles and Songs), the name
of the selected Style or Song and the Chord/ Main Song display showing the current Measure and counter
d
di Measures indicator which monitors the Style
ti chords, or the measures (bars) in Song playback
it mode. When a Style is disabled, “Arrange=Off”
fo is displayed on the top line. Edited Sounds are Main Style display showing the Upper 1 section with an
T displayed with the letter “E” placed before the assigned edited sound
sound name.
U
re
b
S SELECTION WINDOWS
S Selection windows are opened when a GROUPS
button is pressed in order to select an element
related to the selected GROUP (Sound, Style &
User Style, Song/Style, Song and Performance). Sound selection window showing 8 Sound names arranged in
s correspondence with the Function buttons.
di This type of window is a “timeout” display, shown
is for a short period of time, enough to select the
m items shown in correspondence with the Func-
c tion buttons (F1…F8). After selection, the main Harmony Type selection window
M display is restored. If a selection is not effected
of during the timeout period, the main display is re-
p stored automatically after approx. 3/4 seconds.
is
g Page 1 of the Arrange Mode/Split selection window showing
three variable parameters.
b Other types of Selection windows
al
di The “Harmony Type”, “Arrange Mode/Split” and
tu “Disk” buttons also open selection windows, but
T with a structure specific to the function. These
type of windows are permanent and require Disk Load window showing various load functions. The Save
T pressing the ESCAPE button to close them. page is identical.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3•10 User Guide

3
EDIT PAGES
○
The term “pages” is used here because Edit en-

vironments offer parameters spread across more
than one “window”. The pages are scrolled with
the PAGE + and PAGE – buttons and each page Page 3 of «Edit Performance» showing Section Detune
is identified by a respective number and name of parameter independently assignable for each track
the selected parameter.
Edit pages differ from one another but they have
a series of parameters in common (in abbreviat-
ed form) on the bottom line arranged in corre- Effects selection page showing the Effects parameters
spondence with the Function buttons. The pa- (variable) and the Editor which activates a typical Edit page.
rameters are selected with the Function buttons
C and each selection shows the name of the pa-
T rameter in full on the top line.
m The status of the “On/Off” type parameters is Sound Edit page showing the 4 macro parameters which
in changed by pressing the corresponding Function modify the selected Sound
q button repeatedly. The value of numerical pa-
T rameters is changed by rotating the Dial or using
the corresponding Slider (F1…F8).
U
USER MESSAGES AND WARNINGS

th
ra These type of windows show confirmation re-
quests for a current operation, information regard- Confirmation request for a Clear Song operation in the
b Sequencer
c ing the next step to take, warnings against a
T malfunction or bad operation, etc.
ra These messages are closed with ENTER or ES-

a CAPE. User Message showing the next step to take
ra
s
e
a Warning against a disk failure
E
th
is
th
th
vi
T
E
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3•12 User Guide

3
MODIFYING THE PARAMETER VALUES

○
The value or status of a selected parameter can

be changed with the Dial. For On/Off situations,
the corresponding Function button toggles be-
tween the two states. In many situations, the Slid-
ers F1…F8 can be used to change parameter
values without having to select the parameter
s beforehand.
th
In
Modifying parameters with the DIAL
th
v Change the values of the selected parameter by MIDI: MIDI Channel page. Assign a different MIDI channel to
rotating the DIAL (TEMPO/DATA). In normal play- the selected track using the DIAL.
In
ing conditions, the DIAL is active for real time
M Tempo changes, while in Edit situations, it enters
data continually: clockwise rotation increases Edit General Pedal page: Pedal 1 functions selected with the
c while counter-clockwise rotation decreases. Dial
to
th
F Modifying On/Off parameters with the Function
button
F
b If the parameter is an On/Off function, toggle
If between the two states with the corresponding
Function button after selecting the parameter. MIDI: Section Local Off page
b showing On/Off parameters ON Off
M For example, the Local Off parameter setting of
the tracks in the page shown opposite can be
toggled between ON and OFF by pressing the
w corresponding Function button repeatedly.
d
T Modifying parameters with the Sliders
in
ro In most Edit situations, the Sliders F1…F8 acti-
C vate as data entry controls for the parameters
that correspond to the function buttons F1…F8.
M
In such cases, the Sliders intervene directly on
the corresponding parameter without having to
b select the parameter beforehand.
v
er
t MIXER: Volume page. Use the sliders to change the track
th levels without selecting the corresponding parameter
b
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3•14 User Guide

3
○
Inserting measures
In Song/Style and Song modes, as an alterna-
tive to the Fast Forward and Fast Reverse func-
tions, you can pass directly to any measure (bar)
of a Song in memory by specifying the measure
number in an appropriate “active zone”, activat-
ed in the Song/Style and Song display by press-
ing both FF and REW buttons at the same time.
The required measure number is then specified
using the black keys on the extreme right of the
keyboard. Song display showing the “Insert measure” active zone
flashing
pl Specify the required digit and press ENTER to
c confirm and close the active zone.
v
After confirming with ENTER, the Song pointer
E
passes directly to the measure (bar) number
e specified and the active zone closes. Press KEY
er START/CONTINUE to start the Song or Song/
e Style from the specified point.
p
a
E
ENTER/ESCAPE
E
ENTER confirms an operation and the values
assigned to modified parameters. In some edit
pages, Enter confirms a parameter value and
S executes an operation (for example, a Load op-
S eration in the Disk environment, or a quantize
s entry).
p
ESCAPE cancels a selected operation or the
A ENTER, ESCAPE buttons
values assigned to a selected parameter. In most
c cases, pressing Escape returns to a main dis-
S play.
k
u
T
in
e
n
of
ti
ti
In
In
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3•16 User Guide

4
SOUNDS & THE KEYBOARD MODE

○
The keyboard sounds can be configured in sev- UPPER 2 FULL MODE

eral different ways by means of the Keyboard
b Activators. The various configurations obtained UPPER 1
b are determined by the current Keyboard Mode.
U The Keyboard Mode has two settings to choose LOWER
v from: FULL and SPLIT (set in Arrange Mode/
s Split).
S FULL MODE
k FULL MODE
T When Full Mode is set, the Upper 1 and/or Up- < --------- SINGLE SOUND (Upper 1 or Upper 2) --------- >
ri per 2 keyboard sections can play over the whole
ti keyboard range while the Lower section is disa- UPPER 2
s bled. Therefore, when you play with Styles, the

O accompaniment tracks recognise the current Split UPPER 1
Point while the keyboard sounds override it. This
allows you to play Styles with the same keyboard LOWER
re sounds over the full keyboard range. The Upper
bl 1 and Upper 2 sections can be activated/deacti-
vated at will to introduce or cancel the keyboard
S sounds as required.
FULL MODE
s SPLIT MODE < ------ LAYERED SOUNDS (Upper 1 and Upper 2) ------ >
v When Split Mode is set, the Lower section is ena-
1 bled and the current Split Point for the Styles is
recognised when Lower is active.
SPLIT MODE
s UPPER 2
al
P When you play in Real Time mode (Arrange On/
a Off = Off), if Lower is off, the Upper keyboard UPPER 1
bl sections play over the entire keyboard range. Ac-

k tivating Lower assigns the Upper sections to the LOWER
p right keyboard area while Lower plays on the left.

The boundary that divides the Upper and Lower Split point (B3)
keyboard sections is determined by the current
F Split Point.
When you play with Styles (Arrange On/Off=On), SPLIT MODE
< --- Lower --- >< ----- Upper 1 and/or Upper 2 ------ >
S setting Split Mode allows you to activate/deacti-
fr vate three keyboard sections at will (Upper 1,
T Upper 2, Lower). If Lower is off, the Upper key-
ar board sections remain active over the right key-
A board area while the Lower sound does not play.
er
T
S
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•2 User Guide

4
○
Selecting Sounds
There are two ways of selecting Sounds:
• By pressing a SOUND GROUPS button and
assigning a sound to the selected track of
the current Performance.
• By selecting a Performance or a Style (see
the Style chapter) to recall a combination of
sounds. Along with the sounds, the keyboard
modes, effects and performance parameters
2. also change. 1
A
SELECT KEYBOARD SOUNDS
To assign a Sound to a Keyboard section (Upper
1, Upper 2 or Lower), you must select the sec-
tion first with the section selectors.
The section selectors enable the keyboard sec-
1. tions for a Sound change. A selected section is B
shown flashing and only one section at a time
c can be in an enabled state.
s
ti 1. Press one of the section selectors.
T
A Press Upper 2 to select the Upper 2 key-
ti board section; C
1,
B Press Upper 1 to select the Upper 1 key-
T
board section;
S C Press both Upper 1 & Upper 2 to select
the Lower keyboard section.
2. Press a SOUND GROUPS button. 2 SOUND GROUPS

The names of 8 sounds appear in a timeout
selection window. PIANO
REED
CHROM
PIPE
ORGAN
SYN LEAD
GUITAR
SYN PAD
BASS
SYN SFX
STRINGS
ETHNIC
ENSEMBLE
PERCUSSIVE
BRASS
SFX
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
• © Note: If a Sound is not selected from the

selection window within the first 2/3 seconds, the
display returns to the previous situation automati-
cally.
• © Note: You cannot assign a Sound to a
keyboard section unless it is selected.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•4 User Guide

4
ASSIGNING SAMPLES TO THE TRACKS

○
If you have loaded some Samples into the backed

1 UPPER 2 UPPER 2 UPPER 2
Sample-RAM, or have captured a sample*, you

can assign a sample to any track using the same LOWER LOWER LOWER
method as that used to assign a Sound, as de-

scribed on the previous pages.
UPPER 1 UPPER 1 UPPER 1
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
PERFORM.
© Note: it is not possible to capture Samples
unless WK3 is fitted with the optional Audio/Video OR
Interface. Samples can, however, be loaded into
the backed Sample-RAM.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
1. Select a keyboard section or any other track.

Use the section selectors for the keyboard
tracks (page 4) or the method explained on
page 11 for a track of your choice.
4.
2. Press the SAMPLES button.
The Samples appear in a timeout selection
window.
3. Select a Sample.
2 SAMPLES
Press the corresponding Function button to

select the required sample and assign it to
3. the selected section (flashing). The display
returns to normal.
Samples can also be assigned to the Pads.
See “Rec/Edit” in the Reference Guide.
2. 3
4. Press STORE PERF followed by ENTER to store
the setting to the current Performance.
The Performances can store Sample assign-
1. ments just as any other setting. If you select
another Performance, or re-select the same
one before memorising the sample assign-
ment, the setting will be lost.
4 STORE PERF.
ENTER
s
m ESCAPE
c
S
If
A
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•6 User Guide

4
DISPLAY HOLD
○
If you want to carry out multiple selections with-

1 DISPLAY HOLD
out closing the selection window, use the Dis-

play Hold function. This function can be selected
before or after selecting a Group button.
1. Press DISPLAY HOLD.

The led of the button turns on to indicate the
activation of the function.
2
SOUND GROUPS
2. Select a GROUPS button (SOUND, PERFORMANCE PIANO

REED
CHROM
PIPE
ORGAN
SYN LEAD
GUITAR
SYN PAD
BASS
SYN SFX
STRINGS
ETHNIC
ENSEMBLE
PERCUSSIVE
BRASS
SFX
or STYLE/SONG GROUPS) followed by the re-

quired element shown in the selection window.
• The selection window remains active for all
T subsequent selections. If you select a differ-
ent GROUPS button, the display will show
the relative elements of the selected Group
without returning to the previous status.
To close the selection window

• To close the selection window press ESC.
• The Display Hold function will remain active
(led on). ENTER
T
To pass directly to another selection window,
press the relative Group button without press- ESCAPE
DISPLAY HOLD
ing escaping.
To deactivate DISPLAY HOLD

• To deactivate Display Hold, press DISPLAY
HOLD (led off).
2.
1.
b
pl
o
If
D
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•8 User Guide

4
○
How to modify the Performances

WK3 contains 64 user-programmable Perform-
ances stored in ROM memory. 32 of these are
factory-programmed to recall various combina-
S tions of keyboard sounds (maximum 3) for real
ta time playing. The remaining 32 are “empty”,
in ready to receive user-programmed data.
G
This section describes the most common
T
changes you can make to the Performances.
d Other changes are detailed in the chapters relat-
u ing to the functions of the Edit Performance sec-
( tion (Performance, MIDI, Mixer, Sound) and DSP
tr (Edit Effects).
T
Once a Performance has been modified it can
k be saved permanently to memory by pressing
re STORE PERF. Without saving, the modifica- GM Group name ProgramChange
a tions are considered as being temporary and are
lost when you select a different Performance, or Piano 1 ... 8
A
re-select the same one. Chrom. (percussion) 9 ... 16
A
Organ 17 ... 24
Guitar 25 ... 32
ASSIGNING SOUNDS TO TRACKS Bass 33 ... 40
re
lo A Sound is assigned to each track of a Perform- Strings 41 ... 48
ti ance. The method already described on page 4 Ensemble 49 ... 56
S refers to the direct method applied to the three Brass 57 ... 64
b keyboard sections.
Reed 65 ... 72
O
To change the Sounds assigned to the other Pipe 73 ... 80
( tracks not normally shown in the main display
Synth lead 81 ... 88
ti (Style, Song/Style, Song or a MIDI Performance
in used by an external MIDI device), use the method Synth pad 89 ... 96
O described on the next page. Synth SFX 97 ... 104
c
The Sounds of Bank 1 are arranged according to Ethnic 105 ... 112
T
General MIDI standards, while those that reside Percussive 113 ... 120
re in Banks 2 and 3 are variations of Bank1. The Special SFX 121 ... 128
ti table shown opposite lists the General MIDI
ti Sounds. General MIDI Sound map
fa
a
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•10 User Guide

4
CHANGE THE TRACK STATUS

○
The keyboard sections (Tracks 6-8) of a Perform-

P ance can be either in the active or mute status.
ri An active track can play, while a muted one can-
T not and can no longer receive MIDI messages.
(Via MIDI, WK3 is 16 part multi-timbral, regard-
less of the current playing mode).
It is possible to toggle between the active and
mute status in order to instantly add or remove a
keyboard sound while playing. This is done by
the direct intervention on the keyboard activa-
tors (Upper 1, Upper 2, Lower).
• The tracks not normally shown on the main dis-
T play (Style accompaniment tracks, Song/Style
tracks or Song tracks) can be changed by the
direct intervention on the Sequencer tracks.
Style, Song/Style and Song tracks that are en-
gaged by the sequencer are identified by the led
of the corresponding track button shown on.
To change the status of the keyboard tracks

•
• Press UPPER 1 to activate/mute the Upper 1
section and press again to return to the previous
T
status.
of ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
g © Note: When FULL MODE is selected, LOWER

S is disabled. In SPLIT MODE, LOWER is enabled. Active Mute
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
di
tr
pl The change the status of a Style track
T
• Press one of the active buttons in the Sequencer
t to mute a Style track and press again to return
th to the previous status.
k
m The led on the button shows the active/mute
It status of the corresponding track. When the
led is on, the track is active; when off, the
le track is mute.
(
n The modified status of the tracks can be memo-
A rised to the Performance by pressing STORE
a PERF. See page 16 to store Style Performances.
T
C
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•12 User Guide

4
TRANSPOSING THE TRACKS (BY

○
SEMITONES) 1/2 PERFORM.
PAGE
The Performance tracks can be individually trans-
posed in semitone steps using the “Section Trans-
poser” function in «Edit Performance». The range
over which a section can be transposed is ± 24
semitones (2 octaves) and the settings can be
stored to the Performance. PAGE
1. Press PERFORM. in the EDIT PERFORMANCE sec-

tion. 3
fo
c 2. Press PAGE + to enter the SECTION TRANSPOSER
fo on page 2.
T
3. Select the track that requires transposing using
the Function buttons.
5.
4. Rotate the Dial to set the required transposition
(+ value = transpose UP, - value = trans-
pose DOWN). 4
TEMPO
Instead of using the DIAL, you can change DATA
the track transpose setting by intervening di-

rectly on the corresponding sliders (F1…F8).
If you use the sliders, it is not necessary to OR
DRUMS BASS ACC. 1 ACC. 2 ACC. 3 LOWER UPPER 2 UPPER 1
select the tracks.

4.
5. Escape «Edit Performance» by pressing ESCAPE.
3. F1 F2 F3 F4 F5 F6 F7 F8
To save the transposition settings, save the Per-

formance using STORE PERF. Otherwise, the
2. changes will be lost if you select a different Per- 5
formance or the same one again. ENTER
1.
ESCAPE
st
s
o
p
p
T
S
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•14 User Guide

4
ADDITIONAL PERFORMANCE MODIFICA-

○
Volume Pedal enables/disables keyboard tracks

TIONS Pedal Volume assignment (Volume
or Filter or Off)
Performance programming covers a far wider
Mode determines poly/mono mode for key-
range of parameters than those discussed in the board tracks
previous pages. The four buttons of the EDIT
Name Performance name write function
PERFORMANCE section each provide a set of
parameters that are discussed in greater detail
in the EDIT PERFORMANCE chapter of the Ref-
erence guide.
MIDI (functions & descriptions)
The table below lists brief descriptions of all the Channel assigns MIDI channels to the tracks
functions and parameters available in the Edit and sets the Common channel and
Pi Performance section. Chord channel
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© Note: The parameters of the functions are Filter activates/deactivates Filters for MIDI
accessed by pressing the relative button in the In/Out data streams
P EDIT PERFORMANCE section and scrolling the Local Off enables/disables Local Off control for
P pages with PAGE +/PAGE –. each track
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
S Dump Save transfers data to external data bank

(Computer, MIDI data filer, etc.).
EDIT PERFORMANCE SECTION Configures automatically for Dump
Pi
PERFORMANCE (functions & descriptions) Load operation.
D
Program Program change assignments Clock enables Internal/External MIDI clock
Tr and Start/Stop transmission
Transposer individual track transposer
P Set General parameters for General
Detune individual track detune
P MIDI compatibility, Channel Lock On/
Pitch bend range determines pitch bend excursion of Off, Dynamic Keyboard On/Off, Midi
E the trackball for each track In Transpose switch, System Exclu-
Sound Edit assigns edited sounds to the tracks sive On/Off, Sys. Ex ID number, WS
Mode On/Off
Priority assigns polyphony priority
Pedal 1/2/3 assign enables/disables keyboard tracks
(Upp1/Upp2/Low) for assigned pedal
functions
P Pitch/Mod enables/disables keyboard tracks for
fu the trackball functions (Pitch + Modu-
T lation and Off)
er
in
p
P
pr
ra
P
T
A
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•16 User Guide

4
○
STORE PERFORMANCE
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Use the STORE PERF button to save all modifi- © Note: The changes made to the factory-set
cations to the current Performance, to create a Performances do not damage the original WK3
new one and to change the Performance name. data in any way because they are modified RAM
copies. The original data can always be restored
If you fail to save your modifications, they will be with “Restore Original Perf” or “Restore Original
irremediably lost when you select another Per- Block” in «Edit General».
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
formance, or re-select the same one. ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ © WARNING - STORE PERF saves the

© NB: The Store Performance operation performance to RAM and not to disk. The
memorises all modifications made to the keyboard memorised data is lost when (a) the backing
tracks as well the Style tracks. If you modify the battery runs flat, (b) re-initialisation takes place (the
tracks of a Style, you can store the modified Style command “Reset All” is given).
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
F Performance to the Performance slots. ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
fir Save the Performance that you intend to keep to

fo disk. Use the “Save Performance” procedure in
“Disk” mode.
Performances can memorise the following data:
m ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
P
Data saved to a Performance If you modify the default Perf (Perf1 from bank 1),
WK3 will default to the modified Perf every time the
The panel status instrument is powered up.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
EDIT parameters (Perf, MIDI, Mixer, Sound, except the

St general parameters)
T Tempo (for eventual enabled Style)
g Style and Variation (for eventual enabled Style)
E
T
D
Performances containing Sounds or a Drumkit
P modified in «Edit Sound» show the letter “E” be-
fore the corresponding Pr. Change number in the
first page of «Edit Performance».
For example:
fo
irr
If
n
c
U
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•18 User Guide

4
SAVE CHANGES TO A DIFFERENT

○
PERFORMANCE (OR CREATE A NEW 1 STORE PERF.

ONE)
1. Press STORE PERF.
The «Performance Store» window opens
showing the current Performance at the cen-
tre and the destination Performance at the
“TO:” location.
Performance numbers 1…8 correspond to 2 TEMPO
Perf Group 1, 9…16 to Perf Group 2 and so DATA PERF01
on..... PERF02..
...
2. Rotate the Dial to select the Performance desti- PERF63..
PERF64
nation.
A Style-Performance can be memorised to
any Performance slot.
3. Press ENTER to confirm, or ESCAPE to cancel.

After the save operation, the display returns 3 ENTER
to normal showing the new Performance.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© Note: Whatever Performance data is present ESCAPE

at the selected destination will be cancelled by the
incoming modified Performance.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3.
2.
1.
O
P
S
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•20 User Guide

4
RESTORING THE ORIGINAL PERFORM-

○
ANCE SETTINGS
1 GENERAL
Using the “Restore Original Perf” command (in

«Edit General») it is possible to cancel all the
changes made to all Performances and to restore
the original settings that reside in the flash-ROM.
1. Press GENERAL (close to the Edit Perform-
ance section) to open «General» edit page. PAGE
2
2. Press PAGE+ repeatedly or hold the button
until you reach page 6 to open the “Restore
Original Block” window.
3. Press F5 to select the PERF command and
to activate the “Restore Original Perf” win- PAGE
dow.
4. Press ENTER to confirm the Restore Perf
procedure, or ESCAPE to cancel. 3
All changes made to all the Performances of
the PERFORMANCE GROUPS are can-
celled and the original ROM settings (volume,
sounds, transposition, tempo) are restored.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© Hint: If you want to cancel the entire contents of

RAM in a single operation, use the “Restore ALL”
command. Be sure, however, to save all data that
you wish to conserve to disk before confirming the 4
operation.
4. ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
ENTER
3.
ESCAPE
2.
1.
th
c
«
U
A
R
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4•22 User Guide

5
○
Selecting Styles
You can choose to select Styles and recall ap-

propriate keyboard sounds automatically (option
A), or select Styles without changing the keyboard
sounds (option B).
4.
OPTION A: RECALL KEYBOARD 1 SINGLE TOUCH

SOUNDS AUTOMATICALLY PLAY
ARRANGE
ON / OFF
LOWER
MEMORY
3. 1. Press SINGLE TOUCH PLAY (led on).

This buttons assigns all the sounds memo-
rised in the ROM Style Performance to all
the tracks. The Arrange On/Off and Arrange
Memory buttons also activate automatically.
2 STYLE / SONG GROUPS
2. Press one of the STYLE/SONG GROUPS buttons.
8 BEAT 16 BEAT ROCK FUNK DANCE 1 DANCE 2 USER 1 SONG/STYLE
Use the first 12 banks of the Style/Song JAZZ. US. TRAD. TRAD. 1. TRAD. 2 LATIN 1 LATIN 2 USER 2 REAL/SONG
Groups: 8 Beat, 16 Beat … Latin 1, Latin 2.

A timeout Selection window appears show-
ing 8 Styles belonging to the selected Group.
2. ○
©
○ ○ ○ ○ ○
Note: The USER1 and USER2 buttons recall

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3
programmable Styles which allows you to record
your own Styles. Do not press the USER buttons
for the moment; you will learn how to record a
Style afterwards.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
1. 3. Use a Function button to select one of the Styles.

WK3 will be configured for the Style auto-
matically. If TEMPO LOCK is off, the Style
O tempo also changes. 4
4. Press START/STOP to start the Style
s Details about how to use the Style arrange-
A ments are explained afterwards.
pr
Y
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•2 User Guide

5
RECALL STYLES BY SELECTING THE PER-

○
FORMANCES
The Performance Groups memorise the status 1 STYLE LOCK
of the instrument when the STORE PERF button

STYLE LOCK
is pressed, therefore they can also store the Style
4. and Variation selected at the time of saving.
When a Performance is selected with STYLE
LOCK off, a Style and a Variation can also be
recalled.
○
©
○ ○ ○ ○ ○
Note: In default conditions, most of the

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
2
Perf. 1 Perf. 2 Perf. 3 Perf. 4 Perf. 5 Perf. 6 Perf. 7 Perf. 8
Performances recall Style “8BeatStandard” from

the 8 BEAT STYLE GROUPS button, therefore, a PERFORMANCE GROUPS
Style change may not occur when you select a

Performance. Afterwards, you’ll learn how to
memorise Style Performances to the Performance
Groups in order to change Styles with the
Performances.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3
1. If STYLE LOCK is on, turn it off.
3.
2. Press one of the PERFORMANCE GROUPS but-
tons.
A selection window showing 8 Performances
belonging to the selected group appears.
2.
3. Select a Performance.
1.
If on, SINGLE TOUCH PLAY turns off auto- 4
matically.
The sounds, volumes and effects of all the
tracks change (those contained in the Per-
formance). The Style and Variation that were
active at the time of saving the Performance
are recalled. If TEMPO LOCK is off, the
tempo also changes.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
re © Note: You can also use the PAGE+ / PAGE-

L buttons to select Performances in increasing/
decreasing order.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
a 4. Press START/STOP to start the Style.

is
of Details about how to use the Style arrange-
T ments are explained afterwards.
F
R
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•4 User Guide

5
○
The Style controls

The group of buttons under the Tempo/Data Dial KEY START can be deactivated by:
is dedicated to the control of the Styles and to
• pressing START/STOP to start accompani-
the selection of the Variation, Intro, Fills and End-
ment.
ing.
• pressing ENDING while the accompani-
ment is running.
• pressing KEY START once more.
START/STOP
Starts or stops the Style arrangements. Also KEY START cannot be deactivated by:
starts a Song/Style or Song. In record mode, • pressing START/STOP while the accompa-
this button starts the recording process (record- niment is running.
fu
ing User Styles, Song/Styles and Songs). • pressing INTRO, ENDING or FILL ©§
fo
S The four leds above the Key Start button flash in before starting the accompaniment.
w time with the Tempo to provide a visual metro- The most common use of KEY START is
p nome when the sequencer is in motion (Styles or explained afterwards.
S Songs).
K Before pressing START/STOP you can preset
one of either INTRO, ENDING or FILL ©§ to INTRO
play as an Introduction.
Plays an introductory sequence to the Style ar-
pl rangement lasting one or more measures (bars).
o After pressing INTRO, press START/STOP to
B KEY START start the Intro pattern.
S Synchronises the start of the automatic accom- INTRO can also play as a Fill In if inserted during
n paniments with a note pressed on the keyboard Style play.
ti without having to use START/STOP. When KEY
T START is selected, the first led on the left of the
four leds turns on to indicate the activation of the
in
function.
th
st
THE STYLE CONTROLS

S
S
in INTRO ENDING FADE IN / OUT FILL FILL FILL
th
START / STOP
is TAP TEMPO
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•6 User Guide

5
○
The Automatic Styles section

This section enables the Style arrangements and ARRANGE MODE/SPLIT
provides functions which simplify Style playing.
This button gains access to the several options
associated to the Styles:
ARRANGE ON/OFF
Mode, Bass to Lowest, Split (page 1);
When ARRANGE ON/OFF is on (led on), all the
One Finger, Fingered, FreeStyle (page 2).
accompaniment tracks of the selected Style are
enabled. If this button is off, only the Drum track Chord display (page 3).
of the current Style will play after the start. ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© N.B.: The Split and Chord functions of the

ARRANGE MEMORY Arrange Mode/Split settings are general param-
eters (i.e. not linked to a particular Performance)
When ARRANGE MEMORY is on (led on), re- which are saved to memory when the instrument is
b leasing your left hand from the keyboard causes switched off. The new settings are erased when
the bass and accompaniment sounds to continue the “Restore Original Block” operation is carried out
s
playing. When off, releasing your left hand or if the back-up memory cancels due to the
T battery running flat.
causes the accompaniment to stop. ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
L
LOWER MEMORY Mode - change keyboard mode
to
s When LOWER MEMORY is on (led on), releas- This function provides two keyboard modes:
in ing your left hand from the keyboard causes the FULL and SPLIT.
sound of the Lower keyboard section (if active) When Full Mode is set, the Upper 1 and/or Up-
L to continue playing until you play other notes. per 2 keyboard sections are assigned to the full
When off, releasing your left hand will cause the keyboard while the Lower section is disabled.
Lower sound to stop playing. This allows you to play Styles with the same key-
c
The Lower Memory function is useful to hold ‘pad’ board sounds over the full keyboard range.
pl
th sounds without using a Damper pedal (which may When Split Mode is set, the Lower section is ena-
le be of more use to the right hand). bled and allows you to play Style with one real
time sound on the Left hand and one or two dif-
ferent Sounds on the right. When Arrange On/
A Off is on and Lower is off, the Upper sections do
of not extend over the full keyboard.
e The setting can be memorised to the Perform-
AUTOMATIC STYLES ances.
a
How to set a preferred keyboard mode is dis-

A AUTOMATIC STYLES cussed in detail on pages 3 and 4 of the Sounds
ARRANGE
ON / OFF
ARRANGE
MEMORY
LOWER
MEMORY
ARRANGE
MODE/SPLIT
& Performances chapter 4 of the User Guide.
p
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•8 User Guide

5
○
SPLIT - programme a new split point

This option allows you to set a new split point
(default B3). This allows you to change the Style
chord recognition area of the keyboard, extend- 1 ARRANGE
MODE/SPLIT
ing or shortening it as required.
1 Press ARRANGE MODE/SPLIT to open the first

page.
2. Press one of the Function buttons F7 or F8 to
activate the Split function. 2
3. Rotate the DIAL or press a key on the keyboard
to select the new Split point.
The new chord recognition area of the key-
board will correspond to the extension cov-
ering the Split Point note down to the lowest
note of the keyboard. The extension from
the note after the Split Point to the highest
note of the keyboard will play the Upper 1 3 TEMPO
and Upper 2 keyboard sounds. DATA
4. Press ENTER to confirm the new setting and close

4. the display.
OR
The new split point remains in memory after
Split Point
power down, or until a new setting is pro-
grammed.
If you press ESCAPE instead of Enter, the
new setting is cancelled.
3. 4 ENTER
2. ESCAPE
1
in
c
(d
T
S
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•10 User Guide

5
○
The three modes are accessed in page 2 of the

Arrange Mode/Split function.
1 ARRANGE
MODE/SPLIT
1. Press ARRANGE MODE/SPLIT to open the first
page.
2. Press PAGE+ to go to page 2.
The display shows the three chord recogni-
tion modes. 2 PAGE
3. Activate the required mode with the correspond-

ing Function buttons.
F1/F2/F3 activate ONE FINGER;
F4/F5/F6 activate FINGERED; PAGE
F7/F8 activate FREESTYLE.

The selected mode is a Performance param-
eter which can be stored to the Performances. 3
4. Press ESCAPE to close the display. 2/3 ARRANGE MODE/SPLIT:
OneFinger Fingered FreeStyle

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© N.B.: The recognised chord symbols appear on

the main Style display. If an unrecognised chord is
played, the chord symbol for the lowest note
followed by a series of asterisks appears. For
example: “C*****”.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4.
© N.B.: In order for the chord to be recognised
(and for its symbol to be shown on the display)
ARRANGE ON/OFF must be on.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4 ENTER
ESCAPE
3.
2.
1.
A
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•12 User Guide

5
○
The Utility section

The UTILITY SECTION is entirely dedicated to HARMONY ON/OFF
the Styles.
Enables or disables the current Harmony Type
selected in the Harmony Type options. Harmony
can orchestrate your playing, making simple one-
SINGLE TOUCH PLAY note melodies sound as if they are being played
by a full orchestra.
The SINGLE TOUCH PLAY button assigns re-
call the all the parameters associated to the ROM The structure of the automatic harmony is based
Styles, including the sounds assigned to the key- on the current Harmony Type setting and oper-
board sections. When off, selecting ROM Styles ates in two different ways with the keyboard set
recalls only the Style accompaniment sections to Split Mode:
without changing the keyboard sounds.
• TYPE A: according to the note (or chord)
If you select Performances from the PERFORM- played below the Split Point with Arrange
fo ANCE GROUPS, the SINGLE TOUCH PLAY but- On/Off selected.
s ton deactivates automatically. • TYPE B: regardless of the note played or not
th
played below the Split Point.
TEMPO LOCK
T
HARMONY TYPE
in
T TEMPO LOCK allows you to lock the Style Tempo
in order to recall Styles without changing the HARMONY TYPE gains access to the 8 Harmony
T
Tempo. options.
When TEMPO LOCK is off, selecting Styles from TYPE A:
the Style Groups or Performances recalls the pre-
Close: The notes played on the left hand are
to set Tempo data memorised in the Style or Per-
added to the melody note exactly as played. The
A formance.
If harmonising chord is a closed (or tight) position
(notes fall within the same octave).
w
r Open 1: same as close but with an open chord
b (notes spread over 2 octaves).
S Open 2: similar to Open 1 but with the notes
c played on the left hand randomly assigned to the
T right .
UTILITY
S Block: transforms the melody note into a full four
UTILITY or five note chord, each note in perfect harmony.
SINGLE TOUCH TEMPO HARMONY HARMONY
PLAY LOCK ON / OFF TYPE
TYPE B:
th
T Octave 1: doubles the note of the right hand by
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•14 User Guide

5
○
The Style Tempo

In normal playing conditions (Style/Real Time,
Song/Style & Song), the DIAL is permanently ac-
tive for Tempo changes.
fo
s The current tempo can be saved to a Perform-
th ance. This provides you with the possibility of
playing ROM Styles with two different Tempos:
a) select the Style with Single Touch Play active
al to recall the memorised Tempo setting, b) select
D a Performance to recall the different memorised
T Tempo. In both cases, Tempo Lock must be off.
th
c
S
CHANGE THE TEMPO OF A STYLE
T
T • Rotate the DIAL to change the tempo.
Change the Tempo either before you start the
accompaniment or while it is playing (regard-
less of the status of the Tempo Lock button). To vary the Tempo
To return to the original tempo select the Style TEMPO
again (provided that Tempo Lock is off). DATA
• TEMPO LOCK
The TEMPO LOCK function locks the current
C Style Tempo allowing you to recall Styles without
changing the Tempo, regardless of the status of
the Single Touch Play button.
T The Tempo setting established by rotating the
a DIAL when Tempo Lock is on remains fixed for
to all subsequent Style and Performance selections.
a)
pl When TEMPO LOCK is off, selecting Styles from
a the Style Groups or Performances recalls the pre-
T set Tempo data memorised in the Style or Per-
formance.
ti
S
In
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•16 User Guide

5
○
Examples of how to use the Styles

When you turn WK3 on for the first time, the in-
strument sets to Style/RealTime mode, ready to
1
SINGLE TOUCH
play Styles and/or keyboard sounds. PLAY ARRANGE LOWER
ON / OFF MEMORY
If WK3 is set to any other mode other than Style/

Real Time, select a Style to escape the current
mode and enter Style/Real Time.

Pressing this button activates the ARRANGE 2 STYLE / SO
ON/OFF and ARRANGE MEMORY buttons

8 BEAT 16 BEAT ROCK FUNK
(if off). The memorised tempo, effects, vol- JAZZ. US. TRAD. TRAD. 1. TRAD. 2
umes, pan settings, etc. will also be recalled

5. together with the keyboard sounds.
2. Select a Style.
The Sequencer section will show the accom-
paniment tracks recalled by the Style.
4.
3. Press INTRO to preset an introduction.
The led starts to flash.
3.
4. Press START/STOP.
A Drum introduction starts to play. When the
Intro cycle ends, the led turns off and the
3/4
2. Drum track breaks into the current Variation.
5. Play a note or chord on the left keyboard area

(below the current split point). 3
The automatic accompaniment starts play-
4
ing. The display shows a chord name and
every change of note (or chord) is monitored
1.
on the display in the “Chords/Measures” sec-
5
m tion. If «One Finger» is selected, single notes
R play chords (see Arrange Mode/Split).
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
If
© Note: You can opt to show English or Italian
pl chord notation. (See Arrange Mode/Split). tstd C Bk1
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
st Bk1: TRUMPE Bk1
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•18 User Guide

5
13. Press ENDING to stop the Style with an ending.

○
The Ending pattern is inserted at the end of

13
the current measure (bar). During the END-
ING cycle, the led on the button remains on
and goes off when finished. At the end of the
cycle, the arrangement (drums, bass and ac-
companiment) stops playing.
You can press ENDING before Style start to
use the relative pattern as an Intro.
ESTABLISH YOUR OWN TEMPO WITH

TAP TEMPO
Instead of using START/STOP, you can start a Tap Tempo
Style with TAP TEMPO. This button also pro- FILL
vides an easier and more direct way of setting a

FILL
preferred Style Tempo.
TAP TEMPO FILL
• While the Style is not playing, tap on TAP TEMPO. 1 TAP TEMPO
FILL
Tap on the button with short sharp taps and 2 TAP TEMPO
the Tempo will be established according to
the timing with which you strike the button.
3 TAP TEMPO
The Style starts to play automatically without 4

• having to press Start/Stop. To stop the Style,
pr press START/STOP, or ENDING, or FADE
vi IN/OUT (see afterwards).
S You can preset Intro, Ending, or Fill ©§ be-
In fore tapping on Tap Tempo in order to start
T the Style with an introduction.
E
1
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•20 User Guide

5
○
To deactivate Key Start

You can deactivate KEY START by:
• Pressing ENDING during style play. When
the Ending terminates its cycle, the Key Start
led goes off and the function deactivates.
• Pressing KEY START when the Style is not
playing. Pressing KEY START deactivates
the function and the relative led goes off.
3.
• Pressing Start/Stop to start the Style. The
Style starts to play and deactivates Key Start
automatically. The led goes off.
FADE IN AND OUT OF A STYLE

The FADE IN/OUT function allows you to fade in
and out of a style with a gradual increase or de-
crease of volume. 1 FADE IN / OUT
2. 1. Press FADE IN/OUT in Style stop status.

The relative led turns on to indicate the acti-
vation of the function.
1. 2. Press START/STOP (or Intro then Start/Stop).

cr The Style starts with a gradual increase in 2
a volume (from 0 level to the programmed set-
T ting). During the Fade In cycle, the led of the
Fade button flashes, then turns off when the
F Style breaks into the main pattern.
You can Fade in with an Intro by pressing
Fade In + Intro then Start/Stop, or activate
Key Start and can Fade In by pressing a note
on the keyboard.
•
3. Press FADE IN/OUT to fade out. 3 FADE IN / OUT
The Style stops with a gradual loss of vol-

• ume. During the Fade out period, the led
flashes then turns off when the Style stops.
You can also fade out with an Ending by
• pressing Ending + Fade Out at the same time.
Y
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•22 User Guide

5
DEACTIVATE (MUTE) ONE OR MORE AC-

○
COMPANIMENT TRACKS 1 SINGLE TOUCH

PLAY
While playing Styles, you may want to temporar-
ily deactivate (mute) one of more accompaniment
tracks to play the keyboard sounds with, for ex-
ample, Drums and Bass accompaniment only.

2 STYLE / SO
2. Select a Style (ex Shuffle from the Rock Group).
8 BEAT 16 BEAT ROCK FUNK k Boogie Lovely
The Sequencer section will show the accom- JAZZ. US. TRAD. TRAD. 1. TRAD. 2
SoftRk Shuffl
paniment tracks recalled by the Style.
3. Deactivate tracks 3, 4 and 5.

Press each button to cancel the led. The rela-
tive accompaniment pattern will be excluded
from the overall arrangement.
4. Start the Style with START/STOP.

5. Start to play with both hands right away and
you’ll hear Drums and Bass accompaniment
only while other accompaniment instruments
are excluded. 3
5. Introduce the cancelled tracks at will.
4. The tracks cancelled before starting the Style
can be introduced at any time during Style
play.
You can, of course, cancel accompaniment
tracks after starting the Style. 4
3.
2.
5
1.
a
tr
il
C
D
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5•24 User Guide

5
SAVE A USER-PROGRAMMED STYLE PER- 7. Press ENTER to confirm.

○
FORMANCE Now you will have a modified version of the

When you select “SIngle Touch Play” Styles, you ROM Style memorised to the Performance
recall default settings contained in the ROM Style- destination of point 6.
Performance. You can, however, save any modi-
fications to the current ROM Style to any of the
64 programmable Performances. This allows you NOW CHECK THE DIFFERENCE BETWEEN
to have a different version of a ROM Style saved
6. to the Performance slots. The modifications that
THE ROM STYLE AND THE MODIFIED
can be applied are many, and include sound as- VERSION.
5.
signments, track volume and pan setting varia-
tions, track transpose and detune settings, MIDI
1. Try selecting the ROM Style again.
4.
channel assignments, Tempo setting, changes to Select the Style with Single Touch Play on.
the Effects, etc. The example below explains
how to save a ROM Style to the Performances 2. Start the Style with Start/Stop and play.
after modifying the Sounds assigned to the ac-
companiment tracks. 3. Check that STYLE LOCK is off.
3.
1. Select a ROM Style whose Sounds you wish to 4. Now, while playing, press the Performance Group
modify. which contains the modified version of the Style.
Refer to the selectoin procedure outlined on 5. Select the modified Performance.
2. page 2 of this chapter.
You will hear the same arrangements play
2. Press PERFORMANCE in the EDIT PERFORMANCE with a change of Sounds. The single Touch
section. Play button deactivates (led off).
The «Performance:Program» page activates. If you want to revert to the ROM version while
1. the Style is playing, simply reactivate the Sin-
3. Assign different sounds to the tracks. gle Touch Play button (led on).
c ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
af Use the method described on pages 10 and © Hint: You can memorise several different
h 11 of chapter 4 (Sounds & Performances, versions of the same Style to the Performances in
User Guide) progressive order then recall them using the
th
PAGE+ buttons (with Single Touch Play off).
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
c
ti 4. Press ESCAPE to exit «Edit Performance».
5. Press STORE PERFORMANCE.
si
c
to 6. Select a destination Performance.
to
6 Rotate the DIAL to select a destination. Re-
fi member how the Performances are organ-
P ised in the Groups: 1-8 = Perf 1, 9-16 = Perf
re 2 and so on......
F
S
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5•26 User Guide

6
○
File Types and extensions File type Extension

The types of File encountered when working in All .ALL The entire RAM or DISK con-
the WK3 Disk environment are identified by an tents (WK3 file types only).
«
extension attached after the file name. The ta- Perf All the Performances of the
s
ble opposite shows the file types and related ex- PERFORMANCE GROUPS (in-
er
tensions. Files sets that relate to entire groups, cluding Style-Performances of
P ROM Styles) .
such as the Performances or the Styles, do not
di show extensions. Style .UXX (where XX = 01-16). Single User
th Style and relative Style-Perform-
a ances of the USER GROUPS.
Styles All the User Styles of the USER
THE DISK FUNCTIONS
In
GROUPS.
In
Any file handling operation concerning the trans- Song .WK3 Single WK3 Song or Song/Style
fer of data to and from the main memory takes of the REAL/SONG GROUPS.
E place in «Disk mode» which is entered by press- Sample All the Samples of the Sample
P ing the DISK button. RAM.*
P The principal disk operations are spread across MidiFile .MID Standard MIDI files (SMF0 and
4 display pages: 1) loaded to the Real/Song
Groups. A converted MidiFile
1. Load Loads data to RAM can be saved as a WK3 Song
file.**
4. 2. Load WS, CD Loads compatible files to
RAM WS .ALL Compatible WS Song files.***
3. WS files converted with the “WS
3. Save Saves data from RAM to disk
Play” function cannot be edited
2. 4. Utility Disk Formatting procedures or saved as WK3 files while
and File Erase function those converted using the “WS
1. (erase data from disk) Load” function can be modified
and saved as WK3 Song files.
4
CD .SNG Compatible CD Songs
T Pass from one page to another with PAGE+/
.STY Compatible CD Styles
in PAGE– buttons. .SCD Compatible CD Samples
pl Escape from «Disk» by pressing ESCAPE. (Songs, Styles, Samples, All)
fe can be loaded into WK3 memo-
A ry. The converted files can be
Incorporated functions saved as WK3 files.
T
In addition to the principal functions described
above, WK3 incorporates three functions within *Samples from WK Samples kits can be loaded
the main disk operating structure: Preload, Play to the first 6 positions of the Samples bank. A
s direct from disk and Slow/Fast load. Sample captured using the WK3 Sampling func-
s tion loads to location 8. CD samples load to lo-
Preload (background loading): The Preload op- cation 7.
te
eration loads data to the WK3 memory while the
bl ** MidiFiles are not included in “.ALL’ file sets.
sequencer is playing without stopping it.
e
«Preload» loads to the first available free desti- *** WS Song/Styles are not recognised by WK3.
th
T
Fi
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6•2 User Guide

6
○
LOADING SONGS AND MIDI FILES 17-24 PERF3

Up to 7 locations are available in RAM to load 25-32 PERF4
Songs and MidiFiles. The locations correspond 33-40 PERF5
9- to the REAL/SONG button of the Style/Song 41-48 PERF6
1- Groups.
49-56 PERF7
P
57-64 PERF8
Song/MidiFile # Style/Song Groups
fo 1-7 Real/Song
gr
LOADING SAMPLES
G
U Location 8 of the Real Song Groups corresponds
to the CHAIN function that allows Songs to play-
Samples are loaded to the Samples bank (which
L back Songs as a medley. Chain loops (repeats)
corresponds to the backed Sample-RAM).
a single Song indefinitely until stopped.
Sample # Sample-RAM
9- LOADING STYLES 1-8 SAMPLES

1- Up to 16 locations, divided into 2 User Groups of
U 8, are available in RAM to load programmable
Styles (User). The User Style locations corre-
Generalmusic Samples Kits are distributed au-
spond to buttons USER1, USER2.
s tomatically among the first 6 locations(1-6) of the
S Samples bank. CD Samples are loaded to loca-
8, User Style # Style/Song Groups tion 7 and automatically assigned to the Pads. A
user-captured Sample loads directly to location
U 1-8 USER1
8 and cancels any samples currently occupying
L 9-16 USER2 the first 7 locations.
Samples load directly to the Sample-RAM with-
out displaying the destinations.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
a
© Note: The Sampling function is enabled only if
b LOADING PERFORMANCES WK3 is fitted with the Generalmusic optional Audio/
to
Up to 64 locations, divided into 8 Performance Video Interface kit. Without this kit, it is only
L possible to load Samples into memory.
Groups of 8, are available in RAM to load pro- ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
grammable Performances (including Style-Per-

1- formances).
S LOADING SONG/STYLES
Performance # Performance Group Song/Styles can only be loaded into memory
G 1-8 PERF1 using the «Load All» procedure, as this kind of
to 9-16 PERF2 file exploits various different sections of the in-
S strument at the same time.
U
L
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6•4 User Guide

6
○
1. Insert the WK3 disk into the drive.

The «Demo» disk supplied with the instru-
1
ment contains various Songs, or use disk
containing SMF data files. WX3 Styles disks
are also available from your local General-
music store.
2. Press DISK.
The first «Load» page appears.
3. Select FAST, LOAD SONG, LOAD MidiFile or LOAD

STYLE.
Use Function button F1 to toggle between 2 DISK
4.
Fast and Slow.
Use function button F2 to load a Song.
Use function button F4 to load a Standard
MIDI File.
Use function button F5 to load a Style.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3
1/4 LOAD: Styles Style Sample
© Note: If the disk does not contain the specified
SLOW Song MidiFile Perfo All
file, an appropriate message is displayed: “FILE
NOT FOUND - press ESCAPE and retry or change
disk”.
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○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© Note: If the disk is not inserted in the drive, the

display will promt you with the message “INSERT
DISK please“. Press ESCAPE, insert the floppy
disk and press DISK again.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4
TEMPO
4. Select the file with the DIAL. DATA
Rotate the dial to scroll through the files on

disk.
3.
Song07
WK3 song files are identified by the «.WK3» Song06
extension. ...
Song01
2. MidiFiles are identified by the «.MID» exten- LOAD:MySong.WK3
sion. The file is converted into a WK3 Song. [PRESS START TO PLAY OR ENTER TO LOAD]
WK3 Styles are identified by the «.UXX» ex-

tension where XX = 1…16.
1.
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6•6 User Guide

6
○
LOADING GROUPS OF FILES (STYLES,

PERFORMANCES)
This procedure loads all WK3 User Styles or user-
programmed Performances present on disk and
distributes them among the available slots of the
respective Groups (User or Performance).
The procedure is almost identical to that used to
load single elements (Load Song, Load MidiFile,
Load Style) but without showing the destination.
In practice, «Load Styles» and «Load Perform-
ance» loads directly to RAM.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© Warning: Even if the disk contains only 1 User

Style or 1 Performance, this procedure clears all
data currently occupying the respective Group. Be 1
sure that your User Styles or programmed
Performances are safely saved to Disk before
proceeding.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3.
2. 1. Insert the WK3 disk into the drive.
1. 2. Press DISK.
3. Select FAST, LOAD STYLES or LOAD PERFO.
Use function button F1 to toggle between the
Slow and Fast options. 2 DISK
Use function button F3 to select Load Styles.

Use function button F6 to select Load Per-
formances.
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© Note: If the disk does not contain the specified

a
files, an appropriate message is displayed: “FILE
In NOT FOUND - press ESCAPE and retry or change 3
L disk”. 1/4 LOAD: Styles Style Sample
lo © Note: If the disk is not inserted in the drive, the SLOW Song MidiFile Perfo All
T display will promt you with the message “INSERT
DISK please“. Press ESCAPE, insert the floppy
re disk and press DISK again.
di © Note: The Slows /Fast option is valid for group
pr loading as well as WS and CD files.

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T
P
L
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6•8 User Guide

6
○
LOAD SAMPLE • All Performance (including user-programmed

Style-Performances);
The procedure is identical to the Load Styles and
Load Performances procedures explained on the • A WK3 Sample.
previous pages. In practice, Samples are load- MidiFiles are not loaded with this procedure.
ed directly to the battery backed Sample-RAM Use Load MidiFile for this file type.
• (the Samples bank).
If a Song make use of a Sample, this will be car-
• Use function button F7 to select the option after ried into memory together with the Song, provid-
pressing DISK.
•
ed that the original Sample is also on the same
T disk.
L ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© Note: The Load Sample procedure clears the

Sample_RAM of current data. Make sure,
therefore, that you save your Samples to disk
LOAD ALL
P before carrying out the Load Sample procedure. The procedure is identical to the «Load Styles»
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
S and «Load Performances» procedures. «Load

o All» loads directly to RAM.
T «Load Sample» performs a test to determine the
origin of the Sample. If the source corresponds Use function button F8 to select «Load All» after
th to Generalmusic WK3 Samples kits, these are pressing DISK.
th loaded automatically to locations 1-6 of the Sam- The instrument’s RAM will be completely rewrit-
T ples bank. CD series Samples load to location ten by the data contained in the “.ALL” file.
S 7. A Sample captured with the WK3 Mic/Line
7. Sampling feature loads to location 8.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
pl To assign a Sample to a keyboard track, refer to © Warning: «Load All» cancels all user-
lo the procedure outlined on page 6 of Chapter 4 of programmed data in RAM, including Programmable
Styles, Song/Styles and Performances. Be
to the User Guide, Sounds & Performances. absolutely sure that any user-programmed data
or
To assign Samples to the Pads, refer to the meth- that you do not want to lose has been saved to disk
« before carrying out the Load All procedure.
ods described in the section entitled “Assigning ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Samples to the Pads” in the Rec/Edit chapter 19,

Pads Assignment section, Reference Guide.
If a Song is currently in playback, the “ALL” data
set is “parked” in a temporary location of the in-
strument’s RAM in order to allow the Song to play
LOADING ALL DATA FROM DISK to its end. As soon as it stops, it is erased auto-
matically by the “ALL” data set transferred to RAM
The «Load All» procedure loads:
at Song end.
• All Songs and Song/Styles (and relative Song
•
Performances);
(t • All User Styles (and associated Style-Per-
e formances);
pr
L
T
L
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6•10 User Guide

6
○
The display passes to the Load WS/CD file

page. 2
2. Select the Load WS mode required, as well as 2/4 LOAD:-WS--- --------CD--------
SLOW Play Load Song Styl Smpl All

the SLOW/FAST option if necessary.
Use function button F1 to toggle between the
Slow and Fast option.
Use function button F2 to select PLAY MODE.
Use function button F3 to select LOAD
MODE.
3. Rotate the DIAL to select a WS file and press EN- 3

TER to load to memory. TEMPO
DATA
WS Song files are identified by the “.ALL”

extension. ENTER
Both methods load the file to the first availa-

ble free destination in memory without allow- ESCAPE
ing you to select a preferred destination. If

all locations are currently occupied, the WS
File will load to the first location (correspond-
• ing to Function button F1) and erase the Song
occupying the destination.
• To listen to the Song, press REAL/SONG to enter

the Real/Song Groups, select the Song and press
Start/Stop.
If you loaded using the PLAY option, you can
only listen to the playback
If, instead, you loaded using the LOAD op-
tion, you can modify the Song tracks and save
to disk as a WK3 Song.
3.
2.
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6•12 User Guide

6
○
Save Operations
Even though the back-up memory saves your Songs carry their associated Song-Performanc-
al programmed data when the instrument is turned es and relative settings to disk in order that they
( off, it is still necessary to save data to disk for play correctly when loaded into memory again.
S proper storage and safety reasons. The RAM
should be seen as a work area which can con- WK3 Song extension
or
e stantly be updated and not as a data storage Single songs are identified by the “.WK3” exten-
lo media. sion.
li The WK3 RAM is backed by a rechargeable bat-
S tery to safeguard the data when the instrument
S is turned off. For security reasons, however, it is SAVING MIDI FILES
wise to store your data to disk (Save) for future
use. If you want your WK3 Songs to be read by an-
other musical instrument or computer, save them
WK3 data can be saved to disk using one of the to an MS-DOS or Atari disk as MIDI Files (SMF 1
d
following methods: multi-track format).
if
In • as single elements (Save Song, Save Style, To save GM compatible MIDI Files, set the Gen-
Save MidiFile, Save Sample); eral MIDI parameter to ON (see Edit MIDI, pa-
• • as a set of files corresponding to Groups rameter «SET»). The Song-Performances are
(Save Styles [User 1 and User 2 Groups], converted into track data (Bank Select MSB and
Save Performances (Performance Groups]); LSB, Program Change, Volume, Pan, CC91 and
CC93 for the effects depths).
• • as an “ALL” data set containing all data
present in RAM. If the Song contains Lyrics, the text is converted
into Lyric events and the resulting SMF File will
In order to save a single element, you must spec-
• correspond to a Karaoke format MidiFile.
ify a name for the relative file. The “All” data set
fo
does not require a name. All WK3 Songs saved as MidiFiles will also con-
form the GMX format in order to be played on
u other instruments of the WK Series (WK4).
w
is SAVING SONGS MIDI File extension
te Save your WK3 Songs to disk in order build a WK3 Songs, when converted to Standard MIDI
T library. WK3 Songs can originate from MidiFiles Files, are identified by the “.MID” extension.
m loaded into memory, from WS Songs files load-
st ed using the “Load mode” option, from CD Songs,
or your own recordings.
s SAVING STYLES
pr Songs can be saved as a single element
The User Styles correspond to the two User
of (SaveSong) or as an “ALL” data set together with
Groups of the Style/Song Groups.
pr all other data in memory.
E User Styles can be saved as single elements
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
6•14 User Guide

6
○
1. Insert an MS-DOS (1.44 Mb or 720 Kb) or Atari

floppy disk into the drive. 1
You can prepare a new WK3 disk with the
“Format” operation in the “Utility” page, de-
tailed on page 21.
The “1.44 Mb Format” and “720 Kb Format”
functions are in the “Utility” page of «Disk
mode». Atari disks are suitable for MIDI files
only.
If the disk is write protected, remove the pro-
tection (see page 3).
○
©
○ ○ ○ ○ ○ ○
N.B.: 3.5 HD disks can be formatted as 1.44Mb

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
2 DISK
for WK3 work disks, while 3.5 DD disks can be

formatted as 720kb for WK3, MS-DOS or Atari.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© WARNING - Do not use the original disks

supplied with the instrument for saving data.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
4.
2. Press DISK 3 PAGE
3. 3. Press PAGE + twice to pass to the “Save” page.

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© N.B. If you wish to exit the «Disk mode» press

2.
ESCAPE or DISK.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
PAGE
4. Select the element to save.
Use function button F2 to save a Song.
Use function button F4 to save a Standard
MIDI File.
4
3/4 SAVE: Styles Style Sample
Use function button F5 to save a Style. Song MidiFile Perfo All
1.
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6•16 User Guide

6
○
SAVING GROUPS OF FILES (STYLES, PER-

FORMANCES)
This procedure saves all WK3 User Styles or all
user-programmed Performances present in mem-
ory to disk.
The procedure is almost identical to that used to
save single elements (Save Song, Save MidiFile,
Save Style) but without showing the file directory.
In practice, «Save Styles» and «Save Perform-
ance» saves directly to disk.
3. ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© Warning: Even if the memory contains only 1

2. User Style or 1 Performance, this procedure clears
all Styles or Performances currently on disk. Be
sure that your User Styles or programmed
1
Performances are safely saved to a back-up Disk
before proceeding.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
1. Insert a floppy disk into the drive.

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
1. © N.B.: 3.5 HD disks can be formatted as WK3,
while 3.5 DD disks can be formatted as MS-DOS/
Atari only.
○
○
○
○
○
○
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○
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2 DISK

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
2. Press DISK
3. Press PAGE + twice to pass to the “Save” page.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
a
ESCAPE or DISK.
3 PAGE
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
In
S
s
T
or PAGE
u
T
F
S
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
6•18 User Guide

6
○
SAVE SAMPLE SAVE ALL PROCEDURE

The procedure is identical to the Save Styles and The procedure is identical to the «Save Styles»
Save Performances procedures explained on the and «Save Performances» procedures.
previous pages.
Use function button F8 to select «Load All» after
• Use function button F7 to select the option after pressing DISK.
pressing DISK. The disk contents will be completely rewritten by
the data contained in the “.ALL” file from WK3.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© Note: The Save Sample procedure clears the ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Sample(s) currently present on disk. Make sure, © Warning: «Save All» cancels all user-
therefore, that your Disk Sample is safely saved to a programmed data currently on disk, including
th back-up copy before carrying out the Save Sample Programmable Styles, Song/Styles and Perform-
procedure. ances. Be absolutely sure that any user-
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
ri
programmed data that you do not want to lose is
If safely saved to a back-up copy of the disk before
carrying out the Save All procedure.
SAVING ALL DATA TO DISK
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
• The «Save All» procedure saves:

• All Songs and Song/Styles (and relative Song
• Performances);
• All User Styles (and associated Style-Perform-
• ances);
• All Performance (including user-programmed
• Style-Performances);
T • A WK3 Sample.
S MidiFiles are not saved with this procedure.

Use Save MidiFile for this file type.
If a Song make use of a Sample, this will be car-
ried into disk together with the Song, provided that
the original Sample is also in the Sample-RAM.
•
pr
S
T
S
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
6•20 User Guide

6
○
FORMATTING PROCEDURE
1
1. Insert a new (or used) floppy disk into the drive.
Use 720 Kb DD or 1.44 Mb HD disks as re-
quired.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© WARNING - If you use a used disk, make 2 DISK

absolutely sure that you are not interested in
keeping the data contained in it as the formatting
process irretrievably destroys all data on disk.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
2. Press DISK
4.
3. Press PAGE + THREE TIMES to pass to the “Utili- 3 PAGE
ty” page.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

ESCAPE or DISK.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3.
4. Select «720 Kb Format» or «1.44 Mb Format.
PAGE
2. Use function button F4 to format a 720 Kb
DD disk.
Use function button F6 to format a 1.44 Mb
HD disk. 4
4/4 UTILITY: 720 Kb 1.44Mb FILE
FORMAT FORMAT ERASE
1.
F
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
6•22 User Guide

6
○
FILE ERASE
1
The File Erase function cancels files from disks.
Use this function to create space in a disk that
may not have sufficient room for a file.
«Erase File» cancels any type of recognisable
file from a WK3 disk, WS or CD disk as will as a
4. disk containing MIDI Files.
If you attempt to erase a file from a disk that WK3
is not able to recognise, you are prompted with
the message: “FILE NOT FOUND, Press Escape
and retry, or change disk”.
3.
It is possible to erase files from disks regardless 2 DISK
2. of the current operating mode. For example, you

can erase a file while you a playing back a Song.
FILE ERASE PROCEDURE

1. Insert a the floppy disk that contains the file to 3 PAGE
erase into the drive.

1.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
PAGE
F © WARNING - Do not use the original disks
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
c 4
of 2. Press DISK
4/4 UTILITY: 720 Kb 1.44Mb FILE
3. Press PAGE + THREE TIMES to pass to the “Utili-

It FORMAT FORMAT ERASE
a ty” page.
th ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
is © N.B. If you wish to exit the «Disk mode» press

If ESCAPE or DISK.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
di 4. Select «File Erase».

fil
« Use function button F8.
m
U
T
F
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6•24 User Guide

6
○
General disk handling information
If you’re new to working with floppy disks are not EJECTING A FLOPPY DISK
sure as to how you should handle these delicate
accessories, read this section for some useful in- Before ejecting a disk, make sure that the disk
formation. drive operating led is off and that the WK3 LCD
display is not currently showing a “Loading” or
“Saving” message.
To extract the disk, press the eject button and
INSERTING A DISK INTO THE DISK DRIVE
remove the disk.
Floppy disks must be inserted into the disk drive
label side up and shutter first. Push the disk firmly
in until it “clicks” into place.
di
A
THE WRITE PROTECT TAB

Floppy disks contain a write protect tab which
allows you to protect valuable data from being
accidentally overwritten.
To prevent writing data to disk and so avoid acci-
dental erasure, slide the tab fully down to “open”
the window.
To permit writing data to disk, slide the tab fully
up to “close” the window.
Avoid forcing a disk into the drive and hold the

disk straight while inserting it.
in
la
Fl
Disk not protected Disk protected
I
Use a pen or other pointed object to set the tab
as shown.
fo
a
s
If
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
6•26 User Guide

6
○
Precautions to observe when using WK3 disks with a computer
As occurs with the compatible MS-DOS and Win- 2) Use Uppercase (capital) letters for the first
dows 3.1 systems, WK3 assigns file names not letters of both parts of the name, lowercase
longer than 8 characters, plus an extension of for the others (e.g.: «MyFile.WK3»).
three characters separated by a dot (e.g.:
• do not assign two files the same name, one
«MYSONG_1•WK3»).
with uppercase letters and the other with low-
In the Macintosh, OS/2 and Windows 95 systems, ercase (e.g. «MYFILE» and «myfile»). MS-
a file name can be longer. When a name is mod- DOS, Windows 3.1 and Atari make no dis-
ified on a computer, the following rules should be tinctions between uppercase and lowercase
remembered: character.
• do not change the file extension because it

identifies the file type and therefore, the rela-
• tive structure.
• do not write names longer that 8 characters
(excluding the extension).
to
th
D Furthermore, owing to some limitations of MS-
F DOS, Windows 3.1, Atari (with other systems
these problems are non existent), it is essential
to bear in mind the following advice:
•
• do not insert spaces within a file name (e.g.:
«MY FILE.WK3»). MS-DOS is not able to
• handle file names containing spaces. To sep-
arate a name into two parts while retaining
the MS-DOS compatibility, you must:
re 1) separate two parts by the “underscore”
ifi symbol (e.g.: MY_FILE.WK3»).
a
In
«
th
lo
d
A
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
6•28 User Guide

7
○
Selecting and playing back Songs

WK3 can store up to 7 Songs in the Real/Song
Groups of the STYLE/SONG GROUPS section.
Location 8 corresponds to the Chain function
which loops (repeats) a single Song indefinitely
until stopped, or chains several recorded Songs
to play as a medley. A chained medley stops
automatically when the end of the last song in
the chain is reached.
1
STYLE / SONG GROUPS

JAZZ. US. TRAD. TRAD. 1. TRAD. 2 LATIN 1 LATIN 2 USER 2 REAL/SONG
TO SELECT A SONG
Refer to the DISK chapter 6, page 6 for explana-
tions regarding how to load Songs and MIDI Files
to memory from disk.
2. 1. Press the REAL/SONG button.

The display shows 7 locations. Recorded
Songs are identified by a name of 6 charac-
2
MySong Empty4 Empty6 CHN= OFF
ters. Empty locations are shown as “Free01”,
MyWay NwYork Empty5 Empty7
“Free02” etc.
1. 2. Select a Song with the corresponding Function

button.
to
Selecting a Song sets WK3 to Song mode.
ti 120 Empty1 Mes=1 :1 Bk1: BRASS
The Song name appears on the top line of
R
the display (“Free” or a name). Bk1: ORGAN3 Bk1: SOFSAX
T If you select a Free location, refer to the Song

Recording chapter for details of how to record
the Song.
th
a
to
u
w
L
G
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
7•2 User Guide

7
4. Press STOP to stop the playback.

○
4
The Song stops at a precise point (see the
Measure counter).
5. Press (KEY START)/CONTINUE to start the song

from the point it was stopped.
OR
Press STOP again to start the Song from the start-

ing point. 5
The Song rewinds to the starting point and
playback starts again. You can choose to
rewind to the starting point (01:1) with the
REW button.
OR
5.
4.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
7•4 User Guide

7
PLAY A SONG TRACK IN REAL TIME

○
Most of the Songs that you load into your WK3

will most probably have all the tracks engaged
by the sequencer. You can check this at a glance
by looking at the status of the leds of the
sequencer tracks (1-8). If they are all on, includ-
ing the tracks 09-16 (use Track Select to switch
to this set), you’ll find that you cannot play along
with the Song in playback.
If any leds are off, this indicates that the corre-
sponding tracks have not been engaged by the
sequencer for the Song. If you want to play along
with your Song in playback, you can either:
• A) disengage one of the tracks used by the
Song, or
• B) activate one of the tracks not used by the
Song. 1 1 SONG/STYLE
2. 2 REAL/SONG
MySong
A. MyWay Nw
1. Select a Song and press START/STOP to start the

playback.
1.
Check the sequencer tracks and note which
tracks are engaged for the Song (led on).
2. Press one of the buttons with an illuminated led.

• The led of the button goes off and the track is
deactivated. The assigned sound does not
playback.
•
w 2
s
s
If
w
to
in
s
b
b
w
M
P
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
7•6 User Guide

7
○
Displaying lyrics
If your Song contains a Lyrics track, the display
or an external monitor can show the lyrics while
the Song is in playback. 1 1 SONG/STYLE
2 REAL/SONG
MySong
Lyrics can be displayed while the Song is playing
MyWay Nw
in order to song along with the Song. In public
venues, the lyrics can be projected on an exter-
nal monitor in different colours for the audience
to sing along with (in karaoke style).
TO DISPLAY LYRICS
1. Select the Song and start the playback as de-
scribed on the previous pages.
2. Press the TEXT button in the SEQUENCER.
2
3. The Lyrics start to scroll across the display in
synchronisation with the music. The current
syllable is shown in capital letters while all
other lyrics remains in small type.
3. Press ESCAPE or TEXT to return to the main Song

Playback page.
2.
and NOW, the end is near and so i face
the final curtain

1. and now, THE end is near and so i face
the final curtain

T
and now, the END is near and so i face
the final curtain
to
n 3 ENTER
v
in
L OR
ESCAPE
th
o
If
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
7•8 User Guide

7
7. Rotate the DIAL to select one or 4 colours.

○
7
8. Press ESCAPE to close the GENERAL edit page and TEMPO
DATA
return to the Song display.
8 ENTER
ESCAPE
8.
7.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
7•10 User Guide

8
○
Selecting and playing back Song/Styles

WK3 can store up to 7 Song/Styles in the Song/
Style Group of the STYLE/SONG GROUPS sec-
tion.
Location 8 corresponds to the Chain function
which loops (repeats) a single Song/Style indefi-
nitely until stopped, or chains several Song/Styles
to play as a medley. A chained medley stops
automatically when the end of the last Song/Style
in the chain is reached.
TO SELECT A SONG/STYLE
Refer to the DISK chapter 6, page 10 for expla-
nations regarding how to load Song/Styles to
2. memory from disk.
1. Press the SONG/STYLE button. 1

STYLE / SONG GROUPS
The display shows 7 locations. Recorded

Song/Styles are identified by a name of 6 JAZZ. US. TRAD. TRAD. 1. TRAD. 2 LATIN 1 LATIN 2 USER 2 REAL/SONG
characters. Empty locations are shown as

1. “Free01”, “Free02” etc.
m 2. Select a Song/Style with the corresponding Func-

n tion button.
R
Selecting a Song/Style sets WK3 to Song/ 2
T Style mode. The Song/Style name appears Free2 Free4 Free6 CHN= OFF
on the top line of the display (“Free” or a Free1 Free3 Free5 Free7
name).
in If you select a Free location, refer to the Song/

a Style Recording chapter for details of how to
to record the Song/Style.
ni 120 Free01 Mes=1 :1 Bk1: PIANO
w Bk1: PIANO Bk1: PIANO
L
ti
S
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
8•2 User Guide

8
4. Press STOP to stop the playback.

○
4
The Song/Style stops at a precise point (see
the Measure counter).
5. Press (KEY START)/CONTINUE to start the Song/

Style from the point it was stopped.
OR
Press STOP again to start the Song/Style from

the starting point. 5
The Song/Style rewinds to the starting point
and playback starts again. You can choose
to rewind to the starting point (01:1) with the
REW button.
OR
5.
4.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
8•4 User Guide

8
PLAY A SONG/STYLE TRACK IN REAL

○
TIME
The Song/Styles that you load into your WK3, or
record yourself can have up to 8 tracks engaged
by the sequencer, 5 corresponding to the Style,
3 to the keyboard tracks. You can check this at a
glance by looking at the status of the leds of the
sequencer tracks (1-8). If they are all on, you’ll
find that you cannot play along with the Song in
playback.
If any leds are off, this indicates that the corre-
2. sponding tracks have not been engaged by the
sequencer for the Song/Style. If one or more of
leds 6-8 are off, the track has either not been
used in the recording, or has been disengaged
to play in real time. If you want to play along with 1
your Song in playback with one of the keyboard 1
2
SONG/STYLE
REAL/SONG
1. tracks, you can either: MySong
MyWay Nw
• A) disengage one of the keyboard tracks
used by the Song/Style, or
• B) play with the keyboard track(s) not en-
• gaged by the Song/Style.
• A.
tr 1. Select a Song/Style and press START/STOP to
y start the playback.
to Check the sequencer tracks and note which
tracks are engaged for the Song/Style (led
2
u
le on).
s
s 2. Press one of the active keyboard track buttons
If (led on), or press the corresponding keyboard
pl activator button.
UPPER 2
fi The led of thesequecner button goes off and
s the corresponding keyboard activator button
UPPER 1
turns on, allowing you to play the track in real
OR
gl
3 time.
b LOWER
re
T
T
P
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
8•6 User Guide

8
○
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
8•8 User Guide

9
○
Selecting the effect types
Regardless of the current mode (Style/Real Time,

Song/Style, Song mode), the method used to
select and assign the effects to the current Per-
formance is identical.
HOW TO SELECT THE EFFECT TYPES

1. Press the EDIT button of the DSP section.
1 DIGITAL SIGNAL PROCESSOR
REVERBS EFFECTS EDIT
The display shows the effect types assigned

to the current Performance and other param-
eters of the DSP units.
2. Select the effect type that you wish to change. 1/1 EDIT DSP:[REVERBS]
Hall 1 Chorus 1 RevSend EffSend

The selected type is shown flashing.
Press Function button F1, F2 to select the
3. Reverb type.
Press Function button F3, F4 to select the
2
1/1 EDIT DSP:[REVERBS]
Effect type.
Hall 1 Chorus 1 RevSend EffSend
3. Rotate the DIAL to select a different effect type.

The DIAL scrolls through the available effects
of the selected DSP. Each DSP provides a
2. selection of 22 different effect types.
You can select a different effect from both
DSP units.
3
TEMPO
1. DATA
fo
s
S
R
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
9•2 User Guide

9
○
Bypassing the effects
While playing, you can bypass one or both effect

types assigned to the current Performance.
The status of the Reverb and Effects buttons of
the DSP section shows at a glance whether the
effects are inserted or bypassed.
• Led on = current effect type inserted. 1
DIGITAL SIGNAL PROCESSOR
• Led off = current effect type bypassed.
1. Press an active button (led on) to bypass the rela-

tive effect type.
The led goes off and the current Performance
is not routed to the relative DSP.
2. Press the same button to reactivate the effect.

The led goes on and the Performance is
2
DIGITAL SIGNAL PROCESSOR
routed to the relative DSP. REVERBS EFFECTS EDIT
3. Press STORE PERF and ENTER to save the changes

3. to the current Performance.
If you select a different Performance, or
reselect the same Performance without sav-
ing the changes, the newly assigned effects
2. will be lost and the original settings will be
restored. 3 STORE PERF.
ENTER
ESCAPE
1.
•
•
ef
th
T
ty
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
9•4 User Guide

9
4. Press ESCAPE to close the Send level window.

○
4/5 ENTER
5. Press ESCAPE again to exit the Edit DSP page.

6. Press STORE PERF and ENTER to save the changes ESCAPE
to the current Performance.

If you select a different Performance, or
reselect the same Performance without sav-
ing the changes, the newly assigned effects
will be lost and the original settings will be
restored. 6 STORE PERF. ENTER
ESCAPE
Effect Editing
Effect editing procedures are discussed in the
relevant chapter of the Reference Guide.
re
E
Ef
6.
5.
4.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
9•6 User Guide

1
○
MASTER SLAVE 1 SLAVE 2

MIDI cable MIDI cable
OUT IN THRU IN
internal course
Fig. 1 - Connection diagram of a master keyboard and two expanders or other instruments (slave 1 and slave 2). The data are
generated by the master, received at MIDI IN of slave 1 and sent to the sound engine of slave 1 and to MIDI IN of slave 2.
THE MIDI THRU PORT When the COMPUTER port is in use, the WK3
MIDI ports are disabled.
The MIDI THRU port permits the connection of
several slave instruments in series (as shown in If you have a computer capable of directing MIDI
Figure 1). data to the serial port (specified as RS232 in IBM
PCs and compatibles, MODEM in Macintosh),
In the example, Slave 1 and Slave 2 are control- you can substitute the two MIDI cables with the
led by the single Master. Slave 2 does not re- single serial cable.
ceive Slave 1 data, which only acts as a through
gl device. The connection via the COMPUTER port allows
c the control of 16 MIDI channels, as for the stand-
M ard MIDI interface.
T
THE COMPUTER PORT ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
T ©
The COMPUTER port can simultaneously act a Note: the simultaneous use the COMPUTER
port and the PEDALBOARD connector is not
MIDI IN and MIDI OUT port and allows the direct
possible. These two sockets operate alternately.
connection of the instrument by means of a sin- ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
d gle serial cable.

c
le
In
Fi
WK3 CH. 1 COMPUTER
s Fig. 2 -
Connection of
WK3 and
T COMP. CH. 1...16 RS-232/
T MODEM computer via
the
COMPUTER
WK3 port.
Connection of
MIDI EXPANDER
an expander
OUT at MIDI OUT
MIDI of WK3
IN
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
10•2 User Guide

1
MIDI CONNECTION RULES ASSIGNING MIDI CHANNELS

○
Brief instructions on MIDI connections are on The MIDI channel configurations of the Perform-
page 7 of the Basic concepts Chapter 3. To re- ances of all Songs, Song/Styles, Styles and Per-
cap: formances are freely programmable.
• An instrument which pilots another instrument The procedure for channel assignments is ex-
is called the master, while an instrument that plained on page XX of the section entitled «Edit
is piloted by a controlling device is called the MIDI» of the EDIT PERFORMANCE chapter 13
slave. (Reference Guide).
• • The MIDI OUT of the master instrument is All Performances are independently programma-
connected to the MIDI IN of the slave instru- ble for MIDI assignments and any change can
ment. be saved with Store Perf. See the Edit Perform-
ance chapter for details.
• To programme Songs on an external
sequencer, the MIDI OUT of WK3 is con-
• nected to the MIDI IN of the sequencer; the
MIDI OUT of the sequencer is connected to
the MIDI IN of WK3. CHANNEL 1 / Common
• Do not connect the same MIDI port between CHANNEL 2
• two instruments.
CHANNEL ...
th When you connect external MIDI devices, the
pl corresponding tracks must be tuned to the same CHANNEL 15
M MIDI channels as the WK3 tracks. Some exam-
c ples follow, with WK3 programmed as shown in CHANNEL 16
the previous table:
• If WK3 controls an expander with one track
• only (Upper 1 - track 8) across the entire key- CHANNEL 1
board range, the expander must be pro- CHANNEL 2
grammed to receive on MIDI channel 8.
CHANNEL ...
• If WK3 controls a multi-timbral expander, the
instrumental parts of the expander must be CHANNEL 15
• tuned to the same channels as the WK3 con-
trolling parts (or tracks). Assign channel 1O CHANNEL 16 / Common
to the drum track, channel 9 to the Bass......
• • If WK3 is controlled by an external control-
Fig. 5 - The Common Channel is a special channel pro-
ling device, you must programme the parts grammed to receive general control data and distributed
(tracks) of the controlling device to the same to all other channels (example: effects changes, sustain
channels as the WK3 parts (tracks), or pro- pedal activation in a master keyboard, the notes played
gramme the WK3 tracks accordingly to react on a master keyboard, etc.). The Common channel can
•
with the master. be any MIDI channel and it is programmed in «Edit
c MIDI», Common/Chord» page.
p
B
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10•4 User Guide

1
○
Principal MIDI applications
er WK3 PILOTING AN EXPANDER WITH THE only. Each note of the WK3 will play only note of
PERFORMANCES (OR ADDITIONAL KEY- the expander.
n
s BOARD)
B
If you want to pilot a keyboard or expander (sound
PREPARATION
p module) using WK3 as the Master controlling
in device, carry out the connection as described 1. Connect the WK3 MIDI OUT to the expander’s
la below.
B MIDI IN.
• Connect the WK3 MIDI OUT port to the expand-
of 2. Press a Performance button in the PERFORMANCE
er’s MIDI IN port.
L GROUPS section and select a Performance.
p Set WK3 to operate in Performance mode (Up-
3. Program the keyboard tracks of the Perform-
th per 1, Upper 2 and Lower keyboard sections) in
ance as required, assigning sounds, setting
re order to be able to play at least three sounds si-
volumes and pan, effects, etc.
a multaneously in real time. In Song mode, WK3
If renders one track available for real time use. 3. Press MIDI in the EDIT PERFORMANCE section to
Y In this setup (WK3 in Performance mode), data enter «Edit MIDI» and programme the MIDI chan-
c from the WK3 keyboard is sent from the WK3 nels.
of MIDI OUT port and received by the MIDI IN port
The MIDI channels must match those of the
M of the expander. Remember to match the MIDI
expander sections, OR, consult the expand-
fr channels of both devices for correct operation.
er’s owner’s manual for information regard-
In You will hear sounds from both devices.
ing how to programme the expander’s parts
re If you want to play only the expander’s sounds for MIDI communications with WK3.
m and exclude the WK3 sounds, you can either
or regulate the WK3 track volumes to zero level with 4. Press ESCAPE to exit «Edit MIDI» and store the
p the track sliders (or in Edit Mixer - Section Level changes to the Performance.
S parameter), or you can set the WK3 tracks for If you don’t store the Performance changes,
Local off operation (in Edit MIDI - Section Local they will lost when you select a different Per-
off parameter). formance, or re-select the same one.
•
By using the track sliders (F6…F8), you can regu-
b late the WK3 track volumes as desired. By tak- 5. Play on the WK3 keyboard to send data to the
d ing them all to zero, you will only hear the ex- external expander.
m pander’s sounds. You will hear WK3 sounds play together with
If
By using the Section Local Off parameter and the expander’s sounds.
B setting the keyboard tracks to “Off”, you discon-
P nect the keyboard from the internal sound gen-
erator; the keyboard data is sent to MIDI OUT
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10•6 User Guide

1
○
Press the corresponding button in the In this setup, WK3 keyboard data is sent via the
Sequencer. WK3 MIDI OUT and is received by the compu-
ter’s MIDI IN port. When you play back a se-
4. Program the Song-Performance accordingly. quence, MIDI data from the computer is sent via
• Assign sounds, set volumes and pan, change MIDI OUT, and is received by the expander’s MIDI
or modify the effects, etc. IN. This data then passes on from the expand-
er’s MIDI THRU to the WK3 MIDI IN.
• 5. Press MIDI in the EDIT PERFORMANCE section to If the expander has no MIDI THRU, connect the
enter «Edit MIDI». computer’s MIDI OUT to the WK3 MIDI IN, and
• the WK3 MIDI THRU to the expander’s MIDI IN.
6. Press F4 («Local») to activate the Section Local
b Off parameter.
p
If 7. Set the currently selected Song track for LOCAL THE COMPUTER PORT
OFF operation.
A You can use the COMPUTER port via a single
Press the corresponding Function button. serial cable instead of the MIDI IN and MIDI OUT
The Local Off track will be shown flashing. ports. The COMPUTER port disables the MIDI
ports if connected.
8. Press ESCAPE TWICE to exit «Edit MIDI».
9. Press STORE PERF and ENTER to save the modi- Apple Macintosh
1 fied Song-Performance to memory.
The Macintosh (or compatible) must communi-
1 10. Set the Sequencer’s ECHO function to on. cate at the velocity of 1 MHz. Consult the manual
of the sequencer for relevant information.
11. Start the external sequencer and play on the WK3 Use the standard Macintosh serial cable. Con-
9. keyboard. nect one end of the cable to the WK3 and the
WK3 sends data to the external sequencer other to the MODEM port of the Macintosh.
8.
which then sends it back to WK3. Set the COMPUTER parameter in «Edit General»
to MAC.
ADDITIONAL DEVICES
IBM PC
7. If you want to use additional keyboards or ex-
The IBM-PC (or compatible) can communicate
panders, connect the equipment as described
at the velocity of 31250 baud (PC1) or 38400
below:
baud (PC2).
• WK3 MIDI OUT connected to the computer’s MIDI
6.
Use the optional Generalmusic serial cable. In-
IN. sert the small connector (DB9) to the WK3 COM-
5. • Computer’s MIDI OUT connected to the expand- PUTER port and the larger connector (DP25) to
er’s MIDI IN. the RS-232 port of the computer.
• WK3 MIDI IN connected to the expander’s MIDI Set the COMPUTER parameter in «Edit General»
to PC1 or PC2 as required.
4. THRU.
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10•8 User Guide

1
SELECTING THE STYLES VIA MIDI COM- If the master keyboard has programmable buttons,
○
MON it is possible to assign them some control mes-

sages and control all directly from the master.
To select a Style from the master keyboard, send
a Bank Select (CC00) and Program Change (PC)
message to WK3 via the Common channel with Style control Value CC50
the values shown in the following table: Fill >< 00
fo
C Fill < 01
a Values CC00 / PC Style Fill > 02
T Intro 08
32 / 1-8 1-8 (8 BEAT)
C 32 / 9-16 9-16 (16 BEAT) Ending 16
C 32 / 17-24 17-24 (ROCK) Var 1-2-3-4 24 - 27
32 / 25-32 25-32 (FUNK) Harmony ON/OFF 32
32 / 33-40 33-40 (DANCE 1) Arrange ON/OFF 33
32 / 41-48 41-48 (DANCE 2) Arrange Memory ON/OFF 37
32 / 49-56 49-56 (JAZZ) Lower Memory ON/OFF 38
32 / 57-64 57-64 (US TRAD) Key Start ON/OFF 40
4 32 / 65-72 65-72 (TRAD 1) Single Touch Play ON/OFF 48
4 32 / 73-80 73-80 (TRAD 2) Style Lock ON/OFF 49
3 32 / 81-88 81-88 (LATIN 1) Mixer Lock ON/OFF 50
3 32 / 89-96 89-96 (LATIN 2) Tempo Lock ON/OFF 51
3 44 / 1-8 97-104 (USER 1) Fade In/Out ON/OFF 59
3 44 / 9-16 41-48 (USER 2) Rotary ON/OFF 61
3 Start/Stop 64
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Tempo increment 66
3 © Note: If SINGLE TCH PLAY is active, selecting
3 a Style will also change the keyboard sounds and Tempo decrement 67
effects. Next Performance 68
3 ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
3 Previous Performance 69
3 CONTROLLING THE STYLES VIA MIDI
3 COMMON Other controls of the Styles via MIDI are listed in
3 the Appendix.
The Style controls can be simulated by sending
V a Control Change 50 message to WK3 via the
Common Channel with the values shown in the
following table.
th
m
a
T
S
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10•10 User Guide

1
○
Additional MIDI parameters

WK3 offers a set of additional MIDI parameters
which render the instrument more flexible. The
parameters are accessed by entering the MIDI
SET function in «Edit MIDI»:
• General MIDI
• Channel Lock
• Dynamic Keyboard
• MIDI In Transpose
• System Exclusive
• System Exvlusive Identification Number
• WS MIDI Status mode.
These additional MIDI parameters are detailed
in the Edit MIDI section of the EDIT PERFORM-
ANCE chapter 13.
A
in
T
•
•
•
•
•
•
•
S
p
w
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10•12 User Guide

1
○
How to set the new functions

AUTO ARRANGE
WK3 is factory-programmed to power up with the
AUTO ARRANGE function disabled. When you
press START/STOP, the Arrange On/Off button
1 ARRANGE
MODE/SPLIT
remains off and only the Drum track of the Style

5. starts to play, allowing you to play the keyboard
sounds with drums only.
You can enable auto Arrange so that pressing
Start/Stop automatically activates the ARRANGE
4.
ON/OFF button (LED on). Whenever you press 2 PAGE
Start/Stop, you will be able to play with the Style

auto accompaniments by playing a note or chord
3. on the lower part of the keyboard (below the split
point).
PAGE
How to change the status of the Auto Arrange

2. function. 3/3 ARRANGE MODE/SPLIT:CHORD DISPLAY
Chord=English Aut.Arr=On
1. Press the ARRANGE MODE/SPLIT button to open
1. the first page.
fu
H
2. Press PAGE+ twice to open page 3. 3/4
The display shows two options to choose 3/3 ARRANGE MODE/SPLIT:AUTO ARRANGE
from. Chord=English Aut.Arr=On

p
o 3. Select the AUTO ARRANGE function.
a
Use function buttons F4 or F5.
S On Off
4. Set the function accordingly (On or Off).
O
S
Y Press the same function button repeatedly
to toggle between the ON and OFF status.
s 5 ENTER
st 5. Press ESCAPE to close the display.
re
pr The setting is a general parameter which is
ESCAPE
A retained in memory after power down.
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© Note: the Auto Arrange function is valid for

A Style/RealTime mode only.
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11•2 User Guide

1
3. Select the FINGERED 1 function.

○
3
Use function buttons F3 or F4. The selected 2/3 ARRANGE MODE/SPLIT:FINGERED 1
function starts to flash. OneFinger Fingered1 Fingered2 FreeStyle
4. Press ESCAPE to close the display.

The setting is a Performance parameter
which can be stored to the current Perform-
ance by pressing STORE PERF then EN-
TER.
If you fail or forget to save the setting, it will
remain selected until you modify the setting
4 ENTER
again or until you select a different operating

mode (i.e. Song mode). In such cases, the ESCAPE
original chord recognition setting will be re-
stored.
STORE PERF. ENTER
+
ESCAPE
4.
3.
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11•4 User Guide

1
4. Select the Song option.

○
4
Use function button F2 to save a Song. 3/4 SAVE: Styles Style Sample
Song MidiFile Perfo All

The Song directory is displayed showing one
or more Song names to choose from.
5. Select the Song that you wish to save to disk.

6. Press ENTER.
MySong Empty4 Empty6 CHN= OFF
You are prompted with a request to save the MyWay NwYork Empty5 Empty7
Song with its original name, or to write a new
name for the file.
5
7. Press ENTER twice to safe the Song with its origi- MySong Empty4 Empty6 CHN= OFF
nal name. MyWay NwYork Empty5 Empty7
Pressing ENTER the first time displays a re-

quest to reconfirm the operation (Are you
sure?). Pressing ENTER a second time starts
the save procedure. To cancel the opera-
tion, press ESCAPE.
With ENTER, the drive starts running and the 6 ENTER
display flashes the phrase “Saving” during the
save procedure.
ESCAPE
When the message ceases to appear, the
Song is saved to disk.
SAVE:NwYork .WK3 [Overwrite]
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© REMEMBER: IF YOU SAVE A SONG WHOSE [WRITE NAME AND PRESS ENTER]
NAME ALREADY EXISTS ON DISK, THE DISK-

BASED FILE WITH THE SAME NAME WILL BE
CANCELLED.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
7 ENTER
7.
ESCAPE
SAVE:NwYork .WK3 [Overwrite]
Are you sure ? press [ENT] or [ESC]
6. ENTER
5.
ESCAPE
4.
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11•6 User Guide

○
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Reference Guide
1
○
Selecting Styles
PANEL SELECTION 1 STYLE / SONG GROUPS
1. Press one of the STYLE GROUPS buttons to open 8 BEAT 16 BEAT ROCK FUNK DANCE 1 DANCE 2 USER 1 SONG/STYLE
REAL/SONG
JAZZ. US. TRAD. TRAD. 1. TRAD. 2 LATIN 1 LATIN 2 USER 2
a Style selection window.

3.
2. Select a Style with the corresponding Function
button.
2.
2
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MetalR SlowRk Boogie Lovely
1. © Note: When you select a Performance from
OpenRk HardRk SoftRk Shuffl
the Performance Groups, Performnace data is not
of transmitted via the Common Channel. The
ri BankSelect, ProgramChange, Volume and Pan
C messages of the tracks are sent on the normal
A MIDI channels.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
P
S
at SELECTION VIA THE PERFORMANCES
is
th If ST.LOCK is on when you select a Performance,
If the current Style rests unchanged. If ST. LOCK
is off, a Performance can also recall a Style, Vari-
S ation and Tempo (provided that user-programmed
Style-Performances have been memorised to the
Performance Groups).
As well as track data (Bank Select, Program
Change, Volume, Pan) the Performances memo-
rise (a) the selection of a Style, (b) the selection
of a Variation of the Style, (c) the Tempo.
1. Deactivate the ST. LOCK button.

2. Press one of the PERFORMANCE GROUPS but-
tons to open a Performance selection window.
2.
3. Select a Performance with the corresponding
Function button.
1. The memorised Style and Variation will be
P selected.
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12•2 Reference Guide

1
○
Selecting Sounds
BY SELECTING PERFORMANCES OR
STYLES
P
C
T Refer to the previous sections relating to Perform-
th ance or Style selection. While playing, Sounds
o are quickly selected by selecting Performances
or Styles. Programme your Performances or
1 SOUND GROUPS
T
Style-Performances before your concert. PIANO CHROM ORGAN GUITAR BASS STRINGS ENSEMBLE BRASS
S REED PIPE SYN LEAD SYN PAD SYN SFX ETHNIC PERCUSSIVE SFX
PANEL SELECTION
PIANO2 HONKY EL.PN2 CLAVIN
1. Press one of the SOUND GROUPS buttons to open PIANO1 PIANO3 EL.PN1 HARPSI
a Sound selection window.

2. Scroll through the three Banks with the Sound 2
SOUND BANKS
Bank button. The Bank number corresponds to
1 2 3
3. the Control Change 00 MIDI message (CC00/ SOUND BANKS
BankSelect MSB). 1 2 3 SOUND BANKS

1 2 3
3. Select a Sound with the corresponding Function
button.. Sound Bank 1
2.
Sound Bank 2
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© Note: When you select a Sound, WK3 sends Sound Bank 3

1. CC00-CC32-PC messages in rapid succession on
the MIDI channel assigned to the track.
3
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P
PIANO2 HONKY EL.PN2 CLAVIN
SELECTION VIA MIDI PIANO1 PIANO3 EL.PN1 HARPSI
S
o The Sound selection message must be received
ar on the MIDI channel assigned to the track to which
a the Sound is assigned.
R To select a WK3 Sound, it is sufficient to send a
S Control Change 00 (CC00/BankSelect MSB) and
Program Change (PC) message.
B
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1
○
Selecting Samples
PANEL SELECTION
1
1. Press the SAMPLES button to open the Sample SAMPLES
selection window.
2. Select a Sample with the corresponding Function
button.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
P © Note: When you select a Sample, WK3 sends 2

w CC00-CC32-PC messages in rapid succession on EMPTY EMPTY EMPTY SAMPLE
P the MIDI channel assigned to the track.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ EMPTY EMPTY EMPTY EMPTY
T
le
T SELECTION VIA MIDI
B The Sample selection message must be received
gr on the MIDI channel assigned to the track to which
tr the Sample is assigned.
T
To select a WK3 Sample, you must send a Con-
th trol Change 00 (CC00/BankSelect MSB) and Pro-
o gram Change (PC) message. Samples occupy
T Bank5.
S The Sample table listing corresponding MIDI se-
lection messages can be found in the Appendix.
The relative numbers are also displayed in the Edit
Performance: Program Change page that appears
when you press PERFORMANCE in the EDIT
PERFORMANCE section.
2.
1.
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1
○
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1
STANDARD EDIT PROCEDURE ESCAPE THE FUNCTION IN EDIT

○
The edit procedure is identical for all situations, There are three ways of escaping from a func-
unless otherwise indicated in the detailed expla- tion in edit:
nations which follow afterwards.
• press ESCAPE as many times as necessary,
1. To modify the parameters of the current Per- depending on the currently selected edit lev-
formance, press the button corresponding to el, until you reach the main display.
the function that you wish to edit in the Edit
• press the button corresponding to the func-
Performance section.
tion in edit. This action exits from the func-
2. If necessary, use the PAGE+ and PAGE - but- tion completely and passes directly to the
tons to pass to the page required. main display.
3. Select the parameter to edit with the corre- • press another button of the EDIT section to
sponding Function button. pass to a different function.
4. Use the DIAL to modify the parameter value.
In some situations, the Sliders F1…F8 are
active for parameter changes; in this case, the MEMORISING MODIFICATIONS TO A
parameter does not require selection.. PERFORMANCE
On/Off type parameters can be toggled with When you have completed your edit tasks, press
8. the corresponding Function button. STORE PERF to save the modifications to the
current Performance. If you fail to store your
7. Press ESCAPE, or the button corresponding
modifications, they will be irremediably lost when
to the function in edit to return to the main dis-
you select another Performance, or reselect the
7. play of the current operating mode.
same one.
8. Save the modifications to the current Perform-
ance by pressing STORE PERF followed by ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
ENTER. © Note: If your Performance programming

involves many parameters of all the Edit Perform-
ance functions (Perf, MIDI, Mixer, Sound, Effects),
it is wise to save periodically to store the modifica-
4. tions to RAM. This will safeguard your editing in
case of an unexpected power failure. If, instead,
you leave the saving task till last, a sudden power
3. failure will cause the total loss of all your edited
data and you will have to start again.
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2.
1.
n
u
T
S
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1
2/11 TRANSPOSER Use the standard edit procedure.

○
This is a track transposer which transposes in 4/11 PERFORM:PITCH BEND RANGE [Tk06]
steps of one semitone. 02 02 02 02 02 02 02 02
0 Use Track Select in the Sequencer to view tracks Performance: Pitch Bend Range
U 09-16. Assignable values: - 12 … 0 … +12.
a An octave transposition can be obtained by us-
e ing the OCTAVE [+] and [-] panel buttons.
5/11 SOUND EDIT
th
T Use the standard edit procedure.
2/11 PERFORM:TRANSPOSER [Tk07]

This function assigns an edited version of the
4
00 00 00 00 00 00 +04 00
Sound currently assigned to the selected track,
provided that an edited version is currently in
Performance: Transposer
memory.
Assignable values: -24 … 0 … +24 semitones.
A The “On” status assigns the edited version, iden-
tified by the letter “E” attached before the name
of the Sound.
3/11 DETUNE Use Track Select in the Sequencer to view tracks
A fine tune function for single tracks. 09-16.
U
Use Track Select in the Sequencer to view tracks Use the standard edit procedure.
to
E 09-16.
5/11 PERFORM:SOUND EDIT [Tk01]
0 Each fine tune step is equivalent to 1/64th semi- Off On OFf Off Off Off Off Off
U tone. Performance: Sound Edit

A Use the standard edit procedure. Assignable values: On, Off.
3 3/11 PERFORM:DETUNE [Tk07]
00 00 00 00 00 00 +04 00
Performance: Detune 6/11 PRIORITY

A Assignable values: - 63 … 0 … +63. Priority guarantees a minimum polyphony to a
track with respect to others and avoids “note-
stealing”.
4/11 PITCH BEND RANGE In complex arrangements, a melody track will
require a priority setting to avoid “losing” notes
U This function independently enables or disables “stolen” by other tracks to maintain the maximum
the tracks for the Pitch Bend message generat- permitted polyphony of the current sound config-
in ed by the Trackball and determines the maximum uration.
A amount of Pitch Bend that will affect each track.
The Priority=Off setting implements a dynamic
0 Use Track Select in the Sequencer to view tracks allocation of polyphony in order to maintain the
U 09-16. maximum permitted polyphony. In practice, in
st
T
2
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1
10/11 MODE 11/11 PERFORMANCE NAME

○
Each track can be monophonic (plays one note This function allows you to assign a different
at a time) or polyphonic (two or more simultane- name to the current Performance.
ous notes). Mono R gives priority to the right
note, Mono L to the left note, Mono T to the last 11/11 PERFORM:GrandP [OverWrite]
note played. Options: Poly, Mono L, Mono R, Old name=GrandP -----> New name=
Mono T. Performance: new name
This function determines whether a keyboard Use the keys of the Keyboard to enter the char-
track (Upper 1, Upper 2, Lower) is Monophonic acters (letters or numbers).
A or Polyphonic. The lower end of the keyboard offers some test
A Polyphonic track plays two or more notes si- editing functions.
multaneously. Refer to the section entitled “Inserting Alphanu-
A Monophonic track plays one note at a time. meric Data” on page 15 of the Basic Concepts
Mono Mode offers three options to choose from: chapter 3 (User Guide) for detailed instructions.
U
• Mono L: Priority is given to the extreme left Up to 6 characters can be entered.
ic
a note when two or more notes are played at Use the same procedure for Song and Song/Style
In the same time. names.
• Mono R: Priority is given to the extreme After escaping the edit, save the new name with
right note when two or more notes are played STORE PERF and ENTER.
at the same time.
• Mono T: Priority is given to the last note
played when two or more notes are played
at the same time.
In Song/Style and Song modes, all tracks of the
associated Performance are set for the polyphon-
ic mode by default.
M Use the standard edit procedure.

A 10/11 PERFORM:MODE
m Lower=Poly Upper2=Poly Upper1=Poly
A Performance: Mode
or Assignable values: Poly, Mono L, Mono R, Mono T.
tr
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
T
© Note: It is important to bear in mind that the
M overall polyphony of the instrument is determined
n by a) the number of tracks active to play and b) the
n type of sound assigned to the tracks. Dual
oscillator sounds halve the polyphony of the track
o
to which this type of sound is assigned.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
at
E
1
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1
○
The MIDI Edit functions
CHANNEL (F1, F2) - MAIN DISPLAY 2/2 COMMON & CHORD CHANNEL
Press PAGE + to enter the second level page of
1/1 MIDI: EDIT MIDI
Performance paameters.
Channel Filter Local Dump Clock Set
The Common and Chord Channels are MIDI
This function gains access to two levels of Per- channels dedicated to special operations:
formance parameters.
A • simulation of the keyboard and on-board con-
• First level: Midi channel. trollers (trackball, volume pedal) [Common].
c
P • Second level: Common and Chord channels. • transmission of Effects, Performance, Style,
Song/Style and Song select messages to
WK3 [Common].
1/2 MIDI CHANNEL
• transmission of chord data for the automatic
Pressing CHANNEL in the main menu opens the accompaniments [Chord].
first level MIDI CHANNEL page where you can
di
assign a MIDI channel (1…16) to tracks 01-08. Common Channel (F2, F3)
c
U Use TRACK SELECT to gain access to tracks Use this parameter to assign a Common chan-
09-16. nel to a track. Once assigned, the track can no
gr longer be used to receive note information.
Al If you assign “Off”, the track is disabled for the
transmission and reception of MIDI data. ProgramChange and ControlChange data re-
tr ceived on the Common Channel select Style,
If All WK3 Performances are independently pro- Song, Performance, Effects and other parameters
grammable for a MIDI configuration. (listed in the Appendix at the back of the manual).
0
U Use the standard Edit procedure to assign the The track assigned a Common channel is ena-
channel. Press ESCAPE to return to the main bled for reception only; data transmission via
a
display. Common is disabled.
fir
P 1/2 MIDI CHANNEL: [CHANNEL] [Tk08] In default conditions, the Common channel is
1 10 02 03 04 05 06 07 08 assigned the “Off” status.
MIDI: Channel
Use the standard Edit procedure to assign the
• Press STORE PERF + ENTER to store the MIDI channel. Press ESCAPE to return to the main
configuration to the current Performance. display.
•
Assignable values: 1 … 16, Off. 2/2 MIDI CHANNEL: [COMMON CHANNEL]
fo
T Common=Off Chord=Off
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ MIDI: Common
© Hint: MIDI LOCK: You can lock the current
configuration and override the individual configura- Press STORE PERF + ENTER to store the as-
tions of other Performances. See MIDI LOCK signment to the current Performance.
afterwards.
C ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Assignable values 1 … 16, Off.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

1
data generated by the tracks to be directed to DUMP (F6) - MAIN DISPLAY
○
the internal sound generator.

1/1 MIDI: EDIT MIDI
Assigning Local Off to a track breaks the con-
nection directed to the internal sound generator.
The keyboard data generated by the Local Off This function consists of one level of parameters:
track is sent to the MIDI OUT destination on the MIDI Dump: Save All, Save Perf, Save Seq..
MIDI channel assigned to the track. In this con-
dition, the internal sound engine responds only
A
to data received by the track via MIDI IN. The MIDI DUMP SAVE ALL (F1), SAVE PERFORMANCE
si track cannot play WK3’s internal sounds di- (F3), SAVE SEQUENCER (F5)
P rectly. Pressing DUMP in the main menu opens one
The Local Off setting is particularly useful in Song level of parameters for Data Dumping procedures.
mode where WK3 permits the use of one track 1/1 MIDI DUMP: [MIDI DUMP SAVE ALL]
only.. Therefore, to record a Song on an exter- [All] [Perf.] [Seq.]
nal sequencer, set the track for Local Off opera- MIDI: Dump
P tion and set the sequencer to echo back the data
U to WK3 across all MIDI channels. With this setup, You can dump WK3 performance or sequence
re WK3 acts as a separate MIDI keyboard and in- data from internal memory to another WK3, or a
U dependent sound generator. The sequencer’s data storage device (Computer or MIDI data filer)
echoing function allows you to play the WK3 connected via MIDI. If you dump to another WK3,
sound generator from the WK3 keyboard. the receiving unit sets configures automatically
n for a MIDI Dump Load operation.
th If the track being used to send keyboard data to
If the sequencer is set for Local control (On), two • Save All is a bulk dump command which sends
notes will play for every one note sent from the all data currently in the instrument’s RAM to the
s
WK3 track. connected storage device. The data includes:
e User-programmed Performances (comprising
d Use the standard Edit procedure to assign the stored Edited Sounds and Drumkits), User-Styles,
required status. Song/Styles, Songs, user-programmed Effects.
to Use Track Select to gain access to tracks 09-16. • Save Performance sends all Performance data
ti Press ESCAPE to return to the main display. pertaining to the 64 user-programmable Perform-
n
o 1/1 MIDI:SECTION LOCAL (On/Off) [Tk08]
ances to the external storage device.
m On On On On On On On On • Save Sequencer sends all sequence data to
T MIDI: Section Local the connected storage device.
r Press STORE PERF + ENTER to store the as- Data Dump procedure:
tr signment to the current Performance.
to 1. Connect the WK3 MIDI OUT to the MIDI IN
Assignable values: On, Off. port of the external device (Computer, MIDI
di
M data filer, WK3).
tr If you dump to another WK3, this sets itself
T automatically to MIDI DUMP LOAD mode.
n
2. Select the MIDI DUMP page.
A
th
d
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1
Use the standard Edit procedure. Press ESCAPE 1/2 GENERAL MIDI (F1, F2)
○
to return to the main display.

This parameter enables General MIDI compat-
1/1 MIDI CLOCK: [MIDI START/STOP] ibility for the MIDI File load and save processes.
Clock=Internal Start/Stop=Off
General MIDI compatibility is ON by default.
4 MIDI: Start/Stop
4 Check that this parameter is set to ON in the fol-
Assignable values: Off, On.
3 lowing situations:
2 • before loading a GM compatible MIDI file
which does not contain the GENERAL MIDI
2
SET (F8) - MAIN DISPLAY ON flag.
1
9. 1/1 MIDI: EDIT MIDI • to save a Song as a perfectly GM compatible
Channel Filter Local Dump Clock Set MIDI file (the General MIDI On flag is inserted
1.
in the file and the Program Changes of the
P This function gains access to two levels of gen- drumkits are converted to Program Changes
M
eral parameters. compatible with General MIDI).
• First level: General MIDI, Channel Lock, Dy- • while working with an external sequencer and
namic Keyboard, MIDI In Trans- wish to use the standard General MIDI Pro-
pose. gram Changes.
• Second level: System Exclusive, System Exclu-
The table below shows the drumkit Program
sive I.D. number, WS Mode.
Changes according to the status of the param-
eter.
•
MIDI channel 10, General MIDI On - automatic conversion
e
T PC GM PC-BS WK3 Drumkit GM Drumkit WK3
1...8 113-2 Standard STAND.1
9...18 114-2 Room ROOM
17...24 115-2 Power POWER
S 25 116-2 Electronic ELECTR
26...32 117-2 TR-808 HOUSE
33...40 118-2 Jazz JAZZ1
A
41...48 119-2 Brush BRUSH
49...128 120-2 Orchestra ORCHES
to
U
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1
○
2/2 SYSTEM EXCLUSIVE (F1, F2) Use the standard Edit procedure. Press ESCAPE
Press PAGE+ to enter the second level of MIDI
SET parameters. 2/2 MIDI SET: [SYS. EXCL. ID. NUMBER]
This parameter enables/disables the transmission Sys.Ex=Off Sys.Ex.Id=00 WS Mode=Off

m
and reception of system exclusive messages. MIDI SET: System Exclusive Identification Number
I
re At the time of writing, WK3 has been implemented Assignable values: 00 … 127
S with the following Sys Ex possibilities:
2 Data Dump transmission/reception; 2/2 WS MODE (F6, F7, F8)
General MIDI On/Off compatibility This parameter, when On, configures WK3 in or-
der to be able to interface with the Gem Series
Master Volume WS instruments.
Use the standard Edit procedure. Press ESCAPE In order to communicate correctly with WS Se-
to return to the main display. ries instruments, set this parameter to ON.
.
2/2 MIDI SET: [SYSTEM EXCLUSIVE] If WS Mode is set to Off, WK3 will not be able to
Sys.Ex=Off Sys.Ex.Id=00 WS Mode=Off communicate correctly with WS Series instru-
MIDI SET: System Exclusive ments.
Assignable values: On, Off Use the standard Edit procedure. Press ESCAPE
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
2/2 MIDI SET: [WS MIDI STATUS MODE]

© Note: Future WK3 Software updates will
implement additional Sys. Ex possibilities. System Sys.Ex=Off Sys.Ex.Id=00 WS Mode=Off
Exclusive data can control the editing parameters MIDI SET: WS MIDI Status Mode
of the instrument, and can cause radical changes
in the way WK3 operates. These messages are Assignable values: On, Off
A widely used in the most recent MIDI files, to send
editing messages before the start of a Song.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
. © Note: To transmit and receive system

exclusive messages, connect both MIDI IN and
MIDI OUT of WK3 to the MIDI OUT and MIDI IN
to
respectively of the external sequencer (commonly
U known as the «Closed MIDI Loop» connection).
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
M
G
D 2/2 SYSTEM EXCLUSIVE ID # (F3, F4, F5)
w Specifies the WK3 Identification number for the
A reception of system exclusive messages. The
ID number permits the identification of instru-
a
ments of other manufacturers in a MIDI chain.
T
S
P
2
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1
3/3 MIXER: UTILITY (MIXER LOCK - F1,

○
F2, F3)
Press PAGE + to pass to page 3.
This general parameter allows you to lock the
Style accompaniment track volumes when chang-
ing Styles in order to maintain the same accom-
paniment levels.
With MIXER LOCK OFF, selecting Styles or Real
Time Performances recalls all the memorised
track volumes, including those of the keyboard
tracks.
With MIXER LOCK ON, selecting Styles or Real
Time Performances locks the volumes of the ac-
companiment tracks while those of the keyboard
th tracks change according to the memorised lev-
T els.
P Toggle between the On and Off status with the

corresponding Function button.
A
3/3 MIXER:UTILITY
Mixer Lock=On
MIXER: Utility (Mixer Lock)

Assignable values: On, Off.
c
T Press ESCAPE or MIXER to exit Edit Mixer.
el The setting remains in memory after turning off

tr the instrument.
c
Ti
tr
tr
Ti
p
in
S
T
P
F
3
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

1
THE STANDARD SOUND EDIT PROCE-

○
DURE: 1 UPPER 2
1. Assign the Sound you wish to edit to a selected LOWER

Bk1: STRING
track. R Bk1: PIANO
If you are in RealTime Performance mode,

UPPER 1
select either Upper 1, Upper 2 or Lower with
the selection buttons.
If you are in RealTime Performance, Style, OR
Song/Style or Song mode, enter Edit Per- PERFORM.
1/11 PERFORM:PROGRAM
formance and select a track with the corre- 113 15 29 26
sponding Function button.
2. Press SOUND in the EDIT PERFORMANCE section

to enter «Edit Sound».
SOU
The display opens the first Sound Edit page
EL.PN2 CLAVIN
showing the Program Change relating to the PIANO
REED
CHROM
PIPE
ORGAN
SYN LEAD
GUIT
SYN
PN1 HARPSI
selected Sound.
3. Select the Program change with the correspond-

ing Function button.
The display enters into the first page of Sound
parameters.
2 SOUND
3.
3
2.
1/2 SOUND EDIT:[Bk:PIANO1]
1/3 SOUND EDIT:PIANO1 [ATTACK]
Atk= 00 Dec= 00 Rel= 00 Cut= 00
1.
D
T
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1
○
The Sound parameters
to Once you enter Sound Edit with the selected tions are expressed in relative values, subtract-
th Sound, press the Function button corresponding ing or adding them to the normal decay of the
T to the Sound in edit to enter the Sound param- Sound.
eters.
R Use the standard Sound edit procedure. Press
The parameters reside on two levels. ESCAPE to return to the previous page, or
1
The Sound Edit parameters also include the Clear SOUND to exit Edit Sound.
All and Clear “Sound in Edit” functions, discussed 1/3 SOUND EDIT:PIANO1 [DECAY]
fi
afterwards. Atk= 00 Dec= 00 Rel= 00 Cut= 00
P
SOUND EDIT: Decay
c
A Assignable values: -63 (maximum rate) ... 0 (un-
1/2 ATTACK (F1, F2) changed) ... +63 (minimum rate).
S
Represents the attack phase of the sound. Press STORE PERF + ENTER to store the modi-
fications to the current Performance.
This parameter modifies the time taken (rate) for
S the sound to pass from the silent state to maxi-
E mum volume when a note is pressed. The modi- 1/2 RELEASE (F5, F6)
fications are expressed in relative values, sub-
U Represents the release phase of the Sound. This
tracting or adding them to the normal attack of
parameter modifies the time taken (rate) for the
th the Sound.
tr sound to pass to total silence after note release.
fi Use the standard Sound edit procedure. Press The modifications are expressed in relative val-
m ESCAPE to return to the previous page, or ues, subtracting or adding them to the normal
th SOUND to exit Edit Sound. release of the Sound.
T 1/3 SOUND EDIT:PIANO1 [ATTACK] Use the standard Sound edit procedure. Press
R Atk= 00 Dec= 00 Rel= 00 Cut= 00 ESCAPE to return to the previous page, or
SOUND EDIT: Attack SOUND to exit Edit Sound.
1
Assignable values: -63 (maximum rate) ... 0 (un- 1/3 SOUND EDIT:PIANO1 [RELEASE]
changed) ... +63 (minimum rate). Atk= 00 Dec= 00 Rel= 00 Cut= 00

SOUND EDIT: Release
Press STORE PERF + ENTER to store the modi-
af
fications to the current Performance. Assignable values: -63 (maximum rate) ... 0 (un-
Al
changed) ... +63 (minimum rate).
T
1/2 DECAY (F3, F4) Press STORE PERF + ENTER to store the modi-
T
Represents the decay phase of the Sound.
et
to This parameter modifies the time taken (rate) for
S the sound to pass from its maximum volume level
O to silence after the attack phase. The modifica-
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

1
○
2/2 LFO DELAY (F7, F8)

Determines the delay of the entry of the LFO.
In acoustic instruments, vibrato generally enters
after the attack phase, and mainly forms part of
the sustain phase of the sound.
Use the standard Sound edit procedure. Press
ESCAPE to return to the previous page, or
SOUND to exit Edit Sound.
2/3 SOUND EDIT:PIANO1 [LFO DELAY]
Res= 00 Dept= 00 Rate= 00 Del= 00

SOUND EDIT: LFO Delay
Assignable values: -63 (minimum rate) ... 0 (un-

changed) ... +63 (maximum rate)..
fi
P
c
A
S
S
E
U
th
af
In
D
2
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

1
○
Clear Sound and Clear All
The Sound Edit parameters incorporate two op-

tions that allow you to restore edited Sounds
memorised to a Performance to their original Rom
status:
• Clear “name of sound” to restore the Rom
parameter status of a Single sound assigned
to a track of the current Performance.
• Clear All to restore all edited Sounds stored
in the current Performance to their original
status in a single step.
In both cases, all other edited Sounds memorised
to other Performances remain unchanged. 1 SOUND
3.
2. 3/3 CLEAR “SOUND” (F3, F4, F5, F6)

This page is accessed from the second level page
1. of the Sound parameters.
of 1. Press SOUND to enter Edit Sound. 2
T 1/2 SOUND EDIT:[Bk:PIANO1]
3 2. Select the Sound in edit to enter the Sound Pa- 1
rameters on the first level.

3. Press PAGE + twice to enter the Clear “sound in
to edit” page.
In
The CLEAR display shows the name of the 1/3 SOUND EDIT:PIANO1 [ATTACK]
Sound currently in edit. Atk= 00 Dec= 00 Rel= 00 Cut= 00
3
PAGE
•
st
m
ti
PAGE
T
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1
2/2 CLEAR ALL (F3, F4, F5, F6)

○
This page is accessed from the main Sound Edit

page which opens after pressing SOUND. 1/2 SOUND
1. Press SOUND to enter Edit Sound. PAGE
2. Press PAGE + once to enter the CLEAR ALL page.

3. Select [ALL] with the corresponding function
buttons.
PAGE
You are prompted with a request to confirm
or abort the operation.
4. Press ENTER to confirm the cancellation of the

edited Sounds to restore their original Rom pa-
3
2/2 SOUND EDIT: CLEAR " ALL "
rameter status. [ ALL ]
Press ESCAPE to abort the operation and

maintain the edited Sounds memorised to the
current Performance.
5. Store the modified status to the current Perform-

ance. 2/2 SOUND EDIT: CLEAR " ALL "
Are you sure? Press [ENT] or [ESC]

If you fail to save the new situation to the
current Performance, the edited Sound will
5.
be restored if you turn WK3 off then on again,
or if you reselect the same Performance or a 4 ENTER
different one. Remember, whatever changes
you make to a Performance must be stored
to the same Performance. ESCAPE
4.
5
STORE PERF.
ENTER
3. ESCAPE
2.
1.
p
T
2
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1
THE STANDARD DRUMKIT EDIT PROCE-

○
DURE: 1 PERFORM.
1/11 PERFORM:PROGRAM
1. Select the Drum track. 113 15 29 26
Enter Edit Performance and select the Drum

track with the corresponding Function button.
If a Drumkit is not assigned to one of the
tracks, assign one using the assignment OR
methods already described.
PS
2. Press SOUND in the EDIT PERFORMANCE section S STRINGS ENSEMBLE BRASS

SOUND BANKS
to enter «Sound Edit» of the assigned Drumkit. SFX ETHNIC PERCUSSIVE SFX
1 2 3
The display opens the first Sound Edit page
showing the Program Change relating to the
selected Drumkit.
ROOM ELE
3. Select the displayed Drumkit Program Change
STAND1 POWER
with the corresponding Function button.
The display enters the first level page show-
ing the “CATCHNOTE” function.
2 SOUND
3.
3
1/2 SOUND EDIT:[Bk2:STAND1]
113
2.
1/2 SOUND EDIT:DRUM=STAND1
Catchnote ___ ___ ___ ___

1.
D
T
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1
8. Press ESCAPE to return to the previous level or

○
SOUND to escape from «Edit Sound». 8

ENTER SOUND
9. Save the modifications to the current Perform-
ance with STORE PERF. + ENTER
ESCAPE
OR
STORE PERF can also be used while you
are still in edit.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© Note: If you fail to store your modifications, they

will be irremediably lost when you select another
Performance, or reselect the same one. The
9 STORE PERF.
ENTER
modifications will also be lost if you press the
START/STOP, PLAY or STOP buttons.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
ESCAPE
9.
8.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

1
○
1/3 BRILLIANCE (F5, F6) Use the standard Drumkit edit procedure.
Affects the Brilliance of the sounds, causing an 1/3 SOUND EDIT:STAND1 [PAN] E C4
increase in the brightness or rendering the sound Pan=R15 Rev=7 Eff=0

more mellow. SOUND EDIT: Stand1 [Pan]
it
M Use the standard Drumkit edit procedure. Assignable values: L31 (all to the left) … 00 (cen-
w 1/3 SOUND EDIT:STAND1 [BRILLIANCE] E C4 tre) … R31 (all to the right), Mute.
D Vol=12 Vel=7 Bril=127 Tune=150 Press ESCAPE to return to the previous page,
P SOUND EDIT: Stand1 [Brilliance] or SOUND to exit Edit Sound.
2 Assignable values: 0 . .. 127 Press STORE PERF + ENTER to store the modi-
Press ESCAPE to return to the previous page,
fi or SOUND to exit Edit Sound.
2/3 REVERB (F3, F4)
P Press STORE PERF + ENTER to store the modi-
or fications to the current Performance. Reverb send which controls the amount of Reverb
P applied to the percussive sound. The Reverb
applied corresponds to the type currently selected
1/3 TUNE (F7, F8)
A in the Reverbs DSP.
A high resolution fine tune parameter.
S Zero level corresponds to the pure percussive
Fine tine a percussive sound to render the sound sound (Dry).
more natural.
Increasing the parameter value increases the
U Use the standard Drumkit edit procedure. amount of Reverb applied, altering the Wet/Dry
m 1/3 SOUND EDIT:STAND1 [TUNE] E C4
ratio until the percussive sound is fully effected
(Wet).
Fi Vol=12 Vel=7 Bril=127 Tune=150
A SOUND EDIT: Stand1 [Tune] Check that the Reverbs button in the DSP sec-
tion is active (led on) to hear the changes ap-
1 Assignable values: 0 . .. 255 plied to the parameter.
Press ESCAPE to return to the previous page, Use the standard Drumkit edit procedure.
fi or SOUND to exit Edit Sound.
1/3 SOUND EDIT:STAND1 [REVERB] E C4
P Press STORE PERF + ENTER to store the modi-
Pan=R15 Rev=7 Eff=0
SOUND EDIT: Stand1 [Reverb]
or
P
Assignable values: 0 … 15.
A 2/3 PAN (F1, F2)
Press ESCAPE to return to the previous page,
Press PAGE+ to enter level 2.
S
or SOUND to exit Edit Sound.
Determines the position of the percussive sound
within the stereo panorama.
U Move the sound to the left (L), to the right (R), set
it to the centre (C) or mute the sound (Mute).
m
in
A
1
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1
○
Erase “Drumkit” and Clear “Drumkit”

The Drumkit Edit parameters incorporate two op-
tions that allow you to restore the edited Drumkit
memorised to a Performance to the original Rom
status:
• Erase “Drumkit” to restore the Rom param-
eter status of a single percussive sound of
the Drumkit assigned to the current Perform-
ance.
3. • Clear “Drumkit” to restore the Rom param-

eters status of all the edited percussive
sounds (4) of the Drumkit assigned to a Per- 1 SOUND
formance.
In both cases, all other edited Drumkit memo-
2. rised to other Performances remain unchanged.
1.
3/3 ERASE “DRUMKIT” [KEY=XX] (F3,
2
of
T F4, F5, F6)
1/2 SOUND EDIT:[Bk2:STAND1]
F This page is accessed from the second level page 113
3 of the Drumkit parameters for the note in edit.
1. Press SOUND to enter the Edit of the Drumkit.
ri 2. Select the displayed Drumkit Program Change

In with the corresponding Function button.
ing the “CATCHNOTE” function. 3
1/2 SOUND EDIT:DRUM=STAND1 [PRESS A KEY]
• 3. Select the note you wish to erase to enter the Catchnote C4 ___ ___ ___
edit of the percussive sound.

The display enters the first level of drumkit
parameters.
•
1/3 SOUND EDIT:STAND1 [VOLUME] E C4
st Vol=12 Vel=7 Bril=127 Tune=150
m
ti
T
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1
2/2 CLEAR “DRUMKIT” (F3, F4, F5, F6)

○
SOUND
1
This page is accessed from the main Drumkit Edit
page which opens after pressing SOUND.
1. Press SOUND to enter Edit Drumkit.

2. Select the displayed Drumkit Program Change 2
with the corresponding Function button. 1/2 SOUND EDIT:[Bk2:STAND1]
113
ing the “CATCHNOTE” function.
3. Press PAGE + once to enter the CLEAR ‘Drumkit”

page.
1/2 SOUND EDIT:DRUM=STAND1
The name of the Drumkit in edit is shown.
Catchnote ___ ___ ___ ___
6. 4. Select the name of the Drumkit with the corre-

sponding function buttons. 3 PAGE
You are prompted with a request to confirm

or abort the operation.
5. Press ENTER to confirm the cancellation of the

edited percussive sounds and restore the origi- PAGE
nal Rom Drumkit.
5.
Press ESCAPE to abort the operation and 4
maintain the edited percussive sounds of the 2/2 SOUND EDIT: CLEAR "STAND1"
Drumkit memorised to the current Perform- [STAND1]

ance.
4. 6. Store the modified status to the current Perform-

ance.
If you fail to save the new situation to the 2/2 SOUND EDIT: CLEAR "STAND1"
current Performance, the edited Drumkit will
3. be restored if you turn WK3 off then on again,
or if you reselect the same Performance or a
different one. Remember, whatever changes
you make to a Performance must be stored
5/6
ENTER STORE PERF.
to the same Performance. ENTER
2.
ESCAPE
ESCAPE
1.
p
T
2
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1
○
Page 1/7 - MIC/LINE

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© IMPORTANT: The MIC/LINE parameters are enabled if WK3 is fitted with the optional Audio/Video
Interface. Ignore this General page if your WK3 is not fitted with the A/V Interface.
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These parameters allow you to control the signals fed into the Mic/Line Input, applied to the Sampling
function (available with the optional Audio/Video Interface).
INPUT... (F1, F2) REVERB... (F5, F6)

Enables or disables the reception of the signal Routes the signal fed into the Mic/Line Input to
fed into the Mic/Line Input. Use the Function the Reverb DSP.
button F1 or F2 to toggle between the On and
Rotate the DIAL or use sliders F5 or F6 to change
Off status.
A the parameter value.
Assignable values: On, Off
th Assignable values: 00 … 15
R
m
BRILLIANCE... (F3, F4)
th EFFECT... (F7, F8)
R Regulates the timbric quality of the signal fed into
Routes the signal fed into the Mic/Line Input to
the Mic/Line Input, rendering it brighter or
B the Effect DSP.
mellower.
the parameter value.
the parameter value.
A
Assignable values: 00 … 15
Assignable values: 00 … 127
O
b
fe
E
I
1/7 GENERAL: [MIC/LINE INPUT]
Input=Off Bril=127 Rev=08 Eff=11

Edit General - Mic/Line controls
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1
○
Page 3/7 - Keyboard and Video controls
MASTER TUNING... (F1, F2) VIDEO COLOUR SETUP.. (F5, F6)

Fine tunes the instrument as a whole in fractions Allows the selection of a background colour when
of 1/64 of a semitone. viewing Song Lyrics on an external monitor con-
nected to the Video Interface.
Rotate the DIAL to change the parameter value.
Rotate the DIAL to change the parameter value.
Assignable values: -63 … 0 … +63
Assignable values: 01, 02, 03, 04
DYNAMIC SENSITIVITY... (F3, F4)

VIDEO SELECT.. (F7, F8)
Determines the response of the keyboard to ve-
locity changes. Allows you to select from two Video communica-
tion standards: Europe - PAL system and USA -
A Rotate the DIAL to change the status of the pa-
NTSC system. For European video systems,
rameter.
ra WK3 is set to PAL be default. If WK3 is to be
R Assignable values: Soft, Medium, Hard used in the U.S.A., change this parameter to
lo NTSC.
D Rotate the DIAL to change the parameter status.
D Assignable values: PAL, NTSC
A
R
of
Fi
3/7 GENERAL: [MASTER TUNING]
Tune= 00 Sens=Medium Color=01 Mode=PAL
Edit General - Master Tuning
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1
○
Page 5/7 - Pedal Switch Logic
PEDAL 1... (F1, F2, F3) DAMPER... (F6, F7, F8)

Allows you to change polarity of the pedal switch Allows you to change polarity of the pedal switch
connected to the pedal socket “1” in order to use connected to the Damper socket in order to use
( switch pedals of other brands. Generalmusic switch pedals of other brands. Generalmusic
A switch-action pedals have a “Normally Closed” switch-action pedals have a “Normally Closed”
[N.C.] polarity. Some brands require the setting [N.C.] polarity. Some brands require the setting
R N.O. (Normally Open). N.O. (Normally Open).
N Rotate the DIAL to change the parameter status. Rotate the DIAL to change the parameter status.
[
s Assignable values: N.C. (Normally Closed), N.O. Assignable values: N.C. (Normally Closed), N.O.
s (Normally Open) (Normally Open)
c
Al
P PEDAL 2... (F4, F5)
Allows you to change polarity of the pedal switch
connected to the pedal socket “2” in order to use
( switch pedals of other brands. Generalmusic
A switch-action pedals have a “Normally Closed”
[N.C.] polarity. Some brands require the setting
R N.O. (Normally Open).
N Rotate the DIAL to change the parameter status.
[
s Assignable values: N.C. (Normally Closed), N.O.
s (Normally Open)
c
Al
P
5/7 GENERAL: PEDAL SWITCH LOGIC
Ped.1=N.C. Ped.2=N.C.
Edit General - Pedal Switch Logic
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1
PEDALBOARD MODE... (F5, F6) PEDALBOARD VELOCITY... (F7, F8)

○
Determines the monophonic or polyphonic sta- Activates or deactivates the velocity sensitivity
tus of the Pedalboard. of the pedalboard.
Poly - the pedalboard plays two or more notes Off - the pedalboard is not velocity sensitive.
simultaneously.
On - the pedalboard is velocity sensitive.
Mono L - gives priority to the extreme left note.
Rotate the DIAL to change the parameter status.
Mono R - gives priority to the extreme right note.
Assignable values: On, Off
Mono T- priority to the last note played.
Rotate the DIAL to change the parameter status.
Assignable values: Poly, Mono L, Mono R, Mono T
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© Note: If the Pedalboard Function is either set

to Off or Multi, the Pedalboard Mode parameter is
disabled and cannot be altered.
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A
R
M
M
M 6/7 GENERAL: [MIDI CONNECTION ENABLE]
si Computer=OFF Pf=Off Pm=Poly Pvel=On
P
Edit General - MIDI Connection Enable
tu
D
P
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1
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1
3. Select the parameter to edit.

○
3
Use the corresponding Function buttons to Reverb edit
select the parameters. The selected param- 1/1 EDIT:HALL1 [REVERB VOLUME/dB]
eter is shown flashing. Vol=127 RvTime=1.5 InDly=100 Filter=-12
The Reverb type shows a different set of pa-

rameters with respect to the Effects type.
4. Rotate the DIAL to modify the parameter value.

Effects edit
As you change value, play on the keyboard 1/1 EDIT:CHORUS1 [EFFECT VOLUME/dB]
and listen to the change.
Vol=127 FrqMod=1.5 Depth=100 Filter=-12
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Note: If a change of sound is not heard, the

relative DSP button is not selected (led off). Select
it (led on).
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5. Check that the current effect type is selected in

the DSP section.
Press either REVERBS or EFFECTS to acti- 4
vate the relative DSP that you are editing. TEMPO
DATA
If the current effect type if off, you will not be

6. able to listen to the applied changes by play-
ing on the keyboard as you edit.
6. Press ESCAPE to exit the edit of the effect type.

The display returns to the effect type selec-
tion page. 5 DIGITAL SIGNAL PROCESSOR
If you wish to edit the other effect type, re-
peat the procedure as described above.
5.
6 ENTER
4.
ESCAPE
3.
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1
THE REVERB PARAMETERS THE EFFECTS PARAMETERS

○
Vol (Volume) Vol (Volume)

The level of the reverb signal. The level of the effect signal.
Assignable values: 0 (dry) … 127 (wet). Assignable values: 0 (dry) … 127 (wet)
Rev.Time (Reverb Time in seconds) L.P.Filter (Low Pass Filter)

Decay time of the reverb. Determines the cutoff frequency of the filter.
Assignable values: 0.2 … 11.2 Secs. Assignable values: Off, 1 … 16 (L.P.).
Init. Delay (Initial delay) Delay (delays)

A
Initial delay between the emission of the original Velocity of the delay repetition.
d sound (dry signal) and the reverb (wet signal).
Assignable values: 0 … 500 mSec.
la
D
Feedback (delays)
R
Filt. (High or Low pass filter)
Interaction of the delay with itself. Determines
Determines the cutoff frequency of the filter. the number of repetitions of the delay.
1
A Assignable values: 1 … 16 KHz (H.P.), Off, 1 … Assignable values: 0 … 99 %.
16 (L.P.).
D
Feedback (phasers and flangers)
Fi
Room Size
Interaction of the phaser or flanger with itself.
Dimensions of the simulated room. The time Determines the harmonic amount of the effect.
A
lapse between the first reflection and the remain-
Assignable values: 0 … 99 %.
s der of the reverb.
In
Freq.Modul. (Frequency Modulation)
In
Modulation velocity of chorus and flanger effects.
A Assignable values: 0 … 6..0 Hz
D
R Depth
Depth of the action of the effect.
A Assignable values: 0 … 100%.
T
V
T
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1
○
Effect 1 - Reverbs
1 Hall 1 Volume Rev.Time [0 - Delay [0 ms ... 99 H.F.Decay [1-16kHz]
(0=dry, 0.1s ... 99-10s] ms]
127=Wet)
2 Hall 2 “ “ “
3 Hall 3 “ “ “
4 Warm Hall “ “ “
5 Long Hall “ “ “
6 Stereo Concert “ “ “
7 Chamber “ “ “
8 Studio Room 1 “ “ “ “
9 Studio Room 2 “ “ “
10 Studio Room 3 “ “ “
11 Club Room 1 “ “ “ “
12 Club Room 2 “ “ “
13 Club Room 3 “ “ “
14 Vocal “ “ “
15 Metal Vocal “ “ “
16 Plate 1 “ “ “ “
17 Plate 2 “ “ “
18 Church “ “ “ “
19 Mountains “ “ “
20 Falling “ “ “
21 Early 1 “ Room Size [0 ... L.P.Filter [0ff-bypass
63] ... 1-16kHz]
22 Early 2 “ Room Size [0 ... L.P.Filter [0ff-bypass
63] ... 1-16kHz]
Effect 2 - Delay/Chorus/Flanger/Modulations
1 Mono Delay 1 Volume Delay [0-0ms ... Feedback L.P.Filter [0-bypass
(0=Dry, 125-500ms] (0%…99%) ... 10-16kHz]
127=Wet)
2 Mono Delay 2 “ “ “ “
3 Stereo Delay 1 “ “ “ “
4 Stereo Delay 2 “ “ “ “
5 Multitap Delay 1 “ “ “ “
6 Multitap Delay 2 “ “ “ “
7 Ping-pong “ “ “ “
8 Panmix “ Delay [0-0ms ... Freq.Mod. [0 - Feedback [0% ...
125-500ms] bypass ... 30-6kHz] 99%]
9 Chorus 1 “ Freq.Mod. [0-0kHz Depth [0 ... 100] L.P.Filter [0-bypass
... 30-6kHz] ... 10-16kHz]
10 Chorus 2 “ “ “ “
11 Ensemble 1 “ “ “ “
12 Ensemble 2 “ “ “ “
13 Phaser 1 “ Freq.Mod. [0-0Hz ... Depth [0 ... 100] Feedback [0% ...
30-6kHz] 99%]
14 Phaser 2 “ “ “ “
15 Flanger 1 “ Freq.Mod. [0-0kHz Depth [0 ... 100] Feedback [0% ...
... 30-6kHz] 99%]
16 Flanger 2 “ “ “ “
17 ChorusDelay 1 “ Delay [0-0ms ... Freq.Mod. [0-0Hz ... Depth [0 ... 100]
125-500ms] 30-6kHz]
18 ChorusDelay 2 “ “ “ “
19 FlangerDelay 1 “ Delay [0-0ms ... Freq.Mod. [0-0Hz ... Depth [0 ... 100]
125-500ms] 30-6kHz]
20 FlangerDelay 2 “ “ “ “
21 Dubbing “ Delay [0-0ms ... Feedback [0% ... L.P.Filter [0-bypass
125-500ms] 99%] ... 10-16kHz]
27
2 Rotary “ Speed [1s ... 11s] Rotary [slow/fast] L.P.Filter [0-bypass
... 10-16kHz]
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1
CREATING A USER STYLE USER STYLE OR SONG/STYLE RECORD-

○
A User Style is created by recording the short se- ING

quences (Riffs). The idea is to “build” the Style by If you select an empty User Style (shown as
e
recording one or more variations of each Riff for “User01”, “User02”, etc.), pressing RECORD en-
r
one or more chord types. ters directly into User Style Record mode.
T
m For example, the complete Major Variation 1 ar- If you select an existing User Style (shown with a
T rangement pattern consists of the basic MajorVar- name), pressing RECORD offers the option of
1, Var1MajIntro, Var1MajEnding and Var1Fill riffs. entering record mode with the User Style or re-
fu
pl To create a new User Style, the WK3 arranger is cording a Song/Style by exploiting the User Style
T sufficiently flexible not to compel you to record all as the provider of backings for your recording.
the riffs, since it is capable of reconstructing them Song/Styles are created by recording the key-
m
starting from a few fundamental riffs. Neverthe- board tracks together with Style arrangements
ie
less, the more riffs you record, the more sophisti- (explained in detail in the Song/Style chapter 8
a
cated your Style becomes. [User Guide] and chapter 17 [Reference Guide]).
Y
re
c
ENTER USER STYLE RECORDING THE USER STYLE PERFORMANCE
Ti
ur When you enter User Style Record mode for the All empty User Styles activate a default Style Per-
Y first time, the instrument sets to record 2 meas- formance consisting of the following Sounds as-
ures (bars) of the Drum track of the Major Varia- signed to the accompaniment tracks:
of
ti tion 1 riff with a time signature of 4/4 and Tempo Default User Style Performance configuration
of 120 beats per second.
ur Track Sound MIDI channel
fir You can choose to change the number of meas-
Drum Stand1 10
ures in record from 1 to 16, you can change the
Time Signature, deactivate the metronome and Bass Finger 2
E
countdown bar and choose to set the machine to Acc1 Piano1 3
record tempo changes. Acc2 St-Guitar 4
You can also choose to copy, partially or entirely, Acc3 String 5
a Rom Style and apply modifications to the cop-
c
ied patterns to create a modified User Style, a
le
st
much quicker method. You can programme the User Style Performance
th before starting the recording. How to program
s These preliminary selections, and others, are ex- the Performance is discussed towards the end
T plained in detail in the Master Track and Copy of this chapter.
functions in the Sequencer Edit chapter 19.
1,
ra The User Style Record mode is in “Overdub” which
F means that you can add new events to the old.
The recording loops back to the beginning and
o
repeats continually, allowing you to add new
re
events to those already captured.
q
A
C
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1
START RECORDING YOUR NEW USER

○
STYLE
1
A one measure (bar) countdown (lead-in)
starts. During this phase, any notes you play
will not be captured by the sequencer. The
“measure” counter monitors the recording by
4. counting the measures and beats as the re- 120 User01 Mes=00 :1
cording proceeds. “00” corresponds to the 113 Off Off Off Off
countdown measure.
2. Start playing after the lead-in.

The sequencer starts to capture the notes
played. When the end of the riff is reached, 2
the recording loops back to the beginning and
repeats. This is particularly useful for the
Drum track because it allows you to build the
pattern by adding new drum sounds to those
already recorded.
3. When you have finished recording the track, se-

lect the next track (e.g. Bass) to record in the
3. Sequencer. 3
The sequencer stops recording, the Drum
track is confirmed (led remains on) and sets
to “Play” and the next track is activated for
recording. The display shows the Drum track
in “play” mode.
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© Note: If you stop the recording with Start/Stop

120 User01 Mes=00 :1 Bk1FINGER:Tr02
before selecting the next track to record, to
proceed you must confirm the recorded track by Play 34 Off Off Off VAR1:Maj
2. pressing the respective button in the sequencer,
then activate the next track to record - use this
method when you need to edit the recorded track.
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4
4. Press START/STOP to record the next track.
The Drum track starts to playback exactly as
recorded. At this point, you can deactivate
the Metronome if necessary. See “Metro-
nome”, Master Track in the Sequencer Edit
1. chapter 19.
S
S
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1
ESCAPE USER STYLE RECORD MODE AND

○
LISTEN TO THE PLAYBACK

1
1. When you have finished recording the User Style,
press RECORD or ESCAPE to exit the Sequencer.
2. Enable the new User Style arrangements by ac-
tivating Arrange On/Off.
3. Press Start/Stop to start the User Style. ENTER
4. Play with the User Style as you would play a OR

Rom Style.
ESCAPE
If the User Style is not to your satisfaction,

press RECORD to enter Record pending sta-
tus and modify the recording.
You can clear one or more tracks, erase one
5. or more events, correct one or more tracks 2
by using Quantize or “punching in” a correc-
ARRANGE
S tion and perform other operations to optimise ON / OFF
the recording. These and other Style editing
operations are discussed in the Master Track,
Copy, Quantize and Clear functions of the
Sequencer Edit chapter 19, Reference Guide.
Save your user Styles to disk 3/4

5. Save the User Style to disk
Use the Save Style or Save Styles proce-
dures explained on pages 16 and 18 of the
Disk Chapter 6, User Guide.
User Styles remain intact in memory after
power down. It is always safer, however, to
4. save your user Styles to disk to avoid un- 5
pleasant cancellations due to an incorrect op-
3. eration.
2.
1.
L
E
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1
3. Press PERFORMANCE, or MIDI, or MIXER in the

○
Edit Performance Section and proceed to edit 3 PERFORM.
your User Style Performance. 1/11 PERFORM:PROGRAM [Bk2:STAND1 Tk01]
113 15 29 26 50 50 49 1
While all the Style Accompaniment tracks are
active, you can modify the parameters and MIDI
• pass from one edit function to another direct-

ly without pressing Escape. 1/1 MIDI: EDIT MIDI

Be careful when using the Escape button!
MIXER
If you escape from the Style record pending
status, you will lose all your modifications.
5. 1/3 MIXER:VOLUME [Tk08]
Warning: it is not possible to edit a Sound 127 117 99 88 77 62 84 86
while all Style tracks are in record mode. An
attempt to enter Edit Sound activates an ap-
propriate warning.
4
* * MORE THAN ONE TRACK IN RECORD * * STORE PERF.
* * * YOU CANNOT EDIT SOUND * * *
A Sound can be edited only when the corre-

sponding track is active for recording.
PERFORMANCE STORE:User01
4. When you have finished editing the Performance,
save the modifications by pressing STORE PERF
4. + ENTER, or START/STOP (without pressing Es- ENTER
cape).
STORE PERF saves the modifications direct-
ESCAPE
ly to the User Style Performance. Press
ENTER to confirm.
START/STOP also saves the modifications
directly to the User Style Performance and
starts the recording. DO NOT PLAY but stop
the recording immediately. 5
5. Deactivate all the tracks except the one you want
to record.
Press the corresponding track buttons in the
sequencer to deactivate the flashing buttons.
• Start to record the User Style.

120 User01 Mes=00 :1 Bk2Stand1:Tr01
Use the method already described on the 113 Off Off Off Off VAR1:Maj
previous pages.
3.
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1
USER STYLE EDITING

○
The sequencer incorporates several edit functions

which help to optimise your recorded User Styles:
Quantize, Clear, Master Track, Copy.
The sequencer edit functions are operational in
Record mode only, when the RECORD button is
flashing. If you press one of the sequencer edit-
ing buttons when WK3 is not in record mode, the
display will flash the message:
2.
1.
The display cancels automatically to returns to
S the previous status after a few seconds.
fo
is TO MODIFY AN EXISTING USER STYLE
d
q When you confirm the copy of a Style (partially
If of entirely) to a User Style, the instrument sets
automatically to User Style Record mode with the
in Drums track ready to record, and all other tracks
D in Play.
a
If you are recording a new User Style, the se-
1 STYLE / SONG GROUPS
of
quencer edit functions can be exploited directly
during the recording. If you want to edit and ex- JAZZ. US. TRAD. TRAD. 1. TRAD. 2 LATIN 1 LATIN 2 USER 2 REAL/SONG
T isting User Style, enter the User Style using the

following method.
th Select an existing User Styles

2
T
1. Press a USER button in the Style/Song Groups to
enter the User Style bank. User02 User04 User06 CHN= OFF
User01 User03 User05 User07
di
2. Select a User Style.
in Recorded User Styles are shown with a
fl name. Select one with the corresponding
R Function button.
T 120 User01 ARRANGE=Off Bk1: STRING
Q GrandP USER 1 Bk1: SLOSTR Bk1: PIANO1
w
T
U
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1
○
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1
○
Recording Song/Styles
ENTER SONG/STYLE RECORD MODE

WITH A ROM STYLE 1
STYLE / SONG GROUPS
This is the quickest and most direct method. 8 BEAT 16 BEAT ROCK FUNK DANCE 1 DANCE 2 USER 1 SONG/STYLE
JAZZ. US. TRAD. TRAD. 1. TRAD. 2 LATIN 1 LATIN 2 USER 2 REAL/SONG
1. Press a STYLE button in the Style/Song Groups

to enter the relative Style bank (8 Beat, 16 Beat,
Rock, etc.).
2. Select the Style that you want to record.
Use the corresponding Function button.
2
MetalR SlowRk Boogie Lovely
3. Press RECORD in the Sequencer. OpenRk HardRk SoftRk Shuffl
WK3 enters the Song/Style “record pending”

status directly with the keyboard track(s) re-
called by the Style ready to record (leds flash-
ing).
180 MetalR ARRANGE=Off Bk1: STRING
The leds on the RECORD and CHORD/COM.
GrandP ROCK Bk1: ORGAN3 Bk2: SWORG
buttons also start flashing.
If currently off, the ARRANGE ON/OFF and
ARRANGE MEMORY buttons activate (leds
on) automatically to enable the Style arrange- 3
ments.
3.
2.
180 Free01 Mes=00 :1 Bk2SWORG :Tr08
MetalR off off 19
1.
ARRANGE LOWER
ON / OFF MEMORY
T
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1
START THE RECORDING

○
1/2
1. Press INTRO if you want to start with an Intro.
(This step is optional)
You can preset either Intro, Fill>< or Ending
for an introduction. You can use Key Start. 1
You can also use Fade In to enter with a grad- 2
5.
ual increase of volume. (See the Styles chap-
ter 5 for instructions on how to play with
Styles). 3
A one-measure (bar) countdown (lead-in)
starts. During this phase, any notes you play
will not be captured by the sequencer.
The “measure” counter monitors the record-
ing by counting the measures and beats as
4 FILL VAR. 3
PROGRAMMABLE PADS
the recording proceeds. “00” corresponds to

the countdown measure.
3. Start playing the Style after the lead-in or Intro. STYLE / SO

k Boogie Lovely
8 BEAT 16 BEAT ROCK FUNK SoftRk Shuffl

JAZZ. US. TRAD. TRAD. 1. TRAD. 2
4. 4. Now proceed as you would with a normal Style.

• Use the Fills; DRUMS BASS ACC. 1 ACC. 2 ACC. 3 LOWER UPPER 2 UPPER 1
3. • Change Variation;
• Change Style (even with a different Time F1 F2 F3 F4 F5 F6 F7 F8
Signature - e.g. from 4/4 to 3/4); HARMONY

TYPE
• Play the Pads; HARMONY DIGITAL SIGNAL PROCESSOR
ON / OFF
• Adjust the Volume Sliders; REVERBS EFFECTS EDIT
• Use the Volume and/or Damper pedal or

other switch pedal;
• Change Effects;
2. • Add harmony with HARMONY ON/OFF;
• Select a different Harmony Type; 5
• The limits are endless.....
FADE IN / OUT
5. When you want to end your Song/Style, either:

• Stop the recording with START/STOP, or
• stop the recording with ENDING;
• stop the recording with FADE IN/OUT.
1.
S
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1
○
Programming the Song/Style Performance

The Song/Style Performance is accessed direct-
ly from the Edit Performance button and pro-
grammed using the standard methods described
in the Sounds & Performance chapter 4 (User
Guide) and Edit Performance chapter 13 (Refer-
ence Guide).
A Song/Style is associated to a single Perform-
ance which can be copied to any of the 7 Song/
Style locations using the standard STORE PERF
procedure. The Song/Style Performances are
numbered from 65 to 71 (location 72 corresponds 1 NCE 2 USER 1 SONG/STYLE
Song02
to the Chain function). TIN 2 USER 2 REAL/SONG
MySong Us
All the Edit Performance functions can be pro-
grammed and stored to the current Song/Style
Performance. Refer to the Edit Performance
2.
chapter for details of each edit function.
1. 120 MySong ARRANGE=Off Bk1: STRING
EDIT SONG/STYLE PERFORMANCE GrandP USER 1 Bk1: SLOSTR Bk1: PIANO1

E
1. Select an existing Song/Style or select a Free
location from the Song/Style Group. 2 PERFORM.
2. Press PERFORMANCE, or MIDI, or MIXER or

c 1/11 PERFORM:PROGRAM [Bk2:STAND1 Tk01]
P
gr SOUND in the Edit Performance Section and pro- 113 15 29 26 50 50 49 1
Al ceed to edit your Song/Style Performance. MIDI
to You can modify the parameters and pass from

1/1 MIDI: EDIT MIDI
n one edit function to another directly.
pr MIXER
S
a
1/3 MIXER:VOLUME [Tk08]
A
127 117 99 88 77 62 84 86
e SOUND
G
in 1/2 SOUND EDIT:[Bk:PIANO1]
gr 1
ly
T
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1
RECORDING PROGRAM CHANGE DATA THE COMMON TRACK

○
If you change Sound in one of the tracks, the The Sequencer buttons also incorporate the
relative Program Change is recorded in the track. CHORD/COMMON button which controls both
CHORD and COMMON tracks.
M The Chord track captures all chord change data
R RECORDING PADS DATA while the Common track records all events relat-
c ing to panel interventions (fills, intro, ending, style
T If you use the Programmable Pads during the re- change, fade in/out, etc.).
cording phase, the events generated are captured
R by the Pads track.
TEXT, FF, REW

E RECORDING STYLE CHANGE DATA In Song/Style Record mode and playback mode,
V the FF and REW buttons are enabled.
« If you change Style during your recording, the
relative Style Change data is recorded in the Pressing TEXT activates a user message:
th
er Common track, one of the options that consti-
* * LYRICS TRACK (TEXT) DISABLED * *
T tutes the Master track.
ENABLED IN SONG MODE ONLY
tr Cancel the display with TEXT or ESCAPE

s
le RECORDING CONTROL DATA
C
Control data generated by the on-board control-
lers (pedals and trackball) and any Control mes-
SONG/STYLE EDITING
R
sages received via MIDI are captured in the The sequencer incorporates several edit functions
tracks. which help to optimise your recorded Song/Styles:
To record Section Volume events, use the Slid- Quantize, Clear, Master Track, Copy.
tu
C ers or the Volume pedal. Remember to program The sequencer edit functions are operational in
r the Volume Pedal for Section Volume control in Record mode only, when the RECORD button is
If «Edit General» Volume Pedal parameter. The flashing. If you press one of the sequencer edit-
Volume Pedal set for Section Volume generates ing buttons when WK3 is not in record mode, the
R Expression events. display will flash the message:
* * * EDIT DISABLED * * *
Enter REC MODE to Edit

b RECORDING TEMPO DATA
c The display cancels automatically to returns to
Tempo Changes effected during the recording are
If the previous status after a few seconds.
captured in the Tempo track. Entering Song/Style
R Rec mode activates the Tempo Rec option in the Refer to the Sequencer Edit chapter 19, Refer-
Master Track automatically. ence Guide, for full details on the sequencer edit
functions.
re
If
R
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1
○
Recording Songs
Follow the steps outlined below to record a mul-
ti-track Song.
3. PREPARE THE SONG FOR RECORDING

AND ENTER RECORD MODE
1. Press the REAL SONG button in the Style/Song 1
Groups to enter the relative Song bank. STYLE / SONG GROUPS
Recorded songs are shown with a name, songs 8 BEAT

JAZZ.
16 BEAT
US. TRAD.
ROCK
TRAD. 1.
FUNK
TRAD. 2
DANCE 1
LATIN 1
DANCE 2
LATIN 2
USER 1
USER 2
SONG/STYLE
REAL/SONG
that do not contain recorded events are shown

as ‘Empty1”, “Empty2”, etc..
2. Select an Empty location.
Use the corresponding Function button. 2
Empty2 Empty4 Empty6 CHN= OFF
Track 8 is automatically activated for play.
You can activate the other track in the Se- Empty1 Empty3 Empty5 Empty7
quencer to listen to the sounds of each track.

Activating a track deactivates the one cur-
rently selected. Use TRACK SELECT to ac-
cess tracks 09-16.
At this point, you can also programme the 120 Empty1 Mes=1 :1 Bk1: BRASS
2. Song Performance.A brief explanation fol- Bk1: ORGAN3 Bk1: SOFSAX
lows on page 6, or you can refer to the Edit

Performance chapter 13 for detailed informa-
tion. Press STORE PERF + ENTER to store 5
the modifications to the current Song loca-
tion.
You can also store to other Song locations
1. using the standard method of selecting a dif-
ferent destination.
A
P 3. Press RECORD in the Sequencer.
WK3 enters the Song “record pending” mode 120 Empty1 Mes=00 :1 Bk1GPIANO:Tr01
directly with track 1 ready to record (led flash- 113 off off off off off off off
ti- ing). The led on the RECORD button starts

F to flash.
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1
START TO RECORD THE SONG

○
1
If Countdown is set to PLAY, wait for the
countdown to finish before playing (events
are not recorded during the countdown
phase).
The measure counter (song pointer) starts to
monitor the recording by displaying the meas-
ures and beats as the sequencer proceeds.
2
2. Start to play after the countdown.
Events will be recorded in the track active for
recording.
3. When you have finished recording the track, ei-

ther 3A
A. select the next track to record, or
B stop the recording with START/STOP.
A: If you select the next track to record be-
fore pressing Start/Stop, the recording stops
automatically, the recorded track is confirmed
(led on) and the next track enters record mode *****************
(led flashing). 3B
B: If you stop the Recording with Start/Stop
(1), the track in record continues to flash. This
allows you to restart the recording (2) to add 1 2
additional events to those already recorded
3. (3). The song pointer returns to the starting
point and playback of the recorded track be-
gins. Stop the recording (4) and confirm the 3
recorded track manually (5) then select the
2. next track to record (6).
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
© Note: The record mode is “Overdub’, meaning 4

that new notes are added to existing ones. To
substitute existing notes in a recorded track with
new ones, use the Punch function explained in the
Sequencer Edit chapter.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
5 6
1.
S
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1
○
Programming the Song Performance

The Song Performance is accessed directly from
the Edit Performance button and programmed
using the standard methods described in the
Sounds & Performance chapter 4 (User Guide)
and Edit Performance chapter 13 (Reference
Guide).
A Song is associated to a single Performance
which can be copied to any of the 7 Song loca-
tions using the standard STORE PERF proce-
dure. The Song Performances are numbered
from 73 to 78. Son 79 corresponds to the Chain
function.
All the Edit Performance functions can be pro-
grammed and stored to the current Song Per-
formance. Refer to the Edit Performance chap-
1 Empty2
2 USER 1 SONG/STYLE
2.
ter for details of each edit function. 2 USER 2 REAL/SONG Empty1 Empty
1.
EDIT SONG PERFORMANCE
E
1. Select an existing Song or select an Empty loca-
tion from the Song Group.
2 PERFORM.
2. Press PERFORMANCE, or MIDI, or MIXER or

te
fo 1/11 PERFORM:PROGRAM [Bk2:STAND1 Tk01]
gr SOUND in the Edit Performance Section and pro- 113 15 29 26 50 50 49 1
Al ceed to edit your Song Performance. MIDI
fu You can modify the parameters and pass from

fr one edit function to another directly. 1/1 MIDI: EDIT MIDI
d Channel Filter Local Dump Clock Set
ti MIXER
w
A 1/3 MIXER:VOLUME [Tk08]
G 127 117 99 88 77 62 84 86
a SOUND
S
1/2 SOUND EDIT:[Bk:PIANO1]
u
th 1
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1
RECORDING PROGRAM CHANGE DATA TEXT, FF, REW

○
If you change Sound in one of the tracks, the In Song Record mode and playback mode, the
relative Program Change is recorded in the track. FF and REW buttons are enabled.
If the current Song contains a Lyrics track, the
TEXT button activates the track and scrolls the
RECORDING CONTROL DATA Song lyrics across the display in Song playback
mode.
Control data generated by the on-board control-
to lers (pedals and trackball) and any Control mes- If WK3 is fitted with the optional Audio/Video In-
te sages received via MIDI are captured in the terface, the lyrics can be projected onto an ex-
If tracks. ternal monitor or domestic TV connected to one
of the rear panel Video sockets. See page 9,
th To record Section Volume events, use the Slid- Songs chapter 7, User Guide for detailed infor-
C ers or the Volume pedal. Remember to program mation.
C the Volume Pedal for Section Volume control in
T «Edit General» Volume Pedal parameter. The Pressing TEXT in playback mode displays the
Volume Pedal set for Section Volume generates Song lyrics:
T
Expression events.
just CALL on me and I'll send it along
with love from me to you
Cancel the display with TEXT or ESCAPE.

RECORDING TEMPO DATA
M
m
c Tempo Changes effected during the recording are
captured in the Tempo track. Entering Song Rec
SONG EDITING
T
mode activates the Tempo Rec option in the
R
Master Track automatically. The sequencer incorporates several edit functions
which help to optimise your recorded Songs:
Quantize, Clear, Master Track, Copy.
THE COMMON TRACK
E
The sequencer edit functions are operational in
V
Record mode only, when the RECORD button is
« The Sequencer buttons also incorporate the flashing. In playback mode (Record off), se-
th CHORD/COMMON button which controls both quencer editing is not permitted. If you press one
er CHORD and COMMON tracks. In Song mode, of the sequencer editing buttons when WK3 is
T the Chord track disabled. not in record mode, the display will flash the mes-
tr If you activate the Common track when you en- sage:
s ter Record mode, you can record events relating
le to panel interventions.
C
R The display cancels automatically to returns to
the previous status after a few seconds.
Refer to the Sequencer Edit chapter 19 for de-
re tailed information of each edit function.
If
R
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1
○
Quantize function
QUANTIZE THE QUANTIZE DISPLAY
Quantize is an auto-corrector of timing errors The Quantize display varies slightly for each
made during the recording. Quantize “shifts” re- record mode:
corded events automatically to the nearest frac-
QUANTIZE in User Style Rec mode:
tion of a measure (bar) according to a resolution
determined by the current quantize value. 1/1 QUANTIZE:[Drum=16] User01
Drum Bass Acc1 Acc2 Acc3
Tracks to be quantized: Drum, Bass, Acc1, Acc2, Acc3

Value Quantization
1/8 e QUANTIZE in Song/Style Rec mode:
1/12 e triplet 1/1 QUANTIZE:[Upper1=16] Free1
1/16 x Chord Pads Lower Upper2 Upper1
Tracks to be quantized: Chords, Pads, Lower, Upper2, Upper 1

1/24 x triplet
1/32 r QUANTIZE in Song Rec mode:
1/48 r triplet 1/1 QUANTIZE:TRACK SELECT MySong
1/96 Tk01 Tk02 Tk03 Tk04 Tk05 Tk06 Tk07 Tk08
Tracks to be quantized: the Song Tracks
1/
1/
1/
1/
1/
1/
1/
V
d
ti
c
m
Q
Q
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1
○
Clear function
CLEAR GENERAL CLEAR PROCEDURE
Provides several clearing options to cancel data 1 While the sequencer is in record pending status,
from single tracks or from all tracks, to cancel press the CLEAR button.
events such as Program Change and Control
Change data, Tempo data and Common events 1/1 CLEAR:SELECT FUNCTION User01
(panel selections made during the recording) and Track All Ctrl Temp Comm
to erase single note events from a track. Clear User Style display - Song/Style and Song identical
el
pl 2. Select the option required.
T The Clear Track and Clear Ctrl options open
m THE CLEAR DISPLAY a second level display of related parameters.
a All three record modes activate the same CLEAR Clear All, Clear Tempo and Clear Common
P display: pass directly to a request for confirmation.
r
T 1/1 CLEAR:SELECT FUNCTION User01
3. For the Clear Track and Clear Ctrl situations, se-
Track All Ctrl Temp Comm
lect the parameter required and press ENTER.
The possible options are:
4. Press ENTER to confirm, or Escape to cancel the
• Clear Track data
operation.
• Clear All track data
• Clear Control data
• Clear Tempo data
T • Clear Common data
• Erase Note data
The Clear TRACK option is specific for each
record mode while the Clear ALL, CTRL, TEM-
di PO, COMMON and ERASE options are general
Al and give rise to identical situations for each record
T mode. Particular attention is paid to the Clear
Track option for User Styles owing to their com-
plex structure consisting of several individual Riff
elements.
to
(p
C
e
fr
P
C
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1
Clear Track for Songs permits the cancellation of CLEAR CONTROL (F3)
○
any of the 16 Tracks.

This function is common to all three record
1/1 CLEAR:TRACK SELECT MySong
modes.
Tk01 Tk02 Tk03 Tk04 Tk05 Tk06 Tk07 Tk08
Clear Track for Song Use CLEAR CONTROL to cancel specific Con-
trol events from a single track or from all tracks.
re 1. Select the Track to cancel data from with the cor-
T responding Function button. Clear control events from a single track :
You are prompted to reconfirm the operation. CLEAR: TRACK=Drum User01
Progr Vol Pitch Mod Pan Expr Eff Damper

2. 2. Press ENTER to confirm or Escape to cancel the User Style example
operation.
1. Rotate the DIAL to select the track from which
1. the specified events are to be cancelled.
C CLEAR ALL (F2) User Styles permit the selection of tracks:
Drum, Bass, Acc1, Acc2, Acc3.
Use CLEAR ALL to cancel a complete User Style,
Song/Style or Song and restore the “empty” sta- Song/Styles permit the selection of tracks:
C tus. Upper1, Upper2, Lower, Pads, All
CLEAR:STYLE INITIALIZE User01 Songs permit the selection of tracks 01…16
Are you sure? Press [ENT] or [ESC] and All
Clear all User Style
C 2. Select the event to cancel with the correspond-
CLEAR:SONG/STYLE INITIALIZE Free1 ing Function button.
CLEAR:PROGRAM Ch. [TRACK DRUM]User01
tu Clear all Song/Style
S CLEAR:SONG INITIALIZE MySong
U Are you sure? Press [ENT] or [ESC]
3. Press ENTER to confirm the cancellation.
C Clear all Song
Clear Control events from all Tracks :
1. Press ENTER.
1. Rotate the DIAL until TRACK=ALL is selected on
You are prompted to reconfirm the operation.
the top line.
2. 2. Press ENTER to confirm or Escape to cancel the CLEAR: TRACK=ALL User01
operation. Progr Vol Pitch Mod Pan Expr Eff Damper
User Style example

The User/Style, Song/Style or Song returns to
record mode.
1. 2. Select the event to cancel with the correspond-
ing Function button.
C
CLEAR:PROGRAM Ch. [TRACK ALL]User01
a
C
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1
1. In the case of a User Style only, first select the

○
Riff with the Dial and select a different Variation

with the VAR buttons.
2. Select the displayed track to intervene on with
the corresponding Function button.
3. Press Start/Stop to start the playback of the
track.
4. An instant before you reach the point of the re-
corded sequence which corresponds to the note
you wish to erase, play the same note on the
keyboard.
The specified note will be eliminated from the
recorded sequence (you can check in play-
back mode).
6.
In the case of User Styles, while the Riff con-
5. tinues repeating, you can erase other notes
in the same manner.
For Song/Style and Songs, stop the playback
then start it again to start from the beginning
to cancel other single events in the same
manner.
5. Press Start/Stop to stop the recording.

6. Press ESCAPE twice to escape from the Erase Note
page and return to record page.
4.
3.
2.
1.
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1
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
TIME SIGNATURE
○
© Note: To assign Time Signatures with a

numerator grater than 8, first set the denominator
This option is not available for Song/Styles. to 8 then return to the numerator and set the value
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Entering Record mode for User Styles and Songs

sets the time signature to 4/4 by default. If you
want to record with a different Time Signature,
1
you must change this parameter before starting
NUMBER OF BARS
4/
1/ to record events. This option is note available for Song/Styles.
A If you attempt to change this parameter when the This parameter sets the number of bars (meas-
track contains events, of if you have started the ures) for a User Style Riff or a Song.
recording without playing any notes, the display
For User Styles, The default setting is 2. You
activates an appropriate warning.
can record up to 16 bars for a Style Riff.
3.
1/1 MASTER TRACK:[TIME SIGNATURE]
For Songs, set a value to this parameter only to
Recorded events exist - cannot change
specify a record stop bar. With a value of ØØ,
The display cancels automatically to return to the recording proceeds until you stop, or until you
Maser Track. have recorded 250 measures (bars).
2. The Time Signature parameter is divided into two Do not set this parameter unless you want to
parts. record a specified number of bars for the Song.
1/1 MASTER TRACK:[NUMBER OF BARS]
1. Rotate the DIAL to set the first part of the Time 4 /4 B=02 Name K=C Off Play Play Off
Signature. Master Track: User Styles example - number of Bars
1/1 MASTER TRACK:[TIME SIGNATURE]
1. Assignable values: 1 … 16 (User Styles), 250
3 /4 B=02 Name K=C Off Play Play Rec
(Songs)
Master Track User Style
p
T 2. Press Function button F1 to activate the second
M part of the parameter. NAME
T
F1 toggles between the first and second part This option is valid for User Styles only.
of the Time signature parameter.
Activate NAME to give your User Style a name.
3. Rotate the Dial to set the value. To insert a name, use the standard method de-
a scribed on page 15 under the section entitled “In-
r
1/1 MASTER TRACK:[TIME SIGNATURE serting Alphanumeric Data” of the Basic Concepts
tr
3 /8 B=02 Name K=C Off Play Play Rec chapter 3.
If Assignable Time Signatures: 1/2, 2/2, 3/2, 4/2, 1. Select NAME with Function button F3.
to 1/4, 2/4, 3/4, 4/4, 5/4, 6/4, 7/4, 8/4, 1/8, 2/8, 3/8,
y 4/8, 5/8, 6/8, 7/8, 8/8, 9/8, 10/8, 11/8, 12/8, 13/8, 2. Press F3 again to gain access to the Name writ-
w 14/8, 15/8, 16/8. ing function.
s
E
T
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

1
TEMPO REC quence of notes, release the switch pedal to de-

○
activate Replace recording.

This option is available for all three record modes.
If you continue pressing the pedal, notes will
Activate the Tempo Rec function to record Tem-
4. be cancelled even without playing.
po changes during the recording. The tempo
3. changes are recorded in a Tempo Track. 5. Press START/STOP to stop the recording.
1/1 MASTER TRACK:[TRACK TEMPO]
4 /4 B=02 Name K=C Off Play Play Rec

6. Listen to the playback to check the correction.
User Style Tempo Rec Song method
Assignable values: Play, Rec To punch a correction into a Song track:
1. Enter Song Record mode and select the track to

2. correct.
HOW TO “PUNCH IN” A CORRECTION
2. Use the MEASURE function to specify a measure
If you have opted to set the PUNCH function in
the Master Track to On and have assigned the one or two measures before the one where the
PUNCH function to a switch pedal (1, 2 or Damp- corrections are to be applied.
er), here’s how to correct a track containing a Press both FF and REW buttons together to
part with mistakes to avoid repeating the record- activate an entry zone.
ing.
Specify the required measure using the nu-
1. User Style and Song/Style method meric keys of the keyboard (top two octaves
of black notes).
U 1. While you are still in record mode (Record flash-
ing) with the track containing the wrong events, Press ENTER to confirm. The Measure coun-
ter passes directly to the specified measure.
in
p press Start/Stop to start the playback of the re-
er corded track. 3. Press CONTINUE to start the Song at the speci-
P
The track plays back exactly as recorded. fied measure.
th
If DO NOT PLAY ANY NOTES to avoid adding 4. Proceed as described from point 2 of the instruc-
new events to those already recorded. tions for User Styles and Song/Styles.
H
2. An instant before playback reaches the point con-
taining the wrong events, press and hold the If you do not possess a switch pedal
A switch pedal. If you do not possess a pedal switch, you can
The record mode changes from Overdub to intervene directly an instant before the beginning
U
Replace, allowing you to record new events of the wrong events and play the correct notes
and cancel existing ones at the same time. but, as soon as you have finished playing, stop
the recording with Start/Stop.
c 3. Start to play the correct sequence of notes.
4. When you have finished playing the correct se-
p
A
T
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

1
All Style copy : ALL COPY (SONG/STYLE AND SONG) :
○
1. Activate the source Style Riff. 1. Rotate the DIAL to select the source copy (Song/
1/1 COPY:[SELECT PART AND PRESS ENTER]
Style or Song).
Rap Major_1 ---> User01 Major_1 1/1 COPY:[SELECT SONG AND PRESS ENTER]
Free1 ---> Free2

2. Rotate the DIAL to select ALL_STY. Song/Style All Copy
This option copies the entire source Style (all
1/1 COPY:[SELECT SONG AND PRESS ENTER]
variations) to the User Style.
Empty1 ---> Empty2
1/1 COPY:[SELECT PART AND PRESS ENTER] Song All Copy
User01 All_Sty ---> User01 All_Sty
2. Press F5, F6, F7, F8 and rotate the DIAL to select
3. Press ENTER once. the destination Song/Style, or Song.
1/1 COPY:[Rap /All_Sty]
3. Press ENTER once.
COPY:[Empty1] Empty2
4. Press ENTER to confirm, or Escape to cancel the Are you sure? Press [ENT] or [ESC]
operation.
4. Press ENTER to confirm, or Escape to cancel the
5. Press ESCAPE to close the COPY display. operation.
5.
4.
3.
2.
1.
A
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

2
○
the sample is played back at its originally record- range (Split) of the keyboard. Up to 4 Splits can
ed pitch, the D/A conversion will take place at be sampled. WK3 samples on any note C, de-
exactly the same rate as when the sound was pending on the Split being edited. The sampling
sampled. If you play a higher note, the sample is note is the note which gives optimum playback
n
converted at a higher rate, causing a rise in the results of the sample. The sample is mapped
T
pitch and a shortening of the sound’s length. across the assigned split starting from a note C
s but you can choose a different mapping note with
Very simply, the WK3 sampler operates exactly
pr respect to the sample note.
as described above.
L
You can regulate the sampling level of the signal
If you want to know more about Sampling and
pl and set a dynamic trigger which applies a dy-
the techniques used, there is a great deal of spe-
H namic threshold below which the sampler does
cialised literature available on the subject.
not record.
di
T The Mic/Line input signal is fed to the main mix
and regulated with the Mic/Line panel control and
in ABOUT THE WK3 SAMPLER processed by the on-board effects DSP.
a
re WK3 incorporates a Sampler with the following The sample can be edited using macro-edit pa-
is technical characteristics: rameters similar to those used to edit sounds and
c can be processed by the on-board effect DSP
T units (Reverb and Effects).
Sampling resolution 12 bit
High Frequency sampling 3 seconds (approx) You can assign the Sample to the pads and/or
any track. You cannot, however, edit a sample
Low Frequency sampling 6 seconds (approx)
further with the Sound Edit facilities.
L
Hi
S
The sampling resolution is a measure of the ac-
curacy of the device, expressed in BITS, which
te is a computer term meaning “power of 2”. The
resolution measures the number of different volt-
age levels that the device is capable of resolv-
A ing.
The WK3 12 Bit sampler is able to resolve 212
different voltage levels = 4096.
ci
High Frequency sampling for short, accurate sam-
th
ples lasting approximately 3 seconds.
If
Low Frequency sampling for longer samples (ap-
a
prox. 6 seconds) with a reduced quality with re-
V
spect to High.
pi
The WK3 Sampler is capable of sampling sig-
c
nals (line or microphone) over a preselected
s
e
e
th
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

2
○
Preparing to sample - select the Splits

Now you can sample the signal fed into the Mic/
Line input. The sample must be assigned to a
range (Split) on the keyboard.
If you assign one Split only, your sample will be
mapped across the entire keyboard with good
quality reproduction at the centre of the keyboard
but at the extreme ends, the quality will degener-
ate considerably. Generally, the more splits you
use, the better your sample will sound across the
keyboard.
The use of several splits is particularly recom-
1. mended if you are sampling a musical instrument.
The more splits you activate, the shorter they
S become, each one having a specific reference
note C as the sample note. When all 4 splits are
S
active, the relative ranges and sample note C are
S as follows:
S
S
Split Range Sample noteC
Split A A0 - B3 C2
a Split B C4 - B4 C4
a
Split C C5 - B5 C5
n
b Split D C6 - C8 C6
T
m 1. Press REC/EDIT.
T
The first page opens where you can select a
1
REC / EDIT
k Split.
u
at Split A corresponds to an 88 note keyboard
b range (A0 - C8). If you decide to assign your
q sample to the entire keyboard, go straight to
m point 3 below.
1/5 REC/EDIT:SPLIT A [SELECT SPLIT]
If
SplA CLEAR
ra
Li
N
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

2
5. Select the NAME parameter to assign a name to

○
the Split. 5
REC/EDIT SMP:[NAME= ] [OverWrite]
Use Function button F4. SplA Lev Mapp Name Trg Freq (EDIT)(REC)
Use the keyboard as the source of Alphanu-

meric data and enter up to 4 characters. The
name is memorised directly to the Split and
to memory.
6. Select the Trigger parameter if you want to set a

dynamic threshold.
Use Function button F5 to activate the pa-
rameter.
Rotate the DIAL to set a value.
With Trigger=Off, the Sample will be captured
at the dynamic level used to play a note or 6
REC/EDIT SMP:[TRIGGER=Off]
speak into the microphone, regardless of
whether you play or speak softly or loudly. SplA Lev Mapp Name Trg Freq (EDIT)(REC)
7. With Trigger = 1 - 8, you set a dynamic thresh-

old below which the sampler cannot capture
the sound. The higher the value, the louder
you will have to play on the instrument, or
speak into the microphone. TEMPO
DATA
7. Select the FREQ parameter to choose between

the High and Low Frequency filter.
Use Function button F6 to activate the pa-
rameter.
Use the DIAL to set HIGH or LOW.
7
REC/EDIT SMP:[HIGH FREQUENCY]
Set HIGH to sample short, high quality sam- SplA Lev Mapp Name Trg Freq (EDIT)(REC)
ples.
Set LOW to longer samples with reduced
quality.
6.
TEMPO
DATA
5.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

2
EDITING THE SAMPLE

○
Sample Edit
Once captured, the Sample can be edited by REC/EDIT SMP:[HIGH FREQUENCY]
means of specific editing parameters. SplA Lev Mapp Name Trg Freq (EDIT)(REC)
Enter the Sample Edit parameters to edit your

sample as explained below.
• Press EDIT (F7).

Edit your sample by means of the parame- EDIT SMP:Vel=07 Tun= 00 Eff=00
ters spread across the display. Vol=10 Pan=00 Brl=127 Rev=00
Use the function buttons to select the param-
eters.
Use the DIAL to assign a value to the select-
ed parameter.
Press ESCAPE to close the Sample Edit pa-
rameters.
Press ESCAPE or REC/EDIT to exit the Sam-
pling function.
The Sample Edit parameters are discussed
overleaf.
•
s
E
m
O
E
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

2
MAPPING THE SAMPLE

○
1
Your Sample covers an area of the keyboard REC/EDIT SMP:[MAPPING SplA A0-B3 = C ]
defined by the assigned Split for the Sample. In SplA Lev Mapp Name Trg Freq (EDIT)(REC)
all Splits (A, B, C and D), the sample is mapped
across the relative keyboard area starting at a
note C of the area.
If the Split range covers one octave (C4-B4), (C5-
B6), the Sample starts its lowest pitched note at
the note C of the said ranges. If the split corre-
sponds to ranges greater than one octave (A0-
C8), (A0-B3), (C6-C8), the reference note is the 2
central C or the said ranges.
If you want to change the reference note of a
Split, use the Mapping parameter as follows.
1. With the Split parameters showing, select the

MAPP option.
The display shows the range of the Split and
the current reference note C flashing.
2. Press a note on the keyboard corresponding to

your new reference note.
2. The sample is now mapped across the split
range starting from the new reference note.
1.
S
If
c
C
s
th
B
If
n
a
al
d
Y
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

2
○
Programmable Pads Assign
THE PADS AND TRACK 9

The Programmable Pads are an extension of
Track 9, therefore, when you enter the Program-
mable Pads Assign function, the sound you will
hear on the keyboard will correspond to that as-
signed to Track 9 of the current playing mode,
to
regardless of whether it is Performance mode,
y
Style mode, Song/Style mode or Song mode.
If
Although Real Time Performances, Styles and
o
Song/Styles do not exploit tracks 9 - 16, it is, nev-
e
ertheless, always possible to gain access to them
o
via the Edit Performance function and the Track
H
Select button.
D
This idea, therefore, is to set track 9 of the cur-
s
rent operating mode with an appropriate sound
m
BEFORE entering the Programmable Pads As-
S
sign function.
Y
Li Limitation:
You can assign any sound (including Drumkit or
si
Sample) to the Pads but cannot assign two or
B
more different sounds from different banks or
r
sound groups.
T
During the assignment procedure, YOU CANNOT
S
HEAR THE SOUND ASSIGNED TO THE PADS,
vi
only the note played on the keyboard. You must
er
escape the Pads Assign function with ESCAPE
S
or REC/EDIT to listen to the assigned sound.
A
If you load Drum Samples from the CD Series,
S
you ‘ll find that these are assigned automatically
r
to the Pads.
si
h
m
T
T
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

2
7. Press and HOLD the Pad to which you want to

○
assign a Sound. 7 PROGRAMMABLE PADS
The display shows the corresponding “note”

of the pad pressed on the right and the key-
board note currently assigned to the pad.
8. Play any note on the keyboard corresponding to

5/5 REC/EDIT:PADS ASSIGN=Bk5=SAMPLE
the one to assign to the selected Pad.
Key=D# --->Pad=D#
You can play any note either above of below
the displayed pad “note”.
The note pressed on the keyboard is as- 8/9
signed to the Pad. You will hear the keyboard
note but not the Pad sound.
If you want to change note whjile still holding
the Pad button, simply play another note on
the keyboard. 5/5 REC/EDIT:PADS ASSIGN=Bk5=SAMPLE
Key=G3 --->Pad=D#
9. Repeat the procedure for other Pads.
1 10. Press ESCAPE or REC/EDIT to exit the Pads As-
1
sign function. 10
ENTER REC / EDIT
11. Press each Pad to listen to the assigned sounds.
1 12. Press STORE PERF + ENTER to store to the cur- ESCAPE
rent Performance.
9.
11 PROGRAMMABLE PADS
12 STORE PERF.
ENTER
8.
ESCAPE
7.
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

○
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Appendix
○
1 2 3 1 2 3
SYNTH LEAD group SFX group
81 SquareWave2 Pulse12 Pulse22 121 GtFretNois Gtr.WhaWha GtrNoise
82 SawWave ObxFilter2 Lyle2 122 BreathNois Zapp KeyClick
83 SynCalliop2 Azimut2 SynLead12 123 Seashore2 TickTack Drop
84 ChiffLead2 Chopper2 Digital2 124 Bird2 Scratch1 Water
85 Charang Jump2 SoundTrk2 125 Telephone1 Telephone2 Door
86 SoloVox FiltRes12 FiltRes22 126 Helicopter2 SynPerc32 Clackson2
87 5thSawWave2 Decay12 Decay22 127 Applause HeartBeat PickScrape
88 BassLead Obx22 Obx32 128 GunShot Explosion2 Bomb
SYNTH PAD group
89 Fantasia2 NewAge2 PPG2
P 90 WarmPad Obx12 AnlgPad2
91 Polysynth2 Fantasy22 Fantasy32
92 SpaceVoice VocBells2 Angels2
93 BowedGlass2 Prophet12 Prophet22 sounds without suffix = Single.
94 MetalPad2 Bright22 Analogic2 sounds with suffix 2 = Layer;
95 HaloPad2 Slave2 Atmosphere2
sounds with suffix * = Switch;
96 SweepPad Machiner2 Decay32
SYN SFX group
97 IceRain2 Noiseres BigRoom
E 98 Soundtrack2 MoonWind2 Slope2
99 Crystal Wind2 SynLead22
100 Atmosphere2 Arp26000 GlockAthm2
101 Brightness WithGas2 PopUp2
102 Goblin Resonance2 NoGravity2
103 EchoDrops Synthex12 Synthex22
104 StarTheme2 StarTheme22 PowerBad2
ETHNIC group
105 Sitar SitarDet2 SynSitar2
S 106 Banjo BanjoOct2 EthnicGtr2
107 Shamisen ShamSitar2 SynSham
108 Koto Kanoun2 TrpClarin
109 Kalimba ShrtKalimb SaxTrumpt
110 Bagpipe BagpipeEns2 BrassEns2
111 Fiddle Hukin FiddleBell2
112 Shanai BacktoWS2 VoiceSpect
PERCUSSIVE group
113 TinkleBell2 Dk_Stand.1D Dk_Stand.2D
S 114 Agogo Dk_RoomD Dk_WSD
115 SteelDrums Dk_PowerD Dk_Std.1WXD
116 Woodblock Dk_Elect.D Dk_DanceD
117 Taiko Dk_HouseD Dk_TechnoD
118 Melo.Tom1 Dk_Jazz1D Dk_Jazz2D
119 SynthDrum Dk_BrushD Dk_M1D
120 ReverseCym Dk_OrchD Dk_SY77D
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
A•2 Appendix
○
CC00 PC Performance† CC00 PC Performance† CC00 PC Sample

Group 1 Group 5 5=Samples group
48 1 GrandPiano 48 33 5 1
† 2 St.E.Piano 34 5 2
3 NightSax 35 5 3
4 SlowToFast 36 5 4
5 St.Guitar 37 5 5
6 GaryOnVibe 38 5 6
7 MileStone 39 5 7
8 Duet 40 5 8
Group 2 Group 6
48 9 OscarClub 48 41 CC00 PC Song
10 Elektric 42 Real Song Group†
11 WinSoprano 43 56 1
12 ToneWheel 44 2
13 W.E.inL.A. 45 3
14 TooFunky 46 4
15 Toto_IV 47 5
16 Mr.Pad 48 6
Group 3 Group 7 7
48
48 17 BigStrings 48 49 8
Gr
18 E.W.Brass 50
19 BlockBand 51 CC00 PC Song/Style
20 Dr.Lead 52 Song/Style Group†
21 HeavyFuzz 53 62 1
22 PolyMatrix 54 2
23 Church 55 3
24 InToDeep 56 4
Group 4 Group 8 5
48
48 25 Barrel 48 57 6
Gr
26 SilkSt 58 7
27 S.Horn 59 8
28 Weather 60
29 PizzaX 61
30 BrassM 62
31 Couple 63
32 AnTarc 64
48
Gr
† = Common channel selection only

48
Gr
C
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
A•4 Appendix
DK_JAZZ 118-2-1 DK_HOUSE 117-2-1 DK_ELECT. 116-2-1 DK_POWER 115-2-1 DK_ROOM 114-2-1 DK_STAND1 113-2-.1
○
DK_STAND1 113-2-.1 DK_ROOM 114-2-1 DK_POWER 115-2-1 DK_ELECT. 116-2-1 DK_HOUSE 117-2-1 DK_JAZZ 118-2-1
○
25 ROLLSNARE < < < < <
○
26 FINGERSNAP < < < < <
○
27 ZAPP < < < < <
28
○
GunShot < < < < <
SCRATCH2 < < < < <
○
29
SCRATCH1 < < < < <
○
30
31 STICK < < < < <
○
32 SQCLICK < < < < <
○
33 HOUSERIM < < < < <
A•6 Appendix
○
34 MUTBELL < < < < <
35
○
BDSTD2 BDROOM1 BDELECT1 BDELECT1 BDHOUSE2 <
○
C2 36 BDSTD1 BDROOM1 BDROOM1 BDELECT1 BDHOUSE BDJAZZ 97-12
○
37 RIMSHOT1 < < < HOUSERIM <
○
38 SDSTD1 SDROOM1 SDROOM2 SDELECT < SDJAZZ3
39
○
HOUSECLAP < < < < <
40 SDSTD4 SDROOM2 SDSTD3 SDROOM1 HOUSESD2 SDSTD3

TOMLOW TOMROOM < TOMELEC HOUSETCON TOMJAZZ
○
41
42 HHCLO1S HHTGHT1 HHTGHT1 < HOUSEHH HHTGHT1
○
43 TOMLOW TOMROOM < TOMELEC HOUSETCON TOMJAZZ
○
44 HHPEDAL < < < HOUSEHH <
○
45 TOMLOW TOMROOM < TOMELEC HOUSETCON TOMJAZZ
○
46 HHOPEN2 < < HHOPEN1 HOUSERIDE HHOPEN1
47
○
TOMLOW TOMROOM < TOMELEC HOUSETCON TOMJAZZ
C3 48 TOMHIGH TOMROOM < TOMELEC HOUSETCON TOMJAZZ
49 CRASH < < < HOUSERIDE <
50 TOMHIGH TOMROOM < TOMELEC HOUSETCON TOMJAZZ
51 RIDECYM < < < < <
52 CHINA < < ReverseCym < <
RIDECUP < < < < <
53
54 TAMBSLP < < < < <
55 SPLASH < < < < <
56 COWBELL < < < HOUSECOWB <
57 CRASH < < < < <
58 VIBRASLAP < < < < <
59 RIDECYM < < < < <
C4 60 CONGASLAP < < < < <
61 BONGOLOW < < < < <
62 CONGAHSLAP < < < HOUSETCON <
63 CONGAHIGH < < < HOUSETCON <
64 CONGALOW < < < HOUSETCON <
TIMBALES < < < < <
65
66 TIMBLOW < < < < <
67 AGOGO < < < < <
68 AGOGO < < < < <
69 CABASA < < < < <
70 MARACAS < < < VOXHHCL <
71 WHISTLE < < < < <
DK_DANCE 116-3-1 DK_STD.1WX 115-3-1 DK_WS 114-3-1 DK_STAND.2 113-3-1 DK_ORCH. 120-2-1 DK_BRUSH 119-2-1
○
DK_BRUSH 119-2-1 DK_ORCH. 120-2-1 DK_STAND.2 113-3-1 DK_WS 114-3-1 DK_STD.1WX 115-3-1 DK_DANCE 116-3-1
○
25 < < < < <
○
26 < < < < <
27
○
< HHTGHT1 < < <
28
○
< HHPEDAL < < <
○
29 < HHOPEN2 < < <
< RIDECYM < < <
○
30
31 < < < < <
○
32 < < < < <
○
33 < < < < <
A•8 Appendix
○
34
35 < < < < <
○
< BDSTD3 BDSTD3 BDELECT1 BDELECT1
○
C2 36 BDJAZZ BDORCH < BDPOWER BDROOM1 BDELECT1
○
37 < < < SDELECT < <
38
○
BRUSHTAP SDORCH SDSTD4 SDROOM2 SDROOM2 SDELECT
39
○
BRUSHSLP CASTANETS < SDSTD3 < <
40
BRUSREV SDORCH SDSTD3 TOMHIGH SDSTD3 SDROOM1

TOMBRUSH TIMPANI < TOMHIGH < TOMELEC
○
41
42 HHTGHT1 TIMPANI HHCLO2 CABASA HHTGHT1 <
○
43 TOMBRUSH TIMPANI < < < TOMELEC
○
44 < TIMPANI < TAMBSLP < <
○
45 TOMBRUSH TIMPANI < < < TOMELEC
46
○
< TIMPANI < COWBELL < HHOPEN1
47
○
TOMBRUSH TIMPANI < RIMSHOT2 < TOMELEC
C3 48 TOMBRUSH TIMPANI < BDJAZZ < TOMELEC
49 < TIMPANI < BRUSRIG < <
50 TOMBRUSH TIMPANI < DYNSDJAZZ < TOMELEC
51 < TIMPANI < BRUSHTAP < <
52 < TIMPANI < TOMJAZZ < ReverseCym
53 < TIMPANI < TOMJAZZ < <
54 < < < HHCLO1S < <
55 < < < TOMJAZZ < <
56 < < < HHPEDAL < <
57 < < < WOODBLOCK < <
58 < < < HHOPEN2 < <
59
< CRASHORCH < HOUSCLAP < <
C4 60 < < < BDSTD1 < <
61 < < < RIDECYM < <
62 < < < SDSTD1 < <
63 < < < RIDECUP < <
64 < < < TOMROOM < <
65 < < < TOMROOM < <
66 < < < SPLASH < <
67 < < < TOMROOM < <
68 < < < CRASH < <
69 < < < VIBRASLAP < <
70 < < < CHINA < <
71
< < < FINGERSNAP < <
DK_STAND.3 113-4-1 DK_SY77. 120-3-1 DK_M1 119-3-1 DK_JAZZ2 118-3-1 DK_TECHNO 117-3-.1
○
DK_TECHNO 117-3-.1 DK_JAZZ2 118-3-1 DK_M1 119-3-1 DK_SY77. 120-3-1 DK_STAND.3 113-4-1
○
25 < < <
○
26 < <
27
○
< < <
28
○
< < <
< < <
○
29
30 < < <
○
31 < < <
○
32 < < <
○
33 < < <
○
34
A•10 Appendix
35 < < <
○
BDTEKNO < BDSTD1
○
C2 36 BDJAZZ BDJAZZ < BDSTD2 BDSTD2
○
37 HOUSERIM RIMSHOT2 BDROOM1 BDROOM1 RIMSHOT1
38
○
HOUSSD1 SDJAZZ3 BDELECT1 BDELECT1 SDORCH
39
○
< < BDHOUSE1 BDPOWER <
40
HOUSESD2 DYNSDJAZZ BDPOWER TOMLOW SDJAZZ3

HOUSETCON TOMJAZZ SDSTD1 TOMLOW <
○
41
42 HHCLO2 HHTGHT1 SDORCH TOMHIGH HHTGHT1
○
43 HOUSETCON TOMJAZZ SDSTD3 TOMHIGH <
○
44 HHTGHT1 < HOUSSD1 BDHOUSE1 <
○
45 HOUSETCON TOMJAZZ SDROOM2 BDSTD2 <
46
○
47 HOUSERIDE HHOPEN1 RIMSHOT1 SDSTD1 HHOPEN1
○
HOUSETCON TOMJAZZ SDROOM2 TOMROOM <
C3 48 HOUSETCON TOMJAZZ TOMLOW TOMROOM <
49 HHOPEN2 < TOMROOM SDSTD3 <
50 HOUSETCON TOMJAZZ TOMLOW TOMROOM <
51 ReverseCym < TOMROOM RIMSHOT1 <
52
< < TOMHIGH SDELECT <
53 < < HHCLO1S TOMROOM <
54 < < HOUSEHH HOUSECLAP <
55 < < HHPEDAL COWBELL <
56 HOUSECOWB < HOUSERIDE CABASA <
57 < < HHOPEN2 HHCLO1S <
58 < < TAMBOURINE TAMBOURINE <
59
< < HOUSEHH HHOPEN2 <
C4 60 < < CRASH CRASH <
61 < < CHINA ROLLSNARE <
62 HOUSETCON < RIDECYM RIDECYM <
63 HOUSETCON < RIDECUP RIDECUP <
64 HOUSETCON < CABASA TubularBel <
65 DYNSDJAZZ < VOXHHCL 114-12 TubularBel <
66 SDJAZZ2 < HOUSCLAP TubularBel <
67 < < BONGOLOW KITCHEN <
68 < < BONGOLOW KITCHEN <
69 < < DARBKLOW DARBKLOW <
70 VOXHHCL < DARBKHIGH DARBKHIGH <
71
< < CONGALOW BreathNois <
○
○
○
MIDI Implementation Chart
○
Manufacturer: Generalmusic S.p.A. Model: WK3 World Keyboard Version: 1.00
○
○
FUNCTION Transmitted Recognised Remarks
○
○
Basic Default 1-16 1-16 1 MIDI IN; 1 THRU; OUT
○
Channel Changed 1-16 1-16 EXTRA COMMON/CHORD CH.
○
Mode Default Mode 3 Mode 3
A•12 Appendix
Messages X X
○
Altered ***** X
○
○
Note 0-127 0-127 true voice on banks 1-2-3
○
Number True voice ***** depend on selected sound
○
Velocity Note ON o o

Note OFF o o
○
○
After Key’s x x
○
Touch Ch’s x o
○
Pitch Bender o o
○
○
Control 0,32 Bank change 0,32 Bank change Bank change recognised on
Change 1 Modulation 1 Modulation common channel, only in reception:
4 Foot controller 4 Foot controller
6,38 Data Entry 6,38 Data Entry
7 Volume 7 Volume Bank P.change
10 Pan 10 Pan
11 Expression Contr. 11 Expression Controller 32-43† 0-95 Internal styles.
18,50† Oriental control 16,48† Effects selection 44-47† 0-15 Prog.Styles
64 Damper Pedal 18,50† Oriental control 48-55† 0-63 Real time Perf.
66 Sustain 64 Damper Pedal 56-61† 0-6 Songs
67 Soft pedal 66 Sustain 62† 0-6 Songstyles
91 Reverb depth 67 Soft pedal
93 Chorus depth 72 Attack time
98,99 NRPN 73 Release time
100,101 RPN 74 Filter 1 cut-off freq.
91 Reverb depth
93 Chorus depth
98,99 NRPN
100,101 RPN
Cntrl 50 (ONE SHOT):
0,1,2† Fill Equal-Minus-Plus
8† Intro
16† End
Audio/Video Interface
○
Installation instructions
TO REMOVE THE PROTECTIVE PLATE:
1. Disconnect the instrument from the mains.
2. Carefully turn the instrument on its front edge and remove cross-head screw A.
3. Remove the protective plate from the Interface slot.
T A
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
A•14 Appendix
Specifications
○
Keyboard 61 keys with dynamics, Aftertouch reception via MIDI.

Play mode Single, Dual, Split.
Poliphony 32 notes max.
O Generation PCM, Wavetables, Crossfade Multiwave, Subtractive Synthesis. 32 Oscillators, 32 pro-

grammable digital filters
W
Sounds 4Mb ROM (384 sounds + 120 percussions, including sounds from WS/WX data base);
D GENERALMIDI compatibility; 16 multitimbric parts; 64 Real-time Performances.
A Controls Trackball (pitch, modulation and filter); 10 volume sliders (8 multifunction sliders); 8 func-
tion keys (F1 to F8); 13 programmable pads; Dial.
Pedals Volume Pedal; 3 programmable footswitches with selectable polarity; dynamic pedalboard
C (bass, chords, multifunction).
M Style Controls Intro; Ending; Key Start; Start/Stop; Var 1,2,3,4; Fade In/Out; Fill<; Fill><; Fill> (Tap Tem-
po); Arrange On/Off; Arrange Memory; Lower Memory; Arrange Mode/Split; Tempo Lock;
Harmony On/Off; Harmony Type; Bass to Lowest.
Display Back-lit display 40x2 digits (with contrast regulation).
D
Styles 112 styles x 4 variations. (96 Internal Styles x 4 variations/16 programmable Styles x 4
variations). Up to 40 riffs for each Style. 5-tracks Style configuration (Drum, Bass, Acc. 1/
2/3). 112 Style Performances (Single Touch Style).
S
Effects 2 programmable digital effects processors (22 Reverbs and 22 Modulations).
E
Sequencer 16 tracks. 25.000 events. Background loading (new song and PCM samples can be
loaded into memory with sequencer running). Rec mode: Punch In, Quantize, Clear,
Copy. Controls: Start/Stop, Rewind, Fast Forward.
S
Disk Drive Drive for 3.5” DD/HD disks. Formatting: 1,44 MBytes/720 Bytes. Load and save: Stand-
D ard MIDI Files, PCM Samples, songs, styles, performances. Load: operating system
updates, new programs. Compatibility: Standard MIDI Files type 0,1 and 1 + lyrics, WS
and CD formats.
S MIDI MIDI In, MIDI Out, MIDI Thru.
Connectors Stereo master Out (L&R), Stereo master In (L&R) + volume control. Computer interface
P (MAC/PC). Audio/Video Interface (optional): Video Out (RGB/S-VHS), Mic/Line Input +
gain. Volume pedal, 3 programmable footswitches, dynamic pedalboard, 2 headphones.
C Amplification 15W +15W stereo, 2-way, 4 speakers.
Dimensions (LxAxP) 1.100x150x390 mm.
S
Weight 14,3 kg.
G Optional accessories Audio/Video interface (PAL/NTSC - Video Out, Audio Processing, Sampling); Serial ca-
ble for computer interface; volume pedal; Dynamic pedalboard; single switch; multi switch;
P metal stand; carrying bag.
Pl
K
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
A•16 Appendix Specifications

○
Creating a User Style 16. 2 Effect Volume (Edit General) 14. 3

Effects 9. 1
D
Effects parameters 15. 4
Damper 3. 7 Effects tables A. v
E
Damper (Edit General) 14. 5 EffSend 9. 5
E
Data Entry 3. 13 Ejecting a Floppy Disk 6. 26
E
Data saved to a Performance 4. 18 Ending 5. 7
E
Deactivate Display Hold 4. 8 Enter 3. 16
E
Decay 13. 20 Enter Song Record mode 18. 2
E
Default Performances 3. 3 Enter Song/Style Record mode 17. 2
E
Delays/Modulations DSP 9. 1 Enter User Style Recording 16. 2
E
Demo 1.10 Erase Drumkit [Key=XX] 13. 34
E
Detune 13. 4 Erase Note 19. 7
E
Digital Audio Sampler 20. 1 Erase Note data 19. 4
E
Digital Signal Processor 9. 1 Escape 3. 16
E
Direct from Disk 1.11 Escape Song/Style Record mode 17. 5
E Disk 6. 1 Escape User Style Record mode 16. 6
D Disk Drive Head Cleaning 6. 27 Examples of how to use the Styles 5. 18
D Display 3. 10 Extensions 6. 2
D Display Hold 4. 8 External 13. 11
Displaying lyrics 7. 8
D
Drumkit 3. 5 F
D
D Drumkit (Edit) 13. 27 Fade In/Out 5. 7
D Drumkit Exists 13. 33 FF 18. 8
D Drumkits 13. 17, 13. 27 File Erase 6. 24
D Drumkits tables A. vi File Types 6. 2
D Dump 13. 10 Files 6. 1
D Dynamic Keyboard 13. 13 Fill In 5. 7
D Dynamic Sensitivity (Edit General) 14. 4 Filter Cutoff 13. 21
D Dynamic switch 13. 27 Fingered 5. 11
Fingered 1 11. 3
D E
D Fingered 2 11. 3
E-Sound 3. 5 Floppy Disk formats 6. 1
D
Edit an effect 15. 1 Footswitches 3. 7
D
Edit Drumkit procedure 13. 27 Format 1.44 Mb 6. 21
D
Edit DSP effects 15. 1 Format 720 Kb 6. 21
D
Edit General 14. 1 Formatting your disks 6. 21
D
Edit modes 3. 5 FreeStyle 5. 11
D
Edit pages 3. 12 Front & Rear Panel 2. 1
D
Edit Performance 13. 1 Full Mode 4. 2
D
Edit Song/Style Performance 17. 6 Function buttons 3. 13
D
Edit User Style Performance 16. 7
D
Effect (Drumkit edit) 13. 33 G
D
Effect (Edit General) 14. 2 General Clear procedure 19. 4
D
D
C
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
A•18 Appendix
○
Multifunction (Edit General) 14. 7 Play direct from Disk 6. 3

Multitrack recording 7. 1 Play in real time 1.2
Music Stand 3. 9 Play keyboard sounds 1.3
Play mode (load WS) 6. 11
Pl N
Play the Programmable Pads 1.5
Pl Name 19. 10 Play with Effects 1.6
Pi Navigating 3. 13 Play with headphones 1.7
Pi Note-stealing 13. 4 Play with the pedals 1.7
P NTSC system 14. 4 Playing back Song/Styles 8. 2
P Number of Bars 19. 10 Playing back Songs 7. 2
P
O Polyphony 13. 4
P
Power up 1.1
P Octave + 4. 15 Preload 6. 2
P Octave – 4. 15 Prepare the Song for recording 18. 2
P One finger 5. 11 Preparing to sample 20. 4
P Operating modes 3. 1 Priority 13. 4, 13. 6
P Oscillators 13. 17 Program 13. 3
P Output 3. 6 Programmable Pads Assign 20. 12
P
P Programmable Pads assignment 20. 1
P
Programme a new split point 5. 10
P Pads and Track 9 20. 12
Programming the Song Performance 18. 6
P Page – 4. 9
Punch 19. 11
P Page+ 4. 9
Punch In a correction 19. 12
P PAL system 14. 4
P Pan 13. 15 Q
P Pan (Drumkit edit) 13. 32 Quantize 19. 2
P Partial copy 19. 13
P PC IBM 3. 8 R
P Pedal 1 (Edit General) 14. 5 Rear Panel 2. 9
Pedal 2 (Edit General) 14. 5 Rear Panel (Connections) 2. 10
O Pedal Switch Logic 14. 6 Rec / Edit 20. 1
O Pedalboard 3. 7 Record a Song 1.13
O Pedalboard function (Edit General) 14. 7 Record windows 3. 11
O Pedalboard Mode 14. 8 Recording Control data 16. 9, 17. 8, 18. 8
O Pedalboard Velocity 14. 8 Recording Pads data 17. 8
O Pedals 3. 7 Recording Program Change
O Pedals 1/2/3 Assign 13. 5 data 16. 9, 17. 8, 18. 8
Performance 3. 3, 13. 3 Recording Style Change data 17. 8
N Performance Name 13. 6 Recording Tempo data 16. 9, 17. 8, 18. 8
N Performance tables A. iv Recording User Styles 16. 3
N Pitch Bend Range 13. 4 Regulate the general Effectvolumes 1.8
N Pitch/Modulation assign 13. 5 Regulating the Mic/Line signal 20. 3
N Play a Song track in real time 7. 6 Regulating the Send levels 9. 5
N Play a Song/Style track in real time 8. 6 Release 13. 20
M
M
M
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
A•20 Appendix
○
Song/Style mode 3. 1, 3. 3 Time Signature 19. 10

Song/Style Performance 3. 4, 17. 1 Track transposer 13. 4
Song/Style Performances 8. 1 Trackball messages 13. 5
T Song/Style Playback 8. 3 Tracks 3. 4
T Song/Style Recording 17. 1 Transpose the instrument 1.9
T Song/Styles 8. 1, 17. 1 Transposer 13. 4
T Songs 7. 1 Transposing the tracks 4. 14
T Sound (Edit) 13. 17 Tune (Drumkit edit) 13. 32
Sound Edit 13. 4
U
S Sound Edit Full 13. 23
S Sound parameters 13. 20 Updateable Operating System Intro. v
S Sounds 3. 5, 4. 2 Upper 1 4. 1
S Specifications Intro. ii Upper 2 4. 1
S Split 5. 10 User messages 3. 12
S Split A 20. 4 User Style Performance 16. 2
S Split B 20. 4 User Style recording 16. 2
S Split C 20. 4 User-programmable Performances 4. 10
S Split D 20. 4 Utility 13. 16
S Split Mode 4. 2 Utility functions 6. 21
S Standard MIDI edit procedure 13. 7 Utility section 5. 14
S Standard Sound Edit procedure 13. 18 V
S Start to Sample 20. 7
S Start/Stop 5. 6 Velocity (Drumkit edit) 13. 31
S Stereo panorama 13. 15 Video 3. 9
S Structure of a Style 16. 1 Video Colour Setup 14. 4
S Style controls 5. 6 Video Select 14. 4
S Style Display 5. 1 View all 16 tracks of a Performance 4. 1
S Style Lock 3. 2, 4. 7 Volume 13. 15
S Style Performance 3. 3 Volume (Drumkit edit) 13. 31
S Style Tempo 5. 16 Volume pedal 3. 7
S Style Variations 5. 7 Volume Pedal (Edit General) 14. 5
S Style/RealTime mode 3. 1 Volume Pedal assign 13. 5
S Styles 5. 1 W
S Styles tables A. iii
Warnings 3. 12
S Switch Sounds 13. 17
What is a Riff? 16. 1
S System Exclusive 13. 14
WK3 New Release 11. 1
S System Exclusive ID # 13. 14
WK3 Sampler 20. 2
S System Reset Intro. v
WK3 Song extension 6. 14
S
S T Write Protect Tab 6. 26
Tap Tempo 5. 7 WS Mode 13. 14
S
S Tempo Lock 5. 14, 5. 16
S Tempo Rec 19. 12
S Text 18. 8
S
S
S
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
A•22 Appendix
I
T
S
GENERALMUSIC Code 271050
Specifications are subject to change without prior notice.
PRINTED IN ITALY
Sales Division: I -47048 S.Giovanni in Marignano (RN) - Italy – Via delle Rose, 12
Tel. +39 541 959511 – fax +39 541 957404 – tlx 550555 GMUSIC I
Internet web site: http://www.generalmusic.com

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15 IMPORTANT SAFETY INSTRUCTIONS

SAVE THESE INSTRUCTIONS

Downloaded from www.Manualslib.com manuals search engine

The Utility section 5. 14

• 9 Digital Signal Processor 9. 1

• 11 New Release (OS update) 11. 1

• 15 Edit DSP effects 15. 1

• 16 User Style recording 16. 1

• 17 Song/Style Recording 17. 1

• 18 Song Recording 18. 1

• 19 Sequencer Edit 19. 1

A • 20 REC / EDIT 20. 1

SPECIFICATIONS • Digital Signal Processor

• Polyphony & multitimbricity WK3 features an on-board Two Digital Effects

Generalmusic on Internet: http://www.generalmusic.com

Gem by Generalmusic © 1996. All rights reserved.

GENERAL SAFETY INSTRUCTIONS

PLAY AND RECALL KEYBOARD SOUNDS

3. Press LOWER and play with both hands.

© Note: If you deactivate LOWER in SPLIT

1•2 User Guide

PLAY KEYBOARD SOUNDS WITH AUTO-

MATIC ACCOMPANIMENTS (STYLES) 1

1. Press SINGLE TOUCH PLAY.

2. Press a Style Group button in the SONG/STYLE

GROUPS (8 Beat, 16 Beat, etc.).

© Note: Avoid pressing the User, Song/Style and

5. © Note: If a Style is not selected within the first 2/

5. Play a note (below split point B3) with the left 4

1•4 User Guide

PLAY WITH EFFECTS OR BYPASS THEM

One or both effects buttons in the Digital Signal

1•6 User Guide

REGULATE THE GENERAL EFFECT

VOLUMES AND ACTIVATE LOUDNESS

1. Press the GENERAL button (close to the EDIT PER-

3. 2. Press the PAGE+ button once.

2. 3. Select the parameters with the Function buttons:

© Hint: You can use the F1-F2, F3-F4 sliders to

1•8 User Guide

Listen to the Demo Styles

1. Press the DEMO button.

© Note: During the demo playbacak, all buttons

3. To stop the demo Style, press the corresponding

Y Using ESCAPE or DEMO stops the Demo

1•10 User Guide

4. Rotate the DIAL to select a WK3 Song or Midifile.

5. Press START/STOP to start the playback.

Note: If you press Escape during the “WAIT!”

6. To stop the “direct” playback at any time, press

1•12 User Guide

4. Press START/STOP to start the recording.

5. Start playing after the one bar lead.

6. When you have finished recording the Drum

1•14 User Guide

SAVE THE SONG TO DISK