Fusion

Reference Manual
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Table Of Contents

Introduction ........................................................5
Welcome! .......................................................................... 5
Unpacking and Inspection .......................................... 6
How to Use This Manual .............................................. 6
Main Features ................................................................. 7
The Fusion’s Synthesis Engine.............................................................8
Eight Channel Hard Disk Recorder ....................................................10
Sampling Capability................................................................................10

Chapter 1: Fusion Hardware ...........................11

Center Section.........................................................................................11
Performance Panel Description ...........................................................12
Audio Hookup Diagram: ......................................................................14
MIDI Hookup: .......................................................................................17
Computer/USB Hookup: .....................................................................18
Powering the Fusion ..............................................................................19
Factory Reset...........................................................................................20

Chapter 2: Fusion Basics ..................................21

Fusion 101: The Basics.................................................. 21
What is a Program? ................................................................................21
What is a Mix?.........................................................................................21
What is a Song?.......................................................................................21
What is a Sampler? .................................................................................21
Fusion Architecture................................................................................22
Getting Around on the Fusion .................................... 23
The Mode Buttons .................................................................................23
Navigating The Fusion’s Menus...........................................................25
Useful Navigation Shortcuts.................................................................28
Storing Your Work ......................................................... 31
Storing Programs, Mixes, Songs, and Multisamples..........................31
The Clipboard .........................................................................................34
Connecting to a Computer via USB....................................................36

Chapter 3: Fusion Modes ..................................37

Program Mode ................................................................ 37
Setting Overall Program Parameters ...................................................37
Synthesis Type: Sample Playback .........................................................45
Synthesis Type: Drum............................................................................52
Synthesis Type: Analog..........................................................................63
Synthesis Type: FM ................................................................................70
Synthesis Type: Reed Model .................................................................77
Synthesis Type: Wind Model ................................................................81
Program Utility Page..............................................................................85
Filters........................................................................................................87
Envelopes ................................................................................................89
Low Frequency Oscillators (LFOs).....................................................95
Mix Mode.......................................................................... 99
Setting Overall Mix Parameters............................................................100
Setting Individual Part Parameters.......................................................103
Mix Utility Page ......................................................................................113

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 Table Of Contents

Song Mode ....................................................................... 115

Setting Overall Song Parameters..........................................................116
Setting Track Parameters .......................................................................123
Editing Song Tracks ...............................................................................135
Track Editing Filters ..............................................................................145
Processing Synth and Audio Tracks ....................................................147
Song Utility Page ....................................................................................167
Sampler Mode ................................................................. 171
Setting Overall Sample Settings............................................................172
Setting Individual Zone Settings ..........................................................173
Capturing Samples..................................................................................179
Editing and Processing Samples ..........................................................186
Sampler Utility Page ...............................................................................189
Mixer Mode...................................................................... 190
Mixer Mode .............................................................................................190
Using the Mixer ......................................................................................190
Global Mode .................................................................... 193
Global Workstation Settings .................................................................193
Global MIDI Settings ............................................................................196
Global Controller Settings: ...................................................................198
Metronome Settings...............................................................................200
Multitrack Audio Input Settings...........................................................202
Other Global Settings (USB & User Interface).................................203
The Item Explorer .................................................................................204
The Media Explorer:..............................................................................208
Operating System Information ............................................................209
Upgrading your Operating System ......................................................210
System CPU Usage.................................................................................211
Setting the Date and Time ....................................................................212

Chapter 4: Common Features ..........................213

The Arpeggiator ............................................................. 213
Configuring Your Arpeggiation Patterns............................................215
Recording Arpeggiation Patterns.........................................................227
Processing Your Recorded Arpeggiations..........................................230
Editing your Arpeggiation Patterns.....................................................232
The Modulation Matrix ................................................ 236
Creating and Deleting Modulation Routes.........................................237
Editing Your Modulation Routes.........................................................239
Effects ............................................................................... 249
Master EQ ...............................................................................................249
Insert Effects...........................................................................................252
Bus Effects ..............................................................................................255
Creating and Deleting Effects Modulation Routes...........................259
Editing Your Effects Modulation Routes...........................................260
Output Block Diagram..........................................................................262

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 Table Of Contents

Appendix A: Effects and Implementation ....263

Master EQ Effects Parameters.............................................................263
Insert Effects Parameters......................................................................264
Bus Effects Parameters..........................................................................273
MIDI Implementation Chart (Synthesizer)........................................283
MIDI Implementation Chart (Sequencer)..........................................284

Appendix B: Frequently Asked Questions....285

Appendix C: Troubleshooting..........................287

Index......................................................................289

Specifications ......................................................291
Sound Engine..........................................................................................291
Sampling Inputs......................................................................................291
Multitrack Inputs ....................................................................................291
Audio Output..........................................................................................292
Physical.....................................................................................................292
Legal Information: .................................................................................293

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4
Introduction

Welcome!

Thanks for purchasing the Fusion digital audio workstation! The Fusion
one of the most powerful and full-featured products we’ve ever built,
and we’re sure you’ll love using it!

You could say Alesis knows a few things about synthesis. We have a 15-
year long track record of creating some of the most powerful and well-
regarded keyboards in the world. We’ve used everything we learned in
the past while keeping our eyes open to future possibilities in order to
make the Fusion the best workstation you’ve ever used. We hope the
Fusion will be remembered as the next great Alesis keyboard.

Be sure to register your Fusion at our website (www.alesis.com) so we can

give you the best possible service. And since the Fusion’s operating
system is upgradeable, check the site once in a while for late breaking
news. Future versions of the operating system will include things like
new features requested by our users as well as improvements to existing
features. Also, you might want to check for new program banks and
sounds every once in a while.

We hope your investment will bring you many years of creative

enjoyment and help you achieve your musical goals.

Sincerely,
The People of Alesis

5
 Introduction

Unpacking and Inspection

The shipping carton for your Fusion should contain the following items:

• A Fusion 6HD or 8HD workstation

• AC power cable
• This Reference manual
• A Quickstart guide
• Important Safety and Warranty Information
• A registration reminder card

Please log on to the Alesis website at www.alesis.com to register your new

Fusion synthesizer. This will help us give you the best support we
possibly can.

How to Use This Manual

We’re sure you’d like to jump in and start using your Fusion quickly. To
help you do this, check out the Fusion’s Quickstart guide. The
Quickstart guide is a separate manual that should have everything you
need to start playing quickly. Helpful tips and advice are highlighted in a
shaded box like this.

Once you’re ready for more in-depth information, this reference manual
is for you. This manual will describe the workings of every single feature
and parameter on the Fusion and you should be able to find answers to When something important appears in the
all of your Fusion questions here. manual, an exclamation mark (like the one
shown at left) will appear with some
explanatory text.
We’ve also compiled a list of Frequently Asked Questions at the end of
this manual that should address many of your troubleshooting questions.
Please check the FAQ before contacting our technical support staff as
that will save time and energy for both you and our friendly support staff.

6
 Introduction

Main Features
Your Fusion workstation is packed with features to help you make better
music. Let’s take a quick look at these features and get a sense of why
each feature is important.

Total Integration
The Fusion has one of the biggest feature lists of any
workstation on the market today. That said, the beautiful thing
about this workstation is not its sheer number of features, but
rather the perfect integration of these features with each other.
All the different parts (synthesizers, hard disk recorder, sampler,
arranger, mixer, etc.) talk to each other intelligently so that you
can focus on writing songs rather than troubleshooting why one
part won’t work well with another.

For example, you can use Song mode to arrange and record
digital audio and MIDI seamlessly on the same screen. You
don’t need to worry about getting a separate MIDI arranger and
hard disk recorder to work together since we’ve taken care of
that for you. Once you’re done arranging, each of your synth
and audio tracks automatically appear on your mixer for quick
and intuitive mixing just like on a hardware mixer. Again,
everything is automatically and intuitively laid out in a way that
makes sense to musicians. Even loading, saving, and organizing
your songs and programs (which can often turn into a
troubleshooting headache) has been made completely
seamless—you can load programs from either the hard disk or
compact flash memory without ever having to worry about
what’s going on “under the hood” of the workstation (if you
don’t want to, that is).

Intuitive Interface
We’ve analyzed how musicians commonly work and figured out
ways of streamlining the songwriting process. For example,
we’ve minimized keypresses and placed shortcuts and quick
access buttons right where most musicians will want them.

The user interface was carefully designed for both novice

keyboard players and hardcore synth enthusiasts alike. We did
this through a two level interface design: On the top level,
novice users can find what they need quickly without ever
having to see (or deal with) the more complex inner workings
of the keyboard. On the other hand, knob twiddlers can go
digging inside the Fusion’s deeper menus and program to their
hearts’ content. Regardless of the type of user you are, you’ll
find the interface to be clean and intuitive.

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 Introduction

The Fusion’s Synthesis Engine

Your Fusion is capable of four completely different types of synthesis:

Sample Playback, Virtual Analog, FM, and Physical Modeling. Our brand
new “Dynamic DSP Synthesis” engine lets you load up any combination
of synthesis types you’d like to use. There are no artificial limits placed
on synthesis or polyphony—you’re free to configure and push your
Fusion as far as the synth engine can handle (which is pretty far
considering there are eight processors inside).

Sample Playback
Sample playback synthesis lets you use recorded sounds of
actual instruments (or any recorded sound, for that matter) to
create a program. For example, the Fusion’s “Grand Piano”
program is actually a carefully recorded concert grand. In
general, sample playback synthesis is a great way of reproducing
lifelike versions of real, acoustic instruments.

Virtual Analog (VA) Synthesis

Analog synthesis lets you create wonderfully complex sounds
using a small number of simple waveforms, envelopes, and low
frequency oscillators.

What does all this mean in musical terms? It means you can
create the deep basses, lush pads, and many other sounds analog
synthesizers are known for without the difficulty and expense
of real-analog synthesis.

FM Synthesis
FM synthesis was created in the 1970s and became an overnight
sensation because of its ability to produce electronic piano, bell,
and melodic percussion sounds such as vibes and marimba.
These sounds are created by taking sound sources and
modulating their frequencies.

Programming FM synthesizers used to be a challenge because it

can be hard to conceptualize and visualize how your waveforms
are interacting with each other. We carefully designed the
Fusion’s graphical FM signal router to let you know what’s
going on without overwhelming you with too much
information, making it easy to sculpt the perfect sound you
want. All of the detailed information can be found on separate
sub-pages within the FM Synthesis section.

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 Introduction

Physical Modeling
Physical modeling is a state-of-the-art process that
mathematically describes how a sound wave would behave if it
were Inside a real instrument. This results in incredibly lifelike
virtual instruments that you can play on the Fusion. The cool
thing is that you can actually create virtual instruments that do
not (or cannot) exist in real life by simply setting your
parameters accordingly. For example, you can create a 30-foot
long flute played with a hurricane-strength breath if you’d
like—the sky is the limit!

Physical models involve a lot of math and model parameters are

often very complex and difficult to understand. We took a
great deal of care in designing an interface that musicians can
relate to—enabling you to tweak your sounds in real-time
without complex math or confusing parameters. Currently, the
Fusion has two physical models letting you create the most
realistic (or unreal, if that’s what you’re into) wind and reed
instruments ever to come out of a synthesizer.

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 Introduction

Eight Channel Hard Disk Recorder

Most keyboard players that record songs end up taking their synthesizer
parts and recording them on to a separate multitrack recorder along with
other live instruments (drums, guitar, etc.) Having built some legendary
multitrack recorders in the past including the ADAT and the HD24, we
integrated an 8-channel, 24-bit hard disk recorder in the Fusion.

There are several advantages to having an integrated multitrack recorder

over a separate keyboard and multitrack. First, you have much less gear
to buy, carry around, and maintain—with the Fusion, you can do all your
recording and mixing in one box making it much easier to record on the
road. Second, since the synthesizers, sequencer, and multitrack recorder
are built to work together from the ground up, you won’t spend any time
troubleshooting why things aren’t working correctly. Finally, since you’re
arranging and editing all of your MIDI and audio on one screen, you’ll
find it much easier and faster to compose and record songs.

The inputs record at 24 bit, 44.1 kHz and can be active at the same time,
letting you record up to eight channels simultaneously. All inputs are
balanced and the recorder has standard transport controls with locate
points.

Sampling Capability

If you want to create a custom program using your own sounds, you can
do it with the Fusion’s sampler. The sampler has stereo inputs with a
Trim knob for adjusting levels. Your recorded samples can be either
mono or stereo, and are recorded and stored files on either the Fusion’s
internal hard disk or Compact Flash cards.

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Chapter 1: Fusion Hardware

Center Section

1. Mode Selection Buttons (Mix, Program, Song, Sampler, Mixer and

Global): These buttons select the main modes of the Fusion.

2. Soft Buttons (No Labels on the front panel): These buttons match up
with the LCD screen labels and let you navigate the user interface.

3. Contrast Control: This knob adjusts the contrast of the LCD screen.

4. Category and Bank Buttons (Category, Bank forward and reverse):

The category button brings up the category function on the LCD screen.
The Bank forward and reverse buttons allow you to quickly move
through sound banks.

5. Quick Access Buttons (A-P , 1-8): These buttons allow you to

directly select a Bank and a specific Program in a Bank.

6. Transport Controls (Locate, Set Locate, Rewind, Fast Forward, Stop,

Play and Record): These buttons are used to play songs, set and select
Locate points in a song, as well as other control functions in other
Modes.

7. Control Wheel and Edit Buttons (Edit, Prev, Next, Inc, Dec, Store
and Undo): The Control Wheel is used for quickly moving through
values on the screen when the cursor is highlighting a parameter. The
Edit button allows you to look “under the hood” of the mode that is
currently selected. The undo button allows you to revert to previous
settings of parameters in case you change your mind about an edit you’ve
made. The Store button allows you to name and save your work. The
Prev and Next buttons let you to navigate the parameters on the pages.
Finally, the Inc and Dec buttons let you step through the values of a
highlighted parameter.

8. LCD (Liquid Crystal Display): This screen is used to view

parameters and information in relationship to the mode you have
selected.

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1 Chapter 1: Fusion Hardware

Performance Panel Description

4
3

1 2

7
8

The Fusion’s Performance Panel has several real-time controllers (wheels,

knobs, buttons, and switches) that you can assign to perform a variety of
tasks. These controllers let you tweak sounds in real-time as you play for
maximum expression and sonic control.

The Performance Panel’s components consist of the following:

1. PITCH BEND WHEEL: This wheel lets you raise or lower the
pitch of your program during a performance. Push this wheel forward
to raise the pitch and pull it back toward you to lower the pitch. The
wheel is spring loaded and will snap back to normal once you let go.

You can change the pitch bend range on a per-program basis in the
Program/Pitch page under the Program menu. See “Pitch Bend Range”
parameter on page 41 for more about this.

2. MODULATION WHEEL: The mod wheel can be assigned to

control a variety of parameters including vibrato, tremolo, FM amount,
etc. This wheel is usually mapped to vibrato as a default, but it is
possible to map it to almost anything on the Fusion.

Use the modulation matrix to map the mod wheel. See page 236 for
more about the modulation matrix.

3. PERFORMANCE GRID: The Performance Grid lets you assign

what your four Control Knobs do (see section 6 for more on the Control
Knobs). By having four “rows,” of functions, the knobs can actually
control up to 16 different parameters. You can easily tell what row is
selected because the active row is brightly lit whereas the other rows
remain dimmed. The ARP, FILTER, EQ, and ASSIGN buttons (see
below) are used to select your active row.

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 Chapter 1: Fusion Hardware 1
4. ARP, FILTER, EQ, ASSIGN: These buttons select the active row
on the performance panel. ARP, FILTER, and EQ are hard-wired to
arpeggiator, filter, and EQ functions whereas the assign row lets you map
the Control Knobs to any parameters of your choosing. You’ll notice
the names of the knobs on the bottom of the LCD screen change to
reflect what row you’ve selected. For example, if you select “EQ,” the
bottom of the screen will change to Low, Low-Mid, High-Mid, and High.

The Assign row knobs can be assigned through the Modulation Matrix.
See page 236 for more about the modulation matrix.

5. CONTROL KNOBS: These knobs can be used to manipulate all

kinds of parameters within the Fusion like filter frequencies, resonance,
modulation, or even tempo. The Performance Grid (see section #3
above) tells you what your knobs are currently assigned to control.
When you then turn a knob, you’ll notice the on-screen knob (at the top
level of Program, Mix, and Song Modes) will change accordingly.

These knobs work in real-time so you can hear the effects of your knob
twiddling as you play.

6. ARP On/Off, S1, S2: The ARP On/Off (Arpeggiator) button

engages and disengages the Fusion’s arpeggiator. The S1 and S2 buttons
are assignable ON/OFF switches that can be set to affect all kinds of
functions within the Fusion such as filters or effects sends. Switch
assignments can be made through the modulation matrix. See page 236
for more about the matrix. See page 213 for more about the
Arpeggiator.

7. TRIGGER 1 – 4: These four assignable buttons can trigger envelopes,

LFOs, and many other functions. Unlike the S1 and S2 switches
described above, these trigger buttons are only active when you are
holding them down—once you release the triggers they become inactive.
Use the Modulation Matrix to assign these buttons (see page 236 for
more).

8. MASTER VOLUME: This is the Fusion’s master volume control.

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1 Chapter 1: Fusion Hardware

Audio Hookup Diagram:

This diagram will show you how you can hook up your Fusion to the rest
of your studio. Let’s go through and discuss the inputs and outputs.
We’ll start from the left side of the diagram above and work our way to
the right:

Sampling inputs: These inputs—labeled “Left/Mono” and “Right”— Acerca de las entradas y salidas:
feed the Fusion’s internal sampler. You can use these inputs to capture
Todas las entradas y salidas de audio utilizan
sounds to convert into a custom program. The workstation lets you conectores TRS balanceados de ¼ ”. Puede usar cables
sample in stereo or mono, and the Gain trim knob lets you to set input TS de ¼ ”no balanceados para estas conexiones, pero
debe considerar el uso de cableado balanceado para
level. obtener la máxima claridad y el menor ruido. Esto es
especialmente importante si tiene cables largos en su
Note that you can use these inputs to route a microphone (or other estudio, ya que la calidad del audio se degrada
rápidamente a medida que aumenta la longitud del
external device) through the Fusion’s synthesis or effects engines. This cableado desequilibrado.
effectively turns the Fusion into an extremely powerful effects processor.

Headphone outputs: Connect your headphones to this output. This

output mirrors whatever is coming out of the Main Outputs of the
Fusion. In other words, if you’ve routed any sounds out of the Aux
Outputs, you will not hear them in the headphones.

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 Chapter 1: Fusion Hardware 1
Main Outputs: These are the Fusion’s primary outputs. By default, all
multitrack and synthesizer audio is routed to these outputs and you’ll ¿por qué tener dos conjuntos de salidas?
generally connect these outputs to your amplifier (or mixer). Supongamos que ha configurado una
división de graves / solistas, pero desea
ecualizar y procesar cada parte de forma
diferente utilizando equipos externos. No
Aux Outputs: These are a second pair of outputs to which you can hay problema, simplemente dirija los
graves a una salida (principal o auxiliar) y
route multitrack and synthesizer audio if you’d like to process these el cable a la otra. Ahora tiene dos
tracks differently. instrumentos totalmente separados que
salen de cada salida. Si sus programas son
mono, en realidad tiene cuatro canales
discretos con los que trabajar (principal
S/PDIF Output: This output is designed to transfer sounds digitally to izquierdo, principal derecho, auxiliar
izquierdo y auxiliar derecho), lo que le
other gear in your studio that supports S/PDIF. This output mirrors brinda aún más flexibilidad para el
whatever is being sent out of the main outs on the synth. procesamiento / mezcla externa.

Optical Output: This optical digital output is supports 8-channel una nota sobre el cableado s / pdif
el conector s / pdif en la parte posterior del
ADAT format. The output will be as follows: fusion parece un conector rca estándar,
pero no puede usar cables de audio
comunes para esta conexión. s / pdif
ADAT Output requiere cables especiales de “audio
Channel digital” de 75 ohmios para funcionar
correctamente y lo más probable es que
1 Main Out Left produzca un ruido blanco muy fuerte si
2 Main Out Right utiliza el tipo de cable incorrecto. si
3 Aux Out Left escucha clics, estallidos o ruido blanco
4 Aux Out Right cuando usa s / pdif, es probable que su
5 Insert 1 Send Left cable sea el culpable.
6 Insert 2 Send Left
7 Insert 3 Send Left
8 Insert 4 Send Left

Foot Pedals: These three inputs allow you to control a variety of

functions. EXPRESSION is the Fusion’s continuous controller
expression pedal input and can be assigned to control things like volume.

The FOOTSWITCH input is configurable and lets you trigger envelopes,

LFOs, and other events with your foot. It is similar to the trigger
buttons found on the Performance Panel. Unlike the EXPRESSION
input, the FOOTSWITCH is binary and is either “on” or “off ” with no
range of control in between.

The SUSTAIN input is for a sustain pedal and is commonly used by

keyboard instruments to hold notes. Like the FOOTSWITCH, the
SUSTAIN pedal input is either “on” or “off ” and there is no middle
ground.

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1 Chapter 1: Fusion Hardware

Multitrack Inputs: These eight inputs link directly to the Fusion’s hard
disk recorder. You can use these inputs to record things like live
instruments (guitars, bass, drums, etc.) as well as mixers, CD players,
turntables, and more. Note that you need to plug in a line level signal
into these inputs and many instruments (condenser microphones, guitars,
turntables, etc.) will require a preamplifier to bring the signal up to line
level before you can record into the Fusion.

The inputs can be switched between -10 and +4 dB to accommodate all

kinds of gear ranging from “consumer” to “professional” grade (see
page 202 for more on this). The internal recorder captures audio at a
sampling rate of 44.1k with 24-bit audio fidelity letting you make
extremely high quality recordings without any additional gear.

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 Chapter 1: Fusion Hardware 1
MIDI Hookup:

This diagram shows common ways of hooking up your Fusion to other

gear in your studio through MIDI.

MIDI IN: Hook up the MIDI output of your external gear to the
“MIDI In” of the Fusion when you want the Fusion to receive MIDI
data from the outside world. There are two common scenarios in which
you’ll want this:

1. You may want to use another keyboard to control the Fusion. This is
commonly done by synth players on stage if they want to use one
“master” keyboard to control all other keyboards.

2. You may want to arrange a song on a computer MIDI sequencer, and

then use the sequencer to play back sounds from the Fusion.

MIDI OUT: If you want to use your Fusion to control other

synthesizers or to send MIDI data to a MIDI sequencing program on a
computer, you should connect this output to the input of your MIDI
destination device (sound modules, other keyboards, external sequencer,
etc).

MIDI THRU: All MIDI data that comes in on the “MIDI IN”
connection is passed through the Fusion and sent out of the “MIDI
THRU” jack completely unaffected. This is a useful feature for people
using multiple keyboards (or MIDI modules) along with a “Master”
MIDI controller because it lets you pass MIDI data to all of your synths.

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1 Chapter 1: Fusion Hardware

Computer/USB Hookup:

usb: conecte su fusion a una mac o pc para facilitar la transferencia de

archivos. fusion admite usb 2.0 y es totalmente compatible con
versiones anteriores de usb 1.1 / 1.0, pero recomendamos
encarecidamente usar 2.0 ya que los archivos de audio tienden a ser para obtener más información sobre la gestión de
bastante grandes y las transferencias serán más lentas en las conexiones archivos, almacenamiento y memoria, consulte la
sección titulada “almacenamiento de su trabajo” a
usb 1.1 / 1.0. partir de la página 37.

fusion está diseñado para funcionar con cualquier computadora que

admita dispositivos de “almacenamiento masivo usb” que utilicen el
estándar de formato fat32. las versiones actuales de prácticamente todos
los sistemas operativos comunes admiten estas características.

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 Chapter 1: Fusion Hardware 1
Powering the Fusion
¡no apague y encienda el fusion repetidamente!
Before connecting the power cable, make sure the Fusion’s power hacerlo puede dañar la estación de trabajo. los
ciclos de encendido repetidos someten a los
switch is turned off. There is no need to worry about whether you are sensibles componentes electrónicos internos (en
using 110V or 220V since the Fusion has an internal switching power particular, el disco duro, la memoria y los
supply that automatically adjusts itself to the correct power setting procesadores) a una tensión indebida y pueden
acortar la vida útil de estos componentes. en
anywhere in the world. condiciones de uso normal, estos componentes
proporcionarán muchos años de funcionamiento
1. Plug the female end of the power cable into the Fusion’s power sin problemas. trate el fusion como una
computadora: si necesita reiniciar, espere unos
socket. 10 segundos antes de reiniciar la máquina. esto le
dará tiempo a los capacitores dentro de la
2. Plug the male (plug) end into a properly grounded power outlet. unidad para descargarse y para que se borre la
memoria.

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1 Chapter 1: Fusion Hardware

Factory Reset

el fusion tiene una opción de "restablecimiento de fábrica" que

restablecerá sus parámetros globales a su configuración inicial de
fábrica. esto se ha incluido como una opción de último recurso en caso
de que haya cambiado accidentalmente una configuración global y
necesite que la estación de trabajo vuelva a la normalidad rápidamente.

restablecer su fusion es fácil: mantenga presionados los botones

reproducir y grabar mientras enciende su fusion y espera a que la unidad
termine de cargarse. una vez que se muestra la pantalla del programa, se
han cargado los valores predeterminados de fábrica y su fusion está
listo para funcionar.

tenga en cuenta que hacer esto no cambia ninguno de sus sonidos,

canciones, muestras o arpegios programados. el restablecimiento de
fábrica solo afecta a los parámetros que se encuentran en el modo
global.

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Chapter 2: Fusion Basics

Fusion 101: The Basics

If you’re new to workstations and aren’t sure about what everything does
(or why it is important), this section is for you. Let’s take a moment to
explain all the basics that you’ll need to know:

What is a Program? Why not just call them “Instruments?”

You may be wondering why we don’t just

The sounds in your Fusion are called “Programs.” Programs contain all call them “instruments.” We do this to
the samples, routings, settings, and other programming required to create avoid confusion. The word “instrument” is
ambiguous and could potentially be
the sound. For example, our “Grand Piano” sound contains all the confused with other things (such as the
individual samples, loop points, filter parameters, and other settings that Fusion’s actual hardware, or the source of a
sample rather than the result of putting
make up the piano.
together a set of samples to form a
program). On the other hand, “Program”
has a specific definition that can’t be
confused.
What is a Mix?

A “Mix” is simply a collection of programs. Each mix can contain up to

16 programs and those programs can be layered, split, or set up in a
number of ways to help you get the sound you’re looking for. Being able
to load up and arrange multiple programs in different ways opens up a
world of musical possibilities—The following “Fusion Architecture” will
explain your options in detail.

What is a Song?
A “Song” is a complete arrangement (including both synthesizer and
digital audio parts) that is created using the Fusion’s MIDI sequencer and
multitrack digital audio recorder. A song can have up to 32 synthesizer
tracks as well as 8 tracks of digital audio. This means you can compose,
record, edit, and mix an entire song all within the Fusion.

What is a Sampler?
A “Sampler” is a recording device that lets you capture a sound (called a
“sample”) that you can then playback and manipulate in a number of
different ways. The Fusion’s built-in sampler allows you to record your
own instruments, loops, and other sounds that you can turn into your
own custom programs. This means you are not limited to the world-class
set of programs that ship with the Fusion and that you are free to create
your very own programs.

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Fusion Architecture

The Fusion is packed with a ton of features and it can be easy to be

overwhelmed by it all. Let’s take a moment to explain how all the
different parts interact with one another.

Take a look at the diagram above. The arrows show you how audio,
MIDI, and control data flows from one section of the Fusion to another.
If you ever find yourself being confused by how signals are routed, refer
back to this diagram to help sort things out.

On the left column, you’ll notice the different modes of the Fusion.
These modes are listed in the same order as they appear on the left of
the Fusion’s LCD screen.

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 Chapter 2: Fusion Basics 2
Getting Around on the Fusion

The Mode Buttons

The Fusion has six modes: Mix, Program, Song, Sampler, Mixer, and
Global. Each mode is specialized to handle specific tasks, which are
covered below.

Note that Mix, Program, Song, and Sampler modes have parameters that
you can edit. To go “under the hood” of these modes, press the EDIT
button located on the upper left of the data wheel. To return to the
“top” just press that mode button again.

Program Mode
This mode is where you’ll probably spend most of your time. In
Program Mode, you can load and play one instrument at a time
and explore the thousands of sounds that can be found on the
Fusion. Say you just want to play a Grand Piano—just enter
Program mode, call up the type of piano you want, and go!

The Category button to the right of the display will take you to
a special “Librarian” mode that will help you track down
specific programs quickly.

Finally, when you’re ready to create your own programs, you can
do that in Program mode as well.

Mix Mode
Mix Mode is the Fusion’s “multitimbral” mode. This means
you can have multiple programs loaded and playing at the same
time. In general you’ll use Mix mode in one of three ways:

1. Layering sounds. Sometimes you’ll want to layer two

sounds on top of each other so that you can hear both
when you play. A common example of this is to have a
piano plus strings playing at the same time.

2. Splits. Sometimes you’ll want to split the keyboard

so you can play one program with your left hand and
another program with your right. For example,
keyboard players sometimes like to play a bass part with
the left hand and a synth lead on the right. Mix mode is
the easiest way to set this up.

3. External Sequencing. If you’re using an external

sequencer and want to use the Fusion as a sound
module, you can load up to 16 programs and assign
each program to a different channel that you can then
control with an external sequencer.

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 2 Chapter 2: Fusion Basics

Song Mode
Song mode takes you to the audio and MIDI sequencer found
within the Fusion. You can arrange, edit, and record your
compositions using this mode. Song mode controls both your
MIDI sequencer as well as your hard disk recorder and provides
up to 32 MIDI tracks and 8 audio tracks for each song.

Sampler Mode
When you’re ready to create your very own sample-playback
programs, Sampler mode is where you’ll need to go. All
sampling and waveform editing takes place here. Press Edit
when you’re in Sampler mode and you’ll see all the editing and
mapping capabilities of the Fusion on the Multi, Zone, Sample,
Process, and Utility tabs along the left side of the display.

Once you’re done with your samples, you can create a custom
program (using Program mode) and then load and play it just
like any other program on the Fusion.

Mixer Mode
Mixer Mode has been created so you can conveniently mix your
synthesizer and audio tracks together on one screen. The mixer
lets you set levels and pan positions for each synth and audio
track as well as set send levels and enable or solo tracks just like
on a hardware mixer.

Note that the mixer is only accessible when you are in Mix and
Song modes since these are the only modes in which you can
have multiple programs or audio tracks to mix together.
Program or Sampler modes only play one instrument at a time
and don’t require a Mixer (since you have nothing to mix)

Global Mode
Global mode lets you set parameters that affect all areas of the
Fusion. For example, things like master tuning, and keyboard
velocity scaling can be found here.

The SETTINGS tab lets you modify various keyboard, MIDI,

and controller related settings, while the MEDIA tab lets you
access the hard drive, and Compact Flash card. The SYSTEM
tab lets you view and update the current system information.

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 Chapter 2: Fusion Basics 2
Navigating The Fusion’s Menus

All navigation on the Fusion takes place using the Center Panel. Let’s
break down navigation section-by-section:

1. MODE SELECT BUTTONS: These buttons let you switch

into the Mix, Program, Song, Sampler, Mixer, or Global
modes.

If you’ve pressed the EDIT button and you’re editing

parameters deep within the Fusion, you can return to the “Top
Level” of the mode by pressing the mode button again.

2. CONTROL WHEEL & SURROUNDING BUTTONS: The

Fusion’s control wheel lets you cycle through sounds and
parameters quickly. Turning it clockwise is the same as
pushing the “Inc” (or Increment) button in rapid succession
whereas turning it counter-clockwise is the same as pushing
the “Dec” (or Decrement) button.

Generally, you’ll use this wheel to control large parameter

changes (such as going from 0% to 100%) whereas you’ll will
use the Inc/Dec buttons for fine tuning (for example, going
from 10%-12%). Undoing Your Actions:

The UNDO button will light when it is

3. The EDIT, UNDO, STORE, PREV, NEXT, DEC, and INC possible to undo an action.
buttons that surround the Control Wheel have the following
functions:
Saving Your Work:
• EDIT: This button takes you “under the hood” of Mix,
Program, Song, and Sampler modes—letting you adjust or Remember to save your work before you
change a program, song, or mix. If you
fine-tune the mode’s various parameters. change a program, mix, or song without first
saving, you’ll lose any modifications you’ve
• UNDO: This button allows you to undo recent actions made.
in case you change your mind about something you’ve
The “ ” icon on the upper right of the
edited. You have 100 levels of undo available for most screen indicates that something has been
functions. edited in your program, mix, or song since
the last time you saved. If these changes are
important, you should save your work before
• STORE: This button allows you to save any edits you’ve switching to another program, mix, or song.
made to your program, mix or song.

• PREV, NEXT: The Previous and Next buttons allow you regreso a la configuración predeterminada:
al presionar los botones inc y dec al mismo
to select the different editable parameters on each page. tiempo, cualquier parámetro que esté editando
regresará a su estado "predeterminado". esto
• DEC, INC: The Decrement and Increment buttons es útil en los casos en los que está modificando
un parámetro y decide que le gustaría volver al
allow you to alter the values of selected parameters. estado predeterminado.

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4. SOFT BUTTONS: The 12 unlabeled buttons along the sides

of the display and allow you to access different parts of the
user-interface. The buttons on the left of the display are
“menu” buttons that let you access different tabs within each
mode. The buttons to the right of the display bring up About the Soft Buttons:
different pages and overlays (i.e., prompts, sub-menus, etc.)
es posible que haya notado que algunos botones
within each tab. suaves tienen un pequeño punto ubicado en la esquina
inferior izquierda, mientras que otros botones tienen
Whenever you have opened an overlay or a prompt, you’ll need un triángulo.
to exit that prompt by pressing the “OK,” “Cancel,” or “Exit” el punto indica que se realizará una acción tan pronto
button before you can edit any further parameters. como presione el botón. estos botones se conocen
como "botones de acción".

Finally, if you ever get lost navigating through the Fusion’s los botones con el triángulo en la esquina se conocen
menus, you can re-press the current menu button (on the left como botones "superpuestos" y abren una nueva
página de menú. esta página se conoce como una
side of the display) to take you back to the initial page of that "superposición" porque aparece en la parte superior
menu. de la página actual y debe cerrarse antes de que
pueda volver a su menú. las páginas superpuestas se
cierran presionando los botones programables
titulados "aceptar", "cancelar" o "salir".
5. CATEGORY and BANK: The CATEGORY button accesses
the Fusion’s “sound librarian.” The sound librarian allows you
to view your programs (or mixes if you are in MIX mode)
sorted by category. For example, when you’re in PROGRAM
mode, the Category button brings up a screen that lists
programs contained within each category. This makes it easier
to find a particular program you’re looking for.

The BANK buttons allow you to cycle through the different

banks of programs and mixes that are stored on the Fusion.

6. QUICK ACCESS BUTTONS: The Fusion provides twenty-

four QUICK ACCESS buttons for easy access to sounds,
editable parameters, and other things. The top sixteen of these
buttons are labeled A through P whereas the remaining eight
buttons (bottom row) are numbered. This gives you access to
the first 128 sounds that can be stored in a bank (since 16 * 8
= 128). Once you’re familiar with sounds you like on the
Fusion, you can call them up directly from Program mode
using these shortcut keys. For example, you can access the
Grand Piano (program A-1) by pressing “A” and “1.”

The 1-8 QUICK ACCESS buttons can be set up to serve

other useful functions such as quickly enabling/disabling
oscillators as you are editing and designing sounds in Program
mode. These additional functions will be covered in future
sections of this manual as they come up.

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 Chapter 2: Fusion Basics 2
7. TRANSPORT CONTROLS: These seven buttons control
the Fusion’s integrated MIDI sequencer/multitrack audio
recorder. The SET LOC button sets a locator point in the
song that you can jump to using the LOCATE button. The
remaining buttons control the recorder’s various Record
and transport functions just like on a regular tape machine
(or computer-based sequencer).

al igual que los botones de acceso rápido 1-8, el botón

localizar tiene una variedad de propósitos dependiendo del
menú en el que se encuentre y debería ayudarlo a hacer su
vida más fácil (como establecer rangos de teclas o localizar
zonas de teclas, etc.) estos accesos directos y otros las
funciones se cubrirán en capítulos futuros a medida que
vayan apareciendo.

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atajos de navegación útiles

fusion tiene una serie de funciones de acceso directo diseñadas para
hacer su vida mucho más fácil. tómese un momento para aprender estos
atajos ahora y ahorrará mucho tiempo en sus futuras sesiones con la
estación de trabajo. ubicaciones de la interfaz de usuario (ui)

[Hold SET LOC + 1—8 botones para establecer un punto de ubicación]

[Hold LOCATE + 1—8 botones para saltar al punto de ubicación]

UI Locate points allow you to jump to any page on the Fusion

with one keypress combination. Many people will find this to
be an extremely useful feature since they can set UI Locate
points for up to eight of their most commonly used pages and
instantly jump to these pages without having to navigate
through any menus.

Hold the SET LOC and press any of the 1 through 8 buttons
to set a UI locate point. Then, hold LOCATE and press that
number again to return to the page you had previously marked.

Locate Points
[Hold SET LOC + A—P buttons to set a locate point]
[Hold LOCATE + A—P buttons to jump to the locate point]

Locate points are extremely useful in Song mode because they

allow you to mark different parts of a song. You can then
return to these marked points instantly with one keypress
combination. For example, by marking the beginning of each
verse and chorus in your song, you will be able to jump to these
points without having to search for these points using the fast
forward and rewind transport controls.

To set a location point, hold the SET LOC button and press
any of the A through P buttons (each button is a different
locate point and you have 16 locate points for each song).

To jump to a locate point you’ve set, hold the LOCATE button

and press the A through P button that corresponds to where
you want to go.

If you press SET LOC without specifying an A—P button, it

will set your locate point to whatever your “Current Loc”
parameter is set to on the Song/Song/General page. Similarly,
if you press the LOCATE button without pressing one of the
A—P buttons, your transport will jump to whatever the
“Current Loc” parameter has been set to.

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 Chapter 2: Fusion Basics 2
Rewind to Beginning/Fast Forward to End
[Press LOCATE + REW to return to the beginning of a song]
[Press LOCATE + FFWD to jump to the end of a song]

When working in Song mode, you may want to rewind to the

beginning of a song or to fast-forward to the end of the song.
To rewind, press LOCATE and REW at the same time. To
fast-forward, press LOCATE and FFWD at the same time.

Return to Default Settings

[Hold INC + DEC buttons]

Each parameter has a designated “default” setting. If you’ve

changed a parameter and you’d like to return to its “default”
settings, press both INC and DEC buttons at the same time.

Setting Parameter Values Quickly

[Hold LOCATE + keyboard note]

A useful shortcut for setting parameter values is to use the

LOCATE key and press a note on the keyboard. If you have
selected a parameter that accepts either positive or negative
values, then middle C corresponds to zero and values become
larger (or smaller) as you get farther away from middle C. If
the parameter only accepts positive values, then the lowest note
on the keyboard selects the lowest value that is available for the
parameter.

EDIT/COMPARE Modes
[Press EDIT when you are in EDIT mode]

If you’ve changed any parameters and would like to compare

your changes with the original settings in the saved program,
mix, song, or sample, press EDIT once and you will be taken
into “Compare” mode. Press the EDIT button again to be
taken back to your current settings. This button lets you quickly
compare your changes to what has been saved.

Note that the text at the top of the screen changes from “Edit”
to “Comp” as you jump between edit and compare modes.
Also note that you cannot change any of the settings when you
are Compare mode—the mode is only provided as a reference.

Finally, once you save your updated parameter settings, you can
no longer compare your current program, mix, song, or sample
since your current settings have overwritten the old ones.

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EDIT/Back
[Press EDIT when you are out of EDIT mode]

If you have been editing a page and jump to another mode

(such as Mixer or Global mode), you can immediately return to
that page by pressing the EDIT button.

This may be very useful in Song and Mix modes as you may
find yourself jumping back and forth between Mixer mode and
in-depth pages in your Mix and Song modes. Once you’re done
tweaking your mixer, press EDIT and you’ll be taken back to
whatever page you came from.

Jump to Item Explorer

[Hold LOCATE and press either INC or DEC]
[Hold LOCATE and press either BANK button]

When you’re searching for a particular program, mix, song,

sample, or arpeggiation pattern, you may spend quite a bit of
time looking for it because the Fusion has a massive internal
hard disk drive that can store a lot of data. We’ve made
searching much easier by letting you link directly to the Fusion’s
“Item Explorer.”

The next time you are searching for something, make sure the
cursor is on a bank or item (items include programs, mixes,
songs, samples, and arpeggiation patterns) and hold LOCATE
and press either INC or DEC. This will take you to the
Global/Item menu where you can see all the items within the
current bank laid out before you. Once you have found the
item you are looking for, press the “Open” button and this item
will be loaded into whatever field you came from and you will
be returned from the item explorer back to where you came
from.

Alternatively, when the cursor is on a bank or item , you can

jump to the item explorer by holding the LOCATE button and
pressing either BANK button. When you are using this
method, the Fusion will take you to the Global/Item menu
where all the banks are laid out before you. Select the desired
bank and press “Open”, and then select the desired item.

Quick Access Buttons

siempre que esté en los modos program, mix o sampler, siempre
podrá seleccionar programas, mezclas o multimuestras
directamente utilizando los botones a — p y 1—8. los botones a
— p y 1—8 le permiten cargar cualquiera de los elementos
individuales contenidos en cada banco.

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 Chapter 2: Fusion Basics 2
Storing Your Work

Before we dive into the inner workings of the Fusion workstation, let’s
take a moment to learn how to store your programs, mixes, songs,
multisamples, and arpeggiation patterns.

Storing Programs, Mixes, Songs, and Multisamples

Storing your work on the Fusion is easy. Whenever you want to save
your work, press the “STORE” button and you’ll be taken to the menu
shown below. This menu will let you name and store your work from
Program, Mix, Song, and Sampler modes.

[Note: The image above is taken from Program mode but Mix, Song,
and Sampler modes look similar and function in the same way.]

Menu: (various modes)/STORE/Store

Parameter: Store (parameter; left side of screen)
Value Range: (varies depending on mode)

In some cases, you may need to specify exactly what you’d like to store.
For example, in Sampler mode you can work on an individual sample or a
set of samples that are layered and grouped together (called a
“multisample”). You need to specify whether you’d like to save the
sample or the multisample using this parameter.

Similarly, if you have been working with arpeggiation patterns in either

Program, Mix, or Song modes, you will be able to select between
“Current Program” which will save the entire program, or “Arp 1
Pattern” through “Arp 4 Pattern” which will only save the selected
arpeggiation pattern. Note that you cannot select arpeggiations 1
through 4 unless you’ve actually loaded or recorded a pattern into your
current mix, or song. Also note that Programs can only load one
arpeggiation pattern at a time.

If you add or edit samples within a multisample, you must store them
before storing your multisample. The same is true for patterns within
programs, mixes, and songs.

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Menu: (various modes)/STORE/Store

Parameter: Bank
Value Range: (varies depending on available banks)

Your program, mix, song, or multisample can be stored in any bank

available to your Fusion. Select that bank using this parameter.

If none of the existing banks are appropriate for your needs, you can
always create a new bank using the “New Bank” button (see below).

Menu: (various modes)/STORE/Store

Parameter: #
Value Range: A-1 (000) to P-8 (127) Banks with more than 128 items:

Each bank of the Fusion can contain more

This program lists where your current program, mix, song, or sample will than 128 items (i.e., programs, mixes, songs,
be stored within the bank. multisamples, samples, or patterns).
However, we do not recommend doing this
since you will not be able to access the
Note that if an existing program, mix, song, or multisample is already programs using the Quick Access buttons or
occupying that spot in the bank, its name will be listed in quotes to the “Program Change” messages (via MIDI).
right of the bank number. If the quotes are empty, it means that this
The only way to access such items will be by
spot in the bank has never been used and that you can store in this selecting them using the Control Wheel or
location without overwriting anything. the INC/DEC buttons.

If you decide to store over an existing program, a prompt will appear

asking you to confirm that you want to overwrite the existing item with
your current item.

Menu: (various modes)/STORE/Store

Parameter: Store (action button; right side of screen)
Value Range: (none)

This button stores your current program at the location indicated by the
“Bank” and “#” parameters.

Menu: (various modes)/STORE/Store Using Keys to Name Programs:

Parameter: Rename You can use the keys starting from the left-
Value Range: (none) most note on the workstation to select your
letters and numbers. Some users may find
This button brings up a page allowing you to rename your program. Use this to be faster than using the Control
Wheel for selecting characters—especially
the PREV/NEXT buttons to move the cursor back and forth while for longer names.
using the Control Wheel to select your letters and numbers.
Press a key once for lowercase and twice for
uppercase. Use the PREV/NEXT buttons to
Menu: (various modes)/STORE/Store move the cursor back and forth.
Parameter: New Bank
Value Range: (none)

This button brings up a prompt allowing you to select the name and
physical location of a new bank. See page 33 for more.

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 Chapter 2: Fusion Basics 2

[Note: The image above is taken from Program mode but Mix, Song,
and Sampler modes look similar and function in the same way.]

Menu: (various modes)/STORE/Store/New Bank

Parameter: Device
Value Range: Hard Drive, CF Media

This parameter lets you select the physical location of your new bank on
the Fusion. This parameter will vary depending on whether or not you
have inserted a Compact Flash card into the Fusion.

Menu: (various modes)/STORE/Store/New Bank

Parameter: New Bank
Value Range: (none)

This button creates the new bank on your Fusion.

Menu: (various modes)/STORE/Store/New Bank

Parameter: Rename
Value Range: (none)

The name of your bank is listed in large letters in the middle of the
screen. If you’d like to change the name, press this button. A prompt
will appear allowing you to change the name.

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The Clipboard
el portapapeles de fusion es una herramienta útil para copiar y pegar una
página completa de parámetros. por ejemplo, si desea transferir todas las
configuraciones del sobre de un programa a otro, puede hacerlo sin tener
que escribir (o recordar) todas las configuraciones de un programa y luego
ingresarlas manualmente en la página del sobre de otro programa.

el portapapeles se puede utilizar para copiar ajustes de las siguientes

páginas en el modo de programa: envolvente, lfo, filtro, efectos de bus,
efectos de inserción y mastereq.

para usar el portapapeles, simplemente vaya a una de las páginas

enumeradas anteriormente y presione "tienda". luego presione el botón
suave "portapapeles" en la parte superior izquierda. la pantalla debería
tener el siguiente aspecto:

una vez que presione el botón suave "copiar", el contenido de la página

de la que acaba de llegar se copiará en el portapapeles. su pantalla tendrá
un aspecto similar al siguiente (el "contenido" puede ser diferente según
lo que copie en el portapapeles):

observe que el botón "pegar" ahora ha aparecido en la pantalla y que la

página que acaba de copiar ahora aparece bajo la palabra "contenido:"

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 Chapter 2: Fusion Basics 2
Now you can freely navigate through the Fusion’s pages. The “Paste”
button will appear on the clipboard whenever you access a page to which
you can copy the clipboard contents. In other words, if you copied
Envelope parameters, every time you access an Envelope page, the “Paste
button will become available on this clipboard page.

If the “Paste” button is unavailable, it means you cannot copy the

contents of the clipboard to the current page.

Using this functionality, you can save a lot of time and energy when you
need to copy things like Envelope, LFO, and other settings to other pages.

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Connecting to a Computer via USB

The Fusion’s USB port allows you to connect your Fusion to a computer.
This is a very useful feature since it allows you to transfer programs,
mixes, songs, samples, multisamples, and arpeggiation patterns to (and
from) your computer. Once you have your files on your computer, you mover o eliminar archivos: tenga mucho
cuidado siempre que mueva o elimine
can back them up for safe-keeping, give them to friends who own cualquier archivo en su fusion. si mueve (o
Fusion workstations, or even share your Fusion related files over the elimina) un archivo, todos los demás
Internet. archivos que hagan referencia al elemento
movido o eliminado dejarán de ser válidos y
esto puede convertirse en un dolor de
This opens up a lot of possibilities, but you must be careful not to cabeza inesperado para usted. si mueve
disrupt existing file references by moving (or deleting) files or folders archivos, deberá actualizar todos los demás
archivos que se refieren al archivo movido.
on the Fusion’s hard disk. In other words, don’t move (or delete) files si elimina archivos, asegúrese de que
unless you’re sure that doing so won’t affect your other files! ningún otro archivo haga referencia a ellos.

This sounds complicated, so let’s break it down into a real-world

example: Let’s say you move a program to a different folder (using either
the Fusion’s own Item Explorer or through the USB connection). The
next time you fire up your Fusion and try to load a mix or song that formateo del disco duro: no formatee el
disco duro interno del fusion a través de
needs the program you just moved, you’ll get an error message telling usb. el uso de usb para formatear el disco
you that the program can’t be found. You’ll then have the option to tell duro puede degradar gravemente el
the Mix or Song where it can find the moved program. Now, if you rendimiento de la reproducción de audio. en
su lugar, utilice la función "formatear" en
had deleted that program you’d be in trouble because the song or mix el modo global (consulte la página 193), ya
would no longer be able to load the program. que eso asegurará que la unidad esté
formateada para un rendimiento de audio
óptimo.
The moral of the story is this: move and delete files carefully and make
sure that doing so won’t have unintended consequences!

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Chapter 3: Fusion Modes

This chapter covers all of the Fusion’s modes including Program, Mix,
Song, Sampler, Mixer, and Global. Since some features (including
Envelopes, LFOs, Filters, Arpeggiations, and Effects) are common to all
of these modes, we cover them separately in chapter 4.

Program Mode
This section covers parameters relating specifically to Program mode.
This includes everything found on the “Program,” “Synth,” and “Utility”
tabs (to the left of the display). See chapter 4 for detailed descriptions
about the “Mod,” “Arp,” and “Effects” tabs.

Setting Overall Program Parameters

Menu: Program/Program/General
Parameter: Tempo
Value Range: 50 – 300 BPM

The tempo that you set here–expressed in Beats Per Minute (BPM)–
determines the tempo at which the arpeggiator plays.

You can change this value during a performance by switching to the

“Arp” row on the Performance Panel and turning the corresponding
knob. If you change programs without saving your program, the tempo
value will revert back to the original tempo value so remember to save
your program if you want to keep your newly selected tempo.

Menu: Program/Program/General
Parameter: Category
Value Range: Piano, Chromatic, Organ, Guitar, Bass, Strings,
Ensemble, Brass, Reed, Pipe, Lead, Pad, Synth FX, Ethnic,
Drum/Perc, Sound FX, OTHER

Use this option to place the program into one of the seventeen
categories listed to the right of the parameter. Once you place the
program in a category, it will show up under that category when you are
browsing through the Fusion’s programs menu. Note that if you change
this parameter, your program will not show up under the new category
until you’ve saved your program.

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Menu: Program/Program/General
Parameter: Alternative Category (Piano, Chromatic, Organ, Guitar,
Bass, Strings, Ensemble, Brass, Reed, Pipe, Lead, Pad, Synth
FX, Ethnic, Drum/Perc, Sound FX)
Value Range: On, Off

Sometimes a sound fits into more than one category. For example a
sawtooth synth sound might work equally well as a bass or a lead. For
that reason, the Fusion allows you to assign a program to Alternate
Categories. If you select any of these check boxes, the instrument will
appear in multiple places when you’re browsing through your Fusion’s
sounds. Like the “Category” parameter, if you check alternative boxes,
your program will not show up under the new menus in the category
until you’ve saved your program.

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 Chapter 3: Fusion Modes 3

Menu: Program/Program/Pitch
Parameter: Voice Mode
Value Range: Polyphonic, Monophonic

This parameter lets you choose how your program is set up.
“Polyphonic” instruments can play many notes at the same time whereas
“Monophonic” instruments only play one note at a time. Pianos and
organs are examples of polyphonic instruments while flutes and
trumpets are examples of monophonic instruments. Fusion programs
can either be polyphonic or monophonic.

Menu: Program/Program/Pitch
Parameter: Number of Voices (only available if “Voice Mode” is
set to “Polyphonic”)
Value Range: Dynamic, 1 – 16

Unlike most synths which have a fixed number of voices that can play at
the same time, the Fusion automatically optimizes itself to squeeze the
maximum number of voices out of the synth engine. In other words,
There are different tuning types?
the Fusion does not set arbitrary limits on how many voices you can play
at the same time and lets you push the processor to its absolute limit. Yes! “Equal tempered” tuning is the most
common scale used today. Each semitone
step in a scale is equally spaced apart so it is
In general, you should leave this parameter set to Dynamic to allow the easily possible to transpose compositions.
workstation to optimize itself. The only case in which you might For example, you can compose a song and
consider changing this to a fixed limit is if you are creating a multi- then play it in another key without any
problems.
instrument Mix and want to limit the voices of one instrument to
maximize the voices of another. “Just major” and “just minor” are tuned in
a way in which there are no beats between
whole tones and semitones. A byproduct of
this kind of tuning is that the intervals
Menu: Program/Program/Pitch between adjacent notes in the scale vary,
Parameter: Tuning Type (Not available if your “Synthesis Type” is and so it is not always possible to transpose
set to “Drum”) your compositions into another key. In other
Value Range: Equal Tempered, Just Major, Just Minor words, if you compose a song in just major
or just minor tuning and try playing it in
another key, there’s a good chance your
Since the Classical era, pianos and other instruments in Western music song will sound very odd, out-of-tune, and
have been tuned to “Equal Temperament,” in which note pitches are just plain wrong… unless you’re into that
sort of thing.
evenly spaced apart from one another.
If none of this has made any sense to you,
However, the Fusion’s other tuning types can produce fantastic results don’t worry. Unless a musical composition
specifically calls for a different tuning type,
and may at times be more suitable for particular types of music. With just leave your tuning equal tempered.
this option, you can experiment with tuning types beyond the standard
Equal Tempered.

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Menu: Program/Program/Pitch
Parameter: Tuning Root (Not available if “Tuning Type” is set to
“Equal Tempered”)
Value Range: C through B

Sets the “root” note on which the rest of the note tunings are based. For If you’re playing a composition in Just
example, if you’re playing a just major (or minor) composition in the key Major (or Just Minor) and you’ve set the
Tuning Type, but your chords and intervals
of F, you have to set this value to F for proper tuning. still sound odd, double check your Tuning
Root to make sure it’s set correctly.
Equal Tempered tuning does not have a root note because all the notes
are equally spaced apart.

Menu: Program/Program/Pitch
Parameter: Transpose
Value Range: -48 to +48 semitones

Use transposition to reassign the notes that are triggered when you play
the keyboard (or access the Fusion via an external MIDI device). For
instance, with a “2 semitones” transposition, every time you play a C key,
the Fusion will play the D note instead.

You can transpose the Fusion up to four octaves higher or four octaves
lower than the default “0”-semitone setting.

Menu: Program/Program/Pitch
Parameter: Coarse Tune
Value Range: -48 to +48 semitones

Unlike transpose, which reassigns the notes that are triggered when you
play the keyboard, Coarse Tune actually pitch-shifts the notes you play.
Where transpose generally sounds natural, pitch can create weird and
often comical artifacts, especially when you radically pitch-shift sample-
based sounds. (If you’ve ever heard The Chipmunks Christmas record,
you’ve heard enough pitch shifting to last a lifetime… or two.)

Menu: Program/Program/Pitch
Parameter: Fine Tune
Value Range: -99 to +99 cents

Fine tune allows you to make small pitch changes. Use this function to
tune the program to a slightly flat or sharp ensemble.

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Menu: Program/Program/Pitch
Parameter: Pitch Bend Range
Value Range: 0 – 12 Semitones

Assign the pitch bend wheel’s range here. Values range from 0 (no pitch
bend) to 12 semitones.

Menu: Program/Program/Pitch
Parameter: Portamento Time
Value Range: 0 – 30 Sec

Portamento is when your instrument “glides” between notes (like a cello

for example) instead of abruptly jumping between them (like a piano).
This value sets the time it takes to glide between one note and another.
You can turn this function off by setting its value to 0.

Menu: Program/Program/Pitch
Parameter: Scaled
Value Range: On, Off

If you check this box, your “Portamento Time” setting (see above)
represents the time it takes to glide one octave. If you leave this box
unchecked, your “Portamento Time” parameter represents the time it
takes to glide from one note to another (regardless of distance between
each note).

Menu: Program/Program/Pitch
Parameter: Legato
Value Range: On, Off

If this parameter is set, portamento only occurs if when you play in

legato fashion (i.e., when you play a note before releasing the last note
played).

Menu: Program/Program/Pitch
Parameter: Continuous Pitch
Value Range: On, Off

If this parameter is set to “on,” the portamento pitch starts from where
the last portamento stopped. In other words, if you stop your
portamento in the middle of its glide, it will pick up wherever you left
off when you play your next note.

On the other hand, if this parameter is left off, the pitch will simply pick
up from the last note played.

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Menu: Program/Program/Output
Parameter: Program Volume
Value Range: 0 – 100%

This sets the overall volume for the program you’re playing.

Menu: Program/Program/Output
Parameter: Program Pan
Value Range: L100% to R100%

Pan (or Balance) sets the stereo positioning from hard left (L100%) to
hard right (R100%). This parameter changes depending upon your
sample type—if you’re using a mono sample, the screen displays “Pan,”
but if you’re using a stereo sample it says “Balance.” See the FAQ
section at the end of this manual (page 285) if you’d like to know why we
labeled things this way.

Menu: Program/Program/Output
Parameter: Insert (The effect is listed in the parenthesis to the
right of the parameter)
Value Range: On, Off

An Insert Effect is “inserted” between the program and the Fusion’s

audio outputs.

Here you can choose whether to enable or disable an insert effect for the
program. Your insert options will vary depending on what insert effect
you have selected in the Effects/Insert menu (page 252 for more on
this).

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Menu: Program/Program/Output
Parameter: Bus Send 1 & 2 (The effect is listed in the parenthesis
to the right of each Bus Send parameter)
Value Range: 0 – 100%

Bus Effects, unlike Insert Effects are shared by every program, mix, and
song on the Fusion. There are two Bus Effects available, labeled “Bus
Send 1” and “Bus Send 2.”

Dial in the amount of processing you want from each Bus Effect. For
Selecting Effects:
instance, if Bus Effect 1 is a reverb, 0% will have no effect on the
program, whereas 100% will yield the maximum amount of reverb which To select which effects you’d like to use, go
will sound like a washy, indistinct sound. With most Bus Sends to the Effects/Bus/Select menu (see page 253
for more about this).
(including reverbs), a medium setting will yield the best results.

Note that these settings affect the MAIN outputs only. If you set your
program to output on the AUX output (see below), the program will
bypass all bus effects.

Menu: Program/Program/Output
Parameter: Output Bus
Value Range: Main, Aux, None

The program’s audio output can be played through either the MAIN or
AUX outputs or disabled completely by setting this parameter to NONE.

Keep in mind that your sends are prior to the output selection. So if a
program has sends to an effect and the output set to MAIN then the user
hears the program + effect on the main outputs and nothing on the Aux
outputs. If the output setting is set to AUX then the user hears program
on the Aux and all “wet” effect output on the mains. If the output is set
to NONE, then the user hears all “wet” effect on the main outputs and
nothing on the Aux outputs. A setting of NONE is useful if the user
wants just the effect output without hearing the actual program output.
Also note that the effects bus return volume (on the effects page) must
be turned up in order to hear the effect. The diagram on page 262
should clear up any confusion.

Menu: Program/Program/Output
Parameter: Jump Mod
Value Range: (none)

Once you have created a modulation route to a parameter on this page

(using the modulation matrix), a new button called “Jump Mod” appears
on the right that allows you to immediately jump to the page of the
matrix where the connection is being made.

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Menu: Program/Program/Output
Parameter: Jump FX
Value Range: (none)

This button will take you to the Effects menu where you can select and
edit the effects that you’d like to use.

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Synthesis Type: Sample Playback

Sample Synthesis uses looped, layered, and filtered samples of real
acoustic sources and the direct output of other electronic instruments
for the utmost sonic realism.

• Oscillators: One or two multi-sample sets.

• Filters: 3 Filters total. 2 minimized filters (one at each
oscillator) + 1 filter for the voice. Each “minimized filter” is a
1-pole low pass, non-resonant filter. All other filters mentioned
above have variable type, steepness, cutoff frequency, and
resonance.
• Envelopes: Up to eight envelopes for controlling volume,
filter, pitch, or other parameters.
• Low-frequency oscillators (LFO): Up to eight low-frequency
oscillators for controlling vibrato, filter operation, or other
parameters.

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Menu: Program/Synth/Osc/Config
Parameter: View
Value Range: Osc Enable, Osc Multisample, Osc Transpose, Osc
Coarse Tune, Osc Fine Tune, Osc Volume, Osc Pan

This screen provides a convenient overview showing how many of the

commonly used parameters in the Sample Synthesis submenus are
configured.

This page shows parameter settings of both oscillators in relation to one

another. By having these common parameters on one screen, it saves
users from having to jump back and forth between multiple oscillator
pages. You can change oscillator settings (volume, pan, tuning, etc) by
editing the “1:” and “2:” parameters.

Since our synthesis type is set to Sample Synthesis, we have two

oscillators available for editing (remember that the Sample Synthesis type
has two oscillators).

Menu: Program/Synth/Osc/Config
Parameter: X: (Crossfade)
Value Range: 0 – 100%

Sets the volume balance between each of your two oscillators. Many
users route the velocity of the keyboard to this parameter to achieve a
velocity cross-fade in which you hear more of one oscillator and less of
another as a key is struck harder.

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Menu: Program/Synth/Osc/Select
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 2

Select the oscillator you’d like to edit.

Menu: Program/Synth/Osc/Select
Parameter: Enable
Value Range: On, Off

Allows you to enable or disable each oscillator

Menu: Program/Synth/Osc/Select
Parameter: Multisample
Value Range: (varies depending on available multisamples)

This parameter lets you select the multisample you want to load for each
of the two oscillators in Sample Playback mode.

Menu: Program/Synth/Osc/Select
Parameter: Start
Value Range: 0 – 10%

When you set a Start point, you indicate how much of the initial attack
of your sample you want to include. When set to “0%,” the sample will About Zero-Crossing Points:
begin playing at the beginning. At “10%,” the sample will begin playing
If you place your start point on a non-zero
10% into the sample and will bypass much of the natural “attack” of crossing (i.e., at the top or the bottom of a
your sample. Bypassing the attack of your sample results in more waveform) then you’ll hear a click or a pop
“mellow” tone since much of the initial transients have been removed. as the sample is triggered. This click has
nothing to do with the actual sample attack,
but can be perceived as an attack. If you do
Sound designers sometimes use this parameter to control the perceived not want this sound to appear in your
“hardness” of the sound. For example, by mapping note velocity of the sample, you can either change the start point
until it lands on (or close to) a zero-
keyboard to the start point of guitar or drum samples, the harder you crossing, or you can set an amplitude
strike the keyboard, the more of the natural attack comes through envelope attack time to about 5 or 10
milliseconds and that should smooth out any
resulting in a seemingly “harder” strike (or pick, in the case of a guitar).
clicks or pops.
Conversely, as you play more softly, more of the attack is bypassed and a
mellower tone results.

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Menu: Program/Synth/Osc/Select About Key Up Envelope Triggering:

Parameter: Trigger on key up
Value Range: On, Off You’ll probably want to set the envelope
trigger mode (see page 226 for more) to
Usually, you want sounds to play when you press a key. But there are “key up” so that the volume envelope does
not jump to the Release state and quickly
some cases–such as a harpsichord’s release sound–where you want the mute your sound when you release a key.
sound to play when you raise your fingers off the keys. Enable Trigger Alternatively, you could leave the trigger
On Key Up in such cases. mode to “normal” but increase the release
time so that this oscillator has a chance to
play before being muted.

Menu: Program/Synth/Osc/Select
Parameter: FM source
Value Range: None, Osc 1, Osc 2, Filter

You can have the filter or an oscillator’s waveform modulate the

frequency of the current oscillator. The result is a more complex
waveform with richer harmonics.

Menu: Program/Synth/Osc/Select
Parameter: FM Amount
Value Range: 0 – 100%

Blend in any amount of the FM source. Higher percentages blend in

more of the FM source and create richer harmonics. Smaller
percentages blend in less of the FM source and leave a more pure tone
from your oscillator.

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Menu: Program/Synth/Osc/Pitch
Parameter: Edit OSC
Value Range: Osc 1 to Osc 2

Choose the oscillator you’d like to edit.

Menu: Program/Synth/Osc/Pitch
Parameter: Transpose
Value Range: -48 to +48 semitones

Use transpose to reassign the notes that are triggered when you play the
keyboard (or access the Fusion via an external MIDI device). For
instance, with a “2 semitones” transposition, every time you play a C key,
the Fusion will play the D note instead.

Menu: Program/Synth/Osc/Pitch
Parameter: Coarse Tune
Value Range: -48 to +48 semitones

Use this parameter to make large pitch changes to your oscillator (in
semitone steps).

Menu: Program/Synth/Osc/Pitch
Parameter: Fine Tune
Value Range: -99 to +99 Cents

Change this parameter to fine tune your oscillator’s pitch.

Menu: Program/Synth/Osc/Pitch
Parameter: Keytrack
Value Range: On, Off

Under normal circumstances, you’ll most likely want the oscillator pitch
to follow the key you’re playing on the keyboard so leave this parameter
set to “On.” Turn this function off if you don’t want your oscillator
pitch to follow the key you’re playing on the keyboard.

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Menu: Program/Synth/Osc/Output
Parameter: Edit Osc
Value Range: Osc 1 to Osc 2

Choose the oscillator you’d like to edit.

Menu: Program/Synth/Osc/Output
Parameter: Osc Out
Value Range: On, Off

If you want to mute the output of an oscillator, uncheck this box. This
option exists because it allows an oscillator to modulate another oscillator
without its output being heard (you only hear the effects of the
modulation on another oscillator).

For normal operation, leave this box checked.

Menu: Program/Synth/Osc/Output
Parameter: Optimize osc to Mono About “Optimize to Mono”
Value Range: On, Off
When you set Optimize to Mono ON, you
This option conserves processing power and maximizes the number of can’t pan each individual oscillator, but you
can still pan the overall program through
voices on your Fusion by removing panning for an oscillator. the Program/Output page.

Menu: Program/Synth/Osc/Output
Parameter: Mono source channel (only appears when “Optimize to
Mono” is checked and a stereo sample is being used)
Value Range: Left, Right

If you check the “Optimize osc to Mono” parameter and are using a
stereo sample for this program, your oscillator can only use one channel
of your stereo sample. Select which channel you’d like to use here.

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Menu: Program/Synth/Osc/Output
Parameter: Osc Volume
Value Range: 0 – 100%

Sets the volume of each oscillator. This is different from the Volume
parameter in the Program/Output menu because it lets you set the
volume of each individual oscillator in your program, whereas the
Volume/Output menu sets the level of the entire program.

Menu: Program/Synth/Osc/Output
Parameter: Osc Pan (only visible if “Optimize to Mono” is turned
off)
Value Range: L100% to R100%

Sets the pan position of each individual oscillator. This is different from
the Pan parameter under the Program/Output section because each
oscillator can be panned to its own position whereas the
Program/Output setting will pan the entire program.

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Synthesis Type: Drum

This synthesis type is specifically designed and optimized for drums and
other sample sets where each note on the keyboard corresponds to one
distinct type of sound (i.e., kick drum, snare drum, ride cymbal, etc.)

• Oscillators: Each oscillator can have up to four cross-switched

samples, and up to 64 oscillators can be “stacked” on the same
note. This allows you to use up to 256 samples per program.
• Filters: 64 filters total. One filter at each oscillator. You can
assign each filter’s type, cutoff, frequency, and resonance.
• Envelopes: Up to eight envelopes for controlling volume,
filter, sustain, or other parameters.
• Low-frequency oscillators (LFO): Up to eight low-frequency
oscillators for controlling vibrato, filter operation, or other
parameters.

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The Synth/Osc/Config screen provides a convenient overview showing

how many of the commonly used parameters in the Drum Synthesis
submenus are configured.

This page shows parameter settings of eight consecutive oscillators in

relation to one another. By having these common parameters on one
screen, it saves users from having to jump back and forth between
multiple oscillator pages. You can change oscillator settings (volume,
pan, tuning, etc) by editing the parameters labeled “1:”, “2:”, and so on.

Since our synthesis type is set to Drum Synthesis, we have 64 oscillators

available for editing.

Menu: Program/Synth/Osc/Config
Parameter: View (Left Side; oscillator range)
Value Range: 1 to 64 (displayed in groups of 8)

This menu allows you to cycle through all 64 oscillators that you can use
under the Drum Synthesis method.

Menu: Program/Synth/Osc/Config
Parameter: View (Right Side; Oscillator Parameter)
Value Range: Osc Enable, Osc Note, Osc Coarse Tune, Osc Fine
Tune, Osc Volume, Osc Pan

This section provides quick access to common oscillator parameters.

Choose the parameter that you want to edit across your eight drums.
Note that this selection changes what appears in the 1: through 64: fields
(see below).

Menu: Program/Synth/Osc/Config
Parameter: 1: through 64:
Value Range: Varies depending on View setting (see above)

This section provides quick access to common oscillator parameters.

The contents of this parameter change depend on your “view” (Right
Side) settings. Use the Control Wheel to adjust the listed values.

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Menu: Program/Synth/Osc/Select
Parameter: EDIT Osc:
Value Range: Osc 1 to Osc 64

Select the oscillator you’d like to edit. The value in the parenthesis varies
depending on what note the oscillator has been assigned to (using the
“Note” parameter—see below).

Menu: Program/Synth/Osc/Select
Parameter: Enable
Value Range: On, Off

Allows you to enable or disable each oscillator.

Menu: Program/Synth/Osc/Select
Parameter: Note
Value Range: C-2 to G8

This parameter selects the note your oscillator will play on. Keep in
mind that it is possible for multiple oscillators to be assigned to the same
note.

Menu: Program/Synth/Osc/Select
Parameter: Start
Value Range: 0 % to 10%

When you set a Start point, you indicate how much of the initial attack
of your sample you want to include. When set to “0%,” the sample will About Zero-Crossings:
begin playing at the beginning. At “10%,” the sample will begin playing
If you place your start point on a non-zero
10% into the sample and will bypass much of the natural “attack” of crossing (i.e., at the top or the bottom of a
your sample. Bypassing the attack of your sample results in more waveform) then you may hear a click or a
pop as the sample is triggered. This click
“mellow” tone since much of the initial transient has been removed. has nothing to do with the actual sample
attack, but can be perceived as an attack. If
Sound designers sometimes use this parameter to control the perceived you do not want this sound to appear in your
sample, you can either change the start point
“hardness” of the sound. For example, by mapping note velocity of the until it lands on (or close to) a zero-
keyboard to the start point of drum samples, the harder you strike the crossing, or you can set an amplitude
keyboard, the more of the natural attack comes through resulting in a envelope attack time to about 5 or 10
milliseconds and that should smooth out any
seemingly “harder” strike (or pick, in the case of a guitar). Conversely, as clicks or pops.
you play more softly, more of the attack is bypassed and a mellower tone
results.

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Menu: Program/Synth/Osc/Select
Parameter: Mute Group
Value Range: None, Self, A to P

This allows you to mute one oscillator when another is played.

Certain percussion sounds mute other sounds when played in succession.

For example, when you play an open hi-hat and then follow it with a
closed hi-hat, the closed hi-hat stops the open hat from ringing. By
assigning individual oscillators to the same mute group (groups range
from A through P) you can have one oscillator mute another oscillator’s
output as soon as you play it.

You can also assign an instrument to mute itself by setting the parameter
to Self. This is commonly used to save polyphony on drum sounds with
long decay times (such as ride cymbals). Instead of repeatedly triggering
a new voice (and thus, quickly eating up your polyphony), you can stop
and re-trigger the same voice.

Menu: Program/Synth/Osc/Select
Parameter: Reverse
Value Range: On, Off

Check this box to make the sample play backwards.

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Menu: Program/Synth/Osc/Pitch
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 64

Select the oscillator you’d like to edit. Since we’re in Drum Synthesis
mode, you have 64 oscillators to choose from.

The value in the parenthesis varies depending on what note the oscillator
has been assigned to (using the “Note” parameter on the
Synth/Osc/Select page).

Menu: Program/Synth/Osc/Pitch
Parameter: Coarse Tune
Value Range: -48 to +48

This parameter pitch-shifts the drum sample you are editing. Smaller
amounts of pitch shifting can be used to change the tuning of a drum,
whereas large amounts of pitch shifting can be used to create strange and
interesting (and sometimes otherworldly) percussion sounds.

Menu: Program/Synth/Osc/Pitch
Parameter: Fine Tune
Value Range: -99 to +99

Change this parameter to tune your oscillator sharp or flat.

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Menu: Program/Synth/Osc/Output
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 64

Choose the oscillator you’d like to edit. Since our synthesis type is set to
Drum, you have 64 oscillators to choose from.

The value in the parenthesis varies depending on what note the oscillator
has been assigned to (using the “Note” parameter on the
Synth/Osc/Select page).

Menu: Program/Synth/Osc/Output
Parameter: Optimize osc to Mono About “Optimize Osc to Mono”
Value Range: On, Off When you set Optimize to Mono ON, you
can’t pan each individual oscillator, but you
This option conserves processing power and maximizes the number of can still pan the overall program through
the Program/Output page.
voices on your Fusion by removing panning for an oscillator.

Menu: Program/Synth/Osc/Output
Parameter: Osc Volume
Value Range: 0 to 100%

Sets the volume of each oscillator. This is different from the Volume
parameter in the Synth/Drum/Output menu because it lets you set the
volume of each individual oscillator in your program, whereas the
Program/Output menu sets the level of the entire program.

Menu: Program/Synth/Osc/Output
Parameter: Osc Pan (only visible if “Optimize to Mono” is turned
off)
Value Range: L100% to R100%

Sets the pan position of each individual oscillator. This is different from
the Pan parameter under the Program/Output section because each
oscillator can be panned to its own position whereas the
Program/Output setting will pan the entire program.

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Menu: Program/Synth/Drum/Config
Parameter: View
Value Range: Drum Enable, Drum Sample, Drum Vel Max/Split,
Drum Coarse Tune, Drum Fine Tune, Drum Volume, Drum
Pan

This screen provides a convenient overview showing how many of the

commonly used parameters in the Drum Synthesis submenus are
configured.

This page shows parameter settings of several samples in relation to one

another. By having these common parameters on one screen, it saves
users from having to jump back and forth between multiple drum pages.
You can change drum settings (volume, pan, tuning, etc) by editing the
“1:” “2:” “3:” and “4:” parameters (see below).

Menu: Program/Synth/Drum/Config
Parameter: 1: to 4:
Value Range: Varies depending on View setting (see above)

This section provides quick access to common drum settings. The

contents of this parameter change depend on your “view” parameter
settings. Use the Control Wheel to adjust the listed setting.

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Menu: Program/Synth/Drum/Select
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 64

Choose the oscillator you’d like to edit. Since our synthesis type is set to
Drum, you have 64 oscillators to choose from.

The value in the parenthesis varies depending on what note the oscillator
has been assigned to (using the “Note” parameter on the
Synth/Osc/Select page).

Menu: Program/Synth/Drum/Select
Parameter: EDIT Drum
Value Range: Drum 1 to Drum 4

Each oscillator in the Drum Synthesis type can have up to four drum
samples. Select the individual drum sound you’d like to edit here.

Menu: Program/Synth/Drum/Select
Parameter: Enable
Value Range: On, Off

This parameter lets you enable or disable individual drum samples.

Menu: Program/Synth/Drum/Select
Parameter: Sample
Value Range: [Varies depending on samples available to the
Fusion]

You can assign one sample to each drum. Assign that sample here.

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Menu: Program/Synth/Drum/Select
Parameter: Drum 1 Vel Max (varies slightly depending on which
drums have been enabled)
Value Range: 0 to 127

This parameter sets the maximum drum velocity (or velocity-switching

point if you have more than one drum sample enabled).

Note that if you only have one drum enabled and “Drum 1 Vel Max” is
set below 127 then you won’t hear any sounds when a note is triggered at
a velocity above the maximum velocity. By that same token, if your
“Drum 1 Vel Min” is set high, then you will not hear any sounds when a
note is triggered too softly.

Menu: Program/Synth/Drum/Select
Parameter: Sample Start
Value Range: [depends on sample]

This parameter is identical to the “Start” parameter mentioned earlier in

this chapter (see the Synth/Osc/Select section for more).

Menu: Program/Synth/Drum/Select
Parameter: Loop Start
Value Range: [depends on sample]

This parameter sets the point at which your looping will start taking
place. Once playback of your sample reaches the “Loop End” point (see
below), it jumps back to this point and begins looping between these two
points. If the Loop Start is greater than or equal to the Loop End, then
the Fusion will default to using the loop points defined within the
sample.

Menu: Program/Synth/Drum/Select
Parameter: Loop End
Value Range: [depends on sample]

This parameter sets the end point of your loop. Once playback of your
sample reaches this point, it will jump back to the “Loop Start” point
(see above) and a loop will begin taking place between these two points.
If the Loop End is less than or equal to the Loop Start then the Fusion
will default to using the loop points defined within the sample.

Menu: Program/Synth/Drum/Select
Parameter: Loop Fine Tune
Value Range: [depends on sample]

This parameter lets you make small adjustments to the loop portion of
your sample.

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Menu: Program/Synth/Drum/Pitch
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 64

Choose the oscillator you’d like to edit.

Menu: Program/Synth/Drum/Pitch
Parameter: EDIT Drum
Value Range: Drum 1 to Drum 4

Each oscillator in the Drum Synthesis type can have up to four drum
parts. Select the individual drum sound you’d like to edit here.

Menu: Program/Synth/Drum/Pitch
Parameter: Coarse Tune
Value Range: -48 to +48 Semitones

Use this parameter to make large pitch changes to your drum (in
semitone steps).

Menu: Program/Synth/Drum/Pitch
Parameter: Fine Tune
Value Range: -99 to +99 Cents

Change this parameter to fine tune your drum’s pitch.

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Menu: Program/Synth/Drum/Output
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 64

Choose the oscillator you’d like to edit.

Menu: Program/Synth/Drum/Output
Parameter: EDIT Drum
Value Range: Drum 1 to Drum 4

Each oscillator in the Drum Synthesis type can have up to four drum
parts. Select the individual drum sound you’d like to edit here.

Menu: Program/Synth/Drum/Output
Parameter: Volume
Value Range: 0 to 100%

This parameter sets the volume of each individual drum sound for one
oscillator. This is different from the “Osc Volume” parameter found in
the Synth/Osc/Output menu because it lets you adjust drum sounds
relative to one another. The “Osc Volume” parameter, on the other
hand, adjusts the volume of the entire oscillator (i.e., all the drums in that
oscillator).

Menu: Program/Synth/Drum/Output
Parameter: Pan
Value Range: “Optimized to mono,” or L100% to R100%
Optimizing to Mono:
Sets the pan position of each individual drum. This is different from the This parameter will be replaced by the
Pan parameter under the Program/Output section because each drum words “(Osc is optimized to mono)” if the
can be panned to its own position whereas the Program/Output setting “Optimize osc to mono” parameter for that
drum is checked in the Synth/Osc/Output.
will pan the entire program.

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Synthesis Type: Analog

Analog Synthesis uses oscillators, Envelopes, LFOs, and a filter to
generate all kinds of sounds ranging from simple bass instruments to
complex, otherworldly pad and lead instruments (and everything in
between).

• Oscillators: Up to three basic waveforms (sawtooth, pulse, and

sine waves, plus white, pink, and red noise, as well as incoming
sound from the External Inputs).
• Filters: One filter. You can assign the filter’s type, cutoff,
frequency, and resonance.
• Envelopes: Up to eight envelopes for controlling volume,
filter, pitch, or other parameters.
• Low-frequency oscillators (LFO): Up to eight low-frequency
oscillators for controlling vibrato, filter operation, or other
parameters.

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Menu: Program/Synth/Osc/Config
Parameter: View
Value Range: Osc Enable, Osc Type, Osc Coarse Tune, Osc Fine
Tune, Osc Random Tune, Osc Volume, Osc Pan

This screen provides a convenient overview showing how many of the

commonly used parameters in the Analog Synthesis submenus are
configured.

This page shows parameter settings of several oscillators in relation to

one another. By having these common parameters on one screen, it
saves users from having to jump back and forth between multiple
oscillator pages. You can change oscillator settings (volume, pan, tuning,
etc) by editing the “1:” “2:” and “3:” parameters (see below).

Since our synthesis type is set to Analog Synthesis, we have three

oscillators available for editing (remember that the Analog Synthesis type
has three oscillators).

Menu: Program/Synth/Osc/Config
Parameter: 1:, 2:, 3:
Value Range: Varies depending on View setting (see above)

This section provides quick access to common oscillator settings. The

contents of this parameter change depend on your “view” parameter
settings. Use the Control Wheel to adjust the listed setting.

Menu: Program/Synth/Osc/Config
Parameter: R: (Ring Mod On/Off)
Value Range: On, Off

Enable or disable ring modulation with this parameter.

Menu: Program/Synth/Osc/Config
Parameter: R: (Ring Mod Type)
Value Range: None, Osc 1 x Osc 2, Osc 1 x Osc 3, Osc 2 x Osc 3,
Osc 1 x Osc 2 x Osc 3

Allows you to choose how the three oscillators will modulate each other.

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Menu: Program/Synth/Osc/Select
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 3

Select the oscillator you’d like to edit.

Menu: Program/Synth/Osc/Select
Parameter: Enable
Value Range: On, Off

Allows you to enable or disable each oscillator

Menu: Program/Synth/Osc/Select How do I make Sawtooth and Up/Down

Parameter: Type Saw waveforms?
Value Range: Sawtooth, Pulse, Sine, White Noise, Pink Noise, Red
Noise, Ext In You can create down-saw, triangle, and up-
saw waveforms by selecting “Sawtooth” and
changing the “shape” parameter (see
This parameter allows you to select the shape of your oscillator. When below). To create a down-saw, set your
you select “Ext In” as your oscillator type, your oscillator becomes “shape” parameter to “-100%” whereas to
create an up-saw, set this parameter to
whatever audio is being played into the ¼” input jacks labeled “Input +100%. For a triangle wave, leave the
Left” and Input Right” on the back of the Fusion. parameter set to 0%.

You can create a square wave by selecting a

“Pulse” waveform and setting the “Shape”
Menu: Program/Synth/Osc/Select parameter to 0% (see below).
Parameter: Shape (only available on Sawtooth and Pulse oscillator
types)
Value Range: -100% to 100%

Shape alters the waveform of your Sawtooth or Pulse oscillator type.

This parameter is sometimes called “Pulse Width Modulation” on some
synthesizers when referring to square waves.

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Menu: Program/Synth/Osc/Select
Parameter: Sync
Value Range: None, Osc 1, Osc 2, Osc 3, Ring Mod, Filter

Resets the phase of your oscillator in relation to the initial phase of

another Oscillator, Ring Mod, or Filter. This creates richer harmonic
content on your currently selected oscillator.

Note that you generally end up with better results if your current
oscillator is synced to another oscillator that is lower in pitch. If both
oscillators are at the same pitch (or close to one another), little or no
harmonics will be generated.

Menu: Program/Synth/Osc/Select
Parameter: Oscillator Reset
Value Range: On, Off

If set to “on” this parameter starts the oscillator from the beginning of
the waveform every time a voice is triggered. If set to “off ” the
oscillator is free running and does not reset whenever a new voice is
triggered.

Menu: Program/Synth/Osc/Select
Parameter: FM Source
Value Range: None, Osc 1, Osc 2, Osc 3, Ring Mod, Filter

You can use a filter, ring mod, or another oscillator’s waveform to

modulate the frequency of the current oscillator. The result is a more
complex waveform with richer harmonics.

Menu: Program/Synth/Osc/Select
Parameter: FM Amount
Value Range: 0-100%

Blend in any amount of the FM source. Higher percentages blend in

more of the FM source and create richer harmonics. Smaller
percentages blend in less of the FM source and leave a more pure tone
from your oscillator.

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Menu: Program/Synth/Osc/Pitch
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 3

Choose the oscillator you’d like to edit. Since our synthesis type is set to
Analog, you have three oscillators to choose from.

Menu: Program/Synth/Osc/Pitch
Parameter: Coarse Tune
Value Range: -48 to +48 Semitones

This parameter pitch-shifts the oscillator you are playing.

Menu: Program/Synth/Osc/Pitch
Parameter: Fine Tune
Value Range: -99 to +99 Cents

Use this parameter to fine-tune (or detune) your oscillator.

Menu: Program/Synth/Osc/Pitch
Parameter: Random Tune
Value Range: 0-100%

Random Tune generates unpredictable tuning variances in your oscillator.

The higher you set this value, the more unpredictable your tuning
becomes.

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Menu: Program/Synth/Osc/Output
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 3

Choose the oscillator you’d like to edit. Since our synthesis type is set to
Analog, you have three oscillators to choose from.

Menu: Program/Synth/Osc/Output
Parameter: Osc Out
Value Range: On, Off

When using an oscillator as a modulation source for another oscillator

(this often happens in FM, sync, or ring modulation), you may want to
mute the actual output of the oscillator so that you only hear the effects
of its modulation.

If you want to mute the output of an oscillator, uncheck this box.

Otherwise, leave this box checked for normal operation.

Menu: Program/Synth/Osc/Output
Parameter: Optimize Osc to Mono
Value Range: On, Off

This parameter reduces DSP load on the Fusion by summing the

oscillator’s output into mono. Turning this option on allows you to have
higher polyphony, but it means you cannot pan the oscillator across a
stereo field.

In cases where the oscillator is panned to the center, it is best to leave

this option set to “on” since you’re not using panning anyway.

Menu: Program/Synth/Osc/Output
Parameter: Osc Volume
Value Range: 0 – 100%

Sets the volume of each oscillator. This is different from the Volume
parameter in the Volume/Output menu because it lets you set the
volume of each individual oscillator in your program, whereas the
Program/Output menu sets the level of the entire program.

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Menu: Program/Synth/Osc/Output
Parameter: Osc Pan (only visible if “Optimize to Mono” is turned
off)
Value Range: L100% to R100%

Sets the pan position of each individual oscillator. This is different from
the Pan parameter under the Program/Output section because each
oscillator can be panned to its own position whereas the
Program/Output setting will pan the entire program.

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Synthesis Type: FM
FM is a form of synthesis that relies on two (or more) oscillators
modulating each other to create a sound. Since its inception in the
1970s, FM synthesis has found its way into countless hit songs and
continues to be used today because of the wide palette of sounds it can
produce.

• Oscillators: Six basic waveforms (sine wave variations, plus

white noise).
• Filters: One filter. You can assign this filter’s type, cutoff,
frequency, and resonance.
• Envelopes: Up to eight envelopes for controlling volume,
filter, pitch, or other parameters.
• Low-frequency oscillators (LFO): Up to eight low-frequency
oscillators for controlling pitch, volume, or other parameters.

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Menu: Program/Synth/Osc/Config
Parameter: View
Value Range: Osc Enable, Osc Output, Osc Type, Osc Coarse
Tune, Osc Fine Tune, Osc Random Tune, Osc Pan

This screen provides a convenient overview showing how many of the

commonly used parameters in the FM Synthesis submenus are
configured.

This page shows parameter settings of several oscillators in relation to

one another. By having these common parameters on one screen, it
saves users from having to jump back and forth between multiple
oscillator pages. You can change oscillator settings (volume, tuning, etc)
by editing to the “1:” through “6:” parameters (see below).

Since our synthesis type is set to FM Synthesis, we have six oscillators

available for editing.

Menu: Program/Synth/Osc/Config
Parameter: 1: to 6:
Value Range: Varies depending on View setting (see above)

This section provides quick access to common oscillator settings. The

contents of this parameter change depend on your “view” parameter
settings. Use the Control Wheel to adjust the listed setting.

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Menu: Program/Synth/Osc/Select
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 6

Select the oscillator you’d like to edit.

Menu: Program/Synth/Osc/Select
Parameter: Enable
Value Range: On, Off

Allows you to enable or disable each oscillator.

Menu: Program/Synth/Osc/Select
Parameter: Type
Value Range: Sine, Sine Square Root, Sine Squared, Sine Warp,
White Noise

This parameter allows you to select the shape of your oscillator.

Menu: Program/Synth/Osc/Select
Parameter: Oscillator Reset
Value Range: On, Off

If set to “on” this parameter starts the oscillator from the beginning of
the waveform every time a voice is triggered. If set to “off ” the
oscillator is free running and does not reset whenever a new voice is
triggered

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Menu: Program/Synth/Osc/Pitch
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 6

Choose the oscillator you’d like to edit. Since our synthesis type is set to
FM, you have six oscillators to choose from.

Menu: Program/Synth/Osc/Pitch
Parameter: Coarse Tune
Value Range: -48 to +48 Semitones

This parameter pitch-shifts the oscillator you are playing.

Menu: Program/Synth/Osc/Pitch
Parameter: Fine Tune
Value Range: -99 to +99 Cents

Use this parameter to fine-tune (or detune) your oscillator.

Menu: Program/Synth/Osc/Pitch
Parameter: Random Tune
Value Range: 0-100%

Random Tune generates unpredictable tuning deviations in your

oscillator. The higher you set this value, the greater the range of pitch
variance.

Menu: Program/Synth/Osc/Pitch
Parameter: Key Track
Value Range: On, Off

Turn this function off if you don’t want your oscillator pitch to follow
the key you’re playing on the keyboard. For example, sound designers
sometimes want certain modulation sources to stay constant whereas the
destination oscillator pitches follow the keyboard normally. To do this,
go ahead and turn “Key Track” off.

Under normal circumstances, you’ll most likely want the oscillator pitch
to follow the key you’re playing on the keyboard so leave this parameter
set to “On.”

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Menu: Program/Synth/Osc/Output
Parameter: EDIT Osc
Value Range: Osc 1 to Osc 6

Choose the oscillator you’d like to edit. Since our synthesis type is set to
FM, you have six oscillators to choose from.

Menu: Program/Synth/Osc/Output
Parameter: Osc Out
Value Range: On, Off

Check this parameter if you want to route your oscillator to the output.

Menu: Program/Synth/Osc/Output
Parameter: Osc Volume (only visible if “Osc Output” box is checked)
Value Range: 0 – 100%

This parameter sets the output volume for the oscillator that is currently
selected. Note that this parameter is only available if the “Osc Out” box
is checked.

Menu: Program/Synth/Osc/Output
Parameter: Route To (All oscillators including self)
Value Range: On, Off

These checkboxes allow you to route the output of your currently

selected oscillator to modulate any other oscillator.

Menu: Program/Synth/Osc/Output
Parameter: Modulation Amount (only visible when the
corresponding “Route To” box is checked)
Value Range: 0 – 100%

This parameter determines how much your source oscillator is going to

modulate the destination oscillator. The higher you set this value, the
more modulation will take place (resulting in richer harmonics).

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Menu: Program/Synth/Router
Parameter: EDIT Route (Source)
Value Range: Osc 1 to Osc 6

Choose the oscillator you’d like to edit.

Menu: Program/Synth/Router
Parameter: EDIT Route (Destination)
Value Range: Osc 1 to Osc 6, Output

Use this parameter to select where you’d like the oscillator to be routed.
The Fusion allows you to route an oscillator to any other oscillator
(including itself) or to the audio output of the keyboard. Keep in mind it
is possible to connect one source to multiple destinations.

The diagram on the top indicates how each oscillator is routed. Note
that your source is not routed to the destination until the “Enable” box is
checked. Also note in order to modulate an FM route, this box must be
checked. If it is not checked then it will not show up as a possible choice
within the destination choices in the Mod Menu.

Menu: Program/Synth/Router
Parameter: Enable
Value Range: On, Off

This box indicates whether your currently selected source is being routed
to the current destination. To make a connection, select your source and
destinations (see above) and check this box. Conversely, to break a
connection select your source and destinations and uncheck the
“Enable” box.

As stated in the section above, in order to modulate an FM route, the

enable box must be checked. If left unchecked, the FM route will not
show up as a possible choice within the destination choices in the Mod
Menu.

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Menu: Program/Synth/Router
Parameter: Amount
Value Range: 0-100%

This parameter determines how much your currently selected source is

going to modulate the currently selected destination. Note that the
“Enable” box has to be checked for any modulation to take place.

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Synthesis Type: Reed Model

The Reed Model synthesis type uses complex mathematics to simulate
the behavior of sound waves inside a reed instrument. This allows you
to create extremely realistic programs of any instrument that has a
mouthpiece with a vibrating reed connected to a cylindrical bore (such as
a clarinet.) You can also use this model to create instruments that do not
(or cannot) exist in real life.

• Model Parameters: Breath, Noise, Threshold, Slope, Curve,

Frequency, Mix, Gain.
• Filters: One filter. You can assign this filter’s type, cutoff,
frequency, and resonance.
• Envelopes: Up to eight envelopes for controlling volume,
filter, pitch, or other parameters.
• Low-frequency oscillators (LFO): Up to eight low-frequency
oscillators for controlling vibrato, filter operation, or other
parameters.

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The Reed Physical Model:

The following diagram describes the Fusion’s Reed Model. In it, you’ll
notice three distinct groups of parameters including “Breath,” “Reed,”
and “Bore.” Each group makes up a different portion of the physical
model and these groups interact with one another to create the overall
sound that you hear.

The “Breath” parameters model the performer blowing into the

instrument, while the “Reed” parameters model the mouthpiece of the
instrument that is being played. Finally, the “Bore” parameter models
the body of the instrument.

Breath Reed Why Can’t I Hear Anything?

Pressure, Noise Threshold, Slope, Curve

Since Physical Modeling creates a

mathematical model of a “real world”
instrument, it is possible to set your
Synth/Model menu settings in a way where
no sound or unmusical tones (or noise) will
Bore be synthesized. This is analogous to either
Frequency, Mix,
Gain, Filter playing a physical instrument incorrectly or
building an instrument that is incapable of
creating musical tones. If you adjust a
parameter and your program doesn’t make
any sound (or you only hear strange noises
and tones), this is not an error. You’ve
Output probably just pushed the physical model into
unmusical territories. If this happens, scale
back the parameter you were editing until
To Filter
you start hearing musical tones again.

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Menu: Program/Synth/Model
Parameter: Breath
Value Range: 0 – 100%

This is the volume parameter for the Model. This simulates the strength The “Breath” and “Noise” parameters are
used to model the act of blowing into the
of the player’s breath which can excite the model and produce different instrument.
timbres.

Menu: Program/Synth/Model
Parameter: Noise
Value Range: 0 – 100%

This parameter adds in white noise to simulate the natural sound of the
wind blowing into the mouthpiece. In general, a small amount of white
noise gives your instrument more realism.

Menu: Program/Synth/Model
Parameter: Threshold
Value Range: -100% to +100%

This parameter sets the minimum breath pressure required to cause the
instrument to generate sound.

Menu: Program/Synth/Model
Parameter: Slope
Value Range: 0 – 100%

Sets the steepness of the Threshold boundary. Low values create

The “Threshold,” “Slope,” and “Curve”
extremely steep curves (i.e., your sound is usually very soft and then parameters are used to model the
becomes loud very quickly as velocity increases). High values create mouthpiece of the instrument.
more gradual curves (i.e., your sound gradually becomes louder as note
velocities increase).

Menu: Program/Synth/Model
Parameter: Curve
Value Range: -100% to +100%

This parameter affects the tonal character of the mouthpiece and

contributes to the attack of the sound.

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Menu: Program/Synth/Model
Parameter: Frequency
Value Range: -12.00 to +12.00 Semitones

This parameter determines the frequency of the harmonic component

of the bore’s tone.

Menu: Program/Synth/Model
Parameter: Mix
Value Range: 0 – 100%

This parameter determines the tonal mix of the base tone and the
The “Frequency,” “Mix,” “Gain,” and
harmonic component from the bore. At 50% it is an equal mix of both “Bore Filter” parameters are used to model
parts. At 100% there is no harmonic component. At 0% there is no the body of the instrument.
base tone.

Menu: Program/Synth/Model
Parameter: Gain
Value Range: 0 – 100%

This parameter determines the amount that the resonance at the reed
instrument’s body—or “bore,” contributes to the sound.

Menu: Program/Synth/Model
Parameter: Bore Filter
Value Range: 0 – 100%

This parameter determines the tonal character of the instrument’s body.

This parameter acts like a low-pass filter on the bore of the instrument.

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Synthesis Type: Wind Model

The Wind Model synthesis type uses complex mathematics to simulate

the behavior of a sound wave inside a wind instrument. This allows you
to create extremely realistic programs of any instrument that has an
embouchure (i.e., a player’s lips and tongue) acting on a mouthpiece that
is connected to a bore (such as a flute). You can also use this model to
create instruments that do not (or cannot) exist in real life.

• Model Parameters: Breath, Noise, Jet, Curve, Offset,

Frequency, Mix, Gain, Bore Filter
• Filters: One filter. You can assign this filter’s type, cutoff,
frequency, and resonance.
• Envelopes: Up to eight envelopes for controlling volume,
filter, pitch, or other parameters.
• Low-frequency oscillators (LFO): Up to eight low-frequency
oscillators for controlling vibrato, filter operation, or other
parameters.

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The Wind Physical Model:

The following diagram describes the Fusion’s Wind Model. In it, you’ll
notice three distinct groups of parameters including “Breath,”
“Mouthpiece,” and “Bore.” Each group makes up a different portion of
the physical model and these groups interact with one another to create
the overall sound that you hear.

The “Breath” parameters model the performer blowing into the

instrument, while the “Mouthpiece” parameters model the mouthpiece
of the instrument that is being played. Finally, the “Bore” parameters
model the body of the instrument.

Why Can’t I Hear Anything?

Since Physical Modeling creates a

mathematical model of a “real world”
instrument, it is possible to set your
Synth/Model menu settings in a way where
no sound or unmusical tones (or noise) will
be synthesized. This is analogous to either
playing a physical instrument incorrectly or
building an instrument that is incapable of
creating musical tones. If you adjust a
parameter and your program doesn’t make
any sound (or you only hear strange noises
and tones), this is not an error. You’ve
probably just pushed the physical model into
unmusical territories. If this happens, scale
back the parameter you were editing until
you start hearing musical tones again.

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Menu: Program/Synth/Model
Parameter: Breath
Value Range: 0 – 100%

This is the volume parameter for the Model. This simulates the strength
The “Breath” and “Noise” parameters are
of the player’s breath which can excite the model and produce different used to model the act of blowing into the
timbres. instrument.

Menu: Program/Synth/Model
Parameter: Noise
Value Range: 0 – 100%

This parameter adds in white noise to simulate the natural sound of the
wind blowing into the mouthpiece. In general, a small amount of white
noise gives your instrument more realism.

Menu: Program/Synth/Model
Parameter: Jet
Value Range: -12 to +12 Semitones

The “jet” parameter determines the frequency of the harmonic

component of the mouthpiece’s tone.

Menu: Program/Synth/Model
Parameter: Curve
Value Range: -100% to +100%
The “Jet,” “Curve,” and “Offset,”
This parameter affects the tonal character of the mouthpiece and parameters are used to model the
mouthpiece of the instrument.
contributes to the attack of the sound.

Menu: Program/Synth/Model
Parameter: Offset
Value Range: -100 to +100

This parameter adjusts the tonal interaction between the mouthpiece and
the bore.

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Menu: Program/Synth/Model
Parameter: Frequency
Value Range: -12.00 to +12.00 Semitones

This parameter determines the frequency of the harmonic component

of the bore’s tone.

Menu: Program/Synth/Model
Parameter: Mix
Value Range: 0 – 100%

This parameter determines the tonal mix of the base tone and the
The “Frequency,” “Mix,” “Gain,” and
harmonic component from the bore. At 50% it is an equal mix of both “Bore Filter” parameters are used to model
parts. At 100% there is no harmonic component. At 0% there is no the body of the instrument.
base tone.

Menu: Program/Synth/Model
Parameter: Gain
Value Range: 0 – 100%

This parameter determines the amount that the resonance at the wind
instrument’s body—or “bore,” contributes to the sound.

Menu: Program/Synth/Model
Parameter: Bore Filter
Value Range: 0 – 100%

This parameter determines the tonal character of the instrument’s body.

This parameter acts like a low-pass filter on the bore of the instrument.

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Program Utility Page

Menu: Program/Utility
Parameter: Create a new Program
Value Range: (none)

This button creates a new program with default settings. Remember to

save your current program otherwise you will lose your work once the
new program is created.

Menu: Program/Utility
Parameter: Add to Favorites
Value Range: 1-8

This button adds your program to any of the 8 “favorite” program

categories of the Fusion for easy access. Press the Category button and
scroll down to the “Fav 1” through “Fav 8” categories to see your Note that you can’t add a program to a
favorite programs. favorites category until it has been saved
(see pg. 31 for more about saving programs,
mixes, and songs).
Once you have selected a favorite category, press the “Favorite” action
button (on the right side of the screen) to add the program to that
category. If a program already belongs to a Favorites category, the
display will read “Remove from Favorites.” This allows you to remove
this program from a Favorites category.

Menu: Program/Utility
Parameter: To Mix
Value Range: Generate Layer Mix, Generate Split Mix, Add to
Current Mix

This button adds your current program to a Mix. If you’d like to simply
add the current program as a new part in the mix, select “Add to Current
Mix.” If you’d like to create a layer (i.e., to have two programs playing at
the same time when you play one part), select “Generate Layer Mix.”
Finally, if you’d like to “split” the keyboard (i.e., to play one instrument
on one side of the keyboard and another instrument on the other side),
select “Generate Split Mix.”

Press the “To Mix” action button to add the program to a mix.

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Menu: Program/Utility
Parameter: Split point (only available for “Generate Split Mix”)
Value Range: C-2 to G8

This parameter lets you select at which point the split will take place in
your mix. Note that this parameter is only available when you select
“Generate Split Mix” for the parameter listed above. You can also hold
LOCATE and press the desired split key when the cursor is on this
parameter to select the split point.

Menu: Program/Utility
Parameter: To Song
Value Range: Generate Song, Add to Current Song

This button adds the current program to a song. To add the program to
a new song, select “Generate Song.” To add the program to the song
that is currently loaded in Song mode, select “Add to Current Song.”

Menu: Program/Utility
Parameter: Multi (only available for sample and drum programs)
Value Range: (varies)

This button allows you to select any of your multisamples (from a

sample or drum based program) for further editing in Sampler mode.
Select the oscillator you’d like to edit and press the “Multi” action button
to the right of the screen.

Note that this button is only available if your current program is a

Sample or Drum program (since the other program types do not use
samples).

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Filters

Filters are an integral part of a synthesizer’s ability to create sounds and

the Fusion has variety of filters to help you achieve the sound you’re What is a “Minimized” filter?
looking for. All of the Fusion’s synthesis modes have at least one filter
A “minimized filter” is a 1-pole low pass,
per voice. The following chart will explain the small differences in filter non-resonant filter. All other filters
implementation between all of the different synthesis types: mentioned above have variable type,
steepness, cutoff frequency, and resonance.
Sample - 3 Filters total. 2 minimized filters (one at
each oscillator) + 1 filter for the voice.
Drum - 64 filters total. One filter at each oscillator.
Analog - 1 Filter per voice
FM - 1 Filter per voice
Reed Model - 1 Filter. per voice
Wind Model - 1 Filter. per voice

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Menu: Program/Synth/Filter
Parameter: Filter Bypass
Value Range: On, Off

Check this box if you want to bypass the filter.

Menu: Program/Synth/Filter
Parameter: Type
Value Range: Low Pass, High Pass, Band Pass, Band Stop, Band
Boost

The Fusion has several different filter types that you can select in this
menu. The on-screen diagram shows the shape of filter you’ve selected.

Menu: Program/Synth/Filter
Parameter: Steep
Value Range: 1-pole, 2-pole, 4-pole, 6-pole, 8-pole

This parameter determines the number of poles on your filter. Filters

with one or two poles are more gradual whereas filters with six or eight
poles are much steeper in cutoff. All filters on the Fusion except the 1-
pole have variable resonance (see below).

Menu: Program/Synth/Filter
Parameter: Frequency
Value Range: 20.000 Hz to 20.000 kHz

This parameter sets the point (or region) at which the filter starts
affecting the incoming signal. As you change this value, you will see the
cutoff point move right or left to correspond with your changes.

Menu: Program/Synth/Filter
Parameter: Resonance (Not available on 1-pole filter Steep setting)
Value Range: 0-100%

Filter resonance is a “bump” that is located at the cutoff frequency of a

filter. This resonance is a big part of the unique “sound” of many of the
analog synthesizers from the 70s and 80s. The Fusion allows you to add
as much (or as little) resonance as you’d like using this parameter. The
shape of the filter on the screen will change to reflect how much
resonance you’re adding.

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Envelopes

If you play a note on a piano (or most other acoustic instruments), you’ll
hear a burst of sound energy as the hammer strikes the string, followed
by lower level of loudness as you hold down the note and let the string
ring out, which fades quickly as soon as you release the note and the
damper is applied. Synthesizer designers model this behavior using
ADSR envelopes. ADSR stands for “attack, decay, sustain, release”, and
represents the different stages that the sound goes through over the life
of the note.

ADSR envelopes are commonly used to control amplitude, but can also
be used to control countless other parameters (i.e., pitch, filter frequency,
etc.) The Fusion allows you to hook up an envelope to any modulatable
parameter using the modulation matrix (see page 236).

Menu: Program/Synth/Envelope
Parameter: Add Env
Value Range: You can create up to 8 envelopes

If the Envelope page appears blank (like the picture above), it means no
envelopes have been created for this program. Go ahead and press the
Add Env. button and this will create an envelope for you. Your screen
will then look like the one below.

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Menu: Program/Synth/Envelope
Parameter: Edit Envelope
Value Range: 1-8 Envelopes (Varies depending on how many
envelopes you have created)

All programs on the Fusion have up to eight envelopes to modulate

things like volume, filter, and other parameters. Choose the envelope
you’d like to edit here.

The word in parenthesis indicates where the current envelope is routed in

the modulation matrix. If you see “(Unused)” that means your current
envelope has not been mapped to any parameter in that program. Once
you map an envelope in the modulation matrix, a new button called
“Jump Mod” appears on the right that allows you to immediately jump to
the page of the matrix where the connection is being made.

Menu: Program/Synth/Envelope
Parameter: Trigger (Trigger Source)
Value Range: Key Down, Key Up, FS Down, FS Up, T1 Down, T2
Down, T3 Down, T4 Down, T1 Up, T2 Up, T3 Up, T4 Up

This setting selects what will trigger the envelope you are currently
editing. The following chart explains what each setting does:

Key Down Triggers when a note is played.

Key Up Triggers when a note is released.
Foot Switch Dn Triggers when foot switch is pressed.
Foot Switch Up Triggers when the foot switch is released.

Trigger 1-4 Dn Triggers when the T1-T4 buttons (to the

left of the screen, below the control
knobs) are pressed.

Trigger 1-4 Up Triggers when the T1-T4 buttons (to the

left of the screen, below the control
knobs) are released

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Menu: Program/Synth/Envelope
Parameter: Legato
Value Range: On, Off

Legato mode keeps the envelope from re-triggering if you play in legato
fashion (i.e., you play a note before releasing the last note played).

Menu: Program/Synth/Envelope
Parameter: Mode (Trigger Type)
Value Range: Normal, Freerun

This determines how the envelope will start and stop based on how the
keys are held and released.

When set to Normal, the envelope will play from the attack stage
through the sustain stage as long as the note is held. When the note is
released, the envelope will jump to its release stage.

When set to Freerun, the envelope will complete its entire cycle even if
the note is released before the envelope has completed its cycle.

Menu: Program/Synth/Envelope
Parameter: Curve
Value Range: Exp -, Linear, Exp +

Sets how your envelope will ramp up (and down) once triggered. Your
envelope will look like one of the following:

Menu: Program/Synth/Envelope
Parameter: Delay
Value Range: 0 – 30 Sec

This is the amount of time the envelope will wait before doing anything.
When the delay is set to zero, the envelope begins its attack right away.

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Menu: Program/Synth/Envelope
Parameter: Attack
Value Range: 0 – 30 Sec

This sets the amount of time the envelope will take to reach its
maximum level. The higher the value, the slower the attack.
Fast Attack Slow Attack
Envelope

Envelope

Time Time

Menu: Program/Synth/Envelope
Parameter: Decay (not available if sustain level is set to 100%)
Value Range: 0 – 29.953 Sec, Hold

This sets the amount of time the envelope takes from the end of the
Attack stage to reach the Sustain level. The higher the value, the longer it
will take.

You can set this parameter to Hold by setting the value higher than
29.953. By doing this, the envelope will remain at maximum until it
reaches the Release stage. Since the envelope is held at maximum level,
the Sustain and Sustain Decay parameters are removed from the menu to
avoid confusion.
Decay Hold
Envelope

Time

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Menu: Program/Synth/Envelope
Parameter: Sustain Level
Value Range: 0-100%

This sets the level that the envelope will reach at the end of the Decay
stage.

Menu: Program/Synth/Envelope
Parameter: Sustain Decay (not available if sustain level is set to
0%)
Value Range: 0 – 29.953 Sec, Hold

This parameter determines the time it takes for the “Sustain Decay” stage
to drop to 0. If this parameter is set to “Hold” the envelope will sustain
at a constant level as long as the key is held down.

Menu: Program/Synth/Envelope
Parameter: Catching (not available when Mode is set to
“Freerun”)
Value Range: On, Off

When enabled, catching allows you to switch back to the sustain stage of
the envelope when you step on the sustain pedal during the release stage.
This parameter allows you to mimic the feel of a piano’s sustain pedal.

If this parameter is set to “off ” stepping on the sustain pedal during the
release stage will not have any effect on the envelope.

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Menu: Program/Synth/Envelope
Parameter: Release
Value Range: 0 – 30 Sec

This sets the amount of time the envelope will take to get from its
current level to zero after the note has been released. The higher the
value, the longer it will take.

Menu: Program/Synth/Envelope
Parameter: Overlap Release
Value Range: None, 1.002 ms – 30 Sec

If you play a note and trigger it a second time, the first instance of that
note goes into “overlap release” state and decays at whatever time
defined in this parameter. This parameter can be used to efficiently steal
voices in order to make better use of the Fusion’s DSP (which ultimately
leads to higher polyphony count).

If set to “none” both voices (or however many voices you have
repeatedly triggered) will release as normal.

Menu: Program/Synth/Envelope
Parameter: Del Env
Value Range: Yes, No

This button deletes the currently selected Envelope. A dialog box (see
above) will appear asking you to confirm whether you want to delete
your envelope. Press “Yes” to delete.

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Low Frequency Oscillators (LFOs)

LFO stands for “low frequency oscillator.” Unlike the normal oscillators,
the LFOs are not designed for producing sound. Instead, their purpose is
to tweak a program parameter according to a looping pattern. For
example, if you are looking to add some vibrato to your instrument,
you’ll need the pitch to continuously waver up and down. An LFO is
perfect for this application. Simply hooking up an LFO to the oscillator
pitch parameter will get you the effect you need.

The Fusion allows you to hook up an LFO to any modulatable parameter

using the Modulation Matrix (See page 236).

Menu: Program/Synth/LFO
Parameter: Add LFO
Value Range: You can create up to 8 LFOs

If the LFO page appears blank (like the picture above), it means no
LFOs have been created for this program. Go ahead and press the Add
LFO button to create an LFO. Your screen will then look like the one
below.

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Menu: Program/Synth/LFO
Parameter: EDIT LFO
Value Range: 1-8 LFOs (You can create up to 8 LFOs)

Select the Low Frequency Oscillator (LFO) you’d like to edit here.

The word in parenthesis indicates where the current LFO is routed in the
modulation matrix. If you see “(Unused)” that means your current LFO
has not been mapped to any parameter in that program. Once you map
an LFO in the modulation matrix, a new button called “Jump Mod”
appears on the right that allows you to immediately jump to the page of
the matrix where the connection is being made.

Menu: Program/Synth/LFO
Parameter: Retrigger
Value Range: None, Key Down, Key Up, FS Down, FS Up, T1
Down, T2 Down, T3 Down, T4 Down, T1 Up, T2 Up, T3 Up,
T4 Up

This allows you to select a trigger that restarts the LFO for your current
oscillator. For example: If you select T1, your LFO will restart whenever
you push the T1 button. The following chart explains what each trigger
setting means:

None When set to “None” you have one free running

LFO across all voices for your current program
Key Down Each voice’s LFO is retriggered from the
starting phase when you play a key.
Key Up The LFO restarts when a note is released.
Foot Switch Dn The LFO restarts when foot switch is pressed.
Foot Switch Up The LFO restarts when the foot switch is
released.
Trigger 1-4 Dn The LFO restarts when the T1-T4 buttons are
pressed.
Trigger 1-4 Up The LFO restarts when the T1-T4 buttons is
released

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Menu: Program/Synth/LFO
Parameter: Legato
Value Range: On, Off

Legato mode keeps the trigger from restarting if you play in legato
fashion (i.e., you play a note before releasing the last note played).

Menu: Program/Synth/LFO
Parameter: Delay
Value Range: 0 – 30 Sec

This is the amount of time the LFO will wait before doing anything.
When the delay is set to 0 seconds, the LFO begins working right away.
Where are the Saw, Triangle, and Square
LFO types???
Menu: Program/Synth/LFO You can create down-saw, triangle, and up-
Parameter: Type saw waveforms by selecting “Sawtooth” and
Value Range: Sawtooth, Pulse, Sine, Random changing the “shape” parameter (see
below). To create a down-saw, set your
Sets the shape of the LFO. Take a look at the waveform on screen to “shape” parameter to -100% whereas to
create an up-saw, set this parameter to
see a representation of your LFO. +100%. For a triangle wave, leave the
parameter set to 0%.

You can create a square wave by selecting a

Menu: Program/Synth/LFO “Pulse” waveform and setting the “Shape”
Parameter: Shape (only available when Type is set to “Sawtooth” parameter to 0% (see below).
or “Pulse”)
Value Range: -100% to +100%

Shape lengthens and shortens the duration of square and saw wave
LFOs. This setting is sometimes referred to as “Pulse Width” on other
synthesizers.

Menu: Program/Synth/LFO
Parameter: Sync (Unavailable when Type is set to “Random”)
Value Range: None, 8 Whole Notes, 6 Whole Notes, 4 Whole
Notes, Triple Whole Note, Double Whole Note, Dotted Whole
Note, Whole Note, Dotted Half Note, Half Note, Dotted
Quarter, Half Note Triplet, Quarter Note, Dotted 8th Note,
Quarter Triplet, 8th Note, Dotted 16th Note, 8th Note Triplet,
16th Note, 16th Note Triplet, 32nd Note

Synchronizes your LFO to the tempo (see p. 37 for more about setting
your tempo). This is important for tempo-dependent effects like wah-
wah and vibrato.

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Menu: Program/Synth/LFO
Parameter: Rate (Only available when Sync is set to “None”)
Value Range: 0.0200 Hz – 200 Hz

Sets the speed of the LFO. The higher the value, the faster the LFO will
oscillate every second.

Menu: Program/Synth/LFO
Parameter: Phase (Unavailable when Type is set to “Random”)
Value Range: -100% (-180 Degrees) to +99% (178 Degrees),
Random

Shifts your waveform to the right (or left) allowing you to start your
oscillator on an offset. Setting this parameter to “Random” causes your
LFO to begin at a random point in its cycle.

Menu: S Program/Synth/LFO
Parameter: Ramp
Value Range: 0 – 30 Sec

Sets the amount of time it takes your LFO to gradually “fade in” from
zero to the maximum amount of modulation. If you set this value to 0,
then the LFO starts immediately.

Menu: Program/Synth/LFO
Parameter: Del LFO
Value Range: Yes, No

This button deletes the currently selected Envelope. A dialog box will
appear asking you to confirm whether you want to delete your LFO.
Press “Yes” to delete.

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Mix Mode
This section covers parameters relating specifically to Mix mode. This
includes everything found on the “Mix,” “Part,” and “Utility” tabs (to the
left of the display). See chapter 4 for detailed descriptions of the “Arp,”
and “Effects” tabs.

Mix mode is a multitimbral mode that allows you to load up to 16

programs in order to create splits, layer sounds, and set up programs on
separate channels for use with an external sequencer. Each program in a
mix is stored under its own “part” and the active parts are listed on the
upper right corner of the screen. The active part number is highlighted
whenever that part is being triggered using the keyboard or an external
sequencer.

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Setting Overall Mix Parameters

Menu: Mix/Mix/Config
Parameter: View
Value Range: Part Programs, Part Enables, Part Volumes, Part
Pans, Part Inserts, Part 1-2 Send Levels, Part Arpeggiators,
Part Key Ranges (Edit lo), Part Key Ranges, (Edit hi), Part Alt
Ranges (Edit lo), Part Alt Ranges, (Edit hi)

This screen provides a convenient overview showing how many of the

commonly used parameters of your mix parts are configured.

This page shows parameter settings of several parts in relation to one

another. By having these common parameters on one screen, it saves
users from having to jump back and forth between multiple part pages.
You can change part settings (volume, pan, tuning, etc) by editing the
“1:” through “16:” parameters (see below).

The number of parts appearing on this page will vary depending on how
many parts have been created for this mix. See the “Add Part” and “Del
Part” buttons below for more about creating and deleting parts.

Menu: Mix/Mix/Config
Parameter: 1 – 16 (varies depending on how many parts you have
created using the “Add Part” button)
Value Range: (varies)

This section provides quick access to common part settings. The

contents of this parameter change depend on your “view” parameter
settings. Use the Control Wheel to adjust the listed setting.

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Menu: Mix/Mix/General
Parameter: Tempo
Value Range: 50 – 300 BPM

The tempo that you set here–expressed in Beats Per Minute (BPM)–
determines the tempo at which the arpeggiator plays.

You can change this value during a performance by switching to the

“Arp” row on the Performance Panel and turning the corresponding
knob. If you switch to another mix without saving your current mix, the
tempo value of your current mix will revert back to the original tempo,
so remember to save your mix if you want to keep your newly selected
tempo.

Menu: Mix/Mix/General
Parameter: Category
Value Range: Piano, Chromatic, Organ, Guitar, Bass, Strings,
Ensemble, Brass, Reed, Pipe, Lead, Pad, Synth FX, Ethnic,
Drum/Perc, Sound FX, OTHER

Use this option to place the mix into one of the seventeen categories
listed to the right of the parameter. Once you place the mix in a
category, it will show up under that category when you are browsing
through the Fusion’s Mix Category menu. Note that if you change this
parameter, your mix will not show up under the new category until
you’ve saved the mix.

Menu: Mix/Mix/General
Parameter: Alternative Category
Value Range: On, Off

Sometimes a mix may fit into more than one category. For example, a
mix consisting of a piano/string layer can be placed under either the
Piano or the Strings category. For that reason, the Fusion allows you to
assign a mix to Alternate Categories so that you can place this mix in
both the Strings and Piano categories. Once you select any of these
check boxes, the mix will appear in multiple places when you’re browsing
through your Fusion’s sounds. If you check alternative boxes, your mix
will not show up under the new menus in the category until you’ve saved
the mix.

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Menu: Mix/Mix
Parameter: Add Part (Disappears once 16 parts have been created)
Value Range: (none)

This button creates a new part and jumps straight to the

Mix/Part/General page where you can assign programs, channel
numbers, and other parameters related to the newly created part.

Menu: Mix/Mix
Parameter: Del Part (only visible when more than one part has
been created)
Value Range: (none)

This button lets you delete a part. Once you press the button, you are
taken to a prompt asking which part you’d like to delete. This button
disappears if there is only one part in your mix (since a mix must have at
least one part).

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Setting Individual Part Parameters

Menu: Mix/Part/General
Parameter: EDIT Part
Value Range: (Varies depending on how many parts have been
created)

Select the part you’d like to edit using this parameter.

Menu: Mix/Part/General
Parameter: Program
Value Range: (Varies depending on what programs are available to
the Fusion)

Select the bank (the top line) and program number (the bottom line) that
you’d like to select for this part. The name of the program is listed in the
large, bold letters in the middle of the screen.

Menu: Mix/Part/General
Parameter: Arp Number
Value Range: None, 1-4

Each mix can have up to four arpeggiation patterns. Select the

arpeggiation pattern you’d like to use for this part. If you do not want to
use an arpeggiation pattern for this part, set this parameter to “None.”

Menu: Mix/Part/General
Parameter: MIDI Channel
Value Range: Global Channel, 1-16

This parameter selects the channel on which your part can be sending About “Global Channel”
and receiving data. Once you have selected a channel here, you can
Global Channel is a MIDI channel that is
decide whether the channel will send and/or respond to MIDI data by defined in Global mode. This is useful if you
setting the parameters found on the Mix/Part/Controls page (see pg. need to change MIDI channel settings on
many mixes quickly, because you can simply
109). edit the “Global MIDI Channel” parameter
on the Global/Settings/MIDI page.
This parameter is often used in situations where you are using the Fusion Once you change this setting, all mix parts
with an external sequencer. In such cases, you may want to place each that have been set to “Global Channel” will
be changed immediately. There is no need
part on a separate channel so that your sequencer can trigger individual to change every Mix individually.
parts.

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Menu: Mix/Part/Range
Parameter: EDIT Part
Value Range: (Varies depending on how many parts have been
created)

Select the part you’d like to edit using this parameter.

Menu: Mix/Part/Range
Parameter: Low Key
Value Range: C-2 to G8

This parameter sets the lowest note of the range to which your part will
respond. The graphic will change to reflect the lowest key that has been
selected.

Menu: Mix/Part/Range
Parameter: High Key
Value Range: C-2 to G8

This parameter sets the highest note of the range to which your part will
respond. The graphic will change to reflect the highest key that has been
selected.

Menu: Mix/Part/Range
Parameter: Alt Range Type
Value Range: Velocity, Aftertouch, Mod Wheel, Pitch Wheel, Pedal,
Knob 1-4, Random

Each part can have an “alternate” range to which it will respond. For
example, if this parameter is set to “Velocity,” your part will only respond
if notes are within range (see the “Low Key” and “High Key” parameters
above) AND within the “alternate range” (see the “Alternate Low” and
“Alternate High” parameters below).

Menu: Mix/Part/Range
Parameter: Alternate Low
Value Range: 0-127

This parameter sets the lowest point of the alternate range to which your
part will respond.

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Menu: Mix/Part/Range
Parameter: Alternate High
Value Range: 0-127

This parameter sets the highest point of the alternate range to which
your part will respond.

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Menu: Mix/Part/Param
Parameter: EDIT Part
Value Range: (Varies depending on how many parts have been
created)

Select the part you’d like to edit using this parameter.

Menu: Mix/Part/Param
Parameter: Transpose
Value Range: -48 to 48 Semitones

Use transposition to reassign the notes that are triggered when you play
the keyboard (or access the Fusion via an external MIDI device). For
instance, with a “2 semitones” transposition, every time you play a C key,
the Fusion will play the D note instead.

You can transpose the Fusion up to four octaves higher or four octaves
lower than the default “0”-semitone setting.

Menu: Mix/Part/Param
Parameter: Use Prog Value (for Transpose)
Value Range: On, Off

If the program for your currently selected part already has a

transposition setting, you can use it by checking this box.

Menu: Mix/Part/Param
Parameter: Coarse Tune
Value Range: -48 to 48 Semitones

This parameter pitch-shifts your currently selected part.

Menu: Mix/Part/Param
Parameter: Use Prog Value (for Coarse Tune)
Value Range: On, Off

If the program for your currently selected part already has a coarse tune
setting, you can use it by checking this box.

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Menu: Mix/Part/Param
Parameter: Fine Tune
Value Range: -99 to 99 Cents

Use this parameter to fine-tune (or detune) your currently selected part.

Menu: Mix/Part/Param
Parameter: Use Prog Value (for Fine Tune)
Value Range: On, Off

If the program for your currently selected part already has a fine tune
setting, you can use it by checking this box.

Menu: Mix/Part/Param
Parameter: EDIT Program Param
Value Range: 1-8

This parameter allows you to select and edit different program

parameters of your parts without actually changing the stored program.
This is a useful feature if you have assembled several programs in a mix
and want to make minor tweaks to your programs for just that mix (the
original program is left alone). You can edit up to eight parameters for
each part of your mix. Select that parameter here.

This may sound complicated, so let’s take a look at a real world example:
Let’s say you’ve created a mix with piano, bass, and drums, but the piano
sounds too bright and you want to filter out some of the treble
frequencies for this mix. If you edited the actual piano program, then
ALL mixes that use that piano program would now have a darker piano
(since you’ve edited the program at the source). If you want only the
current mix to have the darker piano, then you can use the “EDIT
Program Param” parameter to adjust the filter setting and only your
current mix will be affected.

Menu: Mix/Part/Param
Parameter: Parameter
Value Range: None, Pitch, Volume, Pan, Portamento Time,
Amount, Curve, S&H Rate, Smoothing, Delay, Attack, Decay,
Sustain Level, Sustain Decay, Release, Env Time, Delay,
Ramp, Rate, Shape, Osc Start, Osc Frequency, Osc FM
Amount, Osc Volume, Osc Pan, Filt Cutoff, Filt Resonance,
Crossfade

This selects what program parameter you’d like to edit.

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Menu: Mix/Part/Param
Parameter: Index
Value Range: (Varies depending on Parameter selection)

Certain parameters have several sub-parameters that further specify what

you’d like to edit. Index lets you select the specific item you’d like to edit.

For example, if you want to edit filter cutoff on a sample-playback based

program, you will have to select which filter you’d like to change
(remember that sample playback programs have three filters: one for
each of the two oscillators as well as a “main filter”). Use index to select
the specific filter you’d like to edit.

Menu: Mix/Part/Param
Parameter: Offset
Value Range: -100 to 100

This parameter lets you determine how much your selected parameter is
affected.

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Menu: Mix/Part/Controls
Parameter: EDIT Part
Value Range: (Varies depending on how many parts have been
created)

Select the part you’d like to edit using this parameter.

Menu: Mix/Part/Controls
Parameter: Keyboard In some cases (such as when you’re using an
Value Range: On, Off external sequencer), you need to disconnect
your “local” keyboard so that the Fusion
does not trigger notes twice (from both the
This parameter determines whether the currently selected part can be keyboard and the sequencing application).
triggered by the keyboard.
To do this, turn the “Keyboard” parameter
off.

Menu: Mix/Part/Controls
Parameter: Aftertouch
Value Range: On, Off

If you do not want the currently selected part to respond to aftertouch,

uncheck this box. Otherwise, leave this box checked for normal
operation.

Menu: Mix/Part/Controls
Parameter: Controller Knobs
Value Range: On, Off

If you do not want the currently selected part to respond to the control
knobs, uncheck this box. Otherwise, leave this box checked for normal
operation.

Menu: Mix/Part/Controls
Parameter: Trigger Buttons (T1-T4)
Value Range: On, Off

If you do not want the currently selected part to respond to the T1-T4
trigger buttons, uncheck this box. Otherwise, leave this box checked for
normal operation.

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Menu: Mix/Part/Controls
Parameter: Switches (S1-S2)
Value Range: On, Off

If you do not want the currently selected part to respond to the S1-S2
switches, uncheck this box. Otherwise, leave this box checked for
normal operation.

Menu: Mix/Part/Controls
Parameter: Pitch Wheel
Value Range: On, Off

If you do not want the currently selected part to respond to the pitch
wheel, uncheck this box. Otherwise, leave this box checked for normal
operation.

Menu: Mix/Part/Controls
Parameter: Mod Wheel
Value Range: On, Off

If you do not want the currently selected part to respond to the mod
wheel, uncheck this box. Otherwise, leave this box checked for normal
operation.

Menu: Mix/Part/Controls
Parameter: Sustain Pedal
Value Range: On, Off

If you do not want the currently selected part to respond to the sustain
pedal, uncheck this box. Otherwise, leave this box checked for normal
operation.

Menu: Mix/Part/Controls
Parameter: Foot Pedal
Value Range: On, Off

If you do not want the currently selected part to respond to the foot
pedal, uncheck this box. Otherwise, leave this box checked for normal
operation.

Menu: Mix/Part/Controls
Parameter: External MIDI Control
Value Range: On, Off

If you do not want the currently selected part to respond to external

MIDI control, uncheck this box. Otherwise, leave this box checked for
normal operation.

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Menu: Mix/Part/Output
Parameter: EDIT Part
Value Range: (Varies depending on how many parts have been
created)

Select the part you’d like to edit using this parameter.

Menu: Mix/Part/Output
Parameter: Enable
Value Range: On, Off

This parameter lets you enable and disable the currently selected part. If
you need to mute a part, uncheck this box. Otherwise leave this box
checked for regular operation.

Menu: Mix/Part/Output
Parameter: Volume
Value Range: 0-100%

This parameter lets you set the volume of the currently selected part.

Menu: Mix/Part/Output
Parameter: Use Prog Value (for Volume)
Value Range: On, Off

If the program for your currently selected part already has the desired
volume setting, you can use it by checking this box.

Menu: Mix/Part/Output
Parameter: Pan
Value Range: L100% to R100%

This parameter lets you set the pan position of the currently selected
part.

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Menu: Mix/Part/Output
Parameter: Use Prog Value
Value Range: On, Off

If the program for your currently selected part already has the desired
pan setting, you can use it by checking this box.

Menu: Mix/Part/Output
Parameter: Insert
Value Range: None, 1-4

If you’d like to run your currently selected part through an insert effect,
select which inset effect you’d like to use. The name of the effect
appears in parenthesis next to the word “insert” on screen. If you do
not want to use any insert effects, set this parameter to none.

In most cases you’ll want to route only one part into one insert, but
we’ve programmed the Fusion to allow multiple parts to be routed to the
same insert. This allows for more creative routing options, but keep in
mind that once two parts are routed to the same insert effect they
become summed and cannot be “unsummed” as the output of the insert
effect is routed back to the parts.

Menu: Mix/Part/Output
Parameter: Bus Send 1, Bus Send 2
Value Range: 0-100%

This parameter determines how much of your program output is being

sent to effects busses 1 and 2. A “dry” setting of 0% means that none
of your signal is being sent to the bus effects. A “wet” signal of 100%
means that equal amounts of your original signal and effected signal are
being routed to the output.

Menu: Mix/Part/Output
Parameter: Output Bus
Value Range: Main, Aux, None

Select the output bus of your part here. Set this parameter to “Aux” if
you want the part to be routed out of the Aux outputs, or to “none” if
you do not want the output routed out of the Fusion. Otherwise, leave
this parameter set to “Main” for normal operation.

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Mix Utility Page

Menu: Mix/Utility
Parameter: New Mix
Value Range: (none)

This button creates a new mix. Remember to save your current mix
before you press this button otherwise you will lose the settings for your
current mix.

Menu: Mix/Utility
Parameter: Favorite
Value Range: 1-8

This button adds your mix to any of the 8 “favorite” mix categories of
the Fusion for easy access. Press the Category button and scroll down to
the “Fav 1” through “Fav 8” categories to see your favorite mixes.

Note that you can’t add a mix to a Favorites category until it has been
saved (see pg. 31 for more about saving programs, mixes, and songs).
If a mix already belongs to a Favorites category, the display will read
“Remove from Favorites”. This allows you to remove this mix from a
Favorites category

Menu: Mix/Utility
Parameter: To Song
Value Range: Generate Song, Add to Current Song

This button lets you take your current mix and move it directly into Song
mode. This function is useful if you have set up a mix and want to use
the Fusion’s internal sequencer (in Song mode) to compose a song using
that mix. The “Generate Song” setting lets you create a new song with
your mix parts whereas “Add to Current Song” lets you add your mix
parts to whatever song that is currently selected in Song mode.

When you are using the “Add to Current Song” setting, keep in mind a
song can have up to 32 synth tracks and additional tracks will not be
added. For example, you can combine two mixes with 16 parts each into
one song. However, if you add one mix with 16 parts to a song that
already has 22 synth tracks, only the first ten parts of the mix will be
added to the song.

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Menu: Mix/Utility
Parameter: Edit Prog
Value Range: (Varies depending on programs loaded)

This button lets you jump directly to your selected program in Program
mode. Use this button if you want to make tweaks to your program.

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Song Mode
This section covers parameters relating specifically to Song mode. This
includes everything found on the “Song,” “Track,” “Editor,” and
“Utility” tabs (to the left of the display). See chapter 4 for the “Arp,” and
“Effects” tabs.

Song mode integrates all of the Fusion’s different parts together letting
you create a complete song within the workstation. In this mode, you
can load programs, arrange your synthesizer tracks, record live
instruments, and mix your musical compositions into finished songs.

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Setting Overall Song Parameters

Menu: Song/Song/Config
Parameter: View
Value Range: Programs, Enables, Record Armed, Volumes, Pans,
Inserts, Send 1-2 levels, Arpeggiators, Key Ranges (low), Key
Ranges (high), Alt Ranges (low), Alt Ranges (high)

This screen provides a convenient overview showing how many of the

commonly used parameters of your song’s tracks are configured.

This page shows parameter settings of several tracks in relation to one

another. Having these common parameters on one screen saves users
from having to jump back and forth between multiple pages. You can
change track settings (volume, pan, tuning, etc) by editing the “1:”
through“40:” parameters (see below).

The number of tracks appearing on this page will vary depending on

how many tracks have been created for this mix. See the “Add Track”
and “Del Track” buttons below for more about creating and deleting
tracks.

Menu: Song/Song/Config
Parameter: 1 – 40 (varies depending on how many tracks you have
created using the “Add Part” button)
Value Range: (varies)

This section provides quick access to common track settings. The

contents of this parameter change depend on your “view” parameter
settings (see above). Use the Control Wheel to adjust the listed setting.

Menu: Song/Song/Config
Parameter: Clr Track
Value Range: (varies)

This button lets you delete the MIDI events contained within a track.

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Menu: Song/Song/Config
Parameter: Add Track
Value Range: (varies)

This button creates a new track. This button disappears once 32 synth
tracks and 8 audio track have been created (since this is the maximum
number of tracks available in one song).

Menu: Song/Song/Config
Parameter: Del Track
Value Range: (varies)

This button lets you delete tracks. Once you press the button, you are
taken to a prompt asking which track you’d like to delete. This button
disappears if there is only one track in your song (since a song must have
at least one track).

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Menu: Song/Song/General
Parameter: Tempo
Value Range: 50 – 300 BPM

The tempo that you set here–expressed in Beats Per Minute (BPM)–
determines the tempo at which the song and arpeggiator play.

You can change this value during a performance by switching to the

“Arp” row on the Performance Panel and turning the corresponding
knob. If you switch to another song without saving your current song
first, the tempo value of your current song will revert back to the original
tempo, so remember to save your song if you want to keep your newly
selected tempo.

Menu: Song/Song/General
Parameter: Time Signature
Value Range: (varies. Beats per measure range from 1 – 99; beat
values can be set to 1, 2, 4, 8, 16, 32)

Time signature of a song is expressed as a fraction. The beats per

measure are listed on top and the beat value is listed on the bottom. Use
this parameter to set the signature of your song.

Menu: Song/Song/General
Parameter: Length
Value Range: (not user-editable)

This parameter shows you the length of your song in measures, beats,
and pulses. The length of the song is dependent on the current “Time
Signature” setting (see above). Note that this parameter is not editable,
and is included as a reference.

Menu: Song/Song/General
Parameter: Current LOCATE point (Point Letter)
Value Range: A-P

This parameter lets you select a locate point. Each song in the Fusion
can have up to 16 locate points.

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Menu: Song/Song/General
Parameter: Current LOCATE point (Point Time)
Value Range: (varies)

This parameter lets you set the location for the currently selected locate
point. This parameter is set in measures, beats, and pulses (formatted on
screen from left to right as “measures:beats.pulses”)

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Menu: Song/Song/Record
Parameter: Record Method
Value Range: Overdub, Replace, Spot Erase

The Fusion has three recording methods for synth tracks (audio is always
set to “replace”). They are as follows:

1. Overdub – Overdub recording keeps whatever is already

recorded and lets you record additional performances on top of
the original recording.

2. Replace – Replace record erases whatever is currently on the

track while recording whatever you play.

3. Spot Erase – Spot erase lets you erase specific notes by

holding down those notes while recording. In other words, if
you hold down notes while recording, the sequencer will
automatically delete these notes as they come up in your track.
Once you release these notes, the remainder of the track will be
left alone.

Menu: Song/Song/Record
Parameter: Quantize
Value Range: Off, 32-note Triplet, Dotted 64-note, 32-note, 16-note
triplet, Dotted 32-note, 16-note, 8-note triplet, Dotted 16-note,
8-note, Quarter-note Triplet, Dotted 8-note, Quarter Note

Quantize allows you to “clean up” your timing by automatically

“snapping” each note you play to the nearest logical point in the beat. By
setting this parameter to “off ” the sequencer will record your
performance exactly as you play it. Otherwise, you can set this parameter
to any of the additional settings that are right for your composition and
small inaccuracies in timing will be automatically fixed as you record.

Note that it is possible to quantize your recorded MIDI tracks after

they’ve been recorded. See page 163 for more.

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Menu: Song/Song/Record
Parameter: Record Filter (Notes)
Value Range: On, Off

Turn this parameter off if you do not want note data to be recorded.
Otherwise, leave this parameter set to “on” for normal operation.

Menu: Song/Song/Record
Parameter: Record Filter (Contlrs)
Value Range: On, Off

Turn this parameter off if you do not want MIDI control data to be
recorded. Otherwise, leave this parameter set to “on” for normal
operation.

Menu: Song/Song/Record
Parameter: Record Filter (AftrTch)
Value Range: On, Off

Turn this parameter off if you do not want aftertouch data to be

recorded. Otherwise, leave this parameter set to “on” for normal
operation.

Menu: Song/Song/Record
Parameter: Record Filter (Pitch)
Value Range: On, Off

Turn this parameter off if you do not want pitch bend data to be
recorded. Otherwise, leave this parameter set to “on” for normal
operation.

Menu: Song/Song/Record
Parameter: Record Filter (Tempo)
Value Range: On, Off

Turn this parameter “on” if you want to record Tempo changes.

Otherwise, leave this parameter set to “off ” for normal operation.

Menu: Song/Song/Record
Parameter: Record Filter (Other)
Value Range: On, Off

If you do not want any MIDI data (other than MIDI data explicitly
stated above) to be recorded, set this parameter to off. Otherwise, leave
this parameter set to “on” for normal operation.

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Menu: Song/Song/Record
Parameter: Input Meter
Value Range: Channel 1-2, 3-4, 5-6, 7-8

The two bars along the bottom of the screen indicate incoming audio
levels on your Fusion. Use this parameter to view levels on multitrack
inputs 1 through 8.

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Setting Track Parameters

Menu: Song/Track/General
Parameter: EDIT Track
Value Range: (Varies depending on how many tracks have been
created)

Select the track you’d like to edit using this parameter.

Menu: Song/Track/General
Parameter: Program (not available for audio tracks)
Value Range: (Varies depending on what program has been
selected)

Select the bank (the top line) and program number (the bottom line) that
you’d like to select for this track. The name of the program is listed in
the large, bold letters in the middle of the screen.

Menu: Song/Track/General
Parameter: Record Arm
Value Range: Auto, Off, On

This parameter determines whether the currently selected track will be

recorded once you enter record mode. Set this parameter to “on” when
you want the current track to be recorded and “off ” when you want the
track to simply playback without being recorded. Note that audio tracks
set to “Auto” will only change record arm state will the song is stopped.

The “Auto” setting will arm the track for recording when selected as the
current “EDIT Track.” When a different track is selected then this track
will disable its arm status.

Menu: Song/Track/General
Parameter: Link
Value Range: None, A-T

Link allows for mixes to be emulated in Song mode.

If you link several tracks to the same “Link” letter then the programs can
be played and recorded together, as if playing the mix in Song mode.

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Menu: Song/Track/General
Parameter: Arp Number (not available for audio tracks)
Value Range: None, 1-4

Each song can have up to four arpeggiation patterns. Select the

arpeggiation pattern you’d like to use for this track. If you do not want
to use an arpeggiation pattern for this track, set this parameter to
“None.”

Menu: Song/Track/General
Parameter: MIDI Channel (not available for audio tracks)
Value Range: Global Channel, 1-16

This parameter sets the MIDI channel on which the current track will
transmit and respond to MIDI data.

Menu: Song/Track/General
Parameter: Enable Loop
Value Range: On, Off

This parameter lets you enable or disable looping a particular segment of

the song. The segment is determined by the “Loop Start” and “Loop
End” parameters (See below). Check this box if you want looping to
take place, and leave the box unchecked if you want the song to play
through normally. Tracks will loop until the end of the song is reached.

Menu: Song/Track/General
Parameter: Loop Start
Value Range: (Varies depending on loop length)

This parameter determines where the looping will begin in your song.

Menu: Song/Track/General
Parameter: Loop End
Value Range: (Varies depending on loop length)

This parameter sets the end point of the loop in your song. When you
are playing a song and you reach this point, the song will jump back to
the “Loop Start” point (see above) and replay the looped portion of the
song until you press the “Stop” button on the transport or until the end
of the song is reached.

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Menu: Song/Track/Range
Parameter: EDIT Track
Value Range: (Varies depending on how many tracks have been
created)

Select the track you’d like to edit using this parameter.

Menu: Song/Track/Range
Parameter: Low Key (not available for audio tracks)
Value Range: C-2 to G8

This parameter sets the lowest note of the range to which your track will
respond.

Menu: Song/Track/Range
Parameter: High Key (not available for audio tracks)
Value Range: C-2 to G8

This parameter sets the highest note of the range to which your track will
respond.

Menu: Song/Track/Range
Parameter: Alt Range Type (not available for audio tracks)
Value Range: Velocity, Aftertouch, Mod Wheel, Pitch Wheel, Pedal,
Knob 1-4, Random

Each track can have an “alternate” range to which it will respond. For
example, if this parameter is set to “Velocity,” your track will only
respond if notes are within range (see the “Low Key” and “High Key”
parameters above) AND within the “alternate range” (see the “Alternate
Low” and “Alternate High” parameters below).

Menu: Song/Track/Range
Parameter: Alternate Low (not available for audio tracks)
Value Range: 0-127

This parameter sets the lowest point of the alternate range to which your
track will respond.

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Menu: Song/Track/Range
Parameter: Alternate High (not available for audio tracks)
Value Range: 0-127

This parameter sets the highest point of the alternate range to which
your track will respond.

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Menu: Song/Track/Param
Parameter: EDIT Track
Value Range: (Varies depending on how many parts have been
created)

Select the track you’d like to edit using this parameter.

Menu: Song/Track/Param
Parameter: Transpose (not available for audio tracks)
Value Range: -48 to 48 Semitones

Use transposition to reassign the notes that are triggered when you play
the keyboard (or access the Fusion via an external MIDI device). For
instance, with a “2 semitones” transposition, every time you play a C key,
the Fusion will play the D note instead.

You can transpose the Fusion up to four octaves higher or four octaves
lower than the default “0”-semitone setting.

Menu: Song/Track/Param
Parameter: Use Prog Value (not available for audio tracks)
Value Range: On, Off

If the program for your currently selected track already has a

transposition setting, you can use it by checking this box.

Menu: Song/Track/Param
Parameter: Coarse Tune (not available for audio tracks)
Value Range: -48 to 48 Semitones

This parameter pitch-shifts your currently selected track.

Menu: Song/Track/Param
Parameter: Use Prog Value (not available for audio tracks)
Value Range: On, Off

If the program for your currently selected track already has a coarse tune
setting, you can use it by checking this box.

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Menu: Song/Track/Param
Parameter: Fine Tune (not available for audio tracks)
Value Range: -99 to 99 Cents

Use this parameter to fine-tune (or detune) your currently selected track.

Menu: Song/Track/Param
Parameter: Use Prog Value (not available for audio tracks)
Value Range: On, Off

If the program for your currently selected track already has a fine tune
setting, you can use it by checking this box.

Menu: Song/Track/Param
Parameter: EDIT Program Param (not available for audio tracks)
Value Range: 1-8

This parameter allows you to select and edit different parameters of your
track without editing the actual program that is loaded in the track. This
is a useful feature if you have assembled several programs in a song and
want to make minor tweaks to your programs for just that song (the
original program is left alone). You can edit up to eight parameters for
each part of your song. Select that parameter here.

This may sound complicated, so let’s take a look at a real world example:
Let’s say you’ve created a song with piano, bass, and drums, but the piano
sounds too bright and you want to filter out some of the high
frequencies for this song. If you edited the actual piano program, then
ALL songs that use that piano program would now have a darker piano
(since you’ve edited the program at the source). If you want only the
current songs to have the darker piano, then you can use the “EDIT
Program Param” parameter and only your current song will be affected

Menu: Song/Track/Param
Parameter: Parameter (not available for audio tracks)
Value Range: None, Pitch, Volume, Pan, Portamento Time,
Amount, Curve, S&H Rate, Smoothing, Delay, Attack, Decay,
Sustain Level, Sustain Decay, Release, Env Time, Delay,
Ramp, Rate, Shape, Osc Start, Osc Frequency, Osc FM
Amount, Osc Volume, Osc Pan, Filt Cutoff, Filt Resonance,
Crossfade

This parameter selects what part of your program you’d like to edit.

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Menu: Song/Track/Param
Parameter: Index (not available for audio tracks)
Value Range: (Varies depending on Parameter selection)

Certain parameters have several sub-parameters that you can select and
those sub-parameters here.

For example, if you want to edit filter cutoff on a sample-playback

program, you will have to select which of the oscillator(s) you’d like to
apply the filter to (remember that sample playback programs have three
filters: one for each of the two oscillators as well as a “main filter”). Use
index to select the specific filter you’d like to edit.

Menu: Song/Track/Param
Parameter: Offset (not available for audio tracks)
Value Range: -100 to 100

This parameter lets you affect how much of your selected parameter (or
index) is affected.

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[Note: In some cases, you may want specific tracks to ignore certain
kinds of incoming MIDI data. For example, if you are composing using
an external sequencer, you may want to turn the “keyboard” off so that
the track isn’t triggered twice (once when you press the key and once
again when the MIDI data comes back from your sequencer).]

Menu: Song/Track/Controls
Parameter: EDIT Track (not available for audio tracks)
Value Range: (Varies depending on how many tracks have been
created)

Select the track you’d like to edit using this parameter.

Menu: Song/Track/Controls A Note on Local Control:

Parameter: Keyboard (not available for audio tracks)
Value Range: On, Off If you’re using an external controller, you
don’t need to disable the Keyboard
parameter for every track you create in song
This parameter determines whether the currently selected track can be mode. Instead, you can disable the “Local
triggered by the keyboard. Control” parameter on the
Global/Settings/MIDI page (see page 185
for more). This effectively disables the
Keyboard parameter for all tracks in Song
Menu: Song/Track/Controls mode.
Parameter: Aftertouch (not available for audio tracks)
Value Range: On, Off

If you do not want the currently selected track to respond to aftertouch,

uncheck this box. Otherwise, leave this box checked for normal
operation.

Menu: Song/Track/Controls
Parameter: Controller Knobs (not available for audio tracks)
Value Range: On, Off

If you do not want the currently selected track to respond to the control
knobs, uncheck this box. Otherwise, leave this box checked for normal
operation.

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Menu: Song/Track/Controls
Parameter: Trigger Buttons (T1-T4) [not available for audio tracks]
Value Range: On, Off

If you do not want the currently selected track to respond to the T1-T4
trigger buttons, uncheck this box. Otherwise, leave this box checked for
normal operation.

Menu: Song/Track/Controls
Parameter: Switches (S1-S2) [not available for audio tracks]
Value Range: On, Off

If you do not want the currently selected track to respond to the S1-S2
switches, uncheck this box. Otherwise, leave this box checked for
normal operation.

Menu: Song/Track/Controls
Parameter: Pitch Wheel (not available for audio tracks)
Value Range: On, Off

If you do not want the currently selected track to respond to the pitch
wheel, uncheck this box. Otherwise, leave this box checked for normal
operation.

Menu: Song/Track/Controls
Parameter: Mod Wheel (not available for audio tracks)
Value Range: On, Off

If you do not want the currently selected track to respond to the mod
wheel, uncheck this box. Otherwise, leave this box checked for normal
operation.

Menu: Song/Track/Controls
Parameter: Sustain Pedal (not available for audio tracks)
Value Range: On, Off

If you do not want the currently selected track to respond to the sustain
pedal, uncheck this box. Otherwise, leave this box checked for normal
operation.

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Menu: Song/Track/Controls
Parameter: Foot Pedal (not available for audio tracks)
Value Range: On, Off

If you do not want the currently selected track to respond to the foot
pedal, uncheck this box. Otherwise, leave this box checked for normal
operation.

Menu: Song/Track/Controls
Parameter: External MIDI Control (not available for audio tracks)
Value Range: On, Off

If you do not want the currently selected track to respond to external

MIDI control, uncheck this box. Otherwise, leave this box checked for
normal operation.

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Menu: Song/Track/Output
Parameter: Edit Track
Value Range: (Varies depending on how many tracks have been
created)

Select the track you’d like to edit using this parameter.

Menu: Song/Track/Output
Parameter: Enable
Value Range: On, Off

This parameter lets you enable and disable the currently selected track.
If you need to mute a track, uncheck this box. Otherwise, leave this box
checked for regular operation.

Menu: Song/Track/Output
Parameter: Volume
Value Range: 0-100%

This parameter sets the volume of the currently selected track.

Menu: Song/Track/Output
Parameter: Use Prog value (not available for audio tracks)
Value Range: On, Off

If the program for your currently selected track already has a volume
setting, you can use it by checking this box.

Menu: Song/Track/Output
Parameter: Pan
Value Range: L100% to R100%

This parameter sets the pan position of the currently selected track.

Menu: Song/Track/Output
Parameter: Use Prog value (not available for audio tracks)
Value Range: On, Off

If the program for your currently selected track already has a pan setting,
you can use it by checking this box.

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Menu: Song/Track/Output
Parameter: Insert
Value Range: None, 1-4

If you’d like to run this track through an insert effect, select which inset
effect you’d like to use. The name of the effect appears in parenthesis
next to the word “insert” on screen. If you do not want to use any insert
effects, set this parameter to none.

In most cases you’ll want to route only one part into one insert, but
we’ve programmed the Fusion to allow multiple parts to be routed to the
same insert. This allows for more creative routing options, but keep in
mind that once two parts are routed to the same insert effect they
become summed and cannot be “unsummed” since the mixed output of
the insert effect is routed back to the parts.

Menu: Song/Track/Output
Parameter: Bus Send 1 & 2
Value Range: 0-100%

This parameter determines how much of your track output is being sent
to effects busses 1 & 2. A “dry” setting of 0% means that none of your
signal is being sent to the bus effects. A “wet” signal of 100% means
that equal amounts of your original signal and effected signal are being
routed to the output.

Menu: Song/Track/Output
Parameter: Output Bus
Value Range: Main, Aux, None

Select the output bus of your track here. Set this parameter to “Aux” if
you want the part to be routed out of the Aux outputs, or to “none” if
you do not want the output routed out of the Fusion. Otherwise, leave
this parameter set to “Main” for normal operation.

Menu: Song/Track/Output
Parameter: Jump FX
Value Range: (none)

This button will take you to the Song/Effects menu where you can select
and edit the effects that you’d like to use.

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Editing Song Tracks

Menu: Song/Editor/Tracks
Parameter: Edit Track
Value Range: (Varies depending on how many tracks have been
created)

Select the track you’d like to edit using this parameter. The screen can
display groups of 6 tracks at a time.

Menu: Song/Editor/Tracks
Parameter: Edit Start
Value Range: (Varies depending on length of your song)

Selects the beginning of the region you’d like to edit using the Process
menu.

Menu: Song/Editor/Tracks
Parameter: Edit End
Value Range: (Varies depending on length of your song)

Selects the end of the region you’d like to edit.

Menu: Song/Editor/Tracks
Parameter: Track Check-box (to the left of each track)
Value Range: On, Off

This check box lets you select a track (or tracks) that will be edited using
the Process menu.

Menu: Song/Editor/Tracks
Parameter: Zoom In
Value Range: (none)

This button expands your timeline and lets you see your tracks in more
detail.

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Menu: Song/Editor/Tracks
Parameter: Zoom Out
Value Range: (none)

This button compresses your timeline and lets you see more events on
screen.

Menu: Song/Editor/Tracks
Parameter: Process
Value Range: (none)

This button takes you to the Process page where you can make edits and
other changes to your selected tracks. See page 147 for more about these
processes.

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[Note: You must select a synth track for your screen to appear like the
one above. If the parameters on the screen look different from what you
see above, it is because you have selected an audio track.]

Menu: Song/Editor/Trk View

Parameter: Edit Track
Value Range: (Varies depending on how many tracks have been
created)

Select the track you’d like to edit using this parameter.

Menu: Song/Editor/Trk View

Parameter: Event Type
Value Range: Note, Controller, Mono Aftertouch, Pitch

Select the type of event you’d like to edit here. The remaining
parameters on the page change depending on what you select here. The
following chart will break things down by selection. Note that the piano
roll appears blank unless a MIDI event has been created (you can add an
event by either recording it in the sequencer, or by pressing the “Insert”
action button).

Event Type Sub Categories Value Range

Note Time Varies

Note Value C-2 to G8
Velocity 1-127
Gate Varies depending on
length of note played

Controller Time Varies

MIDI CC Controller 0-119
CC Value 0-127

Aftertouch Time Varies

Aftertouch 0-127

Pitch Time Varies

Pitch -8192 to +8191

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Menu: Song/Editor/Trk View

Parameter: Insert
Value Range: (None)

This button creates an event in the event editor window.

Menu: Song/Editor/Trk View

Parameter: Delete
Value Range: (None)

This button deletes the currently selected event within the event editor
window.

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[Note: You must select an audio track for your screen to appear like the
one above. If the parameters on the screen look different from what you
see above, it is because you have selected a synth track.]

Menu: Song/Editor/Trk View

Parameter: Edit Track
Value Range: (Varies depending on how many tracks have been
created)

Select the track you’d like to edit using this parameter.

Menu: Song/Editor/Trk View

Parameter: Edit Start
Value Range: (Varies depending on length of your song)

Selects the beginning of the region you’d like to edit using the Process
menu.

Menu: Song/Editor/Trk View

Parameter: Edit End
Value Range: (Varies depending on length of your song)

Selects the end of the region you’d like to edit.

Menu: Song/Editor/Trk View

Parameter: Zoom In
Value Range: (None)

This button lets you “zoom in” to see your individual samples in more
detail. This is useful for making precise edits such as setting loop points.
The number on the lower right of the graphical editor indicates your
“zoom factor.”

Menu: Song/Editor/Trk View

Parameter: Zoom Out
Value Range: (None)

This button “zooms out” to let you see more of your sample (but with
less detail). This is useful for making general edits to your sample such as
cropping out unnecessary segments of your sample.

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Menu: Song/Editor/Trk View

Parameter: Process
Value Range: (none)

This button takes you to the Process page where you can make edits and
other changes to your selected tracks. See page 147 for more about these
processes.

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[Note: You must select a synth track for your screen to appear like the
one above. If the parameters on the screen look different from what you
see above, it is because you have selected an audio track.]

Menu: Song/Editor/Trk Event

Parameter: Edit Track
Value Range: (Varies depending on how many tracks have been
created)

Select the track you’d like to edit using this parameter.

A note on the Master Track:

Each song you create has a “Master Track”

Menu: Song/Editor/Trk Event that appears before Track 1. This track
Parameter: Time allows you to insert two types of events:
Value Range: (Varies depending on length of song) Tempo and Meter changes.

States the time at which the selected event will occur.

Menu: Song/Editor/Trk Event

Parameter: Event Type
Value Range: Note, Controller, Mono Aftertouch, Pitch, Patch,
Poly Aftertouch, RPN, NRPN

This parameter selects the type of event you’d like to place. The
remaining parameters on the page change depending on what you select
here. The following chart will break things down by event type:

Event Type Sub Categories Value Range

Note Note Value C-2 to G8

Velocity 0-127
Gate Varies depending on
length of note played

Mono Aftertouch Aftertouch Value 0-127

Poly Aftertouch Note C-2 to G8

Velocity 0 - 127

Pitch Pitch Value -8192 to +8191

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Patch Bank 0-127

Number 0-127

Controller MIDI CC Controller 0-119

CC Value 0-127

RPN Pitch Range 0 - 16383

Fine Tune 0 - 16383
Coarse Tune 0 - 16383
RPN 3 – RPN1683 0 - 16383

NRPN NRPN 0 – NRPN 1683 0 - 16383

Menu: Song/Editor/Trk Event

Parameter: Insert
Value Range: (None)

This button creates an event in the event editor window.

Menu: Song/Editor/Trk Event

Parameter: Delete
Value Range: (None)

This button deletes the currently selected event within the event editor
window.

Menu: Song/Editor/Trk Event

Parameter: Filter
Value Range: (None)

This button brings up an additional page letting you hide specific types
of data from your event editor. This makes it easier for you to edit the
data that you do see onscreen. See page 145 for more about these filters.

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[Note: You must select an audio track for your screen to appear like the
one above. If the parameters on the screen look different from what you Event Editor for Audio Tracks?

see above, it is because you have selected a synth track.] Event Editors are typically associated with
MIDI editing and you may be wondering
Menu: Song/Editor/Trk Event why we have an event editor for audio
Parameter: Edit Track tracks. The audio event editor is included so
Value Range: (Varies depending on how many tracks have been that you can automate (or edit the
created) automation for) things like volume and pan
positions of your audio tracks.

Select the track you’d like to edit using this parameter.

Menu: Song/Editor/Trk Event

Parameter: Time
Value Range: (Varies depending on length of song)

States the time at which the selected event will occur.

Menu: Song/Editor/Trk Event

Parameter: Event Type
Value Range: Controller, RPN, NRPN

This parameter selects the type of event you’d like to place. The
remaining parameters on the page change depending on what you select
here. The following chart will break things down by event type:

Event Type Sub Categories Value Range

Controller MIDI CC Controller 0-119

CC Value 0-127

RPN Pitch Range 0 - 16383

Fine Tune 0 - 16383
Coarse Tune 0 - 16383
RPN 3 – RPN1683 0 - 16383

NRPN NRPN 0 – NRPN 1683 0 - 16383

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Menu: Song/Editor/Trk Event

Parameter: Insert
Value Range: (None)

This button creates an event in the event editor window.

Menu: Song/Editor/Trk Event

Parameter: Delete
Value Range: (None)

This button deletes the currently selected event within the event editor
window.

Menu: Song/Editor/Trk Event

Parameter: Filter
Value Range: (None)

This button brings up an additional page letting you hide specific types
of data from your event editor. This makes it easier for you to edit the
data that you do see onscreen. See page 145 for more about these filters.

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Track Editing Filters

[About these filters: When you record pitch changes, continuous

controller changes, or aftertouch into a MIDI sequencer, the event
window can easily get cluttered with lots of data that you may not need
to see. This is a problem because it becomes harder to spot data that you
actually want to edit. For that reason, we’ve added this event editor
filter—this filter lets you avoid displaying much of the data that would
otherwise clutter your event editor. Keep in mind, this filter does not
actually remove any data from your tracks—it simply does not display
them in the event editor.]

Menu: Song/Editor/Event/Filter
Parameter: Include Notes
Value Range: On, Off

Turn this parameter off if you do not want the event editor to display
note data. Otherwise, leave it on for normal operation.

Menu: Song/Editor/Event/Filter
Parameter: Include Controllers
Value Range: On, Off

Turn this parameter off if you do not want the event editor to display
continuous controller data. Otherwise, leave it on for normal operation.

Menu: Song/Editor/Event/Filter
Parameter: Include Aftertouch
Value Range: On, Off

Turn this parameter off if you do not want the event editor to display
aftertouch data. Otherwise, leave it on for normal operation.

Menu: Song/Editor/Event/Filter
Parameter: Include Pitch
Value Range: On, Off

Turn this parameter off if you do not want the event editor to display
pitch changes. Otherwise, leave it on for normal operation.

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Menu: Song/Editor/Event/Filter
Parameter: Include Other Events
Value Range: On, Off

Turn this parameter off if you do not want the event editor to display
any event that is not explicitly stated above. Otherwise, leave it on for
normal operation.

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Processing Synth and Audio Tracks

Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade

(Note: This parameter MUST be set to “Clear” for the correct

parameters to be displayed on the remainder of the page. If
your page looks different than the one displayed above, it is
probably because this parameter is not set to “Clear.”)

The “clear” setting allows you to erase different parts of your selected
track.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be
affected.

Menu: Song/Editor/Tracks/Process
Parameter: Notes
Value Range: Included, Not Included

Set this parameter to “Included” if you want your notes to be cleared

upon execution. If you’d like note values to be left alone, set this value
to “Not Included.”

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Menu: Song/Editor/Tracks/Process
Parameter: Controllers
Value Range: Included, Not Included

Set this parameter to “Included” if you want your continuous controller

data to be cleared upon execution. If you’d like continuous controller
data to be left alone, set this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Aftertouch
Value Range: Included, Not Included

Set this parameter to “Included” if you want your aftertouch data to be

cleared upon execution. If you’d like aftertouch data to be left alone, set
this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Pitch
Value Range: Included, Not Included

Set this parameter to “Included” if you want your pitch-bend changes to

be cleared upon execution. If you’d like pitch bend changes to be left
alone, set this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Other events
Value Range: Included, Not Included

Set this parameter to “Included” if you want all other events not
explicitly stated above to be cleared upon execution. If you’d like these
events to be left alone, set this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Execute
Value Range: (none)

This button executes the current process you’ve selected.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Crop” for the correct
parameters to be displayed on the remainder of the page. If
your page looks different than the one displayed above, it is
probably because this parameter is not set to “Crop.”)

The “Crop” setting allows you to erase everything other than what is
selected using the “Edit Start” and “Edit End” parameters.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be
affected.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Cut” for the correct
parameters to be displayed on the remainder of the page. If
your page looks different than the one displayed above, it is
probably because this parameter is not set to “Cut.”)

The “Cut” setting allows you to erase a selected portion of your track.
You can then paste this portion elsewhere in your song using the “Paste”
process.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be
affected.

Menu: Song/Editor/Tracks/Process
Parameter: Notes
Value Range: Included, Not Included

Set this parameter to “Included” if you want your notes to be cut upon
execution. If you’d like note values to be left alone, set this value to
“Not Included.”

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Menu: Song/Editor/Tracks/Process
Parameter: Controllers
Value Range: Included, Not Included

Set this parameter to “Included” if you want your continuous controller

data to be cut upon execution. If you’d like continuous controller data to
be left alone, set this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Aftertouch
Value Range: Included, Not Included

Set this parameter to “Included” if you want your aftertouch data to be

cut upon execution. If you’d like aftertouch data to be left alone, set this
value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Pitch
Value Range: Included, Not Included

Set this parameter to “Included” if you want your pitch-bend changes to

be cut upon execution. If you’d like pitch bend changes to be left alone,
set this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Other events
Value Range: Included, Not Included

Set this parameter to “Included” if you want all other events not
explicitly stated above to be cut upon execution. If you’d like these
events to be left alone, set this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Execute
Value Range: (none)

This button executes the current process you’ve selected.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Copy” for the correct
parameters to be displayed on the remainder of the page. If
your page looks different than the one displayed above, it is
probably because this parameter is not set to “Copy.”)

The “Copy” setting allows you to copy a portion of your track to

memory. You can then use the “Paste Over” and “Paste Mix” processes
to place this portion of the track in other parts of the song.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be
affected.

Menu: Song/Editor/Tracks/Process
Parameter: Notes
Value Range: Included, Not Included

Set this parameter to “Included” if you want your notes to be copied

upon execution. If you’d like note values to be left alone, set this value
to “Not Included.”

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Menu: Song/Editor/Tracks/Process
Parameter: Controllers
Value Range: Included, Not Included

Set this parameter to “Included” if you want your continuous controller

data to be copied upon execution. If you’d like continuous controller
data to be left alone, set this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Aftertouch
Value Range: Included, Not Included

Set this parameter to “Included” if you want your aftertouch data to be

copied upon execution. If you’d like aftertouch data to be left alone, set
this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Pitch
Value Range: Included, Not Included

Set this parameter to “Included” if you want your pitch-bend changes to

be copied upon execution. If you’d like pitch bend changes to be left
alone, set this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Other events
Value Range: Included, Not Included

Set this parameter to “Included” if you want all other events not
explicitly stated above to be copied upon execution. If you’d like these
events to be left alone, set this value to “Not Included.”

Menu: Song/Editor/Tracks/Process
Parameter: Execute
Value Range: (none)

This button executes the current process you’ve selected.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Paste Over” for the
correct parameters to be displayed on the remainder of the
page. If your page looks different than the one displayed
above, it is probably because this parameter is not set to
“Paste Over.”)

The “Paste Over” setting allows you to take a segment from your track
(using either the “Cut” or “Copy” processes and to place this segment
over an existing part of your track. Note that this method deletes
whatever is already on your track before the new material is placed.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the start point at which your cut (or copied) track
segment will be placed.

Menu: Song/Editor/Tracks/Process
Parameter: Repetitions
Value Range: 1 – 100

If you want your cut (or copied) segment to be placed one time, leave
this parameter set to “1.” If you would like to paste multiple copies of
this segment, change this parameter accordingly. Once you press the
“Execute” action button, copies of the segment will be placed back-to-
back as many times as you have specified here.

Menu: Song/Editor/Tracks/Process
Parameter: Execute
Value Range: (none)

This button executes the current process you’ve selected.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Paste Mix” for the
correct parameters to be displayed on the remainder of the
page. If your page looks different than the one displayed
above, it is probably because this parameter is not set to
“Paste Mix.”)

The “Paste Mix” setting allows you to take a segment from your track
(using either the “Cut” or “Copy” process—see above) and to mix this
segment with an existing part of your track. Note that this method
keeps whatever is already on your track and adds the new material on top
of whatever is already there.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the start point at which your cut (or copied) track
segment will be placed.

Menu: Song/Editor/Tracks/Process
Parameter: Repetitions
Value Range: 1 – 100

If you want your cut (or copied) segment to be placed one time, leave
this parameter set to “1.” If you would like to place multiple copies of
this segment, change this parameter accordingly. Once you press the
“Execute” action button, copies of the segment will be placed back-to-
back as many times as you have specified here.

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Menu: Song/Editor/Tracks/Process
Parameter: Execute
Value Range: (none)

This button executes the current process you’ve selected.

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Note: This page will look different depending on what you select for the “Process”
parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide, Adjust
Note Gate, Adjust Note Velocity, Note Transpose, Note Quantize, Audio
Gain, Audio Fade
(Note: This parameter MUST be set to “Adjust Note Gate” for the
correct parameters to be displayed on the remainder of the page. If your
page looks different than the one displayed above, it is probably because
this parameter is not set to “Adjust Note Gate.”)

The “Adjust Note Gate” setting allows you to change the length of the notes on your
selected track.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be affected.

Menu: Song/Editor/Tracks/Process
Parameter: Adjust Gate
Value Range: 1-200%

This parameter lets you adjust the length of the notes on your track. For example, a
setting of 5% will cause all the notes within your “Edit Start” and “Edit End” points
to be reduced to 5% of their original length. A setting of 100% will result in no
changes. A setting of 200% will double the length of each note.

Menu: Song/Editor/Tracks/Process
Parameter: Execute
Value Range: (none)

This button executes the current process you’ve selected.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Adjust None
Velocity” for the correct parameters to be displayed on the
remainder of the page. If your page looks different than the
one displayed above, it is probably because this parameter is
not set to “Adjust None Velocity.”)

The “Adjust Note Velocity” setting allows you to change the note
velocities of your track.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be
affected.

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Menu: Song/Editor/Tracks/Process
Parameter: Start velocity
Value Range: 1-200%

This parameter lets you adjust the velocity of the notes near the “Edit
Start” point of your track. For example, a setting of 5% will reduce the
velocity of all notes near your “Edit Start” point to about 5% of their
original strength. A setting of 100% will result in no in velocity change,
while a setting of 200% will double the velocity of each note.

Note that you can have different starting and ending values for this
process. In other words, if you set your “Start” setting to 1% and your
“End” velocity to 200%, your velocities will start small and gradually get
louder until you reach the “Edit End” point. This allows you to create
things like crescendos, decrescendos, and other effects with little effort.

Menu: Song/Editor/Tracks/Process
Parameter: End velocity
Value Range: 1-200%

This parameter lets you adjust the velocity of notes near the “Edit End”
point of your track.

Menu: Song/Editor/Tracks/Process
Parameter: Execute
Value Range: (none)

This button executes the current process you’ve selected.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Note Transpose” for
the correct parameters to be displayed on the remainder of the
page. If your page looks different than the one displayed
above, it is probably because this parameter is not set to “Note
Transpose.”)

The “Note Transpose” setting allows you to shift notes either up or

down.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be
affected.

Menu: Song/Editor/Tracks/Process
Parameter: Transpose
Value Range: -48 to +48 semitones

This parameter determines how many semitones your selected region is

going to be shifted up or down.

Menu: Song/Editor/Tracks/Process
Parameter: Execute
Value Range: (none)

This button executes the current process you’ve selected.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Slide” for the correct
parameters to be displayed on the remainder of the page. If
your page looks different than the one displayed above, it is
probably because this parameter is not set to “Slide.”)

The “Slide” setting allows you move a segment (or all of) your track
forward or backward in relation to the rest of your song.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be
affected.

Menu: Song/Editor/Tracks/Process
Parameter: Slide
Value Range: -999 to 999

This parameter lets you move your selected region forward or backward
in relation to the rest of your track.

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Menu: Song/Editor/Tracks/Process
Parameter: Units
Value Range: Measures, Beats, Pulses

This parameter determines how your region will be moved. “Measures”

moves your region by full measures, whereas beats lets you move your
region by individual beats. “Pulses” lets you move your region with the
most amount of precision (each beat has 480 pulses).

Menu: Song/Editor/Tracks/Process
Parameter: Execute
Value Range: (none)

This button executes the current process you’ve selected.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Note Quantize” for
the correct parameters to be displayed on the remainder of the
page. If your page looks different than the one displayed
above, it is probably because this parameter is not set to “Note
Quantize.”)

The “Note Quantize” setting allows you to quantize your notes in order
to fix timing inconsistencies during your performance.

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be
affected.

Menu: Song/Editor/Tracks/Process
Parameter: Resolution
Value Range: Dotted 2x whole-note, 3x whole-note triplet, Double
whole-note, Dotted whole-note, 2x whole-note triplet, whole-
note, Dotted half-note, Whole-note triplet, Half-note, Dotted
quarter-note, Half-note triplet, Quarter-note, Dotted 8-note,
Quarter-note triplet, 8-note, Dotted 16-note, 8-note triplet, 16-
note, Dotted 32-note, 16-note triplet, 32-note, Dotted 64-note,
32-note triplet

This parameter determines the feel of your quantization. Each of these

settings causes your quantized notes to snap to different parts of the beat
and your actual composition determines what setting will work best.

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Menu: Song/Editor/Tracks/Process
Parameter: Strength
Value Range: 0-100%

This parameter sets how rigidly your track will be quantized. In other
words, a 0% setting will not quantize your track at all, whereas a 100%
setting will cause every note to “snap” to its perfect position within the
beat. Settings closer to 0% allow note timing to be more “relaxed” and
true to the original performance while settings closer to 100% make the
track more “rigid” and precise.

Menu: Song/Editor/Tracks/Process
Parameter: Swing
Value Range: 0-100%

This parameter determines how the “swing” or second quantization is

treated. Settings of 0-49% pull the second quantization closer to the first
whereas settings of 51-100% pull the second quantization closer to the
third. A setting of 50% has no swing and all quantization are equally
spaced apart.

Menu: Song/Editor/Tracks/Process
Parameter: Window
Value Range: 0-100%

This parameter lets you set the amount of “pull” that will exist for each
ideal quantized note position. At 100% all notes pull toward the nearest
quantization point. At lower percentages, notes far from a quantization
point may not be pulled.

Using this parameter, you can set how far away a note has to fall from an
“ideal” quantize position before the quantize process ignores that note.

Menu: Song/Editor/Tracks/Process
Parameter: Offset
Value Range: -1000 to +1000 pulses

This parameter lets you shift the quantization forward or backwards in

time by up to 1000 pulses.

Menu: Song/Editor/Tracks/Process
Parameter: Execute
Value Range: (none)

This button executes the current process you’ve selected.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Audio Gain” for the
correct parameters to be displayed on the remainder of the
page. If your page looks different than the one displayed
above, it is probably because this parameter is not set to
“Audio Gain.”)

The “Audio Gain” setting allows you to increase or decrease the loudness
of your selected audio track (or tracks).

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be
affected.

Menu: Song/Editor/Tracks/Process
Parameter: Gain
Value Range: -18 to +18 dB

This parameter sets how many decibels of gain you’d like to have for
your selected audio track (or tracks). Positive settings will make your
selected segments louder whereas negative settings will make your track
softer.

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Note: This page will look different depending on what you select for the
“Process” parameter (see below).

Menu: Song/Editor/Tracks/Process
Parameter: Process
Value Range: Clear, Crop, Cut, Copy, Paste Over, Paste Mix, Slide,
Adjust Note Gate, Adjust Note Velocity, Note Transpose,
Note Quantize, Audio Gain, Audio Fade
(Note: This parameter MUST be set to “Audio Fade” for the
correct parameters to be displayed on the remainder of the
page. If your page looks different than the one displayed
above, it is probably because this parameter is not set to
“Audio Fade.”)

The “Audio Fade” setting allows you to increase or decrease the loudness
of your selected audio track (or tracks).

Menu: Song/Editor/Tracks/Process
Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your edits will start to take place.

Menu: Song/Editor/Tracks/Process
Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your track will not be
affected.

Menu: Song/Editor/Tracks/Process
Parameter: Fade Type
Value Range: Linear Fade In, Linear Fade Out, Logarithmic Fade
In, Logarithmic Fade Out, Exponential Fade In, Exponential
Fade Out

This parameter determines the shape of the fade in (or fade out) over the
selected region.

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Song Utility Page

Menu: Song/Utility
Parameter: Create a new Song
Value Range: (none)

This button creates a new song with empty tracks and default settings.
Remember to save your current song otherwise you will lose your work
once the new song is created.

Menu: Song/Utility
Parameter: Song Utilities
Value Range: (none)

This button takes you to another page where you can perform additional
functions to your song. See page 168 for more about these functions.

Menu: Song/Utility
Parameter: Track Utilities
Value Range: (none)

This button takes you to another page where you can perform additional
functions to individual tracks. See page 169 for more about these
functions.

Menu: Song/Utility
Parameter: Clean audio directory
Value Range: (none)

This button opens a prompt asking you if you’d like to delete unused Once you clean your audio directory,
parts of audio tracks in order to conserve disk space. The amount of unused segments of audio are permanently
deleted from the hard disk of the Fusion and
disk space you save will depend on how you have edited your tracks. cannot be recovered. Use this function with
Press “Yes” if you’d like to delete unused audio and “No” to leave the caution!
recorded audio tracks whole.

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Menu: Song/Utility/SongUtil
Parameter: Flatten
Value Range: (none)

Every time you record audio (whether you are creating a new section of a
song or overdubbing an existing section), the Fusion creates a new file.
This process is totally transparent and most regular users will never have
to worry this.

However, certain power users (i.e., those who record on all eight audio
tracks and perform lots of complicated edits on each track) may run into
playback problems because the Fusion’s hard disk cannot keep up with
the sequencer’s requests for lots of audio fragments.

The “flatten” function consolidates all of your audio segments into one
single file that is much easier for the Fusion to play back. This will
improve audio performance (particularly if you have edited a track
heavily).

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Menu: Song/Utility/TrackUtil
Parameter: Choose track
Value Range: (none)

Select the track you’d like to edit here.

About “Flatten this track:”

Menu: Song/Utility/TrackUtil
Parameter: Flatten this track (only available for “Audio” tracks) Every time you record audio (whether you
Value Range: (none) are creating a new section of a song or
overdubbing an existing section), the Fusion
creates a new file on the hard disk. All these
This button creates one continuous audio file from the collection of separate chunks are then played back in
smaller chunks of files that may have been created within that track. order to create your audio track. This
This will improve audio performance for both recording and playback. process is totally transparent and most
regular users will never know (or care) that
this is taking place.

Menu: Song/Utility/TrackUtil However, certain power users (i.e., those

Parameter: Import to this track (only available for “Audio” tracks) who record on all eight audio tracks and
Value Range: (none) perform lots of complicated edits and
overdubs) may run into playback problems
because the Fusion’s hard disk cannot
This button allows you to select a 24-bit WAV file and import the file to locate and playback all of the audio
replace an audio track. fragments scattered on the Fusion’s hard
disk.

The “flatten” function consolidates all of

Menu: Song/Utility/TrackUtil your audio segments into one single file that
Parameter: Export from this track (only available for “Audio” tracks) is much easier for the Fusion to play back.
Value Range: (none) This will improve recording and playback
performance (especially if you have edited a
track heavily).
This button allows you to export an audio track to a user-selected folder.

Menu: Song/Utility/TrackUtil
Parameter: Edit Program (only available for “Synth” tracks)
Value Range: (Varies depending on programs loaded)

You can select which program you’d like to edit (in Program mode) using
this prompt. Once you’ve found the program, you can press the “Edit
Prog” action button (see below) to edit the program.

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Menu: Song/Utility/TrackUtil
Parameter: Edit Prog (only available for “Synth” tracks)
Value Range: (none)

This button will load the selected synth track into Program mode for
editing.

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Sampler Mode

This section covers all of the parameters found in Sampler mode.

Sampler Mode gives you access to the Fusion’s internal sampler. Using
this mode, you can record and edit sounds that you can then use in your
own sample-playback programs.

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Setting Overall Sample Settings

Menu: Sampler/Multi/General
Parameter: Split point shift
Value Range: -127 to +127 keys

This parameter moves your split points but keeps the root note value of
each zone. This lets you move the keygroup splits, but keeps the tuning
constant.

Menu: Sampler/Multi/General
Parameter: Number of zones
Value Range: (not editable)

This parameter tells you how many zones have been created in the
current multisample.

Menu: Sampler/Multi/General
Parameter: Add Zone
Value Range: (none)

This button creates a new zone and automatically takes you to the
Sampler/Zone/General page for further editing. A multisample can
have up to 512 zones.

Menu: Sampler/Multi/General
Parameter: Del Zone
Value Range: (none)

This button brings up a page allowing you to delete any zone that has
been created. Note that this button is only visible when more than one
zone has been created since each multisample must have at least one
zone.

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Setting Individual Zone Settings

Menu: Sampler/Zone/General
Parameter: EDIT Zone
Value Range: (varies depending on number of zones created)

Select the zone you’d like to edit using this parameter.

Menu: Sampler/Zone/General
Parameter: Sample
Value Range: (varies)

This parameter lets you select a sample for the current zone. The top
row you select the bank whereas the bottom row lets you select an
individual sample.

Menu: Sampler/Zone/General
Parameter: Mute Group
Value Range: None, Self, A – P

This allows you to mute one or more zones when another zone is played.
For example, let’s say you’re sampling a hi-hat in a drum kit. When you
play an open hi-hat and then follow it with a closed hi-hat, the closed hi-
hat stops the open hat from ringing. By assigning these zones to the
same mute group (groups range from A through P) you can have one
sample mute a second sample as soon as the first one is triggered.

Menu: Sampler/Zone/General
Parameter: Reverse
Value Range: On, Off

Check this box to make the sample in the selected zone play backwards.

Menu: Sampler/Zone/General
Parameter: Volume
Value Range: 0 – 100%

Sets the volume of the selected zone. Note that the volume for each
zone can be set independently.

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Menu: Sampler/Zone/General
Parameter: Pan (or “Balance” depending on sample type)
Value Range: L100% to R100%

Sets the pan position of each individual zone. Note that each zone can
be panned to its own position.

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Menu: Sampler/Zone/Range
Parameter: EDIT Zone
Value Range: (varies depending on number of zones created)

Select the zone you’d like to edit using this parameter.

Menu: Sampler/Zone/Range
Parameter: Low Key
Value Range: C-2 to G8

This parameter sets the lowest note of the range to which the sample in
the zone will respond.

Menu: Sampler/Zone/Range
Parameter: High Key
Value Range: C-2 to G8

This parameter sets the highest note of the range to which the sample in
the zone will respond.

Menu: Sampler/Zone/Range
Parameter: Root Note
Value Range: C-2 to G8, Use sample

This parameter determines what note on the keyboard will play the
sample back at its original pitch. In other words, if you set the root note
to “C3” when you trigger the sample using the C3 key, you will hear it
just as it was recorded. If you press any keys higher than C3 then the
sample will be pitched up. Conversely, if you press any keys lower than
C3 the sample will be pitched down.

The “Use sample” setting uses the root note stored with the sample (see
the sample “Root Note” parameter on page 182 for more).

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Menu: Sampler/Zone/Range
Parameter: Velocity Low
Value Range: 0 – 127

This parameter sets the lowest velocity of the range to which the sample
in the zone will respond.

Menu: Sampler/Zone/Range
Parameter: Velocity High
Value Range: 0 – 127

This parameter sets the highest velocity of the range to which the sample
in the zone will respond.

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Menu: Sampler/Zone/Settings
Parameter: EDIT Zone
Value Range: (varies depending on number of zones created)

Select the zone you’d like to edit using this parameter.

Menu: Sampler/Zone/Settings
Parameter: Sample Start
Value Range: (Varies depending on length of recorded sample) The “Default” Setting:

If your “Sample Start,” “Loop Start,” and

This parameter sets the starting point of the sample contained on that “Loop End” points are set to “0” then the
zone. The sample start point is represented by an arrow on the bottom sample’s own loop points (specified on the
Sampler/Sample/Edit page) are used and
of the waveform display—you can use this visual cue to set sample the words “Using Sample Loop Points” are
points quickly. displayed along the bottom of the screen.

Menu: Sampler/Zone/Settings
Parameter: Fine Tune
Value Range: -99 to +99 Cents

This parameter lets you make precise adjustments to the pitch of your
sample.

Menu: Sampler/Zone/Settings
Parameter: Loop Fine Tune
Value Range: -99 to +99 Cents

This parameter lets you make precise pitch adjustments to the looped
portion of your sample. This is different from the “Fine Tune”
parameter in that this parameter only deals with the pitch in the looped
part of the sample.

Menu: Sampler/Zone/Settings
Parameter: Loop Start
Value Range: (Varies depending on length of recorded sample)

Sets the starting point of your looped section. The loop start position is
indicated with a right-facing arrow above the waveform display.

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Menu: Sampler/Zone/Settings
Parameter: Loop End
Value Range: (Varies depending on length of recorded sample)

Sets the end point of your looped section. Once your sample playback
reaches this point, looping will begin on your sample. The loop end
point is indicated with a left-facing arrow above the waveform display.

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Capturing Samples

Menu: Sampler/Sample/Select
Parameter: EDIT Zone
Value Range: (varies depending on number of zones created)

Select the zone you’d like to edit using this parameter.

Menu: Sampler/Sample/Select
Parameter: Sample
Value Range: (varies)

This parameter lets you select a sample for the current zone. The top
line row you select the bank whereas the bottom row lets you select an
individual sample.

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Menu: Sampler/Sample/Info
Parameter: EDIT Zone
Value Range: (varies depending on number of zones created)

Select the zone you’d like to view using this parameter. Note that none
of the parameters on this page are editable—they are simply provided as
a reference.

Menu: Sampler/Sample/Info
Parameter: Sample Rate
Value Range: (not editable)

This parameter reports the sampling rate for the currently selected
sample.

Menu: Sampler/Sample/Info
Parameter: Word Length
Value Range: (not editable)

This parameter reports the bit depth for the currently selected sample.

Menu: Sampler/Sample/Info
Parameter: Length
Value Range: (not editable)

This parameter reports the length of the currently selected sample in

both number of samples (on the left side) and length of time (within the
parenthesis).

Menu: Sampler/Sample/Info
Parameter: Sample Type
Value Range: (not editable)

This parameter reports whether the currently selected sample is mono or

stereo.

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Menu: Sampler/Sample/Info
Parameter: Compression Type
Value Range: (not editable)

This parameter reports what type of data compression has been used on
the current sample, if any has been used at all.

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Menu: Sampler/Sample/Edit
Parameter: EDIT Zone
Value Range: (varies depending on number of zones created)

Select the zone you’d like to edit using this parameter.

Menu: Sampler/Sample/Edit
Parameter: Root Note
Value Range: C-2 to G8
Why can’t I hear any changes I make?

This parameter determines what note on the keyboard will play back Note that the parameters you set on the Zone
your sample at its original pitch. In other words, if you set the root note pages can override the parameters found on
this page. If you find that you are editing the
to “C3” when you trigger the sample using the C3 key, you will hear it parameters on this page but are not hearing
just as it was recorded. If you press any keys higher than C3 then the the effects of your changes, take a look at the
sample will be pitched up. Conversely, if you press any keys lower than Sampler/Zone pages. If the parameters on
those pages are set to anything other than
C3 the sample will be pitched down. the “Default” values, you will not be able to
hear changes on this page.

Menu: Sampler/Sample/Edit
Parameter: Loop Type
Value Range: Normal, Forward-Reverse

This parameter sets how your loop behaves:

Normal: When set to “Normal” the sample

plays from the beginning to the “Loop
End” point and jumps back to the
“Loop Start” position and continues
playing through the file.

Forward-Reverse: When set to “Forward-Reverse” your

loop starts playing from the beginning
to the “Loop End” point and then
plays the sample in reverse until it
reaches the “Loop Start” position. At
the “Loop Start” position sample
playback switches and the sample
plays regularly again.

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Menu: Sampler/Sample/Edit
Parameter: Loop Start
Value Range: (Varies depending on length of recorded sample)

Sets the starting point of your looped section. The loop start position is
indicated with a right-facing arrow above the waveform display.

Menu: Sampler/Sample/Edit
Parameter: Loop End
Value Range: (Varies depending on length of recorded sample)

Sets the end point of your looped section. Once your sample playback
reaches this point, looping will begin on your sample. The loop end
point is indicated with a left-facing arrow above the waveform display.

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Menu: Sampler/Sample/Record
Parameter: Audio mode
Value Range: Mono, Stereo

Select whether you want to record in mono or stereo using this

parameter.

Menu: Sampler/Sample/Record
Parameter: Gate Threshold
Value Range: Off, -60dB to 0 dB

Recording does not take place until the sampler’s incoming levels exceed
the minimum that you set here. If you leave this parameter set to “Off,”
recording will start as soon as you press the RECORD and PLAY
buttons on the transport.

Menu: Sampler/Sample/Record
Parameter: Pre-record time
Value Range: 0 ms – 999 ms

When you are using the “Gate Threshold” parameter to automatically

capture a sound, you may miss the initial few milliseconds of the sample
where the sound is “building up” before reaching the threshold. By
setting this parameter between 1 and 999 milliseconds, the Fusion buffers
the audio input allowing you to capture the initial portion of the sample.

If you do not want to capture the audio preceding the threshold point,
go ahead and set this parameter to “0.”

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Menu: Sampler/Sample/Record
Parameter: Maximum sample time A Note on “Maximum Sample Time”
Value Range: 1 – 60 Sec.
This parameter sets the amount of time in
RAM memory allocated for sample
This parameter sets a maximum time limit on capturing a sample. For recording. If you set this value too high,
example, if you set this parameter to “12 sec” and start recording, the other samples will be “pushed out” of
existing memory. This means, that samples
sampler will automatically shut off after 12 seconds. previously loaded programs will need to be
re-loaded when you call up those programs
again. To keep this from happening, set this
value to the minimum amount necessary for
Menu: Sampler/Sample/Record
your sample.
Parameter: Available space
Value Range: (not editable)

This lets you know how many megabytes of sampling memory remain
on your Fusion.

Menu: Sampler/Sample/Record
Parameter: VU Meters (along bottom of the screen) The Record Button
Value Range: (not editable)
The Fusion has a “monitor” mode that
allows you to hear what will actually pass
These meters let you monitor incoming audio levels for sampler. You through the sampler as you are recording.
can adjust these incoming levels by using the Gain knob on the back of Whenever you are in sampler mode, if you
press the “Record” button on the Center
the Fusion (near the sampler inputs). When you are sampling, your levels Section, you will jump to the
should ideally peak around -6 dB since that will give you a healthy signal Sampler/Sample/Record page so that you
but leave enough headroom for the occasional loud transient. can view levels on the bottom of the display.

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Editing and Processing Samples

[Note: The parameters on this page will look different depending on

what you have selected for the “Process” parameter. If your screen
looks different from the one above, it is probably because you have
selected a different process type.]

Menu: Sampler/Editor
Parameter: Process (page parameter)
Value Range: Set Sample Loop Pts, Set Zone Loop Pts, Crop
Region, Adjust Region Gain, Normalize, Silence Region,
Insert Silence, Cut Region, Copy Region, Paste Over Region,
Mix Paste Region, Insert Paste, Region Fade In, Region Fade
Out

This parameter determines how you’re going to edit your current sample.
The remaining parameters on the page will vary depending on what has
been selected here and so we will break things down by process type.

Process Description of process (and its parameters)

Set Sample Loop Pts This parameter selects a region for looping for the sample
Edit Start Select the start point of your region here
Edit End Select the end point of your region here

Set Zone Loop Pts This parameter selects a region for looping in the zone
Edit Start Select the start point of your region here
Edit End Select the end point of your region here

Crop Region This parameter deletes everything outside your selected region
Edit Start Select the start point of your region here
Edit End Select the end point of your region here

Adjust Region Gain This process adjusts the gain of a selected region of your sample
Edit Start Select the start point of your region here
Edit End Select the end point of your region here
Gain Select how many dB of gain (or cut) you would like

Normalize This process analyzes your recording and adjusts the volume to
make the loudest part of your waveform equal to 0 dB (i.e., the
loudest possible level)

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Silence Region This parameter creates silence in the selected region
Edit Start Select the start point of your region here
Edit End Select the end point of your region here

Insert Silence This parameter inserts silence in the selected region

Edit Start Select the start point of your region here
Length Select the length of the silence using this parameter

Cut Region This parameter removes the selected region (and copies it to the clipboard).
When you cut a segment of audio, the remaining gap is closed.
Edit Start Select the start point of your region here
Edit End Select the end point of your region here

Copy Region This parameter copies the selected region to the clipboard
Edit Start Select the start point of your region here
Edit End Select the end point of your region here

Paste Over Region This parameter pastes your copied segment at the Edit Start point
Edit Start Select the start point of your region here

Mix Paste Region This parameter mixes your copied segment with whatever is currently on
the track. The Edit Start parameter determines where the segment is
brought in.
Edit Start Select the start point of your region here

Insert Paste Inserts the clipboard material at that point and the rest of the audio is
moved to the side to make room for it.
Edit Start Select the start point of your region here

Region Fade In This parameter creates an amplitude fade in over the selected region
Edit Start Select the start point of your region here
Edit End Select the end point of your region here
Fade Type This parameter determines how your fade will take place

Region Fade Out This parameter creates an amplitude fade out over the selected region
Edit Start Select the start point of your region here
Edit End Select the end point of your region here
Fade Type This parameter determines how your fade will take place

Menu: Sampler/Editor
Parameter: Process (action button)
Value Range: (none)

This button executes whatever command you’ve selected using the

“Process” parameter.

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Menu: Sampler/Editor
Parameter: Zoom In
Value Range: (none)

This button lets you “zoom in” to see your individual samples in more
detail. This is useful for making precise edits such as setting loop points.
The number on the lower right of the graphical editor indicates your Zooming In and Out:
“zoom factor.” A factor of “x1” means you’re seeing the
entire sample displayed on screen whereas
higher values mean you’re seeing smaller
and smaller segments of your sample. For
Menu: Sampler/Editor example, a factor of “x512” means that
Parameter: Zoom Out you’re only seeing 1/512th of the entire
Value Range: (none) sample.

This button “zooms out” to let you see more of your sample (but with
less detail). This is useful for making general edits to your sample such as
cropping out unnecessary segments of your sample.

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Sampler Utility Page

Menu: Sampler/Editor
Parameter: New Multi
Value Range: (none)

This button creates a new multi-sample. Note that when you do this, any
samples you’ve recorded for your current multi-sample will be deleted.
If you have recorded any samples you’d like to save, make sure to store
that sample before pressing this button.

Menu: Sampler/Editor
Parameter: Generate Program
Value Range: (none)

This button creates a new program based on the current multisample

loaded in Sampler mode.

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Mixer Mode

Mixer Mode

Mixer Mode has been created so you can conveniently mix your
synthesizer and audio tracks together on one screen. The mixer lets you
set levels and pan positions for each synth and audio track as well as set
send levels, and enable or solo tracks just like on a hardware mixer.

Note that the mixer is only accessible when you are in Mix and Song
modes since these are the only modes in which you can have multiple
programs or audio tracks to mix together. Program or Sampler modes
only play one instrument at a time and don’t require a Mixer (since you
have nothing to mix).

Using the Mixer

Mixer Mode has been designed for ease of use. The four Control Knobs
allow you to edit the virtual knobs or faders on screen and the T1-T4
buttons let you enable or solo different tracks that are active. The
Control Wheel allows you to select which “virtual channels” you’d like to
edit on the mixer.

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Menu: Mixer Mode

Parameter: Control Knobs/Triggers
Value Range: (Varies depending on number of tracks created)

This parameter determines which channels are currently selected for

editing. Notice that active channels are highlighted on the bottom of the
screen.

Menu: Mixer Mode

Parameter: Send 1
Value Range: (none)

This button assigns the Control Knobs to set send levels to Bus Effect 1.

Menu: Mixer Mode

Parameter: Send 2
Value Range: (none)

This button assigns the Control Knobs to set send levels to Bus Effect 2.

Menu: Mixer Mode

Parameter: Pan
Value Range: (none)

This button assigns your Control Knobs to set pan position on your
selected mixer channel.

Menu: Mixer Mode

Parameter: Volume
Value Range: (none)

This button assigns your Control Knobs to set volume levels on your
selected mixer channel.

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Menu: Mixer Mode

Parameter: Enable
Value Range: (none)

This button assigns your T1-T4 trigger buttons to enable and disable
your currently selected mixer channel.

Menu: Mixer Mode

Parameter: Solo
Value Range: (none)

This button assigns your T1-T4 trigger buttons to solo your currently
selected mixer channel. Note that it is possible to solo multiple channels.

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Global Mode
This section covers all of the pages found in Global mode. Global mode
includes parameters that affect all different modes found on the Fusion.

Global Workstation Settings

Menu: Global/Settings/General
Parameter: Key Transpose
Value Range: -12 to +12 Semitones

Use Key Transpose to reassign the notes that are triggered when you play
the keyboard (or access the Fusion via an external MIDI device). For
instance, with a “2 semitones” transposition, every time you play a C key,
the Fusion will play the D note instead.

You can transpose the Fusion up to 12 semitones (1 octave) higher or

lower than the default “0”-semitone setting.

Menu: Global/Settings/General
Parameter: Velocity Curve
Value Range: LIN, EXP, LOG, EXP+LOG, Fixed

Velocity Curve lets you set the “feel” of the dynamics of the keyboard.
Many keyboardists try different settings until they find one that suits their
style of playing best. This setting affects the keyboard velocities both to
the Fusion and the MIDI out port. The following diagrams describe
each curve:

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Menu: Global/Settings/General
Parameter: Fixed Velocity [Only available when Velocity Curve is
set to Fixed]
Value Range: 1 - 127

If your Velocity Curve is set to “Fixed,” this value determines the output
velocity of each note.

If the velocity curve is set to anything other than “Fixed,” this parameter
will display “N/A” and cannot be edited.

Menu: Global/Settings/General
Parameter: Velocity Scaling
Value Range: 7 - 255

Velocity Scaling allows you to fine tune the velocity sensitivity of the
keyboard. Setting this parameter to low values makes the keyboard more
expressive in the lower note velocity range but makes it more difficult to
reach the highest velocities (120-127, for example). Setting this
parameter to higher values makes the keyboard more expressive in the
higher velocity range and makes it more difficult to play very soft notes
(Velocity values 0-10, for example).

Most users tweak this value over time until they find a value that feels
right for their style of playing.

Menu: Global/Settings/General
Parameter: Master Tune
Value Range: - 99 to +99 Cents

Master Tune allows you to make small pitch changes globally to all
sounds on the keyboard. Use this function to tune the keyboard to a
slightly flat or sharp ensemble. This parameter tunes all sounds on the
keyboard—to tune programs individually, see the Program section.

Menu: Global/Settings/General
Parameter: Master Tempo
Value Range: 50.0 - 300.0 BPM

The tempo that you set here–expressed in Beats Per Minute (BPM)–
determines the tempo at which different parts of the Fusion (i.e.,
arpeggiator, synced LFOs, etc.) will operate when the Global Tempo
parameter is checked.

You can change this value by using the arpeggiator tempo knob on the
performance panel if Global Tempo is checked.

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Menu: Global/Settings/General
Parameter: Global Tempo
Value Range: On, Off

The Fusion is capable of having completely independent tempos for

each program or mix. If you want each program or mix to play at its
own tempo, uncheck this box.

In some circumstances, you will want to check this box because you’ll
want things like arpeggiations to be at the same tempo when changing
programs. When this box is checked, the system tempo will be the
Master Tempo.

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Global MIDI Settings

Menu: Global/Settings/MIDI
Parameter: MIDI Channel
Value Range: 1 to 16

This parameter selects the MIDI input and output channel for the Fusion
used in Program mode or for a part in Mix mode (or a track in Song
mode) that uses the Global MIDI Channel.

Menu: Global/Settings/MIDI
Parameter: Receive MIDI Clock
Value Range: On, Off

Check this box if you’d like to Receive MIDI clock from an external
source such as a drum machine or an external sequencer. Receiving
MIDI clock lets all of your Fusion’s tempo-dependent functions
(arpeggiations, synced LFOs, etc.) stay in sync with your other MIDI
devices. Leave this box unchecked if you are not using any external
devices or are using devices that do not send a MIDI clock signal.

Menu: Global/Settings/MIDI
Parameter: Transmit MIDI Clock
Value Range: On, Off

Check this box if you’d like the Fusion to transmit MIDI clock to an
external device such as a drum machine or a sequencer. This clock lets
your Fusion and the external device remain in sync despite tempo
changes. The device that receives this clocking signal must support
MIDI clock otherwise sync will not be established.

If you are not using any external devices, leave this box unchecked so
that MIDI bandwidth is not wasted on an unused clock.

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Menu: Global/Settings/MIDI
Parameter: General MIDI
Value Range: On, Off

This parameter causes the Fusion to behave just like a General MIDI
module. For example, if you load a song with a track set to MIDI
channel 10, then the Fusion will automatically load a drum kit on that
channel (having a drum kit on channel 10 is common General MIDI
protocol).

Menu: Global/Settings/MIDI
Parameter: Local Control
Value Range: On, Off

Uncheck this box if you’d like to “disconnect” the Fusion’s keys from the
Fusion’s synthesizer engine. This essentially turns the Fusion’s into a
separate “controller” keyboard and synthesis engine. This is necessary in
situations in which you are composing using an external sequencing
program on a computer and your notes are being triggered twice when
you play a key (once from the local keyboard and once again as the MIDI
data passes through your sequencer and comes back to the Fusion).
Turning local control off will make it so that only one note will sound
when you play a key.

If you are not using any kind of external sequencer, leave this box
checked for normal operation.

Menu: Global/Settings/MIDI
Parameter: MIDI Program Select
Value Range: On, Off ¿por qué son importantes estos
parámetros? quizás se pregunte por qué
hemos incluido los parámetros de selección
Check this box if you’d like to select different programs through MIDI de programa midi y selección de mezcla
(for example if you are controlling the Fusion through another MIDI midi dentro del fusion. las configuraciones
midi complejas a veces tienen datos midi
controller). Leave this box unchecked if you don’t want to be able to que se enrutan en serie a muchos
change programs through MIDI. dispositivos y esto puede causar que los
mensajes de cambio de programa (o
mezcla) destinados a otros sintetizadores
afecten involuntariamente al fusion. si
Menu: Global/Settings/MIDI descubre que otros dispositivos están
Parameter: MIDI Mix Select afectando involuntariamente a su fusion,
Value Range: On, Off configure este parámetro en "apagado".
marque esta casilla si desea seleccionar diferentes mezclas a través de
midi (por ejemplo, si está controlando el fusion a través de un
secuenciador externo). cuando esta casilla está marcada, cualquier
mensaje de cambio de programa recibido por fusion en el canal global
se interpreta como un cambio de mezcla. deje esta casilla sin marcar si
no desea poder cambiar mezclas a través de midi.

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Global Controller Settings:

Menu: Global/Settings/Controls
Parameter: Foot Switch CC#
Value Range: 1 – 119

This parameter determines what continuous controller (CC) number is

used for the Foot Switch.

Menu: Global/Settings/Controls
Parameter: Foot Switch Function
Value Range: Mod Source, Increment, Decrement, Song Punch
in/out, Song Play/Stop

This parameter determines the alternate function of the Foot Switch.

For normal operation the Foot Switch simply acts as a “Mod Source”.
Setting this parameter to “Increment” or “Decrement” will allow the user
to use the Foot Switch to increment or decrement the current parameter
(rather than its default use as a mod source). This can be used to change
the current program using the Foot Switch. Setting this parameter to
“Song Punch in/out” or “Song Play/Stop” will allow the user to operate
the transport controls in Song mode using the Foot Switch. When not in
Song mode the Foot switch will act as a mod source.

Menu: Global/Settings/Controls
Parameter: Foot Pedal CC#
Value Range: 1 – 119

This parameter determines what continuous controller (CC) number is

used for the Foot Pedal.

Menu: Global/Settings/Controls
Parameter: Foot Pedal Function
Value Range: Mod Source, Mod + Volume, Mod + Expression,
Mod + Pan

This parameter determines the alternate function of the Foot Pedal. In

addition to acting as a mod source, the Foot Pedal can also act as a
volume, expression, or pan pedal for synth programs.

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Menu: Global/Settings/Controls
Parameter: Controller Knob 1 CC#
Value Range: 1 – 119

This parameter determines what continuous controller (CC) number is

used for Controller Knob 1.

Menu: Global/Settings/Controls
Parameter: Controller Knob 2 CC#
Value Range: 1 – 119

This parameter determines what continuous controller (CC) number is

used for Controller Knob 2.

Menu: Global/Settings/Controls
Parameter: Controller Knob 3 CC#
Value Range: 1 – 119

This parameter determines what continuous controller (CC) number is

used for Controller Knob 3.

Menu: Global/Settings/Controls
Parameter: Controller Knob 4 CC#
Value Range: 1 – 119

This parameter determines what continuous controller (CC) number is

used for Controller Knob 4.

Menu: Global/Settings/Controls
Parameter: Reset Knobs
Value Range: On, Off

This parameter resets your knobs to “0” when you change programs,
mixes, or songs. If you’d like to keep existing knob settings when you
change your programs, mixes, or songs, uncheck this box.

Menu: Global/Settings/Controls
Parameter: Switch S1 CC#
Value Range: 1 – 119

This parameter determines what continuous controller (CC) number is

used for the S1 Switch.

Menu: Global/Settings/Controls
Parameter: Switch S2 CC#
Value Range: 1 – 119

This parameter determines what continuous controller (CC) number is

used for the S2 Switch.

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Metronome Settings

Menu: Global/Settings/Metro
Parameter: Enable Metronome
Value Range: On, Off

Check this box to enable the metronome during recording.

Menu: Global/Settings/Metro
Parameter: Count-in
Value Range: Off, 1-2 Measures

Many musicians like having one or two bars to “count-in” before the
sequencer starts recording the performance. Set the number of
measures you’d like to have here. If you’d like to immediately start
recording without a count-in, set this parameter to “off.”

Menu: Global/Settings/Metro
Parameter: Step
Value Range: Whole-note, Dotted half-note, Whole-note triplet,
Half-note, Dotted quarter-note, Half-note triplet, Quarter-
note, Dotted 8-note, Quarter-note triplet, 8-note

This parameter determines the length of each step.

Menu: Global/Settings/Metro
Parameter: Volume
Value Range: 0-100%

This parameter sets the volume of your metronome click.

Menu: Global/Settings/Metro
Parameter: Program
Value Range: (varies)

You can select any program for your metronome’s sound. The top row
selects the program bank and the bottom selects the individual program
you’d like to use.

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Menu: Global/Settings/Metro
Parameter: Measure Note (value)
Value Range: C-2 to G8

The metronome can play a different note when you’re at the top of a
measure making it easier to keep track of where you are in the beat.
Select that note here.

Menu: Global/Settings/Metro
Parameter: Measure Note Velocity
Value Range: 0-127

Select the velocity of your “Measure Note” (see above).

Menu: Global/Settings/Metro
Parameter: Beat Note (value)
Value Range: C-2 to G8

This is the note that the metronome will play on all beats other than the
“Measure Note” (i.e., the first beat of your measure).

Menu: Global/Settings/Metro
Parameter: Beat Note Velocity
Value Range: 0-127

Select the velocity of your “Beat Note” (see above) here.

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Multitrack Audio Input Settings

Menu: Global/Settings/Record
Parameter: EDIT Audio Input
Value Range: Ch 1 to Ch 8

Select the audio input channel you’d like to edit here.

Menu: Global/Settings/Record
Parameter: Input Channel Gain
Value Range: -10 dBV, +4 dBu

This parameter sets the input sensitivity of the currently selected audio
input channel. The device you are recording should specify whether its
output is set to “-10 dBV” or “+4 dBu” and you should set this
parameter accordingly.

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Other Global Settings (USB & User Interface)

Menu: Global/Settings/Options
Parameter: USB Enable
Value Range: On, Off

You can disable USB functionality by unchecking this box. For normal
operation, leave this box checked.

Menu: Global/Settings/Options
Parameter: USB Speed
Value Range: Auto, Full-Speed

The Fusion workstation is supports USB 2.0 and is fully backward-

compatible with USB 1.0 and 1.1 devices. In other words, leaving this
parameter set to “Auto” should allow the Fusion to automatically select
the best USB speed.

However, sometimes your computer may have difficulty connecting with

the workstation (particularly if you have an older computer or USB card).
Because of this, we’ve included a “Full-Speed” setting. Selecting this will
slow down your Fusion’s USB connection from USB 2.0 “High-Speed”
(480 mbps) to USB 1.1 “Full-Speed” (12 mbps), ensuring better
connectivity.

Menu: Global/Settings/Options
Parameter: (Edit) [1]-[8]
Value Range: Selection, Enable/Disable

Set this parameter to “Enable/Disable” if you’d like to use the “1”

through “8” buttons for enabling and disabling oscillators (in Program
mode) or enabling and disabling tracks (in Song mode) while in Edit
mode. Otherwise, set this track to “Selection” if you’d like the “1”
through “8” buttons to change programs within a bank.

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The Item Explorer

Menu: Global/Item
Parameter: Back (not available when you’re in the root directory)
Value Range: (none)

This button returns you to the previous level of the directory structure.

Menu: Global/Item
Parameter: Open
Value Range: (none)

This button opens whatever is currently highlighted in your item explorer

window.

Menu: Global/Item
Parameter: Arrange (not available in the root directory or ROM banks)
Value Range: (none)

This button opens a window allowing you to rearrange the order of your
selected bank or item. Once you have moved the selected item to its
desired position, press the “Store” button to save your rearranged order.
Otherwise, press “Exit” to return to the previous screen without editing
anything.

Once you have reordered banks or items using the Item Explorer, those
banks and items will appear in that order whenever you browse in other
modes.

Menu: Global/Item
Parameter: Mark (not available in the root directory or ROM banks)
Value Range: (none)

This button allows you to select multiple items for editing using the
“Process” functions (see below). Once you press the mark button, a
checkmark appears to the left of the item you’ve marked. Press the Mark
button again to de-select that item.

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Menu: Global/Item
Parameter: Process (not available in the root directory or ROM banks)
Value Range: (none)

This button brings up a tab allowing you to manipulate whatever is

selected (or marked using the “Mark” button—see above) in a number
of different ways.

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Menu: Global/Item/Arrange
Parameter: Store
Value Range: (none)

Use the Control Wheel (or INC/DEC buttons) to rearrange the order of
your selected bank or item. Once you have moved the selected item to
its desired position, press the “Store” button to save your rearranged
order and return to the previous screen.

Menu: Global/Item/Arrange
Parameter: Exit
Value Range: (none)

Press “Exit” to return to the previous screen without editing anything.

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Menu: Global/Item/Process
Parameter: Rename (Only available for bank and item selections,
but not volume folders)
Value Range: (none)

This button brings up a prompt allowing you to rename your item or

bank selection.

Menu: Global/Item/Process
Parameter: Move (Only available for item selections, but not
volume folders or banks)
Value Range: (none)

This button brings up a page allowing you to move your item selection to
another destination.

Menu: Global/Item/Process
Parameter: Delete (Only available for bank and item selections,
but not volume folders)
Value Range: (none)

This button brings up a prompt allowing you to delete bank and item
selections. Use this option with caution as you will not be able to undo
this action.

Menu: Global/Item/Process
Parameter: Verify (Only available for volume folders and banks, but
not items)
Value Range: (none)

This button analyzes and verifies that all of the items contained within
the currently selected bank exist and removes all items that do not exist.
It will also add items to the bank that exist in the folder but not in the
bank list. End users will usually not need to be worried about this unless
they add, delete, or move files contained on the Fusion using the USB
connection. Doing this may cause the Fusion’s bank list to become “out
of sync” with whatever is actually contained in the Fusion and the bank
list will need to be resynched using the Verify command. If you add a
program to a bank directory using USB, this command will allow you to
actually see the program that you have added.

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The Media Explorer:

Menu: Global/Media
Parameter: Info
Value Range: (none)

This button brings up a prompt that describes the currently selected

device, the name of the device, the amount of space available, and the
total size of that device.

Menu: Global/Media
Parameter: Format
Value Range: (none)
Formatting a device will delete all of its
This button brings up a prompt allowing you to erase the entire contents contents. There is no way to undo this
of the selected source device. During this process you can also rename action or to recover data that has been
erased due to formatting. Please use this
the device. function carefully.

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Operating System Information

Menu: Global/System/Info
Parameter: Serial #
Value Range: (not editable)

The serial number of your Fusion workstation is listed here.

Menu: Global/System/Info
Parameter: Boot Version
Value Range: (not editable)

The version of the boot code and its creation date are listed here. If you
think your system may be out of date, take a look at this menu and
compare it with the latest version of the boot code available on our
website. If your system is not up to date, you can update using the
Global/System/Upgrade menu (see below).

Menu: Global/System/Info
Parameter: OS Version
Value Range: (not editable)

The version of operating system and its creation date are listed here. If
you think your OS may be out of date, take a look at this menu and
compare it with the latest OS version available on our website. If your
system is not up to date, you can update using the
Global/System/Upgrade menu (see below).

Menu: Global/System/Info
Parameter: Sound ROM Version
Value Range: (not editable)

The version of your sound ROM is listed here. The sound ROM
contains all the sounds that are shipped with the Fusion.

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Upgrading your Operating System

Menu: Global/System/Upgrade
Parameter: Select Device
Value Range: CF Card, Hard Drive

Select which device (either the Compact Flash card, or the Hard Drive)
you’d like to access.

Menu: Global/System/Upgrade
Parameter: Load
Value Range: (none)

This button loads the operating system from the currently selected
device.

Menu: Global/System/Upgrade
Parameter: Create
Value Range: (none)

This button creates a copy of your current operating system onto the
currently selected device. This is useful for creating backups of your
current system.

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System CPU Usage

This page is designed to let you know how much of your Fusion’s
resources are being used. There are three bars on this screen—the
“VEngine1” and “VEngine2” are your “Voice Engines” that are
responsible for all synthesis that takes place on the Fusion. The “Audio
Engine” bar monitors the processor that handles all recording and
playback that takes place on the Fusion’s multitrack recorder.

Menu: Global/System/CPU%
Parameter: Select
Value Range: Load Time, Polyphony

This parameter allows you to optimize the Fusion’s voice engines for
different types of applications. Set this parameter to “Load Time” in
order to minimize the load time of your programs. This setting gives you
a lower polyphony count, but loads samples more quickly. Set the
parameter to “Polyphony” to maximize the number of voices you can
achieve from the voice engine. This increases polyphony but also
increases load times for samples.

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Setting the Date and Time

Menu: Global/System/Date/Time
Parameter: Date
Value Range: (Varies; in Month – Day – Year format)

This parameter sets the date for the Fusion’s internal clock.

Menu: Global/System/Date/Time
Parameter: Time
Value Range: (Varies: Hour : Minutes : Seconds)

This parameter sets the time for the Fusion’s internal clock. Note that
time is set in a 24-hour format instead of an AM/PM system.

Menu: Global/System/Date/Time
Parameter: Calibration
Value Range: -165.85 Sec/Month to 331.39 Sec/Month, N/A

If you find your Fusion’s internal clock to be drifting slightly over long
periods of time (for example, over a month), use this parameter to
compensate for clocks that are slightly too fast (or slow). If your clock is
right on, leave this parameter set to “N/A.”

Menu: Global/System/Date/Time
Parameter: Clock Enable
Value Range: On, Off

When the Fusion is powered off, its internal clock must always remain
active in order to maintain basic timekeeping functions. Because of this,
the Fusion’s internal battery (that powers the internal clock) is very slowly
drained over long periods of time. The “Clock Enable” parameter has
been included so that you can turn the clock off in case you plan to leave
your Fusion off for a long period of time. For normal use, you should
leave this box checked.

If you’ve turned off the clock, every time you turn on the Fusion, you’ll
see a prompt informing you the clock is not accurate. This prompt will
then take you to the Global/System/Date/Time page where you can set
the correct time and re-enable the clock

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The Arpeggiator

The Fusion’s Arpeggiator is a powerful device that lets you play pre-
programmed patterns by simply holding down one or more notes. This
is very useful feature because it allows you to play extremely complex (or
repetitive) passages of music with ease.

Menu: (various modes)/Arp/Select

Parameter: EDIT Arp (only available in Song and Mix modes)
Value Range: Arp 1 to Arp 4

Select the arpeggiation pattern you’d like to edit here.

Menu: (various modes)/Arp/Select

Parameter: Enabled
Value Range: On, Off

You can enable or disable arpeggiation patterns using this parameter.

Menu: (various modes)/Arp/Select

Parameter: Pattern
Value Range: Default, ROM Phrases, ROM Arpeggiators, ROM
Drum (Note: additional patterns may be available on Compact
Flash cards inserted into the Fusion.)

This parameter lets you select the arpeggiation pattern you’d like to use.
The top line allows you to switch between banks of patterns whereas the
bottom line allows you to select individual patterns.

Menu: (various modes)/Arp/Select

Parameter: Pattern Type
Value Range: (Not Editable)

The Fusion has three classifications of arpeggiation patterns for you to

work with. These arpeggiations include “Standard” “Phrase” and
“Drum Machine.” This parameter lets you know what your currently
loaded arpeggiation pattern is. Note that this parameter is provided as a
reference and is not editable.

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Menu: (various modes)/Arp/Select

Parameter: Active Variation
Value Range: (Not Editable)

Each arpeggiation contains up to four variations. These variations are

labeled “A,” “A Fill,” “B,” and “B Fill.” Only one variation can be playing
at a time and this is known as the “Active Variation.” This parameter lets
you know what the current Active Variation is.

The four variations are completely independent and can be programmed

and recorded however you’d like. However, the Fusion is optimized for
having independent “A” and “B” variations whereas variations “A Fill”
and “B Fill” are intended to be used for fills, or transitions, between the
two variations.

Menu: (various modes)/Arp/Select

Parameter: Latch Type
Value Range: (Not Editable)

“Latching” is a method of letting your arpeggiation play without having

to hold down any notes (or trigger sources). This parameter lets you
know what your current arpeggiation is set to (see “Latch Type” below
for more about this).

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Configuring Your Arpeggiation Patterns

Menu: (various modes)/Arp/Edit Arp/Setup

Parameter: EDIT Arp (only available in Song and Mix modes)
Value Range: Arp 1 to Arp 4

Select the arpeggiation pattern you’d like to edit here.

Menu: (various modes)/Arp/Edit Arp/Setup

Parameter: Playback Mode
Value Range: Local, MIDI, Local+MIDI

This parameter determines whether your arpeggiation pattern only plays

locally or if the Fusion actually sends out the MIDI data contained in
your arpeggiation pattern. The following chart should help clarify the
different uses of each mode

Setting Definition

Local The arpeggiation pattern is played inside the

Fusion and not transmitted to external devices
over MIDI. This is useful in situations where
you want the Fusion to play an arpeggiation
while an external sound module simply plays
the notes you are holding.

MIDI The arpeggiation pattern is transmitted to

external devices over MIDI but not played on
the Fusion itself. This allows you to play your
arpeggiation pattern on an external MIDI
device while having the Fusion play the chord
you are holding.

Local+MIDI The arpeggiation pattern is both played locally

and transmitted to external devices over MIDI.
This plays the arpeggiation on both the Fusion
and the external MIDI device.

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Menu: (various modes)/Arp/Edit Arp/Setup

Parameter: Arp Only
Value Range: On, Off

If you want only your arpeggiation pattern to sound when you press a
key (or chord), check this box. If you leave this box unchecked, you’ll
hear both the arpeggiation pattern as well as the underlying note (or
chord) that you play. This is true regardless of the setting of the
“Playback Mode” parameter.

Menu: (various modes)/Arp/Edit Arp/Setup

Parameter: Latch Type
Value Range: Off, Latch, Mask

“Latching” is a method of letting your arpeggiation play without having

to hold down any notes (or trigger sources). This is useful because it
frees up your hands to do other things in a performance (twiddle knobs,
play other keyboards or instruments, etc.). The Fusion has two different
modes of latching that are explained below. Note that latching does not
take place until it is actually engaged using the modulation route (see
below).

Latch: This mode simply plays your arpeggiation pattern

based on what you have played (either a single note or a
chord) and continues to play until you turn latching off.

Mask: This mode lets your arpeggiation pattern run silently in

the background and only makes sound when you press
a key (or chord). This is useful if you want to accent
certain parts of your arpeggiation pattern while leaving
other parts silent.

Menu: (various modes)/Arp/Edit Arp/Setup

Parameter: Change A/B on Fill
Value Range: On, Off

This parameter automatically shifts your arpeggiation variation from “A

Fill” to “B” and from “B Fill” to “A” once you reach the end of the fill.

Menu: (various modes)/Arp/Edit Arp/Setup

Parameter: A/B Change
Value Range: Now, Measure 1, Measure 2, Measure 3 and Measure 4

This parameter determines how quickly the shift between variation “A”
and “B” take place. Set this parameter to “Now” if you want the change
to be immediate (no fill will be played). If you want the changeover to
take place after the end of the first, second, third, or fourth measure, set
this parameter accordingly.

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Menu: (various modes)/Arp/Edit Arp/Setup
Parameter: Modulation Routes (Source)
Value Range: FS Function, S1 Function, S2 Function, FS(m)
Function, T1 Function, T2 Function, T3 Function, T4
Function

Each arpeggiation pattern can have up to three sources for modulation.

Your options include the T1-T4 trigger buttons, the S1-S2 buttons, and
your Foot Switch (displayed as “FS Function”). Note that “FS(m)
Function” is simply your footswitch in “momentary” mode (this mode
modulates when your foot is on the switch and reverts back to the
original state once you take your foot off the switch). Select that source
here.

Menu: (various modes)/Arp/Edit Arp/Setup

Parameter: Modulation Routes (Destination)
Destination Range: None, Latch, Latch(Mask), A/B Change, Fill

Each arpeggiation pattern has a number of things that you may want to
change during a performance (such as the latch type or active variation).
Once you’ve set your modulation source (see above), set the destination
using this parameter.

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Menu: (various modes)/Arp/Edit Arp/Structure

Parameter: EDIT Arp (only available in Song and Mix modes)
Value Range: Arp 1 to Arp 4

Select the arpeggiation pattern you’d like to edit here.

Menu: (various modes)/Arp/Edit Arp/Structure

Parameter: Pattern Repeat
Value Range: Sustain, 1 to 126

This parameter determines how many times the current arpeggiation will
repeat. Set this parameter to “Sustain” if you’d like the arpeggiation to
repeat indefinitely (until you decide to stop it). Otherwise, set this
parameter to any number of repetitions you’d like to have.

Menu: (various modes)/Arp/Edit Arp/Structure

Parameter: Pattern Length
Value Range: 1-8

This parameter determines how many “steps” are contained within the
current arpeggiation pattern. The length of a step is defined on the
Arp/Edit Arp/Playback page.

Menu: (various modes)/Arp/Edit Arp/Structure

Parameter: Segment 1 Length
Value Range: (Varies depending on “Pattern Length” setting)

Each arpeggiation pattern can be split up into two parts called

“segments.” This parameter sets the length of the first segment.

Menu: (various modes)/Arp/Edit Arp/Structure

Parameter: Segment 1 Init Step
Value Range: 1-8

This parameter determines what step your first segment will start on.
You can use this parameter to make offsets in the start point and this can
create interesting variations on your pattern.

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Menu: (various modes)/Arp/Edit Arp/Structure
Parameter: Gap
Value Range: Varies

This parameter determines how many steps of silence there will be

between the first and second segments. The number of steps available Go Ahead—Tweak these parameters!
depends on the length of “Segment 1” and “Segment 2” since Segment 1 The Gap parameter may sound like a
+ Segment 2 + Gap cannot be larger than your “Pattern Length” setting. complicated feature, but by simply adjusting
Set this parameter to “0” if you don’t want a gap. the Segment and Gap values, you can get all
kinds of very interesting variations on your
existing pattern. Go ahead and try adjusting
If segment 2 has a length of 0, your gap value will be subtracted from these values and see what you come up with.
segment 1 (though the length of the pattern will remain constant). For
example, if segment 1 length is “8” and your segment two length is “0”,
as you increase the gap value to “1,” the last step of segment 1 will be
replaced with silence. If you increase your gap value to “2,” then the last
two steps of segment 1 will be replaced with silence.

Menu: (various modes)/Arp/Edit Arp/Structure

Parameter: Segment 2 Length
Value Range: Varies

This parameter determines the length of your second segment. Note

that the sum of Segment 1, Segment 2, and the Gap cannot be greater
than the “Pattern Length” parameter.

Menu: (various modes)/Arp/Edit Arp/Structure

Parameter: Segment 2 Init Step
Value Range: 1-8

This parameter determines what step your second segment will start on.
You can use this parameter to make offsets in the start point and this can
create interesting variations on your pattern.

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Menu: (various modes)/Arp/Edit Arp/Range

Parameter: EDIT Arp (only available in Song and Mix modes)
Value Range: Arp 1 to Arp 4

Select the arpeggiation pattern you’d like to edit here.

Menu: (various modes)/Arp/Edit Arp/Range

Parameter: Arp Note Low
Value Range: C-2 to G8

This parameter sets the lowest note of the range in which your
arpeggiation can be triggered. Notes outside this range will play
normally.

Menu: (various modes)/Arp/Edit Arp/Range

Parameter: Arp Note High
Value Range: C-2 to G8

This parameter sets the highest note of the range in which your
arpeggiation can be triggered. Notes outside this range will play
normally.

Menu: (various modes)/Arp/Edit Arp/Range

Parameter: Arp Alt Range Type
Value Range: Velocity, Aftertouch, Mod Wheel, Pitch Wheel, Pedal,
Knob 1-4, Random

Each arpeggiation can have an “alternate” range in which it will respond.

For example, if this parameter is set to “Velocity,” your arpeggiation will
only be triggered if notes are within range (see the “Low Key” and
“High Key” parameters above) AND within the “alternate range” (see
the “Alternate Low” and “Alternate High” parameters below).

Menu: (various modes)/Arp/Edit Arp/Range

Parameter: Arp Alternate Low
Value Range: 0-127

This parameter sets the lowest point of the alternate range in which your
arpeggiation can be triggered.

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Menu: (various modes)/Arp/Edit Arp/Range
Parameter: Arp Alternate High
Value Range: 0-127

This parameter sets the highest point of the alternate range in which
your arpeggiation can be triggered.

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Menu: (various modes)/Arp/Edit Arp/Playback

Parameter: EDIT Arp (only available in Song and Mix modes)
Value Range: Arp 1 to Arp 4

Select the arpeggiation pattern you’d like to edit here.

Menu: (various modes)/Arp/Edit Arp/Playback

Parameter: Keyboard Mode
Value Range: (Varies depending on arpeggiation type)

This parameter will vary depending on what arpeggiation type you have
chosen in the Arp/Pattern/Setup menu. The following will break things
down by arpeggiation type. Note that while these arpeggiation patterns
are called “Standard,” “Phrase Arp,” and “Drum Machine,” you can use
any of the arpeggiation types with any program.

Standard Mono Your arpeggiation pattern will play one note at a time
with the rhythm of the arpeggiation.

Chord All of the notes that you are holding down will play back
(at the same time) with the rhythm of the arpeggiation.

Hybrid Your arpeggiation pattern will play single or groups of

notes based on the pattern

Phrase Arp Mono Your first note starts the full arpeggiation pattern and
determines its key. Any subsequent notes restart the
pattern (and transpose it if you play a different key).

Mono Legato Your first note starts the full arpeggiation pattern and
determines its key. If the first is held while a second
note is played, the pattern will transpose to the key of
the second note without restarting the pattern.

Quantity Assign Your first note starts the arpeggiation pattern and
determines its key. All subsequent keys that are pressed
will bring in additional notes in the order that they were
played in the original pattern.

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Drum Machine Mono Your first note starts the full drum arpeggiation pattern.
Any subsequent notes are ignored.

Octave Assign Any note that you play will begin the arpeggiation
pattern. The first 12 notes that were played when the
pattern was recorded are assigned to the chromatic scale
starting on the note “C.” This means that any “C” on
the keyboard will trigger the first note of the pattern as
it shows up in the pattern, while any C# note will trigger
the second note, etc. Be aware that if the part triggered
by the selected note does not come in until the end of
the pattern, you won’t hear anything until you have
reached the end of the pattern.

Key Assign The first note starts the arpeggiation pattern and also
inherits the first note that was played when the pattern
was recorded, substituting the sound of the chosen note
for the original sound used in the pattern. Likewise, the
next note played inherits the second note of the pattern
and substitutes its sound.

This allows you to mix and match sounds while keeping

the rhythmic structure (i.e., the groove) of the pattern.

Quantity Assign Your first note starts the arpeggiation pattern. All
subsequent keys that are pressed will bring in additional
notes in the order that they were played.

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Menu: (various modes)/Arp/Edit Arp/Playback

Parameter: Step
Value Range: 32-note triplet, Dotted 64-note, 32-note, 16-note
triplet, Dotted 32-note, 16-note, 8-note triplet, Dotted 16-note,
8-note, Quarter-note triplet, Dotted 8-note, Quarter-note,
Half-note triplet, Dotted quarter-note, Half-note, Whole-note
triplet, Dotted half-note, Whole-note, 2x whole-note triplet,
Dotted whole-note, and Double whole-note

This parameter determines the length of time that is given to each step.

Menu: (various modes)/Arp/Edit Arp/Playback

Parameter: Octave Range
Value Range: -4 to +4

This parameter spreads the notes in your arpeggiation pattern across +/-
4 octaves. This allows you to make wider-ranging arpeggiations as notes
are generated across multiple octaves.

Menu: (various modes)/Arp/Edit Arp/Playback

Parameter: Center
Value Range: On, Off

This parameter lets your arpeggiation pattern be spread to both sides of

the octave that you play. Check this box if you want your notes to be
generated both above and below the octave in which you play. Note that
is parameter only makes a difference in your pattern when your “Octave
Range” parameter is not set to “0.”

Menu: (various modes)/Arp/Edit Arp/Playback

Parameter: Note Order
Value Range: Sorted, Played, RevPlayed

The Fusion can treat your arpeggiation chords in a number of ways. The
following will break it down by type:

Sorted This setting sorts all notes you play from

lowest to highest note.

Played This setting sorts your arpeggiation pattern

exactly as you played it on the keyboard.

RevPlayed This setting sorts all of your notes in the

reverse order of what you played. In other
words, the last note you played becomes the
first note in the arpeggiation pattern.

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Menu: (various modes)/Arp/Edit Arp/Playback
Parameter: Scan Order
Value Range: Up, Down, Up/DnInc, Up/DnEx, Dn/Up Inc,
Dn/Up Ex

This parameter determines how your notes are sorted and played back.
The following will explain each setting in detail:

Up Plays notes according to the note order.

Down Plays the notes in the reverse note order.

Up/DownInc Plays the notes in the note order and then

plays the notes in the reverse note order. The
“inc” in the parameter name stands for
“inclusive” meaning that the first and last note
in the note order are played twice.

Up/DnEx Plays the notes in the note order and then

plays the notes in the reverse note order. The
“ex” in the parameter name stands for
“exclusive.” This means that the first and last
note in the note order are only played once.

Dn/Up Inc Plays the notes in the reverse note order and
then plays the notes in the normal note order.
The “inc” in the parameter name stands for
“inclusive” meaning that the first and last note
in the note order are played twice.

Dn/Up Ex Plays the notes in the reverse note order and

then plays the notes in the normal note order.
The “ex” in the parameter name stands for
“exclusive.” This means that the first and last
note in the note order are only played once.

Menu: (various modes)/Arp/Edit Arp/Playback

Parameter: Gate Scale
Value Range: 1 to 200%

This parameter lets you adjust the length of your arpeggiation notes. For
example, 1% causes notes to be one percent of the original length
whereas 200% causes notes to be twice as long. A setting of 100%
leaves the notes unaffected.

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Menu: (various modes)/Arp/Edit Arp/Playback

Parameter: Velocity Scale
Value Range: 1 to 200%

This parameter lets you scale the velocities of your arpeggiation notes.
For example, 1% causes velocities to be one percent of the original
velocity value whereas 200% causes notes to be played back at twice their
original velocity. A setting of 100% leaves velocity values unaffected.

Menu: (various modes)/Arp/Edit Arp/Playback

Parameter: Velocity Offset
Value Range: -63 to + 63

Velocity Offset lets you increase or decrease the velocity of your notes by
a fixed amount. This is different than the “velocity scaling” parameter
since an integer value is simply added to note velocities rather than
multiplying your velocities by a percentage (as happens with velocity
scaling).

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Recording Arpeggiation Patterns

Menu: (various modes)/Arp/Pattern/Setup

Parameter: Pattern Type
Value Range: Standard, Phrase Arp and Drum Machine

This parameter lets you select what type of arpeggiation pattern you’d
like this to be. The Fusion supports three different arpeggiation types
and they are outlined below:

Standard “Standard” arpeggiation mode is when you

hold down one or more notes and the
arpeggiator plays a pattern based the notes you
have pressed. This is commonly used when
you want to play an “auto accompaniment” in
a specific key (that you determine by simply What’s is the difference?
playing a chord for that key). For more detailed information about
Standard, Phrase, and Drum Machine
Phrase “Phrase” arpeggiation is designed to play more arpeggiations, see page 220.
complex phrases in the key of whatever note
that is being held down.

Drum Machine “Drum Machine” setting is similar to the

“Phrase” but has a variety of additional
features that are optimized for the playback of
drum and percussive patterns.

Menu: (various modes)/Arp/Pattern/Setup

Parameter: Length
Value Range: 1 Step to 512 Steps

This parameter lets you set how many “steps” your arpeggiation can
have.

Menu: (various modes)/Arp/Pattern/Setup

Parameter: Meter
Value Range: 1-99 / 1,2,4,8,16,32

This parameter lets you set the time signature of your arpeggiation
pattern.

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Menu: (various modes)/Arp/Pattern/Record

Parameter: EDIT Variation
Value Range: A, Fill A, B, Fill B

An arpeggiation pattern can have up to four variations. Select which

variation you’d like to record here.

Menu: (various modes)/Arp/Pattern/Record

Parameter: Record Method
Value Range: Overdub, Replace, Spot Erase

Your arpeggiation variations can be recorded in the following ways:

1. Overdub – Overdub recording keeps whatever is already

recorded and lets you record additional performances on top of
the original recording.

2. Replace – Replace record erases whatever is currently on the

arpeggio variation while recording what you play.

3. Spot Erase – Spot erase lets you erase specific notes by

holding down those notes while recording. In other words, if
you hold down notes while recording, the sequencer will
automatically delete these notes as they come up in your
arpeggiation. Once you release these notes, the remainder of
the arpeggiation will be unaffected.

Menu: (various modes)/Arp/Pattern/Record

Parameter: Quantize
Value Range: Off, 32-note triplet, Dotted 64-note, 32-note, 16-note
triplet, Dotted 32-note, 16-note, 8-note triplet, Dotted 16-note,
8-note, Quarter-note Triplet, Dotted 8-note, Quarter-note

Quantize allows you to “clean up” your timing by automatically

“snapping” each note you play to the nearest logical point in the beat. By
setting this parameter to “off ” the sequencer will record your
performance exactly as you play it. Otherwise, you can set this parameter
to any of the additional settings that are right for your composition and
small inaccuracies in timing will be automatically fixed as you record.

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Menu: (various modes)/Arp/Pattern/Record
Parameter: Record Filter (Notes)
Value Range: On, Off

Turn this parameter off if you do not want note data to be recorded.
Otherwise, leave this parameter set to “on” for normal operation.

Menu: (various modes)/Arp/Pattern/Record

Parameter: Record Filter (Contlrs)
Value Range: On, Off

Turn this parameter off if you do not want controller data to be

recorded. Otherwise, leave this parameter set to “on” for normal
operation.

Menu: (various modes)/Arp/Pattern/Record

Parameter: Record Filter (AT)
Value Range: On, Off

Turn this parameter off if you do not want aftertouch data to be

recorded. Otherwise, leave this parameter set to “on” for normal
operation.

Menu: (various modes)/Arp/Pattern/Record

Parameter: Record Filter (Pitch)
Value Range: On, Off

Turn this parameter off if you do not want pitch bend data to be
recorded. Otherwise, leave this parameter set to “on” for normal
operation.

Menu: (various modes)/Arp/Pattern/Record

Parameter: Record Filter (Other)
Value Range: On, Off

If you do not want any type of data (other than types of data explicitly
stated above) to be recorded, set this parameter to off. Otherwise, leave
this parameter set to “on” for normal operation.

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Processing Your Recorded Arpeggiations

Menu: (various modes)/Arp/Proc Pat

Parameter: Edit Start
Value Range: (varies)

This parameter sets the point at which your arpeggiation variation edits
will start to take place.

Menu: (various modes)/Arp/Proc Pat

Parameter: Edit End
Value Range: (varies)

This parameter sets the end point after which your arpeggiation variation
will not be affected.

Menu: (various modes)/Arp/Proc Pat

Parameter: A, A Fill, B, B Fill (Check-box to the left of each
variation)
Value Range: On, Off

This check box lets you select one or more arpeggiation variations that
will be edited using the Process menu.

Menu: (various modes)/Arp/Proc Pat

Parameter: Zoom In
Value Range: (none)

This button expands your timeline and lets you see your arpeggiation in
more detail.

Menu: (various modes)/Arp/Proc Pat

Parameter: Zoom Out
Value Range: (none)

This button compresses your timeline and lets you see more events on
screen.

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Menu: (various modes)/Arp/Proc Pat
Parameter: Process
Value Range: (none)

This button takes you to the Process page where you can make edits and
other changes to your selected arpeggiation variation. See page 147 for
detailed descriptions of each process.

Note that while the descriptions starting on page 147 describe the
processes as they relate to Song mode, the processes themselves are
identical when applied to arpeggiation variations. In other words, the
“Clear” parameter you see on page 147 affects your arpeggiation
variation exactly the same way as it does a song track.

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Editing your Arpeggiation Patterns

Menu: (various modes)/Arp/Edit Pat/Piano

Parameter: EDIT Variation
Value Range: A, Fill A, B and Fill B

Select which variation you’d like to edit using this parameter.

Menu: (various modes)/Arp/Edit Pat/Piano

Parameter: Event Type
Value Range: Note, Controller, Mono Aftertouch, Pitch

Select the type of event you’d like to edit here. The remaining
parameters on the page change depending on what you select here. The
following chart will break things down by selection. Note that the piano
roll appears blank unless a MIDI event has been created (you can add an
event by either recording it in the sequencer, or by pressing the “Insert”
action button).

Event Type Sub Categories Value Range

Note Time Varies

Note Value C-2 to G8
Velocity 1-127
Gate Varies depending on
length of note played

Controller Time Varies

MIDI CC Controller 1-119
CC Value 0-127

Mono Aftertouch Time Varies

Aftertouch 0-127

Pitch Time Varies

Pitch -8192 to +8191

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Menu: (various modes)/Arp/Edit Pat/Piano
Parameter: Insert
Value Range: (none)

This button creates an event in the event editor window. The type of
event inserted is determined by what you have selected for the Event
Type parameter.

Menu: (various modes)/Arp/Edit Pat/Piano

Parameter: Delete
Value Range: (none)

This button deletes the currently selected event within the event editor
window.

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Menu: (various modes)/Arp/Edit Pat/Event

Parameter: Edit Variation
Value Range: A, Fill A, B, Fill B

Select the variation you’d like to edit using this parameter.

Menu: (various modes)/Arp/Edit Pat/Event

Parameter: Time
Value Range: (Varies depending on length of arpeggiation
pattern)

This parameter states the time at which the selected event will occur.

Menu: (various modes)/Arp/Edit Pat/Event

Parameter: Event Type
Value Range: Note, Controller, Mono Aftertouch, Pitch, Patch,
Poly Aftertouch, RPN, NRPN

This parameter selects the type of event you’d like to place. The
remaining parameters on the page change depending on what you select
here. The following chart will break things down by event type:

Event Type Sub Categories Value Range

Note Note Value C-2 to G8

Velocity 1-127
Gate Varies depending on
length of note played

Controller MIDI CC Controller 1-119

CC Value 0-127

Mono Aftertouch Aftertouch Value 0-127

Pitch Pitch Value -8192 to +8191

Patch Bank 0-127

Number 0-127

Poly Aftertouch Note C-2 to G8

Velocity 0 - 127

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RPN Pitch Range 0 - 16383
Fine Tune 0 - 16383
Coarse Tune 0 - 16383
RPN 3 – RPN16383 0 - 16383

NRPN NRPN 0–NRPN 16383 0 - 16383

Menu: (various modes)/Arp/Edit Pat/Event

Parameter: Insert
Value Range: (None)

This button creates an event in the event editor window.

Menu: (various modes)/Arp/Edit Pat/Event

Parameter: Delete
Value Range: (None)

This button deletes the currently selected event within the event editor
window.

Menu: (various modes)/Arp/Edit Pat/Event

Parameter: Filter
Value Range: (None)

This button brings up an additional page letting you hide specific types
of data from your event editor. This makes it easier for you to edit the
data that you do see onscreen. See page 145 for more about these filters.

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The Modulation Matrix

A “Modulation Matrix” might sound (and look) like an intimidating part

of a synthesizer, but there’s nothing to be intimidated by. You can think
of the Modulation Matrix as being a giant patchbay that connects
different parts of the keyboard together. For example, if you want to
control the amount of frequency modulation (FM) with one of the
knobs on the performance panel, you can simply create a modulation
matrix route (or “Mod Route” for short) that connects the knob to the
FM amount parameter. Once this is done, you can control the FM
amount with the knob.

The Fusion has some major advantages over its competitors when it
comes to the modulation matrix. Whereas our competitors have a
limited amount of flexibility for each route, the Fusion lets you route
virtually everything to everything else on the keyboard. This gives you all
kinds of creative options not possible on other keyboards.

Let’s dive in.

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Creating and Deleting Modulation Routes

Menu: Program/Mod/Routes
Parameter: Varies Depending on the number and type of routes
created
Value Range: (none)

You can create up to 32 modulation routes for each program on the

Fusion. This page shows you each route’s source and destination at a
glance. The source is listed to the left of the arrow and the destination is
listed to the right.

For example, on the picture above, we can see that for Mod Route #1,
“Envelope 1” is routed to the “Volume.”

Menu: Program/Mod/Routes
Parameter: Move Up
Value Range: (none)

This button moves your currently selected mod route up in the list.
When working with lots of routes, many users find it helpful to group
similar routes together (for example, by keeping all routes with an
envelope as the source together on the list).

Menu: Program/Mod/Routes
Parameter: Move Down
Value Range: (none)

This button moves your currently selected mod route down in the list.
Again, when working with lots of routes, many users find it helpful to
group similar routes together (for example, by keeping all routes with an
envelope as the source together on the list).

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Menu: Program/Mod/Routes
Parameter: Add Mod
Value Range: (none)

This button creates a new modulation route and automatically takes you
to the “Edit” screen for that route so you can assign Sources and
Destinations (as well as other parameters depending on the type of route
you’re trying to make). You can create up to 32 routes for each program.

Menu: Program/Mod/Routes
Parameter: Del Mod
Value Range: (none)

This button lets you delete the mod route that is currently selected. A
confirmation prompt will appear to keep you from accidentally deleting
an existing route.

As you jump into the “Edit” menu, you can change the
source/destination of each route as well as a number of other
parameters associated with your source and destination. This menu is
slightly tricky to document because the “Index” parameters automatically
change depending on what you’ve assigned as your source and
destination. If your screen appears slightly different from the one shown
below, don’t worry—you may have different sources and destinations
selected.

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Editing Your Modulation Routes

Menu: Program/Mod/Edit/Src/Des
Parameter: EDIT Mod
Value Range: Mod 1 up to Mod 32 (depends on how many Mod
Routes you’ve created in the Program/Mod/Routes menu)

Select the Modulation Route you’d like to edit here.

Menu: Program/Mod/Edit/Src/Des
Parameter: Source
Value Range: None, Keytrack, Velocity, Rel Velocity, Mono
Aftertouch, MIDI Poly Aftertouch, Controller , Envelope, LFO
(Envelope and LFO are only available for this parameter if you
have enabled them for the program)

Select the source for the current mod route you’d like to edit here. This
will cause the “Source Index” parameter (see below) to change
depending on what you pick here.

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Menu: Program/Mod/Edit/Src/Des
Parameter: Source Index
Value Range: Varies depending on the assigned source (see above)

Some of the sources that you select (see above) have a number of
additional options that let you define your source more specifically.

Keytrack – This range can vary from 1 semitone = 100% to 8

octaves+4 semitones = 100%. Keytrack is bi-polar around
middle-C, and you can select the keytracking range in 1
semitone increments. In other words, if you set this parameter
to “1 octave = 100%” the effect of your modulation gradually
reaches 100% as you move up or down one octave from
middle-C.

Controller – The Fusion has a number of different physical

control sources (i.e., buttons, knobs, etc.) that you can select as
your modulation source. Select a specific physical controller
from the following: Mod wheel, Foot Pedal, Switch S1, Switch
S2, Knob Assign 1-4, Trigger T1-T4, Footswitch, Sustain Pedal,
Pitch Wheel, Aftertouch.

Envelope – You can create up to eight envelopes for each

program on the Fusion, and any of those envelopes can serve
as a source for a mod route. Select which envelope you’d like to
use here. Note that the available envelopes will vary depending
on how many envelopes have been created for that program
(i.e., you will not see envelopes 5 though 8 if a program only
uses 4 envelopes).

LFO – You can create up to eight LFOs for each program on

the Fusion, and any of those LFOs can serve as a source for a
mod route. Select which LFO you’d like to use here. Note that
the available LFOs will vary depending on how many LFOs
have been created for that program (i.e., you will not see LFOs
5 though 8 if a program only uses 4 LFOs).

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Menu: Program/Mod/Edit/Src/Des
Parameter: Destination
Value Range: None, Pitch, Volume, Balance, Portamento Time,
Amount, Curve, S&H Rate, Smoothing, Delay, Attack, Decay,
Sust Level, Sust Decay, Release, Env Time, Delay, Ramp,
Rate, Shape
Available under Sample Synthesis only: Osc Start, Osc
Frequency, Osc FM Amount, Osc Volume, Osc Pan, Filter
Cutoff, Filt Resonance
Available under Drum Synthesis only: Osc Start, Osc
Frequency, Osc Volume, Osc Pan, Filt Cutoff, Filt Resonance
Available under Analog Synthesis only: Osc Frequency, Osc
FM Amount, Osc Random Tune, Osc Shape, Osc Volume,
Osc Pan, Filt Cutoff, Filt Resonance
Available under FM Synthesis only: Osc Frequency, Osc
Random Tune, Osc Amount, Osc Volume, Osc Pan, Filt
Cutoff, Filt Resonance
Available under Reed Synthesis only: Breath Pressure, Breath
Noise, Reed Threshold, Reed Slope, Reed Curve, Bore
Frequency, Bore Mix, Bore Gain, Bore Filter, Filt Cutoff, Filt
Resonance
Available under Wind Synthesis only: Breath Pressure, Breath
Noise, Mouth Jet, Mouth Curve, Mouth Offset, Bore
Frequency, Bore Mix, Bore Gain, Bore Filter, Filt Cutoff, Filt
Resonance

Select the destination for the current mod route you’d like to edit here.
This will cause the “Destination Index” parameter (see below) to change
depending on what you pick here.

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Menu: Program/Mod/Edit/Src/Des
Parameter: Destination Index
Value Range: Varies depending on the assigned destination (see
above)

Some of the destinations that you select (see above) have a number of
additional options that let you define your destination more specifically.
Each of the parameters here are defined and explained in their respective
chapters throughout this manual.

The following parameters are common to all synthesis types:

Amount- Mod 1-32
Curve- Mod 1-32
S&H Rate- Mod 1-32
Smoothing- Mod 1-32
Delay- Env 1-8
Attack- Env 1-8
Decay- Env 1-8
Sust Level, Release- Env 1-8
Env Time- Env 1-8
Delay- LFO 1-8
Ramp- LFO 1-8
Rate- LFO 1-8
Shape- LFO 1-8

The following are available under Sample Synthesis only:

Osc Start- Osc 1-2
Osc Frequency- Osc 1-2
Osc FM Amount- Osc 1-2
Osc Volume- Osc 1-2
Osc Pan- Osc 1-2
Filt Cutoff- Main Filter, Osc 1-2
Filt Resonance
Crossfade

The following are available under Drum Synthesis only:

Osc Start- Osc 1-64
Osc Frequency- Osc 1-64
Osc Volume- Osc 1-64
Osc Pan- Osc 1-64
Filt Cutoff- Osc 1-64
Filt Resonance- Osc 1-64

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The following are available under Analog Synthesis only:
Osc Frequency- Osc 1-3
Osc FM Amount- Osc 1-3
Osc Random Tune- Osc 1-3
Osc Shape- Osc 1-3
Osc Volume- Osc 1-3
Osc Pan- Osc 1-3
Filt Cutoff
Filt Resonance

The following are available under FM Synthesis only:

Osc Frequency- Osc 1-6
Osc Random Tune- Osc 1-6
Osc Amount- dependent on the number of enabled osc routes
Osc Volume- Osc 1-6
Osc Pan- Osc 1-6
Filt Cutoff
Filt Resonance

The following are available under Reed Synthesis only:

Breath Pressure
Breath Noise
Reed Threshold
Reed Slope
Reed Curve
Bore Frequency
Bore Mix
Bore Gain
Bore Filter
Filt Cutoff
Filt Resonance

The following are available under Wind Synthesis only:

Breath Pressure
Breath Noise
Mouth Jet
Mouth Curve
Mouth Offset
Bore Frequency
Bore Mix
Bore Gain
Bore Filter
Filt Cutoff
Filt Resonance

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Menu: Program/Mod/Edit/Src/Des
Parameter: Type
Value Range: Additive, Multiplicative

This parameter determines how your modulation source interacts with

the destination. The additive setting takes your modulation source and
adds it to your destination whereas the multiplicative setting scales your
modulation source and destination.

Menu: Program/Mod/Edit/Src/Des
Parameter: Amount
Value Range: -100% to +100%

This parameter sets the strength of modulation from your source to your
destination. For example, if you have set your source to envelope and
your destination to pitch, then as your amount value gets closer to 100%
(or -100%), the changes in pitch will become more pronounced.

The effect of the modulation is described in parenthesis below the

amount parameter you are editing.

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Menu: Program/Mod/Edit/Shape
Parameter: EDIT Mod
Value Range: Mod 1 up to Mod 32 (depends on how many Mod
Routes you’ve created in the Program/Mod/Routes menu)

Select the Modulation Route you’d like to edit here.

Menu: Program/Mod/Edit/Shape
Parameter: Curve
Value Range: -100% to 100%

This parameter changes the feel and sound of your modulation by

applying a logarithmic or exponential transfer function to the source. A
setting of “0%” has no effect since it yields a linear (i.e., flat) slope.

Menu: Program/Mod/Edit/Shape
Parameter: Sample&Hold Enable
Value Range: On, Off

Sample and Hold is a feature of a modulation route where the source of

the route is “sampled”. Let’s say the source of your modulation route is
an LFO. That LFO is sampled (i.e., a reading of the LFO’s current
amplitude is taken at regular intervals), the amplitude is held for a period
of time – and the result is a modified mod source which then affects the
destination of the route. So, the output of the S & H function becomes
a series of "steps" rather than an LFO. The amplitude of those steps at
any given time depends on the relationship between the sampling rate
(see “Rate” parameter below) and the rate of change of the source being
sampled.

This parameter lets you enable or disable the Sample & Hold
functionality for your currently selected Mod Route.

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Menu: Program/Mod/Edit/Shape
Parameter: Retrigger [only visible if “Sample&Hold Enable” is
enabled]
Value Range: None, Key Down, Key Up, FS Down, FS Up, T1
Down, T2 Down, T3 Down, T4 Down, T1 Up, T2 Up, T3 Up,
T4 Up

This allows you to select a trigger that restarts the Sample & Hold clock.
For example: If you select T1, your Sample & Hold will restart whenever
you push the T1 button. The following chart explains what each trigger
setting means:

None When set to “None” you have one free

running Sample & Hold across all voices
Key Down Each voice’s Sample & Hold’s clock is
retriggered when you play a key
Key Up The Sample & Hold restarts when a note is
released
Foot Switch Dn The Sample & Hold restarts when foot
switch is pressed
Foot Switch Up The Sample & Hold restarts when the foot
switch is released
Trigger 1-4 Dn The Sample & Hold restarts when the T1-T4
buttons are pressed
Trigger 1-4 Up The Sample & Hold restarts when the T1-T4
buttons is released

Menu: Program/Mod/Edit/Shape
Parameter: Legato
Value Range: On, Off

Legato mode keeps the trigger from restarting if you play in legato
fashion (i.e., you play a note before releasing the last note played).

Menu: Program/Mod/Edit/Shape
Parameter: Sync
Value Range: None, 8 Whole Notes, 6 Whole Notes, 4 Whole
Notes, Triple Whole Notes, Double Whole Notes, Dotted
Whole Note, Whole Note, Dotted Half Note, Half Note,
Dotted Quarter, Half Note Triplet, Quarter Note, Dotted 8th
Note, Quarter Triplet, 8th Note, Dotted 16th Note, 8th Note
Triplet, 16th Note, 16th Note Triplet, 32nd Note

Synchronizes your Sample & Hold function to the tempo (see p. 37 for
more about setting your tempo). This is important if you want your
Sample & Hold modulations to be synced with the tempo.

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Menu: Program/Mod/Edit/Shape
Parameter: Rate [Only visible if “Sync” parameter is set to
“None”]
Value Range: 0.0200 Hz to 200 Hz

Sets the rate of your Sample & Hold clock.

Menu: Program/Mod/Edit/Shape
Parameter: Smoothing
Value Range: 0 to 100%

Smoothing is analogous to the “Portamento” parameter as it applies to

notes. This parameter smoothes out the transitions to be less abrupt.
Low values cause your changes to be abrupt, whereas higher values cause
transitions to be smoothed out.

Menu: Program/Mod/Edit/Shape
Parameter: New Table
Value Range: (none)

This button creates a “custom table” on which you can plot your own
transfer function for the current modulation route. A program can only
have one table at a time—once you create a table the “New Table”
button is replaced with a “Del Table” button that deletes the table.

Menu: Program/Mod/Edit/Shape
Parameter: Del Table (only available when a table has been created)
Value Range: (none)

This button deletes the table that has been created for the current
program.

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Menu: Program/Mod/Edit/Table
Parameter: Type
Value Range: Line, Curve and Step

This parameter determines how the table interpolates between points.

The “line” creates straight lines between points, whereas the “curve”
setting creates gradual changes between the points. Finally, the “step”
creates abrupt changes at the point value.

Menu: Program/Mod/Edit/Table
Parameter: Number of Breakpoints
Value Range: 1 up to 16

Every table on the Fusion can have up to 16 breakpoints. This

parameter cannot be edited—it simply tells you how many breakpoints
have been created.

Menu: Program/Mod/Edit/Table About Breakpoints:

Parameter: EDIT Breakpoint
Value Range: 1 to 16 [varies depending on how many breakpoints When editing breakpoints on the Fusion, the
have been created] point with the smallest “Point Position”
value automatically becomes breakpoint #1.
This parameter lets you select a breakpoint for editing. In other words, let’s say you have
breakpoint #1 with its Point Position set to
“-25” and breakpoint #2 set to “-10.” If
Menu: Program/Mod/Edit/Table you take the second point and reduce its
Parameter: Point Position value to “-35” the second breakpoint
Value Range: -100 to +100 automatically turns into #1 and the first
breakpoint (which is still set at “-25”) now
becomes breakpoint #2.
This parameter lets you place a point along the X-axis of your table. A
setting of -100 places your point all the way to the left of the table This may sound confusing being explained
whereas a setting of +100 sets you all the way to the right. A setting of 0 here, but in practice it makes editing tables
easier since you always know your
places you in the middle of the table. breakpoints are always arranged from
smallest to largest as they appear from left
to right on screen.
Menu: Program/Mod/Edit/Table
Parameter: Point Value
Value Range: -100 to +100

This parameter sets the Y-axis position of your table point. Positive
values place your point on the upper half of the table whereas negative
values place you on the lower half of the table.

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Effects

Master EQ

The MasterEQ section is a global equalization curve that is applied to Extreme EQ:
all sound before it leaves the “Main Outs” of the Fusion. Take a look
Setting extreme EQ boosts can overload the
at the Output Block Diagram on page 262 to see where the MasterEQ Fusion’s outputs resulting in nasty
is located in your signal path. distortion. If you find your output distorting
after you’ve applied EQ, try turning down
the gain.

Menu: (various modes)/Effects/MasterEQ

Parameter: Low Shelf Freq
Value Range: 20.00Hz to 1000.00 Hz

Recording engineers refer to a wide-bandwidth boost (or cut) at the ends

of the spectrum as a “shelf.” This is because if you graph the
equalization curve, it looks like a shelf (or a plateau) that sits at the ends
of the frequency spectrum.

This parameter sets the cutoff point for your low frequency shelving
filter. All frequencies below this setting will be boosted (or cut)
depending on your “Low Shelf Gain” setting (see below).

Menu: (various modes)/Effects/MasterEQ

Parameter: Low Shelf Gain
Value Range: -18.0 to 18.0 dB

This parameter sets the amount of gain (or cut) in your Low Shelf.

Menu: (various modes)/Effects/MasterEQ

Parameter: Low Mid Freq
Value Range: 300.00 Hz to 10.00 kHz

This parameter sets the center frequency of your Low-Mid filter.

Note that there are no restrictions on center-frequency selection for the

“Low Mid” and “High Mid” bands so it is possible to set your “Low
Mid” center frequency higher than your “High Mid” frequency (or vise-
versa).

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Menu: (various modes)/Effects/MasterEQ

Parameter: Low Mid Gain
Value Range: 18.0 to 18.0 dB

This parameter sets the amount of gain (or cut) in your Low-Mid Gain.

Menu: (various modes)/Effects/MasterEQ

Parameter: Low Mid Q
Value Range: 0.50 to 4.00

The “Q” of a filter describes how “wide” or “narrow” the filter is. A
filter with a Q value closer to .50 is considered to be a “wide” filter that
rolls off gradually and affects lots of frequencies around its center-
frequency. Conversely, a filter with a high Q value (near 4.00 for
example) is an extremely “narrow” filter with a sharp cutoff that only
affects frequencies very close to the center-frequency setting while
leaving the rest of your signal unaffected.

Menu: (various modes)/Effects/MasterEQ

Parameter: High Mid Freq
Value Range: 300.00 to 10.00 kHz

This parameter sets the center frequency of your High-Mid filter.

Again, note that there are no restrictions on center-frequency selection

for the “Low Mid” and “High Mid” filter bands so it is possible to set
your “High Mid” center frequency lower than your “Low Mid” frequency
(or vise-versa).

Menu: (various modes)/Effects/MasterEQ

Parameter: High Mid Gain
Value Range: 18.0 to 18.0 dB

This parameter sets the amount of gain (or cut) in your High-Mid Filter.

Menu: (various modes)/Effects/MasterEQ

Parameter: High Mid Q
Value Range: 0.50 to 4.00

This parameter is identical in function to “Low Mid Q.” See the “Low
Mid Q” description in the section above.

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Menu: (various modes)/Effects/MasterEQ
Parameter: High Shelf Freq
Value Range: 500.00 Hz to 10.00k Hz

This parameter sets the cutoff point for your high frequency shelving
filter. All frequencies above this setting will be boosted (or cut)
depending on your “High Shelf Gain” setting (see below).

Menu: (various modes)/Effects/MasterEQ

Parameter: High Shelf Gain
Value Range: 18.0 to 18.0 dB

This parameter sets the amount of gain (or cut) in your High Shelf.

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Insert Effects

An “insert” is any effect that is inserted into the signal path between the
program’s output and the Fusion’s mixer. This menu allows you to select
the type of effect you want to use, as well as that effect’s parameters.
Take a look at the Output Block Diagram on page 262 to see how the
Insert effects are routed.

[Note: The image above is taken from Mix mode whereas most other
images in this chapter have been taken from the Program mode. This is
because Mix and Song modes have a few additional parameters that are
not included in Program mode.]

Menu: (various modes)/Effects/Insert/Select

Parameter: EDIT Synth Insert (only available in Mix and Song
modes. Program mode has one insert available.)
Value Range: Insert 1 – 4

Song and Mix modes have up to four inserts available. Select the insert
you’d like to edit here.

Note that this parameter is not available when you are in Program mode.
Program mode has one insert available.

Menu: (various modes)/Effects/Insert/Select

Parameter: Type
Value Range: (varies; see page 264 for complete list)

Select the type of effect you’d like to use with this parameter. The large
text just below describes the effect you’ll be hearing.

Please see page 264 for a detailed description of each Insert effect.

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Menu: (various modes)/Effects/Insert/Select
Parameter: Insert Route
Value Range: (Varies depending on mode)

The settings of this parameter vary depending on what mode you are in.
The following will explain how insert mode works in each mode:

Program Mode: Insert Route determines whether or

not the effect is inserted into the
signal path. Setting this parameter to
“On” will insert the effect into the
signal path whereas setting this
parameter to “off ” will bypass the
effect completely.

Mix & Song Modes: In Mix and Song modes, you have a
total of four inserts available for all of
the parts in your mix (or tracks of
your song.) This parameter selects
what part (or track) your current insert
will be placed on.

Note that once you place an insert on

one part (or track if you are in song
mode), the insert is no longer available
for placement on other parts (or
tracks). Also note that insert effects
cannot by applied to an audio track.

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Menu: (various modes)/Effects/Insert/Edit

Parameter: Varies
Value Range: Varies depending on your selection of insert “Type”
(see above)

This menu lets you adjust and fine tune your insert effect settings. The
parameters listed in this menu will change depending on what kind of
insert you have selected (using the “Type” parameter in the
Program/Effects/Insert/Select menu).

See page 264 for a detailed description of each Insert effect’s parameters.

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Bus Effects

Each Program on the Fusion has two effects sends. This menu lets you
assign the type of effect as well as send and return levels. Take a look at
the Output Block Diagram on page 262 to see how the Bus Sends are
routed.

[Note: The image above is taken from Mix mode whereas most other
images in this chapter have been taken from the Program mode. This is
because Mix and Song modes have a few additional parameters that are
not included in Program mode.]

Menu: (various modes)/Effects/Bus/Select

Parameter: EDIT Effect Bus
Value Range: Bus 1, Bus 2

Each program, mix, or song has two send busses for effects. Select
which one you’d like to edit using this parameter.

Menu: (various modes)/Effects/Bus/Select

Parameter: Type
Value Range: (varies; see page 273 for complete list of effects)

Select the type of effect you’d like to use with this parameter. The name
of the effect is listed in large letters on the screen just below the “Type”
parameter.

Please see page 273 for a detailed description of each Send effect.

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Menu: (various modes)/Effects/Bus/Select

Parameter: (Only visible when you are in Mix or Song modes—it is
not required in Program mode.)
Value Range: Varies depending on if you are in Program, Mix, or
Song modes

The settings of this parameter vary depending on what mode you are in.
The following will explain how this parameter works in each mode:

Mix & Song Modes: In Mix and Song modes, you have up to
16 different parts and each part has its
own send level. Use this parameter to
select an individual part you’d like to edit.

Program Mode: Since you can only load one program at a

time in Program mode, you are not given
the option of selecting any other
programs.

Menu: (various modes)/Effects/Bus/Select

Parameter: Send Level
Value Range: 0 – 100 %

This parameter determines how much of your program output is being

sent to the effects bus. A “dry” setting of 0% means that none of your
signal is being sent to the bus effects. A “wet” signal of 100% means
that equal amounts of your original signal and effected signal are being
routed to the output.

Menu: (various modes)/Effects/Bus/Select

Parameter: Return Level
Value Range: 0 – 100%

This parameter determines how much of your bus effect is mixed back
into the main output. A high percentage will mix most or all of your
effect back into the main bus whereas lower percentages will mix little or
none of the effect into the output path.

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Menu: (various modes)/Effects/Bus/Select
Parameter: Jump Prog (or “Jump Part” in Mix Mode or “Jump
Trk” in Song Mode)
Action: Varies depending on whether you are in Program, Mix, or
Song Modes

This quick access button is included for the convenience of the user.
The button behaves differently depending on what mode you are in. The
following explains how the button works in each mode:

Program Mode In Program Mode, this button is labeled “Jump

Prog” and takes you to the Program/Output
page where you can set your send levels.

Mix Mode In Mix Mode, this button is labeled “Jump

Part” and takes you to the selected part’s
Part/Output page.

Song Mode In Song Mode, this button is labeled “Jump

Trk” and takes you to the selected track’s
Track/Output page.

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Menu: (various modes)/Effects/Bus/Edit

Parameter: Varies
Value Range: Varies depending on your selection of Bus Send
“Type” (see above)

This menu lets you adjust and fine tune your bus effect settings. The
parameters listed in this menu will change depending on what kind of
bus effect you have selected (using the “Type” parameter in the
Program/Effects/Bus/Select menu).

See section 264 for a detailed description of each effect and its
parameters.

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Creating and Deleting Effects Modulation Routes

Menu: (various modes)/Effects/Mod/Routes

Parameter: Add Mod
Value Range: (none)

This button creates a new modulation route and automatically takes you
to the “Edit” screen for that route so you can assign Sources and
Destinations (as well as other parameters depending on the type of route
you’re trying to make). You can create up to 32 routes for each program.

Menu: (various modes)/Effects/Mod/Routes

Parameter: Del Mod
Value Range: (none)

This button lets you delete the mod route that is currently selected. A
confirmation prompt will appear to keep you from accidentally deleting
an existing route.

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Editing Your Effects Modulation Routes

As you jump into the “Edit” menu, you can change the
source/destination of each route as well as a number of other
parameters associated with your source and destination. This menu is
slightly tricky to document because the “Index” parameters automatically
change depending on what you’ve assigned as your source and
destination. If your screen appears slightly different from the one shown
below, don’t worry—you may have different sources and destinations
selected.

Menu: (various modes)/Effects/Mod/Edit

Parameter: EDIT Mod
Value Range: Mod 1 up to Mod 32 (depends on how many Mod
Routes you’ve created in the Synth/Mod/Routes menu)

Select the Modulation Route you’d like to edit here.

Menu: (various modes)/Effects/Mod/Edit

Parameter: Source
Value Range: Mod Wheel, Foot Pedal, Switch S1-S2, Knob Assign
1-4, Trigger T1-T4, Foot Switch, Sustain Pedal, Pitch Wheel,
Aftertouch

Select the source for the current mod route you’d like to edit here.

Menu: (various modes)/Effects/Mod/Edit

Parameter: Dest
Value Range: None, Master EQ, Bus 1 Send, Bus 1 Return, (B1),
Bus 2 Send, Bus 2 Return, (B2),(I1)

Select the destination for the current mod route you’d like to edit here.
Some settings will need to be defined more precisely for a modulation
route to be created. In such cases, a “sub-parameter” will appear below
the “Dest” parameter. For example, if you select “Master EQ,” you’ll
need to define which band of the Master EQ (Low Freq, Low-Mid, Mid-
High, High) you want to route something to. These options will appear
on screen as they are needed.

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Menu: (various modes)/Effects/Mod/Edit
Parameter: Amount
Value Range: -100% to +100%

This parameter sets the strength of modulation from your source to your
destination. For example, if you have set your source to envelope and
your destination to pitch, then as your amount value gets closer to 100%
(or -100%), the changes in pitch will become more pronounced.

Menu: (various modes)/Effects/Mod/Edit

Parameter: Add Mod
Value Range: (none)

This button creates a new modulation route You can create up to 32

routes for each program.

Menu: (various modes)/Effects/Mod/Edit

Parameter: Del Mod
Value Range: (none)

This button lets you delete the mod route that is currently selected. A
confirmation prompt will appear to keep you from accidentally deleting
an existing route.

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Output Block Diagram

This block diagram describes the flow of the signal after it leaves your
Program. The triangles represent volume control points (engineers often
use triangles in block diagrams to represent amplifiers).

Note that the Effect Sends are returned back only to the Main Bus. This
means you will not hear any effects on your signal if you have routed the
signal to the Aux Bus. If you route a signal to the Aux Bus and use Bus
Effects (like reverb or delays, for example), only the effect will be present
on the Main Bus whereas the original “dry” signal will be output from
the Aux Bus.

Also, note that the MasterEQ section is only on the Main Bus and that
EQ settings will be bypassed if you route your signal out of the Aux Bus.

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Master EQ Effects Parameters

Parameter Default Range Low Range High

Low Freq: 153.59 kHz 20 Hz 1000.00 Hz
Low Gain: 0.0 dB 18.0 18.0
Low Mid Freq 557.28 Hz 300 Hz 10.00 kHz
Low Mid Gain 0.0 dB 18.0 18.0
Low Mid Q 1.00 .50 4.00
High Mid Freq 1.53 kHz 300 Hz 10.00 kHz
High Mid Gain 0.0 dB 18.0 18.0
High Mid Q 1.00 .50 4.00
High Freq 3.96 kHz 500 Hz 10.00 kHz
High Gain 0.0 dB 18.0 18.0

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Insert Effects Parameters

Chorus

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 0.235 Hz 0.100 Hz 4.800 kHz
LFO Level 100% 0% 100%
LFO Shape Sine Sine Triangle
PreDelay 0 0 100

HP Chorus

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 0.235 Hz 0.100 Hz 4.800 kHz
LFO Level 100% 0% 100%
LFO Shape Sine Sine Triangle
LFO Phase Unison Contrary, Unison Quadrature
PreDelay 0% 0% 100%
HP Cutoff 153.59% 20.00 Hz 1000.00 kHz

Overdrive Chorus

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 0.235 Hz 0.100 Hz 4.800 kHz
LFO Level 100% 0% 100%
LFO Shape Sine Sine Triangle
LFO Phase Unison Contrary, Unison Quadrature
PreDelay 30% 0% 100%
Drive 40% 0% 100%

Flanger

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
LFO Shape Sine Sine Triangle
Mod Depth 50% 0% 100%
Feedback 0% 0% 100%

Contrary Flanger

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Notch 50% 0% 100%
LFO Rate 1.014Hz 0.100 Hz 4.800 kHz
LFO Shape Sine Sine Triangle
Mod Depth 50% 0% 100%
Feedback 0% 0% 100%

Quadrature Flanger

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Notch 50% 0% 100%
LFO Rate 1.014Hz 0.100 Hz 4.800 kHz
LFO Shape Sine Sine Triangle
Mod Depth 50% 0% 100%
Feedback 0% 0% 100%

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Inverse Flanger

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
LFO Shape Sine Sine Triangle
Mod Depth 50% 0% 100%
Feedback 0% 0% 100%

Envelope Flanger

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Attack Speed 10% 0% 100%
Release Speed 50% 0.100 Hz 4.800 kHz
Sensitivity 100% Sine Triangle
Notch 10% 0% 100%
Feedback -50% -100% 100%
Mod Depth 75% 0% 100%

S&H Flanger

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Notch 50% 0% 100%
Feedback -50% -100% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%

S&H Cont Flanger

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Notch 50% 0% 100%
Feedback -50% -100% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%

S&H Quad Flanger

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Notch 50% 0% 100%
Feedback -50% -100% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%

Phaser

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Num Stages 12 4 12
Notch 75% 0% 100%
LFO Rate 0.473 Hz 0.100 Hz 4.800 kHz
Mod Depth 25% 0% 100%
LFO Shape Sine Sine Triangle
Feedback 100% -100% 100%

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Contrary Phaser
Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Num Stages 12 4 12
Notch 75% 0% 100%
LFO Rate 0.473 Hz 0.100 Hz 4.800 kHz
Mod Depth 25% 0% 100%
LFO Shape Sine Sine Triangle
Feedback 100% -100% 100%

Quadrature Phaser
Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Num Stages 12 4 12
Notch 75% 0% 100%
LFO Rate 0.473 Hz 0.100 Hz 4.800 kHz
Mod Depth 25% 0% 100%
LFO Shape Sine Sine Triangle
Feedback 100% -100% 100%

Vintage Phaser
Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Num Stages 12 4 12
Notch 75% 0% 100%
LFO Rate 0.473 Hz 0.100 Hz 4.800 kHz
Mod Depth 25% 0% 100%
LFO Shape Sine Sine Triangle
Feedback 100% -100% 100%

S&H Phaser
Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Num Stages 12 4 12
Notch 75% 0% 100%
LFO Rate 0.473 Hz 0.100 Hz 4.800 kHz
Mod Depth 25% 0% 100%
Feedback 100% -100% 100%

S&H Cont Phaser

Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Num Stages 12 4 12
Notch 75% 0% 100%
LFO Rate 0.473 Hz 0.100 Hz 4.800 kHz
Mod Depth 25% 0% 100%
Feedback 100% -100% 100%

S&H Quad Phaser

Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Num Stages 12 4 12
Notch 75% 0% 100%
LFO Rate 0.473 Hz 0.100 Hz 4.800 kHz
Mod Depth 25% 0% 100%
Feedback 100% -100% 100%

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Rotary
Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Motor Power On Off On
Low Motor Rate 1.462 Hz 0.100 Hz 4.800 kHz
Low Rotor Depth 100% 0% 100%
High Rotor Rate 2.859 Hz 0.100 Hz 4.800 kHz
High Rotor Depth 100% 0% 100%

Overdrive Rotary
Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Motor Speed Fast Slow Fast
Motor Power On Off On
Drive 25% 0% 100%
Low Rotor Depth 100% 0% 100%
High Rotor Depth 100% 0% 100%

Organ Rotary
Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Motor Speed Fast Slow Fast
Drive 25% 0% 100%

Stack Drive Distortion

Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Drive 25% 0% 100%
Low EQ 0.0 dB -18.0 dB 18 dB
Mid-Low EQ 0.0 dB -18.0 dB 18 dB
Mid-High EQ 0.0 dB -18.0 dB 18 dB
High EQ 0.0 dB -18.0 dB 18 dB

Tube Overdrive
Parameter Default Range Low Range High
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Drive 50% 0% 100%
Low EQ 0.0 dB -18.0 dB 18 dB
Mid-Low EQ 0.0 dB -18.0 dB 18 dB
Mid-High EQ 0.0 dB -18.0 dB 18 dB
High EQ 0.0 dB -18.0 dB 18 dB

Chubby Cab
Parameter Default Range Low Range High
Low EQ 0.0 dB -18.0 dB 18 dB
Mid EQ 0.0 dB -18.0 dB 18 dB
High EQ 0.0 dB -18.0 dB 18 dB
Drive 50% 0% 100%
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry

Fat Cab
Parameter Default Range Low Range High
Low EQ 0.0 dB -18.0 dB 18 dB
Mid EQ 0.0 dB -18.0 dB 18 dB
High EQ 0.0 dB -18.0 dB 18 dB
Drive 50% 0% 100%
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry

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Small Combo
Parameter Default Range Low Range High
Low EQ 0.0 dB -18.0 dB 18 dB
Mid EQ 0.0 dB -18.0 dB 18 dB
High EQ 0.0 dB -18.0 dB 18 dB
Drive 50% 0% 100%

Small Combo Off Axis

Parameter Default Range Low Range High

Low EQ 0.0 dB -18.0 dB 18 dB
Mid EQ 0.0 dB -18.0 dB 18 dB
High EQ 0.0 dB -18.0 dB 18 dB
Drive 50% 0% 100%

Blues Amp

Parameter Default Range Low Range High

Low EQ 0.0 dB -18.0 dB 18 dB
Mid EQ 0.0 dB -18.0 dB 18 dB
High EQ 0.0 dB -18.0 dB 18 dB
Drive 50% 0% 100%

Blues Amp Off Axis

Parameter Default Range Low Range High

Low EQ 0.0 dB -18.0 dB 18 dB
Mid EQ 0.0 dB -18.0 dB 18 dB
High EQ 0.0 dB -18.0 dB 18 dB
Drive 50% 0% 100%

Stack Amp

Parameter Default Range Low Range High

Low EQ 0.0 dB -18.0 dB 18 dB
High EQ 0.0 dB -18.0 dB 18 dB
Drive 50% 0% 100%

2 Band, 2 Shelf PEQ

Parameter Default Range Low Range High

Low Shelf Freq: 101.88 Hz 20 Hz 1000 kHz
Low Gain: 0.0 dB 18.0 18.0
High Shelf Freq 6.86 kHz 500 Hz 10.00 kHz
High Gain 0.0 dB 18.0 18.0
Band1 Freq 397.70 Hz 300 Hz 10.00 kHz
Band1 Gain 0.0 dB 18.0 18.0
Band1Q 1.00 0.50 4.00
Band2 Freq 1.83 kHz 300 Hz 10.00 kHz
Band2 Gain 0.0 dB 18.0 18.0
Band2 Q 1.00 0.50 4.00

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4 Band PEQ

Parameter Default Range Low Range High

Band1 Freq 397.70 Hz 300 Hz 10.00 kHz
Band1 Gain 0.0 dB 18.0 18.0
Band1Q 1.00 0.50 4.00
Band2 Freq 1.83 kHz 300 Hz 10.00 kHz
Band2 Gain 0.0 dB 18.0 18.0
Band2 Q 1.00 0.50 4.00
Band3 Freq 1.83 kHz 300 Hz 10.00 kHz
Band3 Gain 0.0 dB 18.0 18.0
Band3Q 1.00 0.50 4.00
Band4 Freq 1.83 kHz 300 Hz 10.00 kHz
Band4 Gain 0.0 dB 18.0 18.0
Band4 Q 1.00 0.50 4.00

Classic Compressor

Parameter Default Range Low Range High

Attack 50% 0% 100%
Release 50% 0% 100%
Output Level 50% 0% 100%

Compressor

Parameter Default Range Low Range High

Attack 50% 0% 100%
Release 50% 0% 100%
Threshold 50% 0% 100%
Output Level 50% 0% 100%

Classic Limiter

Parameter Default Range Low Range High

Attack 50% 0% 100%
Release 50% 0% 100%
Output Level 50% 0% 100%

Expander/Gate

Parameter Default Range Low Range High

Attack 50% 0% 100%
Release 50% 0% 100%
Threshold 50% 0% 100%
Ratio 50% 0% 100%

Slicer

Parameter Default Range Low Range High

LFO Rate 21.891 Hz 0% 100%
MOD Depth 20% 0% 100%
LFO Phase Quadrature Contrary, Unison Quadrature

Tremolo

Parameter Default Range Low Range High

LFO Rate 4.800 Hz 0.100 Hz 4.800 Hz
MOD Depth 20% 0% 100%
LFO Shape Sine Sine Triangle

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Autopan

Parameter Default Range Low Range High

LFO Rate 2.108 Hz 0.100 Hz 4.800 Hz
MOD Depth 50% 0% 100%
LFO Shape Sine Sine Triangle

Ring Modulator

Parameter Default Range Low Range High

LFO Rate 21.891 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%
LFO Shape Quadrature Contrary, Unison Quadrature

Envelope LP Filter

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Attack speed 50% 0% 100%
Release speed 50% 0% 100%
Sensitivity 50% 0% 100%
Filter Q 2.50 1.00 4.00

LFO LP Filter

Parameter Default Range Low Range High

Center 1% 1% 100%
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
LFO Shape Sine Sine Triangle
Mod Depth 50% 0% 100%

S&H LP Filter

Parameter Default Range Low Range High

Frequency 73% 1% 100%
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

S&H Contrary LP

Parameter Default Range Low Range High

Frequency 73% 1% 100%
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

S&H Quadrature LP

Parameter Default Range Low Range High

Frequency 73% 1% 100%
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

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Envelope HP Filter

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Attack speed 10% 0% 100%
Release speed 50% 0% 100%
Sensitivity 50% 0% 100%
Resonance 66% 0% 100%

LFO HP Filter

Parameter Default Range Low Range High

Center 1% 1% 100%
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
LFO Shape Sine Sine Triangle
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

S&H HP Filter

Parameter Default Range Low Range High

Freq 1.83 kHz 300 Hz 10.00 kHz
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

S&H Contrary HP

Parameter Default Range Low Range High

Freq 1.83 kHz 300 Hz 10.00 kHz
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

S&H Quadrature HP

Parameter Default Range Low Range High

Freq 1.83 kHz 300 Hz 10.00 kHz
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

Decimator

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%
LFO Shape Sine Sine Triangle

Contrary Decimator

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%
LFO Shape Sine Sine Triangle

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Quadrature Decimator

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%
LFO Shape Triangle Sine Triangle

Envelope Decimator

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Attack speed 50% 0% 100%
Release speed 50% 0% 100%
Sensitivity 100% 0% 100%
Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Decimation 16.0 1.0 32.0
MOD Depth 20% 0% 100%

S&H Decimator

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%

S&H Cont Decimator

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%

S&H Quad Decimator

Parameter Default Range Low Range High

Wet/Dry 100% wet, 0% dry 0% wet, 100% dry 100% wet, 0% dry
Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%

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Bus Effects Parameters
Hall Reverb

Parameter Default Range Low Range High

Decay 28% 0% 100%
Diffusion 80% 0% 100%
Density 60% 0% 100%
Damping 34% 0% 100%

Plate Reverb

Parameter Default Range Low Range High

Decay 60% 0% 100%
Diffusion 80% 0% 100%
Density 35% 0% 100%
Damping 30% 0% 100%

Room Reverb

Parameter Default Range Low Range High

Decay 30% 0% 100%
Diffusion 70% 0% 100%
Density 100% 0% 100%
Damping 48% 0% 100%

Reverse Reverb

Parameter Default Range Low Range High

Rate 50% 0% 100%
Time 50% 0% 100%
Damping 0% 0% 100%

Gated Hall Reverb

Parameter Default Range Low Range High

Decay 50% 0% 100%
Diffusion 50% 0% 100%
Density 50% 0% 100%
Color 50% 0% 100%
Damping 0% 0% 100%
Attack 50% 0% 100%
Release 50% 0% 100%
Threshold 50% 0% 100%
Ratio 50% 0% 100%

Gated Reverse Reverb

Parameter Default Range Low Range High

Decay 50% 0% 100%
Diffusion 50% 0% 100%
Damping 0% 0% 100%
Attack 50% 0% 100%
Release 50% 0% 100%
Threshold 50% 0% 100%
Ratio 50% 0% 100%

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Input Gate Reverse

Parameter Default Range Low Range High

Decay 50% 0% 100%
Diffusion 50% 0% 100%
Damping 0% 0% 100%
Attack 50% 0% 100%
Release 50% 0% 100%
Threshold 50% 0% 100%
Ratio 50% 0% 100%

Input Gate Hall

Parameter Default Range Low Range High

Decay 50% 0% 100%
Diffusion 50% 0% 100%
Density 50% 0% 100%
Color 50% 0% 100%
Damping 0% 0% 100%
Attack 50% 0% 100%
Release 50% 0% 100%
Threshold 50% 0% 100%
Ratio 50% 0% 100%

Mono Delay

Parameter Default Range Low Range High

Time 500 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Brightness 100% 0% 100%

Split Delay

Parameter Default Range Low Range High

Left Time 250.0 ms 0.1 ms 340.0 ms
Left Fb 50% 0% 100%
Right Time 250.0 ms 0.1 ms 340.0 ms
Right Fb 50% 0% 100%
Brightness 100% 0% 100%

Slapback Delay

Parameter Default Range Low Range High

Time 10.0 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Brightness 100% 0% 100%

Doubling Delay

Parameter Default Range Low Range High

Time 60.0 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Brightness 100% 0% 100%

Tape Delay

Parameter Default Range Low Range High

Time 500 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%

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Overdrive Delay

Parameter Default Range Low Range High

Time 500.0 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Drive 100% 0% 100%

Wah+Dist+ Delay

Parameter Default Range Low Range High

Time 500.0 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Attack speed 10% 0% 100%
Release speed 50% 0% 100%
Sensitivity 50% 0% 100%
Resonance 66% 0% 100%
Drive 50% 0% 100%

Wah+OvDrv+ Delay

Parameter Default Range Low Range High

Time 500.0 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Attack speed 10% 0% 100%
Release speed 50% 0% 100%
Sensitivity 50% 0% 100%
Resonance 66% 0% 100%
Drive 50% 0% 100%

Lowpass Delay

Parameter Default Range Low Range High

Time 500 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Frequency 100% 0% 100%
Resonance 50% 0% 100%

Highpass Delay

Parameter Default Range Low Range High

Time 500 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Frequency 100% 0% 100%
Resonance 50% 0% 100%

Growling Delay

Parameter Default Range Low Range High

Time 500 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Attack Speed 10% 0% 100%
Release Speed 50% 0% 100%
Sensitivity 50% 0% 100%
Resonance 66% 0% 100%

Screaming Delay

Parameter Default Range Low Range High

Time 500 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Attack Speed 10% 0% 100%
Release Speed 50% 0% 100%
Sensitivity 50% 0% 100%
Resonance 66% 0% 100%

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Flanger+Delay

Parameter Default Range Low Range High

Time 500.0 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Notch 50% 0% 100%
LFO Rate 1014 Hz 0.100 Hz 4.800 Hz
LFO Shape Sine Sine Triangle
MOD Depth 50% 0% 100%
Feedback 0% 0% 100%

Chorus+Delay

Parameter Default Range Low Range High

Time 500.0 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
LFO Rate 0.235 Hz 0.100 Hz 4.800 Hz
LFO Level 100% 0% 100%
LFO Shape Sine Sine Triangle
Pre-delay 0% 0% 100%
LFO Phase Quadrature Contrary, Unison Quadrature

Decimator Delay 1

Parameter Default Range Low Range High

Time 500.0 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 4.800 Hz
MOD Depth 20% 0% 100%

Decimator Delay 2

Parameter Default Range Low Range High

Time 500.0 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%
Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 4.800 Hz
MOD Depth 20% 0% 100%

Chorus

Parameter Default Range Low Range High

LFO Rate 0.235 Hz 0.100 Hz 4.800 kHz
LFO Level 100% 0% 100%
LFO Shape Sine Sine Triangle
PreDelay 0 0 100

Multi Chorus 1

Parameter Default Range Low Range High

LFO Rate 0.235 Hz 0.100 Hz 4.800 kHz
LFO Level 50% 0% 100%

Multi Chorus 2

Parameter Default Range Low Range High

LFO Rate 0.235 Hz 0.100 Hz 4.800 kHz
LFO Level 50% 0% 100%

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Multi Chorus HP

Parameter Default Range Low Range High

LFO Rate 0.235 Hz 0.100 Hz 4.800 kHz
LFO Level 50% 0% 100%
HP Cutoff 153.59 20.00 Hz 1000.00 Hz

Analog Multi Chorus

Parameter Default Range Low Range High

LFO Rate 0.235 Hz 0.100 Hz 4.800 kHz
LFO Level 50% 0% 100%
Pre Delay 50.0 ms 0.1 ms 200.00 ms

Flanger

Parameter Default Range Low Range High

Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
LFO Shape Sine Sine Triangle
Mod Depth 50% 0% 100%
Feedback 0% 0% 100%

HP Flanger

Parameter Default Range Low Range High

Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
LFO Shape Sine Sine Triangle
Mod Depth 50% 0% 100%
Feedback 0% 0% 100%
HP Cutoff 153.59 Hz 20.00 Hz 1000.00 Hz

Contrary Flanger

Parameter Default Range Low Range High

Notch 50% 0% 100%
LFO Rate 1.014Hz 0.100 Hz 4.800 kHz
LFO Shape Sine Sine Triangle
Mod Depth 50% 0% 100%
Feedback 0% 0% 100%

Quadrature Flanger

Parameter Default Range Low Range High

Notch 50% 0% 100%
LFO Rate 1.014Hz 0.100 Hz 4.800 kHz
LFO Shape Sine Sine Triangle
Mod Depth 50% 0% 100%
Feedback 0% 0% 100%

Inverse Flanger

Parameter Default Range Low Range High

Notch 50% 0% 100%
LFO Rate 1.014Hz 0.100 Hz 4.800 kHz
LFO Shape Sine Sine Triangle
Feedback 0% 0% 100%

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Envelope Flanger

Parameter Default Range Low Range High

Attack Speed 10% 0% 100%
Release Speed 50% 0.100 Hz 4.800 kHz
Sensitivity 100% Sine Triangle
Notch 10% 0% 100%
Feedback -50% -100% 100%
Mod Depth 75% 0% 100%

S&H Flanger

Parameter Default Range Low Range High

Notch 50% 0% 100%
Feedback -50% -100% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%

S&H Cont Flanger

Parameter Default Range Low Range High

Notch 50% 0% 100%
Feedback -50% -100% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%

S&H Quad Flanger

Parameter Default Range Low Range High

Notch 50% 0% 100%
Feedback -50% -100% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 khz
Mod Depth 50% 0% 100%

Phaser

Parameter Default Range Low Range High

Num Stages 12 4 12
Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%
LFO Shape Sine Sine Triangle
Feedback 0% -100% 100%

Contrary Phaser
Parameter Default Range Low Range High
Num Stages 12 4 12
Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%
LFO Shape Sine Sine Triangle
Feedback 0% -100% 100%

Quadrature Phaser
Parameter Default Range Low Range High
Num Stages 12 4 12
Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%
LFO Shape Sine Sine Triangle
Feedback 0% -100% 100%

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S&H Phaser

Parameter Default Range Low Range High

Num Stages 12 4 12
Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%
LFO Shape Sine Sine Triangle
Feedback 0% -100% 100%

S&H Cont Phaser

Parameter Default Range Low Range High
Num Stages 12 4 12
Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%
Feedback 0% -100% 100%

S&H Quad Phaser

Parameter Default Range Low Range High
Num Stages 12 4 12
Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%
Feedback 0% -100% 100%

Vintage Phaser
Parameter Default Range Low Range High
Num Stages 12 4 12
Notch 50% 0% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 kHz
Mod Depth 50% 0% 100%
LFO Shape Sine Sine Triangle
Feedback 0% -100% 100%

Rotary
Parameter Default Range Low Range High
Motor Power On Off On
Low Motor Rate 1.462 Hz 0.100 Hz 4.800 kHz
Low Rotor Depth 100% 0% 100%
High Rotor Rate 2.859 Hz 0.100 Hz 4.800 kHz
High Rotor Depth 100% 0% 100%

Overdrive Rotary
Parameter Default Range Low Range High
Motor Speed Fast Slow Fast
Motor Power On Off On
Drive 25% 0% 100%
Low Rotor Depth 100% 0% 100%
High Rotor Depth 100% 0% 100%

Organ Rotary
Parameter Default Range Low Range High
Motor Speed Fast Slow Fast
Drive 25% 0% 100%

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Rotary Delay

Parameter Default Range Low Range High

Motor Speed Fast Slow Fast
Motor Power Fast Slow Fast
Drive 25% 0% 100%
Low Rotor Depth 100% 0% 100%
High Rotor Depth 100% 0% 100%
Time 500.00 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%

Delay Rotary

Parameter Default Range Low Range High

Motor Speed Fast Slow Fast
Motor Power Fast Slow Fast
Drive 25% 0% 100%
Low Rotor Depth 100% 0% 100%
High Rotor Depth 100% 0% 100%
Time 500.00 ms 0.1 ms 680.0 ms
Feedback 50% 0% 100%

Rotary Room

Parameter Default Range Low Range High

Motor Speed Fast Slow Fast
Motor Power Fast Slow Fast
Drive 25% 0% 100%
Low Rotor Depth 100% 0% 100%
High Rotor Depth 50% 0% 100%
Reverb Mix 50% 0.1 ms 680.0 ms
Decay 50% 0% 100%
Diffusion 50% 0% 100%
Density 50% 0% 100%
Damping 0% 0% 100%

Rotary Hall

Parameter Default Range Low Range High

Motor Speed Fast Slow Fast
Motor Power Fast Slow Fast
Drive 25% 0% 100%
Low Rotor Depth 100% 0% 100%
High Rotor Depth 50% 0% 100%
Reverb Mix 50% 0.1 ms 680.0 ms
Decay 50% 0% 100%
Diffusion 50% 0% 100%
Density 50% 0% 100%
Damping 0% 0% 100%

S&H LP Filter

Parameter Default Range Low Range High

Frequency 73% 1% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

S&H Contrary LP

Parameter Default Range Low Range High

Frequency 73% 1% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

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S&H Quadrature LP

Parameter Default Range Low Range High

Frequency 73% 1% 100%
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

S&H HP Filter

Parameter Default Range Low Range High

Freq 1.83 kHz 300 Hz 10.00 kHz
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

S&H Contrary HP

Parameter Default Range Low Range High

Freq 1.83 kHz 300 Hz 10.00 kHz
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

S&H Quadrature HP

Parameter Default Range Low Range High

Freq 1.83 kHz 300 Hz 10.00 kHz
LFO Rate 1.014 Hz 0.100 Hz 4.800 Hz
Mod Depth 50% 0% 100%
Resonance 30% 0% 100%

Decimator

Parameter Default Range Low Range High

Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%
LFO Shape Triangle Sine Triangle

Contrary Decimator

Parameter Default Range Low Range High

Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%
LFO Shape Triangle Sine Triangle

Quadrature Decimator

Parameter Default Range Low Range High

Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%
LFO Shape Triangle Sine Triangle

S&H Decimator

Parameter Default Range Low Range High

Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%

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S&H Cont Decimator

Parameter Default Range Low Range High

Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%

S&H Quad Decimator

Parameter Default Range Low Range High

Decimation 16.0 1.0 32.0
LFO Rate 0.184 Hz 0.100 Hz 5000.000 Hz
MOD Depth 20% 0% 100%

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MIDI Implementation Chart (Synthesizer)
Fusion Synthesizer Section (Fusion 6HD/8HD) 7/15/05 Version 1.00
Function Transmitted Recognized Remarks
Basic Default 1 — 16 1 — 16
Channel Changed 1 — 16 each 1 — 16 each Memorized

Default Mode 3
Mode 3
Messages X
Mode X
Altered ********
Note 0 — 127 0 — 127
Number True Voice ******** 0 — 127

Note On O O
Velocity
Note Off O O

After Keys X O
Touch Ch’s O1 O

Pitch Bend O O

Control O O
Change

Program O 0 — 127 O 0 — 127

Change True # ******** 0 — 127

System Exclusive O O
Song Pos X X
System
Song Sel X X
Common
Tune X X

System Clock X X
Realtime Commands X X

Local On/Off X O
All Notes Off O3 O
Aux
Active Sense X X
Messages
Reset X O2
GM On X X
1
Notes : O,X selectable
2
Recognized as All Notes Off
3
On pressing [STOP]

Mode 1: OMNI ON, POLY Mode 3: OMNI OFF,POLY O : Yes

Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO X : No

283
 A Appendix A: Effects and Implementation

MIDI Implementation Chart (Sequencer)

Fusion Sequencer Section (Fusion 6HD/8HD) 7/15/05 Version 1.00
Function Transmitted Recognized Remarks
Basic Default 1 — 16 1 — 16
Channel Changed 1 — 16 each 1 — 16 each Memorized

Default Mode 3
Mode 3
Messages X
Mode X
Altered ********
Note 0 — 127 0 — 127
Number True Voice ******** 0 — 127

Note On O O
Velocity
Note Off O O

After Keys X O
Touch Ch’s O1 O

Pitch Bend O O

Control O O
Change

Program O 0 — 127 O 0 — 127

Change True # ******** 0 — 127

System Exclusive O O
Song Pos O O
System
Song Sel O O
Common
Tune X X

System Clock O O
Realtime Commands X X

Local On/Off X O
All Notes Off O3 O
Aux
Active Sense X X
Messages
Reset X O2
GM On X X
1
Notes : O,X selectable
2
Recognized as All Notes Off
3
On pressing [STOP]

Mode 1: OMNI ON, POLY Mode 3: OMNI OFF,POLY O : Yes

Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO X : No

284
B Frequently Asked Questions

1. Why are the 12 unlabeled buttons around the LCD called “soft-
buttons?”

Most of the buttons on the Fusion are “hard wired.” In other words, the
“Program” button will always take you to the program screen and the
“Inc” and “Dec” buttons will always increase and decrease your currently
selected parameter. Soft-buttons, however, do not have “hard”
assignments and can serve different functions depending on what is
displayed on screen, hence, the term “soft-button.”

2. Why do some menus say “pan” while others say “balance?”

Isn’t that the same thing?

The Fusion menus display “pan” when you’re working with a mono
sample and “balance” if you’re using a stereo sample. Many people think
these are the same but they are slightly different: When you pan a mono
sound, you’re moving that sound (in its entirety) to one part of the stereo
field. On the other hand, if you take a stereo sample and you turn the
balance knob, you’re just hearing more of one side and less of the
other—you’re not actually panning the sound around.

That sounds complicated, so let’s take a look at a concrete example to

clarify: Let’s say you have a mono sample with lots of bass and treble. If
you pan that sound to the left, both the bass and the treble will move to
the left. Now let’s imagine you have that same sample in stereo, with the
bass on the left and the treble on the right. If you turn the balance knob
to the left, you’ll be hearing more of the bass and less of the treble. The
effect is similar to panning, but it’s not technically the same thing.

We deliberately named them differently for two reasons:

1. It’s technically a more accurate description (and we’re geeky
that way).
2. You’ll never mistake a stereo sample for a mono one when
programming the Fusion because now you know the difference
between “Pan” and “Balance.”

If nobody is around watching, go ahead and give yourself a high five!

3. Can I expand my Fusion’s internal memory?

Yes! The Fusion’s internal memory can be expanded from 64MB to

192MB allowing you to load more programs, mixes, and samples.

4. How can I expand the internal memory of my Fusion?

Upgrading your Fusion’s memory requires opening up the unit and
installing a special expansion board. This is not a trivial task and should
only be performed by an authorized Alesis service center.

285
 B Frequently Asked Questions

5. Why do you call the sounds on the Fusion “Programs?” Why not
just call them “Instruments?”

We do this to avoid confusion. The word “instrument” is ambiguous

and could potentially be confused with other things (such as the Fusion’s
actual hardware, or the source of a sample rather than the result of
putting together a set of samples to form a program). On the other
hand, “Program” has a specific definition that can’t be confused.

6. Can I send and receive MIDI data through the Fusion’s USB
port?
That feature is not supported in the current version of the Fusion’s
operating system.

7. Does Alesis plan to release sound expansion Compact Flash

cards?

There aren’t any plans for Alesis sound expansion cards. However, you
can save your custom programs, mixes, songs, samples, and arpeggiation
patterns onto Compact Flash cards or your home computer (using the
USB port). This makes it easy for Fusion users to swap files among
themselves.

8. Can I load my Ion or Micron virtual-analog synth patches into

the Fusion?

Unfortunately, this is not possible. The Fusion uses a fundamentally

different synthesis engine that is not compatible with the Ion/Micron
family of synthesizers. There is no way to translate the patches between
the two synthesizers.

9. Can I use the Fusion as a control surface for the soft-synths on

my computer?

Yes. You can configure the four Control knobs, T1-T4 trigger buttons,
S1-S2 switches, foot switch, and expression pedal to output MIDI CC
data that can be used to control software. Furthermore, the Fusion’s
transport controls send MMC data that can be used to control your
computer’s sequencing program (assuming your sequencing application
supports MMC commands).

10. Do sample-based programs play samples direct-from-disk?

No. Program samples are first loaded into the Fusion’s memory and then
played back from memory.

11. Do sample-playback programs use compressed samples?

Yes, and no! We do use compression to save space, but it is a form of
“lossless” compression. In other words, when the files are
“decompressed” during playback, the samples are bit-for-bit identical to
the original, uncompressed, sample. It’s the best of both worlds!

286
C Troubleshooting

If you experience problems while operating your Fusion, please use the
following table to check for possible causes and solutions before
contacting Alesis customer service for assistance.

Symptoms Cause Solution

The display does not light up when No power. Check that the power cable is
the ON/OFF switch is turned on. plugged in properly.
The LCD screen is appearing The Contrast Control knob is not Turn the Contrast Control knob
blank. adjusted properly. until you can see the LCD screen
clearly.
The LCD screen contrast changes Temperature changes within the Adjust Contrast Control knob until
after the unit has been on for a few Fusion (or your room) can cause you can see the LCD screen clearly.
minutes. minor contrast changes on the Once the Fusion has had a chance
LCD. to warm up (after a few minutes)
you won't have to adjust contrast
again.
No sound. Bad audio cabling or improper Check your audio cables; if
hookup. necessary, swap cables.
Master Volume is turned down. Raise the Master Volume knob on
the performance panel.
Local keyboard is disabled. Make sure the “Local Control” is
enabled in the
Global/Settings/MIDI menu (see
page 197.)
Notes sustain continuously. Sustain pedal was plugged in after Turn the unit’s power off, wait a
power was turned on. moment, and then turn it on again.
Stuck notes due to incomplete Press the STOP button on the
MIDI data. transport panel.
Poor audio performance Formatting of the internal hard If you need to format the Fusion’s
disk via USB internal hard disk, make sure to do
it using the “Format” function
found in Global mode (see page
208).
Notes played from Fusion have a MIDI echo/Thru enabled on Disable MIDI echo/Thru on
“doubled” or “flanged” sound external MIDI device or computer external MIDI device
Turn “Local Control” off in the
Global/Settings/MIDI menu (see
page 197).

287
 C Troubleshooting

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288
 Index

The Media Explorer..................................................208

A
Upgrading your Operating System ...........................210
ADAT Routing ...........................................................15
H
Adding Zones............................................................172
Alternate Tuning Types ..............................................39 Hardware Description
Arpeggiator ...............................................................213 Back Panel (Audio) ....................................................14
Configuring Your Arpeggiation Patterns ...............215 Back Panel (MIDI) .....................................................17
Editing your Arpeggiation Patterns........................232 Back Panel (USB).......................................................18
Processing Your Recorded Arpeggiations .............230 Center Section ............................................................11
Recording Arpeggiation Patterns ...........................227 Performance Panel......................................................12
Hookup Diagrams
B
Audio Hookup Diagram .............................................14
Bus Effects Computer/USB Hookup .............................................18
Editing your Bus Effects ........................................258 MIDI Hookup .............................................................17
Bus Effects
I
Selecting a Bus Effect ............................................255
Insert Effects
C
Editing your Effects..................................................254
Clipboard ....................................................................34 Selecting an Effect....................................................252
CPU Usage................................................................211 Item Explorer............................................................204
D L
Deleting Zones..........................................................172 Low Frequency Oscillators (LFOs)
Diagrams Adding an LFO.....................................................95, 98
Fusion Architecture..................................................22
M
Output Block Diagram ...........................................262
Reed Physical Model ...............................................78 Media Explorer.........................................................208
Wind Physical Model...............................................82 MIDI Implementation
Sequencer .................................................................284
E
Synthesizer ...............................................................283
Effects .......................................................................249 Mix Mode ...................................................................99
Bus Effects .............................................................255 Assigning Arpeggiation Patterns ..............................103
Bus Effects Parameters ..........................................273 Local Control............................................................109
Insert Effects ..........................................................252 Setting Individual Part Parameters ...........................103
Insert Effects Parameters .......................................264 Setting Overall Mix Parameters ...............................100
Master EQ ..............................................................249 Utility Page...............................................................113
Master EQ Effects Parameters ...............................263 What is a Mix? ...........................................................21
Envelopes Mixer Mode..............................................................190
Adding an Envelope...........................................89, 94 Mixer Mode..............................................................190
Using the Mixer........................................................190
F Mode Buttons, Description.........................................23
Factory Reset ..............................................................20 Modes
Formatting Fusion Media..........................................208 Global Mode.............................................................193
Fusion Architecture.....................................................22 Mix Mode ...................................................................99
Mixer Mode..............................................................190
G Program Mode............................................................37
Global Mode .............................................................193 Sampler Mode ..........................................................171
Global Controller Settings .....................................198 Song Mode ...............................................................115
Global MIDI Settings.............................................196 Modulation Matrix....................................................236
Global Workstation Settings ..................................193 Adding Mod Routes .................................................238
Local Control .........................................................197 Deleting Mod Routes................................................238
Metronome Settings ...............................................200 Editing Your Effects Modulation Routes .................260
Multitrack Audio Input Settings.............................202 Editing Your Modulation Routes .............................239
Operating System Information...............................209 Setting a Destination.................................................241
Other Global Settings (USB & User Interface)......203 Setting a Source........................................................239
Setting the Date and Time......................................212 Viewing Your Routes ...............................................237
System CPU Usage ................................................211
The Item Explorer ..................................................204

289
 Index

N Setting Overall Sample Settings................................... 172

Utility Page .................................................................. 189
Navigation
What is a Sampler?......................................................... 21
Mode Buttons........................................................ 23
Saving Your Work ......................................................... 31
Navigating The Fusion.......................................... 25
Shortcuts......................................................................... 28
Useful Navigation Shortcuts ................................. 28
Song Mode ................................................................... 115
O Editing Song Tracks..................................................... 135
Local Control ............................................................... 130
Optimize to Mono.................................................... 50 Processing Synth and Audio Tracks............................. 147
Output Block Diagram........................................... 262 Setting a Song’s Time Signature .................................. 118
P Setting Overall Song Parameters.................................. 116
Setting Track Parameters ............................................. 123
Powering the Fusion ................................................ 19 Track Editing Filters .................................................... 145
Processing Synth and Audio Utility Page .................................................................. 167
Adjust Gate ......................................................... 157 What is a Song?.............................................................. 21
Adjust Velocity ................................................... 158 Storing Your Work......................................................... 31
Clear.................................................................... 147 Connecting to a Computer via USB ............................... 36
Copy.................................................................... 152 Storing Programs, Mixes, Songs, and Samples.............. 31
Cut............................................................... 149, 150 The Clipboard................................................................. 34
Paste Mix ............................................................ 155
Paste Over ........................................................... 154 T
Quantize .............................................. 163, 165, 166 Technical Specifications .............................................. 291
Track Slip............................................................ 161
Tempo
Transpose ............................................................ 160 Enable Global Tempo .................................................. 195
Program Mode ......................................................... 37 Setting a Mix Tempo.................................................... 101
Analog Synthesis .................................................. 63
Setting a Program’s Tempo............................................ 37
Drum Synthesis..................................................... 52 Setting a Song’s Tempo ............................................... 118
FM Synthesis ........................................................ 70 Setting the Global Tempo ............................................ 194
Reed Model........................................................... 77
Transpose
Sample Playback ................................................... 45 Global........................................................................... 193
Utility Page ........................................................... 85 Individual Programs ....................................................... 40
What is a Program? ............................................... 21
Troubleshooting ........................................................... 287
Wind Model .......................................................... 81 Tuning Types ................................................................. 39
S U
Sampler Mode........................................................ 171 USB Connectivity .......................................................... 36
Capturing Samples .............................................. 179
Editing and Processing Samples ......................... 186 Z
Setting Individual Zone Settings......................... 173
Zero Crossings Points .................................................... 54

290
Specifications
Sound Engine
Sound Generation: Dual TI processors

Polyphonic Voices: Varies depending on type of program loaded.

Basic programs using minimal oscillators, filters,
and envelopes play back the following number of
voices on each engine (the Fusion has two voice
engines in total):

Sample playback: 136 voices (272 total)

FM: 120 voices (240 total)
Virtual Analog: 70 voices (140 total)
Physical Model (Reed): 30 voices (60 total)
Physical Model (Wind): 24 voices (48 total)
Program Memory: Programs can be stored on the Fusion’s internal
memory, hard disk, or compact flash cards giving
you virtually unlimited storage for your programs.
The workstation ships with the following:

384 Preset programs

24 Drum kits
128 General MIDI programs (with 8 drum kits)
128 Mixes

Effects: 57 Insert Effects

64 Bus Effects
4 Band Master EQ (low shelf, low,
mid, high mid, Hi shelve)

Sampling Inputs
(Using Minimum Gain)
Connectors: 2 Balanced ¼” TRS jacks
Input Impedance: 100 kΩ
Gain Trim Range: 0dB to 21dB
Signal To Noise Ratio: 102dB typ A-weighted
THD+N: 0.005% typ @ -1dBFS/1KHz
Frequency Response: +/-0.05 dB, 20-20KHz
Maximum Input Level: 3dBV

About these measurements:

Multitrack Inputs
All measurements done over a 20Hz – 20kHz
Connectors: 8 Balanced ¼” TRS jacks range with a 1kHz sine wave at -1dBFS
input.
Input Impedance: 16 kΩ
These measurements were done under real-
(+4dBu setting) world conditions using a production model
Signal To Noise Ratio: 107dB typ A-weighted of the Fusion. The performance on your unit
THD+N: 0.005% typ @ -1dBFS/1KHz should be similar to what is listed here.
Frequency Response: +/-0.15 dB, 20-20KHz
Maximum Input Level: 19dBu

(-10dBV setting)
Signal To Noise Ratio: 104dB typ A-weighted
THD+N: 0.005% typ @ -1dBFS/1KHz
Frequency Response: +/-0.15 dB, 20-20KHz
Maximum Input Level: 6dBV

291
 Specifications

Audio Output
Output Connectors: 4 Impedance-Balanced 1/4” TRS jacks,
¼” TRS Headphone Jack
Signal To Noise Ratio: 105dB typ A-weighted
THD+N: 0.005% typ A-weighted
Frequency Response: +/-0.15dB, 20-20KHz
Maximum Output Level: +18dBV Main L/R, +15.8 dBV Aux 3-4
Output Impedance: 1kΩ

Physical
Keyboard: Fusion 6HD: 61 keys (semi-weighted with aftertouch)
Fusion 8HD: 88 keys (fully weighted with aftertouch)
Real-Time Controllers: Four 360-degree Control Knobs with four layers
of parameters (giving you 16 knobs in total),
Assignable Modulation Wheel, Pitch Wheel

Pedal Jacks: Sustain pedal, Assignable Footswitch, Assignable

Expression Pedal

MIDI Connections: MIDI In, MIDI Out, MIDI Thru

Audio Outputs: Main L/R , Aux L/R, Headphone (1/4” TRS)
S/PDIF (RCA), ADAT (Optical)

Dimensions (WxHxD): Fusion 6HD: 35.5x14x4 in / 90.2x35.6x10.2 cm

Fusion 8HD: 51.5x14x5 in / 130.8x35.6x12.7cm

Weight: Fusion 6HD: 30.4 lbs / 13.8 kg

Fusion 8HD: 58.4 lbs / 25.6 kg
Power Consumption: 50 Watts max (100-240VAC/50-60Hz)

292
Legal Information:

All software and documentation except TTA lossless compression codec

is Copyright 2005 Alesis Studio Electronics. All rights reserved.

TTA lossless audio compression codec copyright notice and disclaimer:

Copyright 2004 Alexander Djourik. All rights reserved.

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are
met:

1. Redistributions of source code must retain the above

copyright notice, this list of conditions and the following
disclaimer.

2. Redistributions in binary form must reproduce the above

copyright notice, this list of conditions and the following
disclaimer in the
documentation and/or other materials provided with the
distribution.
3. Neither the name of the True Audio Software nor the names
of its contributors may be used to endorse or promote
products derived from this software without specific prior
written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT

HOLDERS AND CONTRIBUTORS "AS IS" AND ANY EXPRESS
OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED
TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND
FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN
NO EVENT SHALL THE COPYRIGHT OWNER OR
CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT,
INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL
DAMAGES (INCLUDING, BUT NOT LIMITED TO,
PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS
OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION)
HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY,
WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT
(INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN
ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF
ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
7-51-0174-C