Dave Smith Instruments ob-6 Operation Manual
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Dave Smith Instruments ob-6 Operation Manual

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  • Page 1 Operation Manual...
  • Page 3 Operation Manual Version 1.0 March 2016 Dave Smith Instruments LLC 1527 Stockton Street, 3rd Floor San Francisco, CA 94133 ©2016 Dave Smith Instruments LLC www.davesmithinstruments.com...
  • Page 4 This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful inter- ference and (2) this device must accept any interference received, including interference that may cause undesired operation. This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

  • Page 5: Table Of Contents

    Table of Contents A Few Words of Thanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix Getting Started .
  • Page 6 Calibrating the OB-6 . . . . . . . . . . . . . . . . . . .
  • Page 7 Using USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62 Appendix A: Alternative Tunings .
  • Page 8 Credits and Acknowledgements Sound Design Cyan Assiter-Clark, Daniel Davis, Peter Dyer, Peter Gorges, Tim Koon, Kurt Kurasaki, Kevin Lamb, Peter Mahr, Cord Mueller, Drew Neumann, Bob Oxley, Robert Rich, Matia Simovich, James Terris, Mitch Thomas, Taiho Yamada, Lorenz Rhode The DSI Crew Fabien Cesari, Bob Coover, Carson Day, Chris Hector, Tony Karavidas, Mark Kono, Justin Labreque, Andy Lambert, Andrew McGowan, Joanne McGowan, Tracy Wadley, and Mark Wilcox.

  • Page 9: A Few Words Of Thanks

    MIDI. The result is a modern classic: Pure vintage analog tone with the reliability of a state-of-the-art, modern instrument. Working together to bring you the OB-6 has been a real pleasure. We hope you enjoy it and make some great music with it!

  • Page 11: Getting Started

    Oberheim synthesizer, with the added convenience and stability of a state- of-the-art, modern instrument. All of the sound-shaping controls of the OB-6 are accessible on its front panel, packing a tremendous amount of power and versatility into a compact, easy-to-use format.

  • Page 12: Sound Banks

    Sound Banks The OB-6 contains a total of 1000 programs. 500 are permanent and 500 can be overwritten. Banks 0-4 are User Banks that can be overwrit- ten. Banks 5-9 are Factory Banks that are permanent. You can edit the programs of either bank, but you can only save them to Banks 0-4.

  • Page 13: Editing Programs

    OB-6. Editing Programs Because all of the sound-shaping controls of the OB-6 appear on its front panel, editing an existing program is simple: just turn a knob and listen to its effect.

  • Page 14: Creating A Program From Scratch

    When you’re editing a preset, the OB-6 has a convenient way of indicating the programmed (saved) value for any knob parameter: Whenever you turn a knob and reach the saved value of the parameter, an LED dot in the main OB-6 display will illuminate.

  • Page 15: Live Panel Mode

    “live panel” mode manual Be aware when entering live panel mode that the current settings of the OB-6 knobs and switches may be such that no sound is produced. This could be because the Mixer levels are all set to zero, or some other reason. See Appendix B: Trouble- shooting and Support for a checklist that can help you identify the cause.

  • Page 16: Canceling Save

    To cancel the Save process before you commit: • If the button LED is flashing, press it again. The LED stops flash- write ing and saving is canceled. You can return to editing if you want. Getting Started Dave Smith Instruments...

  • Page 17: Moving To The Next Level

    Pot Modes and determine which works best for you when you’re editing sounds. You’ll also find information about MIDI setup. Read this to more effectively integrate the OB-6 into your MIDI rig. To get the most out of the OB-6’s live performance capabilities, read up on using a footswitch or expression pedal.

  • Page 18: Connections

    For bidirectional MIDI communication with a computer. The 2 . USB— OB-6 is a Class Compliant USB device and does not require additional drivers when used with Mac OS or Windows. See Using USB on page 62 for more information.
  • Page 19 Once connected, you can use the pedal to control the cutoff frequency of the filter to add expressiveness to live performance. Unbalanced, ¼ inch audio outputs. The OB-6 8 . Audio Outputs— sounds great in stereo, but can be switched to mono if needed. See “Mono/Stereo”...

  • Page 20: Global Settings

    MIDI Out Alt Tuning Vel Response AT Response Stereo/Mono Pgm Dump Globals 5-9 Decrement Increment BANK BANK PROGRAM TENS SELECT SELECT Use the Bank and Tens buttons to scroll forward and backward, respectively, through parameter settings Global Settings Dave Smith Instruments...

  • Page 21: Globals - Top Row

    Selects which MIDI channel to send and 2 . MIDI Channel: All, 1…16— receive data, 1 to 16. receives on all 16 channels. Sets the OB-6’s ability to send and receive MIDI clock 3 . MIDI Clock: messages: • Off: MIDI Clock is neither sent nor received •...

  • Page 22: Globals - Bottom Row

    You could, for example, turn the filter knob on the frequency OB-6 and have it affect the cutoff frequency of another synthesizer. For a list of OB-6 CCs and NRPNs, see Appendix D. NRPNs are the preferred method of parameter transmission, since they cover the complete range of all parameters, while CCs are limited to a range of 128.
  • Page 23 Additionally, turning on the sequencer or arpeggiator will add sequencer or arpeggiator playback—but controlled by the OB-6’s clock settings and not the audio trigger. value •...
  • Page 24 There are two types of momentary footswitches, normally open and normally closed. Either type can be used with the OB-6. Not sure which type you have? If the behavior of the footswitch is the opposite of what is expected —...

  • Page 25: Oscillators

    Oscillators provide the raw building blocks of the OB-6’s sound by producing waveforms, each of which has its own inherent sound charac- ter based on its harmonic content. The OB-6 has two oscillators, plus a sub oscillator and a noise generator per voice. Level controls for each of these are located in the Mixer section.

  • Page 26: Oscillator Parameters

    1 (the slave) to restart its cycle every time Oscillator 2 (the master) starts a cycle. This provides a way to create more complex, harmonically rich shapes from simple waveforms—especially when the frequency of Oscil- lator 1 is set to a different interval than Oscillator 2. Oscillators Dave Smith Instruments...
  • Page 27 —When off, the Oscillator 2 ignores the keyboard Keyboard: Off, On and note data received via MIDI and plays at its base frequency setting. Oscillator 2 pitch can still be affected by modulation from other sources when in this mode. OB-6 Operation Manual Oscillators...

  • Page 28: Detune

    This tuning instability is a big part of what made vintage instruments sound characteristically warm and fat. Because the OB-6 oscillators are extremely stable, small amounts of can help impart a very vintage tone to what is otherwise a very detune stable, modern instrument.

  • Page 29: Mixer

    The Mixer section is where you set the levels of the various sound gener- ators on the OB-6. These include VCO 1, VCO 2, Sub Octave (Oscillator 1 sub oscillator) and the white noise generator. You must turn up at least one of these in order to make sound with the OB-6.

  • Page 30: Filter

    This change can be varied over time using the Filter Envelope to produce more dynamic, animated timbres. The OB-6’s filter is a 2-pole, 12 dB per octave, analog, state-variable filter with low-pass, notch, high-pass, and band-pass modes.
  • Page 31 Pass filter does not self oscillate. This is faithful to the original Oberheim SEM design. High levels of resonance can sometimes cause the OB-6 outputs to clip if its sound generators are also set to high output in the Mixer. Monitor your outputs carefully to ensure optimal, clean signal levels.

  • Page 32: Filter Envelope

    Filter Envelope The OB-6 filter has a dedicated, four-stage envelope generator. The Filter Envelope is used to shape the harmonic characteristics of a synthesized sound by giving you filtering control over its attack, decay, sustain, and release stages. This is one of the most important factors in designing a sound. Without an envelope, the filters would be completely static.
  • Page 33 The cutoff frequency setting may limit the effect of the envelope on the filter. For example, in low-pass filter mode , if is at its highest setting, a positive enve- frequency lope amount will have no effect on the filter since the filter is already completely open. OB-6 Operation Manual Filter Envelope...

  • Page 34: Changing The Filter Envelope's Response Curve

    In most cases, this can’t be changed. The current preference is that the faster or snappier the envelopes, the better. However, in the case of the OB-6, there is a hidden feature in the X-Mod section that allows you to modify the responsiveness of the Filter Enve- lope’s ADSR controls.

  • Page 35: Loudness Envelope

    A snare drum has a sharp attack, no sustain, and virtually no decay or release. But again, they are both fundamentally white noise. ATTACK DECAY SUSTAIN RELEASE AMOUNT VELOCITY LOUDNESS ENVELOPE Loudness Envelope Time A typical four-stage, ADSR envelope shape OB-6 Operation Manual Loudness Envelope...
  • Page 36 100% and hold a few chords. initial amt This button enables keyboard velocity to modulate the Loud- Velocity: ness Envelope amount. The harder you play, the more the Loudness Envelope is affected. This makes for more touch-sensitive sounds. Loudness Envelope Dave Smith Instruments...

  • Page 37: Effects

    24-bit, 48 kHz digital effects effects to any sound. Though the OB-6 sounds great on its own, adding a touch of reverb or delay can enhance many sounds with a subtle (or not so subtle) sense of ambience and depth.
  • Page 38 • Reverb 1 (“HAL”) - classic hall emulation • Reverb 2 (“rOO”) - classic room emulation • Reverb 3 (“PLA”) - classic plate emulation • Reverb 4 (“SPr”) - vintage guitar-amp-style spring emulation Effects Dave Smith Instruments...

  • Page 39: Effects Parameters

    Type: Off, bbd, ddl, CHO, FL1, PH1, PH2, PH3, RNG, HAL, rOO, PLA, SPr the effect type. —Sets the balance between the processed (wet) signal Mix: 0...127 and unprocessed (dry) signal. Full left is completely dry. Full right is completely wet. OB-6 Operation Manual Effects...
  • Page 40 Parameter 2: —This knob adjusts Variable, depending on the effect parameter 2 for the chosen effect. Each effect has two adjustable param- eters, which differ depending on the effect. Effects Dave Smith Instruments...
  • Page 41 Adjustable parameters are rate and depth. This is a vintage flanger emulation. Use it to add a sweeping reso- FL1: nant effect to a sound. This effect has true through zero flanging capabil- ity. Adjustable parameters are rate and depth. OB-6 Operation Manual Effects...
  • Page 42 Set Parameter 2 to the “on” position to get more musical results from the ring modulator. Effects Dave Smith Instruments...

  • Page 43: Distortion

    Adjustable parameters are decay and tone. Distortion The OB-6 provides an analog distortion effect. This can be used to add warmth, harmonic complexity, and an aggressive edge to sounds. The character of the distortion is affected by the harmonic content of a program.

  • Page 44: Low Frequency Oscillators

    (periodic pitch modulation) and tremolo (periodic amplitude modulation). The LFO on the OB-6 produces a variety of waveshapes, including sine, sawtooth, reverse sawtooth, square, and random. Though most often used for low-frequency modulation, the OB-6 LFO can actually function at speeds that extend into the audible range for extreme effects.
  • Page 45 Sawtooth Reverse Square Random Sawtooth LFO waveshapes The OB-6 has a sixth “hidden” LFO waveshape that you can use as a modula- tion source — noise. To access this, choose then turn all the way random frequency clockwise. This generates a white noise waveform.

  • Page 46: X-Mod

    X-Mod Although the overall sonic character of the OB-6 is determined by its analog oscillators and filters, much of its power to make truly unique and unusual sounds comes from the X-Mod section.

  • Page 47: X-Mod Parameters

    Oscillator 2 (triangle, sawtooth, or square/pulse). Try setting Oscillator 2 to low frequency (using the switch) to low freq further increase modulation possibilities. OB-6 Operation Manual X-Mod...
  • Page 48 Arpeggiator The OB-6 has a full-featured Arpeggiator. Turn it on, hold a chord and the OB-6 will play a pattern based on the individual notes held. Choose a mode (up, down, random, etc.), an octave range (1, 2, or 3), and a tempo, then pair it with an appropriately percussive sound, and you’ll be...
  • Page 49 Audio signals used to drive the arpeggiator/sequencer should not exceed 5 volts peak-to-peak. See “Seq Jack” on page 13 for more information about choosing the appropriate mode for these behaviors. OB-6 Operation Manual X-Mod...

  • Page 50: Arpeggiator Parameters

    Set to 2 Octaves, the keyed notes and the notes one octave above them arpeggiate. Set to 3 Octaves, the keyed notes and the notes one and two octaves above them arpeggiate. X-Mod Dave Smith Instruments...

  • Page 51: Sequencer

    Plays notes in the order the keys were pressed Sequencer The OB-6’s sequencer is similar to a classic step sequencer. It allows you to create a single sequence of up to 64 steps, including rests and ties, with up to 6 notes per step. In addition, you can play along with a sequence (provided there is available polyphony), making it a powerful live perfor- mance tool.
  • Page 52 Alternatively, you can start and stop sequencer playback using a footswitch connected to the rear-panel jack or using MIDI start/stop messages sent from a DAW or other MIDI device. See “Seq Jack” on page 13 for more information. Sequencer Dave Smith Instruments...

  • Page 53: Sequencer Parameters

    MIDI clock source, the BPM setting has no effect. Tap this button at least 4 times to quickly set the Tap Tempo: 30…250— tempo for the Sequencer and Arpeggiator. The LED flashes at the BPM rate you set. OB-6 Operation Manual Sequencer...
  • Page 54 BPM x 3 Eighth note triplets 16th BPM x 4 Sixteenth note 16th S BPM x 4 Sixteenth note, full swing timing 16th T BPM x 6 Sixteenth note triplets 32nd BPM x 8 Thirty-second note Sequencer Dave Smith Instruments...
  • Page 55 3. Save the program. (See “Saving a Program” on page 4.) MIDI volume can also influence the overall volume of the OB-6 if you are controlling it from an external MIDI source. OB-6 Operation Manual Sequencer...
  • Page 56 When used in conjunction with the Arpeggiator, notes are latched on and replaced by any new note(s) struck. If is on and at hold least one key continuously held down, any new notes played are added to the arpeggio. HOLD The Hold button Sequencer Dave Smith Instruments...

  • Page 57: Portamento

    2. To select a different mode, continue to hold down the portamento switch then press the switches to bank decrement tens increment step through the other choices. 3. When finished, release the switch. portamento OB-6 Operation Manual Portamento...

  • Page 58: Unison

    Unison When is on, the OB-6 functions like a monophonic synthesizer in unison that only 1 note can be played at a time. However, that one note can be powered by as many as six voices, depending on how many you choose to use.

  • Page 59: Using Chord Memory

    Unison switch. The OB-6 memorizes the notes of the chord. Single notes played on the keyboard will then trigger all notes of the stored chord, transposing them as you play up or down the keyboard.
  • Page 60 3. Release the switch when you’re finished. key mode Key Assign settings are only relevant to Unison mode. They do not affect poly- phonic playback. KEY MODE DETUNE UNISON button key mode Unison Dave Smith Instruments...

  • Page 61: Write

    The OB-6 contains a total of 1000 programs. 500 are permanent and 500 can be overwritten. Banks 0-4 are User Banks that can be overwrit- ten. Banks 5-9 are Factory Banks that are permanent. You can edit the programs of either bank, but you can only save them to Banks 0-4.

  • Page 62: Canceling Save

    The sound is saved. 6. Alternatively, if you want to cancel saving and continue editing, press button. It stops flashing and saving is canceled. write Write Dave Smith Instruments...

  • Page 63: Globals

    4. When finished, press again to exit. globals Pressing the button three times in a row saves the current program as globals the default program that appears when you turn on the OB-6. OB-6 Operation Manual Globals...

  • Page 64: Manual

    Be aware when entering live panel mode that the current settings of the OB-6 knobs and switches may be such that no sound is produced. This could because the Mixer levels are all set to zero, or some other reason. See Appendix B: Troubleshoot- ing and Support for a checklist that can help you identify the cause.

  • Page 65: Pitch And Mod Wheels

    Pitch and Mod Wheels The OB-6 has a spring-loaded Pitch wheel and a Mod wheel. You can use these controls to enhance live performance by bending notes and adding modulation in real time as you play. In the same way that guitar players use note bends and vibrato to give...

  • Page 66: Modulation Wheel

    The greater the pressure applied, the more modulation is applied. The OB-6 provides monophonic (or “channel”) aftertouch, which means that applying pressure to any key within a chord will apply modulation to all notes currently held.
  • Page 67 The OB-6 provides four different aftertouch response settings for your conve- nience. The default setting provides a linear response. To choose a different response curve, use the button in the section.
  • Page 68 Selects the Filter Mode as a modulation destination. With a Filtr Mode: positive setting, pressing the keys harder will move smoothly amount between low-pass, notch, and high-pass filter modes. Aftertouch Dave Smith Instruments...

  • Page 69: Exporting Programs And Banks

    (USR), all (all). 5. Press . The program or bank is exported. write Dumped programs will load back into the same bank and program location in memory when received by the OB-6 via MIDI. OB-6 Operation Manual Exporting Programs and Banks...

  • Page 70: Calibrating The Ob-6

    Calibrating the OB-6 The OB-6 is calibrated at the factory. Controls such as the pitch and mod wheels shouldn’t require re-calibration. However, because its oscilla- tors and filters are voltage controlled and can be affected by extremes of temperature, you may need to use the built-in calibration function to tune them occasionally.

  • Page 71: Calibrating The Pitch And Mod Wheels

    In general, the Pitch and Mod wheels shouldn’t require re-calibration. However, if you experience what seems like a persistent problem with either of them, the OB-6 has built-in auto-calibration procedure that you can use to remedy the problem. To calibrate the Pitch and Mod wheel’s low position: 1.

  • Page 72: Using Usb

    The OB-6’s USB 2.0 port enables bidirectional MIDI communication with a computer. A MIDI interface and MIDI cables are not neces- sary, just a USB cable. The OB-6 is a Class Compliant USB device. That means it does not require any additional drivers to be installed to communicate with a Mac or Windows computer.

  • Page 73: Appendix A: Alternative Tunings

    Appendix A: Alternative Tunings By default, the OB-6 is set to standard, chromatic western tuning. Addi- tionally it supports up to 16 additional alternative tunings, which you can access using the button in the section. alt tuning globals From the factory, the OB-6 ships with 16 preset alternative tunings ranging from Equal temperament to Indonesian Gamelan tunings.
  • Page 74 Some of the intervals are very close together, offering several choices for the same nominal chords. A=1/1 (440 Hz) 1/1 9/8 8/7 7/6 9/7 21/16 4/3 3/2 32/21 12/7 7/4 63/32 Appendix A: Alternative Tunings Dave Smith Instruments...
  • Page 75 Similar to Yamaha’s preset Just Major, the Just Minor gives preferential treatment to minor thirds on the sharps, and has a good fifth relative to the second. C= 1/1 (261.625) 1/1 25/24 10/9 6/5 5/4 4/3 45/32 3/2 8/5 5/3 16/9 15/8 OB-6 Operation Manual Appendix A: Alternative Tunings...
  • Page 76 64 = Cents +355. 65 = Cents +498. 66 = Cents +649. 67 = Cents +702. 68 = Cents +853. 69 = Cents +906. 70 = Cents +996. 71 = Cents +1057. 72 = Cents +1200 Appendix A: Alternative Tunings Dave Smith Instruments...

  • Page 77: Appendix B: Troubleshooting And Support

    Check all other parameters by physically changing them. If the sequencer or arpeggiator has stopped running: • Check the MIDI Clock setting in the Globals to ensure the OB-6 is set or, if set to , make sure the OB-6 is receiving slave thru MIDI clock.
  • Page 78 If there is a ground hum in the audio output: • USB can cause ground loops, so try to resolve any grounding issues between the computer and the OB-6. Or use MIDI, which is opto-isolated. If the OB-6 is behaving erratically. •...

  • Page 79: Contacting Technical Support

    To restore your OB-6 if it is frozen. 1. Power on the OB-6 while holding the Write switch to enter bootloader mode. You’ll see an animation in the Effects Parameter 1 display. 2. Use a MIDI cable (not USB) to transmit the new OS to your synth. You must use a standard MIDI cable for this.

  • Page 80: Warranty Repair

    Warranty Repair Dave Smith Instruments warrants that the OB-6 will be free from defects in materials and/or workmanship for 1 year from the date of purchase. Please register your product online at www.davesmithinstruments.com to establish the date of purchase. (This is not a requirement for warranty service, but it will help expedite the process.)

  • Page 81: Appendix C: Midi Implementation

    Appendix C: MIDI Implementation The OB-6 receives MIDI data according to the settings you have chosen in the settings. In addition, there is interaction between some of global the Program parameters that determine the overall response of OB-6 to MIDI data. Following are the Global parameters that affect response to...

  • Page 82: Midi Messages

    0vvvvvvv Pitch Bend LS Byte then MS Byte Notes: 0kkkkkkk Note number 0 — 127 nnnn Channel number 0 to 15 (MIDI channel 1-16). Ignored if MIDI channel set to ALL 0vvvvvvv Value Appendix C: MIDI Implementation Dave Smith Instruments...
  • Page 83 0vvvvvvv Pitch Bend LS Byte then MS Byte Notes: 0kkkkkkk Note number 0 — 127 nnnn Channel number 0 to 15 (MIDI channel 1-16). Ignored if MIDI channel set to ALL 0vvvvvvv Value OB-6 Operation Manual Appendix C: MIDI Implementation...
  • Page 84 Damper pedal: Sends 0 if off, 0111 1111 when on 1011 nnnn 0000 0111 0vvvvvvv Volume knob See sections that follow for additional Continuous Controller (CC) and Non-registered Parameter Number (NRPN) messages transmitted. Appendix C: MIDI Implementation Dave Smith Instruments...
  • Page 85 Additional Continuous Controllers Transmitted/Received The following table details how MIDI Continuous Controllers (CCs) are mapped to OB-6 controls. They are transmitted when Param Xmit is set to CC, and recognized/received when MIDI Rcv Receive is set to CC. Param Param...

  • Page 86: Nrpn Messages

    Increment and Decrement commands, which some controllers utilize. Finally, it responds to one RPN (Registered Parameter Number) command, the RPN/NRPN Reset command, which can be handy for resetting the currently selected parameter to a known state. Appendix C: MIDI Implementation Dave Smith Instruments...

  • Page 87: Global Parameter Data

    1032 MIDI SysEx Enable 1043 Mono/Stereo 0 = Off 0 = Stereo 1 = On 1 = Mono 1044 0-16 Alt Tuning *Controller received, but not transmitted. †Controller transmitted, but ignored when received. OB-6 Operation Manual Appendix C: MIDI Implementation...

  • Page 88: Program Parameter Data

    Program Parameter Data The following table lists OB-6’s program parameters. NRPN Value Description NRPN Value Description 0-127 VCA Env Sustain 0-60 Osc 1 Freq 0-127 VCA Env Release Osc 1 Sync VCA Env Vel On/Off 0-127 Osc 1 Level 0-254...
  • Page 89 Alt Tuning 30-250 1089 0-127 Seq Transpose 236-255 32 - 125 Name 0-19 256-319 12-108 Seq Step 1-64 Note 1 320-383 0-127 Seq Step 1-64 Vel 1 384-447 12-108 Seq Step 1-64 Note 2 OB-6 Operation Manual Appendix C: MIDI Implementation...

  • Page 90: Control Nrpn Data

    Control NRPN Data The following table lists the OB-6’s control NRPN data. It is received and transmitted but not saved as part of a program. NRPN Value Description 1088 Seq Play/Stop 16256 Seq Rec On/Off Sysex Messages Universal System Exclusive Message (Device Inquiry)
  • Page 91 Bank Number, 0 - 9 0vvv vvvv Program Number, 0 - 99 1111 0111 End of Exclusive (EOX) The OB-6 will respond by sending out the Program Data in the format described below in Program Data Dump. Request Program Edit Buffer Dump Status Description...
  • Page 92 Program Data Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 1110 OB-6 ID 0000 0010 Program Data 0000 00vv Bank Number: 0 - 9 0vvv vvvv Program Number: 0 - 99 0vvv vvvv 1024 bytes expanded to 1171 MIDI bytes in “packed MS bit” format...

  • Page 93: Packed Data Format

    7 G7 G6 G5 G4 G3 G2 G1 G0 00 F6 F5 F4 F3 F2 F1 F0 00 G6 G5 G4 G3 G2 G1 G0 This explains why it takes 1171 MIDI bytes to transmit 1024 Program data bytes. OB-6 Operation Manual Appendix C: MIDI Implementation...
  • Page 94 Appendix C: MIDI Implementation Dave Smith Instruments...
  • Page 96 Dave Smith Instruments LLC 1527 Stockton Street, 3rd Floor San Francisco, CA 94133 www.davesmithinstruments.com DSI-10139R...

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