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limex ALPIN MASTER 128 User Manual

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LIMEX

 USER MANUAL

 SOUND BOARD

ALPIN MASTER 128

 


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                                                                                                         TABLE OF CONTENTS                             

Page

Welcome / Integrating sound boards

3

Safety precautions / Copyright & watermark

4

IMPORTANT! APPLICATION WITH LIMEX MIDI SYSTEM MPR3

5

Compatibility with Alpine Master 32

5

ALPIN MASTER 128 sound list

6 - 11

ALPIN MASTER 128 drum kits

12

All about chord guitars; key assignments

12 - 14

Troubleshooting / 

MIDI IMPLEMENTATION

14

Page 2

LEGEND

MS

This column denotes whether the program is mono (M) or stereo (S).

P

The number in this column represents the required number of voices (OSC) per note.

HPF

High Pass Filter: Use the cutoff parameter to set the low frequency limit. When you do this, the sound will natu-
rally be brighter and thinner. A cutoff value over 64 usually needs to be selected just so you can hear the change.

MOD A special parameter of the LIMEX MIDI systems MPR3 M/P (not model L). Push up the value on any instrument 

and listen to what this does for your sound.

Adz.

Velocity zones: ranges in which various samples may be played.

ghost 
note

A “ghost note” is created by muffling the bass strings as they are played so much that no clear tone is heard. Use 
these samples to add a groove to your MIDI files.

*

Without velocity in the usual sense.
These programs will not be louder or softer when played on an instrument with velocity. The value of velocity, 
represented as VEL in the LIMEX patch editor, is used to select a zone of the program. If the trumpet or baritone 
should be played softly, choose a VEL value in that range. For example, in program 64, SEPP 1-73mp / 74-97mf / 
98-127 forte, the VEL value of 70 will play the mezzopiano sample; at value 74 the mezzoforte; and at VEL 120 
the forte sample. Remember, all sounds are at the same volume.

 


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 WELCOME                                                                                                                      

Thank you for choosing a LIMEX sound product. This user 
reference manual explains the features of the LIMEX sound 
board ALPINMASTER 128MB.

  ALPINMASTER 128                                     

The 128MB sound board of the ALPINE MASTER 128 de-
livers general MIDI sounds and a selection of LIMEX Ger-
man folk music sounds from the TRADITION series. Whe-
ther  it’s  pop,  swing,  tango  or  German  folk  music  you’re 
after, the ALPINE MASTER 128 gets your music hoppin’.
The  general  MIDI  sounds  are  specially  set  up  with  the 
best  sounds  for  the  German-speaking  entertainer.  Com-
bined with the LIMEX MPR3/P MIDI system and styles, the  
ALPINE MASTER128 becomes a professional arranger.

 INTEGRATION                                          

Here’s how the sound boards can be integrated into your 
system:

  

Installation  in  the  instrument  (accordion  or  

 

diatonic harmonica) that is equipped with a 

 

LIMEX MIDI system.

 
 

  

Installation in a LIMEX rack unit, making four 

 

audio outputs available that can be sent separately  

 

to a mixer.

• 

 

Installation in a LIMEX W3 wireless receiver.

 TECHNICAL DETAILS                                            

 

Sound board memory: Flash RAM
Polyphony: 116 voices
Effects: digital reverb and chorus
Output: 4 audio outputs
48kHz sampling

Page 3

 POLYPHONY                                                                                              

The  sound  board  has  116-voice  polyphony.  By  layering 
sounds, even this huge polyphony can be exceeded, which 
is noticeable in a short clicking sound while playing.

When you mix more than one program (i.e. accordion, dul-
cimer and zither in treble), you might exceed the limits.

 


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 SAFETY PRECAUTIONS                                                                                                                      

SAFETY INSTRUCTIONS

- Read the user manual before using the device
- Do not allow any liquid to come in contact with the 
device
- Do not place anything on top of the device
- Do not handle the power supply with wet hands
- Turn off all connected devices before you connect any 
new devices

Do not use or store the device where it is exposed to
- dampness or wetness
- extreme temperature changes (i.e. do not store in a 
vehicle in winter)
- strong vibrations or jolts 

HANDLING

- Use only the original cables and power supply
- Remove the cable only by pulling on the plug, not on 

the cable

- Do not expose the power adapter to any mechanical 

stress

CUSTOMER SERVICE – TROUBLESHOOTING

Do not carry out any repairs at home, as this may result 
in  permanent  damage  to  the  electronics.  Any  guarantee 
claims are no longer valid in this case.

 

INCLUDED WITH SOUND BOARD 128MB

User reference manual

POWER SUPPLY

   

 

9VDC / 600mA

     

OPERATING TEMPERATURE 

 

10 to 40 degrees Celsius

 

HUMIDITY

 

 

max. 80%, non-condensing 

INSTALLATION

Only qualified professionals may install the 128MB sound 
board in an external LIMEX unit or a LIMEX MIDI-equip-
ped instrument.

The CE certification is available at www.limexmusic.com

 

LIMEX MUSIC HANDELS GMBH      
A-6114 Kolsass        Austria

 COPYRIGHT                                                                                                                      

The  recordings  used  in  this  device  are  protected  by 
copyright.  LIMEX  Music  Handels  GmbH  alone  has  been 
given the right by all musicians involved to use this material. 
Any duplication, editing or any other copy by or given to 
a third party in any form (audio sampling CD, data storage 
device, download of any file, etc.) is strictly forbidden.

Copyright © 2009 by limex music handels gmbh
www.limexmusic.com

Four out-of-court decisions in our favor and a copyright case 

against pseudo sound designers who tried to use our recor-

dings all speak to the originality of our sounds.

The fact that only we have exploitation rights to the recordings 

of these musicians is often overlooked. As unpleasant as the le-

gal cases are for us, the compensation received for the decisions 

in our favor do in fact contribute to our future legal defense of 

any other unauthorized use of these recordings. 

WATERMARK

Due to the value and demand for our samples, LIMEX pro-
duct sounds are tagged with an invisible audio watermark. 
Even if the file has been edited or distorted, we will be able 
to determine if our recording has been used.

USER FORUM

 

Access our User Forum on our homepage at www.limexmusic.com

!

CC

Page 4

 


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 IMPORTANT!                                                                                                                           

MIDI SYSTEMS

LIMEX patches can be used with the following LIMEX MIDI systems:

Complete MIDI – MPR3/L
Complete MIDI – MPR3/M
Complete MIDI – MPR3/P
Complete MIDI – MPR3/Plus
Bass MIDI – L
Bass MIDI – P 
MIDI 2001

NEED TO UPGRADE YOUR LIMEX MIDI OPERATING SYSTEM 2.96 - FREE DOWNLOAD!

The parameter “AM” must be OFF in order to use the sound board with an MPR3 MIDI system.

AM is a special parameter for ALPINE MASTER 32 that led to complications with the new boards. The error occurs 
when a sound is heard only briefly and then gets stuck when a key is pressed shortly after the instrument is turned on.
 
There are two ways to set the parameter AM to OFF:
1. 

MC10 controller

  

Press and hold down SELECT key + SAVE (purple) key + FILE (white) at the same time

  

Release SELECT key

  

Press SEL+ key more than once until [AM  A ON] appears in the display

  

Press “P” (gray) key one time

  

Press SAVE (purple) key two times. Finished.

 
 

   

 

2. PC Editor 
 

Save all of your data on your instrument is first, then:

  

Under the MIDI menu, go to Load data.

  

Select the following:

  

Set 0 

 

 

Set 1 

 

 

Patch 

 

0 - 199

  

Under the File menu, select Save As, name the file and click OK.

  

Switch to a different sound board “Other” 

 

Under the Unit menu, select Sound Board

  

At the top near Sound Board ALPINE MASTER 32 or AM16, etc., select “Other.”

  

Under the MIDI menu, select Write File

  

Set 0 

  

OK 

 

Save the data back to the instrument.

Page 5

!

 COMPATIBILITY - ALPINMASTER 32 

(2006-2008)   

                                                                                                              

USING PATCHES FROM ALPINE MASTER 32

The ALPINE MASTER 128 was designed to be as compatible as possible with the previous version, but some sounds did have 
to be moved. BANK 27 (extra for bass on MIDI accordions) is no longer available. Instead, you have a selection of new bass 
sounds from the TRADITION Exclusive 200 series in BANK 32. The guitar patch on BANK 27 is also no longer available; a 
new patch must be selected. This means you must re-select the bank and program numbers for any of your own patches that 
you want to continue using.

There are over 100 new patches for all LIMEX sound products ready for you. Just plug in and play.

 


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Page 6

Bank Prg.

PIANO & E-PIANO

0

1 Grand Piano 1 GM stereo

3

1 Grand Piano 1 dynamic  (Polyphony 4)

4

1 Grand Piano 1 with more volume

0

2 Bright Grand 1 

0

3 Electric Grand

0

4 Honky Tonk

0

5 E-Piano Suitcase 

3

5 E-Piano - hard

0

6 E-Piano FM

CHROMATIC INSTRUMENTS

0

7 Harpsichord

0

8 Clavinet

0

9 Celesta

0

10 Glockenspiel

0

11 Music Box

0

12 Vibraphone

0

13 Marimba

0

14 Xylophone

0

15 Tubular Bell

0

16 Dulcimer

ORGAN & ACCORDION

0

17 Drawbar Organ slow Rotary

3

17 Drawbar Organ

4

17 Ham Organ 3

5

17 Elec. Organ

6

17 Digi. Organ

0

18 Perc. Organ

3

18 Digi Organ 3

4

18 Digi Organ 4

5

18 Perc. Rotary Organ

6

18 Perc. Organ 2

0

19 Rock Organ Fast Rotary 1a

3

19 Rock Organ Fast Rotary 2

4

19 Jazz Organ

5

19 Jazz Organ Soft

6

19 Rock Organ 2

7

19 Rock Organ Fast Rotary 1b

0

20 Church Organ

3

20 Church Organ 3

4

20 Church Organ 4

0

21 Reed Organ

0

22 German Accordion 

0

23 Harmonica

0

24 Diatonic accordion

Bank Prg.

GUITAR

0

25 Nylon Guitar

3

25 Mandoline Tremolo

0

26 Steel Guitar

3

26 Steel Guitar Rhythm

0

27 Jazz Guitar

3

27 Jazz Guitar 3

0

28 Clean Guitar

0

29 Mute Guitar

0

30 Overdrive Guitar

3

30 Overdrive Guitar 3 stereo

0

31 Distortion Guitar

3

31 Distortion Guitar 3

4

31 Distortion Guitar 4

5

31 Distortion Guitar 5

0

32 Guitar Harmonics

3

32 Guitar Steel Country

BASS

0

33 Upright Bass

0

34 E-Bass Fingered

0

35 E-Bass Picked

0

36 Fretless Bass

0

37 Slap Bass 1

0

38 Slap Bass 2

0

39 Synth Bass 1

0

40 Synth Bass 2

STRINGS & ORCHESTRA

0

41 Violin Solo Vibrato 1

0

42 Viola

0

43 Cello

0

44 Contrabass

0

45 Tremolo Strings

4

45 Strings mono

0

46 Pizzicato Strings

0

47 Harp

0

48 Timpani (Pauken)

0

49 String Ensemble 1 stereo

3

49 String Ensemble 1 ENV fade

5

49 String Ensemble 1 String Ensemble mono

0

50 String Ensemble Slow

5

50 String Ensemble Slow mono

0

51 Synth Strings 1

3

51 Synth Strings 1 ENV Fade

4

51 Synth Strings 1 sweep

5

51 Synth Strings 1 soft

0

52 Synth Strings 2

 ALPIN MASTER 128                                                                                          BANK 0 - 7       

 


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Bank Prg.

CHOIR & HIT

0

53 Choir Aahs

0

54 Voice Oohs

3

54 Voice 3

0

55 Synth Voice

3

55 Vox 4

0

56 Orchestra Hit

BRASS

0

57 Trumpet Vibrato 1

0

58 Trombone (Posaune)

0

59 Bariton Solo Marcato

3

59 Bariton Solo staccato

0

60 Muted Trumpet

0

61 Tenor horn

0

62 Brass Section

0

63 Synth Brass 1

0

64 Synth Brass 2

WOODWIND

0

65 Sopran Sax

0

66 Alto Sax

0

67 Tenor Sax

0

68 Bariton Sax

4

68 Sax Section

0

69 Oboe

0

70 English Horn

0

71 Bassoon

0

72 Clarinet

0

73 Piccolo

0

74 Flute

0

75 Recorder (Blockflöte)

0

76 Pan Flute

0

77 Blown Bottle

0

78 Shakuhachi

0

79 Whistle

0

80 Ocarina

SYNTHESIZER

0

81 Square Lead

0

82 Saw Lead

0

83 Calliope

0

84 Chiff

0

85 Charang

0

86 Solory

0

87 Fifths

0

88 Bass & Lead

0

89 New Age

0

90 Warm Pad

0

91 Polysynth

0

92 Space

0

93 Bowed

Bank Prg.

SYNTHESIZER

0

94 Metallic

3

94 Digitalic

4

94 Digi 4

0

95 Halo

0

96 Sweep

0

97 Rain

3

97 Sleigh Bells

0

98 Soundtrack

0

99 Crystal

3

99 Hyper Crystal

0

100 Atmosphere

0

101 Brightness

0

102 Goblins

0

103 Echoes

3 103 Echo Pan

0

104 Sci-fi Star

ETHNO

0

105 Zither

0

106 Banjo

0

107 Shamisen

0

108 Koto

0

109 Kalimba

0

110 Bagpipes

0

111 Fiddle

0

112 Shanai

0

113 Tinkle Bell

0

114 Agogo

0

115 Steel Drums

0

116 Woodblock

0

117 Taiko Drum

0

118 Melodic Tom

0

119 Synth Drum

0

120 Reverse Cymbal

FX

0

121 Guitar Noise

0

122 Breath Noise

0

123 Seashore

0

124 Bird

0

125 Telephone

0

126 Helicopter

0

127 Applause

0

128 Silence - no sound

Page 7

 ALPIN MASTER 128                                                                                          BANK 0 - 7       

 


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Page 8

Prg.

7 Accordion ALPINA 888 mono
8 Accordion ALPINA 888 soft mono
9 Accordion ALPINA 888 staccato mono

10 Accordion MOR. 16´

11 Accordion MOR. 16´

12 Accordion MOR. 4´
15 Accordion MOR. 88´ mono
17 Accordion MOR. 88´ mono 2
18 Accordion MOR. 88´ staccato
19 Accordion MOR. 8´

20 Accordion MOR. 4/16´
21 Accordion MOR. 4/88´
22 Accordion MOR.  88/16´
23 Accordion MOR. 8/16´
24 Accordion ALPINA IV -  888/16´
25 Accordion ALPINA IV - 4/888´
26 Accordion ALPINA V -  4/888/16´
27 Accordion ALPINA 888 & STEIRISCHE
28 Accordion GO. 88´
29 Accordion GO. 8/16´
34 Diatonic button accordion
35 Diatonic button accordion soft
38 SCHWYZER ÖRGELI 2-chorus
39 SCHWYZER ÖRGELI 3-chorus

40 MUSETTE 1

41 MUSETTE 2

42 MUSETTE 3
43 MUSETTE 4

44 MUSETTE FRENCH

45 HELIKON BASS dynamic
46 HELIKON BASS soft
47 HELIKON BASS staccato
53 SCHWYZER ÖRGELI BASS
55 HARMONICA 
56 HARMONICA vibrato
57 CLARINET
58 CLARINET vibrato 1
59 CLARINET vibrato 2

60 CLARINET staccato

61 SOPRANO SAX

63 ALT SAX vibrato 1
64 ALT SAX vibrato 2
65 ALT SAX without vibrato

Prg.

66 TENOR SAX vibrato 1

67 TENOR SAX vibrato 2

68 TENOR SAX 1
69 TENOR SAX 3 sharp
70 TRUMPET vibrato 1
71 TRUMPET vibrato 2
72 TRUMPET ENSEMBLE
73 FLUGELHORN

74 TENOR HORN

75 TENOR HORNS
76 TROMBONE
77 BASS TROMBONE
78 BARITON  (effects start at C6)
79 BARITON fast attack

80 BARITON staccato

81 BARITON staccato fast attack
82 BARITON Janez Per
83 BARITON Janez Per

84 BARITON Janez Per staccato
85 BARITON Janez Per staccato
86 BARITON Janez Per

87 CS01 SYNTHBASS
88 CS01 SYNTHBASS sharp
89 DX SYNTHBASS

90 F-TUBA

91 F-TUBA staccato
92 F-TUBA softer
93 F-TUBA stacatto softer

94 F-TUBA double
95 DULCIMER 3-chorus

97 ZITHER
98 HARP
99 FIDDLE 1

100 FIDDLE 2

101 CONCERT GUITAR
102 RHYTHM GUITAR & FX
103 PICKED GUITAR

104 JAZZ GUITAR 
105 JAZZ GUITAR 3
106 HAWAIIAN GUITAR

107 CONTRABASS bowed
109 CONTRABASS plucked

112 ALPIN BELLS
113 MANDOLIN TREMOLO

 ALPIN MASTER 128                                                                                              BANK 26      

 


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 ALPIN MASTER 128                                                                                               BANK 32         

Page 9

ALPINE MASTER 128 offers a selection of German folk music sounds from the TRADITION Exclusive 200 sound board.

Info: Bass Bank 32

The bass programs on BANK 32 are special versions specifically for accordion players. The program symbol C/Cis means that the 

lowest note C36 (36 is the key number) will automatically play one octave higher. Es/E means that all notes lower than E will play 

one octave higher. By simply selecting a program number, you can set how low the bass should be. The setting is purely a matter 

of personal taste, key and your own style.

Accordion and diatonic harmonica mechanics allow play within one octave. The range between low C and B (notes 36-47) has 

become the standard range for MIDI. However, the C-B range is rarely playable on natural bass instruments. The lowest note on 

four-string e-bass guitars and contrabass is E.

* NOTE This program does not react to velocity in the normal sense for MIDI accordions specifically. The sound will not be louder 

or softer when you play with velocity by pressing the key faster or slower. Use the VEL value to select the samples in exactly the 

dynamic range that you want. Use the bellows dynamic to play louder or softer. In other words, you can play “piano” samples 

loudly if you so choose.

E-bass

Prg.

MS P Discription

1

E-bass 1

M

2 ideal in combination with a baritone to create a double bass foundation

2

E-bass 1

                    C/Cis M

2 -“-

3

E-bass 1

                      Es/E M

2 -“-

4

E-bass 2

 

M

2 velocity zones: 1-31 “ghost note” / 32-96 mp / 97-126 mf / 127 forte  

the attack sound is emphasized with the MOD parameter

5

* E-bass 2

                 C/Cis M

2 VZ: * 1-96 mp / 97-126 mf / 127 forte  MOD = attack sound

6

* E-bass 2

                    Es/E M

2 -“-

7

E-bass 3 Bridge 

 

M

2 VZ: 1-31 “ghost note” / 32-96 mp / 97-126 mf / 127 forte  

the attack sound is emphasized with the MOD parameter

8

* E-bass 3 

                C/Cis M

2 all parameters as in program 5 except: VZ: * 1-63 mp / 64-95 mf / 97-127 forte

9

* E-bass 3

                    Es/E M

2 -“-

10

E-bass 4 Pick

 

 

M

2 velocity zones: 1-31 “ghost note” / 32-95 mf / 96-127 forte  

Sub-bass is controlled with the MOD parameter

11

* E-bass 4 Pick

          C/Cis M

2 all param. as in program 10 except: velocity zones: * 1-95 mf / 96-127 forte

12

* E-bass 4 Pick

            Es/E M

2 -“-

19

E-bass SUB

M

1 Sub sinus bass

20

E-bass SUB 

              C/Cis M

1 Sub sinus bass                         

21

E-bass SUB

                 Es/E M

1 Sub sinus bass           

 


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 ALPIN MASTER 128                                                                                               BANK 32         

Page 10

Janez Per   C   Baritone

LIMEX is delighted to have Janez Per of the “Alpenoberkrainer” play the second baritone for our product.
Janez Per is a class of his own, the talent behind the unique sound of the Alpenoberkrainer. Recordings of 

 

the baritone sounds are strongly influenced by the famous ALPSKI sounds of the ’80s and ’90s, and have 

 

been edited with equalizers and an exiter. 

Prg.

MS P Bemerkung

72

Janez

 - staccato

M

1 Velocity zones: 1-73 mf / 74-127 forte

73

Janez

 - staccato

M

1 forte

74

Janez

 - staccato

M

1 mezzoforte

75

Janez

 - staccato        C/Cis M

1 Velocity zones: 1-73 mf / 74-127 forte

76

Janez

 - staccato        C/Cis M

1 forte

77

Janez

 - staccato        C/Cis M

1 mezzoforte

78

Janez

 - marcato

M

1 Velocity zones: 1-73 mf / 74-127 forte

79

Janez

 - marcato

M

1 forte

80

Janez

 - marcato

M

1 mezzoforte

81

Janez

 - marcato        C/Cis M

1 Velocity zones: 1-73 mf / 74-127 forte

82

Janez

 - marcato        C/Cis M

1 forte

83

Janez

 - marcato        C/Cis M

1 mezzoforte

84

Janez

 - Pedal tones

M

1 only notes 24-36 are pedal tones for MIDI files

Soli Music Baritone

This sound, played by multi-talented Tyrolean musician Guenther Sponring, has been used in most recent German folk mu-

sic productions. Its neutral tone blends well and is very “flexible” material for sound technicians. The baritone sound in the 

winning title for the Grand Prix of German Folk Music 2008 is a good example of the sound’s quality.

85

Baritone

 - staccato

M

2 MOD parameter emphasizes the overtones

86

Baritone

 - staccato fast

M

2 fast attack - MOD parameter emphasizes the overtones

87

Baritone

 - staccato   C/Cis M

2 MOD parameter emphasizes the overtones

88

Baritone

 - stac. fast  C/Cis

M

2 fast attack - MOD parameter emphasizes the overtones

89

Baritone

 - staccato   C/Cis M

2 MOD = Spectral modulation and bass frequency modulation

90

Bariton

 - marcato

M

2 MOD parameter emphasizes the overtones

91

Bariton

 - marcato fast

M

2 fast attack - MOD parameter emphasizes the overtones

92

Bariton

 - marcato     C/Cis M

2 MOD parameter emphasizes the overtones

93

Bariton

 - marc. fast   C/Cis M

2 fast attack - MOD parameter emphasizes the overtones

94

Bariton

 - marcato     C/Cis M

2 MOD = Spectral modulation and bass frequency modulation

Kurt Ott  C   Alphorn

The alphorn specialist from Switzerland with unbelievable range.

106

Alphorn

 in Ges

M

1  

 

Tubas

107

Bb-Tuba

M

2                         

108

2 tuba mix

M

2 Velocity zones: 1-109 / 110-127                                  

 


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Page 11

 ALPIN MASTER 128                                                                                              BANK 32         

Synth-tuba

Synthetic tuba sounds are and always have been in high demand with Tyrolean music groups.  
Here you will find the originals.

4 Tiroler Buam  C   CS01

111

CS01

M

1 4 Tiroler Buam sound

112

CS01

                           Es/E M

1 4 Tiroler Buam sound

Zellberg Buam  C   DX100

113

DX100

M

1 Zellberg sound

114

DX100

                         Es/E M

1 Zellberg sound

Contrabass bowed

Bowed contrabass by Kurt Leiser for Switzerland folk music sound.

120

Contrabass

M

1 short bow stroke

121

Contrabass

               C/Cis M

1 short bow stroke

122

Contrabass

                 Es/E M

1 short bow stroke

123

Contrabass

                F/Fis M

1 short bow stroke

124

Contrabass

M

1 short bow stroke

125

Contrabass

               C/Cis M

1 short bow stroke

126

Contrabass

                 Es/E M

1 short bow stroke

127

Contrabass

                F/Fis M

1 short bow stroke

Silence

128

Silence

M

0 Selecting program 128 ensures that nothing will be played, allowing you to 

turn a MIDI channel on or off without the danger of a stuck note.

     

Gerhard & Renato  C   Guitar

The following program is a combination of the TRADITION Exclusive programs 1-6.

11

Castello & AZ10

M

3 Velocity zones: 1-95 mp / 96-127 mf   MOD = combination

The programs below are from the popular SOLI-MUSIC Tradition XL series.
These guitar programs are not made of complete chords; they are combined recordings of single tones.
While recording, the individual guitar strings were also strummed in order to mimic the sound of the Oberkrainer rhythm gui-

tars. The harder you press the key, the harder the sound will be – with smooth, continuous transitions between notes.

Soli Rhythm Guitars

Prg.

MS P Bemerkung

21

Rhythm guitar

M

3 continuous velocity

22

Rhythm guitar

M

4 continuous velocity – MOD = spectrum

23

Rhythm guitar

M

3 continuous velocity – edited equalizer

24

Rhythm guitar FX

M

2 only strumming sound effect – MOD = spectrum

 ALPIN MASTER 128                                                                                                                                              

 


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Page 12

Note Nr.

DRUMKIT 1

HIT KIT 5

ROOM KIT 9

POWER 17

ELEC KIT 25

808/909

JAZZ KIT 33

JAZZ KIT 41

ORCHESTRA 49

C#

13 Mute Surdo

~

~

~

~

~

~

~

D-

14 Open Surdo

~

~

~

~

~

~

~

15 Zap

~

~

~

~

~

~

~

E-

16 Whip Slap Sn

~

~

~

~

~

~

~

F-

17 Scratch

~

~

~

~

~

~

~

18 Scratch

~

~

~

~

~

~

~

G-

19 Finger Snap

~

~

~

~

~

~

~

20 Click

~

~

~

~

~

~

~

A-

21 Stick H

~

~

~

~

909 BD 1

~

~

22 Stick L

~

~

~

~

909 BD 2

~

~

23 Stick L

~

~

~

~

909 SN1

~

~

C0

24 Stick H

~

~

~

~

909 SN 2

~

~

25 Brush Tap

~

~

~

~

909 SN 3 hard

~

~

D0

26 Brush Swirl

~

~

~

~

909 SN 3

~

~

27 Brush Slap

~

~

~

~

~

~

~

Hi Hat closed

E0

28 Brush Swirl 2

~

~

~

~

~

~

~

Hi Hat Pedal

F0

29 Snare Roll

~

~

~

~

~

~

~

Hi Hat Open

30 Castagnet

~

~

~

~

~

~

~

Ride Cymbal

G0

31 Snare Soft

~

~

~

~

~

~

Brush Snare 3

~

32 Stick

~

~

~

~

~

~

~

~

A0

33 Kick Soft

~

~

~

~

~

Jazz Kick 3

Brush Kick 2

~

34 Snare Open

~

~

~

~

~

~

~

~

35 Kick 1

Hit Kick 1

~

Power Kick 1

Elec Kick 1

808 Kick

Jazz Kick 1

Brush Kick 1

Orch. Drum 1

C1

36 Kick 2

Hit Kick 2

~

Power Kick 2

Elec Kick 2

808 Kick

Jazz Kick 2

Brush Kick 2

Orch. Drum 2

37 Rim

~

~

~

~

808 Rim

~

~

~

D1

38 Snare 1

Hit Snare 1

Room Snare 1

Power Snare 1

Elec Snare 1

808 Snare 1

Jazz Snare 1

Brush Snare 1

Orchestra Snare

39 Clap

~

~

~

~

~

~

~

Castagnet

E1

40 Snare 2

Hit Snare 2

Room Snare 2

Power Snare 2

Elec Snare 2

808 Snare 2

Jazz Snare 2

Brush Snare 2

Orchestra Snare

F1

41 Tom LL

Power Tom

~

Power Tom

Elec Tom

808 Tom

~

Brush Tom

Timpani

42 Hi Hat Closed

~

~

~

~

808 Hi Hat Cl.

~

~

Timpani

G1

43 Tom L

Power Tom

~

Power Tom

Elec Tom

808 Tom

~

Brush Tom

Timpani

44 Hi Hat Pedal

~

~

~

~

808 Hi Hat Pe.

~

~

Timpani

A1

45 Tom ML

Power Tom

~

Power Tom

Elec Tom

808 Tom

~

Brush Tom

Timpani

46 Hi Hat Open

~

~

~

~

808 Hi H. Op.

~

~

Timpani

47 Tom M

Power Tom

~

Power Tom

Elec Tom

808 Tom

~

Brush Tom

Timpani

C2

48 Tom H

Power Tom

~

Power Tom

Elec Tom

808 Tom

~

Brush Tom

Timpani

49 Crash Cymbal

~

~

~

~

808 Cym

~

Brush Crash

Timpani

D2

50 Tom HH

Power Tom

~

Power Tom

Elec Tom

808 Tom

~

Brush Tom

Timpani

51 Ride Cymbal

~

~

~

~

~

~

Brush Ride

Timpani

E2

52 China Cym

~

~

~

~

~

~

Brush China

Timpani

F2

53 Ride Cup

~

~

~

~

~

Brush Cup

Timpani

54 Tambourine

~

~

~

~

~

~

~

G2

55 Splash Cym

~

~

~

~

~

Brush Splash

~

56 Cowbell

~

~

~

808 Cowbell

~

~

~

A2

57 Crash 2

~

~

~

~

~

Brush Crash 2

Orch. Cymbal 2

58 Vibraslap

~

~

~

~

~

~

~

~

59 Ride Cym 2

~

~

~

~

~

~

Brush Ride 2

Orch. Cymbal 1

C3

60 Bongo H

~

~

~

~

~

~

~

~

61 Bongo L

~

~

~

~

~

~

~

~

D3

62 Conga Mute

~

~

~

~

808 Conga M.

~

~

~

63 Conga Open

~

~

~

~

808 Con. Op.

~

~

~

E3

64 Conga Low

~

~

~

~

808 Con. Low

~

~

~

F3

65 Timbale High

~

~

~

~

~

~

~

~

66 Timbale Low

~

~

~

~

~

~

~

~

G3

67 Agogo High

~

~

~

~

~

~

~

~

68 Agogo Low

~

~

~

~

~

~

~

~

A3

69 Cabasa

~

~

~

~

~

~

~

~

70 Maracas

~

~

~

~

808 Maracas

~

~

~

71 Sam. Whistle H

~

~

~

~

~

~

~

~

C4

72 Samba Whistle L

~

~

~

~

~~

~

~

~

73 Guiro Short

~

~

~

~

~

~

~

~

D4

74 Guiro Long

~

~

~

~

~

~

~

~

75 Claves

~

~

~

~

808 Claves

~

~

~

E4

76 Woodblock Low

~

~

~

~

~

~

~

~

F4

77 Woodblock High

~

~

~

~

~

~

~

~

78 Cuica Mute

~

~

~

~

~

~

~

~

G4

79 Cuica Open

~

~

~

~

~

~

~

~

80 Triangle Mute

~

~

~

~

~

~

~

~

A4

81 Triangle Open

~

~

~

~

~

~

~

~

82 Shaker

~

~

~

~

~

~

~

~

83 Jingle Bell

~

~

~

~

~

~

~

~

C5

84 Bell Tree

~

~

~

~

~

~

~

~

85 Castanet

~

~

~

~

~

~

~

~

D5

86 Surdo Mute

~

~

~

~

~

~

~

~

87 Surdo Open

~

~

~

~

~

~

~

~

E5

88

Applause

90

G5

91
92

97 Rhythm guitar FX 1

Rhythm guitar FX 1

D6

98 Rhythm guitar FX 2

Rhythm guitar FX 2

99 Rhythm guitar FX 3

Rhythm guitar FX 3

E6

100 Rhythm guitar FX 4

Rhythm guitar FX 4

F6

101 R. Git FX 1 High P

R. Git FX 1 HP

102 R. Git FX 2 High P

R. Git FX 2 HP

G6

103 R. Git FX 3 High P

R. Git FX 3 HP

G#6 104 R. Git FX 4 High P

R. Git FX 4 HP

 ALPIN MASTER 128                                                                                         DRUMKITS            

 


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 ALPIN MASTER 128                                                                                              BANK 33         

The ALPIN MASTER 128 contains one rhythm guitar in Oberkrainer style. Major, minor, septime and 

 

diminished chords are available in short and long strummed variations. See page 14 for a diagram of 

 

how the chords are assigned to the keys. When you press a key, a complete chord is played. This means 

 

that your MIDI system must be able to play just the base note on the accompaniment bass. Normally in the 

 

C-major chord, three notes are played: C, E and G. When a chord guitar program is selected, C-major, 

 

E-major and G-major play simultaneously.
In addition, the LIMEX MIDI System MPR3 plays this base tone in the pre-programmed octave on the chord keys major, 

minor, 7th and diminished.
This formula was first introduced by SOLI-MUSIC 1994 and has been a part of LIMEX MIDI systems since 2001.
LIMEX MIDI System MPR3 patches are already perfectly adjusted for this system, so you don’t have to lift a finger. 

Playing techniques

There are many ways to apply the rhythm guitar.

1. Standard version

 

Programs 21-23 are regular rhythm guitars, meaning that if you press 3 keys, 3 strings will be played; 5 keys pressed, 5 
strings are played. Program 24 simulates a disharmonious guitar strumming sound. No matter which key you press, the 
sound always fits, but it isn’t as resonant as the 3 special chord guitar programs, 1, 7 and 13.

2. Chord guitar programs 

Every key pressed plays a chord. The accompaniment bass keys play these programs perfectly. A compact, recorded 
chord always sounds more authentic than three individual strings played at the same time.
The only problem is its use on bass keys. The chord guitar sounds perfect and powerful when played on the ground 
bass, but when you play alternating bass, there are problems with the chord.

 

3. 

Chord conflict, programs 1-16 on bass

   

When you play a major chord of the bass on every ground bass, the following occurs:
C bass and C-major guitar  /  C chord bass and C-major guitar  /  G alternating bassline and G-major guitar  / C chord 
bass and C-major guitar
This means that the guitar chord on the third bass tone in C-major plays incorrectly. A G alternating bassline is played 
when it should play a C-major chord.
At present, we have no way of telling the bass G note that it is sometimes a G-major alternating bassline but should be a 
C chord; and another time it should be a G-major base tone and play a G-major chord.
 

4. 

Resolving the chord conflict

 

The only solution to the chord conflict is to avoid playing any guitar sound on the bass, but rather learn how to play the 
chord key at the same time as the bass is played. The only question is, who can do that and who wants to create a who-
le new style just to do it? 
 

5. Masking effect of our ears 

When you are also playing on the treble side of the instrument, the incorrect chord – if it’s not pressed too long – will 
be drowned out. If you play bass and chord only on the left side of your instrument, you will always hear the wrong 
chord. LIMEX MIDI system patches include a chord guitar on bass. Simply turn off the volume for this sound to avoid 
the problem.

Page 13

 


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Chord assignments

The accordion has major, minor, 7th and diminished chords available. Diatonic button box instruments each have their 
own arrangement of minor chords. Using the LIMEX MIDI system, it’s even possible to play the minor chords of a chord 
guitar with a diatonic accordion.

Major short  Minor short     7th short      dim. short     Major long    Minor long        7th long       dim. long

Note n

umber 12

Note n

umber 24

Note n

umber 36

Note n

umber 48

Note n

umber 60

Note n

umber 72

Note n

umber 84

Note n

umber 96

sub-contr

a octa

ve

contr

a octa

ve

g

rea

t octa

ve

small octa

ve

one-line octa

ve

tw

o-line octa

ve

thr

ee-line octa

ve

four

-line octa

ve

 ALPIN MASTER 128                                                                                CHORD GUITAR        

Page 14

 TROUBLESHOOTING                                                                                                                      

DISTORTED SOUND:

 * Turn down the master volume on the MC10.
 * Turn down the volume of the parts.

NO SOUND:

 * Check the master volume control.
 * Check the audio connection to the amplifier.

MAJOR AND MINOR ON BASS

 * If major and minor chords are playing on the bass of a MIDI accordion (this doesn’t affect diato-nic instruments), then  
   the patch on the MIDI system is NOT set to the lowest C. Set the lowest note to C.

CHORD GUITAR IN WRONG KEY

 * If the WRONG chords are playing on a diatonic accordion, the instrument has not been pro-gramed to the specified 
   octaves.
   For all notes: Accompanying chords, small octave – bass, great octave
   In addition, the part that is playing the accompanying chord must be set to +3 on the octave parameter.  
   All LIMEX fatory patches are pre-set to the correct octave.

HIGHEST NOTE DOESN’T ALWAYS PLAY

 * Playing the high voice on one instrument (i.e. clarinet) and the lower voice on a second instru-ment (i.e. trumpet) takes 
   practice. When you play downward, you must let go of one key before you play a lower note.  

                                       57 MOD Limex Sound Control   
 

 

 

91 Reverb

 

 

 

93 Chorus

 

 

 

121 Reset

 

 

 

126 Mono mode

 

 

 

127 Poly mode

 MIDI IMPLEMENTATION                                                                        

The CE certification is 

available at 

 

www.limexmusic.com under 

Support.

FUNCTION

 

 

RECEPTION 

MIDI MODE 

 

3 MULTI MODE

NOTE NUMBERS 

1 - 127

AFTER TOUCH   

-

PITCH BEND   

2 HALF-TONES

CONTROL CHANGE 

00 Bank select

 

 

 

01 Modulation

 

 

 

07 Volume

 

 

 

10 Panorama

 

 

 

11 Expression 

 

 

 

64 Sustain

RPN 

 

 

100, 101 

NRPN   

 

8 Vib. Rate / 9 Vib. Depht / 10 Vib. Delay / 32 Cutoff

 

 

 

33 Resonance / 99 Attack / 100 Decay / 101 Release