Full Text Searchable PDF User Manual
LIMEX
USER MANUAL
SOUND BOARD
ALPIN MASTER 128
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.
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.
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
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.
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
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
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
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
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
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
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
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
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