ZETA Music Systems Speaker System ZMC 200 User Manual
Zeta Music Systems, Inc.  
User Manual  
SYNTHONY II  
MIDI CONTROLLER  
Model ZMC-200  
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REV ENABLE............................................................................................................................. 24  
CHOR ENABLE ......................................................................................................................... 24  
VAR ENABLE ............................................................................................................................ 24  
CC DEFAULTS…...................................................................................................................... 24  
MIDI MAPPING: ........................................................................................................................ 25  
PRESET MODE................................................................................. 26  
PRESET PARAMETERS.......................................................................................................... 26  
RECALLING PRESETS ........................................................................................................... 26  
INSTRUMENT TUNER............................................................................................................ 26  
PRESET PROGRAMMING ..................................................................................................... 27  
VOLUME..................................................................................................................................... 27  
TRANSPOSE............................................................................................................................... 27  
QUANTIZE.................................................................................................................................. 27  
PAN POS ...................................................................................................................................... 28  
PAN SPREAD ............................................................................................................................. 28  
REVERB....................................................................................................................................... 28  
CHORUS ...................................................................................................................................... 28  
VARIATION................................................................................................................................ 29  
VEL SENSE................................................................................................................................. 29  
VEL OFFSET ............................................................................................................................... 29  
DYNAMIC CONTROLLER..................................................................................................... 29  
PRESET NAME.............................................................................................................. 30  
STRING MODE.......................................................................................................................... 30  
COM..........................................................................................................................................30  
SEP............................................................................................................................................31  
HOLDMD..................................................................................................................................... 31  
COMMON.................................................................................................................................... 31  
SEP ................................................................................................................................................. 31  
HOLD PRESET.....................................................................................................................31  
VOLUME:...............................................................................................................................32  
SEQ PATTERN......................................................................................................................32  
SEQ TRACK ...........................................................................................................................32  
SEQ TEMPO ..........................................................................................................................32  
LAYER… ..................................................................................................................................... 32  
LAYER PRESET....................................................................................................................33  
SEQ PATTERN......................................................................................................................33  
SEQ TRACK ...........................................................................................................................33  
SEQ TEMPO ..........................................................................................................................33  
ARPEG.......................................................................................................................................... 33  
ARPEG PRESET ...................................................................................................................34  
TEMPO ....................................................................................................................................34  
LENGTH .................................................................................................................................34  
SCAN........................................................................................................................................34  
SYNC ........................................................................................................................................37  
OCTAVES ...............................................................................................................................37  
REPEATS................................................................................................................................37  
VELOCITY..............................................................................................................................37  
SEQ PATTERN......................................................................................................................37  
SEQ TRACK ...........................................................................................................................37  
EDITING HOLD PRESETS ..................................................................................................... 38  
CNTRL.......................................................................................................................................... 38  
HOLD CONTROLLER ........................................................................................................38  
SEQ PATTERN......................................................................................................................38  
SEQ TRACK ...........................................................................................................................39  
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SEQ TEMPO ..........................................................................................................................39  
STACK......................................................................................................................................39  
WHEELCNTL............................................................................................................................. 39  
NRPN/RPN................................................................................................................................... 40  
REV ............................................................................................................................................... 41  
CHOR............................................................................................................................................ 41  
VAR............................................................................................................................................... 41  
CHAIN MODE ................................................................................... 42  
UNDERSTANDING THE DISPLAY..................................................................................... 42  
CREATING CHAIN PRESETS ............................................................................................... 43  
CHAIN PRESET NAME........................................................................................................... 43  
PROGRAM .................................................................................................................................. 43  
STEP .............................................................................................................................................. 44  
SAVING CHAIN PRESETS..................................................................................................... 44  
TUTORIAL- SETTING UP A CHAIN .................................... 45  
UTILITY MODE ............................................................................... 48  
UTILITY PARAMETERS ........................................................................................................ 48  
DISPLAY...................................................................................................................................... 48  
TUNING ..................................................................................................................................48  
LEVEL .....................................................................................................................................48  
PRESET NAMES ........................................................................................................................ 48  
NUM .........................................................................................................................................48  
GM.............................................................................................................................................49  
XG .............................................................................................................................................49  
DCLIC RESPNS....................................................................................................................49  
XMIT SYSEX… ......................................................................................................................... 49  
TOTAL DUMP…...................................................................................................................50  
PRESET… ..............................................................................................................................50  
CHAIN… .................................................................................................................................50  
ARP-PATTRN…....................................................................................................................50  
EFFECTS… ...........................................................................................................................50  
SEQUENC… ..........................................................................................................................50  
RECEIVE SYSEX ...................................................................................................................... 50  
EDIT SEQUENCE...................................................................................................................... 50  
TEMPO ....................................................................................................................................51  
VOLUME.................................................................................................................................51  
REVERB SEND .....................................................................................................................51  
CHORUS SEND ....................................................................................................................51  
VARIAT SEND ......................................................................................................................51  
MODE ......................................................................................................................................52  
PATTERN ...............................................................................................................................52  
KIT ............................................................................................................................................52  
STEPS ......................................................................................................................................52  
DRUM INSTRUMENT ........................................................................................................52  
TRACK.....................................................................................................................................53  
ST: .............................................................................................................................................53  
C:...............................................................................................................................................53  
PT: .............................................................................................................................................53  
ADC MONITOR......................................................................................................................... 53  
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APPENDIX........................................................................................... 54  
FACTORY RESET ..................................................................................................................... 54  
PROBLEM SOLVING  
............................................................................. 54  
External MIDI instrument doesn’t play............................................................................54  
String bending does not function properly.......................................................................54  
Sometimes wrong notes ........................................................................................................55  
Varying string volume levels ...............................................................................................55  
Dynamic difference between notes is too great ...............................................................55  
Wrong sounds.........................................................................................................................55  
SYSTEM EXCLUSIVE IMPLEMENTATON...................................................................... 56  
MASTER SOUND BANK – LIST..................................................... 58  
Piano.........................................................................................................................................58  
Electric Piano .........................................................................................................................58  
Cpercussion.............................................................................................................................59  
Organ........................................................................................................................................59  
Acoustic Guitar.......................................................................................................................60  
Electric Guitar........................................................................................................................60  
Acoustic Bass..........................................................................................................................60  
Electric Bass............................................................................................................................61  
Synth Bass ...............................................................................................................................61  
Strings.......................................................................................................................................61  
Ensemble..................................................................................................................................61  
Brass .........................................................................................................................................62  
Synth Brass..............................................................................................................................62  
Reeds.........................................................................................................................................63  
Pipe............................................................................................................................................63  
Slead..........................................................................................................................................63  
Synth Pad.................................................................................................................................64  
SyEffect ....................................................................................................................................64  
Ethnic .......................................................................................................................................65  
Percussion ...............................................................................................................................66  
Sound Effects..........................................................................................................................66  
SFX ...........................................................................................................................................66  
Drums .......................................................................................................................................67  
USER PRESETS – 1-128........................................................................................ 68  
EFFECTS TYPES – LIST...................................................................................... 69  
REVERB..................................................................................................................................69  
CHORUS .................................................................................................................................70  
VARIATIONS.........................................................................................................................70  
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ZMC-200 Front Panel  
3a  
6 8 10 12 14 16  
1
2
3
4
5
7
9
11 13 15  
17  
1. ZETA MIDI CABLE input. Connect your Zeta instrument to this jack using  
the Zeta MIDI cable provided.  
2. E-SERIES ON/OFF : This button must be pushed and locked in the “on”  
position in order for violins equipped with Zeta’s E-Series pickups to  
function properly with the ZMC-200. Note: The E-Series violin pickups are  
mono-MIDI capable, and will not access the ZMC-200 multi-channel MIDI  
features.  
3. VOLUME CONTROL: Controls the output of the ZMC-200.  
3a DISPLAY CONTROL: Adjusts contrast level of LCD display.  
4. DISPLAY: The high contrast LCD display shows preset names as well as  
various parameters some of which are shown graphically.  
5. PRESET: Using the PRESET button, you can change from GLOBAL,  
UTILITY and CHAIN modes directly to PRESET mode. The LED just to the  
left of the PRESET button shows you the status. In PRESET mode, the  
presently selected preset is shown in the display. You also have the option of  
seeing the built in instrument tuner in the bottom half of the display. Use the  
+/- Value buttons to cycle through and select presets. In the Text-Editor, using  
the PRESET button gives you space.  
6. GLOBAL : Using this button, you have access to general system settings such  
as MIDI channel instrument settings as well as the default values of all MIDI  
controllers. In addition you can prohibit output of Panorama, Reverb, Chorus  
and Variation controllers separately. In the Text-Editor, using the PRESET  
button (A...Z) changes the presently selected character to a capital or if no  
character is selected, gives you a capital “A”.  
7. STORE: The STORE button allows you to save preset data, arpegiattor  
patterns, drum sequences and chains to the permanent battery-backed-up RAM  
of your Synthony II. In the Text-Editor, using the STORE button inserts a  
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character at the present cursor position, shifting all following characters one  
character to the right.  
8. UTILITY:  
In UTILITY mode there are various sepcial functions available:  
-Output of Sysex (system exclusive) data for archival purposes  
-Access to the pattern oriented sequencer built into the Synthony II  
-Flexible effect editor for all available effects including reverb, delay,  
modulation, equalization etc.  
In the Text-Editor, using the UTILITY button (a...z) removes the presently  
selected character to small case, or if no character is selected, inserts a small  
case “a”.  
9. EDIT: Using the EDIT button in PRESET mode allows you access to the  
various preset parameters. In CHAIN mode you can select various series of  
presets that can be toggled using a foot pedal. In the Text-Editor, using the  
EDIT button (delete) removes the presently selected character and moves all  
the following characters one character to the left.  
10. CHAIN: Use the CHAIN button to get to CHAIN mode, where you can use a  
foot pedal to cycle through pre-programmed presets. In the Text-Editor, using  
the CHAIN button (!...@) inserts a punctuation or special character  
11 - 13. VALUE: The +/- Value buttons increase or decrease the presently  
selected value of a parameter in the display.  
12 - 14 PARAMETER: The +/- parameter buttons allow you to cycle through  
various parameters in a parameter list in the display.  
15. EXIT: Use the EXIT button to leave the present sub menu. Pressing it several times  
brings you to the root level of PRESET mode. Use the EXIT button to cancel a save  
function as well.  
16. ENTER: The ENTER button serves as a confirmation of saves and copies as  
well as opening a sub menu. The presence of a sub menu is shown as “....” in  
the display. You can leave any sub menu using the EXIT button.  
17. POWER ON/OFF: Here is where you turn your Synthony II on and off.  
When you turn it on, the display shows your last used preset in PRESET mode  
and is in LOCAL ON mode.  
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ZMC-200 Rear Panel  
A
B
C
D
E
F
G
H
I J  
K
L
M
A. Model number of your Zeta Synthony II.  
B. Serial number for your Zeta Synthony II.  
C. RIGHT (MONO): This is the right side line level output from the internal sound  
board If this output jack alone is connected (without the left output being connected)  
the resulting signal from this ouput is a composite MONO signal.  
D. LEFT (STEREO): This is the left side line level output from the internal sound  
board. If this output jack alone is connected (without the right output being  
connected) the resulting signal from this output jack is still the left side of the stereo  
signal alone.  
E. MIDI IN jack: Your ZMC-200 receives program change and sysex data on this port.  
If you also use the setting LOCAL OFF in GLOBAL mode, you can have all  
incoming MIDI data sent directly to the internal sound board. This is the typical  
setting if you are using your ZMC-200 with a sequencer.  
F. MIDI THRU jack: All data that is received on the MIDI IN jack will be echoed  
unchanged to this port.  
G. MIDI OUT jack: All MIDI data generated by your ZMC-200 will be sent to this port.  
If you are using an external MIDI instrument with your ZMC-200, be sure to connect  
this port with the MIDI IN port on your external instrument.  
H-I EXP1, EXP2 jacks for foot swell pedals: You can connect separate swell pedals to  
these jacks to control any MIDI controller you choose.Especially valuable when  
assigned to modulation and filter effects. Because your ZMC-200 supports the  
NRPN/RPN controllers, you can assign controllers #6 and #38 to these pedals and  
have access to a wide variety of usable functions that are not presently available in  
any other machine of this category.  
J. CHAIN foot pedal jack: In chain mode, you can use a pedal switch attached to this  
port to cycle through a series of pre-programmed presets.  
K. HOLD foot pedal jack: You can connect a foot pedal to this port to access any of the  
various HOLD modes such as COMMON, SEPARATE, LAYER,  
ARPEGGIATOR and CONTROL.  
L. ADAPTER: Connect the power supply included with your ZMC-200 to this jack.  
M. OUTPUT jack: The normal analog signal from your Zeta instrument is transmitted  
through,the Zeta MIDI cable.  
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About the SYNTHONY II  
Congratulations on your purchase of the ZETA SYNTHONY II, the fastest  
and highest performance bowed instrument-to-Midi Converter on the  
market. The result of years of research and refinement, the SYNTHONY II  
represents a new generation of MIDI controller from Zeta Music Systems  
that raises the industry standard to the highest levels ever. The ZETA  
SYNTHONY II is capable of recognizing the exact pitch that you play  
immediately as you play it, providing excellent tracking capability and  
instant response to the unique dynamics of bowed string instruments. The  
ZETA SYNTHONY II immediately and simultaneously recognizes and  
translates pitch, volume, and crescendo- features that are unique to the  
ZETA SYNTHONY II. The ZETA SYNTHONY II is the only true bowed  
instrument-to-MIDI converter available today.  
Other effects such as COMMON (Bypass), SEPARATE (Hold), LAYER  
ensemble/doubling), etc. can be controlled by the fully programmable hold  
pedal.  
The implementation of a sophisticated Arpeggiator gives you variation,  
expression, and accompaniment. Unique to the ZETA SYNTHONY II is  
the use of Zeta’s special pick-up system for violin, viola, cello and bass  
instruments, allowing you complete control of your ZETA SYNTHONY II  
from all bowed string instruments and opening a door to the MIDI world  
for string players giving access to new and modern forms of musical  
expression.  
The internal sound board built into the ZETA SYNTHONY II makes  
your SYNTHONY II a professional synthesizer with 480 sounds, as well as  
11 drum kits. The soundboard adheres to XG-MIDI-MODE, the newest  
standard in General-MIDI, and there are numerous digital effects. All of the  
reverb, chorus and variation effects (11 reverb, 11 chorus, 42 variation) can  
be freely combined and simultaneously implemented. In addition, the  
ZETA SYNTHONY II is a freely editable drum sequencer.  
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QUICKSTART  
It’s certainly understandable that you are not in the mood  
right now to learn all about the theory and structure of your  
ZETA SYNTHONY II. You can do that later in the pages of  
this manual. Now it’s time to dabble a little:  
BASIC SETTINGS  
Before you start, it’s important to tell the ZETA  
SYNTHONY II a few things about the instrument you’ll be  
playing. The more exact you are about these basic settings,  
the more exact your ZETA SYNTHONY II’s neural net will  
be able to interpret your playing style and adjust to how you  
play. The default parameters are set so that you will  
probably only have to change a few of them. Then later,  
when you get to know your ZETA SYNTHONY II a bit  
better, you will be able to fine-tune these settings (Global  
Parameters).  
1. Using the 13 pin jack on the front side of the ZETA  
SYNTHONY II, connect your Zeta instrument to the  
SYNTHONY II using the connector cable provided. The  
cable has two different ends and can only be connected to  
the instrument and SYNTHONY II one way. If you will be  
using an external MIDI instrument, connect it using the  
MIDI-out port on the ZETA SYNTHONY II and the MIDI-  
in port on the synth using normal MIDI cables.  
2. Turn on the ZETA SYNTHONY II. Wait for a moment  
until the SYNTHONY II has completed its initialization  
process and the display is still.  
3. Press the GLOBAL button. In the display you now see  
”BASIC CHANNEL.” If you see a ”1” after the colon, leave  
it. If not, use the +/- Value buttons to set this value to 1.  
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4. Press the + Parameter button, to get to the next Global  
parameter. Check to make sure that the parameter  
”HOLD CHANNEL” is set to ”7.” Press the + Parameter  
button again and set the value for ”SEQ CHANNEL” to  
”16” (+/- Value buttons) if the value is different than 16.  
5. Press the + Parameter button to set the values for  
”PBEND RANGE.” This value sets the maximum  
number of half-steps that are allowed when Pitchbend  
information is analyzed. When using the internal  
soundboard, set this value to 24 (two octaves).  
6. Press the + Parameter button to get to ”SND  
PBENDRG.” If you are using the internal sound card of  
the ZETA SYNTHONY II, set this value to ”OFF.” If  
your MIDI instrument supports setting separate  
pitchbend parameters for each sound preset, set this  
value to ”ON” (+/- Value buttons). If in doubt, read the  
user’s manual of your MIDI instrument.  
7. Press the + Parameter button to get to “LOCAL  
MODE.” If you are using the internal sound card of  
the ZETA SYNTHONY II, set this value to “ON”.  
8. Press the + Parameter button to get to “ TUNE BASE.” Set this  
value to “0.”  
9. Press the + Parameter button to get to “INSTRUMENT.” Now  
press the ENTER button to get to the submenu. At the prompt  
”TYP:” use the +/- Value buttons to set the instrument you will be  
playing into your ZETA SYNTHONY II: “VIOLIN 4, VIOLIN 5,  
VIOLA, CELLO or BASS.  
10. Press the + Parameter button to get to “NOTE OFF LIM.” Set this  
parameter to “15.  
11. Press the Parameter button to get to “TRIG LEVEL.” Set this  
parameter to “4.”  
12. Press the + Parameter button to get to “INPUT SENSE.” Press the + Parameter  
button to access each string sensitivity. Set each string to “20”.  
You have now completed the basic settings and your ZETA SYNTHONY II is ready to be  
played. The changes you made have been automatically saved in static RAM so that they  
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will still be available after you restart your ZETA SYNTHONY II. Press the ”EXIT”  
button twice to get back to normal play mode.  
CHANGING A PRESET SOUND  
Make sure your ZETA SYNTHONY II is in PRESET MODE  
(PRESET LED on the front panel is on). This is the mode  
that your ZETA SYNTHONY II is in when you first turn it  
on or if you have not pressed any of the other mode buttons  
(GLOBAL, UTIL, CHAIN). The top half of the display  
contains the name of the active preset. To the right, the  
preset number. You can change the preset by pressing the +/-  
Value buttons. Presets 1-128 can be freely manipulated and  
edited by the user. 129-256 contain factory presets that can  
be edited, but only stored in Presets 1-128.  
Now that you have sufficiently looked at and tried the factory  
presets, let’s edit one of them to PIANO:  
1. Using the +/- Value buttons, find Preset number 27  
”EPno2+HdPad.” Now press the EDIT button.  
2. Press the ENTER button twice.  
3. Press the – Parameter button and use the +/- Value buttons  
to select the GrPno group. groups. With the + Parameter  
button, you can now move to the area here you can select a  
particular instrument for that group.  
4. Use the +/- Value buttons to choose a piano sound.  
5. Press the + Parameter button. Set the value for  
“VOLUME” to your desired level using the +/- Value  
buttons. If you like, you can also change the next parameter  
“TRANSPOSE.” This parameter changes the pitch value of  
your MIDI instrument in half-step increments. To do this,  
press the + Parameter button again and set it’s value using  
the +/- Value buttons. (”+12” or ”-12” for up an octave or  
down and octave respectively.)  
6. Press the +Parameter button. Set the “Quantize” value to  
“TRIGGER.”  
7. Press the +Parameter button. Set “Vel Sense” to “82.”  
8. Press the +Parameter button. Set “Vel Offset” to “+12.”  
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9. Press the +Parameter button. “DYNAMIC CONTR1”  
10. Press “Enter.” Set to “Volume 7.”  
11. Press the +Parameter button. Set “INTENSITY” to “0.”  
12. Press “Exit” three times.  
13. Press the +Parameter button to “STRING MODE.” Using  
the +/- Value buttons set to “Sep.”  
14. Press the +Parameter button to “WHEELCNTL.” Press  
“ENTER”  
15. Using the +/- Value buttons set to “NO CONTROLLER”  
16. Press the EXIT button. Press the EDIT button. to get back  
to the top of the Preset area. We now want to give our new  
(changed) preset a new name. Press the +PARAMETER  
button. Press the ENTER button. The editor cursor is now  
over the ”E” of the old name ”EPno2+HdPad.” With the +/-  
Value buttons you can change the letter where the cursor is.  
Think of a new name and change the first letter accordingly.  
With the +/- Parameter buttons you can move the editor  
cursor one character to the right or to the left respectively.  
Repeat this process until your new name is complete in the  
display. If your new name is shorter than the old one, you can  
simply change the left over letters to spaces.  
17. Press the EXIT button twice to end your Preset text  
editing session. The upper half of the display is blinking.  
This signals that you have changed some parameters that  
have not yet been saved. Press the STORE button. Now you  
can determine at which slot you want to save your new  
Preset. You can either overwrite the Preset you have been  
editing or save it at another location within the user-definable  
area (1-128). Choose, for example, Preset No. 128 (+/- Value  
buttons). Now when you press the ENTER button, your  
preset will be copied to slot 128 and saved there. This also  
now becomes the active preset.  
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ABOUT THE USER INTERFACE  
The flexibility of your ZETA SYNTHONY II with all of its sophistication  
also requires that many parameters must be set in order to achieve all the  
possibilities. Here is a short description of the structure of the user  
interface, in order to give you an overview of how the ZETA SYNTHONY  
II works.  
In order to keep the user interface as simple and as transparent as possible,  
the structure of functions has been divided into four modes or sections of  
operation that can all be accessed directly from the front panel. Each of  
these Modes (GLOBAL, PRESET, UTILITY, CHAIN) contain a series of  
related parameters that are accessed by pressing the +/- Parameter buttons.  
The + Parameter button takes you to the next parameter in the series, the -  
Parameter button to the  
previous.  
The values of each individual parameter can then be changed by using the  
+/- Value buttons. The + Value button increases the value to the next  
highest and the - Value button to the next lowest. By holding the value  
buttons down, you can cycle through the available values step by step. And  
so that you don’t fall asleep waiting for the appropriate value in a long list,  
you can, after pressing the desired +/- Value buttons and are holding it  
down, also pressing the other one (+ or -) and holding both down. This will  
speed the scrolling of values considerably.  
Some of the parameters have submenus with further parameters. You can  
tell if this is the case by the “…” at the end of the Parameter name. Use the  
ENTER button to get to these submenus. You can then navigate the  
submenus using the +/- Parameter buttons. The EXIT button takes you  
back to the next level up in the submenu hierarchy; to the parameter (…)  
before you pressed the ENTER button. Also use the EXIT button to get  
back to the PRESET mode, the standard mode of your ZETA SYNTHONY  
II.  
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INSTRUMENT INTERFACE FEATURES  
E-SERIES PICKUP SELECTOR SWITCH  
A button labeled “E-Series On/Off” is located on the front panel of the  
Synthony II. This button must pushed in and locked in the “on” position in  
order for violins equipped with Zeta’s E-Series pickups to function  
properly with the ZMC-200.  
The E-Series violin pickups are mono-MIDI capable, and will not access  
the ZMC-200 multi-channel MIDI features.  
Please note that instruments equipped with Zeta’s Jazz or Strados pickup  
systems will not function properly if the E-Series button is set in the “On”  
position.  
ANALOG/DIGITAL BLENDING  
The Jazz and Strados pickup systems on all Zeta instruments allow the  
User to control the relative volume levels of both the MIDI/synthesizer  
volume and the analog pickup volume independently of each other when  
used with an external amplifier, sound mixer or other electronic device.  
This permits the User to output (i) all analog sound with no synthesized  
sound, (ii) all synthesized sound with no analog sound, or (iii) a blend of  
analog and synthesized sounds.  
For analog volume levels, simply adjust the standard volume knob on the  
instrument to reach the desired volume level of the device (ex; amplifier)  
plugged into the ¼” “Instrument Output” jack on the back of the Synthony  
II.  
For synthesized-sound volume levels, adjust the output using the Volume  
control knob on the front panel of the Synthony II to reach the desired level  
of the device (ex; amplifier) plugged into the “Soundboard” ¼” “Mono”  
and/or “Stereo” jacks on the back of the Synthony II.  
The E-Series pickup systems require the use of the volume controls of the  
external electronic device (for example, an amplifier) to obtain a blend of  
analog and digital sounds.  
For synthesized-sound volume levels for instruments with E-Series pickups,  
adjust the volume knob on the instrument and/or the Volume control on the  
front panel of the Synthony II to reach the desired level of the device (ex;  
amplifier) plugged into the “Soundboard” ¼” “Mono” and/or “Stereo”  
jacks on the back of the Synthony II.  
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For analog volume levels, adjust the standard volume control on the  
external electronic device (ex; amplifier) that is plugged into the ¼”  
“Instrument Output” jack on the back of the Synthony II to the desired  
volume level.  
NOTE: Remember, the “E-Series” button on the front panel of the  
Synthony II must be PUSHED–IN (showing white through the clear top of  
the button) in order for instruments with E-Series pickup systems to  
function properly with the Synthony II MIDI Controller.  
TRACKING ENHANCERS  
Included with each Synthony II is a set of black rubber tracking enhancers  
for installation on the Zeta instrument that will be used as the MIDI  
controller. Separate installation instructions are included with the  
enhancers, with directions for application of the proper gaskets to each type  
of Zeta pickup system.  
The use of the provided tracking enhancers is essential for optimum  
performance of the Synthony II MIDI controller. The gasket applied under  
the strings at the nut minimizes unwanted harmonics and overtones of the  
vibrating strings, preventing mis-triggering and enhancing tracking speed.  
The enhancer applied under the pickup serves to eliminate unwanted body  
vibrations and overtones, and minimizes “crosstalk” between the pickups  
of the individual strings.  
The use of tracking enhancers may affect the tone of the instrument in  
analog applications. Installation of the gasket set does not need to be  
permanent, although the gaskets must be installed for proper performance  
of the Synthony II and it is not recommended to remove or re-install them  
un-necessarily.  
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INSTALLATION INSTRUCTIONS  
Important: Using the tracking enhancers on your Zeta Violin will maximize the performance  
of the Synthony II.  
(Please refer to the following diagrams for illustrations of each step)  
Step 1: Remove strings from violin. Be careful not to let the tailpiece fall on to  
the violin’s top. We recommend wrapping the tailpiece with a soft cloth before  
string removal to prevent damaging the violin finish.  
NOTE: The standard tailpiece can be fully removed only if the ground wire is cut.  
*This is not recommended.  
*The Jazz Fusion violins have stationary tailpieces and also do not need to be  
removed.  
Step 2: Install the tracking enhancer at the nut. (See diagram #1) You must  
first trim the tracking enhancer to fit the width of the nut. Once trimmed to the  
proper size, glue it in place (using superglue) with the “fat” end under the “G”  
string. It should fit flush against the nut, on the surface of the fingerboard. Use  
only a small amount of super glue to hold it in place.  
*The tracking enhancer at the nut helps control false triggering on open strings  
when playing in MIDI mode.  
(WARNING! Super glue can damage the finish of the violin. We recommend putting a  
small amount of super glue on the end of a toothpick and applying it to the fingerboard  
where glue is needed. Please take all necessary precautions to prevent the spread of  
glue in sensitive finish areas of the neck and fingerboard.)  
Step 3: Trim Tracking Enhancer to fit under the bridge foot.  
Trim the edges of the tracking enhancer using a pair of sharp scissors or an  
exacto/razor blade knife.  
NOTE: For best fit, measure the bridge foot on your violin and trim the tracking  
enhancer to the exact size of the bridge foot, before installing it on the violin.  
Step 4: Install Tracking Enhancer under bridge (See diagram #2)  
Gently lift the bridge about 1/8” off the top of the violin and slip the tracking enhancer  
under the bridge. The slit on the edge of the tracking enhancer’s centerhole will allow  
you to slip it around the bridge wire where it enters the top of the violin.  
Step 5: Re-String the violin  
Align the bridge foot evenly over the tracking enhancer and put the strings back  
on the bridge. You may want to re-adjust the action at the bridge, bringing it down  
1/16” to compensate for the thickness of the tracking enhancer.  
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THE FOUR MODES OF OPERATION  
GLOBAL MODE  
All of the parameters in Global mode apply to all the presets in your ZETA  
SYNTHONY II including information regarding MIDI channels, the  
instrument you are playing, basic tuning, or the sensitivity of each string  
you play. Some of these parameters should be checked/changed before you  
use your ZETA SYNTHONY II for the first time so that it can operate  
optimally with your instrument.  
GLOBAL SETTINGS FOR PICKUP SYSTEMS  
Zeta’s three MIDI-capable pickup systems each demonstrate  
different performance characteristics when used with the  
Synthony II. In order to optimize the performance of each  
specific pickup system, Zeta has created preset sensitivity  
settings that the User can select for their specific instrument.  
Although certain Global parameters have been preset to approximate  
sensitivity levels, you will still need to tell your Synthony II which  
instrument you are playing.  
VIOLINISTS AND BASSISTS  
If you are a Violinist, the Synthony II defaults to Violin for  
INSTRUMENT (1-3; see Chart, below, for appropriate pickup system). If  
you are a Bassist, the Synthony II defaults to Bass (Crossover or Uprite) for  
INSTRUMENT (4-5; see Chart, below, for appropriate pickup system).  
1. Press the GLOBAL button.  
2. Using the PARAMETER+ button, scroll up until you reach  
INSTRUMENT.  
3. Using the VALUE +/- buttons, select the appropriate INSTRUMENT  
preset, based on the Chart (below).  
(Violists and Cellists - skip #4 and see VIOLISTS AND CELLISTS section  
below).  
4. Press EXIT twice to return to PRESET mode.  
VIOLISTS AND CELLISTS  
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If you are a Violist, you will use the same Global Settings for the Violin. If  
you are a Cellist, you will use the same Global Settings for the Bass.  
However, you will need to program your Synthony II to know that you are  
playing either the Viola or Cello. Please follow these additional steps.  
5. Once you have selected the appropriate INSTRUMENT (1-3; see Chart,  
below, for appropriate pickup system) for Viola, or INSTRUMENT (4-5;  
see Chart, below, for appropriate pickup system) for Cello, press the  
ENTER button.  
6. Using the VALUE +/- buttons, scroll until you reach VIOLA or  
CELLO.  
7. Press the EXIT three times to return to PRESET mode.  
Global Setting  
Instrument  
violin/viola  
violin/viola  
violin/viola  
Uprite/cello  
Uprite/Crossover  
bass/cello  
Pickup System  
Jazz  
Strados  
E-Series  
Jazz  
1
2
3
4
5
Strados  
The User can customize these settings to optimize the performance of the  
Synthony II to the unique characteristics of their individual instrument.  
CAUTION: Improper settings of the Global parameters can cause too  
much sensitivity resulting in mis-triggers and false notes, or too little  
sensitivity that will inhibit the proper performance of the Synthony II  
PRESET MODE  
This is where you find all the parameters that relate to the administration of individual  
presets. This is where all your sounds, sequences, drum beats, and effects will be saved.  
This is also where they will be accessed by Chain Mode. The Preset mode along with the  
Utility mode is most sophisticated of the modes and contains numerous settings. If you are  
not in any of the other modes, Preset mode is always active.  
UTILITY MODE  
Owners of the ZETA SYNTHONY II will find here numerous settings for  
drum sequences and programmable digital effects. Here are also functions  
for loading and saving SYSEX data using MIDI, so that you can, for  
example, back up all your ZETA SYNTHONY II settings to a floppy or  
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hard disk drive on your computer, providing you have the appropriate  
software.  
CHAIN MODE  
You can define chains of presets for use in live performance that are then  
easily accessible. All of these settings must first be saved in Preset Mode  
and simply accessed and organized in Chain Mode.  
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GLOBAL MODE  
The GLOBAL MODE is activated by pressing the GLOBAL button on the  
front panel of your ZETA SYNTHONY II. This is confirmed by the lighted  
LED just to the right of the GLOBAL button.  
GLOBAL PARAMETERS  
All of the parameters in Global mode apply to all the presets in your ZETA  
SYNTHONY II, for example information regarding MIDI channels, the  
instrument you are playing, basic tuning, or the sensitivity of each string  
you play. Some of these parameters should be checked/changed before you  
use your ZETA SYNTHONY II for the first time so that it can operate  
optimally with your instrument.  
BASIC CHANNEL  
Basic MIDI Channel (1…11)  
The MIDI information that your ZETA SYNTHONY II generates based on  
the vibrations of your strings that are sent to it have to be assigned to a  
channel in order for that information to get to the sound module or the  
external MIDI instrument that will then play the information. The ideal  
scenario (see STRING MODE SEPARATE) is for each individual string to  
be assigned its own MIDI channel. The advantage is that controller  
information that is generated parallel to pitch information only effects the  
sound generated by that particular string. For example pitch bend  
information generated by vibrato on one string should only affect that one  
string and not all the others that are presently sounding. With the parameter  
BASIC CHANNEL, you need only set the FIRST of the channels for your  
strings. The other channels will automatically be assigned respectively. For  
example, if this value is set to ”1”, then channels 1-4 will be reserved for  
the four strings. Typically this parameter is set to ”1”, reserving channels 1-  
4 for string input.  
HOLD CHANNEL  
Hold MIDI Channel (1…11)  
In the same way that the first of four channels was set for the BASIC  
CHANNEL parameter, so the first of an additional four MIDI channels is  
set here for Hold effects such as SEPARATE, LAYER, ARPEGGIO. It is  
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important here that basic channels and hold channels do not coincide. In  
other words, make sure that the basic channel and the hold channel values  
are at least five digits apart. Typically this parameter is set to ”7”, reserving  
channels 7-12 for the hold functions.  
SEQ CHANNEL  
MIDI channel for internal soundboard drum sequences (1…16)  
The output from the drum sequencer that is built into the internal  
soundboard will have its own separate MIDI channel. It is important here  
that the SEQ CHANNEL not coincide with any of the BASIC CHANNEL  
or HOLD CHANNEL reserved MIDI channels. Make sure you choose a  
free channel and reserve it for drum sequences using this parameter.  
Typically this value is set for ”16.” This parameter is only available to  
those who have the internal sound board installed.  
PBEND RANGE  
Pitchbend limit values (OFF, 1….24). Techniques often used by string  
players are vibrato, glissando, slurs & slides. In order to effectively  
interpret these techniques that are fairly unique to string players, your  
ZETA SYNTHONY II uses the MIDI controller Pitchbend. In much the  
same way that a keyboard player hits a key and then uses his pitchwheel to  
modify the pitch, your ZETA SYNTHONY II can generate pitchbend  
information for bowed notes. In order for the built-in sound module or the  
external MIDI instrument to correctly play this pitchbend information the  
limit values for pitchbending need to be set. The value you choose relates  
to the number of halfsteps that the pitch will be allowed to be bent. Make  
sure that your MIDI instrument can interpret the values you program for  
this parameter. If possible, set this value to 24 (two octaves). The value  
OFF sends no pitchbend information, so that when you bend strings or  
slide, the resulting pitch wil change in halfstep increments.  
SND PBENDRG  
Send Pitchbend Range (ON/OFF)  
If your MIDI instrument allows pitchbend parameter settings for every  
Preset (sound), set this parameter to ON. In this case your ZETA  
SYNTHONY II  
sends the pitchbend range event directly after every program change event.  
If your MIDI instrument saves pitchbend information in its global area, set  
this value to OFF.  
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LOCAL MODE  
Local operation mode (ON/OFF)  
ON: This is the internal operating mode of your ZETA SYNTHONY II.  
The internal sound module will be directly triggered. Received program  
change events (via MIDI IN) will affect the program selected in your  
ZETA SYNTHONY II. These events are then sent on to the MIDI OUT  
port. In this way, other connected MIDI instruments can be controlled. This  
value should be set if you are not using an external sequencer to drive your  
ZETA SYNTHONY II or other synths. This would probably be the case  
most often in live situations.  
OFF: If you want to control your ZETA SYNTHONY II from a hardware  
or software sequencer in cooperation with other connected MIDI  
instruments, you can deactivate local control. Your internal sound module  
will now act like a normal expander. You can no longer change the Presets  
of your internal sound module thtrough the MIDI IN port. Of course you  
can still select presets using the front panel buttons. All the MIDI data that  
your ZETA SYNTHONY II generates will now be exclusively sent to the  
MIDI OUT port. Make sure you have the sequencer connected to the MIDI  
OUT port of the ZETA SYNTHONY II and that the MIDI OUT port on the  
sequencer is connected to MIDI IN on your ZETA SYNTHONY II. Switch  
the echo function in your sequencer on, so that the incoming signal from  
your ZETA SYNTHONY II will be echoed to the OUT port and back to  
the ZETA SYNTHONY II and to it’s internal sound module.  
After turning off your ZETA SYNTHONY II, the LOCAL MODE  
parameter is automatically reset to ON. If you set this parameter to OFF, it  
will only remain off as long as your ZETA SYNTHONY II is powered up.  
TUNE BASE  
Basic Tuning (-99…+99)  
All the MIDI notes generated by your ZETA SYNTHONY II are compared  
to the reference tuning of 40 Hz plus or minus the value you set with this  
parameter. If you are playing with other musicians using instruments that  
are difficult to tune (piano for example), it is much easier to tune your  
ZETA SYNTHONY II to their instrument. When you play alone (solo),  
you should set the tune base value to ”0”.  
INSTRUMENT NO.  
Instrument number and instrument-specific settings (1…4)  
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In order for your ZETA SYNTHONY II to optimally translate the  
information coming from your instrument into MIDI information, there are  
a few basic parameters that need to be set in terms of sensitivity, etc. These  
settings are dependent upon the structure of your instrument, and are very  
specific. They can be totally different for different instruments. If, in the  
middle of a live performance, you decide you want to play another  
instrument with your ZETA SYNTHONY II, you can quickly call up  
settings for that particular instrument. It is simply a matter of selecting the  
appropriate instrument number. You can program basic settings for five  
totally distinct instruments into your ZETA SYNTHONY II. When you  
press the ENTER button, you toggle through the various settings. Use the  
+/- Parameter buttons to select the individual functions. The values can  
then be changed using the +/- Value buttons. Within these basic settings,  
the first line in your display shows a VU meter. The position of the small  
dashes correspond to the strings of your instrument. When you play a  
string, you will see that the associated dash fills in more and more until  
playing loudly fills out the entire character space.  
TYP  
Type of instrument (VIOLIN 4, VIOLIN 5, VIOLA, CELLO, BASS).  
You decide here what type of instrument you will be using. This is  
particularly important for the assigning of string and hold channels.  
NOTE OFF LIM  
Note off Limiter (10…30)  
Unlike a keyboard, where a key is pressed and the note ends when you  
release the key, a instrument string sounds until its vibrations decay totally  
or until it is dampened. The decay time is most definitely dependent upon  
the quality and structure of the instrument and the strings. Some  
instruments sound more percussive; others have a longer sustain.  
Synthesizers recreate these characteristics using a so-called ”envelope  
curve,” to graphically reproduce an instrument’s characteristic of decaying  
amplitude (volume) as it diminishes to zero. By setting a limit point within  
the envelope, we can determine at what point in time a note’s ”release”  
comes; the point at which it ceases to sound. The higher this value, the  
earlier a MIDI NOTE OFF event will be sent to the MIDI instruments.  
Smaller values will allow the note to be held longer. In this way you can  
adjust this value to match your instrument optimally.  
TRIG. LEVEL  
Trigger Level (0…9)  
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Using this parameter you can set the volume level at which your ZETA  
SYNTHONY II reacts to a signal from your instrument (at which volume  
level a MIDI NOTE ON event is sent). The smaller the value, the more  
sensitively your ZETA SYNTHONY II reacts even to very softly played  
notes. Higher values mean that you have to play loudly in order for the  
ZETA SYNTHONY II to send a NOTE ON event. You should experiment  
with this parameter in order to find a setting that feels good to you and your  
playing style.  
SENSE  
Instrument input sensitivity: C5…E1 or E5…G2 (1…50)  
Using the +/- Parameter buttons you can toggle through all the strings of  
your instrument and set each one’s input sensitivity separately. Higher  
values mean a higher level of sensitivity. Your ZETA SYNTHONY II, like  
many electronic devices that translate analog audio into a digital signal, is  
very sensitive and can easily be overdriven. But the other extreme is  
equally as true: you shouldn’t drive your ZETA SYNTHONY II with too  
low of an input signal level either. You will probably have to increase the  
sensitivity of the thin strings to obtain a balance between the strings and to  
reproduce a natural sound. When setting up a bass instrument, for reasons  
of compatibility, your ZETA SYNTHONY II takes for granted that you are  
playing a six-string bass. If you are playing an instrument with less than six  
strings, simply bypass the strings that don’t apply.  
Tutorial: Sensitivity Adjustments  
The Synthony II is set up for real-time performance. If you would like to  
set it up for interfacing with a computer and various software applications,  
the sensitivity settings for each string must be adjusted accordingly. This is  
relatively easily done. Without making these adjustments, the computer  
will “hear” many more notes than you want it to. In other words, it will  
receive too much information.  
You will also use this process when your Synthony II is triggering notes  
that you don’t want. When that happens, it means that your Sensitivity  
settings are too high. Pay attention to the specific string that the problems  
seem to be focusing around. Frequently, a player will use a different  
sensitivity for each string.  
To make these adjustments, follow the following steps.  
Turn on Synthony II  
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Select Global Mode  
Press Parameter + seven times until you see Instrument 1  
Press Value + one time so that it reads Instrument 2 (This way, the  
Synthony II remembers you real-time settings. When you want to go back  
to real-time performance, simply follow these steps to this point and select  
Instrument 1. All of your original settings are there.)  
Press Enter  
Select the type of instrument you are playing by scrolling through the  
Value + or – buttons  
Press the Parameter + button four times (It should read SenceC5 followed  
by a number)  
Using the Value + or – buttons, adjust the sensitivity for each string of your  
instrument to a very low number. This will vary based on your playing  
style and software. (Try anything from 1 – 10.) The Parameter buttons  
select the string that you are adjusting, the Value buttons adjust the  
sensitivity for that string.  
When you have the strings set at appropriately low sensitivities, simply  
press Exit two times.  
These settings will be saved automatically.  
Now when you are using the Synthony II for data entry into a computer,  
remember to select Instrument 2 in your global settings. When you are  
using it for real-time performance, select Instrument 1.  
PAN ENABLE  
Panorama Controller (ON/OFF)  
With your ZETA SYNTHONY II, it is possible to set distinct stereo  
panorama placement for each individual PRESET. Panorama is MIDI  
Controller #10 which is sent to your MIDI instruments. If you don’t want  
to send Controller #10 events, perhaps because you would rather use the  
panorama settings within a connected keyboard, for example, or because a  
given MIDI instrument is older and doesn’t support Controller 10  
information, set this value to OFF. If this parameter is set to ON, the values  
will be sent that were set in the Play Area parameters (see PRESET  
MODE). As will all other controller information, you ZETA SYNTHONY  
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II will only send Controller 10 if the panorama settings have changed from  
what was previously sent, so as not send redundant information.  
REV ENABLE  
Reverb Controller (ON/OFF)  
For the same reasons (see PAN ENABLE), you may not want MIDI  
Controller #91 information (Reverb) for a preset split sent to your MIDI  
instruments. Set this value to OFF. NO EFFECT, is also listed as a choice.  
If this is selected, the programmed reverb function of the preset will be  
ignored by the soundboard.  
CHOR ENABLE  
Chorus Controller (ON/OFF)  
Here you determine whether MIDI Controller #93 (Chorus) will be sent to  
your MIDI instruments or not. (see PAN ENABLE) A third parameter, NO  
EFFECT, is also listed as a choice. If this is selected, the programmed  
chorus function of the preset will be ignored by the soundboard.  
VAR ENABLE  
Variation Controller (ON/OFF)  
Here you determine whether MIDI Controller #94 (Variation) will be sent  
to your MIDI instruments or not. (see PAN ENABLE) if your ZETA  
SYNTHONY II is equipped with the internal soundboard, a third  
parameter, NO EFFECT, is also listed as a choice. If this is selected, the  
programmed variation function of the preset will be ignored by the  
soundboard.  
CC DEFAULTS…  
Controller defaults…  
In using the various possibilities of control you have using modulation  
wheels , it is necessary for the controller value to be reset to its default  
value (usually zero) after a preset change for example. But there are  
exceptions. The soundboard expects a standard value of 64 for Controllers  
71-74 because these controllers are used as offsets. Because there are  
numerous non-standard Controllers available in the MIDI Protocol, that  
manufacturers can use at will, your ZETA SYNTHONY II is equipped  
with the ability to determine and set the default value for all these  
controllers. Press the ENTER button to get to the submenu. In the first line  
of the display shows the name and number of the presently selected  
controller and in the second line, its default value in hexadecimal format.  
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The cursor is in the first line and by using the +/- Value buttons, you can  
select the controller you want to work with. The + Parameter button moves  
the cursor to the second line, and then the default value can be changed  
using the +/- Value buttons. The value you enter here will be saved in a  
battery-backed-up memory area of your ZETA SYNTHONY II. The table  
contains the factory default values. All standardized MIDI controllers have  
a default value of zero. Refer to the user manual of MIDI instrument or  
module you are using for the default values of any controller used by the  
manufacturer and set it here. Use the EXIT button to leave the Submenu.  
MIDI MAPPING:  
Program change commands that are received on the selected active  
BASIC CHANNEL can be assigned to any ZETA SYNTHONY II presets  
using this mapping table. Press the ENTER button. The first line of the  
display shows the program number that your ZETA SYNTHONY II  
receives; the second line of the display shows the Preset to which the  
change will be made. The default setting is the program change will be sent  
to the ZETA SYNTHONY II preset with the same program number. If you  
want to change this setting, use the +/- VALUE buttons to change to the  
appropriate value. Your entry will be immediately saved in the ZETA  
SYNTHONY II’s internal battery-backed-up memory, and does not have to  
be saved. Use the EXIT button to leave the submenu.  
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PRESET MODE  
Preset Mode is always active unless you activate another mode. When you  
leave one of the other modes, you will always be sent back to Preset Mode.  
Preset Mode is signaled by a lit LED just to the right of the PRESET button  
on the front panel.  
PRESET PARAMETERS  
These parameters contain all the settings that relate to individual presets. A  
preset is a playing environment that you determine, saved and easily  
retrievable, with the flexibility and complexity to give you total control  
over playing and sound characteristics. You can program, save and recall  
up to 128 complex presets. How complex a preset is, is something you  
determine. Each of these presets can have its own set of effects, selected  
from a copious list, as well as its own set of playing parameters.  
RECALLING PRESETS  
Use the +/- Value buttons to cycle through your presets. Use an optional  
MIDI foot controller.  
INSTRUMENT TUNER  
In the default setting (see UTILITY MODE, DISPLAY) the bottom half of  
the display shows a tuner that monitors your instrument as you play to  
insure correct tuning. It is important that your instrument is tuned within a  
certain tolerance so that your ZETA SYNTHONY II will send the proper  
MIDI pitch information to your MIDI instruments. Tune every string so  
that the meter pointer is directly over the arrow in the middle of the scale.  
As long as the Tune Base Parameter is set to “0”, the arrow in the middle of  
the scale represents a standard tuning of 440 Hz. There may be reasons for  
changing this basic tuning standard, for example if you want to play with  
an acoustic piano that is somewhat under the pitch (see Global Parameters,  
TUNE BASE). In this case  
you can tell the ZETA SYNTHONY II to orient itself to the tuning of your  
instrument, giving you a new standard. In this case the arrow in the middle  
of the tuning scale represents the new tuning standard.  
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PRESET PROGRAMMING  
When your ZETA SYNTHONY II is in preset mode, you can press the  
EDIT button to program/edit a preset. Press the EXIT button until you  
return to normal play mode.  
VOLUME  
Volume level (0…127)  
Every preset allows for an independent volume level that you set here.  
Using the +/- Value buttons set the level for your sound to a value of your  
choosing.  
TRANSPOSE  
Transposition (-36…+36)  
You can set a pitch offset in half step increments to affect the tuning for  
this split. This is a way for you to play notes with your instrument that you  
couldn’t normally reach with the instrument alone. For our example set this  
value to –12 (–1 octave), so that the Bass will play within its typical range.  
QUANTIZE  
Pitch Quantization (AUTO, OFF, ON, TRIGGER)  
With this parameter you tell your ZETA SYNTHONY II to execute pitch  
changes using your normal pitchbend settings or step-wise (quantized):  
AUTO:  
This setting corresponds to your ZETA SYNTHONY II’s unique ability to  
recognize your intentions as you play with respect to pitch quantization and  
then translate them appropriately. Chords for example, are interpreted  
exactly (no pitchbend information), whereas for melodic notes of a solo  
which contain string bends and slides, pitch quantization is turned off,  
allowing for normal pitchbend information to be sent.  
OFF:  
All pitch changes (slides, etc.) will be translated into pitchbend information  
allowing for true representation of what you play. (see Global Parameters:  
Pitchbend range).  
ON:  
Any variation in pitch will NOT be translated in pitchbend information  
until the given pitch reaches the next half step and will at that point jump to  
the new pitch chromatically, but using pitchbend information and NOT  
sending new note information. Slides, etc. will not be carried out as they  
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are intended. The pitches you play are then locked (quantized) to the  
nearest half step. This setting is advantageous for playing chords.  
TRIGGER:  
This setting turns pitchbend off altogether, affecting simple chromatic half  
steps when playing bends or slides. It is the same as setting the global  
setting PBEND RANGE to OFF (see Global Parameters), but only affects  
this one particular split zone. It is recommendable to use this setting when  
using a piano sound, for example, which characteristically cannot be bent.  
PAN POS  
Panorama Position (L15…L1, MID, R1…R15)  
This is where you place the selected sound of your MIDI instrument in the  
overall panorama left to right in stereo. The values L15 to L1 represent the  
left side, L15 being all the way to the left and R15 to R1 being the same in  
reverse. R1 and L1 are close to the center. MID is exactly centered in the  
stereo panorama.  
PAN SPREAD  
Panorama spread (–15…+15)  
So that not all sounds aren’t all in the same panorama position (see above),  
you can use this parameter to separate each of the sounds within the general  
panorama set above in PAN POS. Set the PAN POS to MID, for example,  
and then while you play your instrument, adjust the PAN SPREAD value,  
keeping in mind that your MIDI instrument must be capable of interpreting  
Panorama  
information. If you need to, read your user’s manual for the MIDI  
instrument in question.  
REVERB  
Reverb mix (0…127)  
If your MIDI instrument is equipped with built-in reverb, you can control it  
with this parameter. The higher the value, the more reverb will be added to  
the mix in the output signal of your MIDI instrument.  
CHORUS  
Chorus Effect (0…127)  
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If your MIDI instrument is equipped with built-in Chorus, you can control  
it with this parameter. The higher the value, the more chorus will be added  
to the mix in the output signal of your MIDI instrument. The sound board  
has this feature built in.  
VARIATION  
Variation Effect (0…127)  
If your MIDI instrument is equipped with built-in variation effects (such as  
Auto-wah), you can control it with this parameter. The sound board  
contains numerous variation effects that can be randomly combined with  
Reverb and Chorus.  
VEL SENSE  
Velocity Sensitivity (0…127)  
You can limit the dynamic range of your MIDI instrument by adjusting the  
value of this parameter. The smaller the value, the less dynamic range there  
will be between note events. In the extreme case, a value of zero plays all  
notes on your MIDI instrument at the same dynamic level, regardless of  
how loud or softly you play your instrument. With a value of 127, you  
achieve the highest sensitivity and dynamic range for the notes you play.  
VEL OFFSET  
Velocity Offset (–64…+64)  
If the average dynamic level of your MIDI instrument is too soft or too  
loud after limiting the dynamic using VEL SENSE (see above), you can set  
the middle/average volume here (see the graphic on the following page).  
DYNAMIC CONTROLLER  
Volume 7  
The ZETA SYNTHONY II uses Volume 7 as its default controller. This  
allows for the proper MIDI conversion of continuous volume increase  
(crescendo) information.  
Intensity (0…63)  
Adjusts the crescendo volume level. A value of 0 produces no increase of level. A value  
of 63 produces the greatest level change  
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PRESET NAME  
In order to identify your preset easily, you should name it carefully with a  
description of its function. The name can be up to 12 characters in length.  
Press the ENTER button to begin editing the preset name. The cursor  
jumps to the first letter which can now be changed using the +/- Value  
buttons. You can use both small case or capital letters as well as special  
characters. To move the cursor to the right or back to the left by one  
character, use the +/- Parameter buttons. While in this edit mode some of  
the buttons on the front panel have special functions:  
The GLOBAL button changes to capital letters, jumping directly to capital  
‘A’.  
The UTIL button changes to small case letters, jumping directly to small  
case ‘a’.  
The CHAIN button changes to special characters, jumping directly to ‘!’.  
The PRESET button changes the presently selected character to a space.  
The STORE button provides for an insert function, allowing you to insert a  
character at the cursor position, and displacing all the characters after it one  
position to the right. The last character (at position 12) will be overwritten.  
The EDIT button provides a delete function, deleting the character at the  
cursor and moving all characters to its right one position to the left. A space  
is then inserted at the end of the string.  
The EXIT button allows you to leave the Text Editor.  
STRING MODE  
String Mode (COM, SEP)  
String mode allows you to decide how the various strings of your  
instrument/Bass are assigned to MIDI channels:  
COM  
In COMMON mode all the strings of your instrument are assigned to the  
basic MIDI channel. To avoid conflict of strings that continue sounding  
when you play new ones, no pitchbend information is sent in this mode,  
when more than one note are played simultaneously. Solo playing is still  
possible, although somewhat limited. If your MIDI instrument can only  
receive on one channel, you should set STRING MODE to COM. In the  
same way, some sequencer software programs only allow recording on one  
channel at a time. In this case you should set STRING MODE to COM.  
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SEP  
In SEPARATE mode, every string on your instrument is assigned a  
separate channel all its own (see Global Parameters). This is the setting that  
allows you the most flexibility. Pitchbend information such as slides, etc.  
only effect the string on which they are actually played. All this  
information is string specific and will maintain the desired effect. Most  
modern MIDI instruments are equipped “multi-mode” allowing reception  
of MIDI information on more than one channel. You should use the SEP  
setting whenever it’s at all possible.  
HOLDMD  
Hold Mode (COMMON, SEP…, LAYER…, ARPEG…, CNTRL…,  
TACK). While playing, you have access to several different “hold”  
functions using the hold pedals. Your ZETA SYNTHONY II supports 5  
different hold functions:  
COMMON  
When you press the hold pedal, no MIDI data can be received until you  
release the pedal. This is a sort of bypass function allowing you to play a  
chord, press and hold the pedal so that the played chord will be sustained  
on your MIDI instrument until you release it, no matter what you may play  
on your instrument while the pedal is being held.  
SEP  
Using this setting, you can make use of the various HOLD CHANNELS  
(see Global Parameters) that you defined. You can, for example, play and  
hold a pad sound, and then play a solo over it, allowing you to in effect  
accompany yourself. Using the sub menu (ENTER), set an appropriate pad  
sound for the accompaniment. Press the hold pedal and play the chord you  
want your pad sound to play and then immediately release the pedal. The  
chord you played will continue to sound until you press the pedal again,  
which causes the chord to stop, at which time you can play a new one,  
which will then continue to sound when you release the pedal again. To get  
back to normal play mode, simply press and release the hold pedal without  
playing anything. In the sub menu, you can set the following parameters:  
HOLD PRESET  
(1…128)  
Using the +/- Value buttons, choose the sound you want to hear after  
pressing the hold pedal.  
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VOLUME:  
(OFF, 0...127)  
In order to have a balanced relationship between the volume of the Main  
and Hold presets, you have the option to adjust the volume of Hold presets.  
The settings within the Hold preset itself will not be affected.  
SEQ PATTERN  
(OFF, 1…32)  
If you own the ZETA SYNTHONY II, you have the option alongside the  
normal Hold Preset, to set a drum pattern sequence )see UTILITY MODE,  
EDIT SEQUENCE). As soon as you press the hold pedal, the selected  
drum pattern will play on a separate MIDI channel. The pattern will be  
repeated until you press the hold pedal two times quickly. Choose one  
drum pattern of 1-32, that you want to play when you press the hold pedal,  
or set this parameter to OFF.  
SEQ TRACK  
(OFF, 1…8)  
You can set a complex track sequence to play instead of a pattern (see  
UTILITY MODE, EDIT SEQUENCE) parallel to the hold preset. As soon  
as you press the hold pedal, the selected track pattern will play on a  
separate MIDI channel. The pattern will be repeated until you press the  
hold pedal two times quickly. Or you can set the number of times that you  
want the sequence to be played. Choose one track pattern of 1-8, that you  
want to play when you press the hold pedal, or set this parameter to OFF.  
Please note that you can only use one of the two sequence possibilities at a  
time: either SEQ TRACK or SEQ PATTERN. Make sure the other one is  
set to OFF.  
SEQ TEMPO  
(EXT., 41…240)  
The tempo of your sequence can be set externally using Midi clock  
(EXT/MIDI IN) or internally using BPM (beats per minute) between 41  
(very slow) and 240 (very fast). In the case of external synchronization,  
(e.g.. MIDI-Drums, sequencer software) the sequence will only start when  
the “start” command is received from the MIDI IN port.  
LAYER…  
This function allows you to play 2 sounds over each other (layer). In this  
way you can play particularly full, rich sounds by layering them one on top  
of the other. Using the sub menu (ENTER) select a sound for layering.  
Now when you press the hold pedal, this sound will be added to your  
present sound as long as the hold pedal is depressed. After pressing the  
ENTER button, you can set the following parameters in the sub menu:  
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LAYER PRESET  
(1…128)  
Using the +/- Value buttons select the sound you want to layer with your  
normal play sound as long as you have the hold pedal depressed.  
SEQ PATTERN  
(OFF, 1…32)  
If you own the ZETA SYNTHONY II, you have the option alongside the  
normal Hold Preset, to set a drum pattern sequence )see UTILITY MODE,  
EDIT SEQUENCE). As soon as you press the hold pedal, the selected  
drum pattern will play on a separate MIDI channel. The pattern will be  
repeated until you press the hold pedal two times quickly. Choose one  
drum pattern of 1-32, that you want to play when you press the hold pedal,  
or set this parameter to OFF.  
SEQ TRACK  
(OFF, 1…8)  
If you own the internal sound board, you can set a complex track sequence  
to play instead of a pattern (see UTILITY MODE, EDIT SEQUENCE)  
parallel to the hold preset. As soon as you press the hold pedal, the selected  
track pattern will play on a separate MIDI channel. The pattern will be  
repeated until you press the hold pedal two times quickly. Or you can set  
the number of times that you want the sequence to be played. Choose one  
track pattern of 1-8, that you want to play when you press the hold pedal, or  
set this parameter to OFF. Please note that you can only use one of the two  
sequence possibilities at a time: either SEQ TRACK or SEQ PATTERN.  
Make sure the other one is set to OFF.  
SEQ TEMPO  
(EXT., 41…240)  
The tempo of your sequence can be set externally using Midi clock  
(EXT/MIDI IN) or internally using BPM (beats per minute) between 41  
(very slow) and 240 (very fast). In the case of external synchronization,  
(e.g.. MIDI-Drums, sequencer software ) the sequence will only start when  
the “start” command is received from the MIDI IN port.  
ARPEG  
In addition to the above mentioned sequencing possibilities you can use the  
powerful arpeggiator in your ZETA SYNTHONY II to accompany  
yourself.  
Along side the function SEP, which allows you to hold a single chord as  
accompaniment, the ARPEG function allows you more complex  
accompaniment structures. When you press the hold pedal, and play a  
series of notes, these notes are received and then played back in the same  
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order as you played them. The recording of your arpeggio is ended when  
you release the hold pedal. The sequence of recording notes is now played  
back immediately and endlessly (on the preselected Hold channel),  
allowing you to play your solo or other part above them. By pressing the  
hold pedal again, the arpeggio is stopped, but simultaneously able to record  
a new sequence of notes, making it possible to play and change your  
accompaniment sequence without stopping. To stop the arpeggio, simply  
press the hold pedal once and release without playing any notes.  
The parameter settings for the arpeggiator determine how the notes you  
play into it will be played back. You can control the order in which the  
notes are played back, or stretch out the intervals between them into several  
octaves. But the most interesting characteristic of the arpeggiator is its  
ability to quantize the notes played into it into freely programmable  
rhythmic patterns. Press the ENTER button to get to the Sub menu of t he  
arpeggiator:  
ARPEG PRESET  
(1…128)  
Select the sound you want to use when playing back by using the +/-Value  
buttons.  
TEMPO  
(EXT., 41…240)  
The tempo of your arpeggiator can be set externally using Midi clock  
(EXT/MIDI IN) or internally using BPM (beats per minute) between 41  
(very slow) and 240 (very fast). In the case of external synchronization,  
(e.g.. MIDI-Drums, sequencer software) the sequence will only start when  
the “start” command is received from the MIDI IN port.  
LENGTH  
(1…32)  
This parameter allows you to set the maximum number of notes for the  
arpeggiator sequence. The buffer memory of the arpeggiator is expanded to  
include one more note every time you play a new one with the hold pedal  
depressed, until this maximum number is reached. If you play more notes  
than this maximum number, the oldest note in the series will be replaced  
for every note played beyond the limit you set here. An arpeggiator  
sequence can be as long as 32 notes long.  
SCAN  
(ASSIGN, REVERS, RECYCLE, UP, DOWN, UP/DOWN, RANDOM)  
There are a number of options that determine how an arpeggiator sequence  
will be played back:  
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ASSIGN allows for playback of notes in the same order in which  
they were recorded. REVERS acts like a stack of notes where the  
last one recorded is the first one replayed. The arpeggiator plays  
the notes in reverse order than they were entered. RECYCLE plays  
the arpeggiator sequence in normal order as with ASSIGN, but  
when the end of the sequence is reached, it is played back in  
reverse order as with REVERS until the first note in the sequence  
is reached, at which point the process begins from the beginning  
again. In UP mode, the notes will be sorted from lowest to highest  
in pitch and played in that order. In DOWN mode, the notes are  
sorted from highest to lowest in pitch and played in that order. In  
UP/DOWN mode, the pitches are played from lowest to highest  
and then back down to lowest, somewhat simulating finger  
picking. RAND plays back the notes of the arpeggiator sequence in  
total random order.  
PATTERN  
(1/16thSt…USER#1…16)  
This parameter allows you to set the quantize function of the arpeggiator  
sequence. The following quantize functions are available:  
1/16thSt:  
Classic Arpeggio. Plays back the arpeggiator sequence in staccato 16th  
notes.  
1/16thLg:  
16th notes same as above except legato.  
1/8thSt:  
Plays back the arpeggiator sequence in staccato 8th notes.  
1/8thLg:  
8th notes same as above except legato.  
1/4thSt:  
Plays back the arpeggiator sequence in staccato quarter notes.  
1/4thLg:  
Quarter notes same as above except legato.  
1/2th:  
Plays back the arpeggiator sequence in quarter note values with quarter  
rests.  
1/8Trpl:  
Plays back the arpeggiator sequence in 8th note triplets.  
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The following patterns represent rhythmical styles (grooves) and have  
been preprogrammed for you:  
BLUES 1:  
Blues rhythm. Especially effective for Bass instrument riffs.  
BLUES 2:  
A variation on BLUES 1.  
BOOGI 1:  
Boogie rhythm. Especially effective for Bass instrument riffs.  
BOOGI 2:  
A variation of BOOGI 1.  
DISCO 1:  
Disco groove. Especially effective for Bass instrument riffs.  
DISCO 2:  
A variation of DISCO 1.  
ROCK:  
Rock groove for Bass instrument riffs.  
HOUSE:  
House rhythm. Effective for Organ riffs.  
Using the patterns USER#1…USER#16, you can program up to sixteen of  
your own quantize patterns for use with arpeggiator playback. Select one of  
the user patterns and press the ENTER button. In the display you will see  
the Pattern Editor, with which you can set the note values for the  
arpeggiator playback. Move the cursor to the desired position using the +/-  
Parameter buttons, and select the appropriate note value using the +/- Value  
buttons. The “<” represents the end of the sequence (the LOOP). The  
pattern will be continuously repeated from beginning to end using the notes  
that are recorded into the sequence as described above. A maximum of 8  
different note values can be implemented for every pattern. The “<” LOOP  
symbol is not affected by the note values entered.  
32thtriplet  
32th note  
4th note  
32threst  
16threst  
8th rest  
4th rest  
16thtriplet  
16th note  
Dotted 16th  
8th triplet  
8th note  
Dotted 8th  
4th triplet  
Dotted 4th  
32th trplt rest  
16th trplt rest  
8th trplt rest  
4th trplt rest  
2th rest  
Dotted 16th rest  
Dotted8threst  
Dotted4threst  
While in this edit mode some of the buttons on the front panel have special  
functions:  
The STORE button provides for an insert function, allowing you to insert a  
character at the cursor position, and displacing all the characters after it one  
position to the right. The last character (at position 12) will be overwritten.  
Repeat  
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The EDIT button provides a delete function, deleting the character at the  
cursor and moving all characters to its right one position to the left. A “<”  
LOOP symbol is then inserted at the end of the string.  
The EXIT button allows you to leave the Text Editor.  
SYNC  
(ON, OFF)  
If you enter fewer notes than the value set in LENGTH, the quantize  
pattern is continued with the next note value, but using the beginning pitch  
in the sequence again.  
OCTAVES  
(1…4)  
Here you determine if the arpeggio should be repeated in another octave  
than the one in which it was recorded. If you enter a 2 for this value, for  
example, the first playback of the sequence will be in the original octave,  
the first repetitions in the octave directly above the original. The maximum  
value is 4. The value 1 plays back the arpeggio in the original octave in  
which the notes were recorded.  
REPEATS  
(1…16)  
The individual notes in an arpeggio can be repeated up to 16 times. If you  
set this value to 1, each note in the sequence is played only once.  
VELOCITY  
(OFF, 0…127)  
If this value is OFF, the velocity (loudness) of the recorded notes are  
played back in the velocity at which they were recorded. Otherwise you can  
set the loudness of the playback notes to a constant level, 127 being the  
loudest.  
SEQ PATTERN  
(OFF, 1…32)  
If you own the ZETA SYNTHONY II, you have the option alongside the  
normal Hold Preset, to set a drum pattern sequence )see UTILITY MODE,  
EDIT SEQUENCE). As soon as you press the hold pedal, the selected  
drum pattern will play on a separate MIDI channel. The pattern will be  
repeated until you press the hold pedal two times quickly. Choose one  
drum pattern of 1-32, that you want to play when you press the hold pedal,  
or set this parameter to OFF.  
SEQ TRACK  
(OFF, 1…8)  
If you own the internal sound board, you can set a complex track sequence  
to play instead of a pattern (see UTILITY MODE, EDIT SEQUENCE)  
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parallel to the hold preset. As soon as you press the hold pedal, the selected  
track pattern will play on a separate MIDI channel. The pattern will be  
repeated until you press the hold pedal two times quickly. Or you can set  
the number of times that you want the sequence to be played. Choose one  
track pattern of 1-8, that you want to play when you press the hold pedal, or  
set this parameter to OFF. Please note that you can only use one of the two  
sequence possibilities at a time: either SEQ TRACK or SEQ PATTERN.  
Make sure the other one is set to OFF.  
EDITING HOLD PRESETS  
While you are editing HOLDMD: SEP…, HOLDMD: LAYER… and  
HOLDMD: ARPEG…, it is possible to move directly to the parameter  
settings for the Hold Presets when the Hold preset is in the display by  
pressing the EDIT button. The first line of the display now shows the text:  
ED: <Presetname>. Except for the Effect types, all parameters can be  
edited normally. When you press the EXIT button, you are taken back to  
where you were last. The display of the Hold preset name blinks until you  
save your changes using the STORE button.  
CNTRL  
With this function, you have the ability to link your Hold pedal to any  
MIDI controller you desire. When you press the hold pedal, the controller  
value is set to its maximum value 127 (7Fh). As soon as you release the  
pedal, the controller value 0 is sent. Controllers that work well with this  
function are Sustain (64), Portamento (65). To get to the sub menu, press  
the ENTER button to set the following parameters:  
HOLD CONTROLLER  
(CNTRL 0…119)  
Choose the appropriate MIDI controller that will be set to its maximum  
value (127) when you press the hold pedal. The function of the controller  
will appear in text in your display.  
SEQ PATTERN  
(OFF, 1…32)  
With the ZETA SYNTHONY II you have the option alongside the normal  
Hold Preset, to set a drum pattern sequence )see UTILITY MODE, EDIT  
SEQUENCE). As soon as you press the hold pedal, the selected drum  
pattern will play on a separate MIDI channel. The pattern will be repeated  
until you press the hold pedal two times quickly. Choose one drum pattern  
of 1-32, that you want to play when you press the hold pedal, or set this  
parameter to OFF.  
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SEQ TRACK  
(OFF, 1…8)  
Using the internal sound board, you can set a complex track sequence to  
play instead of a pattern (see UTILITY MODE, EDIT SEQUENCE)  
parallel to the hold preset. As soon as you press the hold pedal, the selected  
track pattern will play on a separate MIDI channel. The pattern will be  
repeated until you press the hold pedal two times quickly. Or you can set  
the number of times that you want the sequence to be played. Choose one  
track pattern of 1-8, that you want to play when you press the hold pedal, or  
set this parameter to OFF. Please note that you can only use one of the two  
sequence possibilities at a time: either SEQ TRACK or SEQ PATTERN.  
Make sure the other one is set to OFF.  
SEQ TEMPO  
(EXT., 41…240)  
The tempo of your sequence can be set externally using Midi clock  
(EXT/MIDI IN) or internally using BPM (beats per minute) between 41  
(very slow) and 240 (very fast). In the case of external synchronization,  
(e.g.. MIDI-Drums, sequencer software) the sequence will only start when  
the “start” command is received from the MIDI IN port.  
STACK  
The effect is the same as in Hold Mode LAYER. The difference is that in  
this mode the Hold pedal must not be explicitly pressed. The Layer effect is  
always available. Otherwise all parameters of LAYER mode are available.  
(see LAYER.)  
WHEELCNTL  
WHEEL CONTROLLER (AIX, EXP1, EXP2)  
Your ZETA SYNTHONY II offers you the option of using up to three  
different wheel controllers simultaneously: AIX is the wheel on the  
instrument interface  
AX101/102,( not currently used with Zeta instruments) EXP1 and EXP2  
are swell pedals, which can be plugged into the back of the ZETA  
SYNTHONY II. Choose the desired wheel using the +/-Value buttons, that  
you want to link a controller to, and press ENTER. The first line of the  
display shows the wheel that you just choose; the second line shows the  
controller that is assigned to the selected wheel. Use the +/- Value buttons  
to select the desired controller. The function of the selected controller  
appears in simple text in the display. The nonstandardized MIDI controllers  
have the “————” description. The setting “NO CONTROLLER”  
means that no MIDI controller at all is assigned to the selected wheel. To  
do this, set the wheel AIX 101/102 to a Filter Controller (74).  
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Your main preset should then be set to “NO CONTROLLER” instead of  
“VOLUME 7”, so that only the arpeggiator will be affected by the wheel  
and the volume setting of the main sound will remain constant.  
Use the EXIT button to get back to the main menu.  
NRPN/RPN  
NRPN/RPN (NONE, NRPN, RPN)  
Many manufacturers of synths allow you to set sound characteristics of  
their presets using so called NRPN’s (nonregistered parameter numbers) or  
RPN’s (registered parameter numbers). According to MIDI specifications  
RPN’s have standardized functions and NRPN’s do not. The functions of  
NRPN’s are dependent upon the manufacturer and are found in the  
individual user’s manuals. The process for using RPN’s and NRPN’s is  
identical as follows:  
NRPN-LSB and MSB or RPN-LSB and MSB set system parameters using  
Controller #6 (DATA ENTRY MSB) or Controller #38 (DATA ENTRY  
LSB) to access them. Here is how you access these settings in your ZETA  
SYNTHONY II:  
You have extracted from the user’s manual of your synth/sound module  
that the manufacturer uses NRPN: MSB=01h and LSB=21h for a filter  
function for example. Use the +/- Value buttons to select the setting  
“NRPN/RPN:…NRPN” and press the ENTER button. The first line of your  
display shows you whether you are editing NRPN’s or RPN’s. The second  
line shows you the present value for MSB and LSB. The cursor is in the  
MSB field at first. Use the +/- Value buttons to set this value to 01h. With  
the +/- Parameter buttons move the cursor to the filed LSB and set the  
value here to 21h. You have now set the NRPN so that Controller #6 (or  
#38) can be used as a filter controller. As a source for controller #6/#38,  
you have the option of using any of the three wheel options. Press the EXIT  
button to leave the sub menu.  
Note: If you are not an experienced user, it is advised that you steer clear of  
using the RPN controllers because pitchbend and even tuning information  
can be changed.  
Another note for “Insiders”: Normally after using a DATA ENTRY  
controller for NRPN or RPN Data, these values are reset to “NULL” (7fh),  
so that the DATA ENTRY controller has no more influence.  
Your ZETA SYNTHONY II does NOT do this, because this would  
drastically increase the amount of MIDI data processed and sent. However,  
when you  
change a Preset, or when you edit an NRPN/RPN, these controllers ARE  
set to NULL.  
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REV  
Reverb Program (NO EFFECT, HALL1…BASEMENT)  
You can use this parameter to choose one of several reverb options. The  
program Name then appears in your display. If you don’t want to use  
reverb, set this parameter to NO EFFECT.  
CHOR  
Chorus Program (NO EFFECT, CHORUS1…FLANGER3)  
The optional sound module is equipped with numerous chorus options,  
from which you can choose here. The name of the program you choose is  
shown in the display. Set this parameter to NO EFFECT if you don’t want  
to use chorus.  
VAR  
Variation Program (NO EFFECT, HALL1…AUTOWAH)  
The soundboard is equipped with further variation effects that can be  
mixed with reverb or chorus effects. The name of the chosen variation  
effect is shown in your display. If you don’t want to use a variation effect,  
select NO EFFECT.  
For more detailed information about the digital effects in the sound module  
and their programmable options, see the chapter UTILITY MODE.  
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CHAIN MODE  
In live performance, you will need to have easy access to your various  
programmed presets. In Chain Mode, your ZETA SYNTHONY II offers  
you the ability to “chain” presets together in a series that you can quickly  
and easily recall in the order that you need them for your performance.  
Most people think of a “chain” as being another term for a “song” and a  
“step” as one of the sounds that you use within a song. For instance, if you  
used three different sounds within one song, you could set them as Chain 1,  
Step 1; Chain 1, Step 2; and Chain 1, Step 3. The second song would then  
be Chain 2 with several steps within that chain.  
UNDERSTANDING THE DISPLAY  
When you access the Chain mode, the top, right number will be  
highlighted. This number represents the Chain. By pressing the  
Parameter + and - buttons, you can highlight the lower, right number.  
This is the Step within the selected Chain. The lower, left number is  
the Preset sound that you are accessing. (This is the number that relates  
back to the “Preset Mode.”) The upper left number is simply part of the  
factory name for the Chains before you create your own name (ie. No  
Name 1, No Name 2, No Name 3, etc.)  
You can store up to 32 “chains”, each containing up to 32 “steps”. Using  
the Value + or - buttons, you can toggle through the “chains” when the  
upper right number is highlighted. This is the only way to toggle through  
your Chains. You can toggle through you presets in two different ways.  
While the upper right number (Chain) is highlighted, with a footpedal  
plugged into the “Chain” jack in the back of your ZETA SYNTHONY II,  
you can access the different Steps within the highlighted Chain. Pressing  
the pedal once moves to the next step in the chain, pressing it twice  
quickly moves to the previous step. You can also access the different  
steps by pressing the Parameter + button, highlighting the “Step” number.  
Then the Value + and – buttons will access the different steps.  
Remember, you can only change the Chain by accessing the front of your  
ZETA SYNTHONY II. The Steps, however may be changed from the  
Footswitch.  
When displaying or entering new chains, the initial Chain  
Display screen lists the following information:  
·
Chain Name  
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·
·
·
Chain Number  
Preset Chain and Number  
Step Number  
This information is displayed when the “Chain” button is pressed.  
The following Table shows the location of each of these  
information labels:  
Chain Name  
Preset Name & Number  
Chain Number  
Step Number  
Example:  
No Name 5  
Heaven 17  
5
1
CREATING CHAIN PRESETS  
Press the CHAIN button on the front of your ZETA SYNTHONY II, and  
select the desired chain preset using the +/- Value buttons. Press the EDIT  
button, and you are now ready to begin programming your chain. The  
following parameters can be accessed by pressing the +/- Parameter  
buttons:  
CHAIN PRESET NAME  
(max. 12 Characters)  
Use a name that describes the function of of your chain, e.g. the name of  
the song with which it will be used. Press the ENTER button and use the  
+/- Value buttons to select each character and the +/- Parameter buttons to  
maneuver to the next (or previous) character.. Press the EXIT button when  
you are finished naming your Chain Preset. As with all other Text-Editor  
functions some of the front panel buttons have special functions when in  
this mode (A…Z, a…z, !…9, space, insert, delete).  
PROGRAM  
(1…128)  
Use the +/- Value buttons to select the desired Preset number for the  
present step. Press the ENTER button. This moves you to the next step in  
the chain.  
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STEP  
(1…32)  
Using the +/- Value buttons, select the step in the chain you want to edit. In  
the display you see the program number of the presently selected preset for  
that step.  
If you want to add a step in the middle of a chain, simply press the STORE  
button on the front panel. A new step is inserted directly after the selected  
step and all the following steps are moved one step down in the chain.  
When you create a new step, the default settings for the new step are the  
same as the step from which you inserted the new one.  
In the same way you can delete a step in the chain by selecting the one you  
want to delete and pressing the EDIT button. The step is deleted and the  
following steps are moved one up in the chain to fill the empty spot.  
SAVING CHAIN PRESETS  
Press the EXIT button to leave CHAIN MODE. If you have made changes,  
the display will flash to remind you that you have not yet saved the  
changes. Press the STORE button and your ZETA SYNTHONY II asks  
you where (at which chain preset position: 1…32) to store your preset.  
Pressing the ENTER button saves your changes. If you don’t change the  
preset number, your changes will be written over the preset that you just  
edited. You can, of course, save your changes to a different preset if you  
may want to save the previous version of the preset for later use. If you  
don’t want to save your changes at all, simply press the EXIT button again.  
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TUTORIAL- SETTING UP A CHAIN  
Here is a set of step-by-step instructions for setting up a chain using your  
SYNTHONY II. Remember that after you set this chain up, there are a total of 32  
chains available to you. Generally, a chain is considered to be the different sounds  
that a player uses for one song. The steps are the different sounds within that song.  
1. Turn on your SYNTHONY II.  
2. Be sure that all of the sounds (and drum patterns and sequences, as well as  
arpeggios) that you want to put into your chain are saved in the Presets of your  
SYNTHONY II.  
3. Press “Chain”.  
4. Using the “Value” + or – buttons, scroll to the chain that you wish to create.  
For the purposes of this tutorial, let’s scroll to #6, named No Name 6  
5. Press “Edit”. (At this point, both the “Chain” and “Edit” lights should be  
illuminated.)  
6. Press the “Parameter +” button. The Name and number to left of the colon are  
the preset name and number. The number to the right of the colon is the step  
number. At this point, the step number should be 1.  
7. Use the Value + or – buttons to scroll to the Preset sound that you wish to be  
the 1st Step in your Chain. For the purposes of this tutorial, scroll to Marimba  
4.  
8. Press Enter. This will automatically advance you to the 2nd Step in the Chain.  
9. Use the Value + or – buttons to scroll to the Preset sound that you wish to be  
the 2nd Step in your Chain. For the purposes of this tutorial, scroll to Trumpet  
12.  
10. Press Enter. This will automatically advance you to the 3rd Step in the Chain.  
11. Use the Value + or – buttons to scroll to the Preset sound that you wish to be  
the 3rd Step in your Chain. For the purposes of this tutorial, scroll to Heaven  
17.  
12. Use the Value + or – buttons to scroll to the Preset sound that you wish to be  
the 4th Step in your Chain. For the purposes of this tutorial, scroll back to  
Marimba 4.  
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13. Let’s assume that is all the Steps that you need/want in your Chain.  
(Remember, you can program up to 32 steps.) Continue adding Steps if you  
want to.  
14. Press the “Parameter –“ button. The bottom line should read “No Name 6 …”  
and the cursor should be blinking over the last dot.  
15. Press “Enter”. The cursor should be flashing over the first letter of the name in  
the 2nd line.  
16. You may now edit the name of your Chain using the Parameter and Value  
buttons. Try changing the name to My First Chain. See directions for editing  
names on p. 26, in the section entitled “Preset Name.”  
17. Press “Exit”.  
18. Press “Exit” again. The “Store” light should be flashing and the top line of the  
display should be flashing.  
19. Press “Store”.  
20. Use the Value buttons to scroll to the number that you wish the Chain to be.  
For now, simply store it as Chain #6. (It is not necessary to scroll the Value  
buttons to store it at 6.)  
21. Press “Enter”  
22. Your Chain is now stored at Chain #6.  
23. Be sure you pedal is plugged into the “Chain” jack in the back of you  
SYNTHONY II.  
24. Press “Chain” on the front of your SYNTHONY II.  
25. Using the “Value” + or – buttons, scroll to Chain number 6, “My First Chain”.  
26. Press the footswitch to advance from Step to Step. (To go backwards, press  
the pedal, quickly, two times. (Like a double click of a mouse.)  
27. Notice that there are a variety of arbitrary Steps after the steps that you  
programmed. They will remain there until or unless you change them to other  
Preset sounds. In other words, there will always be 32 Steps in each Chain.  
You may only choose to use the first 4, as in our tutorial, for your purposes.  
Those that appear after your Steps are simply meaningless.  
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28. Congratulations! You have programmed your first Chain. Now try to create  
some more!  
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UTILITY MODE  
To activate UTILITY MODE, press the UTIL button on the front of your  
ZETA SYNTHONY II. The LED next to the UTIL button will be lit.  
UTILITY PARAMETERS  
Utility Mode controls the appearance of information in your display.  
This mode also controls the load and save functions via MIDI (SYSEX), so  
that you can save all of your valuable presets and parameters to a floppy  
disk using the appropriate communications software. Owners of the ZETA  
SYNTHONY II will find here numerous settings for drum sequences and  
programmable digital effects.  
DISPLAY  
Control instrument and the LCD display (TUNING, LEVEL)  
Here you decide which instrument in PRESET MODE you want be shown  
in the bottom half of the display:  
TUNING  
With this setting selected, the bottom half of your ZETA SYNTHONY II’s  
LCD display shows a instrument tuner, that can be used during play to  
check and correct the tuning of your input instrument. Tune each string so  
that the arrow points to the middle of the scale. If the Tune Base Parameter  
is set to 0 (zero), the middle point on the tuning scale in the display  
represents the standard tuning calibration of 440 Hertz.  
LEVEL  
With this selection, instead of a tuner, you see a VU (LEVEL) meter in the  
bottom half of the display. The small vertical bars represent the present  
levels of each of the six strings of your instrument. The higher the bar, the  
louder the string.  
PRESET NAMES  
Display of sound presets (patches) (NUM, GM, XG)  
Your ZETA SYNTHONY II has the ability to display selected presets in  
various forms:  
NUM  
All sound presets (patches) will be displayed in their numeric form in their  
given MIDI bank. A MIDI bank contains 128 preset numbers. It is possible  
to split MIDI banks using MSB (most significant byte) and LSB (least  
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significant byte) information, so that you can actually have as many as 128  
x 128 MIDI banks. Use this option if your sound module/synth is not GM  
(General MIDI) capable.  
GM  
The sound presets or patches follow the GM (General MIDI) standard. The  
names of patches appear in text form in the display. The General MIDI  
standard dictates 128 sounds, and some manufacturers of GM capable  
sound modules have implemented kits that allow for choosing various  
MIDI sound banks. Your ZETA SYNTHONY II divides it’s MIDI bank  
into an MSB (most significant byte) and an LSB (least significant byte)  
data group, which allows 128 x 128 GM kits. Use this option if your sound  
module/synth is not GM (General MIDI) capable.  
XG  
The sound presets or patches follow the XG (Extended General MIDI)  
standard. The names of patches appear in text form in the display.  
Information about MIDI bank numbers is not included. If your MIDI  
instrument is XG capable, you should certainly make use of it. It is a very  
easy way to maintain an overview of the numerous normal patches  
available. The built-in sound module of the ZETA SYNTHONY II is XG  
compatible and offers you all of the XG sounds in superior  
quality.  
DCLIC RESPNS  
Double-click response (1...20)  
Here you set the amount of time in which a double click (double press) of  
the two foot switches should take place in order to be recognized as a  
double click. Remember that you can double click the chain foot switch in  
order to jump one step back in your chain. Double clicking the Hold pedal  
allows you to stop the presently running drum sequence.  
XMIT SYSEX…  
Send System Exclusive Data  
This sub menu gives you access to all the important parameters and settings  
that allow your ZETA SYNTHONY II to send data over MIDI. The  
receiver can be a computer with the appropriate software (e.g. Sequencer  
software) or another ZETA SYNTHONY II. One possibility would be to  
save the numerous settings of your ZETA SYNTHONY II to a floppy disk  
to be shared with others, or as an archive for later use. Users of the ZETA  
SYNTHONY II can use this method to collect an entire sound library from  
external programmable synth section. Press the ENTER button and use the  
+/- Parameter buttons to select the area you would like to send. Use the +/-  
Value buttons to select individual parts. The transfer begins when you press  
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the ENTER button again. When you see “READY” in the display, you  
know the transmission has been completed.  
TOTAL DUMP…  
This allows you to transmit the entire contents of the ZETA SYNTHONY  
II with all its present parameters and settings in one large file.  
PRESET…  
(ALL, 1…128)  
You can choose to send all 128 USER presets or individual ones.  
CHAIN…  
(ALL, 1…32)  
Sends all or individual Chain presets.  
ARP-PATTRN…  
(ALL, 1…16)  
Send all or individual rhythm patterns used by the arpeggiator.  
EFFECTS…  
(ALL, REV, CHOR, VAR)  
Owners of the ZETA SYNTHONY II can choose to send the parameters  
for the entire effect section or just those for the individual areas: reverb,  
chorus, variation.  
SEQUENC…  
(ALL, PATTRN, TRACKS)  
Owners of the ZETA SYNTHONY II can send their programmed drum  
sequences either in complete form or separately.  
RECEIVE SYSEX  
Receive System Exclusive Data  
In the same way as the ZETA SYNTHONY II sends sysex data to another  
ZETA SYNTHONY II or computer via MIDI, it can also receive sysex  
data with the help of this sub menu. The data blocks that are received by  
the ZETA SYNTHONY II will overwrite the same parameters in the ZETA  
SYNTHONY II.  
EDIT SEQUENCE  
Drum Sequence Editing  
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Owners of the ZETA SYNTHONY have the option of programming drum  
sequences that can be accessed in PRESET MODE using the hold pedal. It  
is necessary to differentiate between pattern sequences and track sequences.  
A pattern is made up of 16 steps that are divided into equal time units over  
the entire pattern. You have the option of choosing up to 4 drum sounds  
from any drum kit to be played within each step. This can be given 3  
different dynamic levels. Up to 32 patterns can be created in the Pattern  
Editor. These patterns can then be integrated into a track sequence, that  
controls the playing of the pattern according to your wish. 32 program steps  
are possible that can be combined in any order or repetition. Press the  
ENTER button to get to the Drum sequencer  
menu.  
TEMPO  
Tempo (EXT, 41…240)  
The tempo of the drum sequencer can be set externally using Midi clock  
(EXT/MIDI IN) or internally using BPM (beats per minute) between 41  
(very slow) and 240 (very fast). In the case of external synchronization,  
(e.g.. MIDI-Drums, sequencer software) the sequence will only start when  
the “start” command is received from the MIDI IN port.  
VOLUME  
Volume Level (0…127)  
The drum sequencer is equipped with its own separate volume control. Set  
the level here to create a good mix with the other sounds.  
REVERB SEND  
Reverb (0…127)  
The drum sequencer is equipped with its own separate reverb control.  
Using the +/- Value buttons, set this value to your desired strength of  
reverb for drum sounds. If you want totally “dry” drums, select 0 (zero).  
CHORUS SEND  
Chorus (0…127)  
Set your desired amount of chorus for drums here. If you don’t want any  
chorus effect on the drums, set this value to 0 (zero).  
VARIAT SEND  
Variation Effect (0…127)  
Set your desired amount of variation effect for drums here. If you don’t  
want any chorus effect on the drums, set this value to 0 (zero).  
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MODE  
Mode (PATTERN, TRACK)  
As we have already discussed, your ZETA SYNTHONY II allows two  
different ways to play drum sequences. You can play either individual  
patterns, or entire tracks made up of several patterns. Here is where you  
decide whether you want simple patterns or entire tracks to be played when  
you press the hold pedal in PRESET MODE.  
PATTERN  
Pattern Editor (1…32)  
With this sub menu, you can edit your drum patterns. You can create up to  
32 patterns that can be played back either individually or as part of a track  
sequence. Use the +/- Value buttons to select the desired pattern number  
and press the ENTER button to begin editing it.  
KIT  
(STANDARD1…SFX2)  
There are 11 drum kits available, from which you can choose a maximum  
of four instruments for each pattern. Use the +/- Value buttons to select the  
drum kit from which you want to use drum sounds.  
STEPS  
(1…16)  
Here is where you select the actual step in the pattern you want to edit.  
Every step can contain 4 drum sounds with 3 different dynamic levels. The  
larger the number of steps you set with this parameter, the finer the  
resolution of your pattern will be. You can also set values for uneven  
meters. The value of 12, for example, will result in 3/4 time with a  
resolution of 16th notes.  
DRUM INSTRUMENT  
(1…4)  
Choose a drum instrument from the list of drum sounds available in the  
presently active drum kit and press the ENTER button to begin editing. In  
the bottom half of the display appears a dotted line with a cursor whose  
position is dependent upon the individual steps (see STEPS). You can  
move the cursor to the left or right by using the +/- Parameter buttons. Use  
the +/- Value buttons to then add an accent at the proper step position. You  
will see a small vertical bar at that position. Press the +/- Value buttons  
repeatedly to increase or decrease the strength of the accent, visible in the  
display as a thicker or thinner bar. You can make the accent so weak that it  
disappears altogether. When you are finished, press the EXIT button. You  
can of course repeat this process for the 3 other instruments you have  
selected for the pattern. A further press of the EXIT button takes you out of  
the PATTERN EDITOR.  
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The flashing display signals you that you have changed a pattern but have  
not yet saved it. Press STORE to save the pattern to battery-backed-up  
RAM.  
TRACK  
Track Editor (1…8)  
With the help of this sub menu, you can use the Track Editor for drum  
sequences to create up to 8 tracks that can be accessed from PRESET  
MODE by pressing the hold pedal. A track sequence contains up to 32  
steps in which your own programmed patterns can be combined in any  
order or repeated as desired. Use the +/- Value buttons to select the desired  
track number and press the ENTER button to begin editing. Press the EXIT  
button when finished.  
The following is a description of the parameters in the sub menu:  
ST:  
(0…31)  
Here you select the step number of the track sequence you want to work on.  
The individual steps will then be chained together step-wise according to  
their number. You can have a maximum of 32 steps.  
C:  
(0…127)  
This is the number of repeats the pattern will execute within the step.  
The value 1 plays the patter one time. The value 0 (zero) indicates the end  
of a track sequence. When the drum sequencer gets to this point, it will  
automatically stop playing.  
PT:  
(1…32)  
Choose the pattern number to be used in the selected step (ST).  
When you press EXIT, the flashing display indicates that you have not yet  
saved your changes to the track. Press STORE to save your changes in  
battery-backed-up RAM.  
ADC MONITOR  
This option allows you a small window into the actual  
ANALOG/DIGITAL CONVERTER of your ZETA SYNTHONY II. When  
you press the ENTER button, you can see the actual (digital) HEX data that  
have been converted by your ZETA SYNTHONY II from the analog string  
information sent from your instrument. This feature is primarily for  
diagnostic purposes like detecting which conductor of the cable between  
instrument interface and ZETA SYNTHONY II may be bad, for example.  
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APPENDIX  
FACTORY RESET  
Press the PRESET and EXIT buttons together to initialize the ZETA  
SYNTHONY II and reset it to the factory settings. This applies to all  
presets as well, so be sure to save your work to a sequencer or computer  
beforehand.  
PROBLEM SOLVING  
External MIDI instrument doesn’t play  
Description:: When I play the instrument, the ZETA SYNTHONY II reacts  
properly on the meters in the display but my external MIDI instrument does  
not play.  
Possible problem: Set up… cable connections  
Solution:  
1. Make sure the MIDI cables are connected properly. From the ZETA  
SYNTHONY II’s MIDI OUT jack to the instrument’s MIDI IN  
jack.  
2. The MIDI channels of both instruments need to be correctly set.  
3. The MIDI instrument should be in multi timbral mode.  
4. Make sure the audio cable between your MIDI instrument and the  
amplifier is correctly connected.  
5. Check the volume control on your instrument interface.  
6. The select button on your instrument interface could be set to  
“INSTRUMENT”.  
(This would cause no signal to the ZETA SYNTHONY II.)  
String bending does not function properly.  
Description: When I play a string, I hear the right note, but slides, slurs and  
glissandos do not function like I expect.  
Possible problem: The Pitchbend settings on your ZETA SYNTHONY II  
do not match the settings in your MIDI instrument; or Pitch Quantize is  
turned on.  
Solution:  
1. Make sure that the pitchbend range settings in your MIDI  
instrument correspond to the same settings in your ZETA  
SYNTHONY II (GLOBAL MODE).  
2. Make sure the QUANTIZE value in the preset split (PRESET  
MODE) is set to AUTO or OFF.  
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Sometimes wrong notes  
Description: When I play the instrument, the notes I hear are all or partly  
wrong notes.  
Possible problem: Discrepancy in tuning.  
Solution:  
1. Tune your instrument using the ZETA SYNTHONY II’s tuning  
aids.  
2. If you want to tune your ZETA SYNTHONY II to your instrument,  
use the Tune-Base function in GLOBAL MODE.  
3. It’s possible that the transpose function in the preset split is ON.  
4. Turn TRANSPOSE OFF in PRESET MODE.  
5. Your MIDI instrument may be set to another tuning or have its  
transpose function turned ON. Check to see if these parameters are  
set to the correct values.  
Varying string volume levels  
Description: One or more strings are not loud enough in comparison  
to the others.  
Possible problem: The string sensitivity of the individual strings is not set  
well.  
Solution:  
1. In GLOBAL MODE, try resetting the sensitivity of the problematic  
strings.  
Dynamic difference between notes is too great  
Description: With some sounds the drastic dynamic differences between  
notes is irritating.  
Possible problem: Setting problems in the touch sensitivity parameters.  
Solution:  
1. The touch sensitivity settings in your ZETA SYNTHONY II should  
correspond to the sound in your MIDI instrument that you are  
using.  
2. Try reducing the value in the touch sensitivity parameter of the  
preset split (PRESET MODE) and then try adding some value to  
the Velocity Offset parameter.  
Wrong sounds  
Description: The sounds that appear in the ZETA SYNTHONY II’s  
display do not correspond with the sounds I hear from my MIDI  
instrument.  
55  
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Possible problem: Your external MIDI instrument is not set to XG/General  
MIDI mode or does not support this standard.  
Solution:  
1. Set your MIDI instrument to GM mode. Set the ZETA  
SYNTHONY II’s parameter for preset names to “GM” (see  
UTILITY MODE).  
2. If your MIDI instrument doesn’t support these standards, set your  
ZETA SYNTHONY II’s preset names parameter to “NUM”. You  
can now access the desired sound using the corresponding MIDI  
bank and program number.  
SYSTEM EXCLUSIVE IMPLEMENTATON  
F0H - Exclusive status  
00H - European ID's  
20H - European ID's  
2DH - BCM ID  
20H - Model ID AX100  
00H - Device ID  
ah  
am  
al  
ch  
cm  
cl  
dh  
dl  
...  
- Address high  
- Address mid  
- Address low  
- Byte Count high  
- Byte Count mid  
-Byte Count low  
- Data #0 high 7 bits  
- Data #0 low 7 bits  
- Data ...  
...  
- Data ...  
dh  
dl  
cc  
- Data #n high 7 bits  
- Data #n low 7 bits  
- Checksum  
F7H - End of exclusive  
The following dumps are presently supported:  
Total dump  
Presetdump (All, 1...128)  
Chaindump (All, 1...32)  
Patterndump for Arpeggiator (All, 1...16)  
Total Effectdump (Rev setup, all revs, chor setup, all chors, var setup, all  
vars)  
Reverbdump (Rev setup, all reverb programs)  
Chorusdump (Chor setup, all chorus programs)  
Variationdump (Var setup, all variation programs)  
56  
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Total Sequencerdump (Seq setup, pattern 1...32, tracks 1...8)  
Patterndump for Sequencer (All)  
Trackdump for Sequencer (All)  
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MASTER SOUND BANK – LIST  
The Synthony II Master Sound Bank can be accessed from the PRESET  
Mode by pressing the EDIT button, then pressing ENTER twice. The  
Master Sound Bank is organized by instrument family – each family  
contains instrument sounds specific to that family.  
You may save any of the 480 sounds from the Master Sound Bank into  
your User Presets, as well as edit tracking parameters, add up to 3 effects  
per sound, etc. However, you cannot save permanent changes to the Master  
Sound Bank itself.  
Please refer to the following list of 480 sounds from the Master Sound  
Bank:  
Family:  
Sounds:  
Piano  
Grand Piano  
Mello Grnd Pno  
PianoString  
Dream  
Brite Piano  
Bright Piano K  
Elec. Grand  
Elec. Grand Piano K  
Det. CP80  
Elec. GrPno 1  
Elec. GrPno 2  
HonkyTonk  
HonkyTonkK  
Electric Piano  
Elec. Piano 1  
Elec. Piano 2  
Mello EP1  
Chor. EP1  
Hard El.Piano  
VX El. Piano 1  
60’s Elec. Piano  
Elec. Piano 2  
Elec. Piano 2K  
Chor. EP2  
DX Hard  
DX Legend  
DX Phase  
DX+Analog  
DX Koto EP  
VX Elec. Piano 2  
Harpsichord  
Harpsichord K  
Harpsichord 2  
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Harpsichord 3  
Clavi.  
Clavi. K  
ClaviWah  
PulseClavi.  
PierceClavi.  
Cpercussion  
Celesta  
Glocken  
Music Box  
Orgel  
Vibes  
Vibes K  
Hard Vibes  
Marimba  
Marimba K  
Sine Marimba  
Balafone 2  
Log Drum  
Xylophone  
Tubular Bells  
Church Bells  
Carillon  
Dulcimer  
Dulcimer 2  
Cimbalom  
Santur  
Organ  
Draw Organ  
Det. Draw Organ  
60’s Draw Organ 1  
60’s Draw Organ 2  
70’s Draw Organ 1  
Draw Organ 2  
60’s Draw Organ 3  
Even Bar  
16+2”2/3  
Organ Bar  
70’s Draw Organ 2  
Cheez Organ  
Draw Organ 3  
Perc. Organ  
70’s Perc. Organ  
Det. Perc. Organ  
Lite Organ  
Perc. Organ 2  
Rock Organ  
Rotary Organ  
Slow Rotary Organ  
Fast Rotary Organ  
Church Organ  
Church Organ 3  
Church Organ 2  
Notre Dam  
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Organ Flute  
Tremlo Organ Flute  
Reed Organ  
Puff Organ  
Acordion  
Acordit  
Harmonica  
Harmonica 2  
Tango Acordion  
Tango Acordion 2  
Acoustic Guitar  
Nylon Guitar  
Nylon Guitar 2  
Nylon Guitar 3  
Velocity Guitar Harm.  
Ukelele  
Steel Guitar  
Steel Guitar 2  
12 St. Guitar  
Nylon & Steel  
Steel & Body  
Mandolin  
Electric Guitar  
Jazz Guitar  
Mellon Guitar  
Jazz Amp  
Clean Guitar  
Chorus Guitar  
Muted Guitar  
Funk Guitar  
Mute Steel Guitar  
Funk Guitar 2  
Jazz Man  
Overdrive  
Guitar Pinch  
Distortion Guitar  
Feedback Guitar  
Feedback Guitar 2  
Guitar Harmonics  
Guitar Feedback  
Guitar Harmonics 2  
Acoustic Bass  
Acoustic Bass  
Jazz Rhythm  
VX Upright  
Finger Bass  
Finger Dark  
Flange Bass  
Bass & DistEG  
Finger Slap  
Finger Bass 2  
Mod Alem  
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Electric Bass  
Pick Bass  
Mute Pk Bass  
Fretless  
Fretless 2  
Fretless 3  
Fretless 4  
Synth Fretless 1  
Smooth  
Slap Bass 1  
Reso Slap  
Punch Thm  
Slap Bass 2  
Velocity Slap  
Synth Bass  
Syn Bass 1  
Syn Bass 1 Dark  
Fast Res Bass  
Acid Bass  
Clav. Bass  
Tekno Bass  
Oscar  
Square Bass  
Rubber Bass  
Hammer  
Syn Bass 2  
Mello SB 1  
Seq Bass  
Clk Syn Bass  
Syn Bass 2 Dk  
Smooth Bass 2  
Modular Bass  
DX Bass  
X Wire Bass  
Strings  
Violin  
Slow Violin  
Viola  
Cello  
Contrabass  
Tremelo Strings  
Slow Tremelo Strings  
Suspended Strings  
Pizz. Strings  
Harp  
Yang Chin  
Timpani  
Ensemble  
Strings 1  
Suspended Strings  
Slow Strings  
Arco Strings  
60’s Strings  
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Orchestra  
Orchestra 2  
Tremelo Strings  
Velocity Strings  
Strings 2  
Susp. Slow Strings  
Legato Strings  
Warm Strings  
Kingdom  
70’s Strings  
String Ensemble 3  
Syn Strings 2  
Reso Strings  
Syn Strings 4  
SS Strings  
Syn Strings 2  
Choir Aah’s  
Susp. Choir  
Choir Aah’s 2  
Mello Choir  
Choir Strings  
Voice Ooh  
Syn Voice  
Syn Vox  
Choral  
Analog Voice  
Orchestra Hit  
Orchestra Hit 2  
Impact  
Brass  
Trumpet  
Trumpet 2  
Bright Trumpet  
Warm Trumpet  
Trombone  
Trombone 2  
Tuba  
Tuba 2  
Muted Trumpet  
French Horn  
French Horn Solo  
French Horn 2  
Horn Orchestra  
Brass Section  
Trumpet & Trb. Sec.  
Brass Section 2  
Hi Brass  
Mello Brass  
Synth Brass  
Syn Brass 1  
Quack Brass  
Rezo Syn Brass  
Poly Brass  
Syn Brass 3  
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Jump Brass  
Analog Velocity Brass  
Analog Brass 1  
Syn Brass 2  
Soft Brass  
Syn Brass 4  
Chorus Brass  
Velocity Brass 2  
Analog Brass 2  
Reeds  
Soprano Sax  
Alto Sax  
Sax Section  
Hyper Alto  
Tenor Sax  
Breathy Tenor Sax  
Soft Tenor  
Tenor Sax 2  
Baritone Sax  
Oboe  
English Horn  
Bassoon  
Clarinet  
Pipe  
Piccolo  
Flute  
Recorder  
Pan Flute  
Bottle  
Shakhchi  
Whistle  
Ocarina  
Slead  
Square Lead  
Square 2  
LM Square  
Hollow  
Shmoog  
Mello  
Solo Sine  
Sine Lead  
Saw. Lead  
Saw 2  
Thick Saw  
DynaSaw  
DigiSaw  
Big Lead  
Heavenly Syn  
Waspy Syn  
Pulse Saw  
Dr. Lead  
Velocity Lead  
Seq Ana  
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CaliopLead  
Pure Pad  
Chiff Lead  
Rubby  
Charan Lead  
Distortion Lead  
Wire Lead  
Voice Lead  
Synth Aah  
Vox Lead  
Fifth Lead  
Big Five  
Bass & Lead  
Big & Low  
Fat & Perky  
SoftWurl  
Synth Pad  
New Age Pad  
Fantasy  
Warm Pad  
Thick Pad  
Soft Pad  
Sine Pad  
Horn Pad  
Rotary Strings  
Poly Synth Pad  
Poly Pad 80  
Click Pad  
Analog Pad  
Square Pad  
Choir Pad  
Heaven 2  
Itopia  
CC Pad  
Bowed Pad  
Glacier  
Glass Pad  
Metal Pad  
Tine Pad  
Pan Pad  
Halo Pad  
Sweep Pad  
Shwimmer  
Converge  
Polar Pad  
Celestial  
SyEffect  
Rain  
Clavi Pad  
Harmonic Rain  
African Wind  
Caribean  
Sound Track  
Prologue  
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Ancestrial  
Crystal  
SynDrCmp  
Popcorn  
Tiny Bell  
Round Glocken  
GlockChi  
Clear Bell  
Chorus Bell  
Syn Mallet  
Soft Crystal  
Loud Glocken  
Xmas Bells  
Vibe Bell  
DigiBell  
Air Bells  
Bell Harp  
Gamelmba  
Atmosphere  
Warm Atmosphere  
Hollow Rls  
Nylon EP  
Nylon Harp  
Harp Vox  
Atmosphere Pad  
Planet  
Bright  
Fantasy Bell  
Smokey  
Goblins  
GoblinSyn  
50’s Sci-fi  
Ring Pad  
Ritual  
To Heaven  
Night  
Glisten  
Bell Choir  
Echoes  
Echo Pad 2  
Echo Pad  
Echo Bell  
Big Pan  
Syn Piano  
Creation  
Stardust  
Reso Pan  
Sci-fi  
Starz  
Ethnic  
Sitar  
Det. Sitar  
Sitar 2  
Tambra  
Tamboura  
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Banjo  
Muted Banjo  
Rabab  
Gopichnt  
Oud  
Shamisen  
Koto  
T. Koto  
Kanoon  
Kalimba  
Bag Pipe  
Fiddle  
Shanai  
Shanai 2  
Pungi  
Hichriki  
Percussion  
Tinkel Bell  
Bonang  
Gender  
Gamelan  
S. Gamelan  
Rama Cymbol  
Asian Bell  
Apogo  
Steel Drum  
Glass Percussion  
Thai Bell  
Wood Block  
Castanets  
Taiko Drum  
Grand Cassa  
Melodic Tom-tom  
Melodic Tom-tom 2  
Real Tom-tom  
Rock Tom-tom  
Syn Drum  
Analog Tom-tom  
Elec. Percussion  
Reverse Cymbol  
Sound Effects  
Fret Noise  
Breath Noise  
Sea Shore  
Tweet  
Telephone  
Helicopter  
Applause  
Gunshot  
SFX  
Cutting Noise  
Cutting Noise 2  
String Slap  
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Fl. Kclic  
Rain  
Thunder  
Wind  
Stream  
Bubble  
Feed  
Dog  
Horse  
Bird 2  
Ghost  
Maou  
Telephone Dial  
Door Squeak  
Door Slam  
Scratch  
Scratch 2  
Wind Chime  
Telephone 2  
Car Engine  
Car Stop  
Car Pass  
Car Crash  
Siren  
Train  
Jet Plane  
Starship  
Burst  
Coaster  
Submarine  
Laughing  
Scream  
Punch  
Heart  
Foot Step  
Machine Gun  
Laser Gun  
Explosion  
Firework  
Drums  
Standard Kit 1  
Standard Kit 2  
Room Kit  
Rock Kit  
Electric Kit  
Analog Kit  
Jazz Kit  
Brush Kit  
Classical Kit  
SFX 1  
SFX 2  
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USER PRESETS – 1-128  
The Synthony II comes equipped with sounds pre-programmed for  
PRESET #'s 1-128. These sounds can be edited and saved by the user.  
Below is a list of the PRESET sounds, nos. 1-128:  
1
2
3
4
5
6
7
8
9
Grand Piano  
Brite Piano  
Electric Grand  
Honky Tonk  
E. Piano1  
E. Piano2  
Harpsichord  
Clavi  
44 Contrabass  
45 Tremolo Strings  
46 Pizzicato Strings  
47 Orchestral Harp  
48 Timpani  
87 Fifth Lead  
88 Bass & Lead  
89 New Age Pad  
90 Warm Pad  
91 Polysynth Pad  
92 Choir Pad  
93 Bowed Pad  
94 Metal Pad  
95 Halo Pad  
96 Sweep Pad  
97 Rain  
98 Sound Track  
99 Crystal  
100 Atmosphere  
101 Brightness  
102 Goblins  
49 Marcato Strings  
50 JLP  
51 Synth Strings1  
52 Synth Strings2  
53 Choir Aahs  
54 Voice Oohs  
55 Synth Voice  
56 Orchestra Hit  
57 Trumpet  
Celesta  
10 Glockenspiel  
11 Music Box  
12 Vibes  
13 Marimba  
14 Xylophone  
15 Tubular Bells  
16 Dulcimer  
58 Trombone  
59 Tuba  
17 Drawbar Organ  
18 Percussive Organ  
19 Rock Organ  
20 Church Organ  
21 Reed Organ  
22 Accordion  
23 Harmonica  
24 Tango Accordion  
25 Nylon Guitar  
26 Steel Guitar  
27 Jazz Guitar  
28 Clean Guitar  
29 Mute Guitar  
30 Overdrive  
31 Distortion Gtr.  
32 Guitar Harmonics  
33 Acoustic Bass  
34 Finger Bass  
35 Pick Bass  
36 Fretless Bass  
37 Slap Bass1  
38 Slap Bass2  
39 Synth Bass1  
40 Synth Bass2  
41 Violin  
60 Muted Trumpet  
61 French Horn  
62 Brass Section  
63 Synth Brass1  
64 Synth Brass2  
65 Soprano Sax  
66 Alto Sax  
67 Tenor Sax  
68 Baritone Sax  
69 Oboe  
70 English Horn  
71 Bassoon  
72 Clarinet  
73 Piccolo  
74 Flute  
103 Echoes  
104 Sci-Fi  
105 Sitar  
106 Banjo  
107 Shamisen  
108 Koto  
109 Kalimba  
110 Bagpipe  
111 Fiddle  
112 Shanai  
113 Tinkle Bell  
114 Agogo  
115 Steel Drums  
116 Woodblock  
117 Taiko Drum  
118 Melodic Tom  
119 Synth Drum  
120 ReverseCymbal  
121 Gtr Fret Noise  
122 Breath Noise  
123 Seashore  
124 Bird Tweet  
125 Phone Ring  
126 Helicopter  
127 Applause  
128 Gunshot  
75 Recorder  
76 Pan Flute  
77 Bottle  
78 Shakuhachi  
79 Whistle  
80 Ocarina  
81 Square Lead  
82 Saw Lead  
83 Calliope Lead  
84 Chiff Lead  
85 Charang Lead  
86 Voice Lead  
42 Viola  
43 Cello  
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EFFECTS TYPES – LIST  
The Synthony II includes 64 Digital Effects, up to 3 of which can be added  
to any savable MIDI sound. Effects are added in the PRESET Mode, under  
EDIT.  
Below is a list of the available digital effects in the Synthony II:  
Type:  
Effect:  
REVERB  
NO EFFECT:  
Turns the reverb off.  
HALL1:  
Simulates the reverb found in a concert hall.  
HALL2:  
A variation of HALL1.  
ROOM1:  
Simulates the reverb found in a normal room.  
ROOM2:  
A variation of ROOM1.  
ROOM3:  
A variation of ROOM1.  
STAGE1:  
For use with a solo instrument’s reverb program.  
STAGE2:  
A variation of STAGE1.  
PLATE:  
Simulates the reverb effect generated by metal plate  
reverb units found in recording studios.  
WHITE ROOM:  
A short reverb program followed by a fast delay.  
TUNNEL:  
Simulates a tunnel that becomes increasingly wider.  
BASEMENT:  
A short delay followed by massive reverb.  
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CHORUS  
NO EFFECT:  
Turns Chorus off.  
CHORUS1:  
Conventional chorus effect for a full sound.  
CHORUS2:  
Variation of CHORUS1-Effect.  
CHORUS3:  
Variation of CHORUS1-Effect.  
CHORUS4:  
Variation of CHORUS1-Effect with Stereo-Input.  
CELESTE1:  
LFO modulated in 3 Phases.  
CELESTE2:  
Variation of CELESTE1-Effect.  
CELESTE3:  
Variation of CELESTE1-Effect.  
CELESTE4:  
LFO modulated in 3 Phases.  
FLANGER1:  
Chorus with Phase-shifting (Jet-Effect)  
FLANGER2:  
Variation of FLANGER1-Effect.  
FLANGER3:  
Variation of FLANGER1-Effect.  
VARIATIONS  
NO EFFECT:  
Turns variation effects off.  
HALL1:  
Simulates reverb in a concert hall.  
HALL2:  
Variation of HALL1 Effect.  
ROOM1:  
Simulates reverb in a normal room.  
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ROOM2:  
Variation of ROOM1 Effect.  
ROOM3:  
Variation of ROOM1 Effect.  
STAGE1:  
For use with a solo instruments reverb program.  
STAGE2:  
Variation of STAGE1 Effect.  
PLATE:  
Simulates the metal plate reverb system found in  
recording studios.  
DELAY L;C;R:  
Delay effect(Panoramaposition Left, Right, Center).  
DELAY L;R:  
Delay effect (Panoramaposition Links und Rechts).  
ECHO:  
Echo effect with independent feedback control for  
left and right.  
CROSSDLY:  
Delay effect with changing Panorama-Feedback-  
Loops.  
EARLYREF1:  
Only generates the first reverb reflection.  
EARLYREF2:  
Variation of EARLY REF1-Effect.  
GATED REV:  
Gated Reverb Effect. (made popular by Phil Collins)  
REV GATE:  
Reverse Gated Reverb Effect.  
KARAOKE 1:  
A Karaoke-typical reverb effect.  
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KARAOKE 2:  
Variation of KARAOKE 1-Effect.  
KARAOKE 3:  
Variation of KARAOKE 1-Effect.  
CHORUS1:  
Conventional chorus effect for a full sound.  
CHORUS2:  
Variation of CHORUS1-Effect.  
CHORUS3:  
Variation of CHORUS1-Effect.  
CHORUS4:  
Variation of CHORUS1-Effect with Stereo-Input.  
CELESTE1:  
LFO with 3 Phase Modulation.  
CELESTE2:  
Variation of CELESTE1-Effect.  
CELESTE3:  
Variation of CELESTE1-Effect.  
CELESTE4:  
LFO with 3 Phase Modulation.  
FLANGER1:  
Chorus with Phaseshifting (Jet-Effect  
FLANGER2:  
Variation of FLANGER1-Effect.  
FLANGER3:  
Variation of FLANGER1-Effect.  
SYMPHONIC:  
Multi-Phase-variant of CELESTE1-Effect.  
ROTARY:  
Simulation of a Leslie cabinet.  
TREMOLO:  
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Effect based on amplitude variation.  
AUTO PAN:  
Effect based on panorama variation.  
PHASER1:  
Effect based on phase shifting.  
PHASER2:  
Variation of PHASER1-Effect with Stereo-Input.  
DISTORTION:  
Distortion simulator.  
OVERDRIVE:  
Simulation of overdriving a tube instrument  
amplifier.  
INSTRUMENTAMP:  
Simulation a tube instrument amplifier.  
3BANDEQU:  
A MONO-Equalizer with controls for Lows, Mids,  
Highs..  
2BANDEQU:  
A STEREO-Equalizer with controls for Lows, Mids,  
Highs.  
AUTOWAH:  
Automatic Wah-Wah Effect.  
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Synthony II  
Model ZMC-200  
Manufactured Exclusively for  
ZETA MUSIC SYSTEMS, INC  
2230 Livingston Street  
Oakland, CA 94606  
By:  
Blue Chip Music GmbH  
Germany  
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