Manual ML 35 Doc 2

®
User Guide
1 April 2000
For use with software

version:
000131-01110
©2000 by NSI 2008 |D|

All Rights Reserved
MARIMBA LUMINA
User Guide
TABLE OF CONTENTS
1 …Introduction..................................................................................................6
Important Safety Precautions ..........................................................8
Care & Feeding..................................................................................8
Organization of This Manual...........................................................8
2 …Plug & Play ....................................................................................................10
Connections .....................................................................................10
Additional Connections .................................................................11
Selecting and Playing Programs....................................................12
3 …Get Your Feet Wet ...................................................................................14
Things You Need to Know Before You Get Started ....................14
Some Conventions to Make Reading This Section Easier.................... 14
The Editing Mallet................................................................................... 14
How to Scroll ........................................................................................... 14
Translation ............................................................................................... 15
Be Fearless................................................................................................ 15
Building a New Program ...............................................................15
What a Blank Preset Plays Like.............................................................. 15
Getting Comfortable with the Edit Menus............................................ 16
Entering a Patch ...................................................................................... 16
Adding More to It ................................................................................... 17
Naming the Program .............................................................................. 18
Adding a Controller................................................................................ 19
Add Pitch Bend to Strip 1 ....................................................................... 20
Troubleshooting ...................................................................................... 21
Final Touches...................................................................................22
Adding an Effect ..................................................................................... 22
Add Informative LEDs ........................................................................... 22
To Copy a Program from Fixed to User Memory ................................ 23
4 …The Editor .................................................................................................. 26
The User Interface ...........................................................................26
The User Interface: Main Menu ............................................................. 27
Patches .............................................................................................28
Patches: States.......................................................................................... 28
Patches: Numbers.................................................................................... 29
Patches: Commands................................................................................ 29
Patches: Zones ......................................................................................... 30
Patches: Stimuli ....................................................................................... 31
Patches: Object Types.............................................................................. 32
Channel Setup .................................................................................44
Channel Setup: Select a Channel............................................................ 44
Channel Setup: Instruments................................................................... 44
Channel Setup: Mode.............................................................................. 45
Channel Setup: MIDI Routing................................................................ 45
Channel Setup: Pan and Volume ........................................................... 46
ii MARIMBA LUMINA
User Guide
TABLE OF CONTENTS-continued
Channel Setup: Velocity Curve.............................................................. 47
Channel Setup: Mute/Audition and Solo Bars .................................... 48
Key Maps .........................................................................................49
Tuning Tables..................................................................................50
Tuning Tables: Scales.............................................................................. 50
Tuning Tables: Custom Table ................................................................ 50
Tuning Tables: Real-time Tables............................................................ 51
Zone Editing ....................................................................................52
Program Library..............................................................................53
Program Library: Selecting and Naming Programs............................. 53
Program Library: Shuffling and Clearing Programs............................ 54
Settings .............................................................................................56
Settings: Display Contrast ...................................................................... 56
Settings: Program Change Numbering ................................................. 56
Settings: Base Channel ............................................................................ 56
Settings: LEDs.......................................................................................... 57
Settings: Volume Pedal ........................................................................... 57
Settings: Note Display ............................................................................ 57
Settings: Dynamics.................................................................................. 57
Settings: Effects Editing .......................................................................... 58
5 …MIDI Revealed .......................................................................................... 60
History .............................................................................................60
MIDI Connectors.............................................................................60
MIDI Channels ................................................................................61
MIDI Messages................................................................................61
Voice Messages ...............................................................................62
Voice Messages: Note On ....................................................................... 62
Voice Messages: Pitch Bend ................................................................... 62
Voice Messages: Program Change......................................................... 62
Voice Messages: Control Change........................................................... 63
Mode Messages ...............................................................................63
System Messages.............................................................................63
General MIDI...................................................................................64
6 …Appendices.................................................................................................. 66
Appendix A - Controller Assignments .........................................66
Appendix B - Permanent Programs ..............................................67
The Basics................................................................................................. 67
Mallet Differentiation.............................................................................. 69
Timbre Controllers.................................................................................. 69
Benders..................................................................................................... 70
Tuning Tables .......................................................................................... 71
Mono/Poly .............................................................................................. 72
Tunings and Extras ................................................................................. 73
Appendix C - Program Worksheets ..............................................74
MARIMBA LUMINA iii

User Guide
TABLE OF CONTENTS-continued
Appendix D – Internal Synth Instruments ...................................81
Appendix E – MIDI Implementation Chart .................................85
Appendix F - Expanded Connections...........................................87
Appendix G - Latency and Density Issues ...................................88
7 …Index ............................................................................................................ 89
iv MARIMBA LUMINA
User Guide
1
…Introduction
Modeled somewhat after its acoustic namesake, Marimba Lumina is an electronic MIDI
controller that brings an extended vocabulary and range of expression to the mallet
instrument family. Marimba Lumina’s playing surface includes a traditionally arrayed
set of electronic bars and some (not so traditional) trigger pads and strips (reminiscent of
those early ribbon controllers). The instrument is played with special foam-covered
mallets. Although primarily a controller, Marimba Lumina has a built in synthesizer,
and can thus function as a complete instrument, ready to plug in and play.
As you may have suspected, Marimba Lumina adds a few tricks to the usual capabilities
of the marimba. User definable "Zones" allow portions of the instrument to respond to
gesture in different ways. Augmenting the potential for expressive control, Marimba
Lumina responds to several new performance variables, including position along the
length of the bars, dampening, and note density. And for those looking for more
possibilities, Marimba Lumina can identify which of four color-coded mallets has struck a
bar. This allows one to program different instrumental responses for each mallet, or to
implement musical structures in which one mallet selects a course of action while others
modify or implement it.
Marimba Lumina contains a particularly friendly user interface, with an extended 80-
character display, and a mallet activated editing facility. Advanced software allows
complex relationships between performance gestures and musical responses to be readily
defined. Pitch wheels, pan pots, level sliders and modulation wheels are easily
implemented. User definable keymaps and tuning tables provide for alternate tunings
and ancillary drum kits. Abundant programs are provided; they can be played right “out
of the can”, or can be spiced up a bit to suit individual tastes.
To pull all this together took some dedication and talent. Several people deserve special
mention for their contributions to Marimba Lumina’s realization:
Heading up the programming staff, percussionist/programmer Mark Goldstein shared
Don's vision of a marimba for the 21st century. An expert mallet player, Mark studied at
the Peabody Conservatory of Music. Never short on performance-enhancing ideas, Mark
endowed Marimba Lumina with truly amazing capabilities (like responding to density,
and differentiating between chords and melody).
6 MARIMBA LUMINA
User Guide
Introduction
Assisting Mark was Chuck Carlson. Chuck programmed the highly acclaimed user
interface for Lightning, and has applied his skills to making Marimba Lumina's the
friendliest user interface ever.
Coordinating hardware development and helping with sound design, Joel Davel
contributed his talents to just about every aspect of the project, including printed circuit
design, beta testing, and sound design. He too is a mallet player, having studied
percussion at Northern Illinois University and electronic music at Mills College, and
currently performing and recording with Next Village, Amy X Neuburg, and Jack West.
Thank Joel for the creation of many of the remarkable programs you will find residing in
your Marimba Lumina.
Helping with testing and prototyping was yet another skilled mallet player/composer,
Brian Rice. A stickler for detail, Brian's unenviable task was to insure that all the little
pieces of these somewhat complex instruments fit together in a precise manner.
Sharing his ideas and knowledge on user interfaces and percussion vocabularies, was the
man behind the MalletKAT, Mario DeCiutiis. Mario travels the world over, checking out
the latest trends and staying very much in touch with the mallet playing community.
Taking over the production of the Marimba Lumina, the Multimedia Division of
Nearfield Systems brings a commitment to quality control unmatched in the musical
instrument field. Thanks to the Nearfield staff for bringing the Marimba Lumina to the
musical community.
Here's trusting you will have as much fun playing Marimba Lumina as we did in
creating it.
Don Buchla
Berkeley, 2000
MARIMBA LUMINA 7
User Guide
Introduction
IMPORTANT SAFETY PRECAUTIONS

Before using Marimba Lumina, please read all instructions, and kindly respect the following
safety guidelines:
Do not use Marimba Lumina in rain or snow; do not take it into your bath, sauna,
or hot tub. Avoid spilling liquids into Marimba Lumina.
Locate Marimba Lumina away from heat sources such as radiators, fireplaces,
stoves, or solar cookers.
Exercise close supervision when using Marimba Lumina near children or when
children are using Marimba Lumina.
Marimba Lumina's power supply is for indoor use only. Do not use a damaged or
alternate supply.
Refer all Servicing to qualified personnel. There are no user serviceable parts or
adjustments inside Marimba Lumina.
CARE & FEEDING

Marimba Lumina can be placed on a flat surface, or on a standard keyboard stand.
Avoid spilling solvents, beverages, or scratchy things on Marimba Lumina’s playing surface. The
surface is a specially formulated polyester, and can be cleaned with a soft cloth or sponge in
conjunction with dish-washing detergent or glass cleaner. For really serious stuff, lacquer thinner
can be used, but wipe it off gently and thoroughly. No abrasives, please.
We recommend an occasional application of fine furniture oil to Marimba Lumina's walnut trim.
Use sparingly and wipe off thoroughly.
Marimba Lumina’s mallets are quite specialized, and should not be applied to general-purpose
use. New mallets may shed a bit - a soft brush can be employed to remove mallet dust from the
surface.
Note that ordinary mallets will not work with the instrument - Hard
mallets may even damage the surface.
ORGANIZATION OF THIS MANUAL

Since you have obviously made it this far, we can safely conclude that you are not one of those
"never read the manual" folk. An understanding of how we organized this User Guide will
hopefully contribute to your efficient use of said document. So, here is a blow-by-blow
description of the major sections:
The first section, which you're almost through now, is basically "stuff you should know up
front" - what it is, who did it, safety precautions, how to care for it, and what to expect as you
peruse this document.
In Section 2, we will explain how to set up the instrument and how to call up and play the
permanent programs that reside in it. Marimba Lumina is a pretty straightforward instrument -
8 MARIMBA LUMINA
User Guide
Introduction
this section is short and aimed toward getting you sonic in very short order. This section
concludes with brief descriptions of all of Marimba Lumina’s permanent programs.
You can get a lot of mileage out of Marimba Lumina's built-in programs, but eventually you'll feel
the urge to tweak some effects parameter, adjust a split point, change an instrument, modify a
velocity curve, or otherwise tear into our carefully crafted presets. Then, if our hunch is right,
you will want to construct programs that reflect your ideas on just how a controller should
respond to your gestures. Section 3 is a hands-on tutorial that introduces you to Marimba
Lumina’s editor, and guides you through the making of a simple program. It will give you a basic
understanding of what goes into the construction of a program and the confidence you will need
to tackle the next section.
Section 4 is your detailed roadmap of Marimba Lumina’s editor. It is organized by major
categories that follow the main menu choices. Subdivisions methodically explain the range and
significance of every datum.
Note that Marimba Lumina’s operating language is a music-oriented
language, designed by musicians for musicians. It bears no resemblance to
computer programming languages, and requires no experience in this field.
Marimba Lumina is fundamentally a MIDI controller, and consequently this manual contains
many references to MIDI. Section 5 is a primer on the subject; whenever you find an obscure
reference to some MIDI term or concept, skip ahead to this section for instant enlightenment.
Are you ready for some sounds now? We thought so.
MARIMBA LUMINA 9
User Guide
2
…Plug & Play
In addition to this manual, you should find the following items accompanying the Marimba
Lumina:
• 1 power supply
• 4 mallets, color-coded red, yellow, green, and blue
• 1 memory card
• 1 registration card
Mail in your registration card and place the instrument on a table or sturdy keyboard stand.
Hook up as follows:
CONNECTIONS
The simplest Marimba Lumina hookup, depicted in Figure 1, requires only the connection of
power, audio outputs, and an optional foot pedal and/or switch. All connections are on the right
side of the instrument; labels are on top. Marimba Lumina operates from a 12 volt 1.2 ampere
D.C. supply, which, in turn requires 110 VAC at amp (220 VAC version available). Connect
the Audio Outputs (which come from Marimba Lumina's internal synthesizer) to an amplifier or
mixer, and you are ready to play.
To control an external Synth, connect a 5-pin DIN cable (a MIDI cable) from Marimba Lumina's
MIDI Out to your synthesizer's MIDI In. Route the Synth's audio output to a sound system,
and you're on. See Figure 2.
Power
(110
12 VDC
VAC)
MARIMBA LUMINA
Audio
Out To Amp
or Mixer
Pedal
Figure 1 Simplest Hookup
10 MARIMBA LUMINA
User Guide
Plug & Play
Power
(110VAC
12 VDC )
MARIMBA LUMINA
MIDI
out
Audio
MIDI In out
Pedal
Synthesize To Amp
or Mixer
Figure 2 Hookup with External Synth
ADDITIONAL CONNECTIONS
MIDI In is used for program selection and to derive real-time tuning tables from another MIDI
instrument. MIDI messages may be merged with Marimba Lumina's MIDI data and sent to the
internal or to an external Synth. The MIDI Auxiliary is normally configured as a MIDI through:
it replicates MIDI in and is used when chaining MIDI devices.
Two footswitch inputs can serve as stimuli for patches, and are commonly applied to such tasks
as sustaining notes, sending MIDI program changes, and selecting and altering programs. Further
details appear in the section on patches.
Connect footswitch(es) before applying power, so that Marimba Lumina can determine which
kind of switch(es) you are using (normally open or normally closed).
A pedal input is provided. It accommodates an analog pedal, usually referred to as an
“expression” pedal, and occasionally called a C.V. (control voltage) pedal or keyboard volume
pedal. Here’s a hint: A true pedal, of the sort that you’ll find useful in the present context, will
have one jack or cord and three conductors (like a stereo headphone connector). It consists of a
simple potentiometer connected across the sleeve and ring of a TRS (Tip,Ring,Sleeve) connector,
with the tip connected to the wiper. A Roland EV-5 passes muster, though its right angle
connector is inconvenient. Some of the Korg pedals have “expression” output jacks (sometimes
in addition to other jacks).
A trigger input, for use with an external triggering device, is also provided.
Note that connecting with stereo splitting plugs can double the number of
switch or trigger inputs. See Appendix F for further details.
MARIMBA LUMINA 11
User Guide
Plug & Play
SELECTING AND PLAYING PROGRAMS

O.K., we are hooked up and ready to move on. With the mallets removed from the playing
surface, turn on the power; the LCD will assume a greenish glow and will briefly display a
software version number, then a program number:
Program 15 (Name of current progra m)
Note that we emphasize the importance of turning on the power with the
mallets NOT resting on Marimba Lumina’s playing surface. Ignoring this
precaution will cause no harm, but it is likely to result in a dead key or
two until the next cycling of power.
Now let’s select a program. The permanent programs start at #101. Tap the Program pad
(PROG) with any mallet; a bunch of numbered pads will light, indicating their readiness to accept
data. Now hit pads 1, 0, and 1 again. PROGRAM 101 should appear on the display. Tap PROG
again to complete the selection process and return the instrument to the play mode. The name of
program 101, "Tuned Percussion" will be displayed. Now play the instrument. Program 101
bears a strong resemblance to a marimba. Hit Pads 1 through 5 to select different instruments.
This program provides several means of transposing the instrument. Pad 6 transposes one octave
down; Pad 0 transposes one octave up, and Pads 8 returns the transposition to normal. Each time
it is struck, Pad 9 adds one half-step to the current register; Pad 7 subtracts a half-step.
When you tire of this one, select another program and have at it. Care to try the WaSyndicate?
Hit PROG; then hit pads 1, 2, and 3. PROGRAM 123 will be displayed. Hit "PROG" again; the
name "WaSyndicate " will appear, and you will be returned to the play mode, ready to try out
the WaSyndicate.
This program introduces several features that are unique to ML. First play the bars with one
mallet and observe the change in brightness that is dependent on position on the bar. At the
bottom end of the bars, you will hear a quiet dull sound; at the tops of the bars, the sound will be
loud and bright. Also, observe that the sound is sustained when you leave the mallet in contact
with the bar. Position and sustained contact are two of Marimba Lumina’s unique performance
variables. Note that footswitch 1, for this program, becomes a sustain pedal.
Now play with each of the four mallets; each mallet produces a unique sound (all selected from
the same instrument family). ML has the remarkable capability of distinguishing which mallet has
struck a bar. Observe the LEDs (light emitting diodes) above Strip 1. Each mallet will extinguish
its corresponding LED when it is in contact with the instrument. Now you understand why the
mallets are four different colors.
This patch also utilizes the digital effects capability of the internal synthesizer. Strip 2 controls
the amount of a pulsating washy reverb added to the sound. Maximum reverb occurs at the right
extreme of the strip. In a similar fashion Strip 1 controls the amount of a resonant reverb.
The Pads (those 10 pentagons centered between the strips) will respond to any mallet. Striking
Pad 1 or Pad 3 will start a sequence of notes, while striking Pad 2 or Pad 4, will stop the
corresponding sequence. (Pad 5 does nothing.) When you play any of Pads 6 through 0, you’ll
change the transposition of the sequence started by Pad 1 or Pad 3.
12 MARIMBA LUMINA
User Guide
Plug & Play
For this program, the LEDs on the Pads have been programmed to provide some visual feedback
appropriate to the program. The LEDs on the bars and strips provide status information as a
matter of course. All this assumes that the LEDs have been directed to indicate status (set in the
options menu).
Now try another way to select a program. Again tap the program pad, and observe the four
illuminated LEDs in the strip under the LCD display. Tap one of the two rightmost LEDs to
increment the program number; one of the two left to decrement it. Hold a mallet on one of the
center LEDs to slowly change the program number, or on one of the outside LEDs to speed
things up. This selection method allows you to preview the program names; when you see
something you'd like to hear, just stop and hit the program pad.
Now that you can navigate the program library, check out a few that intrigue you. Some of the
programs deserve some explanation. You will find detailed descriptions of each in Appendix B.
Note that if in the process of learning to access Marimba Lumina’s
programs, you hit the Edit button, you may enter the Edit mode, indicated
by an illuminated LED concealed under the button. We promise to explain
the intricacies of editing Marimba Lumina in the next section, but for now
we would suggest returning to the Play mode by striking the Edit button
once again.
MARIMBA LUMINA 13
User Guide
3
…Get Your Feet Wet
THINGS YOU NEED TO KNOW BEFORE

YOU GET STARTED
SOME CONVENTIONS TO MAKE READING THIS SECTION

EASIER
Anything in < > means strike this key or the key with this label. Strike it only once! (There is
no “double-clicking” when editing.) For example:
• <EDIT> means strike the Edit key.
• <5F> means strike 5F.
• <ENTER> means strike 6C#, the “Enter” key.
• <ESCAPE> means strike 6A#, the “Escape” key.
• <5G,ChanlSetup> means strike 5G with information that it selects the Channel
Setup menu item.
THE EDITING MALLET

Edit with either a blue, green, or yellow mallet, but NOT a red mallet. The red mallet has special
functions in the edit mode and will always be specified. For the purpose of this tutorial, try one-
handed editing. After you get the hang of it, you could use two hands.
HOW TO SCROLL
The words “Scroll <Up> or Scroll <Down>” are used when describing actions on Strip 2. When you
make sustained contact with the right half of Strip 2, values scroll up. Contact the left half of the
strip, and the values scroll down. Scrolling is faster near the ends of the strip than near the middle.
Execute quick taps on Strip 2 to increment or decrement values one at a time. In this procedure, the
words “Tap <Up>” will be used if the next value is very close.
Try this as an example for selecting a program from Play (non-Edit) mode.
1. <PROG>
2. Scroll <Down> to Program 1.
14 MARIMBA LUMINA
User Guide
Get Your Feet Wet
3. <PROG>
TRANSLATION
1) Strike the <PROG> key, causing the PROG key LED to illuminate.
2) Make contact with the left half of Strip 2 until it shows Program 1 on the display. (If
that is where you started, try scrolling up first by making contact with the right half
of Strip 2.)
3) Strike the <PROG> key again. The Program key LED goes out. You’ve entered a new
program.
BE FEARLESS
Have no fear! You cannot break the instrument by editing. (Although you can ruin someone
else’s hard work if you edit their preset. But that’s what they deserve for not backing up.)
The LEDs should help guide you. The keys that are available for editing will always be lit. They
change with each menu.
If you ever get lost, don’t panic! Strike the <EDIT> key to return to the Play mode. Then strike
<EDIT> again to return to the top of the edit menu. If you made just one wrong move, strike
<ESCAPE>. When <ESCAPE> is available (when its LED is on), it often returns you to where
you left off.
BUILDING A NEW PROGRAM

Find a blank program to start this editing session. Program 50 should be a blank program in new
units. If you can’t find a blank, see the Program Library section of the Editor for instructions on
how to erase a program.
1) Strike <PROG>.
2) Scroll <Down> or <Up> to an unnamed Program.
3) Strike <PROG>.
WHAT A BLANK PRESET PLAYS LIKE

Try playing. No sound will be heard and the keyboard LEDs will not light. (If this is not the
case, this is not a blank preset, or possibly the LED status has changed.)
Some LEDs will always function. The red, yellow, green, and blue LEDs will always indicate the
activity of their associated mallets.
Play Strip 1 with either the red or yellow mallet. These LEDs will track. Play Strip 1 with the
blue or green mallet. The LEDs will not track. The opposite is the case with Strip 2. This is
always the case with the strips, regardless of whether they have an assigned function.
MARIMBA LUMINA 15
User Guide
Get Your Feet Wet
GETTING COMFORTABLE WITH THE EDIT MENUS

1) Strike <EDIT>. This is the main edit menu. The keys that are now lit all have an edit
function. The bottom row of bars have a direct correlation with the menu items in the
display. The bars above them serve functions that are alluded to by their names.
Starting from the right, let’s enter each menu item and then return to the main edit menu:
2) Strike <6E,Settings>. The settings menu comes up.
3) Strike <ESCAPE> (A#5). We’re back to the main menu.
Notice that it took a moment after striking <ESCAPE> to display the main menu. This delay is
normal.
4) Strike <6D,ProgLbry>. The program library menu.
5) Strike <ESCAPE>. The main menu.
6) Strike <6C,ZoneEdit>. The zone edit menu.
8) Strike <5B,TuneTbls>. The tuning tables menu.
10) Strike <5A,KeyMps>. The key maps menu.
12) Strike <5G,ChanlSetup>. The channel setup menu.
14) Strike <5F,PtchEdit>. The patch edit menu.
15) Strike <ESCAPE>. Do not enter the patch.
16) Strike <ESCAPE> again. The main menu.
17) Strike <EDIT>, the edit LED goes off and you return to play mode.
Now we will stop insulting your intelligence and stop saying “strike” every time. We will
also leave out menu titles once they have been introduced.
ENTERING A PATCH
From play mode (the Edit LED is off).
1) <EDIT>. The main edit menu.
2) <5F,PtchEdit> The patch edit menu displays. Under Pa (Patch#) is Nw (New).
3) <5B,St>. The 5B/Stimulus LED flickers. The cursor moves and “St” capitalizes to
“ST”.
4) Scroll <Up> (Place the mallet on the right half of Strip 2) until it displays the all
mallet downstroke symbol. It should naturally pause there on its own. This is the
most typical manner of play.
16 MARIMBA LUMINA
User Guide
Get Your Feet Wet
5) <6D,Duration>.
Each time you strike 6D, the cursor will move to different fields (positions) under
“DURATION.” Try it.
6) <6D> <6D> <6D>. Now you should be back at the first field (under capital D).
7) Scroll <Up>. (Tap the mallet on the right half of Strip 2) until .25 is displayed.
8) Cursor to the third field <6D> <6D>.
9) 4 taps <Up> to Ss1.
The duration is now set so that downstrokes will start notes held 0.25 seconds unless footswitch
1 (Ss1,sustain1) is engaged like a sustain pedal. The rest of the information is there by default.
The translation of the display:
There is a new (Nw) patch playing in the all bars zone. downstrokes from any mallet will use
key map 0 (KM0) and hold notes for 0.25 seconds unless footswitch 1 is engaged. This patch
does not respond to transposition, and it plays on MIDI Channel 1.
10) <ENTER>. Patch entered.
11) <ESCAPE>. Main menu.
12) <5G,ChanlSetup>
13) <5G, Instrument>
14) Tap <Up> to 8 Celesta. (The zeros 0:0:- displayed automatically. These are the Bank
MSB and Bank LSB. Striking 5G would move the cursor through those fields.) You
have selected a Celeste sound.
That is all you need to setup a basic instrument. Let’s play it.
15) <EDIT>. Now you are in play mode. So PLAY!!!!
ADDING MORE TO IT
1) <EDIT>
2) <5F,PtchEdit> The patch 1 is displayed.
3) <ENTER>.
Now you are entering a “New” Nw patch. Notice that the default values are now the same as
Patch 1. Let’s use the same patch duplicated on MIDI Channel 2.
4) <6F,Chanl>
5) Tap <Up> to 2.
6) <ENTER>. New patch entered.
7) <5F,Pa>. Patch 2 is displayed.
8) Strike the BOTTOM of <5F,Pa>. Patch 1 is displayed.
9) Strike the TOP of <5F,Pa>. Patch 2 is again displayed.
MARIMBA LUMINA 17
User Guide
Get Your Feet Wet
5F has a special mode that functions similarly to Strip 2. It scrolls the numbers in its menu field.
The TOP of the bar will scroll numbers UP; the BOTTOM will scroll numbers DOWN. Use
<5F,xxx-Up> or <5F,xxx-Down> to signify the difference between the top of the bar and the
bottom.
10) <ESCAPE>. Main menu.
11) <5G,ChanlSetup>
12) <5F,Ch-Up> to 2. Editing MIDI channel 2.
13) <5G, Instrument>
14) Scroll <Up> to 82 Calliope Lead.
15) Now pick up the RED mallet and play on any bar including the edit bars. You should
be able to hear it. That is because, in the Channel Setup menu, the red mallet will play
the sound on the displayed channel while the other mallets are still used for editing.
Let’s continue, and this time give the instrument a different velocity curve:
16) <6D,Vel>
17) Tap <Up> to the second curve (less velocity sensitive).
18) <EDIT>. Back to play mode.
Try playing this one. The sustain pedal has a more audible affect on the calliope. However,
unlike a calliope, you cannot play short notes while holding long notes. Let’s change that:
19) <EDIT>
20) <5F,PtchEdit>. Patch 2 is displayed (If not, <5F-Up> to it).
21) <6D,Duration>, <6D>, <6D>. Cursor to the 3rd Duration field at Ss1.
22) Tap <Up> to RS1. Now it’s set to “Release” with Sustain still on footswitch 1.
Now it holds the note as long as the mallet remains in contact with the bar—like a keyboard.
You could be done with this program now, but you have not explored many of Marimba
Lumina’s unique features. First, let’s name it so that if you take a break, you will find the
program again.
NAMING THE PROGRAM

1) <EDIT>
2) <6D,ProgLbry>. You have entered the Program Library menu.
3) <5G,Name>. Naming. You’ll name it “Celiope.”
4) Tap <Up> to C.
Now how to move the cursor, you ask? 5G will now work like 5F sometimes does. The TOP of
the bar will move the cursor forward; the BOTTOM moves the cursor backward. So. . .
1) <5G-Up> to move the cursor one position.
18 MARIMBA LUMINA
User Guide
Get Your Feet Wet
2) Scroll <Up> (on Strip2) beyond the upper case to lower case e.
3) <5G-Up> again to move the cursor one position.
4) Scroll <Up> (on Strip 2) to l.
Notice that, as a convenience, scrolling values start from the last entered letter.
5) <5G-Up> again to move the cursor one position.
6) Tap <Down> (on Strip 2) to i.
Now continue in this fashion: entering letters until you have spelled “Celiope”. Then:
7) <ENTER> to enter the name.
You have completed your first program! Now consider adding other features to it.
ADDING A CONTROLLER
1) <EDIT>
2) <5F,PtchEdit>. Patch 2 is displayed.
3) <ENTER>. Entering a New patch.
4) <6C,Note>. Entering the “Object Type” field. NOTE is capitalized.
5) <6C>
Striking C5 again, changes from a Note entry to a CONTRLER (MIDI controller) entry.
Repeated strikes of C5 will cycle through all the Object Types.
6) Scroll <Up> to 7Volume. This selects the MIDI controller number.
7) <6E,Ml/Zn>. Cursor under ML. Select which mallets will have control over
“volume”.
8) Scroll <Up> to !!!!. All mallets selected to have control.
9) <6E,Ml/Zn>. Cursor moves to under ZN.
Let’s keep it ALL ZONES. Do not change the zone default.
10) <5A,Zn>
Let’s edit the zone for the stimulus that engages the control:
11) Pick up the RED mallet and strike <Pad 8 with RED>. Using the red mallet is a short
cut to scrolling to individual bars or pads. P8 is displayed.
Back to the non-red mallet:
12) <ENTER>. Patch Entered. Cursor is still under the zone.
13) Pick up the RED mallet and strike <Pad 0 with RED>. P0 is displayed.
Back to the other non-red mallet:
14) <6D,Source>. Cursor at SOURCE.
MARIMBA LUMINA 19
User Guide
Get Your Feet Wet
15) <6D> again. ACTION is displayed.

16) Scroll <Up> to Disconnect.
17) <ENTER>. Patch Entered.
18) <5F,Pa>. You exited the “New” patch mode. Patch 4 is displayed. You should have 4
patches now. Patch 4 says that any downstroke on Pad 0 will disconnect MIDI
volume control on MIDI channel 2.
19) <5F,Pa-Down>. Patch 3. Patch 3 translates as: Any downstroke on Pad 8 connects
MIDI volume control to the Absolute Location of any mallet position on a bar for the
sound on MIDI channel 2.
Try it out. It should play as before. Then:
21) Strike Pad 8.
Now the top of the bar sounds both the calliope and the celesta, but the celesta plays alone at the
bottom of the bar. Lay one mallet in contact with the bar and slide it up and down. You can hear
the volume go up and down like a fader control.
By the way, even though any mallet can have this control, they cannot have this control
simultaneously. Only one mallet will have this control at a time. Otherwise the mallets would
fight for volume control on the same MIDI channel. For an example of how to make each mallet
have independent control (using independent MIDI channels), look at Program 133 “Banjo’s
Bellows.”
22) Now strike Pad 0. The volume control will disconnect and the calliope will remain at
the last volume set by the mallets.
ADD PITCH BEND TO STRIP 1

1) <EDIT>
3) <ENTER>. Entering a New patch. (Inserting between patch 3 and patch 4.)
4) <5A,Zn>
5) Pick up the RED mallet and strike <Strip 1 with RED>. This is a short cut to
scrolling. Strip 1 zone is displayed (Back to the other non-red mallet).
6) <6C,Contrler>. Entering the “Object Type” field. CONTRLER is capitalized.
7) Scroll <Down> to PitchBnd.
8) <6E,Ml/Zn>. Cursor under ML.
9) <6E,Ml/Zn>. Cursor moves to under ZN.
10) Scroll <Down> (all the way) to the Strip 1 zone. Alternately, you could have used the
red mallet to select it.
20 MARIMBA LUMINA
User Guide
Get Your Feet Wet
12) <5F,Pa>. You exited the “New” patch mode. Patch 4 is displayed. You should have 5
patches now. Patch 4 translates as: Any downstroke on Strip 1 connects Pitch Bend
control to the Absolute Location of any mallet position on Strip 1 for MIDI channel
2.
Try it.
Let’s make it behave more like a Pitch Bend wheel that starts in the center and bounces back to
center when you let go:
1) <EDIT>
Edit the patch:
3) <6D,Source>. Change AbsLoc.
4) Tap <Up> to RelLoc. Use Relative Location.
5) <ENTER>. Start entering a New patch. (Inserting between patch 4 and patch 5.)
6) <5B,St>. The cursor moves and “St” capitalizes to “ST”.
7) Scroll <Up> to all mallet upstroke symbol (An arrow with 4 bars pointing UP).
8) <6D,Source>. Cursor at SOURCE.
9) <6D>. ACTION.
10) <6D>. VALUE is displayed.
11) Scroll <Up> to 64 Default Pitch Bend value.
Note that setting a value also disconnects the controller.
12) <6E>. TIME.
13) Tap <Up> to .12. This is so that the pitch will not adjust too abruptly. This patch
reads as: any upstroke from Strip 1 will center the pitch in .12 seconds for channel 2.
15) <ESCAPE>. Back to main menu.
TROUBLESHOOTING
In the case that you entered the patch, but it does not seem to work, try re-entering the program
by striking <PROG> <PROG>.
MARIMBA LUMINA 21
User Guide
Get Your Feet Wet
FINAL TOUCHES
ADDING AN EFFECT
1) <EDIT>
2) <5G,ChanlSetup>
3) <5F,Ch-Down> to 1. Editing MIDI channel 1.
4) <6C, Effect> <6C>. Cursor at 2nd field of EFFECT. The “Chorus” field.
5) Scroll <Up> to 10.
6) <5F,Ch-Up> to 2. Editing MIDI channel 2. The cursor stayed at the EFFECT field.
7) Tap <Up> 0. Set the effect to zero/off for channel 2.
8) <5F,Ch-Down> to 1. Back down to channel 1 so that the effects will audition on this
channel.
9) <6F, Vol>
10) <Down> to –6. Set MIDI volume down to –6dB to compensate for the added volume
the effects will probably add.
12) <6E,Settings>. Settings menu.
13) <6F,EffxEdit>. Effects menu.
14) <5G,Chorus>
15) Tap <Up>.
You can audition these Effects for that last selected channel by using the RED mallet. Try
playing with the red mallet as you scroll through the Chorus effect. Some of the effects are
subtle:
16) Tap <Up> to Shimmer.
17) <ENTER>. Edit the “shimmer” effect.
18) <5F,LfoFreq> Change LFO Frequency.
19) Scroll <Down> to 7.0Hz.
Try it now.
ADD INFORMATIVE LEDS

You might want to know whether you have struck Pad 8 or Pad 0. LEDs only light with Note-
ons (with the exception of the Strips.)
The Pads can be assigned to play notes:
22 MARIMBA LUMINA
User Guide
Get Your Feet Wet
1) <EDIT>
2) <5F,PtchEdit>
3) <5F,Pa-Up> to top patch (patch 6).
4) <ENTER>. Start a New patch.
5) <5A,Zn>
6) Tap <Down> to PZ. The all Pads zone.
7) <6C,Contrler>. Entering the “Object Type” field..
8) <6C > <6C > <6C > <6C >. NOTE
9) Tap <Up> to KM1.
10) <6D,Duration>
11) Scroll <Up> Inf. Infinite duration. Note will stay on until something turns it off.
12) <6F,Chanl>
13) Scroll <Up> to sp. “Special” channel that does not put out actual notes.
16) <5A,KeyMps>. Edit the key maps.
Following the displayed directions:
17) <ENTER>. Editing Key Map 1
18) <Pad 0>. Pad 0 flickers
Now with the RED mallet:
19) <C3-RED> or any pitch.
With other mallet:
20) <Pad 8>. Pad 8 flickers.
Now with the RED mallet:
21) <C3-RED>. Must be the same note. Even though the notes are set for infinite
duration, they will steal from each other if they are the same notes.
Now the LEDs on Pad 8 and Pad 0 will inform you as to whether you have engaged the bar
position control on the calliope volume.
The program is COMPLETE. If you have made it this far, you should have good idea of how the
editor works. From here you should look at the factory/FIXED programs and try modifying
them to get more ideas.
TO COPY A PROGRAM FROM FIXED TO USER MEMORY

From any program:
MARIMBA LUMINA 23
User Guide
Get Your Feet Wet
1) <EDIT>
2) <6D,ProgLbry>
3) <5F,Prg>, <5F >. BANK.
4) Strike <5F > repeatedly until it displays FIXED.
5) Scroll <Up> to 109 Wa Syndicate.
6) <6C,CpyTo>. CPYTO.
7) Strike <6C > repeatedly until it displays USER.
8) Scroll <Up> to any open preset.
9) <ENTER>. Program copies.
10) <EDIT>, if you want to return to play mode.
24 MARIMBA LUMINA
User Guide
4
…The Editor
In this section, we will describe Marimba Lumina's editing facility. The instrument’s operating
language allows a wide range of expressive control, and its editor provides the user with the
capability of specifying an enormous range of relationships between performance gesture and
instrumental response. We will start with an overview of…
THE USER INTERFACE

Mallets # 2, 3, and 4 are used interchangeably for all edit operations. Mallet 1 is used for a
special function - that of selecting notes directly. The mallets are color coded as follows: #1=red,
#2=yellow, #3=green, #4=blue. The activity LEDs (omitted on Figure 3, but located to the right
of the Marimba Lumina legend) appear in this order and serve to remind you of these
assignments. Or just think of a rainbow.
numeric entry
prog display edit

MARIMBA LUMINA
data entry
mute
solo
esc
enter
reset
5F 5G 5A 5B 6C 6D 6E 6F
menu select bars
Figure 3 User Interface
Refer to Figure 3. The "ENTER" bar is used to perform menu selections, to enter data into
Marimba Lumina's memory, or occasionally to initiate actions. The "ESCAPE" bar is used to
abort actions and to return to higher level menus. The “RESET” bar restores the initial condition
of the program, resetting controllers to initial values, and making sure that all notes are off. This
26 MARIMBA LUMINA
User Guide
The Editor
reset of initial conditions is also performed automatically when you enter a Program from the
Play Mode. Hitting the RESET bar also returns the user from the Edit Mode to the Play Mode.
The MUTE and SOLO bars are used to audition and solo specific channels; further details are
offered in the section on Channel Setup..
The natural bars in the highest octave are used for menu selection or data field selection within a
menu. The number of natural bars used for this function depends on the number of entries in the
menu; LEDs indicate which bars are potentially active. Frequently, the 5F bar is used to
directly change the number displayed in the first field. Hit the top of 5F to increment this
number; the bottom to decrement it.
The data strip is used to alter displayed data. To expedite data entry, the data strip has three
modes of operation:
• A strike on either side of the data strip increments (or decrements) data.
• If the mallet is held just to the left or right of center for more than half a
second, a scrolling mode is engaged .
• If the mallet is at either end of the strip, the scrolling speed is increased.
THE USER INTERFACE: MAIN MENU

Marimba Lumina wakes up in the Play mode. Hit EDIT to bring forth the Main Menu:
Ptch Chanl Key Tune Zone Prog Sett

Ed i t Setup Mps Tbls Ed i t Libry ings
Patch MIDI Key Tuning Zone Program

Channel Settings
Editor Maps Tables Editor Library
Setup
To return to this menu from any sub-menu, hit ESC, and to leave the edit mode hit it again.
Programs cannot be played while in the Edit mode.
The Main Menu offers seven branches, each of them dealing with some important aspect of
Marimba Lumina’s programming. Hitting one of seven natural bars (5F, 5G, 5A, 5B, 6C, 6D, and
6E) accesses the seven entries of the Main Menu. These keys lie in the top octave and are
identified with illuminated LEDs. We will begin our exploration with the patch editor. Patches are
an important component of programs; they are the primary means by which musical meaning is
attached to gestures.
A note on notation - Marimba Lumina adheres to the convention of switching octave numbers at
C, with middle C being the lowest note of the fourth octave. (In MIDI notation, middle C is
MIDI note 60.) In this manual, and in Marimba Lumina’s display, the note above middle C is
represented as 4C# - the octave number precedes the note. Summarizing:
Octaves Bars Lowest Note Highest Note
3 42 3C (MIDI 48) 6F (MIDI 89)
Note that the octave numbers are written on the bottoms of all the C’s.
MARIMBA LUMINA 27
User Guide
The Editor
PATCHES
From the Main Menu, select the Patch submenu.

Hit the first of the illuminated keys (6F) to access the Patch menu. You will see:
Pa Cmd Z n S t N o t e Du r a t i o n Tr n s Ch a n l
Nw D e l KM0 : : Of f 1:
Patch # Editor
Zone Stimulus
Or State Command
Corresponding with the seven headings in the patch menu are the seven natural bars of the top
octave. To access the data under a heading, hit the appropriate bar to select the heading, which
will then be capitalized; then use the data strip to alter the data.
PATCHES: STATES
The patch editor has two states; the Edit state is used to modify patches already in the table; the
number of the patch will be displayed in this case. The New state is used for creating new
patches; “Nw” will replace the patch number when in this state. Use the 5F and Enter bars to
switch states, with bar 5F switching from New to Edit, and "ENTER" performing the opposite
function.
Note that a blinking Edit LED reminds you that you're editing a patch,
and therefore potentially changing already stored data.
If there are no patches in the current program, the New state will be automatically selected, and
the data fields will contain values used by the previously entered patch.
On changing states from Edit to New, the displayed patch (from the patch table) is copied into a
patch buffer, and can then be altered as desired. The original patch is still in the patch table and
the new one is added to the table only when ENTER is hit.
Note that a new patch will be lost if abandoned before it is entered; a
warning message alerts the user to such impending disaster.
Note that a new patch cannot be executed by the stimulus until it is
entered. If modifications are in order after entering and trying out a patch,
switch to Edit state and have at it.
28 MARIMBA LUMINA
User Guide
The Editor
PATCHES: NUMBERS
Marimba Lumina assigns numbers to patches; when in Edit state the number of the displayed
patch appears in the first data field. By selecting a patch number before writing and entering a
new patch, the user can insert a new patch anywhere in the table and thus determine the ordering
of patches. Use the upper or lower ends of bar 5F to increment or decrement the patch number
and thus view the contents of the patch table.
PATCHES: COMMANDS
The second field (the Command field) is used to implement some occasionally useful actions.
Select this field with the 5G bar and use the Data strip to select from the following actions:
Del Deletes the currently displayed patch when in Edit mode. (The
next patch is then displayed and subsequent patches are
renumbered.) Enters default data when in the New mode. Use
the ENTER key to perform the action.
Ndo If, after modifying a patch in the Edit mode, you regret your
action, select "Ndo" (short for undo), and hit ENTER. The
original version of the patch will reappear.
Patches: Patch Structure

Before proceeding with further details of patch data, let's describe the general nature of a patch.
Patches establish the relationship between gesture and response. The initiating gesture is
described with a zone followed by a stimulus. The response consists of an object type and one or
more fields that contain data appropriate that object type. Note that if you use the same gesture
(zone/stimulus) to initiate multiple patches with the same object types, ambiguity may result.
MIDI synthesizers can usually handle multiple notes, but they are understandably confused if
you tell them to set a controller to more than one value at the same time. So, be cool.
MARIMBA LUMINA 29
User Guide
The Editor
PATCHES: ZONES
A stimulus may be valid throughout the range of the keyboard or it may be restricted to a
particular area called a zone. See Figure 4. The performance space is divided into 8 segments, or
cells; “black” bars (with reference to the traditional color scheme for keyboards) comprise the top
row of cells, while the bottom row contains the “white” bars. Splits between cells are, by default,
located between the B’s and C’s, thus yielding cells that are nominally one octave wide. These
splits can be user defined in the zone editor. (See Zones Editor on the Main Menu.) The default
cellular organization is as follows:
MARIMBA LUMINA pads

strip 1 strip2
cell 1 cell 2 cell 3 cell 4
Split 1 Split 2 Split 3
Figure 4 Zones
We have invented some special symbols to represent the various zones. These symbols consist
of from 1 to 10 blocks that represent the relative size and location of the cells that make up the
defined zones. Examples follow:
Represented above are: all natural bars (cells 5 - 8); all bars in the next-to-the-top octave (oct 5,
cells 3 & 7); all bars.
The ten pads located at the center of the instrument may also serve as zones. They are referred as
P1, P2, P3, P4, P5, P6, P7, P8, P9, and P0. The code “PZ” refers to a zone consisting of all ten
pads. Additionally, single bars can be defined as zones.
Entering Zone Data

To enter or alter zone data, first select the zone field with the 6E key, and then use the Data strip
to select one of the 34 graphic characters. As an editing convenience, scrolling will stop at the all
bars icon. Re-strike the Data strip to proceed.
Use the RED mallet to directly enter a pad or bar as a zone.
30 MARIMBA LUMINA
User Guide
The Editor
PATCHES: STIMULI
The next field is occupied by the stimulus. Select this field with bar 5B, and use the data strip to
alter its data.
Mallet Stimuli
A graphic symbol represents an action by a mallet or some combination of mallets. Examples
follow:
= downstroke with any mallet = release with mallet #3
= upstroke with any mallet M = strike with an isolated mallet, “melody strike”
Scrolling will pause at the "any mallet" icon. Re-strike the data strip to proceed. Recall the mallet
color code: #1=red, #2=yellow, #3=green, #4=blue.
The fourth icon represents a stimulus known as a “melody strike”. It is defined as a strike that
occurs alone, unaccompanied by any other strikes within a certain time window. This
“C/MWndow” (for Chord/Melody Window) is set in the “Dynamics” menu under the “Settings”
menu.
The Melody Strike

The fourth icon represents a stimulus known as a “melody strike”. It is defined as a strike that
occurs alone, unaccompanied by any other strikes within a certain time window. This “C/M
Wndow” (for Chord/Mel Wndow) is set in the “Dynamics” menu under the “Settings” menu.
Footswitch and Trigger Inputs

Another potential stimulus is a footswitch, indicated by a symbol that represents a footswitch
opening or closing followed by a digit from 1 to 4:
1, 2 = actuation of foot switch #1 and release of #2

Triggers may also serve as stimuli:
Tr 1, Tr 2 are the two possible entries.
Initial Conditions
A stimulus type, handy for establishing INITial conditions, is coded "Init", and is automatically
generated whenever a new program is entered (or Reset from the Edit Mode.)
MARIMBA LUMINA 31
User Guide
The Editor
PATCHES: OBJECT TYPES

The last part of the patch descriptor is the object type; hit 6C to select the object type field,
subsequent hits of 6C will cycle through the following:
Note Contrler C.Invert MIDIMessage System

The data portion of a patch occupies the remaining fields; the meaning and format depend on the
object type. After completing a patch, hit “ENTER” to enter it into the patch table. You'll still be
in New state and can proceed to compose another patch or go to the Edit state (with the 5F bar)
to change an existing patch. If you attempt to enter an incomplete or duplicate patch, you will be
so informed, and you'll be warned if you forget to enter a New patch. Marimba Lumina can
accept up to 50 patches for each program.
MIDI
Object Type Transposition
Channels
Pa Cmd Z n S t N o t e Du r a t i o n Tr n s Ch a n l
Nw D e l KM0 : : Of f 1:
Notes: Ways to Hold or

Duration Time Modifiers:
Key Maps, Terminate:
Time: Bar, Location,
Tuning tables, Release, Dampen,
Seconds Velocity
Single Note # Toggle,
Sustain Switch
Note Objects
Keymaps:
Marimba Lumina normally transmits a MIDI note-on command with a note number
corresponding to the struck bar number. This one to one mapping is realized by placing KM0
(keymap 0) in the note field. A transposition register may shift the resultant note number. More
complex relationships (particularly handy for configuring drum kits) may be specified through
the use of programmable keymaps. To invoke one, use the Data strip to scroll to keymaps 1
through 4. These are defined in the Keymap menu.
Tuning Tables:
An alternative to playing a single note by striking a bar (or a pad) is the stepping through a tuning
table (simply a list of notes – more later) with each successive stimulus. Specify a + followed by
a tuning table number (from T1 - T6), and Marimba Lumina will sequentially sound the next note
in the table. A minus sign calls for a reverse progression, and an "ST" followed by a number
directs Marimba Lumina to reset its internal counter to the beginning of the specified tuning table
(without sounding the note).
32 MARIMBA LUMINA
User Guide
The Editor
A variation on this relatively static sort of tuning table is the Real Time tuning table, abbreviated
RT, and followed by a number from 1 to 4. These tuning tables are created on the fly from note
data applied to Marimba Lumina's MIDI input, or from the playing of Marimba Lumina itself.
Tuning tables may be transposed by the bar that serves as a stimulus; follow the tuning table
number with an asterisk (*) to accomplish this. The transposition value is derived from the
distance from middle C (4C) to the actual bar you played; a tuning table played from 4C will
sound as written in the tuning table; played from 4G, the table will sound transposed up by a
fifth. More on tuning tables of all sorts in the “Tuning Tables” section.
Particular Note:
Select a particular note by scrolling through the range of MIDI note numbers (0 - 127). If you
prefer to deal with actual note names, select this option from the Settings Menu; the MIDI note
range is from -1C to 9G. The RED mallet may be used to enter notes directly (for those notes
that lie within the range of the instrument).
Velocity by Channel:
The velocity transmitted along with the note-on command is (by default) proportional to the
velocity of the gesture that served as a stimulus. The transmitted velocity can be compressed,
inverted, made constant (default velocity) or otherwise mutated if desired; the Channel Setup
menu harbors this facility.
A blank field means that no note is sounded by the patch (but the transposition register may still
be changed).
Duration
Following the note field is the Duration field, which determines when note off messages are
transmitted. This field may contain up to three entries. A cursor signals the active entry, and is
advanced by striking the same bar you used to highlight this field (6D).
The first entry is the basic note length.
• A note may last for a fixed time. A constant (.01 - 30 or inf) defines
the note length in seconds. A blank causes a very short note. “Inf “
depends on a note off originating from a source other than this timer.
This value can be modified by the second entry.
• A note's length can be made proportional to the velocity of the

initiating gesture. Follow the release time with “Vel” as the second
entry, and Marimba Lumina will scale the duration to the MIDI note
velocity. The maximum duration of such a note is twice the indicated
time; the minimum is a brief 1/5 of the specified time. To make note
length inversely proportional to velocity, enter "Vl* " here.
• Note duration can depend on the position along the bar. Follow the
release time with “Loc” . Enter “Lc * ” to reverse the response.
MARIMBA LUMINA 33
User Guide
The Editor
• Note duration can also be made to depend on transmitted pitch (MIDI

note number), with higher pitches resulting in shorter notes. The
code for this one is “Bar”. Enter “Br * ” to reverse this response.
A third field offers some further ways to terminate a note:

• A release (lifting the mallet from the bar) may end a note. Insert
“Rel” to obtain this response. Notes will last for the indicated
duration, even if the release occurs earlier (exception: duration = Inf).
• This third entry may be “Dmp”. If so, Marimba Lumina will perform a
damping function in which a release (MIDI note off) will be generated by
one of two mechanisms: 1) If, after striking a note, you hold the mallet
on the bar (dead stroke), a release will be executed immediately or 2)
Any mallet striking the key in question with very low velocity will cause a
note off to be transmitted. (The velocity threshold is set in the options
menu).
• This last response can be made independent of velocity by inserting

“Tgl”. Then any mallet striking the bar with any velocity will end the
note. With "Inf" set in the first field, a bar will behave as a toggle
switch, with subsequent strikes turning a note on and off. Hence the
name.
• Footswitch #1 or #2 can be used to inhibit the ending of a note. Dial

up "Ss1" or "Ss2" to enable this "sustain" function.
• Additional data types combine the sustain function with "release",

"damp", or "toggle". These combinations are entered as "RS1",
"RS2", "DS1", "DS2", "TS1", and "TS2".
Note that Dmp and Tgl permit notes to be terminated even while the
sustain switch is active (musically logical), and that when a mallet strike
ends a note, that strike is not recognized as a stimulus.
Transposition
A specialized memory, called a transposition register, is associated with each of the 16 MIDI
channels. These registers can be set or modified by data contained in the "Trans" fields. Register
data represents a displacement of MIDI key numbers, which for standard 12 tone tuning, is
reflected as a number of semitones (5= 4th, 7= 5th, 12= octave etc.).
To enter a transposition, first select the Trans field with bar 6E. This field has two parts; select
between them with 6E. The left portion describes the transposition type; the right contains the
magnitude of the transposition;
Off The note is sent as the stated note number. It is not modified by
the transposition register.
34 MARIMBA LUMINA
User Guide
The Editor
On The note is shifted by the value contained in the transposition

register. The transposition register is not altered.
+ The transposition amount is in a plus (sharp) direction (+:12

shifts notes on the selected MIDI channel up one octave).
- The transposition amount is in a minus (flat) direction (-:07

shifts all notes on the selected MIDI channel down a fifth).
A The transposition register is modified by adding the datum to its

contents each time the patch is called. (A:02 would shift notes
on the selected MIDI channel(s) up one whole tone for each
received stimulus.)
S The transposition register is modified by subtracting the datum

for each activation. (S:03 would shift all notes on the selected
MIDI channel(s) down a minor 3rd for each stimulus received.)
? The transposition amount is random, with the datum specifying

the number of alternative states allowed. (?:04 would randomly
shift all notes on the selected MIDI Channel(s) within a 5 note
range centered on the original non-transposed pitch.)
With the transposition field set to Off, the patch will ignore the transposition register; if you
want the note to be shifted by the transposition register but you don't want to alter the register,
insert an "On" in this field.
MIDI Channels
The last data fields contain one or two MIDI channel numbers, numbered from one to sixteen.
These are the channels that a patch sends its data to. The first field requires an entry; the second
is optional. To toggle between these fields, hit the Channel select bar (6F). There's one other
difference in the channel number fields: controller data can be inverted when transmitted to the
first channel but is sent uninverted to the second channel. More on this in the next section.
Following channel 16 is a special “phantom” channel, entered as “Sp”. Its purpose is to facilitate
application of the LEDs for indicating currently selected choices.
MARIMBA LUMINA 35
User Guide
The Editor
Controller Objects
This object type can address MIDI controllers numbered from 0 to 127, and can also address the
pitch wheel and aftertouch (encoded as PtchWheel and AftrTouch). See Appendix A for a
complete list of MIDI controllers.
Pa Cmd Z n St Con t r l e r Sou r c e M l / Zn Ch a n l

25 Ndo PZ 1 1 Ex p r n AbsLoc ! ! ! ! : 3 F+ 15:16
MIDI Controllers
A controller can be set to a constant between 0 and 127, can be caused to vary randomly or
cyclically, can be made to move at a specified rate, or can be instructed to respond to the position
of a mallet along a bar or strip.
To select a controller, use 6C to advance the object type to CONTRLER; use the data strip to
scroll to the desired entry. To ease the demands on your memory, some of the controller numbers
that the internal Synth responds to have been augmented by cryptic descriptions. Note that
PorEn (portamento enabled) must be set to 01 for PorSp (portamento speed) to have any effect.
Tuning Tables as Controllers
In addition to pitchwheel, aftertouch, and the previously mentioned range of MIDI controller
numbers, Marimba Lumina can address MIDI note numbers as if they were continuous
controllers. To implement, scroll to a controller number of TT1 - TT6 or RT1 - RT4. “TT" or
"RT” indicates that instead of being sent to a controller, information will be extracted from the
specified Tuning Table or the Real Time tuning table, and transmitted as MIDI note on (and off)
commands. The letter code followed by a number indicates which of the ten tuning tables will
serve as the source of note numbers. The effect is that as the specified mallet is moved along a bar
(or strip), a continuous stream of note data is sent. An added asterisk (4) means that the tuning
table will transpose relative to middle C.
Controller patches generally result in MIDI messages, but there is an exception: The controller
object called “OutLevel” is equivalent to the output level control found on most synths.
“OutLevel” controls the output level of Marimba Lumina’s internal Synth independently of
channel assignment, and provides a means for assigning a control strip or foot pedal to this
function. Appendix F provides details on using this feature with an external Synth.
C. Invert
It is frequently desirable to invert the data sent to a controller, thus allowing a controller to do
such things as increase in value as the mallet moves down along a bar instead of up. To
accomplish this feat, strike bar 6C to select object type C.INVERT. Data sent to an inverted
controller and to the first of the two MIDI channel numbers will be inverted.
Note that inverted data is sent only to the first of the specified channels;
the second channel receives normal controller data irrespective of the
inversion status.
This capability of sending controller data inverted on one channel but not on another allows one
to use position to control crossfades between timbres or instruments or to pan sounds in
opposite directions with the same control source.
36 MARIMBA LUMINA
User Guide
The Editor
Having selected the controller we wish to address, we move to the next field to define the sort of
operation to be applied to the selected controller. The choices, accessed with repeated strikes of
bar 6D, are:
Source - Causes the controller to respond to a performance gesture

or to a periodic (or random) function.
Action - Directs the controller to continually increase or decrease in

value or to disconnect from a source.
Value - Sends a value from 0 to 127 to the selected controller.

We will now consider each of these operations.
Controller Sources
Our first sources of control are various performance gestures. To direct a controller to follow the
position of a mallet, select ABSolute, RELative, or SiNGular LOCation. Absolute location directs
a controller to assume a value proportional to the position of a mallet along a bar (or strip);
striking one end of a bar will send a zero to the specified controller; striking the other end will
send it a 127 (the MIDI range). Intermediate locations will cause intermediate values to be sent,
and subsequent movement will result in corresponding controller excursions.
Relative location implies that a strike does not change a controller value, but that subsequent
movement results in appropriate change (until the MIDI value limit is reached). Singular location
causes a single value to be transmitted, with subsequent movement causing no further effect.
Object Type: Controller,

Controller Invert
Pa Cmd Z n St Con t r l e r Sou r c e M l / Zn Ch a n l

25 Ndo PZ 1 1 Ex p r n AbsLoc ! ! ! ! : 3 F+ 15:16
Control: Control Source:

MIDI Controller #, Location, Mallet / MIDI
Tuning Table, or Velocity, or Zone Channels
Output volume Density
Sometimes it is desirable to invert the location response of the natural bars. We call this variation
on location deviation (from the boundary between the "black" and "white" bars), and enter it by
selecting DEViation.
Enter “Velcty” to direct a controller to respond to mallet velocity, “Densty” if you’d like a it to
respond to note density (see Settings section for more info on Density), or “Pedal” if a foot pedal
MARIMBA LUMINA 37
User Guide
The Editor
is your chosen source of control. Enter "Switch 1 - 4" to direct send a value of either zero or 127
to a controller (useful for certain controllers, such as "sustain").
The next field, accessed with bar 6E, specifies mallet number(s) and a zone in which the source
will be recognized. Toggle between these sub-fields by re-striking 6E. The following entry
indicates that the source of control will be the position of mallet 2 along any of the natural bars:
AbsLoc .!..
Here are all the performance variable sources together with some mallet/zone examples:
Source Ml / Zn Source of Control
AbsLoc !!.. 4C Location of mallet 1 or 2 on middle C
Re l Loc ..! . Movement of mallet 3 along any bar in octave 5
SngLoc ! ..! 3F+ Location at impact of mallets 1 or 4 on low F#
AbsDev .!.. 4C Location of mallet 2 on middle C (rev. response)
Re l Dev .! . . Movement of mallet 2 along any bar in octave 5
SngDev !!!! 4 C+ Location at impact of any mallet on middle C#
Ve l c t y ! ... 6C Impact velocity of mallet 1 on high C
Dens t y !!!! Average temporal density.
Pedal Pedal position - independent of mallet, zone
Switch1 Switch 1 position - independent of mallet, zone
You can send a single random number to a controller. A slew time may be entered in the next field
(now called “Time”) to cause a gradual instead of a sudden change to the new random value. To
direct a controller to continuously change in an unpredictable fashion, choose “Random” followed
with a number from .1 to 30. A ".1" will result in rapid changes in value, with occasional full
scale excursions taking place in a couple of seconds, whereas a "30" may require patience to
perceive the certain but slowly evolving changes.
Source Time
SngRan 3 .0 s single random number, slewed at 3 second rate (f.s.)

Random 30 s continuously changing; 30 s. probable rate of change.
Cyclic functions may be applied to controllers. To accomplish this, enter one of the following
symbols in the source field:
38 MARIMBA LUMINA
User Guide
The Editor
= Triangle waveform - up , then down, repeat
= Sawtooth waveform - moves up to the top,

abruptly returns to zero, repeats forever.
= As above, but a downward moving sawtooth.
= Square wave - oscillates between two values
Follow this entry with a time value between .1 and 30 (seconds) to specify the length of time
(period) per cycle.
Note that simultaneous generation of lots of fast random or cyclic
functions can slow Marimba Lumina’s responses and can saturate MIDI’s
data capacity. (Don’t blame us - we did not invent MIDI. Check Appendix
G for more on this subject.)
Controller Actions
Pa Cmd Z n St Con t r l e r Action Time Ch a n l

25 Ndo PZ 1 1 Ex p r n Sl ew Up .10 15:16
MIDI Controller Action: Slew or

#, Tuning Disconnect Slew MIDI
table, or Value: rate Channels
Output volume Controller Data
Pa Cmd Z n St Con t r l e r Value Time Ch a n l

25 Ndo PZ 1 1 Ex p r n 64 .12 15:16
We can direct a controller to change only while the specified stimulus is active. For a strike
stimulus, the controller value will slew (change at a constant rate) until the mallet leaves the
specified zone, and in the case of a switch stimulus, the controller will slew as long as the switch
is active. Note that when the slewing is stopped, to start it again requires a new stimulus in the
appropriate zone. This "Slew" mode is established by entering an appropriate symbol in the
“Action” field: “SlewUp” or “SlewDown”.
The slew rate is set in the next field exactly as above, with the number equal to the seconds
required for a full scale excursion of a controller's value. A controller may be disconnected from
its source by assigning it a “Disconnect” or a “Zero&Dscnct”. Summarizing the possible
controller actions, we have:
Action Time Action
S l ewUp 10 s Z e r o & D i scn c t

S l ewDn 1 . 0 s Disconnect
MARIMBA LUMINA 39
User Guide
The Editor
Controller Values
Finally, by choosing “Value” as the controller object, we can set a controller to a fixed value from
0 to 127. If the time field is left blank, the new value will be assumed on receipt of the specified
stimulus. If you would like something less than an abrupt jump to the new value, insert a slew
time in the “Time” field, thus causing the controller to gradually change until it arrives at the
specified value. This time can range from .1 to 30 seconds, and is the time it would take a
controller to execute a full-scale excursion from 0-127. Thus, it reflects the rate, not necessarily
the time. Smaller changes will be executed in proportionally less time, with the slew rate (the
speed of movement) remaining constant. A sample entry of this sort might be:
Value Time
98 10 s slews to a value of 98, probably in a few seconds.

Note that when a controller is connected to a Source, a Value sent to that
controller on that Channel will disconnect it from the Source.
Examples on how to deal with this:
Marimba Lumina presets that use Relative pitchbending, such as “Sitar,” reconnect the pitchbend
controller with every downstroke. This is because the upstrokes send out a pitchbend value of
64, thereby disconnecting the controller. The preset named “Ethereal Quartet”, however,
connects its controllers upon program entry (“Initial Conditions”). It will not need to reconnect
the controller while playing, since that particular controller number on that particular MIDI
channel is not sent any other values.
40 MARIMBA LUMINA
User Guide
The Editor
MIDI Message Objects

Another class of object types consists of MIDI messages. Use the 6G bar to select the object
type MIDIMSGE:
MIDI
Object Type
Channels
Pa Cmd Zn St Midi M sge Inst rmnt Vo l Chan l

25 Del 1 Pr g C h n g e 00:29:12 0d b 12 : 1 3
MIDI Program Bank Bank Program

MSB LSB # MIDI Volume
Change
Use the Data strip to input one of the following MIDI messages, which will thereupon be
transmitted on receipt of the specified stimulus:
Clock Continue Reset Controllers
Start Song Select All Notes Off
Stop Prog Change All Reset
Most of the above are singular commands; Some require data and/or channel assignments. Data
fields appear where appropriate.
Clock, Start, Stop, Continue, and Song Select are messages usually used to control sequencers and
are not recognized by the internal synthesizer. Reset Controllers, All Notes Off, and All Reset
are dedicated MIDI controller messages that are recognized by most synthesizers.
MARIMBA LUMINA 41
User Guide
The Editor
System Objects
The fourth and final class of object types is called System:
Object Type Inhibit Reset?
Pa Cmd Zn St SYSTEM Sign Prog Inh

25 Ndo 1 Set Progr am + 29 *
Sign: ML Program # or
Marimba Lumina Add/Subtract Number of Ml
Program Change to/from Current Programs to
ML Program? Add/Subtract
Set Program RT 1 Continuous update

Set Last Prog RT 1 Fill
Ch : - - - - - - - - : - - - - - - - - RT 1 Freeze
Set Marimba Lumina Program

The “Set Program” command is followed by three data fields (accessed by striking 6D, 6E, or
6F). If the first is blank, then the second field contains the target program number. Inserting a
plus (+) or minus (-) sign in the first field will cause the current program number to be modified
by the indicated amount. This feature (known to programmers as "relative addressing") allows a
group of programs to be relocated without having to edit program numbers. The "Set Last Prog"
command tells Marimba Lumina to do just that. Handy for setting up a program as a diversion
for others.
Inhibit Reset
Normally, when a new program is selected (by any of several means), Marimba Lumina transmits
Controller Reset and All Notes Off messages, leaving the Synth in a known and relatively benign
state. However, some performers occasionally want to leave notes on and controllers alone when
switching between programs to insure musical continuity. This “inhibit reset” function is
accomplished by placing an asterisk (*) in the third field (with the Data strip). But don’t blame
us for hung notes and weird vibrato.
42 MARIMBA LUMINA
User Guide
The Editor
Turn MIDI Channels On and Off

The next command directs Marimba Lumina to selectively enable/disable MIDI channels. The 16
hyphens in the data field represent the MIDI channels. To select the channel you wish to
address; 6F moves the cursor to the right, 6E to the left. To enable channels, use the data strip to
replace hyphens with up arrows; use down arrows to kill channels.
Cursor Movement
Pa Cmd Zn St SYSTEM -->

< --
25 N d o 1 Ch an n e l: - -----: ---
MIDI Channel Ch 1 2 3 4 5 6 7 8 : 9 10 11 12 13 14 15 16
On/Off MIDI Channels On, Off, or current status (-)
Real-time Tuning Table Commands

Four of Marimba Lumina’s tuning tables (RT1 - 4) can be generated in real-time by sending note
on messages to Marimba Lumina’s MIDI input, or by playing the desired notes from Marimba
Lumina itself. These tables are updated in circular fashion, and when enabled, always contains the
last N notes received. (N is the number of entries in the table, and can be set from 0 to 24 in the
Tuning display.) The last six system commands control the updating of these tables. “Update”
turns things on, continuing to replace old notes with new notes as they are received; “Fill”
enables updating for a single cycle (N notes); and “Freeze” stops the update process, leaving the
table unchanged until an “Update” or “Fill” is invoked. Note that “Fill” clears the table before
starting to fill it, and that if a “Freeze” command arrives before the table has reached N notes, the
table length will be trimmed to the number of notes received. More on this in the forthcoming
Tunings section.
See the preset program named “Real Time” for an example of these commands.
MARIMBA LUMINA 43
User Guide
The Editor
CHANNEL SETUP
When a new program is selected, Marimba Lumina can automatically select instruments and
various settings and configurations for any or all MIDI channels. To program these messages,
select "ChSetup" from the Main Menu.

You will see:
Mode: MIDI Routing: Merge

MIDI MIDI
Polyphonic, Internal and/or MIDI
Channel # Pan & Volume
Monophonic External Synth In? *
Ch I n s t r m n t Mode SynM Ef f e c t Vel Pan V o l

16 0 0 : 2 2 : 9 0 Poly Int: 10:9:7 / -10 0db
Reverb Chorus Special FX

Bank Bank
Program #
Amount Amount Amount Velocity
MSB LSB Curve
Internal Synthesizer Effects
CHANNEL SETUP: SELECT A CHANNEL

Use the top or bottom of bar 5F to select a channel.
Without leaving the EDIT mode, you may use the RED mallet to audition the setup parameters
for the displayed channel. The response may be slow - the computer is busy here.
CHANNEL SETUP: INSTRUMENTS

With the desired channel number entered in the first field, address the second field with 5G. This
field has three entries, accessed by repeating hits to 5G. The first two are the bank number (MSB
and LSB), and the third entry is the instrument number (“Program Change”, in MIDI lingo). An
instrument number must be selected before you can enter a bank number.
External synthesizers may or may not respond to Bank Select messages; invariably they will
respond to Program Change messages. Blanks in the Bank and Program Change fields direct
Marimba Lumina not to send a bank or program changes on the selected channel.
Ch INSTR MNT NAM E Vel Pan V o l

16 0 0 : 2 2 : 9 0 Instrument Name / -5 0db
44 MARIMBA LUMINA
User Guide
The Editor
The Internal Synth

If Marimba Lumina’s internal Synth responds to the selected bank and instrument, and if the
internal Synth is enabled for the selected channel (see MIDI ROUTING paragraph), the
instrument’s name will be displayed; a blank name field means that no instrument is stored in the
selected location. Consult appendix D for a complete list of instrument assignments for Marimba
Lumina’s internal Synth.
Some further comment on the internal instrument organization. In bank 00:00, there is an
instrument for every program change (the “General MIDI” collection). The remaining
instruments are assigned program numbers according to the instrument they most closely
resemble and are distributed in various banks. A fast way of navigating through this list is to set
the bank number to 00:00, and scroll through the program changes until you are close to what
you are looking for. Then, go to the name field (5A) and you can scroll through the variations of
every instrument, automatically skipping empty banks.
To get to the drum kits, set the bank number to 127:00, and the instrument number to anything.
You can now go to the name field and quickly access all the kits. You will find effects assigned to
keys (as in a percussion kit) in bank 126:00 (instruments 1 and 2), and treated as instruments in
bank 64:00.
CHANNEL SETUP: MODE

The Mode field allows you to direct a channel to sound monophonically or polyphonically, In
“Mono” mode, each note terminates the previous one. Most acoustic instruments are
monophonic, and we thought it would be nice if Marimba Lumina could play a solo voice instead
of a chorus. Insert a “Mono” for monophonic response. You can also specify that successive
notes overlap a bit. Change the data to M.01 for 10 ms overlap, or crank it up to .50 for a half-
second overlap.
Notice that the Mode is on a per Channel basis. It’s common to make one part of the keyboard
(or one mallet) play monophonically while the others might play polyphonically. Or, with each
mallet on a different Channel, each mallet could play monophonically—a four-voice system.
CHANNEL SETUP: MIDI ROUTING

The next two fields determine the routing of Marimba Lumina’s MIDI messages. The first field
selects the output:
I nt = Internal Synth and MIDI Aux (if hardware configured)

Ex t = MIDI Out active
All = Both Internal Synth (MIDI Aux) and MIDI out
Off = No output
MARIMBA LUMINA 45
User Guide
The Editor
MIDI Merge
The second field determines whether incoming messages are ignored or combined with Marimba
Lumina’s messages and sent to the output. This MIDI Merge function (abbreviated “M”) is
enabled if an asterisk is inserted in the second field. Three kinds of incoming MIDI messages are
always considered independently of the merge status: notes for setting tuning table entries, notes
for illuminating LEDs, and program changes received on Marimba Lumina's base channel.
CHANNEL SETUP: PAN AND VOLUME

Initial Panning and volume are set in the last two fields. Panning range is from -10 to +10, with -
10 directing the sound to the left channel, 0 to the center, and +10 to the right. Volume is
expressed as attenuation or boost in dB, with 0 corresponding to nominal volume (controller 7 set
to 105), +4 to maximum, and -30 to minimum volume. Blanks in either of these fields direct
Marimba Lumina not to initialize the corresponding parameter.
dB to MIDI Volume
Both the Pan and Volume are MIDI controllers, but it is more logical to express their effect in
numbers other than 0-127. If they need to be set more precisely, they can be set with a
Controller patch. Here is the translation of dB to MIDI Volume. (The translation may not
correspond exactly with your external synthesizer, but its practical range.)
dB to MIDI Volume Pan to MIDI

(Controller 7) (Controller 10)
+4 127 -10 0
+2 116 -9 6
0 105 -8 13
-2 94 -7 19
-4 84 -6 26
-6 75 -5 32
-8 67 -4 38
-10 56 -3 45
-12 47 -2 51
-15 39 -1 58
-18 32 0 64
-21 26 1 70
-24 21 2 77
-27 17 3 83
-30 14 4 90
5 96
6 102
7 109
8 115
9 122
10 127
46 MARIMBA LUMINA
User Guide
The Editor
CHANNEL SETUP: VELOCITY CURVE

The graphic character under “Vel” indicates the sort of transformation applied to transmitted
velocities that originate from a gesture. The fifteen possible transformations are:
Velocities are unaltered (default state).
Velocities are compressed, with very small gestures resulting in a

perceivable (rather than inaudible) sound level.
A constant velocity, equal to the default velocity set in the Velocity menu
(see Dynamics section) is transmitted.
Velocities are compressed and inverted, with more emphatic gestures

resulting in less sound. This and subsequent transforms permit easy
implementation of velocity-sensitive cross fading.
Inversion only. Violent gestures produce silence.
A non-linear response in which nothing is heard unless the velocity of

the initiating gesture is more than mid-scale.
A non-linear response in which maximum volume is reached for

velocities above mid scale.
A velocity "window", with intermediate velocities resulting in maximum

volume, and extremes producing silence.
An inverted non-linear response; slow gestures produce maximum

output ; velocities above mid scale gravitate toward silence.
Another inverted non-linear response, with velocities above mid scale

resulting in silence.
A velocity switch. Above mid-velocity, this yields a typical amplitude-

velocity response; below the midpoint; silence.
Opposite of the above. Follows a plausible response up to mid-velocity,

then disappears. Used in conjunction with the above, abrupt velocity-
triggered changes in timbre can be realized.
Mid-velocities are compressed: Higher or lower velocities are

accentuated
A non-linear response in which higher velocities are compressed.
A velocity switch. Violent gestures produce maximum velocity; other

gestures; silence.
MARIMBA LUMINA 47
User Guide
The Editor
CHANNEL SETUP: MUTE/AUDITION AND SOLO BARS

While choosing an instrument and its initial values, or when simply optimizing some parameter,
it is often advantageous to hear the effect of a change in some immediate fashion. SOLO provides
a facility for rapidly switching to the Play mode to check things out on a single channel, and then
quickly returning to the data field you were editing (with the EDIT button) to make further
changes. The Audition bar (labeled MUTE on early instruments) performs the same function, but
with all channels enabled. Blinking LEDs remind you that you’re in one of these modes.
Terminate these modes by hitting EDIT or PROG.
48 MARIMBA LUMINA
User Guide
The Editor
KEY MAPS
From the Main Menu, select the Key Maps submenu.

Marimba Lumina’s keys are not constrained to playing any particular notes organized in any
particular fashion; in fact, any key can sound any pitch, or in the case of key-mapped percussion
kits, any sound can be mapped to any bar or pad. Select Key Maps from the Main Menu to
access this facility:
KMAP Se l e c t k eymap #. ENTER. Sel ect bar.

1 Set n o t e w i t h s t r i p o r RED ma l l e t .
There are four keymaps (numbered 0 - 3) stored with each program. Keymap 0 is a default one-
to-one mapping that cannot be edited or displayed. Use the top or bottom of bar 5F to select a
keymap you'd like to edit and hit ENTER; a page of the selected keymap will appear:
Kmap |3C# |3D# | |3F# |3G# |3A# | O c tave

1 |3C |3D |3 E |3F |3G |3A | 3B | 3
Keymaps 1 - 3 are initialized to be identical to keymap 0, and can be edited as follows:

First, play the bar or pad you wish to program. The page number will change appropriately, a
cursor will point to your selected bar and that bar's LED will proceed to blink. Use the data strip
to enter the desired note; for the selected bar. For notes that fall within the keyboard’s range, you
may use the RED mallet to select the note directly . A blank can be entered with the data strip
(scroll all the way to the bottom), or by striking any Pad with the RED mallet. Other pages look
like:
Kmap |4C# |4D# | |4F# |4G# |4A# | Oct ave

1 |4C |4D |4 E |4F |4G |4A | 4B | 4
Kmap |5C# |5D# | |5F# |5G# |5A# | Oc t ave

1 |5C |5D |5E |5F |5G |5A |5B | 5
Kmap |6C# |6D# | Oc t a v e

1 |6C |6D |6E |6F 6
Strike the Edit key to exit key map editing.
MARIMBA LUMINA 49
User Guide
The Editor
TUNING TABLES
From the Main Menu, select the Tuning Tables submenu.

For each program, Marimba Lumina can stash up to six user-defined note tables that may be
sounded by a number of means. To create or edit these tuning tables, as we call them, call up the
Main Menu and hit the key that corresponds to “Tuning Tables”. The following menu will
appear:
Tuning Scale Key Low High

TT1 Chromatic C 36 96
The tuning data field contains the number of the tuning table we would like to examine, modify,
or create. Use the top or bottom of bar 5F to scroll to the desired table.
TUNING TABLES: SCALES

So that we do not always have to enter each individual note, Marimba Lumina offers a variety of
musical scales. Use bar 5G to select SCALE, and use the data strip to scroll through the
following possible entries:
Chromatic Minor Thirds Minor Triads C of Fifths

Diatonic Major Thirds Pentatonic Custom
Whole Tone Tritone Black Notes
The next field determines the scale's key signature (with varying amounts of significance,
depending on the chosen scale). The last two fields define the range; Marimba Lumina
automatically places these notes at the extremes of the axis that we are dealing with. An
exception to much of this occurs when we select a "Custom" scale.
TUNING TABLES: CUSTOM TABLE
Tuning Scale Hi t ENT & sel ect locat i on.

TT1 Cus t m Entr notes with RED mallet.
This tuning allows you to specify an arbitrary sequence of notes, instead of the linear ascending
progressions characteristic of the other tunings. Up to 24 note numbers may be stored in a
Custom tuning. To program such a tuning, move the cursor to the Custom field and hit ENTER.
A new display will appear:
50 MARIMBA LUMINA
User Guide
The Editor
Tun : : : : : : : : : : : : :
3 : : : : : : : : : : : : :
The top line contains the first twelve notes of a custom tuning, with the remaining notes (13
through 24) occupying the bottom line. The table can be of any length up to 24; length is
determined by the highest slot number used. Blanks between note entries are significant;
addressed but not sounded, they can be used to create dead areas in the performance space or
dropped beats, depending on the application of the table. Create blanks with the RESET bar.
To enter or edit table entries, use the highest 12 white keys to access the desired slot (use the
tops of the bars for the top row; bottoms for the lower). Use the Data strip to set the MIDI note
number, or input a note directly by striking it with the RED mallet (which simultaneously
advances the cursor to the next slot). Hit ESCAPE to return to the previous menu.
TUNING TABLES: REAL-TIME TABLES

Marimba Lumina’s first six tuning tables are defined as above and are stored along with the rest
of the program data. Four additional tables are not retrieved from memory, but instead are
generated “on the fly” by an external MIDI controller or by the Marimba Lumina itself. To edit
the parameters of these “real-time” tuning tables, use bar 5F to select RT1 - 4:
Tuning RealTimeSlots Low High Sourc e

RT1 3 3C 8C Ch1
The next field (RealTimeSlots) sets the table size (an entry of 6 limits a table to the last six notes
played. Data in the “Low “ and “Hi” fields determine the range of note numbers that can be
entered in the table. Marimba Lumina will ignore notes that fall out of this range. The last field
contains the channel number that incoming notes must be on. If you would like to load this table
from the Marimba Lumina itself, enter a mallet symbol here indicating the operative mallet(s).
Now notes played on the Lumina within the prescribed range and with the designated mallet(s)
will define the selected Tuning table. See the preset program named “Real-Time” for an example.
Commands can be entered into patches that enable or disable the updating of the real-time tuning
table. Refer to the “System Objects” section.
MARIMBA LUMINA 51
User Guide
The Editor
ZONE EDITING
From the Main Menu, select the Zone Edit submenu. This is where we define regions of the
Marimba Lumina for use in patches.

The default cells are shown in the section, “Patches”. Accessing "Zone Edit" displays the cell
boundaries:
Spli t 1 Spli t 2 Spli t 3

3C - 3B /4C - 4B /5C - 5B /6C - 6F
Edit a split by hitting one of the three illuminated natural bars, and striking the bar above the
boundary with the RED mallet. Cells must be adjacent; you will not be permitted to enter data
that would define overlapping cells. See Figure 5.
To escape from this mode, hit the ESCAPE bar.
MARIMBA LUMINA pads

strip 1 strip2
Split 1 Split 2 Split 3
Figure 5 Zones
52 MARIMBA LUMINA
User Guide
The Editor
PROGRAM LIBRARY
From the Main Menu, select the Program Library submenu.

Marimba Lumina is a programmable controller and, like all such devices, requires instruction to
specify its response to a player's actions. A set of such instructions is called a program. A
Marimba Lumina program defines an overall relationship between a player’s gestures and an
instrumental response and is fundamental to Marimba Lumina's role as the input portion of a
musical instrument. Programs consist of six main elements: patches, tuning tables, keymaps,
effect data, initialization values, and dynamic settings.
Programs may be simple or complex; they will vary according to a player's whim, the musical
context, and the nature of the Synth(s) to be controlled. Some players will prefer to develop just
one program, perhaps with variations; others may create a new one for every musical occasion.
Most will choose an intermediate path, refining and becoming dexterous with a small number of
personalized programs.
Marimba Lumina is always operating from a "current" program. Marimba Lumina's internal
memory contains 50 fixed programs, and up to 50 user defined programs. Optional plug-in cards
can store 50 additional user defined programs. User programs start at number one; card based
programs start with number 51, and fixed programs are numbered from 101. Programs can be
named for easy reference.
Programs can be copied from any source to any of the user definable slots (internal memory or
memory card). The user can modify a fixed program by simply copying it to a user modifiable
slot, retrieving it from the main menu, and then editing it as desired. In this manner, the
permanent programs can serve as models or "points of departure" for user defined programs. And
who knows? Some of these "factory programs" may even prove useful as supplied. See appendix
B for brief descriptions of fixed programs.
PROGRAM LIBRARY: SELECTING AND NAMING PROGRAMS

From the Main Menu, select Program Library and hit Enter. The following display will appear:
Send Format
Copy to Memory
Program Name Erase Program
Program Card
Number(s) Program Program as MIDI
Numbers (Erases
Sysex
Card)
Prg Na me Eras e Send CpyT o Fo rmat

121 (Name to 16 chr) 25 (Another Na me)
MARIMBA LUMINA 53
User Guide
The Editor
To select a program, select ProgNumber (5F) and use the data strip to enter the desired program
number. To Select a number from a different bank, hit 5F repeatedly to cycle through the
available banks, then use the data strip to select the number. A bank of 50 programs may be
selected; enter "User", "Fixed", or "Card", and the desired operation will be applied to the entire
bank. The display for a bank to bank copy might look like:
BANK Eras e Send CPYTO

Use r (progra ms 1-50) Card (programs 51-100)
To name (or rename) a program hit 5G, “Name”. Successive hits of the top or bottom of this bar
move the cursor forward or backward. Characters are entered with the data strip. Hit Enter to exit
name entry.
Note that hitting Edit will abandon any changes.
PROGRAM LIBRARY: SHUFFLING AND CLEARING PROGRAMS

To copy a program from one location to another, select a program to copy; then select “CpyTo”
and enter the location you’d like to copy to. If your target location is a named program, its name
will be displayed and things will look something like this:
Pr g Name Eras e Send CPYTO

121 Name(to 16 char) 25 T a r g e t p r o g n a m e
Hit ENTER to perform the operation. Locations 101 - 150 contain permanent factory supplied
programs and are protected. You will be so warned and offered the option of unprotecting when
attempting to write to these locations:
PROTECTED PROGRAM! UNPROTECT?

ESCAPE / No ENT ER / Yes
If a program occupies the target location, you will be presented with:
Copy over p r o g r a m?
ESCAPE / No ENT ER / Yes
Activation of "Enter" will complete the transaction and return you to a previous display;
"Escape" will return you to this display, but without performing the copy operation.
Prg Name Eras e Send C p yTo Format

21 ( Nam e t o 16 ch r ) (another name)
54 MARIMBA LUMINA
User Guide
The Editor
Erasing Programs
Erasing programs is accomplished by selecting this function and hitting Enter. The program(s)
erased will be those displayed under “Prg”.
Sending Programs
By sending MIDI System Exclusive (SysEx) messages, Marimba Lumina programs can be
transferred to another Marimba Lumina or backed up with a MIDI recorder. Only USER bank
programs can be sent. They can be sent individually or as a bank. Sending the entire bank will
actually send fifty individual messages.
Note that SysEx messages have their program number encoded into the
message and will write back into their previous program
number/location, not (necessarily) the current program.
Formatting Memory Cards

From this menu, you can format a memory card. This procedure destroys any data on the card,
and is necessary when using a card that has not been formatted. Select Format and hit Enter to
format (or re-format).
If no card is plugged in, the "Card" field displays "none". Exit this display with the ESCAPE bar.
MARIMBA LUMINA 55
User Guide
The Editor
SETTINGS
From the Main Menu, select the Settings submenu.

You will see:

Program Settings
Effects Editor
Dynamics
(Internal
Editor
Synth)
Dsp PChnge BCh L eds VPdl Note Dyna- Effx

5 0 -127 16 ch12 On Shrp mi cs Edit
Program LED Setting: Notes Display as:

Display Base Volume
Change On, Off, Ch1-16, Flat, Sharp,
Contrast Channel Pedal
Numbering or Play Status MIDI Note#
Global Settings
SETTINGS: DISPLAY CONTRAST

Move the cursor to the "Display" data field and use the data key to adjust the display's contrast
for optimal viewing. Data from 1 to 8 will set the brightness of the LCD elements, with maximum
contrast occurring somewhere in this range for a particular viewing angle.
SETTINGS: PROGRAM CHANGE NUMBERING

Manufacturers cannot seem to agree on a numbering convention for MIDI program change
numbers. If your Synth goes for the range of 0 - 127, leave things as shown above. If it prefers a
range of 1 - 128, then cursor to the first. data field and use the Data strip to select "128".
(Sending Prog change 3 should be acknowledged as program change 3, not 2, or 4.
SETTINGS: BASE CHANNEL

Marimba Lumina programs may be selected with MIDI Program Change messages received on
Marimba Lumina’s base channel. Set the desired base channel here; enter Off to disable Program
Changes.
56 MARIMBA LUMINA
User Guide
The Editor
SETTINGS: LEDS
To use the LEDs for displaying the Note-On status for each bar, enter “stat”. To kill this facility,
enter “off”. To simply illuminate the keys (handy for playing in the dark), enter "on". To
illuminate the LEDs from an external source (MIDI In), specify the appropriate incoming MIDI
channel.
SETTINGS: VOLUME PEDAL

When set “on”, the “pedal” input will control the overall volume output of Marimba Lumina. If
“off” is selected OR an expression pedal is not plugged in, the system will set itself to the default
maximum output level. Not to be confused with MIDI volume, this master volume control is
independent of MIDI Channel volume.
SETTINGS: NOTE DISPLAY

The next field in the options submenu offers you three ways to display notes: all sharps (Shrp),
all flats (Flat) or with MIDI note numbers (MIDI). Select the field, use the data key to find the
desired convention, and notes in certain portions of the program will be appropriately displayed.
SETTINGS: DYNAMICS
On a per program basis, this option allows us to set various preferences that affect dynamic
aspects of the instrument.
Mallet
Sensitivity Minimum Default Density Chord/Melody
“Velocity MIDI Velocity MIDI Velocity Range Window
Range”
VelRnge M i nVel D f l t Vel DensRnge C/MWndow

05 - 80 03 80 .5 - 20 .005 sec
Mallet Sensitivity
“Velocity Range” sets the dynamic range that Marimba Lumina responds to; the first number is
the threshold velocity; below this value a hit can dampen a note, but will not initiate one (see
dampening in the paragraph on “duration”). The threshold range is from 01 to 25. Use 01 if you
want to play like an organ: the mere presence of the mallet above the bar will initiate a note. Use
at least 02 or 03 if for mallets instruments that require a minimum strike to initiate a note.
The second entry is the performance velocity required to output maximal MIDI velocity. Its
range is from 50-100, with smaller numbers resulting in greater sensitivity, and larger numbers
increasing the dynamic range. If you hit hard, use 95-100. If you are more gentle player try 75-
90. (It is set and saved per Program, so you can have different personalities for each Program.)
MARIMBA LUMINA 57
User Guide
The Editor
Sensitivity Note: The data in this first field deals with the magnitude of the gesture on
an arbitrary scale of 1 – 100. It does not specify the MIDI velocity range. Larger numbers
correspond to larger gestures; a threshold of 20 would require substantial impact for a
hit to be recognized, and a max of 100 would mean that considerable energy would be
required to output full MIDI velocity.
Minimum Velocity
“Minimum Velocity” specifies the MIDI velocity that is transmitted at the performance
threshold, and therefore determines what the quietest dynamic sound is that you can play
(subject to the whims of whatever Synth you are playing).
Default Velocity
“Default” is the MIDI velocity transmitted for those stimuli that have no performance velocity
associated with them. These include footswitches, MIDI Channels with a flat velocity curve,
Tuning tables played by a controller object, and upstrokes.
Density Range
“Density Range” determines the range of playing speeds, which results in a full-scale excursion of
the parameter called “density”. Units are in notes per second, and can range from .5 to 20 nps.
Chord/Melody Window
The last field in this display, “C/M Window” sets the time window for a simple algorithm that
attempts to discriminate between chords (two or more simultaneous notes) and melody (singular
notes). Mallet strikes that are received without a second strike occurring in the specified time are
treated as a variant stimulus type called “melody strikes”, which replace whatever stimuli may
have been programmed for that mallet. Note that the use of these patches adds the specified time
delay (latency) to the instrument’s response.
Hit the escape bar to return to the Settings Menu.
SETTINGS: EFFECTS EDITING

Marimba Lumina's internal Synth is equipped with a comprehensive range of global effects.
There are three separate effects units, each handling a particular range of effects. Each channel can
be independently routed to any effects unit or combination thereof, and the degree of effect
applied can be dynamically varied for each channel.
From the Settings menu, select "Effects Edit" to summon the Effects menu:
Reverberation Chorus SpecialEffects

Off Off Off
There are three effects that can be selected per the Marimba Lumina program. As you might
have guessed, the three effects units are called “Reverb”, “Chorus”, and “Special Effects”. We
will start by choosing an effects type for each. Steer the cursor to the three fields on the second
line and use the data strip to select the desired effect types. The possibilities are as follows:
58 MARIMBA LUMINA
User Guide
The Editor
Reverb Chorus Special Effects

Plate Bright DeathRattle HeavyBreath
Tunnel Flanger StereoEcho AmpOverload

TinCan Phaser CrossDelay AutoWahWah
Cathedral Shimmer ReverseGate
Resonate Thicken Ring-a-ding

Sewer Choir VibroPhase
Shower Bounce PhaseCrawl
Channel Effects
The degree that each effect is applied to an individual channel is determined by three controllers
that can be addressed by patches. Controller 91 determines the amount of signal sent to the
Reverb effects unit; 93 controls the amount sent to the Chorus unit; and controller 94 rules the
Special Effects unit. If, for a particular channel, these controllers are set to zero, the resultant
sound will be dry, but if all three are cranked up your sound could well wind up Phase Crawling
in a Shimmering Sewer. So, be careful.
Once an effect unit has been turned on, each MIDI channel must address it in the Channel Setup.
A blank in the Effects fields of the Channel Setup will have unpredictable results; whereas a zero
will turn the effect off for that channel.
Digging Deeper
What if you don’t like our choice of decay time for a cathedral? Or the default LFO rate for the
AutoWahWah? Well change them! With the cursor positioned in the field whose parameters
you’d like to alter, hit “ENTER” to get down to the gut level. Here is the result of tearing into
“CrossDelay”:
LRD l y RLDly FBLvl Damp LFrq Lv l Hfrq Lvl

229ms 350ms +63 10 1.5k +12 3.0k -3
All eight fields contain data that to some degree affects the resultant sound. Note that two
effects, DeathRattle and Stereo Echo, have a second page of parameters, accessed by hitting
“ENTER” a second time. The accessible variables and their default values depend on the effects
type. The numbers and their range differ according to the parameter type; none are expressed in
any known units of measurement. Experimentation is the order of the day. Exit with the
“ESCAPE” key.
Effects types and their altered parameters are stored with the program. Thus, each program can
have completely different effects going.
MARIMBA LUMINA 59
User Guide
5
…MIDI Revealed
This section is intended for the novice. It is meant to provide a short history of and general
information about MIDI. If you are already familiar with MIDI, you may as well skip over this
section because we will not be telling you anything new.
HISTORY
MIDI is an acronym, which stands for Musical Instrument Digital Interface. MIDI is a standard
that allows electronic instruments to communicate between one another and computers. It was
developed in the early 1980's by several electronic instrument manufacturers, as an open
specification between devices. In 1984 the specification was turned over to an organization called
the MIDI Manufacturers Association (http://www.midi.org) to ensure that the specification
would remain open and which no one company would control. Today MIDI is used in nearly
every aspect of professional music performance, in all genres of music. In fact, most electronic
musical instruments sold contain some level of MIDI compatibility. MIDI compatible devices
have MIDI connectors that are used to physically link instruments. MIDI does not transmit the
sound of an instrument but rather 'MIDI messages' in digital form that tell the instruments to do
something. There are three categories that we will talk about in this chapter. MIDI Connectors,
MIDI Channels and MIDI Messages.
MIDI CONNECTORS
There are three MIDI connectors on the Marimba Lumina, MIDI In, MIDI Out, and MIDI Aux.
MIDI MIDI In
In Aux Out Used to receive incoming MIDI data sent from
another controller device or computer
MIDI Out
All MIDI data as generated by the Marimba
Lumina is sent out of this port if Channel setup
selects “Ext” or “All” for MIDI output
MIDI Aux
This port should be configured as the second
MIDI Output/The Internal MIDI stream.
It is the same MIDI information as sent to the
internal sound card.
Channel Setup select “Int” or “All”
This port can be also configured as a MIDI Thru
as was done on early models.
60 MARIMBA LUMINA
User Guide
MIDI Revealed
MIDI Cables are used to connect between the instrument and external MIDI sound sources. The
cable is a standard five pin DIN style connector. A typical MIDI system may be connected like
the one depicted in
Figure 6.
MIDI In
MIDI Out
MIDI Sound Module

MIDI Controller
Figure 6 MIDI Connections
Other setups may include a sequencer or computer with sequencing software as well as additional
sound modules either daisy chained to one another or physically connected by way of additional
MIDI ports or patch bays.
MIDI CHANNELS
In the world of MIDI, many devices can be connected with a single MIDI cable. This is possible
through the use of MIDI channels. Just like your radio or television can receive multiple stations
through a single antenna or cable, MIDI works similarly. MIDI supports 16 channels per MIDI
port, numbered 1-16. Each of these channels can be used to send data to multiple instruments or
to a single instrument and are totally independent of one another. The Marimba Lumina is
capable of transmitting and receiving data on all 16 channels and dividing its output between
“External” and “Internal” as selected. Marimba Lumina still only sends 16 channels. If “All” is
selected in the Channel setup, the same information that goes to MIDI Out goes to MIDI Aux.
There are some instruments and synthesizers which boast 32 channel operation by using two
independent—but still16 channel--ports.
MIDI MESSAGES
MIDI messages are a stream of binary data. This data is formatted so that all MIDI instruments
can understand what they are being told to do next. For example, If you play a note on any MIDI
instrument, a MIDI message sent from that instrument would begin with binary data identifying
the stream as a Note On message. Within that same stream of data there would be additional
information telling the instrument which note was being played, the velocity of the note (how
hard it was played), what MIDI channel the note was played on and several other pieces of
information regarding the playing of that note.
In general, MIDI messages are classified as either Channel Messages or System Messages.
Channel Messages apply to a specific MIDI Channel and System Messages are global to the
instrument.
MARIMBA LUMINA 61
User Guide
MIDI Revealed
Channel Messages are split into two groups; Voice Messages and Mode Messages. Voice
Messages contain performance data. These messages are the majority of MIDI data streams.
Mode Messages affect the way an instrument will respond to the Voice Messages. Below you
will find descriptions of some of the messages that can be sent via MIDI. This is not a complete
list. There are plenty of online resources and other publications that can describe, in detail, all of
the messages available in the MIDI protocol.
VOICE MESSAGES
Voice Messages are used to send performance information. Some of the messages in this category
are the Note On, Pitch Bend, Program Change, and the Control Change messages.
VOICE MESSAGES: NOTE ON

When a mallet strikes a bar on the Marimba Lumina, the instrument sends a Note On. The
instrument may be set to transmit on any one of the 16 MIDI channels. The Note On contains
data that specify the key number (indicating which bar was struck) and velocity (how hard the
bar was struck).
The key number is used in the sound module to select which note should be played, and the
velocity is normally used to control the amplitude of the note. When the bar is released, the
instrument will send a Note Off message telling the sound module to stop playing that note.
VOICE MESSAGES: PITCH BEND

Pitch Bend data is normally sent from a keyboard instrument in response to changes in position
of a pitch bend wheel. The pitch bend information is used to modify the pitch of sounds being
played on a channel. Marimba Lumina can send Pitch Bend data based on the position of a mallet
on a bar or Strip. Pitch Bend range is, like any controller, 0-127. A value of 64 equals normal
unchanged pitch. Note that for Marimba Lumina’s internal sound card, Pitch Bend sensitivity is
set by controller 6.
VOICE MESSAGES: PROGRAM CHANGE

The Program Change message is used to select sound that is to be used on a given channel.
Program Change values range from the standard 0-127. The internal sound module of Marimba
Lumina is capable of accessing more than 128 standard General MIDI sounds. This is done by
using a Bank Selection controller change, which is explained in more detail below. Changing the
sound being used is done in the Marimba Lumina's Channel Setup screen.
62 MARIMBA LUMINA
User Guide
MIDI Revealed
VOICE MESSAGES: CONTROL CHANGE

MIDI Control Change messages are used to control a wide variety of functions in MIDI devices.
Controller values are in the standard range 0-127. Some are predefined and others are instrument
specific. Some of the things that can be controlled by Control Change values are:
• Modulation
• Channel Volume
• Stereo Pan
• Portamento
• Bank Select
• Damper Pedal
• Effects
• Mode Messages
• Bank Select
Obviously, there are plenty of other things that can be controlled. Depending on the type of
sound module you are using, you can even change the sound parameters and sound qualities of a
particular instrument sound using Control Change values. See Appendix A for a complete listing.
MODE MESSAGES
Mode messages affect the way a MIDI Device responds to MIDI data. Mode controller values
range from 120-127. Here is the list of all of them:
• #120 = All Sound Off

• #121 = Reset all controllers.
• #122 = Enable or Disable Local Control
• #123 = All Notes Off
• #124 = Omni Mode Off
• #125 = Omni Mode On
• #126 = Mono Mode On (Poly mode off)
• #127 = Poly Mode On (Mono mode off)
Since these messages are intended to define how a sound module will work with other commands,
we will not go into detail on these messages. You would be able to find more appropriate
information in the documentation of the sound module that you are using with the Marimba
Lumina.
SYSTEM MESSAGES
MIDI System Messages are classified into three types, System Common Messages, System Real
Time Messages, or System Exclusive Messages. System Common messages are intended for all
receivers in the system. System Real Time messages are used for synchronization between clock-
based MIDI components. System Exclusive are used to transfer manufacturer specific
information to and from an instrument.
MARIMBA LUMINA 63
User Guide
MIDI Revealed
GENERAL MIDI
MIDI has opened the door to communication between various musical instruments and
computers. In the early years of MIDI, compatibility at a basic level was consistent and reliable
but each manufacture and each model used various technologies, and had varying features. There
had been a great variation in features of various sound generating devices, such as tone choices
and locations, MIDI Channel assignments, etc.
The General MIDI System Level 1 was adopted in the early 1990s and is a set of specifications
for sound generating devices which has been agreed upon by both the Japanese MIDI Standards
Committee (JMSC) and the American MIDI Manufacturers Association (MMA). These
specifications seek to allow for the creation of music data that is not limited to equipment by a
particular manufacturer or to specific models.
The General MIDI system defines data events such as the minimum number of voices that
should correspond to which Program Change numbers, and the layout of Rhythm sounds on an
instrument. Thanks to these specifications, any device that is equipped with sound sources
supporting the General MIDI system will be able to accurately reproduce General MIDI Scores
(Music Data created for the General MIDI System), regardless of the manufacture or the model.
64 MARIMBA LUMINA
User Guide
6
…Appendices
Appendix A - Controller Assignments

Controller No. Function
0* Bank select MSB
1* Modulation Wheel
2 Breath Controller
4 Foot Controller
5* Portamento Speed
6* Data Entry MSB (see below)
7* Main Volume
8 Balance
10* Pan
11* Expression
16-19 General Purpose 1-4
32-63 LSB for controllers 0-31
64* Sustain Pedal
65* Portamento Enable
66* Sostenuto Pedal
67* Soft Pedal
69 Hold 2
71* Resonance
72, 73* Release, attack time
74* Brightness
80-83 General Purpose 5-8
84* Used internally
91* Reverb send level
92 Tremolo Depth
93* Chorus Depth
94* Celeste Depth (used internally for Processing level)
95 Phaser Depth
96, 97* Data increment, decrement
98,99* Non-Registered Parameter LSB, MSB
100, 101* Registered Parameter LSB, MSB
120-127* Reserved for Channel Mode Messages
Asterisks (*) indicate which controllers Marimba Lumina’s internal Synth responds to. A special
case is controller 6, which determines its sensitivity to pitch wheel changes. The value output to
this controller equates to the number of half steps above and below the nominal that the pitch can
be bent.
66 MARIMBA LUMINA
User Guide
Appendices
Appendix B - Permanent Programs

Programs numbered 101 - 150 are meant to serve as simple tutorials and examples of some of
Marimba Lumina's programming possibilities. To modify or extend a permanent program, copy
it to a blank user program, and hack away.
THE BASICS
101 Tuned Percussion
Starting with marimba, Pads 1-5 select from five tuned percussion sounds. There are multiple
ways of transposing the range with this preset. Octave transposition using Pad 6 for Octave
down, Pad 8 for standard octave, Pad 0 for Octave Up. Pads 7 and 9 transpose by 1/2 steps each
time they are struck (Pads 6,8, or 0 reset that transposition). Footswitch 1 works as a sustain
pedal when appropriate.
102 Vibe
A simple vibe patch. Strip1 controls the amount of Chorus added. Strip2 controls the amount of a
subtle vibrato. This also has mallet dampening. If you do not play vibes, this means that even
with the sustain pedal holding notes, deadstrokes with any mallet will stop the note on that bar.
103 Keyboard Select

Use the “pads” to select from amongst a variety of keyboard instruments. Just like holding down
a key on a keyboard, bar contact will sustain the note. This preset simply uses MIDI Program
changes on a single channel to select the instruments. (Compare this method with “All Mallet”
preset.) Footswitch 1 acts as a sustain pedal. (Using program changes allows the sustain to
continue even as a new sound is selected and played.)
Strip 1 will transpose the octave down, while Strip 2 will transpose the octave up. Striking any of
the Pads will return the transposition to normal.
104 All Mallet

For the pit percussionist who has to quickly change between or double with vibes, marimba,
xylophone, concert bells, and chimes. Pads 1-5 select the individual instruments. Pads 6-0 layer
these instruments on top of one another. For instance, Pad 1 selects vibes and Pad 3 selects a
xylophone but Pad 6 will layer vibes on top of the last selected instrument. Pad 0 will layer
chimes on top of that. Pad 1 will go back to vibes by itself.
Instrument selection is accomplished using the “System: Channel On/Off” message on Channels
1 to 5.
105 Kalimba
The simplest program. Just one patch. No reason to make it complicated.
106 Guitar w FX
A simple Guitar patch that allows for dampening and deadstrokes. Sustain is on Footswitch 1.
Hit Pad 7 and now “Brightness” is mapped to position on the bar. This feature is turned on with
Pad 9. The brightness control is unique to each mallet. (Each mallet is on a different channel so
that different virtual strings have their own brightness quality.) Pad 6 transposes the guitar down
an octave; Pad 8 returns it to normal.
MARIMBA LUMINA 67
User Guide
Appendices
Pads 1 through 5 control the amount of guitar distortion. Strip1 controls degree of chorus. Strip2
controls the amount of resonant reverb.
107 Gtr Stealth Org

Play quick strokes and even use the sustain pedal and you will only get Guitar, but if you leave
the mallets on the bars, the organ takes over. This is the result of different attack times and
duration types for the instruments. Also, because of the different velocity curves, play soft and
you will only hear the organ.
Note that many of the non-percussive sounds use bar contact to sustain the notes, in addition
to the sustain pedal.
108 Trinidad Trip

To add a little more expression to the steel pan, velocity is used to control “brightness”. Strips 1
and 2 control the amount of an effect. Pads 1 through 8 play chords I, ii, III7 (V/vi), IV, V, vi, vii
(dim), I.
Pads 9 and 0 transpose these chords in step increments.
109 Elect a Piano

A layered Electric Piano and “Fretless” bass with each mallet in Mono—4 voice.
110 Celiope
This is a simple celeste and calliope layering. Strike Pad 8 to engage volume control for the
calliope along the length of the bar. Strike Pad 0 to disengage the control (leaving the volume
where it was last set.
Note that volume control is assigned to only 1 mallet at a time, since the sound is on only 1
channel. This is the preset that is built into the tutorial.
111 MarimbOrg Choir

The marimba plays normally. An organ choir doubles, but each mallet plays mono. (Each mallet
has its own channel in Mono mode in the Channel Setup). Even using the sustain pedal, the each
mallet will keep only its own “voice” (soprano, alto, tenor, bass.) This is a desirable way to play
four-voice chorales. The marimba has full velocity control while the organ does not.
112 Space Harp

What is unique about this patch is the delay on the sustain pedal information. Normally on mallet
controllers, if the duration of a previous note overlaps into the note you want to sustain, you will
sustain both notes. This results in learning how to pedal late. With the sustain controller delayed,
you can pedal at the same time, or just before the note, and not catch previous notes.
Note that using MIDI sustain, controller 64, won’t influence the actual duration of the note-
ons as the pedal does in other presets. Therefore, it won’t influence the illumination of the
LEDs.
113 Drum Map

A simple drum kit patch that maps the General MIDI layout in a more logical and playable
arrangement using all available pads, bars, and strips.
68 MARIMBA LUMINA
User Guide
Appendices
Notice the duplications such as the snare drum on the middle F-G-A-B. Since it is almost
impossible to play “in the cracks,” that whole area becomes like one drum. C3 starts and stops a
drum roll using toggle mode. (Unfortunately, the default panning is backwards/audience
perspective.)
MALLET DIFFERENTIATION
114 Select by Mallet
Using the Pads, each mallet has the ability to select its own sound. This way you can select a
different sound for each mallet, or the same sound. Also unique to each mallet, Strip 1 and 2 will
transpose the mallet by octaves. Bar location is used to modify duration. The bottom of the bar is
more staccato than the top.
115 Interval
The mallets can play double stops. The interval is determined by the Pad that is selected. (Pad 1
is unison; Pad 2 is a minor second.) Footswitch 1 is the sustain pedal. The red and yellow mallets
share a sound; the blue and green mallets share a sound.
116 Duet
Marimba in Red and Yellow mallets; Vibes in Green and Blue. Use it for quick switches or share
the instrument with a friend. The Green/Blue player gets use of Footswitch 1 for sustain and can
choose different instruments with the right five Pads. The Red/Yellow player can choose from
other instruments on the left set of Pads. To share the instrument but play in the same octave,
have the Green/Blue player move to the left of the Yellow/Red player. Try both selecting
Marimba (Pad 1/6). This can be used for a stereo panning effect too, since the respective
channels are panned.
117 Gamelan
Each mallet has its own unique gamelan-like sound. Blue and green mallets can play both
downstrokes and upstrokes. The blue mallet upstroke is a different octave than the downstroke.
A user-defined Keymap (KM1) is used to make the pentatonic scale of the “black keys”
resemble a more Indonesian-type of pentatonic scale.
TIMBRE CONTROLLERS
118 Bass-Brass Split
A traditional keyboard split at F#4. The brass has resonance control along the bar. The synth bass
plays in Mono.
119 Banjo’s Bellows

A normal banjo doubled with an accordion. The accordion has volume control along the bar.
Each mallet has independent control.
120 Organ Xfade

Position along a bar crossfades between two organs. The mallets are independent. (Note the
velocity curve in the Channel Set-up is flat for these sounds, since organs usually are not velocity
sensitive.)
121 Dirty Organs

Pads 1 to 5 will select different organs on Channel 1. Pads 6 to 0 will select the same organs on
Channel 2.
MARIMBA LUMINA 69
User Guide
Appendices
On Channel 1, duration is entirely dependent on bar contact or the sustain pedal. Engaging
footswitch 2 will turn on Relative Volume control (actually using controller 11) with position
along the bar. (Only one mallet at a time will have this control depending on which grabs it first.)
Nice for comping.
Channel 2 plays in Mono mode with a timed duration for more effective bass lines or soloing.
Bar position will not affect volume of Channel 2.
122 MarimbOrg Funk

The marimba plays normally. An organ doubles, but each mallet plays mono. The organ has
“resonance” controlled by bar location. (Each mallet has its own channel in Mono mode in the
Channel Setup). The duration is very staccato, but bar contact sustains the notes too. The sustain
pedal works too.
123 Wa Syndicate
Synthesizer instruments with “brightness” control along the bar. Each mallet has a unique sound,
but all from the same instrument category. It uses four MIDI channels so that each mallet can
affect brightness independently.
Pad 1 and Pad 3 start short loops. Pad 2 and Pad 4 stop them. Pad’s 6-0 affect the transposition of
these loops. Strip 1 controls a reverb amount. Strip 2 controls another effect amount.
124 Ethereal Quartet

There is a unique instrument and MIDI channel for each mallet. Bar position affects timbre. Each
uses a different controller (Brightness, Reverb, Processor, and Resonance) to affect timbre for
that channel.
125 Synth Rosin

There is a unique instrument and MIDI channel for each mallet. Position along the bar affects “
Resonance”; position along the strip controls FX amounts for that mallet. (To hear the FX
change in real-time, use the sustain pedal to hold the note(s).
126 Horn Quartet

French horn quartet doubled by a synth. Each mallet is in Mono, thereby limiting it to a true
four-voice quartet. Timbre is affected by bar position.
BENDERS
127 Vox
The red and yellow mallets play one vocal-like instrument while the blue and green play another.
There’s a unique MIDI channel for each mallet and each mallet has independent Relative
Location PitchBend* control along the bar.
*Relative (Location) PitchBend means if you move along the bar while the mallet is down,
you’ll bend the pitch. Otherwise, the pitch will remain centered no matter where on the bar you
strike.
128 Flange Bass
70 MARIMBA LUMINA
User Guide
Appendices
A bass instrument in Mono. There is Relative PitchBend along the bars or along Strip 1.
PitchBend is set back to normal on the next strike.
129 Slide Guitar

All the mallets play a guitar, but the yellow mallet is the virtual slide. The slide is a Relative
PitchBend that slides back in tune when the yellow mallet is lifted. The yellow mallet also puts
out sustain control when on the bar. Octave transposition using Pad 6 for Octave down, Pad 8 for
standard octave, Pad 0 for Octave Up. Pads 7 and 9 transpose by steps each time they are
struck (Pads 6, 8, or 0 reset that transposition).
130 WindWood
Plays a flute-like sound with Relative Expression/volume and modulation control along the bar.
Engaging footswitch 1 will add Relative PitchBend control as well. Bar contact will sustain the
note. Use the Pads to select different instruments.
131 Sitar or Koto

Plays a sitar sound with Relative PitchBend on each bar. Each mallet is independent and has its
own MIDI channel. Swipe Strip1 or Strip2 and you’ll strum a scale. Striking Pad 1 starts a
tambora slowly plucking. Pad 2 stops the slow plucking. Footswitch 1 puts the Blue mallet into a
different mode: Absolute Location PitchBending with both Up and Down strokes.
Pads 7 and 9 select between the Sitar and the Koto.
TUNING TABLES
132 Aber Patterns
Red and yellow mallets each play through a pitch series (using “Tuning Tables”) on
downstrokes. They are transposed to the bar they are playing.
Blue and green mallets play a vocal instrument on downstrokes and bells on upstrokes. The vocal
instruments have Relative PitchBend control.
133 Patterns ‘n Wind

The Green and Blue mallets each play their own series of pitches (using “Tuning Tables”) using
both downstrokes and upstrokes. They transpose based on the bar they are playing. (They will be
playing in the Major or Relative Minor key of the bar they play.) The bottom octave plays only
in the key of A-minor (C-major) using toggle mode.
The Red and Yellow mallets play a flute-like sound with “brightness” control along the length of
the bar.
Note that since they are on the same MIDI channel, either the Red or the Yellow will grab the
control when they are played simultaneously--but not both.
134 Frere
On the “black keys”/upper zones, each mallet has a phrase of Frere Jaques played on accordion.
Mallet 1 (the Red mallets) starts. To play it in a round, it is easier with two or four people, but an
interesting four-mallet exercise for one person. Footswitch 1 resets the phrases to their first note.
A piano sound plays on the “white” keys. Notice that the piano more staccato on one end the bar.
MARIMBA LUMINA 71
User Guide
Appendices
135 Sorry, Steve

All apologies to Steve Reich, this pattern of notes comes from one of his compositions called
Marimba Phase or Piano Phase (for two marimbas or two pianos).
There are multiple ways to play the same pattern here. Pads 1 and 3 start the pattern; Pads 2 and
4 stop them. Strikes on Strip1 or Strip2 play through the pattern on marimba or piano,
respectively. In the middle “accidental bar” octave, Green and Blue mallets each play one hand
of the pattern (assuming your hands are alternating); Likewise for Red and Yellow but with a
piano sound.
In the middle “natural bar” octave, these mallets play the full pattern when you even out your
down and upstrokes. Even Footswitch 1 plays the pattern with down and up pedaling. Or, play
the instrument normally: The bottom octave plays a marimba; the top octave plays a piano. Pads
6-0 also have the five notes necessary to play the pattern.
136 Real Time

All mallets play the same on the keyboard. Position along the bar affects the timbre a bit. Now
split the instrument in half conceptually. The top half of the keyboard, the upper section of Pads
and Strip 2 are all related to one Real-Time Tuning Table. The bottom half of the instrument is
all related to its own Real-Time Tuning Table. Notes played on the keyboard are entered into
their respective Tuning Tables. Pad 4 and 9 start playback of those Tables. Pad 5 and 0 stop the
playback. Pad 1 and 6 put the Table into Update mode. Pad 2 and 7; Table Fill. Pad 3 and 8:
Table Freeze. Blue and green mallets striking the Strips play the Table. Yellow or red mallets
“swiping” the Strips play the Table.
137 Follow Red

Once the Red mallet strikes, the following four bars played are entered as pitches into a “Real-
time Tuning Table.” These four pitches are sounded (in repeating succession) with every strike,
thereby playing two notes for every strike—the bar struck plus the “tuning table” note. New
notes enter the table every time the Red mallet strikes.
MONO/POLY
138 Vibes Trio
Double-stops/chords play vibes, a drum map, and a bass in the red mallet. Singular notes
(“melody strikes”) play vibes in mono. The strips and pads play from the drum map and Pad 2
and Pad 4 select between using vibes or using drums as the solo instrument.
139 Cheese or Chives

Single notes play a chiffy percussive sound; chords play a more mellow sound. Footswitch 1 will
act as a sustain pedal for the chords.
140 Bread and Salt
Single notes play a bass and mandolin. Play a piano and the same mandolin an octave higher.
Try it for folk music accompaniment.
141 Poly Keyboard

Think of playing bass, chord, and lead with this keyboard. The bottom octave plays an octave
lower--the bass note--when played with single strokes. Single strokes in the upper three octaves
play the “lead line.” Footswitch 1 sustains both the bass note and double-stops/chords, but not
the lead line.
72 MARIMBA LUMINA
User Guide
Appendices
TUNINGS AND EXTRAS

142 Quarter Mallet
A -tone tuned Marimba/Vibe. It uses Keymaps 1 and 2 with whole tones mapped to chromatic
scales on 2 different channels--one channel pitched a -tone out.
143 Vintage Tuning

With a pitch bend value assigned to each bar, it behaves like synthesizers used to when you tried
to scale control voltages. Use Strip 1 or Pads 1,2, or 3 to try to scale it close to a chromatic scale.
The bottom bar slews the pitch down to the bottom; the top bar slews the pitch up. There’s
brightness control along the bar.
144 Toy Map

Footswitch 1 selects the Drum Map (same as Program 12 but pitched much higher.) Footswitch 2
selects the glockenspiel. The highest and the lowest bars also select between these instruments.
There are few surprises on some bars.
145 Drum Brass Density

Bombastic drums and brass sound when playing slowly. The brass instrument goes away when
playing quicker and comes back when you slow down. This uses the density control source to
control volume.
146 Hammer
Instant mechanical rolls if you hold the mallets down on the bars.
147 Solo
Pad 1 selects only marimba; Pad 2 puts a unique sound in each mallet. Pad 9 with the green
mallet starts a tuning table (green for “go”, red for “stop”, blue for “freeze”), Pad 9 with the red
mallet stops it.
With the red and blue mallets, the lowest few bars play a percussive sound with both up and
downstrokes
148 Weather
Each mallet has a different storm sound. After all, Marimba Lumina was inspired by Lightning
and Thunder. Glissandos on the wind and rain sound can be effective.
149 DJ
There’s a variety of sequences, and control in this preset. Each zone has a unique event. The
lower zones have little sequences. Striking will start the sequence. The sequence transposes with
the bar selected. Move along the bar to bend the pitch or change the timbre. The upper zones
have percussive events that stop the sequences. While Marimba Lumina was not designed as a
sequencer, this preset might also give you an idea of what to control on an external MIDI
sequencer or sampler.
150 Whack
Some whack sounds on bars, strips and pads.
MARIMBA LUMINA 73
User Guide
Appendices
Appendix C - Program Worksheets

The following pages comprise a form we find handy for documenting Marimba Lumina programs.
74 MARIMBA LUMINA
User Guide
Appendices
Prog # Name Synth Author Date

CHANNEL SETUP
Ch Instrument Mode Syn Mrg Effects Vel Pan Vol Ch Instrument Mode Syn Mrg Effects Vel Pan Vol
1 I E 9 IE
2 I E 10 IE
3 I E 11 IE
4 I E 12 IE
5 I E 13 IE
6 I E 14 IE
7 I E 15 IE
8 I E 16 IE
NOTE PATCHES CONTRLR PATCHES Source,

Action Mallet/Zone
Pat Zone Stim Note Duration Transp Channel Pat Zone Stim Cntrlr OrValue orTime Channel
OTHER PATCHES
Pat Zone Stim Pat Zone Stim
MARIMBA LUMINA 75
User Guide
Appendices
76 MARIMBA LUMINA
User Guide
Appendices
MARIMBA LUMINA 77
User Guide
Appendices
EFFECTS
Rvrb:
Chrs:
Spec:
page
2
DYNAMICS
Vel - Min Default: Dens Range: - Chord/Melody Window: sec
Range: Vel: Vel: .
KEY MAPS
2 4 Pads 7 9 2 4 Pads 7 9 2 4 Pads 7 9
1 3 5 6 8 0 1 3 5 6 8 0 1 3 5 6 8 0
Keymap#1 6 Keymap#2 6 Keymap#3 6
5 5 5
4 4 4
3 3 3
TUNING TABLES Custom

Scale Ky Lo Hi
#1
Scale Ky Lo Hi
#2
Scale Ky Lo Hi
#3
Scale Ky Lo Hi
#4
Scale Ky Lo Hi
#5
Scale Ky Lo Hi
#6
RT#1 Length: Lo: Hi: Ch/Ml: RT#3 Length: Lo: Hi: Ch/Ml:
RT#2 Length: Lo: Hi: Ch/Ml: RT#4 Length: Lo: Hi: Ch/Ml:
SETTINGS (These GLOBAL preferences are not stored)

Disp Prog 0-127 1-128 Base LEDs: Off status on chan Notation shrp flat MIDI
78 MARIMBA LUMINA
User Guide
Appendices
: Change: Chan: :
MARIMBA LUMINA 79
User Guide
Appendices
80 MARIMBA LUMINA
User Guide
Appendices
Appendix D – Internal Synth Instruments

The following pages contain program maps and drum kit sounds for Marimba Lumina’s internal
synthesizer.
As we have mentioned before, the Marimba Lumina was specifically designed to be a MIDI
Controller. We have included a built-in tone generator module so that you can learn the intricacies
of the unit without the need of additional equipment. To that end, here is a list of the tones that
are included in the on board tone generator.
Please be aware that if you are trying to access these tones from an external device, such as a
sequencer, by default you will only get the sounds in Bank 0 for each program number. These
tones in Bank 0 are the GM sounds while all other Banks are the XG sounds. To access the
sounds in the other banks you will need to send MIDI controller data to the unit to get to the
other Banks. A quick example of how this is done is as follows.
First send a MIDI controller 0, which is the Bank MSB controller. Controller 0 must have a value
of 0. Next, send a MIDI controller 32, which is the Bank LSB controller. The value specified for
controller 32 is the Bank number that you want to use. Then finally send a Program Change with
a value that equates to the Program Number from this list. These steps must be performed in this
specified order to get to the additional XG sounds.
Program Number Bank Voice Name 7 0 Clavichord

PIANO 1 Clavichord KS
0 GrandPiano 27 Clavichord+Wah
1 GrandPiano KS 64 PulseClavichord
0 18 MelloGrandPiano 65 PierceClavichord
40 Piano&Strings
41 Dream(=+SynthPad)
CHROMATIC PERCUSSION
0 BritePiano
1 8 0 Celesta
1 BritePiano KS
9 0 Glocken
0 ElectrGrandPiano
0 MusicBox
1 ElectrGrndPiano KS 10
64 Orgel
2 32 DetConcertPiano80
0 Vibes
40 ElectrGrandPiano1
11 1 VibesK
41 ElectrGrandPiano2
45 HardVibe
0 HonkyTonk
3 0 Marimba
1 HonkyTonk KS
1 MarimbaK
0 ElectronicPiano1
12 64 SineMarimba
1 ElectronicPiano1 KS
97 Balafon2
18 MelloElectrPiano1
98 Log Drum
4 32 Chor.ElectrPiano1
13 0 Xylophone
40 HardElectronicPiano
0 TubularBell
45 VX ElectronicPiano1
14 96 ChurchBell
64 60sElectronicPiano
97 Carillon
0 ElectronicPiano2
0 Dulcimer
1 ElectronicPiano2 KS
35 Dulcimer2
32 Chor.ElectrPiano2 15
96 Cimbalom
33 DX Hard
97 Santur
5 34 DX Legend
ORGAN
40 DX Phase
16 0 DrawOrgan
41 DX+Analog
32 DetunedDrawOrgan
42 DX Koto EP
33 60s DrawOrgan1
45 VX ElectronicPiano2
34 60s DrawOrgan2
0 Harpsichord
35 70s DrawOrgan1
1 Harpsichord KS
6 36 DrawOrgan2
25 Harpsichord 2
37 60s DrawOrgan3
35 Harpsichord 3
38 Even Bar
MARIMBA LUMINA 81
User Guide
Appendices
40 16+2"2/3 27 Flanged Bass

64 Organ Ba 40 Bass&DistortGuitar
65 70s DrawOrgan2 43 Fingered Slap
66 CheezOrgan 45 Fingered Bass 2
67 DrawOrgan3 65 Mod Alem
0 PercussiveOrgan 0 PickBass
34
24 70s PercOrgan1 28 Mute PickBass
17 33 Detuned PercOrgan 0 Fretless Bass
34 LiteOrgan 32 Fretless Bass 2
37 PercussiveOrgan2 33 Fretless Bass 3
35
18 0 RockOrgan 34 Fretless Bass 4
96 SynFretlessBass
97 Smooth
64 RotaryOrgan
0 SlapBass1
65 SlowRotar
36 27 ResoSlap
66 FastRotar
32 PunchThm
0 ChurchOrgan
37 0 SlapBass2
32 ChurchOrgan3
35 ChurchOrgan2
19
40 NotreDam 43 VeloSlap
64 OrganFlute 0 SynBass1
65 TremoloOrganFlute 18 SynBass1Drk
0 ReedOrgan 20 Fast Res Bass
20
40 PuffOrgan 24 Acid Bass
0 Accordion 35 Clv Bass
21 38
32 Accordionlt 40 Tekno Bass
0 Harmonica 64 Oscar
22
32 Harmonica2 65 Sqr Bass
0 TangoAccordion 66 Rubber Bass
23
64 TangoAccordion2 96 Hammer
GUITAR 0 SynBass2
0 NylonGuitar 6 Mellow SynBass1
16 NylonGuitar2 12 Seq Bass
24 25 NylonGuitar3 18 ClkSynBass
43 VelGtHrm 39 19 SynBass2Drk
96 Ukelele 32 SmthBass 2
25 0 SteelGuitar 40 ModularBass
16 SteelGuitar2 41 DX Bass
35 12 SteelGuitar 64 X WireBass
40 Nylon&Steel STRINGS
41 Steel & Body 0 Violin
40
96 Mandolin 8 Slow Violin
0 Jazz Guitar 41 0 Viola
26 18 Mello Guitar 42 0 Cello
32 Jazz Amp 43 0 Contrabass
0 Clean Guitar 0 Tremolo Strings
27
32 Chorus Guitar 44 8 SlowTremoloStrings
0 Mute Guitar 40 Suspense Strings
40 Funk Guitar 1 45 0 Pizzicato Strings
28 41 MuteSteelGuitar 0 Harp
46
43 Funk Guitar 2 40 Yang Chin
45 Jazz Man 47 0 Timpani
0 Overdrive ENSEMBLE
29
43 Guitar Pinch 0 Strings 1
0 Distorted Guitar 3 Stereo Strings
30 40 Feedback Guitar 8 Slow Strings
41 Feedback Guitar 24 Arco Strings
0 Guitar Harmonic 48 35 60s Strings
31 65 Guitar Feedback 40 Orchestra
66 Guitar Harmonic 2 41 Orchestra 2
BASS 42 Tremolo Orchestra
0 Acoustic Bass 45 Velo Strings
32 40 Jazz Rythm 49 0 Strings 2
45 VX Upright 3 Stereo SlowStrings
33 0 Fingered Bass 8 Legato Strings
18 Fingered Dark 40 Warm Strings
82 MARIMBA LUMINA
User Guide
Appendices
41 Kingdom 68 0 Oboe
64 70s Strings 69 0 English Horn
65 String Ensemble 3 70 0 Bassoon
0 Syn. Strings 1 71 0 Clarinet
27 Reso Strings PIPE
50
64 Syn Strings 4 72 0 Piccolo
65 SS Strings 73 0 Flute
51 0 Syn.Strings 2 74 0 Recorder
0 Choir Aah 75 0 PanFlute
3 Stereo Choir 76 0 Bottle
52 16 Choir Aah 2 77 0 Shakhchi
32 Mel Choir 78 0 Whistle
40 Choir Strings 79 0 Ocarina
53 0 VoiceOoh SYNTH LEAD
0 Synth Voice 0 SquareLead
40 Synth Voice 2 6 SquareLead2
54
41 Choral 8 LmSquare
64 Ana Voice 18 Hollow
80
0 Orchestral Hit 19 Shmoog
55 35 Orchestral Hit 64 Mellow
64 Impact 65 SoloSine
BRASS 66 SineLead
56 0 Trumpet 0 SawtoothLead
6 SawtoothLead2
8 Thick SawtL
16 Trumpet 2
81 18 Dynamic SawtL
17 Brite Trumpet
19 Digital SawtL
32 Warm Trumpet
20 Big Lead
0 Trombone
57 24 Heavy Syn
18 Trombone 2
0 Tuba
58
16 Tuba 2 25 Waspy Syn
59 0 MutedTrumpet 40 Pulse Saw
0 French Horn 41 Dr. Lead
6 French HornSolo 96 Seq Ana
60
32 French Horn2 0 CalliopeLead
82
37 Horn Orchestra 65 Pure Pad
0 Brass Section 0 Chiff Lead
83
35 Trumpet&TubaSect 64 Rubby
61 40 Brass Section 2 0 CharanLead
41 Hi Brass 84 64 Distorted Lead
42 Mellow Brass 65 Wire Lead
0 Syn Brass 1 0 Voice Lead
12 Quack Brass 85 24 Synth Aah
20 RezSyn Brass 64 Vox Lead
62 24 Poly Brass 0 Fifth Lead
86
27 Syn Brass 3 35 Big Five
32 Jump Brass 0 Bass&Lead
45 Ana Vel Brass 16 Big&Low
87
64 Ana Brass1 64 Fat&Porky
0 Syn Brass 2 65 Soft Wurl
18 Soft Brass SYNTH
40 Syn Brass4 0 NewAge Pad
63 88
41 Choir Brass 64 Fantasy 2PAD
45 Vel Brass 89 0 Warm Pad
64 Ana Brass 2 16 Thick Pad
REED 17 Soft Pad
64 0 Soprano Sax 18 Sine Pad
0 Alto Sax 64 Horn Pad
65 40 Sax Section 65 Rotar String
43 Hypr Alto 0 PolySyn Pad
0 Tenor Sax 64 Poly Pad 80
40 Breath TenorS 90 65 Click Pad
66
41 Soft TenorS 66 Analog Pad
64 Tenor Sax 2 67 Square Pad
67 0 Bariton Sax 91 0 ChoirPad
MARIMBA LUMINA 83
User Guide
Appendices
64 Heaven2 64 Echo Bell

66 Itopia 65 Big Pan
67 CC Pad 66 Syn Piano
0 BowedPad 67 Creation
92 64 Glacier 68 Stardust
65 Glass Pad 69 Reso Pan
0 MetalPad 0 Sci-Fi
103
93 64 Tine Pad 64 Starz
65 Pan Pad ETHNIC
94 0 HaloPad 0 Sitar
0 SweepPad 32 Det Sitar
20 Shwimmer 104 35 Sitar 2
95 27 Converge 96 Tambra
64 Polar Pad 97 Tamboura
65 Celestial 0 Banjo
SYNTH EFFECTS 105 28 Mute Banjo
0 Rain 96 Rabab
45 Clavichord Pad
96 64 Hrmo Rain
65 African Wind
66 Carribean
0 SoundTrack
97 27 Prologue
64 Ancestral
0 Crystal
12 SynDrCmp
14 Popcorn
18 Tiny Bell
35 Round Glock
98 40 Glock&Chimes
41 ClearBell
42 ChorBell
64 Synth Mallet
65 Soft Cryst
66 Loud Glock
67 Xmas Bell
68 VibeBell
69 DigitalBell
70 AirBells
71 Bell Harp
72 Gamelemba
0 Atmosphere
18 WarmAtmosphere
19 Hollow Rls 97 Gopichnt
40 NylonEP 98 Oud
99
64 Nylon Harp 106 0 Shamisen
65 Harp Vox 0 Koto
66 Atmosphere Pad 107 96 T.Koto
67 Planet 97 Kanoon
0 Bright 108 0 Kalimba
100 64 FantasyBell 109 0 Bagpipe
96 Smokey 110 0 Fiddle
0 Goblins 0 Shanai
64 GobSyn 64 Shanai 2
111
65 50sSciFi 96 Pungi
101 66 Ring Pad 97 Hichriki
67 Ritual PERCUSSIVE
68 To Heaven 0 TinkleBell
70 Night 96 Bonang
71 Glisten 97 Gender
96 BelChoir 112 98 Gamelan
102 0 Echoes 99 S. Gamelan
8 Echo Pad 2 100 Rama Cym
14 Echo Pan 101 Asian Bell
84 MARIMBA LUMINA
User Guide
Appendices
113 0 Agogo
0 SteelDrum
114
97 GlasPerc
98 ThaiBell
0 WoodBlok
115
96 Castanet
0 TaikoDrm
116
96 Gr. Cassa
0 Melod Tom
64 Melod Tom 2
117
65 Real Tom
66 Rock Tom
0 Syn.Drum
118 64 Ana Tom
65 Elec Perc
119 0 Rev.Cymbal
SOUND EFFECTS
120 0 FretNoise
121 0 BreathNoise
122 0 Seashore
123 0 BirdTweet
124 0 Telephone
125 0 Helicopter
126 0 Applause
127 0 Gunshot
Appendix E – MIDI Implementation Chart

Function Transmitted Recognized Remarks
Basic 1-16 1-16 Defaults to base ch16;
Channel
Mode Multi 1-4
Note 0-127 0-127
Number True Voice 12-108 Key Range C0-C8
Velocity Note On o o
Note Off x x
After Keys x o
Touch Channel o o
Pitch Bend o o
Control Change 0-101 0,32 Bank Select
1 Mod Wheel
5 Portamento Speed
6,38 Pitch Wh Sens
7 Volume
10 Pan
11 Expression
64 Sustain Pedal
65 Portamento Enable
66,67 Sostenuto, Soft Pedals
71 Resonance
72,73 Release, Attack Times
74 Brightness
91,93,94 Reverb, Chorus, Processing
96,97 Data Inc, Dec
98-101 NRPN lsb, MSB RPN LSB, MSB
Program True number 0-127 0-127 Internal Synth
Change 1-99 M.L. programs (base ch)
Bank Select o o
System Exclusive x x
System Song Position x x
Common Song Select o x
MARIMBA LUMINA 85
User Guide
Appendices
Tune Request x x
System Clock o x
Real Time Commands o x
All Sounds Off x o
Aux ResetCntrollers o o
Messages All Notes Off o o
Omni off, on x o
Mono, Poly o o Transmitted only to int. Synth
Active Sense x o
Notes Mode 1:Omni On, Poly Mode 2:Omni On, Mono o: Yes
Mode 3:Omni On, Poly Mode 4:Omni Off, Mono x: No
86 MARIMBA LUMINA
User Guide
Appendices
Appendix F - Expanded Connections

The usual connections to Marimba Lumina are made with standard -inch phone plugs. Two
footswitch inputs, a foot pedal input, and a trigger input are provided. To double a switch input
or a trigger input, plug in with a -inch stereo plug. The second input will make connection
through the “ring” of the plug. Adapters exist (Hosa 6" Shielded Y Cable # YPP-117) that
convert a stereo jack to two monophonic jacks.
The overall volume of Marimba Lumina’s internal Synth can be treated as a controller, and can be
attached to any of the several performance variables. If you would like to extend this capability
to an external Synth, use stereo phone plugs in the left and right audio out jacks. The signal
outputs appear on the plug tips; connect them to your amplifier or mixer. Now the rings become
signal inputs to Marimba Lumina’s internal amplifier; connect them to your Synth output. A
convenient adapter for implementing this connection is called a "Send and Return Cable" (Hosa #
STP-202). Voila! The volume of your external Synth can now be controlled by any of Marimba
Lumina’s many sources of control.
MARIMBA LUMINA 87
User Guide
Appendices
Appendix G - Latency and Density Issues

The MIDI protocol was defined in the early eighties by manufacturers bent on standardizing the
link between controllers and synthesizers so that users would have more options available when
configuring their setup (and perhaps would spend more dollars on gear). A single "master
controller" could now serve several synthesizers from different manufacturers. The concept was
reasonable, but its implementation was short-sighted; MIDI accommodated keyboards
adequately, but ignored the requirements of what are sometimes referred to as "alternate
controllers" (meaning alternatives to the keyboard). Marimba Lumina falls in this category, and
much of Lumina's software is designed to overcome various shortcomings of MIDI. This brings
us to the reason for this explanatory note.
Posing a relatively minor problem for the keyboardist, MIDI is saddled with a data rate that
forces more expressive controllers to crawl when they should be leaping. Here's why (pardon us
while we get a bit technical): With the MIDI standard, it takes about one millisecond (.001
seconds) for a controller to direct a Synth to sound a note. And another millisecond to tell it to
end the note. So, a keyboardist playing a 10-note chord with a single voice has to tolerate a slop
factor of .01 seconds. Perceivable but tolerable. But layer a few voices, and even the keyboardist
gets into trouble. Fast keyboard runs? The Synth can usually keep up if there are not too many
voices and the player wants to keep his fingers reasonably intact..
Now enter the Marimba Lumina. Here's a controller that just for starters likes to get two voices
going for every strike. And toss out a minimum of four controller messages in response to
location on the bar (each controller message adds another millisecond). Now we are looking at
eight milliseconds per note for the simplest location-sensitive program. Now while it has no
acoustic parallel, our newly liberated marimbist is easily tempted to go where no marimbist has
gone before. With a sweep of his magic mallet, he readily executes a glissando of 3 octaves in
second. That's 100 notes per second, or ten milliseconds per note. Given a little time out for
calculations and stuff, Marimba Lumina barely hangs in. Now add just one voice layer and
execute our gliss with four mallets, and Lumina, operating at MIDI full speed ahead, takes a
leisurely 2.5 seconds to cross the finish line. And its totally confused computer may leave a
"hung note" or two and has even been known to shut down in total despair.
So what do we do? We create programs with an eye to limit complexity and its effect on latency.
The use of location to control some timbre aspect of a sound doubles the MIDI delay. Using it to
cross-fade between two channels doubles it again. Add a layer and we are now eight times the
single voice delay. So if you want to move fast, O.K. But keep it simple.
Revision Note: The “Quicksilver” upgrade card addresses the internal latency
issues with the original Marimba Lumina’s CPU limits. Due to heavy internal
processing that original CPU was adding additional latency to gestures.
88 MARIMBA LUMINA
User Guide
7
…Index
Action .............................................................34, 36, 37 Initial.................................................................... 24, 29

Aftertouch ............................................................ 34, 36 Instruments ...................................................44, 45, 76
Assignments .............................................................. 62 Inversion .............................................................. 34, 47
Bank .................................................. 44, 58, 62, 76, 80 Keymap ...................................................................... 30
Buchla, Don ................................................................. 7 Keymaps .................................................................... 40
Carlson, Chuck............................................................ 7 Latency....................................................................... 83
Cells...................................................................... 27, 43 LCD ...................................................................... 12, 49
Channel..........................................................57, 59, 80 LEDs..................................................................... 33, 50
Chorus ............................................... 51, 52, 62, 77, 80 Blinking LEDs ............................................... 48
Connections ...................................................10, 11, 82 Library ....................................................................... 53
Controller....................... 33, 39, 52, 58, 59, 62, 76, 83 Location................................................................ 31, 35
Action.......................................................... 34 Absolute ...................................................... 35
Assignments................................................. 62 Relative....................................................... 35
Source ......................................................... 34 Mallet .........................................................8, 24, 51, 79
Controllers .....................................................33, 38, 62 Color...................................................... 24, 29
Copy............................................................................ 54 Number....................................................... 35
Crossfade ................................................................... 34 Red.................................................. 28, 42, 44
Custom ....................................................................... 41 Melody .................................................................. 29, 51
Damp .................................................................... 31, 52 Memory ...................................................................... 53
Data strip..............................25, 27, 28, 30, 38, 39, 49 Merge.......................................................................... 45
Davel, Joel ................................................................... 7 Messages ........................................... 37, 38, 57, 58, 59
Dead stroke................................................................ 31 MIDI ................... 11, 37, 56, 57, 58, 59, 60, 76, 80, 83
Aftertouch .............................................. 34, 36
DeCiutiis, Mario.......................................................... 7
Base Channel ............................................... 49
Delete ......................................................................... 27
Channel.................................................. 33, 44
Density ...........................................................35, 51, 83 Controller reset ............................................ 39
Disconnect.................................................................. 37 Controllers.............................................. 33, 62
Display ................................................................. 49, 50 Implementation............................................ 80
Drums......................................................................... 45 Note number................................................ 33
Duration.........................................................26, 30, 31 Note off............................................ 31, 33, 39
Dynamics ............................................................. 29, 50 Outputs ....................................................... 10
Edit ..................... 25, 26, 27, 40, 41, 43, 44, 49, 51, 53 Pitch wheel ............................................. 34, 36
Program change ........................................... 49
Editor.......................................................................... 24
Revealed ..................................................... 56
Effects................................................ 45, 51, 52, 59, 62 System exclusive.......................................... 53
Chorus......................................................... 51
Velocity ....................................................... 51
Parameters .................................................. 52
Mode ............................... 44, 45, 50, 57, 59, 62, 80, 81
Reverb......................................................... 51
Special ........................................................ 51 Mute ...............................................................48, 77, 79
Enter........................................................ 31, 35, 53, 54 Name ................................................. 12, 44, 53, 54, 76
Erase .................................................................... 53, 54 Naming....................................................................... 53
Escape .................................................................. 24, 54 Nearfield Systems....................................................... 7
Feet............................................................................. 14 New...................................................................8, 26, 27
Wet ............................................................. 14 Notes......................................31, 32, 38, 39, 41, 59, 81
Fill once...................................................................... 38 Damp.......................................................... 31
Display ........................................................ 50
Footswitches ..................................................11, 29, 82
Display convention ....................................... 25
Format card ............................................................... 55 Dynamics .................................................... 50
Freeze ......................................................................... 38 Object ......................................................................... 29
General MIDI ......................................... 45, 58, 59, 60 Outputs ...................................................................... 10
Gesture................................................................. 31, 47 Panning................................................................ 34, 62
Goldstein, Mark .......................................................... 6 Patch........................................................................... 27
Hookup ....................................................................... 10 Buffer ......................................................... 26
Implementation......................................................... 80 Table .......................................................... 26
MARIMBA LUMINA 89
User Guide
Appendices
Undo ........................................................... 27 Special .................................................................. 51, 52

Pedal.................................................. 35, 59, 62, 80, 82 Square .................................................................. 36, 78
Permanent ................................................................. 63 State
Pitch ...........................................................6, 31, 58, 80 Edit............................................................. 26
Pitch wheel ................................................6, 34, 36, 62 New ............................................................ 26
Play....................................................................... 10, 25 Stimulus..................................................................... 28
Portamento ............................................. 33, 59, 62, 80 Strip............................................................................ 28
Position ..........................................................31, 33, 80 Sustain .................................................... 31, 32, 62, 80
Power supply ......................................................... 8, 10 Synthesizer .......................................................... 10, 44
Program Change .............................. 44, 49, 58, 60, 76 System level............................................................... 33
Program Library ....................................................... 53 Thunder ..................................................................... 53
Programs........................................... 12, 25, 53, 54, 63 Time.......................................29, 30, 35, 36, 37, 59, 81
Copying ....................................................... 53 Toggle ................................................................... 32, 35
Library......................................................... 53 Transposition............................................................. 32
Naming........................................................ 53 Triangle...................................................................... 36
Permanent ............................................. 12, 53 Triggers ..........................................................11, 29, 82
Protected ..................................................... 54
Tuning table ........................................................ 30, 42
Selecting...................................................... 53
Fill once ...................................................... 39
Selection...................................................... 12
Freeze......................................................... 39
User ............................................................ 53
Real time.......................................... 30, 39, 42
Random ..........................................................33, 35, 36 Trasnsposition.............................................. 30
Relative ...................................................................... 34 Update ........................................................ 39
Reset........................................................ 24, 38, 39, 59 Tunings ..........................................................30, 33, 41
Reverb ..................................................... 51, 52, 62, 80 Undo ........................................................................... 27
Rice, Brian ................................................................... 7 User ....................................................... 6, 8, 24, 25, 54
Routing....................................................................... 45 Values......................................................................... 37
Safety............................................................................ 8 Velocity........................... 29, 30, 31, 35, 46, 47, 50, 80
Sawtooth .................................................................... 36 Vibrato
Scale ........................................................................... 41 Weird .......................................................... 39
Custom........................................................ 41 Volume .................................................... 46, 58, 62, 80
Select .......................................................................... 80 Waveform
Selection.........................................................11, 24, 58 Sawtooth..................................................... 36
Servicing ...................................................................... 8 Square ........................................................ 36
Setup .................. 25, 26, 30, 40, 41, 43, 44, 49, 53, 58 Triangle....................................................... 36
Slew ................................................................35, 36, 37 Wet.............................................................................. 14
Solo ............................................................................. 48 Window ...................................................................... 51
Source...................................................... 34, 35, 36, 42 Zone .......................... 25, 26, 27, 40, 41, 43, 44, 49, 53
90 MARIMBA LUMINA
User Guide
MARIMBA LUMINA
User Guide

Manual ML 35 Doc 2

Загружено:

Сведения о документе

Исходное описание:

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Manual ML 35 Doc 2

Загружено:

Авторское право:

Доступные форматы

®

For use with software

©2000 by NSI 2008 |D|

MARIMBA LUMINA iii

IMPORTANT SAFETY PRECAUTIONS

CARE & FEEDING

ORGANIZATION OF THIS MANUAL

Figure 1 Simplest Hookup

Figure 2 Hookup with External Synth

SELECTING AND PLAYING PROGRAMS

Program 15 (Name of current progra m)

THINGS YOU NEED TO KNOW BEFORE

SOME CONVENTIONS TO MAKE READING THIS SECTION

THE EDITING MALLET

BUILDING A NEW PROGRAM

WHAT A BLANK PRESET PLAYS LIKE

GETTING COMFORTABLE WITH THE EDIT MENUS

NAMING THE PROGRAM

15) <6D> again. ACTION is displayed.

ADD PITCH BEND TO STRIP 1

ADD INFORMATIVE LEDS

TO COPY A PROGRAM FROM FIXED TO USER MEMORY

THE USER INTERFACE

prog display edit

menu select bars

Figure 3 User Interface

THE USER INTERFACE: MAIN MENU

Ptch Chanl Key Tune Zone Prog Sett

Patch MIDI Key Tuning Zone Program

Ptch Chanl Key Tune Zone Prog Sett

Patches: Patch Structure

MARIMBA LUMINA pads

cell 1 cell 2 cell 3 cell 4

cell 5 cell 6 cell 7 cell 8

Split 1 Split 2 Split 3

Entering Zone Data

= downstroke with any mallet = release with mallet #3

The Melody Strike

Footswitch and Trigger Inputs

1, 2 = actuation of foot switch #1 and release of #2

Tr 1, Tr 2 are the two possible entries.

PATCHES: OBJECT TYPES

Note Contrler C.Invert MIDIMessage System

Notes: Ways to Hold or

This value can be modified by the second entry.

• A note's length can be made proportional to the velocity of the

• Note duration can also be made to depend on transmitted pitch (MIDI

A third field offers some further ways to terminate a note:

• This last response can be made independent of velocity by inserting

• Footswitch #1 or #2 can be used to inhibit the ending of a note. Dial

• Additional data types combine the sustain function with "release",

On The note is shifted by the value contained in the transposition

+ The transposition amount is in a plus (sharp) direction (+:12

- The transposition amount is in a minus (flat) direction (-:07

A The transposition register is modified by adding the datum to its

S The transposition register is modified by subtracting the datum

? The transposition amount is random, with the datum specifying

Pa Cmd Z n St Con t r l e r Sou r c e M l / Zn Ch a n l

Source - Causes the controller to respond to a performance gesture

Action - Directs the controller to continually increase or decrease in

Value - Sends a value from 0 to 127 to the selected controller.

Object Type: Controller,