Instruction/ maintenance manual of the product Electronic Keyboard Korg
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Parameter Guide Parameter Guide Parameter Guide.
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iii Contents Program mode: HD-1 . . . . . . . . . . . . . . 1 HD-1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . 1 Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 2 0–1: Main . . . . . . . . . . . . . . . . . . . . . . . .
iv 4–1: OSC Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 4–2: Sub/Noise/Ring Mod . . . . . . . . . . . . . . . . . . 177 4–3: Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 4–4: Pitch Common . . .
v Program P7: EG 3-6 . . . . . . . . . . . . . . . . . . . 303 7-1: EG 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 7-2: EG 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 7-3: EG 5 . . . . . . . . .
vi 1–5: Vector Volume Control . . . . . . . . . . . . . . . . . 453 1–6: Vector CC Control . . . . . . . . . . . . . . . . . . . . . 456 1–7: Vector Envelope . . . . . . . . . . . . . . . . . . . . . . . 459 1–8: Set Up Controllers . . . . . .
vii 4–2: Per-Step Parameters . . . . . . . . . . . . . . . . . . . . 669 Global P5: Drum Kit . . . . . . . . . . . . . . . . . . . 673 5–1: Sample Setup . . . . . . . . . . . . . . . . . . . . . . . . . 673 5–2: Sample Parameters . . . . . . . .
viii 057: 2-Voice Resonator . . . . . . . . . . . . . . . . . . . . . 811 058: Doppler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812 059: Scratch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813 060: Grain Shifter . .
ix 172: OD/Hi Gain // Wah . . . . . . . . . . . . . . . . . . . 888 173: OD/Hi Gain // Cho/Flanger . . . . . . . . . . . 888 174: OD/Hi Gain // Phaser . . . . . . . . . . . . . . . . . 888 175: OD/Hi Gain // Mt BPM Dly . . . . . . . . . . . . 888 176: Wah // Wah .
x Duration Parameters . . . . . . . . . . . . . . . . . . . . . . . 957 Repeat Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 958 Bend Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 958 Appendices . . . . . . . . . . . . .
1 Program mode: HD-1 HD-1 Over view The HD-1 High Definition Synthesizer is Korg’s new flagship PCM synthesis engine, featuring outstanding sound quality , unique sound-design tools, and a rich ar.
Program mode: HD-1 2 Program P0: Play This is the main page of Program mode for HD-1 Programs. Among other things, you can: • Select Programs • Jump directly to the main editing pages • Make bas.
Program P0: Play 0–1: Main 3 If a variation bank doesn’t have a differ ent version of the current Pr ogram, the basic GM sound will be recalled instead.
Program mode: HD-1 4 4. Press the OK button to con fi rm your choice, or press the Cancel button to exit without changing the Program. Categor y [00…18, Name] All programs ar e classified into one of eighteen categories, such as Keyboard, Or gan, Strings, etc.
Program P0: Play 0–1: Main 5 0…7: The programs will be shown by sub-category . 4. Select a program from the list. Y ou can touch a Program’s name directly , or use the Inc and Dec buttons. If there ar e more Programs than can be shown on the screen at one time, use the scr oll bar to browse through the entire Category .
Program mode: HD-1 6 Common V oice Assign Mode This shows the voice assign mode of the program– either POL Y or MONO. T ouch this area to jump to the corresponding Pr ogram P1– Program Basic page. Pitch EG Graphic This shows the shape of the Pitch EG.
Program P0: Play 0–6: KARMA GE 7 0–6a: Program Select, Load GE Options, KARMA T .Sig, T empo Bank [INT–A…F , GM, g(1…9), g(d), USER–A…G] Bank T ype [(HD-1, EX i )] Program [(0…127 (INT and USER Banks), 1…128 (GM Banks)] (T empo) [040.
Program mode: HD-1 8 T empo ( ) [040.00…240.00, EXT] This is the tempo for the current Pr ogram, which applies to tempo-synced LFOs and W ave Sequences, KARMA, and tempo-synced effects. EXT means that the tempo will sync to external MIDI clocks.
Program P0: Play 0–6: KARMA GE 9 0–6c: RealTime Controls This displays the names and stored settings of KARMA SLIDERS 1–8 and KARMA SWITCHES 1–8. 1…8 The current setting of the KARMA SWITCHES and KARMA SLIDERS are shown her e, which are linked with the operation of the front panel switch.
Program mode: HD-1 10 0–7: Controller View/Ef fect This page shows the functions assigned to the physical controllers, including the vector joystick, SW1 and 2, and knobs 5–8. It also includes an overview of all of the effects, and lets you adjust the W et/Dry Balances separately for the IFX, MFX, and TFX.
Program P0: Play 0–8: Audio Input/Sampling 11 ▼ 0–7: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Program mode: HD-1 12 S/P DIF L, S/P DIF R These are settings for the S/P DIF digital audio input, for connecting external A/D converters, computer audio systems, DA T machines, or other digital audio gear . OASYS supports S/P DIF input at either 48 kHz or 96 kHz.
Program P0: Play 0–8: Audio Input/Sampling 13 T ip: Y ou can use the control surface to contr ol this parameter . For mor e information, see “Using the control surface to adjust Audio Input” on page 1 1. Level [000…127] This controls the level of the external audio signal.
Program mode: HD-1 14 Again, the goal is to get the level as high as possible without activating the CLIP! or ADC OVERLOAD! messages. Tips for eliminating distor tion when using the analog inputs If s.
Program P0: Play 0–8: Audio Input/Sampling 15 Source Bus = REC Bus 1/2 Source Bus = Audio Input 1/2 Source Bus = S/P DIF L/R Source Bus = Indiv . 1/2 L-Mono R-Mono Stereo Level Pan CLIP !! L/MONO R AUDIO OUTPUT HEADPHONES L/R Bus REC 1/2 REC 3/4 ...
Program mode: HD-1 16 Source Direct Solo [Off, On] On (checked): Only the signal of the bus selected for Source Bus will be output from the L/R jacks and the headphone jack.
Program P0: Play 0–8: Audio Input/Sampling 17 and reduce it to the minimum size necessary . For more information, see “T runcate (for Sample Edit)” on page 623 and “T runcate (for Loop Edit)” on page 628. Y ou can also press the SAMPLING ST ART/ST OP switch to manually stop sampling after you have recor ded the desired material.
Program mode: HD-1 18 0–9: Control Sur face The Control Surface is the set of 9 sliders, 8 knobs, and 16 switches to the left of the LCD display . It looks like a mixer , but it can do other things as well, including editing sounds, controlling KARMA, and sending MIDI messages to external devices.
Program P0: Play 0–9: Control Surface 19 AUDIO INPUTS lets you adjust the volume, pan, and send levels for the analog and S/P DIF audio inputs. In Sequencer mode, you can also use this to select two banks of hard-disk r ecording tracks, as shown by the LEDs to the right of the switch.
Program mode: HD-1 20 MIXER KNOBS [Channel Strip, Individual Pan] The Mixer Knobs switch is on the front panel, immediately to the right of the knobs, and is also duplicated in the on-screen display . The eight knobs can control two dif ferent sets of parameters, depending on the setting of this switch.
Program P0: Play 0–9: Control Surface 21 Solo switch and Select switches 1–2 Solo [Off, On] Solo lets you isolate one or more Oscillators or Audio Inputs, so that you hear them by themselves. It does this by temporarily muting all non-soloed Oscillators and Audio Inputs.
Program mode: HD-1 22 0–9c: Audio Inputs This Control Assign setting lets you adjust the volume, pan, and FX send settings for each of the six audio inputs: Analog 1–4, and S/P DIF left and right. Y ou can use this page to mix sounds from other sources into the OASYS outputs - as an on-stage submixer , for instance.
Program P0: Play 0–9: Control Surface 23 Audio Input Pan (1–6) [L000…C064…R127] These control the pan for Analog Inputs 1–4 and S/P DIF Left and Right, r espectively . A setting of L000 places the sound at the far left, C064 in the center , and R127 to the far right.
Program mode: HD-1 24 These External Setups are completely separate fr om the Program. Y ou can think of External mode as being a separate control surface which just happens to shar e OASYS’s sliders, knobs, switches, and drum pads.
Program P0: Play 0–9: Control Surface 25 Control [SW1…8, SL1…8] This shows which Switch or Slider is currently selected. Assignment [Name] Each KARMA Slider or Switch can control multiple internal parameters simultaneously . The group of parameters can be given a single name, which is shown here.
Program mode: HD-1 26 Master V olume Slider Master V olume [000…127] This controls the volume of the main ster eo outputs, after the T otal Effects. It does not affect Individual Outputs 1–8. For more information, see the diagram “Master V olume” on page 21.
Program P0: Play 0–9: Control Surface 27 Absolute parameters usually control a single Pr ogram parameter , such as Oscillator 1 T ranspose . The Program and T one Adjust parameters mirror one another; when you change one, the other will change to match.
Program mode: HD-1 28 V alue [Depends on parameter] This shows the current value of the parameter . The range of values will vary depending on the parameter assigned to the control. Switches 1–16 T one Adjust switches act a little dif ferently than knobs and sliders.
Program P0: Play 0–9: Control Surface 29 Pitch EG Release T ime . (–99…+99) This scales the release times of the Pitch EG (or EGs, in the case of some EX i instruments). Pitch LFO1 Intensity . (–99…+99, CC#77) This scales the effect of LFO1 on the Pitch.
Program mode: HD-1 30 The list of Multisamples, W ave Sequences, or Drum Kits can be quite long. The sliders or knobs will let you sweep through the entir e range, but it may not be possible to select all of the intermediate values.
Program P0: Play 0–9: Control Surface 31 Default T one Adjust Settings T one Adjust pr ovides an elegant physical interface to the HD-1’s parameters. Most of the factory sounds use the default layout, as shown below . Y ou can also customize the layout for individual sounds, if desired.
Program mode: HD-1 32 Program P1: Basic/V ector 1–1: Program Basic This page contains all of the basic settings for the Program. Among other things, you can: • Set up the Program to be a Single, a.
Program P1: Basic/Vector 1–1: Program Basic 33 Polyphony also depends on the effects being used, and on which synthesis types are being used (HD-1, AL-1, CX-3 etc.). For more information, see “8–5a: Ef fect/EXi Fixed Resource Meter” on page 126.
Program mode: HD-1 34 This setting does not limit the Unison Number of V oices parameter . For instance, if Max # of Notes is set to 6 , and Unison Number of V oices is set to 3 , you can play up to 6 notes, each with 3 Unison voices. If the Program is set to Double , the Max # of Notes applies equally to both Oscillators.
Program P1: Basic/Vector 1–1: Program Basic 35 Thickness [Off,01…09] Thickness is available when Unison is On . This parameter controls the character of the detuning for the unison voices. Off: Unison voices will be evenly distributed acr oss the Detune range, as shown above.
Program mode: HD-1 36 Wave Sequence Swing Swing uses the W ave Sequence’ s Resolution setting Since the programmed r hythms of T empo W ave Sequences can vary widely , each has its own Swing Resolution setting, from 1/32 note triplets to 1/4 note.
Program P1: Basic/Vector 1–1: Program Basic 37 Note that for many of the scales, the setting of the Key parameter , below , is very important. Equal T emperament: This is the most widely used scale by far , in which each semitone step is spaced at equal pitch intervals.
Program mode: HD-1 38 1–5: V ector Control V ector Synthesis lets you control Pr ogram and Effects parameters by moving the V ector Joystick, by using the programmable V ector Envelope, or by the combination of the two. What does V ector mean? Modulation generally works by moving a single control.
Program P1: Basic/Vector 1–5: Vector Control 39 V ector V olume Control and CC Control The V ector does two main things: it can control the relative volume of the two Oscillators in Pr ogram mode (or of up to 16 Programs at once in Combi mode), and it can generate CCs for controlling Program and Ef fects parameters.
Program mode: HD-1 40 OSC2 Center V olume [0, 25, 50, 75, 100%] This sets the volume of Oscillator 2 at the center of the X axis. The volumes at the extreme ends of the X axis ar e fixed, in the opposite direction of Oscillator 1’s. At the left side, Osc 2 is always at 0% volume; at the right side, Osc 2 is always at 100%.
Program P1: Basic/Vector 1–5: Vector Control 41 Finally , you can also assign +X to control the Master V olume. –X [Of f…MIDI CC#119] This assigns the controller sent by the –X vector . It will be grayed out if the VJS X Mode, above, is set to Positive.
Program mode: HD-1 42 1–6: V ector Envelope The V ector Envelope works together with the V ector Joystick to control the V ector position. It’s also special because it’s the only programmable modulation sour ce which lets you modulate both Program and Ef fects parameters.
Program P1: Basic/Vector 1–6: Vector Envelope 43 seconds and milliseconds, you can specify the EG times as rhythmic values, using the Base Note and Multiplier parameters.
Program mode: HD-1 44 Time [0ms…60sec] This parameter lets you set the Hold T ime in seconds and milliseconds. It applies only when the Mode is set to T ime. (Base Note) [ … ] This menu sets a basic rhythmic value for the Hold T ime, relative to the system tempo.
Program P1: Basic/Vector 1–8: Set Up Controllers 45 ▼ 1–6: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Program mode: HD-1 46 Knob 5 [Off, …, MIDI CC#119] Knob 6 [Off, …, MIDI CC#119] Knob 7 [Off, …, MIDI CC#119] Knob 8 [Off, …, MIDI CC#119] ▼ 1–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Program P1: Basic/Vector 1–9: Set Up Pads 47 Pad Mode: Fixed V elocity vs. V elocity Sensitive Each pad stores a velocity level for each of its 8 notes. The P AD MODE button, to the right of the pads, controls whether or not the pads r espond to how hard you play .
Program mode: HD-1 48 Program P2: OSC/Pitch These pages control the first and most basic elements of HD-1’s sounds: the Multisamples that the oscillators play , and the pitch at which it plays them. For instance, you can: • Select Multisamples and Wave Sequences for Single and Double Programs, or Drum Kits for Drum Programs.
Program P2: OSC/Pitch 2–1: OSC1 Basic 49 KeyOff is a special setting. Instead of delaying the sound by a particular amount of time, the sound will play as soon as you release the key . Y ou can use this to create the “click” hear d when a harpsichord note is released, for instance.
Program mode: HD-1 50 Multisample ROM/EXs Mono/Stereo Select menu If Bank is set to ROM or EXs Mono, the list shows all of the mono Multisamples in the Bank. If the Bank contains stereo multisamples, you’ll also see the left and right channels as separate, mono multisamples, with -L and -R appended to the end of the name.
Program P2: OSC/Pitch 2–1: OSC1 Basic 51 Reverse [Off, On] This lets you play the selected multisample backwards, without looping. Reverse applies only to Multisamples; when the T ype is set W ave Sequence, this is grayed out.
Program mode: HD-1 52 Power , short for Equal Power , means that the two samples will each be at around 70% of their full volume in the middle of the crossfade. Sometimes, this may create a bump in the volume level, in which case you might try selecting Linear instead.
Program P2: OSC/Pitch 2–2: OSC1 Pitch 53 KeyOff is a special setting. Instead of delaying the sound by a particular amount of time, the sound will play as soon as you release the key . In general, when you use the KeyOff setting, it’s also best to set the oscillator ’s Amp EG Sustain Level to 0 .
Program mode: HD-1 54 Pitch Slope, pitch, and note Ribbon [–12…+12] Y ou can use the ribbon controller for pitch-bend. This parameter sets the range of the ribbon’s pitch-bend, in semitones.
Program P2: OSC/Pitch 2–2: OSC1 Pitch 55 • Set an initial amount of LFO modulation, using the LFO 1/2 Intensity parameters. • Use JS+Y to scale the amount of the LFO. • Use any AMS source to scale the amount the LFO. Y ou can use each of these methods for each of the two LFOs.
Program mode: HD-1 56 • 3: Swap Oscillators . For more information, see “Swap Oscillator” on page 144. 2–5: OSC2 Basic This page controls the basic settings for Oscillator 2. It is available only when the Oscillator Mode is set to Double ; if not, the page will be grayed out.
Program P2: OSC/Pitch 2–9: Pitch EG 57 2–9a: EG Reset AMS (EG Reset AMS) [List of AMS Sources] This selects an AMS source to reset the EG to the start point. For instance, you can use a tempo-synced LFO to trigger the EG in a repeating r hythm. This reset is in addition to the initial note-on, which always causes the EG to start.
Program mode: HD-1 58 Classic analog synth envelopes made these curved shapes naturally . The OASYS goes a step further than vintage synths, however , and lets you contr ol the amount of curvature separately for each of the four envelope segments. When you change the curvature, the EG times r emain the same.
Program P2: OSC/Pitch 2–9: Pitch EG 59 2–9d: Time Modulation These settings let you use an AMS source to control the T ime parameters of the EG. The Attack, Decay , Slope, and Release times share this AMS source, but each has its own modulation intensity .
Program mode: HD-1 60 Program P3: Filter Filtering can make subtle or dramatic changes to the oscillator ’s timbre. Each oscillator has two multimode resonant filters, A and B, as well as a dedicated filter envelope and keyboard tracking generator .
Program P3: Filter 3–1: Filter1 61 Serial and Parallel Routing 12db/oct / 24db/oct 3–1b: Filter A Filter T ype [ Low Pass, High Pass, Band Pass, Band Reject ] The filter will produce very dif ferent results depending on the selected filter type.
Program mode: HD-1 62 Resonance [00…99] Resonance emphasizes the frequencies ar ound the cutoff fr equency . When this is set to 0, there is no emphasis, and frequencies beyond the cutof f will simply diminish smoothly . At medium settings, the resonance will alter the timbr e of the filter , making it sound mor e nasal, or more extreme.
Program P3: Filter 3–2: Filter1 Modulation 63 3–2: Filter1 Modulation This page contains the settings for Oscillator 1’s filter modulation. Among other things, you can: • Set up complex keyboard tracking shapes, and control how the tracking affects filter cutoff.
Program mode: HD-1 64 The OASYS keyboard tracking can also be much mor e complex, since it allows you to create different rates of change over up to four different parts of the keyboard.
Program P3: Filter 3–2: Filter1 Modulation 65 Low-Center [–Inf, –99…+99, +Inf] This sets the slope between the Low Break and Center keys. For normal key track, use negative values. Center-High [–Inf, –99…+99, +Inf] This sets the slope between the Center and High Break keys.
Program mode: HD-1 66 The Filter EG’s shape can swing all the way from +99 to –99. Positive values increase the cutof f frequency , and negative values decrease the cutof f frequency . For instance, see the graphic “V elocity to A,” above. The EG shape in example A rises up at first, and then falls below 0 towards the end.
Program P3: Filter 3–3: Filter1 LFO Modulation 67 3–3: Filter1 LFO Modulation LFO1, LFO2, and the Common LFO can all modulate Filter A and B’s cutoff fr equencies.
Program mode: HD-1 68 Intensity to A [–99…+99] This controls the depth and dir ection of the LFO1 AMS modulation for Filter A. For example, if AMS is set to After T ouch , positive settings mean that aftertouch will increase the amount of LFO1 applied to Filter A.
Program P3: Filter 3–4: Filter1 EG 69 3–4a: EG Reset AMS (EG Reset) [List of AMS Sources] This selects an AMS source to reset the EG to the start point. For instance, you can use a tempo-synced LFO to trigger the EG in a repeating r hythm. This reset is in addition to the initial note-on, which always causes the EG to start.
Program mode: HD-1 70 In other words, each segment’s level will change quickly at first, and then slow down as it approaches the next point. This tends to sound better than straight, linear segments. Classic analog synth envelopes made these curved shapes naturally .
Program P3: Filter 3–5: Filter2 71 3–4d: Time Modulation These settings let you use three dif ferent AMS sources to control the T ime parameters of the EG. For each of the three AMS sources, the Attack, Decay , Slope, and Release times each have their own modulation intensities.
Program mode: HD-1 72 3–8: Filter2 EG This page controls Oscillator 2’s Filter EG. It is available only when the Oscillator Mode is set to Double ; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “3–4: Filter1 EG,” on page 68.
Program P4: Amp/EQ 4–1: Amp1/Driver1 73 Program P4: Amp/EQ Oscillators 1 and 2 have separate controls for volume (also called “amplitude,” or “amp” for short), pan, and Drive, as well as dedicated amp envelopes and keyboard tracking generators.
Program mode: HD-1 74 Low Boost [00…99] This low-frequency EQ contr ols the body character of the sound. The specific EQ frequencies af fected will change with the Drive setting. Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter .
Program P4: Amp/EQ 4–2: Amp1 Modulation 75 4–2: Amp1 Modulation This page contains the settings for Oscillator 1’s Amp level modulation. Among other things, you can: • Set up complex keyboard tracking shapes to control the Amp level. • Assign AMS modulation for the Amp level.
Program mode: HD-1 76 3. While holding ENTER, play a note on the keyboard. Ramp Positive ramp values mean that the keyboard tracking output increases as you play farther fr om the Center Key; negative ramp values mean that it decreases.
Program P4: Amp/EQ 4–2: Amp1 Modulation 77 Amp Keytrack is also an AMS source Y ou can use the keyboard tracking as an AMS source to modulate other parameters, just like the envelopes and LFOs. Simply select Amp Keytrack in the AMS list for the desired parameter .
Program mode: HD-1 78 4–3: Amp1 EG These parameters let you create time-varying changes in the volume of oscillator 1. 4–3a: EG Reset AMS (EG Reset) [List of AMS Sources] This selects an AMS source to reset the EG to the start point. For instance, you can use a tempo-synced LFO to trigger the EG in a repeating r hythm.
Program P4: Amp/EQ 4–3: Amp1 EG 79 Time Higher values mean longer times, as shown below . Attack [00…99] This sets how long the EG takes to move from the Start level to the Attack level. The minimum attack time is 2/3 of a millisecond–as fast as the most punchy of classic analog synths.
Program mode: HD-1 80 Once an EG segment begins, it can’t be modulated Once the EG has started a segment between two points, that segment can no longer be modulated. This includes both the time of the segment, and the level reached at the end of the segment.
Program P4: Amp/EQ 4–6: Amp2 Mod. 81 4–6: Amp2 Mod. This page controls Oscillator 2’s amp modulation. It is available only when the Oscillator Mode is set to Double ; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “4–2: Amp1 Modulation,” on page 75.
Program mode: HD-1 82 High Gain [–18.0…+18.0dB] This controls the gain of the 10kHz High Shelf EQ, in increments of 0.5dB. ▼ 4–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Program P5: LFO 5–1: OSC1 LFO1 83 Program P5: LFO Each of the Oscillators has two LFOs, which you can use to modulate the filter , amp, pitch, and many other parameters. The two Oscillators also share a single Common LFO, similar to the global LFO on some vintage analog synths.
Program mode: HD-1 84 Random2 (S/H) randomizes both the levels and the timing. Random3 (S/H) generates a pulse wave with random timing. It’s the opposite of traditional sample and hold; the timing varies, but the levels don’t. Random4–6 (Continuous) are smoothed versions of Random 1–3, with ramps instead of steps.
Program P5: LFO 5–1: OSC1 LFO1 85 Offset [–99…+99] By default, almost all of the LFO waveforms are centered ar ound 0, and then swing all the way from –99 to +99. This parameter lets you shift the LFO up and down, so that–for instance–it’s centered on 50, and then swings from –49 to +149.
Program mode: HD-1 86 5–1c: Frequency MIDI/T empo Sync MIDI/T empo Sync [Off, On] On (checked): When MIDI/T empo Sync is On , the LFO will synchronize to the system tempo, as set by either the T empo knob or MIDI Clock. The LFO speed will be controlled by the Base Note and T imes parameters, below .
Program P5: LFO 5–9: Common LFO 87 5–9: Common LFO This is a single, free-running LFO, global for all voices in the Program–like the modulation LFOs in some vintage analog synths.
Program mode: HD-1 88 Stop [Off, On] On (checked): When Stop is On , the LFO does not advance, and the Frequency parameters ar e ignored. Instead, the LFO simply generate a single value when the Program is selected, and then holds that value until you select another Program, or until you r eset the LFO via AMS.
Program P6: AMS Mixer/Common Key Track 6–1: OSC 1 AMS Mixer 89 Program P6: AMS Mixer/Common Key T rack Each Oscillator has two AMS Mixers, which are simple but powerful tools for combining and modifying AMS signals.
Program mode: HD-1 90 Gate chooses between two AMS inputs (or fixed values) based on a third AMS source. See “Gate” on page 93 for more information.
Program P6: AMS Mixer/Common Key Track 6–1: OSC 1 AMS Mixer 91 Amount to 0. 2. Set AMS B to SW 1 or 2, and AMS B Amount to +99. Now , SW1 or 2 will turn AMS A on and off. Offset AMS Mixer , T ype = Offset This simple processor adds a constant of fset to the input, and also allows you to double the gain of an AMS source.
Program mode: HD-1 92 AMS A Decay [00…+99] This controls the decay time of the smoother , or how long it takes the smoother to reach a new , lower value. Higher Decay settings mean longer times. Shape This Mixer T ype adds curvature to the AMS input.
Program P6: AMS Mixer/Common Key Track 6–1: OSC 1 AMS Mixer 93 Unipolar sources only go fr om 0 to 99, with 50 in the middle. MIDI controllers, such as JS+Y (CC#1), are all unipolar . In practice, EGs ar e usually programmed to be unipolar , even though the Filter and Pitch EGs do allow both positive and negative levels.
Program mode: HD-1 94 Gate Output If the value of the Control Source is less than the Threshold , the Gate outputs the preset value or AMS source selected under Below Threshold . If the value of the Control Source is greater than or equal to the Threshold , the Gate outputs the preset value or AMS source selected under At & Above Threshold .
Program P6: AMS Mixer/Common Key Track 6–5: OSC 2 AMS Mix 95 6–5: OSC 2 AMS Mix This page controls the two AMS Mixers for Oscillator 2. These are available only when the Oscillator Mode is set to Double ; if not, the page will be grayed out.
Program mode: HD-1 96 Y ou can think of the resulting shape as being like two folding doors attached to a hinge in the center . At the Center key (the main hinge), the keyboard tracking has no effect. The two folding doors swing out fr om this center point to create changes in the higher and lower ranges of the keyboard.
Program P6: AMS Mixer/Common Key Track 6–9: Common Keyboard Track 97 • 1: Exclusive Solo . For more information, see “Exclusive Solo” on page 138. • 2: Copy Oscillator . For more information, see “Copy Oscillator” on page 144. • 3: Swap Oscillators .
Program mode: HD-1 98 Program P7: KARMA This pages let you control the Pr ogram’s KARMA settings. In Program mode, you can use one KARMA Module (Module A). T urning KARMA on and off KARMA can be enabled or disabled for the current Program by using the fr ont-panel KARMA ON/OFF switch.
Program P7: KARMA 7–1: GE Setup/Key Zones 99 Load GE Options [Dialogue] These options let you specify whether the values and assignments for the KARMA SLIDERS and SWITCHES will be set automatically , be initialized, or be preserved when you select a GE.
Program mode: HD-1 100 ▼ 7-1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program . For more information, see “Write Program” on page 138.
Program P7: KARMA 7–2: MIDI Filter/CC Offset 101 These settings do not affect the Dynamic MIDI (7–7) settings. If you have specified MIDI control data as the Dynamic MIDI source, it will be valid r egardless of these settings. After T ouch [Off, On] Specifies whether MIDI aftertouch messages will be echoed to the tone generator .
Program mode: HD-1 102 Envelope1/Envelope2/Envelope3 [Off, On] Specifies whether to transmit the various MIDI messages or other functions generated by Envelope 1, Envelope 2, and Envelope 3 of the GE selected by the KARMA Module.
Program P7: KARMA 7–3: Module Parameters-Control 103 7–3: Module Parameters-Control Here you can set KARMA Module Contr ol parameters. Note that in Program mode, you can use one KARMA Module (Module [A]).
Program mode: HD-1 104 Resulting transposed input notes: Lowest: input notes transposed to E2 G#2 B2 D#3 Highest: input notes transposed to E4 G#4 B4 D#5 C3–B3[1]: all notes near 4th octave (maintain inversion) The input notes will be forced to a range near the middle octave (C3–B3).
Program P7: KARMA 7–3: Module Parameters-Control 105 This can allow a GE to behave more pr edictably with all inversions of a chord. (See “Note Series Gr oup” on page 900.) Note: When the GE-T ype is Generated-Drum , the notes come from Drum Patterns and not the Note Series.
Program mode: HD-1 106 Event: The phrase or pattern will be advanced by one note or one chord, ignoring the r hythm of the phrase or pattern. Each trigger will produce the next note or chord in the phrase. Chord T rigger Mode [Off, 1st, Chord1, Chord2, Chord3] This is valid when “Mode” is Dyn, Auto + Dyn1 or Auto + Dyn2 .
Program P7: KARMA 7–3: Module Parameters-Control 107 Chord T rack (Note Map Chord T rack) [Off, On] Selects whether the Note Map T able will track your chord changes within the range of a single octave. T ables use the key of C as a reference. As an example, assume you play a C Chord that generates a C Major arpeggio (C-E-G etc.
Program mode: HD-1 108 7–4: Module Parameters-T rigger Here you can set KARMA Module T rigger parameters. In Program mode, you can use one KARMA Module (module [A]).
Program P7: KARMA 7–4: Module Parameters-Trigger 109 Note Note T rigger [Any , AKR, 1st, Dyn] Any (Any Note + Dynamic MIDI): Every note-on will cause triggering; i.
Program mode: HD-1 110 For Sus2 and Rel2, the envelope will continue repeating even if the key is r eleased. ▼ 7-4: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Program P7: KARMA 7–5: GE Real-Time Parameters 111 For details on the individual GE Real-T ime parameters, please see the “KARMA GE guide” on page 893. MIN (Minimum V alue) [–5000…+5000] This sets the parameter value when the selected controller is at its minimum point—for instance, when a slider is at the bottom of its throw .
Program mode: HD-1 112 7–6: Per f Real-Time Parameters Here you can assign contr ollers to KARMA Performance Real-T ime Parameters (Perf. R TP) outside of the GE Real-T ime Parameters that control the internal settings of the GE.
Program P7: KARMA 7–6: Perf Real-Time Parameters 113 A ( Module A) [Of f, On] Specifies the module to which the settings of R T Parm 1–8 will apply . In Program mode, only one KARMA Module (module [A]) can be used. Thus in Program mode, you can turn the R T Parm 1–8 settings on/off.
Program mode: HD-1 114 Note Map T able [+0000…+0064] Assigns the “T able (Note Map T able)” (Program 7–3b) function. +0000: Custom +0001…+0064: Global T ables 1…64 For more information, see “T able (Note Map T able)” on page 106.
Program P7: KARMA 7–6: Perf Real-Time Parameters 115 Key Zone Bottom [+0000…+0127] Assigns the “Bottom (Key Zone Bottom)” (Program 7– 1a) function. +0000…+0127: C-1–G9 (corresponds to note numbers) For more information, see “Bottom (Key Zone Bottom)” on page 99.
Program mode: HD-1 116 • 6: Capture Random Seed . For more information, see “Capture Random Seed” on page 147. 7–7: Dynamic MIDI Dynamic MIDI lets you use this instrument’s controllers and MIDI contr ol messages to control specific KARMA functions.
Program P7: KARMA 7–7: Dynamic MIDI 117 The controller value and the on/of f status are related as follows. 000 → 127: on at 127 127 → 000: off at 000 T oggle: The parameter will be controlled as a toggle switch.
Program mode: HD-1 118 7–8: Random Seeds The Random Seeds page allows you to control some of the randomizable characteristics of a Module’s GE. Y ou can freeze (capture) the endlessly varying phrases generated by KARMA ’s randomize featur es.
Program P7: KARMA 7–8: Random Seeds 119 6. T urn the front panel KARMA LA TCH switch on. 7. Go to the 7–8: Random Seeds page. 8. Make sure that the KARMA module’ s “Start Seed” value is 0:Random. If “Start “Seed” is other than 0:Random, set it to 0:Random.
Program mode: HD-1 120 phrase will loop (e.g., D-D-C-C , D-D-C-C , D-D-C- C , … ). ( ☞ “Retrigger Each T ime” on page 1 15) 4. “Start Seed”: any value, “Freeze Loop Length”: 1…32 The same phrase will play each time you trigger the GE.
Program P7: KARMA 7–9: Name/Note Map 121 7–9: Name/Note Map Here you can assign the names for KARMA SLIDERS 1-8 and KARMA SWITCHES 1-8, view Global Note Map T ables, and edit the Custom Note Map T able stored with the Pr ogram.
Program mode: HD-1 122 Out (Note Out) [Remove, C-1…G9] Specify what will be done with the note you specified in the “In” field. Remove : The note specified by “In” will be removed from the output data (and changed to a r est).
Program P8: Insert Effect 8–1: Routing 123 Program P8: Inser t Effect These pages let you can make settings for the insert effects. For instance, you can: • Send the output of a oscillator to an i.
Program mode: HD-1 124 Use Dkit Setting = On 8–1c: Bus Select (IFX/Indiv .Out Assign) All OSCs to [L/R, IFX1…12, 1…8, 1/2…7/8, Of f] This specifies the output bus for oscillators 1 and 2. L/R: The oscillators will be output to the L/R bus. Normally you will choose L/R.
Program P8: Insert Effect 8–1: Routing 125 8–1f: OSC MFX Send OSC1 Send1 (to MFX1) [000…127] Sets the volume (send level) at which the output of oscillator 1 will be sent to master effect 1. This applies only when Bus Select (8–1c) is set to L/R or Off .
Program mode: HD-1 126 8–5: Inser t FX 8–5a: Effect/EX i Fixed Resource Meter Background information Most hardwar e synthesizers offer a single, fixed method of synthesis, a predetermined number of voices, and a fixed amount of effects pr ocessing power .
Program P8: Insert Effect 8–5: Insert FX 127 Note: As with the meter as a whole, the number shown in FREE FOR VOICES is only an approximation. For example, if FREE FOR VOICES is showing 98, the maximum polyphony for the HD-1 may not be exactly 172 × 0.
Program mode: HD-1 128 Bus Sel. (Bus Select) [L/R, 1…8, 1/2…7/8, Of f] Specifies the bus to which the signal will be sent immediately after the insert effect. L/R: The signal will be sent to the L/R bus, which passes through TFX 1 and 2 and then goes to the main L/R outputs.
Program P8: Insert Effect 8–6: Track View 129 8–6: T rack View 8–6a: T rack View This shows the oscillator 1, 2 output and insert effect routing. The selected slot is shown in dark blue. In the “Selected” area below , you can specify the “Effect T ype” and “On/Off” status.
Program mode: HD-1 130 • 0: Write Program . For more information, see “Write Program” on page 138. • 1: Exclusive Solo . For more information, see “Exclusive Solo” on page 138. • 2: Copy Insert Effect . For more information, see “Copy Insert Effect” on page 149.
Program P8: Insert Effect 8–7: IFX 1–12 131 Note that edits to effects parameters ar e automatically stored with the Pr ogram–you don’t need to store them as an Effect Pr eset.
Program mode: HD-1 132 8–9: Common FX LFO The two Common FX LFOs allow you to synchronize LFO-based modulation for multiple effects, such as phasers, flangers, filters, and so on.
Program P8: Insert Effect 8–9: Common FX LFO 133 ▼ 8–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Program mode: HD-1 134 Program P9: Master/T otal Effect Here you can make settings for the master ef fects and total effects. For instance, you can: • Route a sound to an master effects and total ef fects • Make detailed settings for master effects and total effects For more information, please see “Ef fect Guide” on page 727.
Program P9: Master/Total Effect 9–1: Routing 135 MFX2 MFX2 [000…185] MFX2 On/Off [Off, On] Return 2 [000…127] These parameters specify the effect type for master effect 2, its on/of f status, and the return level from master effect 2 to the L/R bus.
Program mode: HD-1 136 9–1c: Master V olume Master V olume [000…127] This specifies the final level of the audio output that has passed through total ef fects 1 and 2, and output from AUDIO OUTPUT (MAIN OUT) L/MONO and R. Note: Y ou can control the master volume fr om the control surface.
Program P9: Master/Total Effect 9–3: MFX2 137 ▼ 9–2: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Program mode: HD-1 138 Program: Page Menu Commands ENTER + 0-9: shor tcuts for menu commands Each page has a set of menu commands, which provide access to dif ferent utilities, commands, and options, depending on the page you’re curr ently on.
Program: Page Menu Commands Auto Assign KARMA RTC Name 139 • Program mode: “Solo” on page 21 • Combination mode: “Solo” on page 336 • Sequence mode: “Solo” on page 440 Auto Assign KARMA RTC Name This command is available on the KARMA GE tab of the Play page, and the Name/Note Map tab of the KARMA page.
Program mode: HD-1 140 The Auto +12 dB On setting is made independently for Program, Combination, Sequencer , and Sampling modes. 4. “Convert to” speci fi es whether the sample will automatically be converted into a program as soon as it has been sampled.
Program: Page Menu Commands Auto Sampling Setup 141 Auto Sampling Setup Auto Sampling Setup is available on the Audio In/Sampling tab of the Play page.
Program mode: HD-1 142 Note f: If you execute Auto Sampling Setup with “Save to” RAM and the “Convert to Program” option checked, and you continue sampling, each successive sample will be automatically assigned to C2, C#2, D2, … to create a multisample.
Program: Page Menu Commands Copy Tone Adjust 143 Automatically-set parameters and their values - : Not set automatically V alues enclosed in parentheses ( ) are automatically set according to the settings you make in the dialog box. *1: Settings for Analog, S/P DIF (“Input 1” and “Input 2”) are made automatically .
Program mode: HD-1 144 3. T o execute the Reset T one Adjust command, press the OK button. T o exit without resetting the controls, press the Cancel button. Copy Oscillator Copy Oscillator is available on all of the tabs under the Basic/V ector , OSC/Pitch, Filter , Amp/EQ, and AMS Mix/Common Key T rack pages.
Program: Page Menu Commands Sample Parameters 145 3. Select the copy-source pad number . If you want to copy all settings for pads 1–8, check the All option. 4. Use the “T o” fi eld to specify the copy-destination pad. Note: Executing this command will copy the note number and velocity value.
Program mode: HD-1 146 This option is available only when the Oscillator Mode is set to Double . 1. Select “Sync Both EGs.” The LCD screen will indicate “Sync Both EGs,” and the two EGs will be synchronized. 2. If you no longer want the EGs to be synchronized, select “Sync Both EGs” once again.
Program: Page Menu Commands Initialize KARMA Module 147 In addition to the content copied when “GE R TP Control Setting & Scenes” is Of f (unchecked), the following content is copied. •7–5: GE RTP page “ASSIGN” and “POLARITY” settings.
Program mode: HD-1 148 When you are listening to the randomly changing phrases generated each time a KARMA Module is triggered, and you hear a phrase that you would like to repr oduce consistently each time you trigger that GE, you can execute this command to capture the seed that resulted in that phrase.
Program: Page Menu Commands Copy Insert Effect 149 Phase Pattern of 8 steps (bars), so it may not sound always as if it is restarting every 2 bars, because of the internal settings of the Phase Pattern. It will repeat the same randomizations, but not necessarily restart the rif f from the beginning.
Program mode: HD-1 150 From (Mode) [Program, Combination, Song, Sampling Mode] This selects whether you’ll copy from a Pr ogram, a Combination, a Song, or the current Sampling Mode settings. From (Bank and Number) [Bank and Number] For Programs and Combis, this selects the Bank and Number from which to copy .
Program: Page Menu Commands Cut IFX Slot 151 Note: In Combi or Seq modes, this T rack V iew page is a convenient way to check the IFX that are chained for each timbre or track, and the Insert FX command can be used in this page as well to edit the effect settings of each timbr e or track.
Program mode: HD-1 152 2. Select “Cut IFX Slot” to open the dialog box. 3. Specify the number of the IFX you want to remove. (The IFX you selected in step 1 or 2 will be shown here as the default.) 4. Specify the “Auto Routing” option. Normally you will leave this on.
Program: Page Menu Commands Copy MFX/TFX 153 3. Select “Clean Up IFX Routings” to open the dialog box. 4. Press the OK button to execute the Clean Up IFX Routings command, or press the Cancel button if you decide to cancel.
Program mode: HD-1 154 Swap MFX/TFX Swap MFX/TFX is available on all of the MFX/TFX pages. This command swaps (exchanges) settings between MFX1, MFX2, TFX1, and TFX2. 1. Select “Swap MFX/TFX” to open the dialog box. 2. Use “Source 1” and “Source 2” to select the master effect(s) or total ef fect(s) that you want to swap.
155 Program mode: EX i EX i Program P0: Play This is the main page of Program mode for EX i Programs. Among other things, you can: • Select Programs • Jump directly to the main editing pages • M.
Program mode: EXi 156 Y ou can select Banks either via the on-screen menu, or by using the front-panel Bank buttons. Program Select [000…127, Name] This is name and number of the current Pr ogram. When this parameter is selected, you can select Programs using the Inc and Dec buttons, numeric buttons 0-9, or the V alue dial.
EXi Program P0: Play 0–7: Controller View/Effects 157 0–7: Controller View/Ef fects This page shows the functions assigned to the physical controllers, including the vector joystick, SW1 and 2, and knobs 5–8. It also includes an overview of all of the effects, and lets you adjust the W et/Dry Balances separately for the IFX, MFX, and TFX.
Program mode: EXi 158 EX i Program P4: Basic/V ector These pages control the basic elements of the Pr ogram, along with the V ector synthesis features.
EXi Program P4: Basic/Vector 4–1: Program Basic 159 • Mono Legato • Mono mode (Normal or Use Legato Offset) • Unison (V oice Assign Mode) [Poly , Mono] These radio buttons select the basic voice allocation mode.
Program mode: EXi 160 Chord Chord [Off, Bsc, Adv] Off disables the Chor d function. Bsc (Basic) re-cr eates the chord mode of the KORG Polysix. Each time you play a new chord, it will cut of f the previous chor d. This option ignores the V oice Assign settings.
EXi Program P4: Basic/Vector 4–1: Program Basic 161 01-09: Unison voices will be detuned in an asymmetric way , increasing the complexity of the detune, and changing the way in which the differ ent pitches beat against one another .
Program mode: EXi 162 The OASYS will automatically sense when a half- damper is connected to the rear -panel DAMPER input. For proper operation, you will also need to calibrate the pedal, using the Calibrate Half-Damper command in the Global page menu.
EXi Program P4: Basic/Vector 4–5: Vector Control 163 4–2a: EX i 1 Input Source [Of f, Audio Input 1/2...3/4, S/P DIF Input L/R, L/R Output, Indiv . Output 1/2...7/8, REC 1/2, 3/4, FX Control 1, 2, IFX 1...12, MFX 1, 2, TFX 1, 2] This selects the input source for EX i 1.
Program mode: EXi 164 • 0: Write Program . For more information, see “Write Program” on page 138. • 1: Exclusive Solo . For more information, see “Exclusive Solo” on page 138. • 2: Copy EXi Oscillator . For more information, see “Copy EXi Oscillator” on page 169.
EXi Program P5: Modulation 5–1: Common Step Seq 165 EX i Program P5: Modulation The entire Pr ogram shares several modulation sources, including: • A single Common LFO, shared by all the voices - .
Program mode: EXi 166 For example, to play an ascending chromatic scale, set the step values to 0, +4, +8, +12, +16, and so on. One octave up is +48, and two octaves up is +96. 5–1a: Step Sequencer Mode [Loop, One Shot] Loop makes the Step Sequence loop continuously between the Start Step and the End Step .
EXi Program P5: Modulation 5–2: Common LFO 167 V alue Reset Resets the “V alue” of each step to 000. Smooth Automatically adjusts the “V alue” of each step so that they are smoothly connected. Exp/Comp When you press the Exp/Comp button, the Step Sequence V alue dialog box will appear .
Program mode: EXi 168 EX i Program P8: Inser t Effect This pages let you control the Pr ogram’s twelve Insert Effects (IFX). They work exactly like the similar pages for HD-1 Programs; for mor e information, see “Program P8: Insert Ef fect” on page 123.
EXi Program: Page Menu Commands 5–3: Common Keyboard Track 169 EX i Program: Page Menu Commands Copy EX i Oscillator This command copies the oscillator settings of a EX i program. 1. Select “Copy EX i Oscillator” to open the dialog box. 2. Use the “From” fi eld to select whether to copy from EX i 1 or EX i 2.
Program mode: EXi 170.
171 EX i : AL-1 Analog Synthesizer AL-1 Over view The AL-1 is Korg’s most full-featur ed virtual analog synthesizer to date. It’s played from within EX i Programs, so you can layer it with any other EX i –or layer two AL-1s together .
EXi: AL-1 Analog Synthesizer 172 EX i Program P0: Play 0–1: Main This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display , which differs for each individual EX i .
EXi Program P0: Play 0–1: Main 173 EGs, LFOs, and Step Sequencer Step Sequencer Graphic This shows a graphic overview of the per-voice step sequencer . Press this ar ea to jump to the Step Sequencer page. EG 1…4, Amp EG Graphics These show the shapes of the five EGs.
EXi: AL-1 Analog Synthesizer 174 Program P4: OSC Pitch These pages control the most basic elements of AL-1’s sounds: the waveforms that the oscillators play , and the pitch at which it plays them. For instance, you can: • Select the waveforms for Oscillator 1, Oscillator 2, and the Sub-Oscillator.
Program P4: OSC Pitch 4–1: OSC Basic 175 Detuned Saw 1 produces two detuned sawtooth waveforms simultaneously . Detune contr ols the amount of detuning, and W ave Morph adjusts the volume of the second sawtooth. Detuned Saw 2 is similar to Detuned Saw 1 , except that the second sawtooth is 180 degrees out of phase.
EXi: AL-1 Analog Synthesizer 176 Frequency Note: The Sub-Oscillator ’s frequency is always exactly one octave below that of Oscillator 1. This means that adjusting any of the controls in this section, including Octave , T ranspose , T une , and Frequency Offset , will affect the Sub-Oscillator as well as Oscillator 1.
Program P4: OSC Pitch 4–2: Sub/Noise/Ring Mod 177 ▼ 4–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
EXi: AL-1 Analog Synthesizer 178 Carrier [OSC 2, Ext Input] Selects the carrier source for the ring modulator . Ext Input uses the audio input selected under Sub OSC/Audio Input, on the Mixer page. For more information, see “4–3c: Sub OSC/Audio Input” on page 179.
Program P4: OSC Pitch 4–3: Mixer 179 AMS [List of AMS Sources] This selects an AMS source to control the Oscillator 1 Level . For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity [–99…+99] This controls the depth and dir ection of the Oscillator 1 Level AMS modulation.
EXi: AL-1 Analog Synthesizer 180 4–4: Pitch Common This page lets you modulate the pitch of Oscillators 1, 2, and the Sub Oscillator simultaneously , so that the modulation applies equally to all three oscillators.
Program P4: OSC Pitch 4–4: Pitch Common 181 4–4b: Por tamento Portamento lets the pitch glide smoothly between notes, instead of changing abruptly . Enable [Off, On] On (checked): T urns on Portamento, so that pitch glides smoothly between notes. Off (unchecked): T urns off Portamento.
EXi: AL-1 Analog Synthesizer 182 4–5: Pitch EG/Mod This page lets you modulate the pitches of Oscillators 1 and 2 separately–as opposed to the Pitch Common page, whose controls af fect both Oscillators at once. All pitch modulation for Oscillator 1 also affects the Sub Oscillator .
Program P4: OSC Pitch 4–5: Pitch EG/Mod 183 Intensity Mod AMS [List of AMS Sources] Y ou can modulate AMS 1’s Intensity fr om another AMS source. This selects that sour ce. Intensity [+/-48.00 semitones] This controls the depth and dir ection of the Intensity Mod AMS, in semitones.
EXi: AL-1 Analog Synthesizer 184 Program P5: Filter 5–1: Filter Basic Interaction between the filters and the mixer When the Filter Routing is set to either Single or 24dB/oct , the routing fr om the Oscillator section into the Filter section is fairly simple.
Program P5: Filter 5–1: Filter Basic 185 5–1a: Routing Filter Routing [Single, Serial, Parallel, 24dB/oct] There ar e two filters, Filter A and Filter B. This parameter controls whether one or both of the filters are used, and if both ar e used, it controls how they are connected to each other .
EXi: AL-1 Analog Synthesizer 186 AMS [List of AMS Sources] This selects a modulation source to contr ol the Output Level . For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity [–99…+99] This controls the depth and dir ection of the Output Level modulation.
Program P5: Filter 5–2: Multi Filter 187 5–2: Multi Filter This page is available only when the Filter A T ype is set to Multi Filter . What’ s a Multi Filter? Standard multimode filters generate lowpass, highpass, and bandpass filters simultaneously - but only allow you to use one of them at a time.
EXi: AL-1 Analog Synthesizer 188 Intensity [–99…+99] This controls the depth and dir ection of the Mode 1-2 Crossfade modulation. Intensity Mod AMS [List of AMS Sources] This selects an AMS source to modulate the intensity of the main Mode 1-2 Crossfade AMS .
Program P5: Filter 5–3: Filter Modulation 189 5–3a: Keyboard T rack Most acoustic instruments get brighter as you play higher pitches. At its most basic, keyboard tracking re- creates this ef fect by increasing the cutoff fr equency of a lowpass filter as you play higher on the keyboard.
EXi: AL-1 Analog Synthesizer 190 Please take these names as suggestions, rather than restrictions. If you like, you’r e free to use these EGs to control any EG or AMS destination, or to use other EGs to control Filter Fr equency and Pitch.
Program P5: Filter 5–4: Filter LFO Mod 191 5–4: Filter LFO Mod There ar e three LFO-to-Frequency contr ols for each filter: a basic amount ( LFO Intensity ), joystick -Y control of LFO amount ( JS- Y Intensity ), and AMS control of LFO amount ( AMS Intensity ).
EXi: AL-1 Analog Synthesizer 192 Program P6: Amp These pages let you control the sound’s volume (also called “amplitude,” or “amp” for short), pan, and Drive, as well as its dedicated amp envelopes and keyboard tracking generators. For instance, you can: • Set up the Driver circuit, which adds saturation and bass boost to the timbre.
Program P6: Amp 6–1: Amp/Driver 193 Low Boost [0…99] This low-frequency EQ contr ols the body character of the sound. The specific EQ frequencies af fected will change with the Drive setting. Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter .
EXi: AL-1 Analog Synthesizer 194 6–2: Amp Modulation This page contains the settings for Oscillator 1’s Amp level modulation. Among other things, you can: • Set up complex keyboard tracking shapes to control the Amp level. • Assign AMS modulation for the Amp level.
Program P6: Amp 6–2: Amp Modulation 195 Center-High [-Inf, –99…+99, +Inf] This sets the slope between the Center and High Break keys. For normal key track, use positive values. High-T op [-Inf, –99…+99, +Inf] This sets the slope between the High Break key and the top of the MIDI note range.
EXi: AL-1 Analog Synthesizer 196 6–3: Amp EG The AL-1’s Amp EG is identical to the HD-1’s. For more detailed explanations of the Amp EG features, please see “4–3: Amp1 EG,” on page 78. Other envelopes can be used as additional controls via AMS, if desired.
Program P6: Amp 6–3: Amp EG 197 Time Higher values mean longer times. For a chart showing equivalents in milliseconds, please see “T ime” on page 79. Attack [00…99] This sets how long the EG takes to move from the Start level to the Attack level.
EXi: AL-1 Analog Synthesizer 198 Release [–99…+99] This controls the depth and dir ection of the AMS modulation for the Release time. AMS2 and AMS3 These select the second and third AMS sources, respectively , for controlling the EG’s T ime parameters.
Program P7: EG 1-4 7–1: EG 1 (Filter) 199 Program P7: EG 1-4 There ar e four assignable EGs, in addition to the Amp EG. Each of these can be used as an AMS modulation source to contr ol a wide variety of parameters.
EXi: AL-1 Analog Synthesizer 200 to these values may cause inconsistent behavior , or may mean that the EG doesn’t reset at all. If this happens, reduce the Threshold until the EG triggers consistently .
Program P7: EG 1-4 7–1: EG 1 (Filter) 201 EG Curve Attack [0 (Linear), 1…9, 10 (Exp/Log)] This sets the curvature of the Attack segment - the transition from the Start level to the Attack level. Decay [0 (Linear), 1…9, 10 (Exp/Log)] This sets the curvature of the Decay segment - the transition from the Attack level to the Break level.
EXi: AL-1 Analog Synthesizer 202 Attack [–99…+99] This controls the depth and dir ection of the AMS modulation for the Attack time. When the AMS source is at its maximum value–for instance, when V elocity is at 127–a setting of +8 will make the segment time almost twice as long, and a setting of -8 will cut the segment time almost in half.
Program P8: Step Seq/LFO 8–1: Step Sequencer 203 Program P8: Step Seq/LFO 8–1: Step Sequencer The Step Sequencer creates complex, r hythmic patterns, for use as an AMS modulation source.
EXi: AL-1 Analog Synthesizer 204 When Key Sync is Off , the Step Sequencers for all notes are synchr onized together (unless the Start Step is modulated by note-specific AMS sources). The first note in a legato phrase will start from the Start Step ; subsequent notes will play in sync with that first note.
Program P8: Step Seq/LFO 8–2: LFO 1 205 /2 This halves the duration of the steps or the “x (Multiply Base Note by…)” value. For example, it would turn quarter notes into eighth notes, and eighth notes into sixteenth notes. ▼ 8–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
EXi: AL-1 Analog Synthesizer 206 Most of the waveforms should be self-explanatory , but a few will benefit from mor e details: Guitar is intended for guitar vibrato, and its shape is specifically tuned for this purpose. The waveform is positive-only , so that when used for pitch, it will only bend up, and not down.
Program P8: Step Seq/LFO 8–2: LFO 1 207 Offset [–99…+99] By default, almost all of the LFO waveforms are centered ar ound 0, and then swing all the way from -99 to +99. This parameter lets you shift the LFO up and down, so that–for instance–it’s centered on 50, and then swings from -49 to +149.
EXi: AL-1 Analog Synthesizer 208 8–2c: Frequency MIDI/T empo Sync MIDI/T empo Sync [Off, On] On (checked): When MIDI/T empo Sync is On , the LFO will synchronize to the system tempo, as set by either the T empo knob or MIDI Clock. The LFO speed will be controlled by the Base Note and Multiply parameters, below .
Program P9: AMS Mixer 9–1: AMS Mixer 209 Program P9: AMS Mixer The AMS Mixers combine two AMS sour ces into one, or process an AMS source to make it into something new . For instance, they can add two AMS sources together , or use one AMS source to scale the amount of another .
EXi: AL-1 Analog Synthesizer 210 T one Adjust AL-1 T one Adjust Default Settings T one Adjust pr ovides an elegant physical interface to the AL-1’s parameters. Most of the factory sounds use the default layout, as shown above. Y ou can also customize the layout for individual sounds, if desired.
Tone Adjust 9–1: AMS Mixer 211 EGs In addition to supporting the standard T one Adjust EG parameters, the AL-1 adds the following separate controls for both EG3 and EG4: • Attack time (relative) .
EXi: AL-1 Analog Synthesizer 212 EX i AL-1: Page Menu Commands Copy Envelope This copies settings from one AL-1 envelope to another . 1. Select “Copy Envelope” to open the dialog box. 2. Use the “From” fi eld to select the copy-source envelope.
213 EX i : CX-3 T onewheel Organ CX-3 Over view The CX-3 is a detailed model of a classic tone-wheel organ, based on Kor g’s ground-breaking CX-3 keyboard. Its awesome sound starts with perfect tone-wheel phase coherency , resulting in pure, powerful sounding chords, just like the r eal thing.
EXi: CX-3 Tonewheel Organ 214 EX i Program P0: Play 0–1: Main This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display , which differs for each individual EX i .
EXi Program P0: Play 0–1: Main 215 Lower Drawbars This shows the Lower drawbar settings. Press this ar ea to jump to the Drawbars page. V/C On/Off This shows whether the V ibrato/Chorus is turned on or off for the Lower drawbars. Press this ar ea to jump to the Amp/V ibrato/Chorus page.
EXi: CX-3 Tonewheel Organ 216 Program P4: Basic 4–1: Basic 4–1a: Drawbar Mode Drawbar Mode [Normal, EX] This is a basic control, which af fects the parameters available in the Drawbars and Percussion sections. Normal mode models a standard tone-wheel or gan, with 9 drawbars and single-pitch percussion.
Program P4: Basic 4–2: Controllers 217 The noise includes both colored br oad-band noise and tone wheel leakage. The amount of leakage within the noise is scaled by Leakage Level , described above. Gate T ype [Clean, Dir ty] This affects the sound character when notes ar e turned on or off.
EXi: CX-3 Tonewheel Organ 218 emphasized. The Amp section interacts with Expression; for mor e details, see “7–1a: Amp,” on page 226. T o allow optimal modulation flexibility , the AMS works differ ently from most other parameters. See Mode , below , for more details.
Program P5: Split & Drawbars 5–1: Keyboard Split 219 Program P5: Split & Drawbars Y ou can set up the organ to use a single sound across the entire keyboar d, or to split the keyboard between two differ ent sets of drawbars. 5–1: Keyboard Split 5–1a: Split Split Enable [Off, On] This turns the split on and off.
EXi: CX-3 Tonewheel Organ 220 5–2: Drawbars The drawbars are the heart of the CX-3. These settings control the basic harmonic content of the sound, the perceived fundamental pitch, and the basic volume level.
Program P5: Split & Drawbars 5–3: EX Drawbars 221 ▼ 5–2: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
EXi: CX-3 Tonewheel Organ 222 5–3c and 5–3d: Upper EX Drawbars These parameters control the individual EX drawbar pitches and volume levels for the Upper split. The controls ar e identical to those for the Lower EX Drawbars, as described above. ▼ 5–3: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Program P6: Percussion 6–1: Percussion 223 Program P6: Percussion Percussion adds a pitched attack to the notes, for a more crisp, punchy timbr e. When you play legato, percussion will only sound for the first note in the phrase. 6–1: Percussion 6–1a: Percussion Percussion [Off, On] This toggles the Percussion section on and of f.
EXi: CX-3 Tonewheel Organ 224 This parameter controls the dif ference in drawbar volume between the Soft and Loud Percussion settings. 6–1c: Decay Decay [Slow , Fast] This toggles the Percussion Decay time between Slow and Fast. The actual decay times are determined by the Fast Decay T ime and Slow Decay T ime parameters, below .
Program P6: Percussion 6–2: EX Percussion 225 This section is grayed out when Drawbar Mode is set to Normal . 6–2a: EX Percussion Normal Percussion [0…8] This sets the volume of the 2nd or 3rd harmonic (2-2/3’ or 4’ drawbars), depending on the setting of the Percussion Harmonic parameter .
EXi: CX-3 Tonewheel Organ 226 Program P7: Amp, V/C, Rotar y Speaker 7–1: Amp & V/C 7–1a: Amp Amp T ype [T ype 1, T ype 2, Pre Amp] This selects the type of amp model. T ype 1 is a standard powered amp for or gan, producing a warm, fat tone. T ype 2 emphasizes the high range more than T ype 1, producing a less color ed tone.
Program P7: Amp, V/C, Rotary Speaker 7–1: Amp & V/C 227 AMS [List of AMS Sources] This selects an AMS source to turn V ibrato/Chorus on or off for the Upper Drawbars. AMS Mode [T oggle, Momentar y] This determines the behavior of the V ibrato/Chorus AMS for the Upper drawbars.
EXi: CX-3 Tonewheel Organ 228 Pan [Random, L001…C064…R127] This controls the ster eo pan of the organ. A setting of L001 places the sound at the far left, C064 in the center , and R127 to the far right. When this is set to Random , the Pan position will change at each note-on.
Program P7: Amp, V/C, Rotary Speaker 7–2: Rotary Speaker 229 AMS Mode [Momentar y , T oggle] This determines the behavior of the Rotary Speaker on/off AMS. For details, see “AMS Mode” on page 218. Rotar y Speaker Off Output [Pre-Crossover , Post-Crossover] This determines the sound when the Rotary Speaker is turned Off, above.
EXi: CX-3 Tonewheel Organ 230 Horn Mic Distance [000…100] This adjusts the distance between the Horn and its microphones. Lower values bring the mics closer to the speaker . Horn Mic Spread [000…100] This adjusts the distance between the two Horn microphones, to widen the ster eo field.
Program P9: AMS Mixer 9–1: AMS Mixer 231 Program P9: AMS Mixer The AMS Mixers combine two AMS sour ces into one, or process an AMS source to make it into something new . For instance, they can add two AMS sources together , or use one AMS source to scale the amount of another .
EXi: CX-3 Tonewheel Organ 232 T one Adjust CX-3 T one Adjust Default Settings T one Adjust pr ovides an elegant physical interface to the CX-3’s parameters. Most of the factory sounds use the default layout, as shown above. Y ou can also customize the layout for individual sounds, if desired.
Changes from the original CX-3 9–1: AMS Mixer 233 Changes from the original CX-3 W ith the OASYS CX-3, Korg has taken the original, ground-br eaking CX-3 model and made it even better . If you’d like to convert sounds from the original CX-3, the following notes describe these changes in detail.
EXi: CX-3 Tonewheel Organ 234 EX i CX-3: Page Menu Commands Copy Drawbars This copies drawbar or EX drawbar settings within the CX-3 oscillator . 1. Select “Copy Drawbars” to access the dialog box. 2. Use the “From” fi eld to specify the copy-source drawbars.
235 EX i : STR-1 Plucked String STR-1 Over view The STR-1 Plucked String offers a compr ehensive and sophisticated set of physical modeling synthesis tools, capable of creating both traditional sounds (acoustic and electric guitars and basses, clavinets and harpsichords, harps, bells, electric pianos, ethnic instruments, etc.
EXi: STR-1 Plucked String 236 LFO1 LFO1 Pluck Noise LFO1 LFO1 LFO1 LFO1-4 LFO1 LFO1 LFO1 EG1-4 LFO1 String T rack 1-2 Amp String EQ Feedback Main Filter Mixer Excitation Filter LFO1 AMS Mixer 1-4 Filter Key T rack STR-1 Overview + + Amp Key T rack Pickup 1 Pickup 2 Damping & Disp.
EXi Program P0: Play 0–1: Main 237 EX i Program P0: Play 0–1: Main This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display , which differs for each individual EX i .
EXi: STR-1 Plucked String 238 Press this ar ea to jump to the 5–1 Filter Basic page. Amp This shows the Amp section’s Pan and Amp Level values. Press this ar ea to jump to the 6–1 Amp page. EGs and LFOs EG 1…4, Amp EG Graphics These show the shapes of the five EGs.
Program P4: String 4-1: Pluck and Noise 239 Program P4: String 4-1: Pluck and Noise 4-1a: Pluck T ype [Ac Guitar 1…Harpsichord] This selection models differ ent types of plucking actions, including picks and finger-plucking. The pluck type sets the basic tone of the plucked string.
EXi: STR-1 Plucked String 240 Delay (milliseconds) [0...250] Y ou can delay the Pluck by up to 250ms after the initial note-on. This lets you create double-strike ef fects and complex attacks.
Program P4: String 4-2: PCM Oscillator 241 4-2: PCM Oscillator Using PCM in the STR-1 Using PCM samples to “pluck” the string In addition to the Pluck and the Noise Generator , you can also “pluck” the string with PCM samples.
EXi: STR-1 Plucked String 242 These can change the character of the comb filter in interesting ways. Layering PCM with modeled string timbres Y ou can also simply layer PCM samples with string timbres.
Program P4: String 4-3: PCM Oscillator Pitch 243 Similarly , RAM Multisamples can play either from the beginning of the waveform, or from the loop start point.
EXi: STR-1 Plucked String 244 Frequency Offset [–10.0 Hz … +10Hz] This adjusts the pitch by increments of 0.1 Hz. Frequency Offset is dif ferent from T une in that, when used to detune the two oscillators, it can create a constant beat frequency acr oss the range of the keyboard.
Program P4: String 4-3: PCM Oscillator Pitch 245 JS+Y Intensity [–48.00…+48.00] Moving the joystick “up” from the center detent position, away from yourself, pr oduces the JS+Y controller . Y ou can use this to scale the amount of the LFO applied to the pitch.
EXi: STR-1 Plucked String 246 4-4: Excitation Mixer 4-4a: PCM Oscillator Level [0…100] This controls the PCM Oscillator ’s input level to the String.
Program P4: String 4-4: Excitation Mixer 247 Low Pass. This cuts out the parts of the sound which are higher than the cutof f frequency . Low Pass is the most common type of filter , and is used to make bright timbres sound darker . High Pass. This cuts out the parts of the sound which are lower than the cutoff frequency .
EXi: STR-1 Plucked String 248 ▼ 4–4: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program .
Program P4: String 4-5: String Main 249 As a rule of thumb, harmonics which are multiples of the denominator will be silent. For instance, if the Position is set to 20.0, the ratio is 1/5, and so every fifth harmonic will be silent: 5, 10, 15, etc. This is like a comb filter , with successive, evenly-spaced notches.
EXi: STR-1 Plucked String 250 Use Excitation Position [Check-box] This makes the harmonic use the same position as the excitation, including AMS modulation. Using this option creates an inter esting hybrid pluck/chime timbre. When this is checked, the rest of the Position parameters will be grayed out.
Program P4: String 4-5: String Main 251 4-5c: Decay Decay [0…100] This controls the overall decay time of the string without affecting fr equency content. This interacts with Damping , which contr ols the decay time for high frequencies. For mor e information, see “4-6a: Damping” on page 252.
EXi: STR-1 Plucked String 252 4-6: Damping and Dispersion 4-6a: Damping Damping [0…100.0] This controls the decay time for the string’s high frequencies. Higher settings mean a shorter high frequency decay time, for a bright attack and a mor e mellow sustained tone.
Program P4: String 4-6: Damping and Dispersion 253 4-6b: Dispersion Dispersion [0…100.0] This models the rigidity of the string. Higher values correspond to thicker -gauge strings, and increase the inharmonicity of the string. (“Inharmonicity” means that the pitches of the overtones become out of tune with the fundamental.
EXi: STR-1 Plucked String 254 4-7: String Pitch 4-7a: Main Octave [–2[32’], –1[16’], +0[8’], +1[4’]] This sets the basic pitch of the String, in octaves. The default is +0[8']. T ranspose [–12…+12] This adjusts the pitch in semitones, over a range of ±1 octave.
Program P4: String 4-7: String Pitch 255 Fingered [Off, On] This parameter allows you to control Portamento through your playing style. When it’s enabled, playing legato will turn on Portamento, and playing detached will turn it off again. This option is only available when Portamento Enable is turned on.
EXi: STR-1 Plucked String 256 4-7e: AMS AMS 1 [List of AMS Sources] This selects the first modulation source for contr olling the String’s pitch. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity [+/-48.
Program P4: String 4-8: Pickups and Feedback 257 The position is approximately symmetric ar ound 50 for all of the notes when T racking Mode is set to Keyboard ; in other words, a value of 60 is r oughly the same as 40 . When T racking Mode is set to String , however , the point of symmetry varies for each note.
EXi: STR-1 Plucked String 258 All three feedback parameters– Distance , Orientation , and Level –can be modulated in real-time. You can use this to model the classic effect of holding an electric .
Program P4: String 4-9: Mixer 259 4-9: Mixer The Mixer page controls the volume levels and filter routing for the main String output, as well as the dir ect outputs (bypassing the string) of the PCM oscillator and Noise Generator . For instance, you can: • Control the volume levels for the String, the PCM Oscillator, and the Noise Generator.
EXi: STR-1 Plucked String 260 4-9d: Pickup 1 Pickup 1 has the same mixer parameters as described under “4-9a: String,” above. T ry inverting the phase for one of the two pickups; this can produce an inter esting effect. 4-9e: Pickup 2 Pickup 2 has the same mixer parameters as described under “4-9a: String,” above.
Program P5: Filter 5-1: Filter Basic 261 Program P5: Filter 5-1: Filter Basic Interaction between the filters and the mixer When the Filter Routing is set to either Single or 24dB/oct , the routing fr om the String section into the Filter section is fairly simple.
EXi: STR-1 Plucked String 262 Single. This uses only Filter A as a single 2-pole, 12dB/octave filter (6dB for Band Pass and Band Reject). When this option is selected, the controls for Filter B will be grayed out. Serial. This uses both filters. The output of Filter A is processed thr ough Filter B.
Program P5: Filter 5-1: Filter Basic 263 Frequency [00…99] This controls the cutof f frequency of Filter A, in increments of 1/10 of an octave. The specific ef fect of the cutoff fr equency will change depending on the selected Filter T ype , as described above.
EXi: STR-1 Plucked String 264 5-2: Multi Filter This page is available only when the Filter A T ype is set to Multi Filter . What’ s a Multi Filter? Standard multimode filters generate lowpass, highpass, and bandpass filters simultaneously - but only allow you to use one of them at a time.
Program P5: Filter 5-3: Filter Modulation 265 Intensity [–99…+99] This controls the depth and dir ection of the Mode 1-2 Crossfade modulation. Intensity Mod AMS [List of AMS Sources] This selects an AMS source to modulate the intensity of the main Mode 1-2 Crossfade AMS .
EXi: STR-1 Plucked String 266 5–3a: Keyboard T rack Most acoustic instruments get brighter as you play higher pitches. At its most basic, keyboard tracking re- creates this ef fect by increasing the cutoff fr equency of a lowpass filter as you play higher on the keyboard.
Program P5: Filter 5-3: Filter Modulation 267 Please take these names as suggestions, rather than restrictions. If you like, you’r e free to use these EGs to control any EG or AMS destination, or to use other EGs to control Filter Fr equency and Pitch.
EXi: STR-1 Plucked String 268 5-4: Filter LFO Mod There ar e three LFO-to-Frequency contr ols for each filter: a basic amount ( LFO Intensity ), joystick -Y control of LFO amount ( JS- Y Intensity ), and AMS control of LFO amount ( AMS Intensity ). The thr ee controls ar e summed together to determine the final LFO amount.
Program P6: Amp 6-1: Amp 269 Program P6: Amp These pages let you control the sound’s volume (also called “amplitude,” or “amp” for short), pan, and the dedicated amp envelopes and keyboard tracking generators. For instance, you can: • Set the pan position and pan modulation.
EXi: STR-1 Plucked String 270 AMS [AMS Sources] This selects an AMS source to modulate Pan . For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity [–99…+99] This controls the depth and dir ection of the AMS modulation for Pan .
Program P6: Amp 6-2: Amp Modulation 271 Ramp Bottom-Low [-Inf, –99…+99, +Inf] This sets the slope between the bottom of the MIDI note range and the Low Break key . For normal key track, use negative values. Low-Center [-Inf, –99…+99, +Inf] This sets the slope between the Low Break and Center keys.
EXi: STR-1 Plucked String 272 6-3: Amp EG The STR-1’s Amp EG is identical to the HD-1’s. For more detailed explanations of the Amp EG features, please see “4–3: Amp1 EG,” on page 78. Other envelopes can be used as additional controls via AMS, if desired.
Program P6: Amp 6-3: Amp EG 273 Time Higher values mean longer times. For a chart showing equivalents in milliseconds, please see “T ime” on page 79. Attack [00…99] This sets how long the EG takes to move from the Start level to the Attack level.
EXi: STR-1 Plucked String 274 Release [–99…+99] This controls the depth and dir ection of the AMS modulation for the Release time. AMS2 and AMS3 These select the second and third AMS sources, respectively , for controlling the EG’s T ime parameters.
Program P7: EG 1-4 7-1: EG 1 (Filter) 275 Program P7: EG 1-4 The STR-1 has four assignable EGs, in addition to the Amp EG. Each of these can be used as an AMS modulation source to contr ol a wide variety of parameters. There ar e also two parameters with dedicated EG modulation inputs: Frequency for Filters A and B.
EXi: STR-1 Plucked String 276 Program P9: AMS Mixers and String T rack AMS Mixers The AMS Mixers combine two AMS sour ces into one, or process an AMS source to make it into something new . For instance, they can add two AMS sources together , or use one AMS source to scale the amount of another .
Program P9: AMS Mixers and String Track 9-9: String Track 277 This means that some strings may sound very distinct from others, quite aside fr om the differences in pitch.
EXi: STR-1 Plucked String 278 STR-1 T one Adjust STR-1 T one Adjust Default Settings T one Adjust pr ovides an elegant physical interface to the STR-1’s parameters. Most of the factory sounds use the default layout, as shown above. Y ou can also customize the layout for individual sounds, if desired.
STR-1 Tone Adjust 9-9: String Track 279 Excitation Filter • Excitation Filter Type • Excitation Filter Frequency • Excitation Filter Resonance String • Excitation Position • Harmonic Position • Harmonic Pressure AMS1 Intensity • Decay • Nonlinearity • Damping • Dispersion String Pitch • String Tune (–1200.
EXi: STR-1 Plucked String 280.
281 EX i : MS-20EX MS-20EX Over view The MS-20EX is a flexible, semi-modular virtual analog synthesizer . At its heart is a faithful re-creation of the original KORG MS-20, including both its features and its distinctive, often aggressive timbral signatur e.
EXi: MS-20EX 282 On-screen knobs and switches, and the Parameter Details area Parameter Details The LCD displays include graphic knobs for all of the main MS-20EX parameters. These let you view and edit parameters quickly and easily . Y ou can program any original MS-20 sound using only these knobs.
EXi Program P0: Play 0–1: Main 283 EX i Program P0: Play 0–1: Main This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display , which differs for each individual EX i .
EXi: MS-20EX 284 Common V oice Assign Mode This shows the voice assign mode of the Program– either POL Y or MONO. Press this ar ea to jump to the Program Basic page. Common Step Sequencer This shows a graphic overview of the Common Step Sequencer . Press this ar ea to jump to the Common Step Sequencer page.
Program P4: Oscillators & Filters 4-1: Oscillators & Filters 285 Program P4: Oscillators & Filters 4-1: Oscillators & Filters 4-1a: Oscillators VOL T AGE CONTROLLED OSCILLA TOR 1 W A VE FORM [ , , , ] This sets the basic timbre of Oscillator 1.
EXi: MS-20EX 286 SCALE [32’, 16’, 8’, 4’] Adjusts the pitch of Oscillator 1 in steps of an octave. W ith each halving of the “feet” value, the pitch goes up one octave. For example, 4’ is one octave higher than 8’ , and 16' is one octave lower that 8' .
Program P4: Oscillators & Filters 4-1: Oscillators & Filters 287 4-1b: High Pass Filter HPF This filter cuts out the parts of the sound which are lower than the cutoff fr equency .
EXi: MS-20EX 288 TRANSPOSE [-24.00…+24.00] This controls the coarse tuning, in half-steps and cents, up or down two octaves. Y ou can modulate this smoothly via AMS. 4-1e: P AN & ANALOG P AN [Random, L001…C064…R127] This controls the ster eo pan of the MS-20EX, at the very end of the signal chain.
Program P5: MG, EG, & Modulation 5-1: MG, EG, & Modulation 289 Program P5: MG, EG, & Modulation 5-1: MG, EG, & Modulation 5–1a: VOL T AGE CONTROLLED AMPLIFIER VOICE ALLOCA TION [EG1…EG6] When the EG selected here completes its r elease stage, the voice will be silenced, and its processor r esources freed.
EXi: MS-20EX 290 On (LED lit): When TEMPO SYNC is On , the MG synchronizes to the system tempo, as set by either the T empo knob or MIDI Clock. The MG speed is controlled by the combination of the BASE NOTE and FREQUENCY/TIMES parameters, below .
Program P5: MG, EG, & Modulation 5-1: MG, EG, & Modulation 291 EG 2 HOLD TIME A TT ACK TIME [0.00…10.00] Adjusts the time from the EG trigger (e.g., note-on) until the EG reaches its maximum value. This is scaled by MIDI CC#73. DECA Y TIME [0.
EXi: MS-20EX 292 AMP [–10.00…+10.00] Specifies the depth and direction of the modulation applied to the amp ( VCA ). This scales the combined effect of the VOLUME knob and its AMS modulation.
Program P6: Patch Panel 6-1: Patch Panel 293 Program P6: Patch Panel 6-1: Patch Panel Using the Patch Panel Basic patching rules Most of the main sections of the MS-20EX, including the VCOs, filters, MG, EGs, and so on, are connected by default, even without using any patch cables.
EXi: MS-20EX 294 Clearing all connections from the Patch Panel T o completely clear the Patch Panel, so that you can start from scratch: 1. Open the menu, and select the Delete All Connections command.
Program P6: Patch Panel 6-1: Patch Panel 295 Tip: Creating self-triggering patches Normally , new notes and EGs 1 and 2 are trigger ed by playing notes on the keyboard.
EXi: MS-20EX 296 (LPF) CUTOFF FREQ input jack This input modulates the cutoff fr equency of the Lowpass Filter . (LPF) IN jack This Patch Panel modification provides a dir ect input to the Lowpass Filter . (LPF) OUT jack This Patch Panel modification provides the output of the Lowpass Filter .
Program P6: Patch Panel 6-1: Patch Panel 297 When the CLOCK input is high, the OUT jack will carry a slightly filtered version of the signal fr om the IN jack. If the CLOCK input goes high for a very brief period of time, then the input from that instant will be “held” at the output.
EXi: MS-20EX 298 Note that the MG’s LED is on when it is low . Initially , this seems like the opposite of what one might expect. When using the MG to trigger the EGs, however , this makes perfect sense: the EGs start when the LED goes on, and release when the LED goes of f.
Program P6: Patch Panel 6-1: Patch Panel 299 6–1j: MIXERS 1 and 2 MIXER 1 This is a simple 2-in, 1-out mixer; you can use it for merging and scaling either contr ol or audio signals. Note that you can also use this to invert the polarity of a signal.
EXi: MS-20EX 300 SIGNAL IN jack This is the input to the External Signal Processor . T o use this with live audio input, connect the EX i AUDIO IN jack to the SIGNAL IN jack. SIGNAL LEVEL knob [0.00…10.00] This adjusts the volume of the signal connected to the SIGNAL IN jack.
Program P6: Patch Panel 6-1: Patch Panel 301 THRESHOLD , LOW CUT FREQ and HIGH CUT FREQ controls, or when using other contr ols to modify the input signal. Using the External Signal Processor (ESP) Y ou can use the ESP to control the MS-20EX fr om an external monophonic audio source, such as a melody played on a guitar .
EXi: MS-20EX 302 AMS [List of AMS Sources] This selects the modulation source to r oute into the patch panel. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967.
Program P7: EG 3-6 7-1: EG 3 303 Program P7: EG 3-6 The MS-20EX has four assignable EGs, in addition to the original MS-20 EGs 1 and 2. Each of these can be used as an AMS modulation source to control a wide variety of parameters. 7-1: EG 3 7-2: EG 4 7-3: EG 5 7-4: EG 6 The MS-20EX’s EGs 3-6 are identical to the AL-1’s EG1.
EXi: MS-20EX 304 9-1: AMS Mixers 1-2 9-2: AMS Mixers 3-4 The MS-20EX’s AMS Mixers are identical to those of the AL-1 (although the MS-20EX has four , to the AL-1’s two).
MS-20EX Tone Adjust Common Tone Adjust parameters 305 MS-20EX T one Adjust MS-20EX T one Adjust Default Settings T one Adjust pr ovides an elegant physical interface to the MS-20EX’s parameters. Most of the factory sounds use the default layout, as shown above.
EXi: MS-20EX 306 All of the additional parameters are listed below . T one Adjust parameters may affect the internal parameters in one of two ways: they may be Relative , in which case they scale the existing parameter value, or Absolute , in which case they over-write the existing value.
307 EX i : PolysixEX PolysixEX Over view The PolysixEX is a rich-sounding, easy-to-use, high- polyphony virtual analog synth (up to 172 voices!). It combines the features and sonic character of the classic Korg Polysix (and the Legacy Polysix plug-in) with many additional capabilities unique to the OASYS.
EXi: PolysixEX 308 On-screen knobs and switches, and the Parameter Details area Parameter Details The LCD displays include graphic knobs and switches for all of the main PolysixEX parameters. These let you view and edit parameters quickly and easily .
EXi Program P0: Play 0–1: Main 309 EX i Program P0: Play 0–1: Main This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display , which differs for each individual EX i .
EXi: PolysixEX 310 Common Step Sequencer This shows a graphic overview of the Common Step Sequencer . Press this ar ea to jump to the Common Step Sequencer page. Common LFO Graphic This shows the waveform of the Common LFO. Press this ar ea to jump to the Common LFO page.
Program P4: Main 4-1: Main 311 Program P4: Main 4-1: Main 4-1a: VCO VIBRA TO INT [0.00...10.00] Moving the joystick “up” from the center detent position, away from yourself, pr oduces the JS+Y controller (MIDI CC#1). On the PolysixEX, JS+Y normally controls VIBRA TO –the amount of the MG applied to VCO pitch.
EXi: PolysixEX 312 Pulse waveform at different widths PWM SPEED [0.00...10.00] The PolysixEX has an LFO dedicated to pulse width modulation (PWM). This adjusts the speed of that LFO. Note that this applies only when the W A VEFORM is set to PWM . The dedicated PWM LFO is shared between all the PolysixEX voices, similar to the Common LFO.
Program P4: Main 4-1: Main 313 KBD TRACK [0.0…150.0] Adjusts the depth to which the cutoff fr equency will change according to the note number , centered at C3. W ith a setting of 100, the change in cutoff fr equency will be proportionate to the change in pitch (1 octave in pitch = 1 octave in filter frequency).
EXi: PolysixEX 314 VOLUME [0.00...10.00] This controls the main output level. It af fects all voices at once, and so it cannot be modulated by per-voice AMS sources such as EGs or LFOs 1 and 2. For per-voice modulation, use the A TTENUA TOR parameter instead.
Program P4: Main 4-1: Main 315 ▼ 4–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program .
EXi: PolysixEX 316 Program P5: Modulation & Arpeggiator 5-1: Modulation & Arpeggiator 5-1a: EXTERNAL MODULA TION The External Modulation section offers an easy way to assign modulation to multiple destinations at once, using any AMS source. Note that most parameters also include dedicated AMS modulation, via the Parameter Details area.
Program P5: Modulation & Arpeggiator 5-1: Modulation & Arpeggiator 317 BASE NOTE [1/1...1/32] When TEMPO SYNC is ON, this sets the basic speed of the arpeggiator , r elative to the system tempo. The values range from a 32nd note to a whole note, including triplets.
EXi: PolysixEX 318 AMS lets you switch to the opposite of the programmed setting. For instance, if LA TCH is set to On , and the AMS Mode is set to Momentary , then pressing down on the footswitch would cause the latch to turn off.
PolysixEX Tone Adjust Common Tone Adjust parameters 319 PolysixEX T one Adjust PolysixEX T one Adjust Default Settings T one Adjust pr ovides an elegant physical interface to the PolysixEX’s parameters. Most of the factory sounds use the default layout, as shown above.
EXi: PolysixEX 320 VCO V ibrato Int V ibrato Int AMS Int VCO Octave VCO W aveform PW/PWM PW/PWM AMS Int PWM Speed PWM Speed AMS Int Sub Osc Sub Osc AMS Int VCF Filter Cutoff Filter Cutoff AMS Int Filt.
321 Combination mode Combination P0: Play This is the main page of Combination mode. Among other things, you can: • Select combinations • Edit the KARMA function in simple ways • Make audio inpu.
Combination mode 322 Each bank contains rewritable combination pr ogram areas for 128 combinations (a total of 1,792). Note: Pressing one of the BANK SELECT INT A–USER G switches while the Program Select parameter is selected in this page will change the timbre pr ogram bank (rather than the combination bank).
Combination P0: Play 0–1: Program Select/Mixer 323 Categor y/Combination Select Y ou can select combinations by category and sub- category . All combinations are organized into up to eighteen categories, and each category is further organized into eight sub-categories.
Combination mode 324 0–1b: Timbre Program Select Selected Timbre Info This area shows information on the timbr e selected for editing. T : T imbre number/program bank/number/name, Ch: MIDI channel/number .
Combination P0: Play 0–1: Program Select/Mixer 325 If bank select and program change messages ar e received on a MIDI channel that matches the MIDI channel of a timbre whose Status is INT , the program of that timbr e will change.
Combination mode 326 L001…C064…R127: A setting of L001 is far left and R127 is far right. A setting of C064 will repr oduce the pan setting of the Program mode.
Combination P0: Play 0–6: KARMA GE 327 Gray Timbre/T rack number , and [Inactive] shown after Program name If you’ve already loaded Pr ograms which use the maximum amount of EX i fixed resour ces, and then load additional Programs which r equire fixed resour ces, the newly added Programs will not sound.
Combination mode 328 The settings of the KARMA ON/OFF and LA TCH switches, KARMA SCENES 1–8 switches, KARMA SLIDERS 1–8, and KARMA SWITCHES 1–8 are saved independently for each Combination.
Combination P0: Play 0–6: KARMA GE 329 Module ID [A, B, C, D, P] Indicates which parameters you are contr olling from the KARMA SLIDERS or KARMA SWITCHES. A, B, C, D: Indicates the KARMA Module that is being controlled. In this case, you ar e controlling a GE Real- T ime Parameter .
Combination mode 330 • 4: Initialize KARMA Module . For more information, see “Initialize KARMA Module” on page 409. • 5: Copy Scene . For more information, see “Copy Scene” on page 409. • 6: Swap Scene . For more information, see “Swap Scene” on page 409.
Combination P0: Play 0–8: Audio Input/Sampling 331 FX Balance IFX: This controls the “W et/Dry” balance of all insert effects. A setting of +10 is W et or –W et, a setting of +0 leaves the settings of the combination unmodified, and a setting of –10 is Dry .
Combination mode 332 0–8a: Audio Input Use Global setting [Off, On] On (checked): The Audio Input settings (Input1, Input2, Input3, Input4, S/P DIF L, S/P DIF R) you specify in Global P0– Audio page will be used. Normally you will leave this setting On (checked).
Combination P0: Play 0–9: Control Surface 333 ▼ 0–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Combination mode 334 Control Assign Switches and T abs Y ou can switch the Control Surface between its differ ent functions using either the tabs on the left side of the LCD display , or the front-panel Contr ol Assign switches. The tabs and the front-panel switches mirr or one another; when you change one of them, the other changes as well.
Combination P0: Play 0–9: Control Surface 335 Resetting the V ector Joystick T o reset the V ector Joystick to the center position, hold down RESET CONTROLS and then move the V ector Joystick.
Combination mode 336 Send 1 [000…127] This controls the send level into FX Send 1. If the T imbre’s Output Bus parameter is set to L/R or OFF , it scales the Oscillator send levels. If the Output Bus is set to IFX 1–12, it directly contr ols the post-IFX send levels.
Combination P0: Play 0–9: Control Surface 337 0–9c: Audio Inputs This Control Assign setting lets you adjust the volume, pan, and FX send settings for each of the six audio inputs: Analog 1–4, and S/P DIF left and right. Y ou can use this page to mix sounds from other sources into the OASYS outputs - as an on-stage submixer , for instance.
Combination mode 338 Play/Mute (1–6) [Play , Mute] When this switch is on (LED = on), the input will be enabled. When the switch is off (LED = of f), the input will be muted. Solo switch and Select switches 1–6 Solo [Off, On] Solo lets you isolate one or more T imbr es or Audio Inputs, so that you hear them by themselves.
Combination P0: Play 0–9: Control Surface 339 0–9d: External This Control Assign setting lets you send MIDI messages to external devices. Each slider , knob, and switch can be assigned to a separate MIDI controller and MIDI channel. The eight drum pads also have separate settings which apply only when Control Assign is set to External.
Combination mode 340 CC# Assign (1–8) [Of f, 000…119] This read-only parameter shows the MIDI CC sent by the slider . V alue (1–8) [000…127] This is the current value of the slider ’s MIDI CC.
Combination P0: Play 0–9: Control Surface 341 Knobs 1–8 Knobs 1–4 all have dedicated functions which correspond to MIDI CCs. Knobs 5–8 can be assigned to a wide variety of functions, many of which also have corresponding MIDI CCs. When you move the knob, it will send the corresponding MIDI CC to all T imbr es on the Global Channel.
Combination mode 342 0–9f: T one Adjust T one Adjust pr ovides two important features simultaneously: • It lets you use all of the sliders, knobs, and switches to control Program parameters - like the knobs on an analog synth, or the drawbars on an organ.
Combination P0: Play 0–9: Control Surface 343 Once the Program has been loaded, you can change any or all of the T one Adjust settings as desir ed, including both assignments and values. All such edits are stor ed in the Combi, without affecting the original Program.
Combination mode 344 Switch Status [Off, On] This simply shows whether the switch is On or Off. The status is also shown by the LEDs in the physical buttons.
Combination P0: Play 0–9: Control Surface 345 LFO2 Speed . This scales LFO2’s frequency . When the LFO is in MIDI/T empo mode, this adjusts the Base Note. For more information, please see “Fr equency” on page 84. LFO2 Fade . This scales LFO2’s fade-in time.
Combination mode 346 Combination P1: EQ/V ector/Controller 1–1: Timbre EQ Each T imbre has a dedicated thr ee-band EQ, with sweepable mid band. This page lets you view and adjust the settings for all 16 T imbres at once.
Combination P1: EQ/Vector/Controller 1–1: Timbre EQ 347 Timbre 01 (Timbre Number) Auto Load Prog EQ [Of f, On] When you first load a Program into a T imbr e, this parameter determines whether or not the Program’s EQ settings will be loaded as well.
Combination mode 348 1–5: V ector V olume Control V ector Synthesis lets you control T imbre volumes and Program & Ef fects parameters by moving the V ector Joystick, by using the programmable V ector Envelope, or by the combination of the two.
Combination P1: EQ/Vector/Controller 1–5: Vector Volume Control 349 V ector Synthesis system, Combi mode 1–5b: V ector V olume Control V ector V olume Contr ol lets you adjust the relative volumes of the 16 T imbres by moving the V ector Joystick (or the V ector Envelope) from left to right on the X axis, and up and down on the Y axis.
Combination mode 350 Equal Amount [Off, On] This applies only when Enable V olume Control is On . When Equal Amount is On , the V ector will fade between all four V ector axes while maintaining a total amount of 100%. This provides a smooth fade between the differ ent sounds, and is the type of volume control used by classic V ector synths.
Combination P1: EQ/Vector/Controller 1–6: Vector CC Control 351 T imbre Center V olume, VJS Assign = –X Enable Program V ector V olume [Off, On] When this is turned On , the Program’s V ector V olume control will function as it does in Pr ogram mode, crossfading between Oscillators 1 and 2.
Combination mode 352 Finally , you can optionally send these CCs out to external MIDI instruments. A global parameter allows you to enable or disable this MIDI output; by default, it is disabled.
Combination P1: EQ/Vector/Controller 1–6: Vector CC Control 353 –X [Of f…MIDI CC#119] This assigns the controller sent by the –X vector . It will be grayed out if the VJS X Mode, above, is set to Positive. The selections are the same as for +X, above.
Combination mode 354 1–7: V ector Envelope The V ector Envelope works together with the V ector Joystick to control the V ector position. It’s particularly convenient for modulating effects, since it’s the only Combi-wide programmable modulation sour ce outside of KARMA.
Combination P1: EQ/Vector/Controller 1–7: Vector Envelope 355 seconds and milliseconds, you can specify the EG times as rhythmic values, using the Base Note and Multiplier parameters.
Combination mode 356 Time [0ms…60sec] This parameter lets you set the Hold T ime in seconds and milliseconds. It applies only when the Mode is set to T ime. (Base Note) [Off, … ] This menu sets a basic rhythmic value for the Hold T ime, relative to the system tempo.
Combination P1: EQ/Vector/Controller 1–8: Set Up Controllers 357 ▼ 1–7: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Combination mode 358 Knob 5 [Of f, …, MIDI CC#119] Knob 6 [Of f, …, MIDI CC#119] Knob 7 [Of f, …, MIDI CC#119] Knob 8 [Of f, …, MIDI CC#119] ▼ 1–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Combination P1: EQ/Vector/Controller 1–9: Set Up Pads 359 Gch: Use the global MIDI Channel setting. This is the default. For more information, see “MIDI Channel (Global MIDI Channel)” on page 650.
Combination mode 360 Combination P2: Timbre Parameters 2–1: MIDI Here you can make MIDI settings for each timbr e. 2–1a: MIDI Timbre 01 Status [Of f, INT , EXT , EX2] This specifies the MIDI and internal tone generator status. Y ou can also set Status from the P0– Program Select page.
Combination P2: Timbre Parameters 2–2: OSC 361 ▼ 2–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Combination mode 362 PRG: Portamento will be applied as specified by the program settings. Off: Portamento will be of f, even if the original program settings specified for it to be on. 001…127: Portamento will be applied with the portamento time you specify here, even if it is turned off by the pr ogram settings.
Combination P2: Timbre Parameters 2–3: Pitch 363 2–3: Pitch Here you can make pitch-r elated settings for each timbre. 2–3a: Pitch Timbre 01 T ranspose [–60…+00…+60] Adjusts the pitch of each timbre in semitone steps. 12 units equal one octave.
Combination mode 364 Off (unchecked): The scale specified by Scale (2–3b) will be used. Timbres 02…16 These are the pitch-r elated settings for timbres 2 through 16. The settings ar e the same as for timbre 1. For more information, see “T imbr e 01”.
Combination P2: Timbre Parameters 2–5: Wave Sequence/KARMA 365 Time [ms] [0000…6000ms, KeyOf f] Specifies the time (delay time) from note-on until the timbre begins to pr oduce sound, in units of ms (1/1000th of a second). This setting is available if “Mode” is set to T ime.
Combination mode 366 PRG: The setting of the program is used. Off: Key Sync is forced off. The wave sequence of each note will synchronize to the same step. On: Key Sync is forced on. The wave sequence will start each time you press a key . If the wave sequences have differing steps or rates, they will pr oceed independently .
Combination P2: Timbre Parameters 2–6: EXi Audio Input 367 2–6: EX i Audio Input These parameters let you route audio into EX i instruments which support audio input, such as the STR-1. Y ou can use this to create feedback loops, or to process live or r ecorded audio through the EX i ’s synthesis engine.
Combination mode 368 Combination P3: MIDI Filter/Zones 3–1: MIDI Filter1 These settings allow you to apply filters to the MIDI data that will be transmitted and received by each timbre 1–16.
Combination P3: MIDI Filter/Zones 3–2: MIDI Filter2 369 Enable JS+Y [Of f, On] Specifies whether MIDI CC#1 (the +Y axis of the OASYS’s joystick, or a realtime modulation knob assign setting) will be transmitted and received.
Combination mode 370 Enable Realtime Control Knob 5 [Of f, On] Enable Realtime Control Knob 6 [Of f, On] Enable Realtime Control Knob 7 [Of f, On] Enable Realtime Control Knob 8 [Of f, On] These specify whether MIDI message will be received for Realtime Control knobs 5 thr ough 8.
Combination P3: MIDI Filter/Zones 3–5: Keyboard Zones 371 Timbres 02…16 These are the MIDI Filter3 settings for timbr es 2 through 16. They ar e the same as for timbre 1. See “T imbre 01”. ▼ 3–3: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Combination mode 372 72: The volume will increase gradually as you play downward, and will r each the original volume six octaves below the top key . Bottom Slope [00, 01, 02, 03, 04, 06, 08, 10, 12, 18, 24, 30, 36, 48, 60, 72] Specifies the range of keys (12 is one octave) over which the volume will be reached starting fr om the bottom key .
Combination P3: MIDI Filter/Zones 3–6: Velocity Zones 373 3–6: V elocity Zones Sets the T op/Bottom V elocity parameters to specify the range of velocities that will sound for each timbre 1–16, and set the T op/Bottom Slope parameters to specify the range over which the volume will change.
Combination mode 374 “T op V elocity” and “Bottom V elocity” settings can also be input by holding down the ENTER switch and playing a note on the keyboard. Timbres 02…16 These are the velocity zone settings for timbr es 2 through 16. They ar e the same as for timbre 1.
Combination P7: KARMA 7–1: GE Setup/Key Zones 375 Combination P7: KARMA Here you can make KARMA function settings for the combination. In Combination mode, you can use all four KARMA Modules (A, B, C, and D). This allows you to create a wide variety of setups, including assigning differ ent phrases or patterns to different Programs.
Combination mode 376 Load GE Options [Dialogue] These options let you specify whether the values and assignments for controllers such as the KARMA SLIDERS 1–8 and KARMA SWITCHES 1–8 will be set automatically , be initialized, or be preserved when you select a GE.
Combination P7: KARMA 7–1: GE Setup/Key Zones 377 Off (unchecked): The selected Module will r eceive data from the specified “Input Channel,” and will not receive data fr om the Global Input Channel. On (checked): The selected Module will receive data from the specified Input Channel and the Global Input Channel.
Combination mode 378 When you play the keyboard, you will hear the bass of timbre 1, whose MIDI channel is set to Gch. Since timbre 2 is set to MIDI channel 2, it will not sound in response to the keyboar d. ( See “KARMA ON/OFF=OFF (1)” in the diagram above.
Combination P7: KARMA 7–2: MIDI Filter/CC Offset 379 7–2: MIDI Filter/CC Of fset 7–2a: MIDI Filter Receive MIDI Filter For each KARMA Module, specify whether to filter the MIDI control data r eceived by the Module.
Combination mode 380 CC Number [Off, MIDI CC#00…CC#95] V alue [000…127] ▼ 7–2: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Combination P7: KARMA 7–4: Module Parameters-Trigger 381 Clock Advance Mode [Auto, Dyn, Auto+Dyn, Auto+Dyn2] Size [ 3 , 3 , , 3 , , , 3 , , , 3 , , Event] Chord T rigger Mode [Off, 1st, Chord1, Chord2, Chord3] V elocity Sense Bottom [001…127] Please see “Clock Advance” on page 105.
Combination mode 382 Delay Delay Star t [Off, Fixed, 64T …4x1] Delay Star t Fixed [0000ms…5000ms] Please see “Delay” on page 108. Note Note T rigger [Any , AKR, 1st, Dyn] Please see “Note T rigger” on page 109. Note Latch [Off, On] Please see “Note Latch” on page 109.
Combination P7: KARMA 7–5: GE Real-Time Parameters 383 7–5: GE Real-Time Parameters Here you can edit the Real-T ime Parameters of the GE for each KARMA Module [A]–[D]. In addition, you can assign GE Real-T ime Parameters to the KARMA Real- T ime Controls so that you can contr ol the phrase or pattern in real-time while you play .
Combination mode 384 7–5c: GE Real-Time Parameters for Module Control = A, B, C, D Module Control = A, B, C and D let you control GE Real-T ime Parameters independently for the corresponding KARMA Module.
Combination P7: KARMA 7–6: Perf Real-Time Parameters 385 duration setting. If you disconnect the Master Layer , the duration value indicated by the Module Layer will be sent out. Y ou can adjust the Module Layer ’s Duration % (Gate) control to sound the same at that point, if desired.
Combination mode 386 A/B/C/D [Off, On] Specifies whether the Perf Real-T ime Parameter settings will be valid for each Module. On (checked): The Perf Real-T ime Parameter settings will be valid. Off (unchecked): The Perf Real-T ime Parameter settings will be ignored.
Combination P7: KARMA 7–7: Dynamic MIDI 387 7–7: Dynamic MIDI Dynamic MIDI is a function that lets you use this instrument’s controllers and MIDI contr ol messages to control specific KARMA functions. For more information, please see Please see “7–7: Dynamic MIDI” on page 1 16.
Combination mode 388 • 2: Copy KARMA Module . For more information, see “Copy KARMA Module” on page 408. • 3: Initialize KARMA Module . For more information, see “Initialize KARMA Module” on page 409. • 4: Copy Scene . For more information, see “Copy Scene” on page 409.
Combination P7: KARMA 7–8: Random Seeds 389 Duration (Duration Seed) Controls the randomizable characteristics for the Duration Group, similar to those explained under “Rhythm (Rhythm Seed)” above. For more information, see “Duration Group” on page 914.
Combination mode 390 7–9: Name/Note Map Here you can assign the names for KARMA SLIDERS 1–8 and KARMA SWITCHES 1-8, view Global Note Map T ables, and edit the Custom Note Map T able stored with the Combi. 7–9a: Name Each Module Control layer has its own set of names for the 8 KARMA SLIDERS and 8 KARMA SWITCHES.
Combination P7: KARMA 7–9: Name/Note Map 391 ▼ 7–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Combination mode 392 Combination P8: Inser t Effect Y ou can also specify the bus routing for the program used by each timbre 1–16. For instance, you can: • Send the output of a timbre to an inser.
Combination P8: Insert Effect 8–1: Routing1 393 8–1b: Routing1 Timbre 01 (Timbre Number) Bus Select (IFX/Indiv . Out Assign) Dkit [Of f, On] Y ou can select this only if the T imbre’s Program is a drum program ( Oscillator Mode Drums). This parameter can also be edited from the P8– Routing 2 page.
Combination mode 394 Example: Inserting a single IFX into multiple timbre Example: Inserting a separate IFX into each timbre, and then inserting an IFX at the final stage Example: Sharing a portion o.
Combination P8: Insert Effect 8–2: Routing2 395 • 1: Exclusive Solo . For more information, see “Exclusive Solo” on page 138. • 2: Copy Insert Effect . For more information, see “Copy Insert Effect” on page 149. • 3: Swap Insert Effect .
Combination mode 396 Off: The signal will not be sent to a REC bus. Normally you will leave this off. 1…4: The output of the timbre will be sent to the corresponding REC bus. The Pan setting (0–1b) of each timbre will be ignor ed, and the signal will be sent in monaural.
Combination P8: Insert Effect 8–5: Insert FX 397 IFX1 [000…185] IFX1 On/Off [Of f, On] Chain to [IFX2…IFX12] Chain [Off, On] Pan(CC#8) (Post IFX Pan) [L000…C064…R127] Bus Sel.
Combination mode 398 8–6: T rack View 8–6a: T rack View Here you can view the timbr e output and insert effect routing. Used in T racks The upper and lower rows of boxes with eight boxes in each row indicate the timbr e that is being sent to the corresponding insert ef fect.
Combination P8: Insert Effect 8–7: IFX 1–12 399 • 4: Insert IFX Slot . For more information, see “Insert IFX Slot” on page 150. • 5: Cut IFX Slot . For more information, see “Cut IFX Slot” on page 151. • 6: Clean Up IFX Routings . For more information, see “Clean Up IFX Routings” on page 152.
Combination mode 400 P (Effect Preset) [P00, P01…15, U00…15, --------] Effect Pr esets let you easily store and recall all of the settings for an individual effect. Y ou can store up to 16 user presets for each ef fect type, in addition to 15 re- writable factory presets.
Combination P8: Insert Effect 8–9: Common FX LFO 401 8–9: Common FX LFO The two Common FX LFOs allow you to synchronize LFO-based modulation for multiple effects, such as phasers, flangers, filters, and so on.
Combination mode 402 Combination P9: Master/T otal Effect Here you can make settings for the master ef fects and total effects. For instance, you can: • Route a sound to an master effects and total ef fects • Make detailed settings for master effects and total effects For more information, please see “Ef fect Guide” on page 727.
Combination P9: Master/Total Effect 9–2: MFX1 403 9–1c: Master V olume Master V olume [000…127] ▼ 9–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Combination mode 404 For instance, you can save an Effect Pr eset while working on a particular Combination, and then later use the same Effect Pr eset in a different Pr ogram, Combination, or Song. P00: Initial Set: These are the default settings that ar e recalled when you select an ef fect type in the Insert FX page.
Combination: Page Menu Commands ENTER + 0–9: shortcuts for menu commands 405 Combination: Page Menu Commands ENTER + 0–9: shor tcuts for menu commands Each page has a set of menu commands, which provide access to dif ferent utilities, commands, and options, depending on the page you’re curr ently on.
Combination mode 406 IFX-All: The settings of all insert effect settings (the contents of the Insert FX page and the IFX1–12 effect parameters) of the copy-source pr ogram will be copied. IFX-All used: Only the insert effects used by the copy-source pr ogram will be copied.
Combination: Page Menu Commands Copy Tone Adjust 407 • Initialize: Sets sampling-related parameters to their default state. Resample Combination Play: Makes settings so you can play a combination and resample your performance.
Combination mode 408 The window will cover the parameters for some of the T imbres on either the right or left sides of the display . If you select one of these T imbres, the window will automatically move to the other side of the display .
Combination: Page Menu Commands Initialize KARMA Module 409 In addition to the content copied when “GE R TP Control Setting & Scenes” is Of f (unchecked), the following content is copied. • 7–5: GE RTP page “ASSIGN” and Polarity settings.
Combination mode 410 Copy Inser t Ef fect This command copies effects settings fr om Program, Combination, Song, or Sampling modes. For more information, please see “Copy Insert Effect” on page 149. Note : the slot’s MIDI control channel, as specified by the Ch parameter on the IFX1–12 pages, will not be copied.
411 Sequencer mode Sequencer Over view The OASYS contains a sophisticated sequencer that integrates a 16-track MIDI sequencer with a 16-track hard disk r ecorder .
Sequencer mode 412 to return to Program mode and edit the program itself. • OASYS’s AMS (Alternate Modulation) capability lets you use control changes for realtime control of the parameters of the programs used in a program. Its MIDI Sync abilities let you synchronize the LFO speed to changes in the tempo.
Sequencer Overview Setup parameters & Musical data 413 Disk mode to create an audio CD from these WAVE files. • In addition to the song name, you can assign names to each pattern, track, and region. • You can use the LOCATE switch to move immediately to the desired location.
Sequencer mode 414 recommend that you delete unused W A VE files so that space on the internal hard disk is not occupied unnecessarily . Tip: Auto Song Setup The Auto Song Setup function copies the settings of a program or combination to a song, and puts you in recor d-ready mode.
Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer 415 Sequencer P0: Play/REC 0–1: MIDI T rack Prog Select/Mixer Here you can make basic settings for MIDI track recor ding and playing back in the song, and can select the program that will be used by each track.
Sequencer mode 416 Changing the time signature in the middle of a song If you know beforehand the location at which you wish to change time signatures in the middle of a song, use the “Insert Measure” menu command to specify and insert the time signature for each measur e of the same time signature, and then r ecord your musical data.
Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer 417 T empo changes can also be created using the “MIDI Event Edit” or “Create Contr ol Data” menu commands.
Sequencer mode 418 Multi REC [Off, On] On (checked): Multi-track recor ding setup is enabled. Select this if you want to recor d two or more tracks simultaneously .
Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer 419 • If you’ve chosen “Program Select,” the front-panel BANK buttons will change the program bank for the selected track. (If “Program Bank” is selected, the BANK switch LED of the program bank selected for the track will light.
Sequencer mode 420 If a mono insert effect is in use, the settings you make here will be ignor ed. In this case, the “Pan (CC#8)” parameter in P8– Insert FX page will adjust the panning of the sound after the Insert Effect. For details, see “Mixer” on page 744.
Sequencer P0: Play/REC 0–2: Audio Track Mixer 421 0–2: Audio T rack Mixer Here you can make settings for r ecording and playback of audio tracks in the song. Y ou can specify the audio source for r ecording, and change the Play/Mute status, Solo status, pan, and volume for playback.
Sequencer mode 422 Audio Input 1…4, Audio Input 1/2 and 3/4: Choose these to recor d directly from analog inputs 1-4. The input signal will be recor ded directly , without passing through any buses or ef fects, and without being affected by the audio input mixer settings.
Sequencer P0: Play/REC 0–2: Audio Track Mixer 423 S/P DIF L, R, S/P DIF L/R: Choose these if you want to recor d the input from the S/P DIF jack. The input from the S/P DIF jack will be r ecorded directly without passing through the L/R bus, REC buses, or Individual buses.
Sequencer mode 424 REC 1, 2, 1/2, REC 3, 4, 3/4: The REC 1/2 or REC 3/4 buses will be recor ded. Choose this if you want to recor d only the audio input while hearing the sequencer playback and your keyboard playing fr om the L/R outputs.
Sequencer P0: Play/REC 0–2: Audio Track Mixer 425 Note: Y ou can use the control surface to contr ol Play/Rec/Mute. Y ou can also make this setting from the front panel mixer section or fr om the P0– Control Surface page of the LCD. The procedur e given below describes how to make these settings from the fr ont panel.
Sequencer mode 426 • 0: Memory Status . For more information, see “Memory Status” on page 524. • 1: Exclusive Solo . For more information, see “Exclusive Solo” on page 138. • 2: Rename Song . For more information, see “Rename Song” on page 524.
Sequencer P0: Play/REC 0–3: MIDI Track Loop 427 For example, you can use this on a drum track to make it play a fill-in and then begin looping. Off (unchecked) : Playback will begin fr om the “Loop Start Measure,” and will begin looping immediately .
Sequencer mode 428 0–5: Preferences Here you can specify the r ealtime recording method, adjust levels and make other settings for audio recor ding, and adjust the metronome settings. Selected T rack Info This displays information about the currently selected MIDI or audio track.
Sequencer P0: Play/REC 0–5: Preferences 429 If you select Auto Punch In, the display will indicate “M***–M*** (Auto Punch In Start Measure–Auto Punch In End Measure)” at the right, allowing you to specify the range of measures that will be r ewritten.
Sequencer mode 430 Audio track monitor channels (Line: REC Source, T rack: track playback) Source Direct Solo [Off, On] On (checked): Only the signal of the bus line specified by REC Source will be output to the L/R jacks and the headphone jack. Check this if you want to monitor only the sound that’s being recor ded.
Sequencer P0: Play/REC 0–5: Preferences 431 Name 1…4 Here you can specify the names of the r egions and W A VE files that will be created when you r ecord audio tracks. Y ou can use up to eight characters. If you check T ake at the right, the take number will automatically be input as the last two characters of the name.
Sequencer mode 432 0–6: KARMA GE This page gives you an overview of the four KARMA Modules (A-D), and lets you make basic adjustments. For more detailed editing of KARMA parameters, see “Sequencer P7: KARMA” on page 495.
Sequencer P0: Play/REC 0–6: KARMA GE 433 0–6d: Real-Time Controls 1…8 KARMA SWITCH KARMA SWITCH Stored value KARMA SWITCH Control Timbre Categor y Name KARMA SWITCH Name KARMA SLIDER 1 KARMA SLIDER 1Stored value KARMA SLIDER 1 Control Timbre Categor y Name KARMA SLIDER 1 Name Please see “0–6c: RealT ime Controls” on page 9.
Sequencer mode 434 0–7: Controller View/Ef fect Here you can view the function that is assigned to the vector joystick, SW1 and 2, and knobs 5–8, and view information about the effects. Y ou can also adjust the FX Balance. 0–7a: Location, Song/T rack Select Location [001:01.
Sequencer P0: Play/REC 0–8: Audio In/Sampling 435 • 0: Memory Status . For more information, see “Memory Status” on page 524. • 1: Exclusive Solo . For more information, see “Exclusive Solo” on page 138. • 2: Rename Song . For more information, see “Rename Song” on page 524.
Sequencer mode 436 If you want to have separate Audio Input settings for each song, uncheck this box and make the desired Audio Input settings here. Input1…4 These are settings for analog inputs 1/4. Inputs 1/2 ar e mic/line; inputs 3–4 are line-level only .
Sequencer P0: Play/REC 0–9: Control Surface 437 Sample Time [min sec] For more information, please see “Sample T ime” on page 16. ▼ 0–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Sequencer mode 438 • Control each Track’s EQ settings and Master Effects Send levels • Modulate sounds and effects using the Real Time Knobs • Control KARMA, and select KARMA scenes, using the.
Sequencer P0: Play/REC 0–9: Control Surface 439 When it is set to Catch , you need to move the slider or knob so that it “catches” the parameter , by passing through its curr ent value. Until the value is caught, moving the slider or knob has no effect on the parameter .
Sequencer mode 440 Note: W ith some EX i instruments, such as the CX-3, notes cannot be panned individually . For these EX i , Random pan will move all sounding notes to a differ ent pan position at each note-on. EQ T rim [00…99] This controls the volume level going into the EQ.
Sequencer P0: Play/REC 0–9: Control Surface 441 On most pages, you can also toggle Exclusive Solo by holding ENTER and pressing 1 on the numeric keypad. Select 1/9–8/16 [Off, On] These buttons either select or solo the T rack, depending on the state of the Solo switch.
Sequencer mode 442 0–9c: Audio Inputs This Control Assign setting lets you adjust the volume, pan, and FX send settings for each of the six audio inputs: Analog 1–4, and S/P DIF left and right. Y ou can use this page to mix sounds from other sources into the OASYS outputs - as an on-stage submixer , for instance.
Sequencer P0: Play/REC 0–9: Control Surface 443 Solo switch and Select switches 1–6 Solo [Off, On] Solo lets you isolate one or more MIDI T racks, HDR Audio T racks, or Audio Inputs, so that you hear them by themselves. It does this by temporarily muting all non-soloed T racks and Inputs.
Sequencer mode 444 0–9e: External This Control Assign setting lets you send MIDI messages to external devices. Each slider , knob, and switch can be assigned to a separate MIDI controller and MIDI channel. The eight drum pads also have separate settings which apply only when Control Assign is set to External.
Sequencer P0: Play/REC 0–9: Control Surface 445 CC# Assign (1–8) [Of f, 000…119] This read-only parameter shows the MIDI CC sent by the slider . V alue (1–8) [000…127] This is the current value of the slider ’s MIDI CC.
Sequencer mode 446 Knobs 1–8 Knobs 1–4 all have dedicated functions which correspond to MIDI CCs. Knobs 5–8 can be assigned to a wide variety of functions, many of which also have corresponding MIDI CCs.
Sequencer P0: Play/REC 0–9: Control Surface 447 0–9g: T one Adjust T one Adjust pr ovides two important features simultaneously: • It lets you use all of the sliders, knobs, and switches to control Program parameters - like the knobs on an analog synth, or the drawbars on an organ.
Sequencer mode 448 Once the Program has been loaded, you can change any or all of the T one Adjust settings as desir ed, including both assignments and values. All such edits are stor ed in the Song, without affecting the original Program. If Auto Load PRG is On , T one Adjust settings will be automatically loaded along with the Program.
Sequencer P0: Play/REC 0–9: Control Surface 449 On V alue [Depends on parameter] The parameter is set to this value when the switch is On. When the switch is assigned to a two-state Absolute parameter , such as Hold , this will always be the same as the Switch Status (see below).
Sequencer mode 450 Sequencer P1: EQ/V ector/Controller 1–1: MIDI T rack EQ Each T rack has a dedicated three-band EQ, with sweepable mid band. This page lets you view and adjust the settings for all 16 MIDI T racks at once. 1–1a: Location, Song/T rack Select Location [001:01.
Sequencer P1: EQ/Vector/Controller 1–1: MIDI Track EQ 451 Regardless of this setting, subsequent edits to the Program’s EQ in Pr ogram mode will not affect the Combination. On : the Program’s EQ settings will be loaded automatically along with the Program.
Sequencer mode 452 1–2: Audio T rack EQ Here you can adjust the thr ee-band EQ (with sweepable mid range) for audio track. 1–2a: 3 Band Parametric EQ T rack 01…16 (T rack Number) STEREO This is shown if “Stereo Pair” is on. Bypass [Off, On] Input T rim [00…99] High Gain [–18.
Sequencer P1: EQ/Vector/Controller 1–5: Vector Volume Control 453 • 3: Delete Song . For more information, see “Delete Song” on page 524. • 4: Copy From Song . For more information, see “Copy From Song” on page 524. • 5: Load Template Song .
Sequencer mode 454 V ector Synthesis system, Sequencer mode 1–5a: V ector V olume Control V ector V olume Contr ol lets you adjust the relative volumes of the 16 T racks by moving the V ector Joystick (or the V ector Envelope) from left to right on the X axis, and up and down on the Y axis.
Sequencer P1: EQ/Vector/Controller 1–5: Vector Volume Control 455 Equal Amount [Off, On] This applies only when Enable V olume Control is On . When Equal Amount is On , the V ector will fade between all four V ector axes while maintaining a total amount of 100%.
Sequencer mode 456 Enable Program V ector V olume [Off, On] When this is turned On , the Program’s V ector V olume control will function as it does in Pr ogram mode, crossfading between Oscillators 1 and 2.
Sequencer P1: EQ/Vector/Controller 1–6: Vector CC Control 457 The V ector CCs are also sent to all Global Channel T racks. These may modulate Program parameters, like any other MIDI CCs, depending on the settings within each individual Program. Finally , you can optionally send these CCs out to external MIDI instruments.
Sequencer mode 458 V ector CC Modes Show Point [VJS, V ector EG Point 0…4] Y ou can view the volume and CC values for the current position of the V ector Joystick, or for any of the EG’s five points. This selects the point whose values will be shown.
Sequencer P1: EQ/Vector/Controller 1–7: Vector Envelope 459 1–7: V ector Envelope The V ector Envelope works together with the V ector Joystick to control the V ector position. It’s particularly convenient for modulating effects, since it’s the only programmable modulation sour ce stored with the Song, outside of KARMA.
Sequencer mode 460 seconds and milliseconds, you can specify the EG times as rhythmic values, using the Base Note and x (Multiply Base Note by…) parameters. 1–7b: V ector Envelope Loop The V ector EG can loop between two points, and can continue to loop either for as long as you hold the note, or for a specified number of repeats.
Sequencer P1: EQ/Vector/Controller 1–7: Vector Envelope 461 Time [0ms…60sec] This parameter lets you set the Hold T ime in seconds and milliseconds. It applies only when the Mode is set to T ime. (Base Note) [ … ] This menu sets a basic rhythmic value for the Hold T ime, relative to the system tempo.
Sequencer mode 462 ▼ 1–7: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Memory Status . For more information, see “Memory Status” on page 524.
Sequencer P1: EQ/Vector/Controller 1–8: Set Up Controllers 463 Momentary: The function will be on only while you continue holding down the SW1 switch. SW2 [Off, …, After T ouch Lock] Mode [T oggle, Momentar y] Assigns a function to the SW2 switch.
Sequencer mode 464 1–9: Set Up Pads There ar e eight velocity-sensitive trigger pads below the LCD screen. These look like drum machine pads, and playing drum sounds is certainly one use for them. However , they can also play up to eight-note chor ds on any sound–not just drums.
Sequencer P1: EQ/Vector/Controller 1–9: Set Up Pads 465 Off: Select this to disable the note. C–1…G9: This sets the note number . 001…127: This sets the note’s velocity value. For more information on pads and velocity , please see “Pad Mode: Fixed V elocity vs.
Sequencer mode 466 Sequencer P2: T rack Parameters 2–1: MIDI Here you can make MIDI-r elated settings for each MIDI track. 2–1a: MIDI T rack 01 (T rack Number) Status [Of f, INT , BTH, EXT , EX2] This sets whether the T rack controls the internal sounds, external MIDI devices, or both.
Sequencer P2: Track Parameters 2–1: MIDI 467 MIDI Channel [01…16] Specifies the MIDI channel that the MIDI track will use to transmit and receive musical data. The MIDI channel you specify here will be the r eceive channel when Status is INT , the transmit channel when it is EXT or EX2, and the receive/transmit channel when it is BTH.
Sequencer mode 468 2–2: OSC These parameters specify how each MIDI track will be sounded. 2–2a: OSC T rack 01 (T rack Number) Force OSC Mode [PRG, Poly , MN, LGT] Selects the V oice Assign Mode (Program 1–1c) of the program selected for each MIDI track.
Sequencer P2: Track Parameters 2–2: OSC 469 This setting does not limit the Unison Number of V oices parameter . For instance, if Max # of Notes is set to 6 , and Unison Number of V oices is set to 3 , you can play up to 6 notes, each with 3 Unison voices.
Sequencer mode 470 2–3: Pitch Here you can make pitch-r elated settings for each MIDI track. 2–3a: Pitch T rack 01 (T rack Number) T ranspose [–60…+00…+60] Adjusts the pitch of each MIDI track in semitone steps. 12 units equal one octave. Detune (BPM Adj.
Sequencer P2: Track Parameters 2–4: Delay 471 2–3b: Scale Scale Specifies the scale that the song will use. For more information, please see “1–1g: Scale” on page 36. T ype (Song’ s Scale) [Equal T emperament…User Octave Scale15] Selects the scale.
Sequencer mode 472 2–4a: Delay T rack 01 (T rack Number) Mode [Time, T empo] This selects whether the T rack delay will be set in milliseconds, or in rhythmic units. T ime: Specify the delay time in units of milliseconds (ms = 1/1000th of a second).
Sequencer P2: Track Parameters 2–5: Wave Sequence/KARMA 473 2–5: W ave Sequence/KARMA Here you can make settings r elated to wave sequence and KARMA functionality for each MIDI track.
Sequencer mode 474 by On (OSC Off by KARMA On): The track will not sound when the KARMA ON/OFF switch is on. The track will sound as usual when the KARMA ON/OFF switch is off.
Sequencer P2: Track Parameters 2-6: EXi Audio Input 475 2-6: EX i Audio Input These parameters let you route audio into EX i instruments which support audio input, such as the STR-1. Y ou can use this to create feedback loops, or to process live or r ecorded audio through the EX i ’s synthesis engine.
Sequencer mode 476 2–7: Audio T rack Delay Here you can specify a delay time by which the audio events of each audio track will be delayed relative to their “Location.” 2–7a: Delay T rack 01…16 (T rack Number) STEREO This is shown if “Stereo Pair” is on.
Sequencer P3: MIDI Filter/Zones 3–1: MIDI Filter1 477 Sequencer P3: MIDI Filter/Zones 3–1: MIDI Filter1 Here you can select whether or not to apply filtering to the MIDI data received by MIDI tracks 1–16.
Sequencer mode 478 Enable JS+Y [Of f, On] Specifies whether or not MIDI CC#1 (the +Y axis of the OASYS’s joystick, or a Modulation Knob Assign setting) will be received. Enable JS–Y [Off, On] Specifies whether or not MIDI CC#2 (the –Y axis of the OASYS’s joystick, or a Modulation Knob Assign setting) will be received.
Sequencer P3: MIDI Filter/Zones 3–2: MIDI Filter2 479 3–2: MIDI Filter2 Here you can enable transmission for the REAL TIME CONTROLS 1–8 knobs. The MIDI control messages of knobs 1–4 are fixed. The function of knobs 5–8 can be assigned in the Set Up Controllers page.
Sequencer mode 480 • 10: Copy From Combination . For more information, see “Copy from Combination” on page 526. • 11: Copy From Program . For more information, see “Copy From Program” on page 526.
Sequencer P3: MIDI Filter/Zones 3–5: Keyboard Zones 481 • 4: Copy From Song . For more information, see “Copy From Song” on page 524. • 5: Load Template Song . For more information, see “Load Template Song” on page 524. • 6: Save Template Song .
Sequencer mode 482 Bottom Slope [00, 01, 02, 03, 04, 06, 08, 10, 12, 18, 24, 30, 36, 48, 60, 72] Specifies the range of keys (12 is one octave) over which the volume will be reached starting fr om the bottom key . 0: The volume will be at the original level from the bottom key .
Sequencer P3: MIDI Filter/Zones 3–6: Velocity Zones 483 3–6: V elocity Zones Here you can set the T op/Bottom V elocity parameters to specify the range of velocities that will be sounded by MIDI tracks 1–16, and T op/Bottom Slope specify the range over which the volume will be adjusted.
Sequencer mode 484 ▼ 3–6: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Memory Status . For more information, see “Memory Status” on page 524.
Sequencer P4: Track Edit 4–1: Track Edit 485 Sequencer P4: T rack Edit 4–1: T rack Edit Here you can edit MIDI tracks, the master track, and audio tracks. When editing a MIDI track, you can move, insert, and delete individual events of note or control change data, or copy , move, insert, and delete measures or tracks.
Sequencer mode 486 4–1b: T rack Select, From Measure, T o End of Measure T rack Select [MIDI T rack01…MIDI T rack16, Master T rack, Audio T rack01…Audio T rack16] Here you can select the track you want to edit (or use as the copy-source) or r ecord.
Sequencer P4: Track Edit 4–2: MIDI Track Name 487 • 14: Region Edit . For more information, see “Region Edit” on page 550. • 15: Volume Ramp . For more information, see “Volume Ramp” on page 552. • 16: Copy Song’s Tempo to Region . For more information, see “Copy Song’s Tempo to Region” on page 553.
Sequencer mode 488 4–3: AUDIO T rack Name Here you can assign a name to each audio track. 4–3a: Audio T rack Names T01…T16 [Audio T rack Name] Here you can r ename the audio tracks. Press the text edit button to open the dialog box, and input the desired characters.
Sequencer P5: Pattern/RPPR 5–1: Pattern Edit 489 Sequencer P5: Pattern/RPPR On the OASYS you can use preset patterns P00–155, and user patterns U00–99. Preset patterns pr ovide patterns that are suitable for drum tracks, and can be selected from any song.
Sequencer mode 490 5–1b: Pattern, Patter n Select, Metronome, Remove Data How to record a user pattern 1. Use “Song Select” to select the song in which you want to create a user pattern. 2. Use T rack Select to select the sound that you will record.
Sequencer P5: Pattern/RPPR 5–2: Pattern Name 491 5–2: Pattern Name 5–2a: User Pattern Names Pattern name [U00…U99] Here you can r ename the pattern. Press the text edit button to open the dialog box, and input the name. Y ou can enter up to 24 characters.
Sequencer mode 492 5–3: RPPR Setup Here you can make settings for the RPPR (Realtime Pattern Play/Recording) function. RPPR lets you assign patterns to individual keys, and then playback patterns simply by pressing individual notes on the keyboard. This performance can be r ecorded in real- time.
Sequencer P5: Pattern/RPPR 5–3: RPPR Setup 493 5–3b: KEY , Keyboard & Assigned graphics KEY (Key Select) [C#2…C8] Specifies the key to which you want to assign an RPPR pattern. The following parameters will apply to the key that you select here.
Sequencer mode 494 • When Beat or Measure are selected, pattern playback will begin when you press the first key. The second and subsequent patterns that are triggered from the keyboard will synchro.
Sequencer P7: KARMA 5–3: RPPR Setup 495 Sequencer P7: KARMA Here you can make settings for the KARMA functions used in Sequencer mode. A Sequencer mode song can use four KARMA Modules (Modules [A], [B], [C], and [D]). In Sequencer mode, you can use the KARMA function on song tracks or for pattern real-time r ecording.
Sequencer mode 496 7–1: GE Setup/Key Zones Here you can select the GE that will be used by each KARMA Module, and specify the Key Zone and MIDI Setup for the four KARMA Modules used by the Sequencer mode song. 7–1a: Location, T rack Select, Load GE Options, KARMA T .
Sequencer P7: KARMA 7–1: GE Setup/Key Zones 497 Btm (Key Zone Bottom) [C–1…G9] T op (Key Zone T op) [C–1…G9] Please see “Key Zones” on page 376. Note: In Sequencer mode, MIDI data for each KARMA Module is transmitted and received on the “Input Channel” and “Output Channel” (7–1c) that you specify for each Module.
Sequencer mode 498 “Program Select”: a Bass category pr ogram MIDI Channel : 02 3. Set KARMA Module [A] as follows. “GE Select”: a riff of GE category Guitar “Input Channel”: 01 “Output Channel” 01 4. Set KARMA Module [B] as follows. “GE Select”: a riff of GE category Bass “Input Channel”: 02 “Output Channel” 02 5.
Sequencer P7: KARMA 7–1: GE Setup/Key Zones 499 “Input Channel”: 01 “Output Channel” 01 5. Set KARMA Module [B] as follows. “GE Select”: a riff of GE category Bass “Input Channel”: 02 “Output Channel” 02 6. Set KARMA Module [C] as follows.
Sequencer mode 500 7–2: MIDI Filter/CC Of fset 7–2a: MIDI Filter Receive MIDI Filter After T ouch [Off, On] Pitch Bend [Of f, On] Damper (CC#64) [Off, On] JS+Y (CC#01) [Off, On] JS–Y (CC#02) [Of f, On] Ribbon (CC#16) [Off, On] Other CC [Off, On] For more information, see “Receive MIDI Filter” on page 100.
Sequencer P7: KARMA 7–3: Module Parameters-Control 501 • 3: Initialize KARMA Module . For more information, see “Initialize KARMA Module” on page 409. • 4: Copy Scene . For more information, see “Copy Scene” on page 409. • 5: Swap Scene .
Sequencer mode 502 (Note Map Keyboard T rack) [Of f, On] Note Map T able Display For more information, see “Note Map” on page 106. ▼ 7–3: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Sequencer P7: KARMA 7–5: GE Real-Time Parameters 503 Envelope1, Envelope2, Envelope3 Envelope T rigger [Any , AKR, 1st, Dyn] Envelope Latch [Off, Sus1, Rel1, Sus2, Rel2] Please see “Envelope1, Envelope2, Envelope3” on page 109.
Sequencer mode 504 (T empo) [040.00…240.00, EXT] For more information, see “T empo” on page 5. 7–5b: GE Real-Time Parameters for Module Control = Master GE P ARAMETER [Parameter Name] MIN .
Sequencer P7: KARMA 7–6: Perf Real-Time Parameters 505 7–6: Per f Real-Time Parameters Here you can assign contr ollers to KARMA Performance Real-T ime Parameters (Perf. R TP) outside of the GE Real-T ime Parameters that control the internal settings of the GE.
Sequencer mode 506 7–7: Dynamic MIDI Dynamic MIDI is a function that lets you use this instrument’s controllers and MIDI contr ol messages to control specific KARMA functions. For more information, please see “7–7b: Dynamic MIDI” on page 1 16 and p.
Sequencer P7: KARMA 7–8: Random Seeds 507 7–8: Random Seeds The Random Seeds page allows you to control some of the randomizable characteristics of a Module’s GE.
Sequencer mode 508 7–9: Name/Note Map Here you can assign the names for KARMA SLIDERS 1-8 and KARMA SWITCHES 1-8, view Global Note Map T ables, and edit the Custom Note Map T able stored with the Sequence. 7–9a: Name Master , Module A…D Each Module Control layer has its own set of names for each of the KARMA SLIDERS and SWITCHES.
Sequencer P8: Insert Effect 8–1: MIDI Routing1 509 Sequencer P8: Inser t Effect Y ou can also specify the bus routing for the program used by each MIDI track 1–16 and audio track 1–16.
Sequencer mode 510 On (checked): The Bus Select , FX Control Bus , Send1 , and Send2 settings for each key of the selected drum kit will be used. Check this setting if you want to apply an individual insert effect to each drum instr ument, or to send individual drum instruments to AUDIO OUTPUT (INDIVIDUAL).
Sequencer P8: Insert Effect 8–2: MIDI Routing2 511 • 5: Put Effect Setting To Track . For more information, see “Put Effect Setting to Track” on page 557. • 6: FF/REW Speed . For more information, see “FF/REW Speed” on page 525. • 7: Set Location (for Locate Key.
Sequencer mode 512 inputs to the REC buses for sampling or resampling, and set Source Bus (P0– Audio Input/Sampling 0–8c) to REC1/2 or 3/4 so that these signals can be sampled. Off: The signal will not be sent to a REC bus. Normally you will leave this off.
Sequencer P8: Insert Effect 8–3: Audio Routing1 513 Bus Select (IFX/Indiv . Out Assign) [L/R, IFX1…12, 1…8, 1/2…7/8, Off] This specifies the bus for the audio track. The current settings can also be viewed in the Routing Map. This parameter can also be edited from the P8– Audio Routing 2 page.
Sequencer mode 514 8–4: Audio Routing2 Here you can specify the buses, ef fect control bus, and REC bus for the outputs of audio tracks 1–16. 8–4a: Audio Routing2 T rack 01 (T ack Number) STEREO This is shown if “Stereo Pair” is on. Bus Select (IFX/Indiv .
Sequencer P8: Insert Effect 8–5: Insert FX 515 8–5: Inser t FX 8–5a: IFX Here you can choose the type of each insert ef fect 1 through 12, its on/of f status, chaining, and adjust the post-IFX mixer settings. For insert effects, the dir ect sound (Dry) is always stereo-in and out.
Sequencer mode 516 IFX2: Chain to [IFX3…IFX12] IFX3: Chain to [IFX4…IFX12] IFX4: Chain to [IFX5…IFX12] IFX5: Chain to [IFX6…IFX12] IFX6: Chain to [IFX7…IFX12] IFX7: Chain to [IFX8…IFX12] I.
Sequencer P8: Insert Effect 8–6: Track View 517 8–6: T rack View 8–6a: T rack View Here you can view the track output and insert ef fect routing. Used in T racks The upper and lower rows of boxes with eight boxes in each row indicate the timbr e that is being sent to the corresponding insert ef fect.
Sequencer mode 518 • 4: Insert IFX Slot . For more information, see “Insert IFX Slot” on page 556. • 5: Cut IFX Slot . For more information, see “Cut IFX Slot” on page 556. • 6: Clean Up IFX Routings . For more information, see “Clean Up IFX Routings” on page 556.
Sequencer P8: Insert Effect 8–7: IFX 1–12 519 All Routed: The channel of any MIDI track routed through this ef fect can be used to control the effect. (Channels of each routed track will be indicated by “*”.) Drum Kits and the MIDI Control Channel If a T imbre is using a Drum Kit, and the T imbre’s Bus Select (IFX/Indiv .
Sequencer mode 520 8–9: Common FX LFO The two Common FX LFOs allow you to synchronize LFO-based modulation for multiple effects, such as phasers, flangers, filters, and so on. The Common LFOs control only the fr equency , MIDI synchronization, and r eset options; each individual effect still has its own settings for the LFO waveform and phase.
Sequencer P9: Master/Total Effect 9–1: Routing 521 Sequencer P9: Master/T otal Effect Here you can make settings for the master ef fects and total effects. For mor e information, please see “Effect Guide” on page 727. 9–1: Routing Here you can specify the type of master ef fects and total effects, and turn them on/of f.
Sequencer mode 522 • 1: Exclusive Solo . For more information, see “Exclusive Solo” on page 138. • 2: Copy MFX/TFX . For more information, see “Copy MFX/TFX” on page 153. • 3: Swap MFX/TFX . For more information, see “Swap MFX/TFX” on page 154.
Sequencer P9: Master/Total Effect 9–3: MFX2 523 • 0: Memory Status . For more information, see “Memory Status” on page 524. • 1: Exclusive Solo . For more information, see “Exclusive Solo” on page 138. • 2: Copy MFX/TFX . For more information, see “Copy MFX/TFX” on page 153.
Sequencer mode 524 Sequencer: Page Menu Commands Memor y Status If you select “Memory Status,” the remaining amount of sequencer memory will be displayed. Exclusive Solo This specifies how the Solo function will operate. Each time you select “Exclusive Solo,” the setting will alternate between multiple solo and exclusive solo.
Sequencer: Page Menu Commands Save Template Song 525 This dialog box is the same as in the page menu command “Copy T o MIDI T rack”. 5. In Pattern , select the pattern that you wish to copy . In T o T rack , select the copy destination track. In Measure , specify the beginning measure of the copy destination.
Sequencer mode 526 Note: When this dialog box is not open, you can hold down the ENTER switch and press the LOCA TE switch to set the current location as the “Set Location” value.
Sequencer: Page Menu Commands Copy From Program 527 GM Initialize List Page Parameter MIDI T rack 1–9, 11–16 T rack 10 P0 MIDI Prog/Mixer Program Select G001 g(d)001 Play/Mute, Solo - - Pan C064 C064 V olume 100 100 P1 MIDI Track EQ Auto Load Prog EQ On On Bypass On On Input T rim 99 99 High Gain +00.
Sequencer mode 528 Stereo Pair This lets you assign adjacent audio tracks as a stereo pair . The following parameters of pair ed channels will be linked with the same values.
Sequencer: Page Menu Commands Select Directory 529 The Auto +12 dB On setting is made independently for Program, Combination, Sequencer , and Sampling modes. 4. “Convert to” lets you specify whether the sample will automatically be converted to a program after sampling.
Sequencer mode 530 3. The settings for the rest of the procedure will depend on what you selected in step 2. (For details, refer to the explanations below .) If you selected Initialize: 1. Refer to Auto HDR/Sampling Setup steps 1 and 2, and select Initialize.
Sequencer: Page Menu Commands Auto HDR/Sampling Setup 531 2. Use “Mode” to specify whether you will bounce in mono or in stereo. Mono: Settings will be made so the track(s) you selected in “From” can be bounced in mono to a single audio track.
Sequencer mode 532 Note: Use the page menu command “Select Directory” to specify the location in which the new W A VE file will be created. If you selected Resample SEQ Play: 1. Refer to Auto HDR/Sampling Setup steps 1 and 2, and select Resample SEQ Play .
Sequencer: Page Menu Commands Auto HDR/Sampling Setup 533 S/P DIF IN jack will be input to the OASYS. (0–8a “Audio Input”) 3. Use “Mono-L/Mono-R/Stereo” to select the input source and the number of channels you will sample.
Sequencer mode 534 –: Not set automatically [ ]: Set automatically according to the parameter settings in the dialog box *1[ ] User Global Setting: Edit Song Parameters [x] User Global Setting: Edit Global Parameters *2The input source specified as Sour ce Audio will be set.
Sequencer: Page Menu Commands Copy Tone Adjust 535 2. Select “Bounce All T racks T o Disk” to open the dialog box. 3. Use “Drive Select,” “Open,” and “Up” to select the directory in which the W A VE fi le will be saved. 4. Use “Name” to specify the fi lename of the W A VE fi le that will be created by bounce-recording.
Sequencer mode 536 4. In “Step T ime,” specify the length (in terms of a note value) of the basic interval at which you will input data. From the popup menu at the left, select the note length in a range of (whole note) through (32nd note).
Sequencer: Page Menu Commands Audio Event Edit 537 “Control Change” lets you specify the contr ol change number . Normally you will leave this set at ALL. Y ou can also check various other events (“Pitch Bend,” “Program Change,” “After T ouch,” “Poly After T ouch,” and “Exclusive”).
Sequencer mode 538 Note: As long as there is data in the master track, you can open the audio event editing dialog box even if the audio track is empty . 1. Use T rack Select to select the audio track you want to edit, and use From Measure (4–1b) to select the measure at which you want to begin editing.
Sequencer: Page Menu Commands Audio Event Edit 539 The procedur e is the same as for “Region Edit.” The region will be changed when you pr ess the OK button. If you press the Cancel button, the r egion will not be changed. If stereo pairing is enabled and you’r e editing a stereo audio event, the dialog box will appear twice.
Sequencer mode 540 W A VE fi le waveform display , ZOOM This area displays the waveform of the W A V file assigned to the region. the waveform display and ZOOM buttons operate in the same way as in Sampling mode, except that the displayed data is a W A VE file.
Sequencer: Page Menu Commands Set Song Length 541 3. Measure and Index located in the top line of the dialog box show the measure for editing and the index number of an event within that measure; this event is shown at the top of the list of events. Y ou can use the scroll bar at right to move to the event you want to edit.
Sequencer mode 542 If you do not check All T racks , All MIDI T racks , or All Audio T racks , only the playback data of the track you selected in T rack Select will be erased. If you check All T racks , the playback data of all tracks (MIDI tracks, master track, and audio tracks) will be erased.
Sequencer: Page Menu Commands Delete Measure 543 Audio tracks 3. In From Measure select the fi rst measure to be erased, and in T o End of Measure select the last measure to be erased. (By default, From Measure and T o End of Measure will be set to the range that you specified in the T rack Edit page.
Sequencer mode 544 3. In From Measure select the fi rst measure that you wish to delete, and in T o End of Measure select the last measure that you wish to delete. By default, the range of measures will be set as specified on the T rack Edit page. 4.
Sequencer: Page Menu Commands Repeat Measure 545 The playback data in subsequent measures will play just as it did before this command was executed. If you check All MIDI T racks (when a MIDI track is selected), the measures will be inserted into all MIDI tracks.
Sequencer mode 546 If you execute Repeat Measure at a location in the middle of an audio event that spans several measures, a new r egion will be automatically created and named.
Sequencer: Page Menu Commands Create Control Data 547 If All T racks , All MIDI T racks , and All Audio T racks are unchecked, only data fr om the selected track will be moved. If you check All T racks , the playback data of all tracks including the Master T rack will be moved.
Sequencer mode 548 Control change: Control change data will be erased. Use “#” to specify the control change number . After T ouch: Aftertouch data will be erased. Pitch Bend: Pitch bend data will be erased. T empo: T empo data will be erased. (If you’ve selected the master track) 5.
Sequencer: Page Menu Commands Shift/Erase Note 549 8. Use “Swing” to add a sense of swing to the rhythm. For example, this is an easy way to give a slight shuf fl e groove to a “square” 16-beat rhythm. Settings other than 0% will adjust the positions of notes at even-numbered beats r elative to the specified “Resolution.
Sequencer mode 550 will be modi fi ed. 2. Select “Modify V elocity” to open the dialog box. 3. Specify the range in which note velocity will be modi fi ed. From Measure and T o End of Measure specify the measure, and Beat.T ick specify the beat and clock.
Sequencer: Page Menu Commands Region Edit 551 Select the region that you want to import, and pr ess the Import button. The Import dialog box will appear . Use “Drive Select,” “Open,” and “Up” to move to the desired dir ectory , select the region file or W A VE file you want to import, and press OK.
Sequencer mode 552 On: If you edit the “Start” or “End” address, the “End” or “Start” address will automatically be adjusted to preserve the existing length between “Start” and “End.” Allow T empo [Off, On] This specifies whether the Region’s T empo (see “T empo [40.
Sequencer: Page Menu Commands Copy Song’s Tempo to Region 553 Copy Song’ s T empo to Region This command changes the tempo used by the specified regions of audio events so that the audio event tempo will match the tempo of the location in which those regions play back.
Sequencer mode 554 6. Press the OK button to execute the T ime Stretch command, or press the Cancel button to cancel. Note: When you execute this command, new regions and W A VE files will be created, and file names and region names will be assigned automatically .
Sequencer: Page Menu Commands Bounce Pattern 555 (By default, this will be the song and pattern that was selected in the Pattern Edit page.) 3. In T o: Song and Pattern , specify the copy destination song and pattern. For Pattern , only user patterns U00–U99 can be specified.
Sequencer mode 556 Note: If you press the SEQUENCER ST ART/ST OP switch while the dialog box is open, the selected pattern will play back. 2. In Pattern and Pattern Select, select the “put” source pattern. (By default, this will be the pattern selected in the Pattern Edit page) • In To: T rack , select the “put” destination MIDI track.
Sequencer: Page Menu Commands Copy MFX/TFX 557 Copy MFX/TFX For more information, please see “Copy MFX/TFX” on page 153. Note : the slot’s MIDI control channel, as specified by the Ch parameter on the MFX1–2 pages, will not be copied. Swap MFX/TFX For more information, please see “Swap MFX/TFX” on page 154.
Sequencer mode 558 Y ou can only insert events to specify the type of effect and the ef fect parameters. Settings for effect on/off and bus selection must be r ecorded in realtime.
Sequencer: Page Menu Commands Put Effect Setting to Track 559 T o: Song : 000 T rack : 03 Measure : 009 Beat.T ick : 01.000 8. Press the OK button to execute the command. After execution, select song 000 and play it back. The effect for track 3 will change to 048: Ster eo Flanger at measure 9.
Sequencer mode 560 System Exclusive events suppor ted in Sequencer mode Y ou can record and play back System Exclusive events, and edit tracks that contain System Exclusive events.
System Exclusive events supported in Sequencer mode Put Effect Setting to Track 561 data. These recor ded events may not be reproduced correctly if you r ewind or fast-forward during playback. If you want to recor d such events, check only one of these two “Enable” settings in Global mode MIDI Filter .
Sequencer mode 562.
563 Sampling mode Sampling Over view The OASYS can sample external audio from the analog or S/P DIF inputs, at 48 kHz 16-bit resolution, in mono or stereo.
Sampling mode 564 either internal or external sources. For instance, you can use compression, EQ, lo-fi, etc. You can also use tempo-based LFO or delay effects, which can be very useful when sampling rhythmic loops. • Sampling can be initiated by the SAMPLING START/STOP switch, note-on, threshold, or the SEQUENCER START/STOP switch.
Sampling Overview Sampling features 565 loop sample (a looped pattern of drums etc.), and divides it into separate rhythm instrument sounds. A pattern corresponding to the divided samples is created automatically, so that you can immediately use the Sequencer mode RPPR function to play the pattern and adjust the tempo without changing the pitch.
Sampling mode 566 infinite resolution into a digital signal with finite resolution. W ith 16 bit r esolution, each level is indicated in 65,536 steps (the sixteenth power of two). The greater the bit r esolution is, the closer to the original analog signal the waveform in memory will be.
Sampling P0: Recording 0–1: Recording 567 Sampling P0: Recording This page is where you make basic settings for recor ding (sampling), including: • Creating and editing multisamples and indexes .
Sampling mode 568 Keyboard & Pads Keyboard: This indicates the index zone of multisample, the original key , and the root key . The red triangles indicate the keyboard range, and the white triangle indicates the C4 key .
Sampling P0: Recording 0–1: Recording 569 Original Key [C-1…G9] Specifies the key that will play the sample at its original pitch (i.e., the pitch at which it was recor ded). The pitch will change in semitone steps relative to the original key . For example, suppose that you recor ded a sample with Original Key of F2.
Sampling mode 570 Convert” to convert the -L and -R samples to differing sampling rates, they will no longer be handled as a stereo sample. ADC OVERLOAD ! If the signal level from AUDIO INPUT 1–4 jacks is too high, the “ADC OVERLOAD !” indication will appear .
Sampling P0: Recording 0–1: Recording 571 R-Mono: The R channel of the Source Bus will be sampled in mono. Stereo: The L and R channels of the Source Bus will be sampled in stereo, cr eating a stereo multisample.
Sampling mode 572 • Whether sampling in stereo or in mono. If “Mode” (0–1d) is set to Stereo, the maximum “Sample Time” will be halved. • The time specified for “Pre Trigger REC” (0.
Sampling P0: Recording 0–8: Audio Input 573 • 4: Sample Mono T o Stereo . For more information, see “Sample Mono To Stereo (Change Sample Type)” on page 617. • 5: Delete MS . For more information, see “Delete MS (Delete Multisample)” on page 617.
Sampling mode 574 When using the S/P DIF input, make sur e that the word clocks on all connected digital audio devices are configur ed correctly . For more information, see “System Clock” on page 644. Note: Audio input settings for CD audio from the internal CD-R/R W drive or a USB-connected CD- R/R W drive are made in “P5: Audio CD.
Sampling P0: Recording 0–8: Audio Input 575 T ip: Y ou can use the control surface to contr ol this parameter . (See “Using the contr ol surface to adjust Audio Input” on page 1 1.) ADC OVERLOAD ! If the signal level from AUDIO INPUT 1–4 jacks is too high, the “ADC OVERLOAD !” indication will appear .
Sampling mode 576 Source Bus = REC Bus 1/2 Source Bus = Audio Input 1/2 Source Bus = S/P DIF L/R Source Bus = Indiv . 1/2 Source Direct Solo [Off, On] On (checked): Only the signal of the bus selected for Source Bus will be output from the L/R jacks and the headphone jack.
Sampling P0: Recording 0–8: Audio Input 577 Off (unchecked): The L/R (post-TFX) signals and the signals of the bus selected by Source Bus will be output from the L/R jacks and the headphone jack according to the Audio Input Bus Select (8–1b) and post-IFX Bus Select (8–5a) settings.
Sampling mode 578 Y ou can apply effects to a sample and then resample it, or resample a performance of samples that you play . Manual: This is the normal method.
Sampling P0: Recording 0–9: Control Surface 579 • 10: MS Stereo T o Mono . This will appear only if the current MS is Stereo. For more information, see “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619. • 11: Optimize RAM .
Sampling mode 580 Front-panel LEDs for sliders and knobs There’s a vertical column of LEDs next to each slider , and a ring of LEDs around each knob.
Sampling P0: Recording 0–9: Control Surface 581 Knobs 1–8, Channel Strip When the Mixer Knobs switch is set to Channel Strip, the knobs provide quick access to the Pan, EQ, and FX Send parameters. The Pan and EQ parameters duplicate the similarly-named parameters found on the Program editing pageS.
Sampling mode 582 Master V olume Slider Master V olume [000…127] This controls the volume of the main ster eo outputs, after the T otal Effects. It does not affect Individual Outputs 1–8.
Sampling P0: Recording 0–9: Control Surface 583 Play/Mute switches 1–6 The top row of switches allow you to mute any or all of the audio inputs. Play/Mute (1–6) [Off, On] When this switch is on (LED = on), the input will be enabled. When the switch is off (LED = of f), the input will be muted.
Sampling mode 584 When you select an External Setup, it stays selected even when you change Programs, or switch to Combi or Sequencer modes. This makes it easy to select differ ent OASYS sounds without disrupting any external MIDI control, and vice-versa.
Sampling P0: Recording 0–9: Control Surface 585 When you move a knob, it sends out the corresponding MIDI CC. Also, when the CC is received via MIDI or generated by KARMA, the knob value changes to match the CC value.
Sampling mode 586 Sampling P1: Sample Edit In this page you can edit sample data (waveform data). Y ou can make detailed edits while watching the sample waveform display .
Sampling P1: Sample Edit 1–1: Sample Edit 587 If you have selected a stereo multisample or sample, the L channel and R channel of the sample data will be shown above and below .
Sampling mode 588 If the zoom ratio is low (1X or less), the “Sample waveform display” may differ slightly fr om the displayed waveform before and after waveform editing, but this does not affect the playback sound. If this occurs, raising the zoom ratio will make the display accurate.
Sampling P2: Loop Edit 2–1: Loop Edit 589 Sampling P2: Loop Edit In this page you can specify the region of the sample that will play and the portion that will loop. Y ou can edit the waveform down to the level of individual samples while watching the sample waveform display .
Sampling mode 590 2–1d: Sample Setup Star t (Star t Address) [000000000…] Specifies the starting address for sample playback (This value is in units of a sample address). Loop Star t (Loop Star t Address) [000000000…] Specifies the loop start address for sample playback.
Sampling P2: Loop Edit 2–1: Loop Edit 591 2–1f: ZOOM ZOOM This allows you to zoom-in/out in horizontal and vertical directions of the “Sample waveform display” (1–1f). ▼ 2–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Sampling mode 592 Sampling P3: Multisample Edit In this page you can edit multisamples. Y ou can create, delete, copy , and paste indexes, and assign samples to indexes. Y ou can also edit detailed settings such as level and pitch for each index. Here ar e the main operations you will perform in this page.
Sampling P3: Multisample Edit 3–1: Multisample Edit 593 Since in Sampling mode the playback unity level will normally be the maximum level, adjustments in the + direction will have no ef fect.
Sampling mode 594 “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619. • 10: MS Stereo T o Mono . This will appear only if the current MS is Stereo. For more information, see “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619.
Sampling P4: EQ/Controller 4–1: EQ 595 Sampling P4: EQ/Controller In this page you can edit a mid-sweepable three-band EQ that is applied to the output of the multisample. Y ou can also assign the functions of the SW1 and SW2 switches and Modulation 5–8 knobs, and the note number and velocity that are pr oduced by pads 1–8.
Sampling mode 596 ▼ 4–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Delete Sample . For more information, see “Delete Sample” on page 615.
Sampling P4: EQ/Controller 4–8: Set Up Controllers 597 Mode [T oggle, Momentar y] Specifies how on/off operation will occur when you press the SW1 switch. T oggle: On/off will alternate each time you pr ess the SW1 switch. Momentary: The assigned function will be on only while you hold down the SW1 switch.
Sampling mode 598 4–9: Set Up Pads Here you can specify the note numbers (and their velocities) that will be produced by pads 1–8 in Sampling mode.
Sampling P4: EQ/Controller 4–9: Set Up Pads 599 • 10: MS Stereo T o Mono . This will appear only if the current MS is Stereo. For more information, see “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619. • 11: Optimize RAM .
Sampling mode 600 Sampling P5: Audio CD Y ou can use the internal CD-R/RW drive, or a USB- connected CD-R/R W drive, to sample directly from an audio CD.
Sampling P5: Audio CD 5–1: Audio CD 601 Drives other than a CD-R/R W drive cannot be selected here. T rack [01…] Selects the track of the audio CD that you want to play or sampling. Index [01…] Selects the index of the audio CD that you want to play or sampling.
Sampling mode 602 specify the Range End . If you press the ENTER switch three or mor e times, the Range Start and Range End will be set to the locations of the last press and the last- but-one press. Range End [00:00.0…] Specifies the ending location of the data that will be ripped.
Sampling P8: Insert Effect 8–1: Routing 603 Sampling P8: Inser t Effect Here you can make insert ef fect settings for use in Sampling mode. If you want to apply an insert effect IFX1–12 to the external audio signal while you sample it, choose IFX1–12 as the Bus Select (IFX/Indiv .
Sampling mode 604 (In the same way , the on/off settings for MFX1, 2 and TFX1, 2 will also be turned off.) Be awar e of this if you want to sample once again.
Sampling P8: Insert Effect 8–5: Insert FX 605 8–5: Inser t FX In this page you can select the effect types for the insert effects, turn them on/of f, and make chaining settings. 8–5a: IFX Here you can select the type of ef fect for each insert effect 1–12, turn it on/of f, make chaining settings, and make post-IFX mixer settings.
Sampling mode 606 Pan (CC#8) (Post IFX PanCC#8) [L000…C064…R127] Specifies the panning immediately after the insert effect. Y ou can use CC#8 to control this. Bus Sel. (Bus Select) [L/R, 1…8, 1/2…7/8, Of f] Specifies the bus to which the signal will be sent immediately after the insert effect.
Sampling P8: Insert Effect 8–6: Track View 607 8–6: T rack View 8–6a: T rack View This shows the oscillator output and insert effect routing. The selected slot is shown in dark blue. In the “Selected” area below , you can specify the “Effect T ype” and “On/Off” status.
Sampling mode 608 8–7: IFX 1–12 This page lets you edit the detailed parameters of the twelve insert effect s. Use the tabs at left to select IFX1 through IFX12. T o select different ef fects types, use the Insert FX or T rack V iew pages. For more information, see “8–5: Insert FX” on page 605 and “8–6: T rack V iew” on page 607.
Sampling P8: Insert Effect 8–9: Common FX LFO 609 8–7b: IFX2…12 Here you can edit the parameters of the insert ef fects selected in the P8– Insert FX page. The parameters for IFX2–IFX12 are the same as for IFX1. See “8–7b: IFX2…12,” above.
Sampling mode 610 ▼ 8–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For mor e information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Copy Insert Effect .
Sampling P9: Master/Total Effect 9–1: Routing 611 Sampling P9: Master/T otal Effect Here you can select the ef fect types for the master effects and total ef fects, and turn them on/off. The master effects ar e output to the L/R bus. The total effects ar e inserted in the L/R bus.
Sampling mode 612 MFX2 MFX2 [000…185] MFX2 On/Off [Off, On] Return 2 [000…127] These parameters specify the effect type for master effect 2, its on/of f status, and the return level from master effect 2 to the L/R bus. See “MFX1” on page 61 1.
Sampling P9: Master/Total Effect 9–2: MFX1 613 9–2: MFX1 9–2a: MFX1 Here you can edit the parameters of the ef fect you choose for MFX1 in the P9– Routing page. Effect dynamic modulation (Dmod) is contr olled on the global MIDI Channel (Global 1–1a).
Sampling mode 614 The parameters for MFX2, TFX1, and TFX2 are the same as for MFX1. For more information, see “9–2: MFX1” on page 613..
Sampling: Page Menu Commands Delete Sample 615 Sampling: Page Menu Commands ENTER + 0-9: shor tcuts for menu commands Each page has a set of menu commands, which provide access to dif ferent utilities, commands, and options, depending on the page you’re curr ently on.
Sampling mode 616 Unmapped Samples: All samples that are not mapped (used) in a multisample or drum kit will be deleted. All Samples: All samples in memory will be deleted. The sample assignments of all multisamples will change to ---No Assign--- . 3.
Sampling: Page Menu Commands Sample Mono To Stereo (Change Sample Type) 617 1. Use “Sample Select” (0–1b) to select the copy source sample. 2. Select “Move Sample” to open the dialog box. 3. Use T o “Sample” to specify the move destination sample number .
Sampling mode 618 5. T o execute the Delete Multisample command, press the OK button. T o cancel, press the Cancel button. Even if you also choose to delete the samples that are included in the deleted multisample(s), any sample data (waveform data) used by these samples that is shared with other samples will not be deleted.
Sampling: Page Menu Commands MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type) 619 The multisample will be converted into a program whose Oscillator Mode (Program 1–1b) is Single.
Sampling mode 620 used in programs, the multisample numbers of the programs will also be reassigned automatically . Normally you will leave this checked. 5. T o execute the Move Multisample command, click the OK button. If you decide not to execute, click the Cancel button.
Sampling: Page Menu Commands Auto Sampling Setup 621 When you execute this command, the applicable parameters will be set automatically . Y ou cannot use the COMP ARE switch to recall the previous settings. The settings are automatically made for the most typical applications.
Sampling mode 622 2) Press the OK button to execute Auto Sampling Setup (Auto Resample through IFX), or pr ess the Cancel button if you decide not to execute. For more information, please see “Auto Sampling Setup: Automatically-set parameters and their values” on page 622.
Sampling: Page Menu Commands Truncate (for Sample Edit) 623 T runcate (for Sample Edit) This command deletes unwanted data that lies beyond the “Start” and “End.” Use this command when you wish to delete silence at the beginning or end of the waveform data.
Sampling mode 624 3. The range to be edited is shown by Range “Start” and “End.” 4. In “Save to No.,” specify the save destination sample number . By default, an unused sample number will be selected. The sample number cannot be specified if “Overwrite” is checked (page 615).
Sampling: Page Menu Commands Paste 625 For stereo samples, use “Save to No.(L)” and “(R)” to specify the save-destination of the L and R channels.
Sampling mode 626 6. T o execute the Insert Zero command, press the OK button. T o cancel, press the Cancel button. Normalize/Level Adjust This command uniformly modifies the data values (volume) of the data between the “Start”–“End.
Sampling: Page Menu Commands Rate Convert 627 5. In “Curve,” specify the way in which the volume will change. Linear: The volume will change linearly .
Sampling mode 628 The volume of the two samples can be changed gradually at the transition to gradually mix the samples with each other . This is called cr ossfade, and can be used to produce a natural-sounding transition between the two sounds.
Sampling: Page Menu Commands Time Slice 629 setting the start address, loop start addr ess, and end address of the sample, use this command to delete unwanted sample data.
Sampling mode 630 Note: As an alternative to the “T ime Slice” command, the “T ime Stretch” menu command is another way to change the tempo of a rhythm loop or similar sample. Y ou may wish to use this if you don’t need to divide the sample and create song performance data for the divided samples.
Sampling: Page Menu Commands Time Slice 631 T ime Slice step 4 Index [Source, xxx(001…090)/yyy(001…090)] Selects the sample index. If this is set to Source, the original waveform befor e time slicing will be selected. By selecting xxx/yyy you can specify individual samples that were sliced.
Sampling mode 632 When you use T ime Slice on a rhythm loop sample, the quality of the playback in Sequencer mode will depend largely on the “cutof f” of each percussion instrument sound that was sliced.
Sampling: Page Menu Commands Time Slice 633 Use New BPM to specify the BPM value of the sample you wish to create. The Ratio will automatically be calculated from the Source BPM and the New BPM values. It is not possible to make settings that would cause Source BPM or New BPM to exceed the range of 40.
Sampling mode 634 If you exit T ime Slice without using the Save button to save the samples and multisamples, be aware that the samples and multisamples you create will be lost. Before executing T ime Slice on a long sample, you should first divide the sample into measures.
Sampling: Page Menu Commands Time Stretch 635 Set Beat as the number of quarter-note beats. When you change Beat , the Source BPM value will be changed automatically .
Sampling mode 636 number will be selected. If “Overwrite” is checked, this cannot be selected. The sample number cannot be specified if “Overwrite” is checked (page 615). For stereo samples, use “Save to No.(L)” and “(R)” to specify the save-destination of the L and R channels.
Sampling: Page Menu Commands Time Stretch 637 8. Audition the results that were created by T ime Stretch. The sample before being time-str etched is assigned to the C2 note of the keyboard. The time-str etched sample is assigned to C#2. Sliced (divided) samples will be assigned consecutively upward, starting from D2 on the keyboar d.
Sampling mode 638 that multisample for the “2–1c: OSC1 Multisample/ W ave Sequence” or “2–5: OSC2 Basic” parameters “MS1”–“M4” (if “T ype” = Multisample) and create a program.
Sampling: Page Menu Commands Destination (Audio CD Ripping) 639 Lowering the pitch will slow down the playback speed. This can be used to match the loop length etc. of the sample to a tempo of the desired BPM value. 1. Select “Pitch BPM Adjust” to open the dialog box.
Sampling mode 640 Cut IFX Slot For more information, please see “Cut IFX Slot” on page 151. Clean Up IFX Routings For more information, please see “Clean Up IFX Routings” on page 152. Copy Master/T otal Ef fect This copies the effect settings fr om a desired program, combination, song, or Sampling mode.
641 Global mode Global P0: Basic Setup In Global mode you can make settings that affect the entire instrument, such as master tuning, MIDI, and memory protect.
Global mode 642 Key T ranspose can be controlled by the MIDI universal system exclusive message Master Coarse T uning (F0, 7F , nn, 04, 04, vv , mm, F7: nn=MIDI channel, vv/mm=value). These messages are r eceived on the global MIDI channel specified by MIDI Channel (1–1a).
Global P0: Basic Setup 0–1: Basic 643 When you use the OASYS’s keyboard to play the internal sounds, the Convert Position setting has no effect. 0–1b: Ef fect Global SW IFX1–12 Off [Off, On] On (checked): All insert effects IFX1–12 will be of f.
Global mode 644 System Clock [Internal, W ord Clock, S/P DIF] This sets the system clock, or word clock, of the OASYS. When connecting multiple digital audio devices–such as the OASYS, an ADA T -compatible system, and a S/P DIF device–it is important that the wor d clocks of the devices be locked together .
Global P0: Basic Setup 0–1: Basic 645 Note: ADA T OUT (if the EXB-DI is installed) channels 1–8 correspond to Indiv .1–8. If you want to output via L/R, use the L/R Bus Indiv . Assign (0–2b) setting. This setting will also affect tonal character of the analog audio from the main ster eo outputs (L/MONO and R) and the headphone output.
Global mode 646 Auto Optimize RAM [Off, On] If RAM is specified as the data writing destination for sampling, this parameter specifies whether the sample memory (RAM) will be optimized after data is written. Optimization rearranges any unused memory ar eas so that all of the remaining memory can be used.
Global P0: Basic Setup 0–2: Audio Input 647 • 0: Write Global Setting . For more information, see “Write Global Setting” on page 682. • 1: Set Program User-Bank Type . For more information, see “Set Program User-Bank Type” on page 682. • 2: Change all bank references .
Global mode 648 L/R: The input signal will be sent to the L/R bus. IFX1…12: The input signal will be sent to the IFX1–12 bus. Choose one of these settings if you want to apply an insert effect while sampling. 1…8: The input signal will be sent to the specified INDIVIDUAL OUTPUT in monaural.
Global P0: Basic Setup 0–2: Audio Input 649 The analog audio signals from the AUDIO INPUT 1–4 jacks are converted by a AD converter from analog to digital signals. This parameter sets the level of the signal immediately after it has been converted into digital form.
Global mode 650 Global P1: MIDI 1–1: MIDI Here you can make MIDI-r elated settings that affect the entire OASYS. Y ou can also transmit MIDI System Exclusive data dumps using the page menu commands in this page.
Global P1: MIDI 1–1: MIDI 651 The MIDI CC# (control change) messages ar e transmitted on the MIDI channel specified in the Global P1– External 1 and External 2 pages.
Global mode 652 RESET CONTROLS button: Local Control does not change the way that the Control Surface interacts with RESET CONTROLS . For instance, if Local Control is Off, holding RESET CONTROLS and moving a knob will still reset the knob.
Global P1: MIDI 1–1: MIDI 653 Select the Internal setting when using the OASYS by itself, or when you want the OASYS to be the master (controlling device) so that another connected external MIDI device will synchronize to the MIDI Clock messages transmitted from the OASYS.
Global mode 654 Chord Notes: When you strike a pad, the (up to eight) MIDI note-on/off messages (and velocities) specified by the Pad “Pad1”–“Pad8” (1–9) setting of each program, combination, or song will be transmitted. If all notes are turned of f, no MIDI messages will be transmitted.
Global P1: MIDI 1–1: MIDI 655 For more information, see “Connecting MIDI devices & computers” on page 1001, “Synchronizing the playback of the KARMA function or sequencer” on page 101 1, and “Synchronizing the KARMA function” on page 213 of the Operation Guide.
Global mode 656 Off (unchecked): System exclusive data will not be transmitted. Normally you will leave this unchecked. However , system exclusive data will be transmitted and received while the page menu commands (“Dump Program”–“Dump All”) of this page are displayed.
Global P1: MIDI 1–2: External 1 657 1–2b: Knobs/Switches/Sliders Knobs 1–8 MIDI Channel (1–8) [1…16, Gch] This sets the MIDI Channel for the knob. Each can send on a differ ent channel, if desired. Gch means that the knob will transmit on the Global MIDI Channel, as set in Global mode.
Global mode 658 1–3: External 2 This page lets you set up the drum pad assignments for the Control Surface’s EXTERNAL mode. Each pad can play a note, or send a Control Change (CC) message, on any of the MIDI channels. For more information, see “1–2: External 1” on page 656.
Global P2: Controller/Scale 2–1: Controller 659 Global P2: Controller/Scale 2–1: Controller 2–1a: Foot Switch & Pedal/Damper Foot Switch Assign [Of f…SW 2] This selects the function that will be controlled by a pedal switch (such as the optional Korg PS-1) connected to the ASSIGNABLE SWITCH jack.
Global mode 660 KARMA SCENE [Of f, MIDI CC#00…119] This assigns a control change message to the KARMA SCENE switch. KARMA LA TCH [Of f, MIDI CC#00…119] This assigns a control change message to the KARMA LA TCH switch. KARMA Sliders 1-8 [Off, MIDI CC#00…119] These assign control change messages to each of the KARMA CONTROL sliders.
Global P2: Controller/Scale 2–2: User Scale 661 2–2a: User Octave Scale User Octave Scale [User Octave Scale 00…15] Selects the User Octave Scale that you want to edit.
Global mode 662 Global P3: Categor y Name Programs, Combinations, and KARMA GEs ar e organized into categories and sub-categories. Categories make it easy to find a particular type of sound, such as keyboards, bass, or drums, or a specific type of KARMA GE, such as arpeggios or gated patterns.
Global P3: Category Name 3–2: Combi Category 663 Use “Main Category Select” to select the main category that includes the sub-category name you want to edit. Then press the “Sub Category Select” text edit button to open the text edit dialog box, and enter a name.
Global mode 664 Global P4: W ave Sequence W ave Sequences play back a series of different Multisamples over time. Y ou can use this to create a variety of unique timbral and rhythmic ef fects, as described below . Like Drum Kits, W ave Sequences are edited in Global mode, and then used within HD-1 Programs.
Global P4: Wave Sequence 4–1: Sequence Parameters 665 In T ime mode, step durations are specified in milliseconds, and are not af fected by the system tempo. In T empo mode, step durations are specified in rhythmic values, and ar e synchronized to the system tempo.
Global mode 666 The Quantize T riggers parameter on this page affects the way that the W ave Sequence plays back during editing, but is not stored with the W ave Sequence itself. Instead, each Program, each Combi T imbre, and each T rack in a Song has its own Quantize T riggers setting.
Global P4: Wave Sequence 4–1: Sequence Parameters 667 Loop End Step [1…64] This is the step on which the loop ends. It must be after the Loop Start. Direction [For wards, Backwards/For wards, Backwards] This sets the direction in which the loop is played.
Global mode 668 4–1d: Modulation Position AMS [List of AMS Sources] This selects a modulation source to of fset the W ave Sequence from its curr ent position. The W ave Sequence will continue to progr ess through its steps during position modulation.
Global P4: Wave Sequence 4–2: Per-Step Parameters 669 4–2: Per -Step Parameters 4–2a: Basic W ave Sequence [I–000…149, U–A00…U-G31] This is the bank, number , and name of the curr ent W ave Sequence. For more information, please see “W ave Sequence,” on page 664.
Global mode 670 4–2c: Step parameters This list shows the parameters for eight steps at a time. Use the scroll bar at the right of the scr een to change which steps are in view . T ype [Multisample, Rest, Tie] This sets the step to one of three basic types.
Global P4: Wave Sequence 4–2: Per-Step Parameters 671 Xfade [0ms…10 sec] This determines the time it takes to fade into the next step. For example, Step 1’s Crossfade determines the time to fade between Step 1 and Step 2. Crossfades use millisecond units for both T ime and T empo modes.
Global mode 672 Exp/Comp (Mode = Time) This command appears only when the Mode is set to T ime . It brings up a dialog box, which allows you to expand or compress all of the duration and cr ossfade times by a specified percentage. Duration T ime dialog box Expand/Compress [%] [0…100,000] 100% means the current duration and cr ossfade times.
Global P5: Drum Kit 5–1: Sample Setup 673 Global P5: Dr um Kit Here you can cr eate drum kits by assigning a drum instrument (drum sample) to each key . A drum kit you edit here can be sent thr ough the filter , amp, and effects and played in the same way as oscillators for multisamples or wave sequences (if Oscillator Mode is Single or Double).
Global mode 674 If you check “Assign” for the key you select here, the DS1–4, V oice Assign Mode, and Mixer parameters (see below) will be used. Assign [Off, On] On (checked): The drum samples you assigned for DS1–4 will sound. Normally you will check this parameter .
Global P5: Drum Kit 5–1: Sample Setup 675 RAM mono, RAM stereo Select menu Use the tabs to select a group of one thousand, and then choose a RAM sample within that group. Pr ess the OK button to execute, or press the Cancel button to cancel. If you choose “Bank” RAM mono: Mono drum samples will be displayed.
Global mode 676 Linear means that the two samples will each be at 50% of their full volume in the middle of the crossfade. Sometimes, this may create a dip in the volume level; if so, try using Power instead. Power , short for Equal Power , means that the two samples will each be at around 70% of their full volume in the middle of the crossfade.
Global P5: Drum Kit 5–2: Sample Parameters 677 5–2: Sample Parameters Here you can edit the filter cutof f, resonance, and three-band EQ gain for each drum sample.
Global mode 678 • 0: Write Drum Kit . For more information, see “Write Drum Kit” on page 689. • 1: Copy Key Setup . For more information, see “Copy Key Setup” on page 689. • 2: Swap Key Setup . For more information, see “Swap Key Setup” on page 689.
Global P5: Drum Kit 5–3: Voice Assign/Mixer 679 T ip: In most of the preloaded drum kits, the following types of drum instrument have the same Bus Select settings. T ip: Most of the preloaded drum kits use the same basic Bus Select settings, as shown below: Snares → IFX1 Kicks → IFX2 T oms → IFX3 Cymbals → IFX4 Percussion etc.
Global mode 680 Global P6: Plug-in Info This page lets you manage your installed EX i , EXf, and EXs plug-ins. Here, you can: • View information on all installed plug-ins and plug-in bundles • Authorize plug-ins with codes purchased fr om www .korguser .
Global P6: Plug-in Info 5–3: Voice Assign/Mixer 681 2. Log in under your registered member name. If you aren’t alr eady registered, follow the online instructions for registering as a member of korguser .net. After r egistering as a member , register your OASYS.
Global mode 682 Global: Page Menu Commands Write Global Setting This command writes Global mode settings (except for Drum Kits and W ave Sequences). 1. Select W rite Global Setting to open the dialog box. 2. T o write the data, press the OK button. T o cancel without writing, press the Cancel button.
Global: Page Menu Commands Half Damper Calibration 683 2. If you are unable to select this command from the page menu, go to the main Global page as normal, and then hold down the ENTER button and press 3 on the numeric keypad. This will call up the calibration dialog.
Global mode 684 Update System Software Before you begin updating the system, back up important data on external USB storage media. 1. Insert the CD-R/R W disc containing the system fi le into the CD-R/R W drive. 2. Access the Global P0– Basic Setup page.
Global: Page Menu Commands Dump Program 685 Dump Program This command lets you send the internal memory’s Program data as a System Exclusive data dump. Y ou can choose to send all of the Programs fr om all of the banks, all of the Programs fr om a single bank, or a single Program.
Global mode 686 * More time will be r equired if the song data contains System Exclusive events, since these must be converted. When performing a data dump from the OASYS onto a MIDI data filer , do not transmit multiple data dumps together .
Global: Page Menu Commands Reset External Setup 687 T rigger KARMA generation from external device/sequencer Choose this if you want the KARMA Module to be triggered by MIDI input fr om an external MIDI device or MIDI sequencer .
Global mode 688 CC Default: The parameters will be reset to the typical settings, including the standard settings for the pads and the KARMA sliders and switches.
Global: Page Menu Commands Write Drum Kit 689 Write Drum Kit This command writes an edited drum kit into internal memory . Y ou must write an edited drum kit if you want to keep it. An edited drum kit cannot be recovered if you turn off the power or select a dif ferent drum kit before writing it.
Global mode 690.
691 Disk mode T o prevent data errors, you must be car eful not to subject the OASYS to physical impact or vibration while writing data to the internal CD-R/R W drive (or while formatting a disc).
Disk mode 692 DOS directory Undefined DOS file DOS file DOS file .PCG file .SNG file .KFX file All programs All combinations All drum kits (User) All wave sequences 1 program bank I-A...F, U-A...G 1 program 1 combination bank I-A...G, U-A...G 1 combination 1 drum kit bank INT, U-A.
Disk P0: File 0–1: Load 693 Disk P0: File 0–1: Load This page lets you load a selected file or directory into internal memory . Use the Open button and Up buttons to select the desired file or dir ectory , and press the Load button to load it. Y ou can also load data by using the Load selected page menu command.
Disk mode 694 Drive types HDD: INTERNAL HD: Internal har d disk drive CDD: Internal CD-R/R W drive, or a USB-connected CD-ROM or CD-R/R W drive HDD: USB-connected hard disk drive RDD: Removable media .
Disk P0: File 0–2: Save 695 T ype This icon indicates the type of file. For details on how the icons correspond to the differ ent file types, refer to the diagram “Files that can be loaded” on page 692. Lock [Off, On] Files and directories with this symbol ar e locked, and cannot be overwritten, copied, or deleted.
Disk mode 696 The USB device will now appear in the Drive Select menu. File date and time The OASYS contains an internal calendar and clock. When you save a file, the date and time will be assigned automatically . T o set the current date and time for the OASYS system, use the Utility page menu command Set Date/T ime .
Disk P0: File 0–9: Media Information 697 • 1: T ranslation . For more information, see “Translation” on page 703. • 2: Lock/Unlock selected . For more information, see “Lock/Unlock selected” on page 703. • 3: Rename . For more information, see “Rename” on page 721.
Disk mode 698 Disk P1: Audio CD 1–1: Make Audio CD Here you can use the internal CD-R/R W drive or a USB-connected CD-R/R W drive to create an audio CD. T o create an audio CD, you will use W A VE files that you resampled fr om the OASYS’s sequencer playback etc.
Disk P1: Audio CD 1–1: Make Audio CD 699 1–1b: Audio CD T rack List T rack [(01…99)] Displays the track numbers of the W A VE files arranged in the audio CD track list. (1–1a “T rack (T rack Select)”) W A VE File Displays the names of the W A VE files.
Disk mode 700 1–2: Play Audio CD Here you can use the internal CD-R/R W drive or a USB-connected CD-R/R W drive to play an audio CD. It is convenient to use this method to verify a CD that you created in the Make Audio CD page. It is not possible to play back an audio CD that has not been finalized.
Disk P1: Audio CD 1–2: Play Audio CD 701 Note: The CD-R/R W Drive Audio Input settings ar e linked with the Sampling mode “5–1b: CD-R/R W Drive Audio Input” settings. LEFT RIGHT Bus Select (IFX/Indiv .) [L/R, IFX1…12, 1…8, 1/2…7/8, Off] L/R: The audio signal from the CD-R/R W drive will be sent to the L/R bus.
Disk mode 702 1–9: Media Information This screen shows information about the media in the CD-R/R W drive. Use “Drive Select” (1–9b) to select the drive/media. For more information, please see “0–9: Media Information” on page 697. ▼ 1–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Disk: Page Menu Commands Hide unknown files 703 Disk: Page Menu Commands Hide unknown files If you select “Hide unknown files,” a check mark will appear at the left of “Hide unknown files.” In this state, undefined files will not be shown in the directory window .
Disk mode 704 1. Use the “Load ****** .SNG too” and “Load ****** .KSC too” check boxes to select the .SNG fi le and .KSC fi le. If this file does not exist in the current dir ectory , load it as described in the above procedur e “If a file to be loaded cannot be found,…” on page 703.
Disk: Page Menu Commands Load selected 705 If the power has just been turned on, or you want to repr oduce the state that was saved, select Clear . .KSC Allocation 5. T o load the data, press the OK button. T o cancel without loading, press the Cancel button.
Disk mode 706 1. In “T o,” specify the loading destination bank. 2. T o load the data, press the OK button. T o cancel without loading, press the Cancel button. Note: If “Multiple Select” (0–1a) is checked and you’ve selected more than one bank, the data will be loaded starting with the bank you specified in the “T o” field.
Disk: Page Menu Commands Load selected 707 Load W ave Sequence Bank [INT , USER-A…USER-G] All wave sequence data of the selected bank will be loaded into the bank you select as the load-destination. 1. Use the “T o” fi eld to select the load-destination bank.
Disk mode 708 • If you check “Load ********.KSC too,” use “Select .KSC Allocation” to specify how the multisamples and samples within the .KSC file will be loaded. See “1) Load .PCG: 4.” 3. Press the OK button to load the data, or press the Cancel button to cancel without loading.
Disk: Page Menu Commands Load selected 709 Load a Region This loads the selected region data into the r egion number you select as the load-destination. 1. If you’re loading region data other than the selected data, use “Region” (the upper line) to reselect the region data you want to load.
Disk mode 710 27) Load a Preset (U) The selected effect pr eset data (U00–15) will be loaded into the load-destination effect pr eset number (P01–15, U00–U15) you specify . See “Load a Preset (P)”. Load Standard MIDI File The selected Standard MIDI File will be loaded into the song number you select as the loading destination.
Disk: Page Menu Commands Load selected 711 KMP files Files with a filename extension of KMP (Kor g Multisample Parameter) contain the parameters which make up a single multisample. These parameters also include the filename of the .KSF files that are used by that multisample, so when a .
Disk mode 712 4. If you specify * and execute loading, all of the W A VE fi les will be loaded as follows. PIANO.W A V SFX_A_00.W A V SFX_A_01.W A V SFX_B_00.W A V SFX_B_01.W A V SFX_C_00.W A V Load .KSC The .KMP files and .KSF files listed in the .
Disk: Page Menu Commands Load selected 713 1. T o load the data, press the OK button. T o cancel without loading, press the Cancel button. The sample will be loaded after the last multisample or sample that currently exists in the sample RAM (Append load).
Disk mode 714 Akai S1000/S3000 Loop Conversion In rare cases, loops fr om Akai samples may need to be changed when loaded into the OASYS: • Some Akai samples may contain multiple loops. If this is the case, OASYS will use the first HOLD loop, if present.
Disk: Page Menu Commands Load selected 715 be converted into a OASYS program, or into programs and a combination. (Multisamples will also be convert-loaded.) If you don’t check this, all Sample files included in the selected volume will be loaded as samples, and the Program file will be loaded as a multisample.
Disk mode 716 3. If you also want to load the .SNG fi le of the same name as the .PCG fi le, check the “Load ********.SNG too” check box. Note: The .
Disk: Page Menu Commands Save All (PCG, SNG and KSC) 717 If you decide that you don’t want to save a divided file, press the Cancel button, and save your data to media that has more available space. 2. When a volume of media fi lls up during the save, the following dialog box will appear .
Disk mode 718 Save PCG & SEQ This command saves all internal memory programs, combinations, drum kits, wave sequences, and global settings as a .PCG file, and saves songs and regions data to a .SNG file on the specified media. This command is valid only when the current dir ectory is a DOS directory .
Disk: Page Menu Commands Save to Standard MIDI File 719 • Multisample and sample data recorded or edited • Multisample and sample data loaded in Disk mode • Multisample and sample data in internal sample RAM 1. Select “Save Sampling Data” to open the dialog box.
Disk mode 720 “Save SEQ” to save the data, since this will allow a higher degree of r eproducibility . Save Exclusive Accumulates the received exclusive data in internal memory , and then save the data to media as an .EXL file. This command is valid only when the current dir ectory is a DOS directory .
Disk: Page Menu Commands Save Audio CD Track List 721 Export Samples as AIFF/W A VE 2. In “Format,” select either AIFF or W A VE as the fi le format for export. 3. Press the text edit button to move to the text dialog box, and specify the fi lename.
Disk mode 722 3. “Copy” will show the name of the selected fi le or directory . If you wish to change the file or directory that will be copied, use the text edit button to move to the text input dialog box, and specify the filename that you wish to copy .
Disk: Page Menu Commands Create Directory 723 Create Director y This command creates a new dir ectory within the current dir ectory . 1. Select “Create Directory” to open the dialog box. 2. Use the text edit button to access the text input dialog box, and specify the name of the new directory .
Disk mode 724 This conversion temporarily uses memory space on the hard disk. 1. Select “Convert to ISO9660 Format” to open the dialog box. 2. Press the OK button to execute the conversion, or press the Cancel button to cancel without executing. Even if data is converted into ISO9660 format, some files may not be readable by certain devices.
Disk: Page Menu Commands Write to CD 725 Write to CD When this command is executed, the W A VE files specified in the audio CD track list will be written as audio CD tracks.
Disk mode 726 When you execute Quick Erase, the files and data will appear to be gone, but the data itself will remain on the disc until it is overwritten. If you want to erase data that should not be seen by someone else, execute Full Erase to erase the data completely .
727 Ef fect Guide Over view The OASYS provides 12 insert ef fects, two master effects, and two total ef fects, together with a mixer section that controls the r outing of these effects.
Effect Guide 728 When FREE FOR VOICES is at 100%, you can achieve the maximum polyphony–for instance, 172 voices of the HD-1, 96 voices of the AL-1, or 172 voices of the CX-3. When more ef fects or EX i fixed resources ar e being used, polyphony will be reduced accor dingly .
Overview Dynamic modulation (Dmod) and Tempo Synchronization 729 the P0: Recording– Audio Input page to make audio input settings for Sampling mode. These settings apply only to Sampling mode. Samples that you’ve assigned as a multisample can also be processed by the insert ef fects, master effects, and total effects, and then r esampled.
Effect Guide 730 3. Set the BPM as desired. T o synchronize to the system clock, set BPM to MIDI. T o set the delays to a specific tempo, separate from the system clock, set BPM to the desired tempo (between 40 and 240 BPM).
Overview FX Control Buses 731 Example: Compressor (Combination) Compressor -type effects use the level of the audio input to control the level gain of the audio output. For these effects, the envelope detection sour ce can be either the audio input itself (the usual method) or FX Control Bus 1 or 2.
Effect Guide 732 Example: Rhythmic V ocoder (Combination) V ocoder effects pr oduce their distinctive sound by using an audio signal (the modulator) to modulate a differ ent audio signal (the carrier).
Overview Effect I/O 733 Sampling mode Audio Input *2 *1 Some effects may not have these parameters. *2 These settings are made separately for pr ograms, combinations, and songs (Sequencer). If “Use Global Setting” is checked, these settings are made in Global mode P0.
Effect Guide 734 Inser t Effects (IFX1…IFX12) In/Out Insert Effects (IFX 1–12) have a ster eo input and a stereo output. If you set the W et/Dry parameter (P8– IFX1–12 page) to Dry (no effect), the input signal will be passed through, in ster eo, without being processed by the effect.
Insert Effects (IFX1…IFX12) Routing 735 If Bus Select is set to IFX1–12, use Send1 and Send2 (Program 8–5a) to specify the send level of the post-IFX signal.
Effect Guide 736 Combination and Sequencer modes Use Bus Select (P8: “Routing” 1 and 2 page in each mode) for timbres (Combination) and tracks (Sequencer) to select an Insert Effect to apply to the corresponding timbr es and tracks. Y ou can route multiple timbres and tracks to a single Insert Ef fect.
Insert Effects (IFX1…IFX12) Routing 737 Example: Inserting one IFX into two or more timbr es Example: Inserting a separate IFX into each timbre, and inserting another IFX later Example: Sharing part of a timbre’ s IFX chain with another timbre As with Program mode, select L/R, IFX1–12, 1–8, 1/2– 7/8, or Off for each timbr e and track.
Effect Guide 738 In the diagram (Fig. 2–2b), IFX1’s Chain check box is checked and Chain to set to IFX2, sending the output of IFX1 to IFX2. T imbre 1 is being pr ocessed by IFX1: 001: Stereo Dyna Compr essor and IFX2: 048: Stereo Flanger effects.
Insert Effects (IFX1…IFX12) Routing 739 Drum Kit IFX Patch If “Bus Select DKit” is checked, you can select the Drum Kit IFX Patch page menu command by selecting a timbre parameter or by pr essing T imbre Number (the blue area in the display for each timbr e).
Effect Guide 740 Sampling mode The external input sounds from the AUDIO INPUT 1, 2, 3, 4, and S/P DIF IN jacks can be pr ocessed by the insert effects, master ef fects, or total effects then sampled. Y ou can also apply insert effects to the samples assigned to a multisample, and resample the result.
Insert Effects (IFX1…IFX12) Routing 741 Fig. 2–3a Fig. 2–3b.
Effect Guide 742 Audio Input, S/P DIF IN In Program, Combination, Sequencer , and Disk modes, external audio sources fr om the AUDIO INPUT 1, 2, 3, 4, and S/P DIF IN jacks can be pr ocessed by insert effects, master ef fects, and total effects just as they can in Sampling mode.
Insert Effects (IFX1…IFX12) Routing 743 Audio CD In Sampling mode, the sound from an audio CD in the internal CD-R/R W drive or a USB external CD drive can be processed by the insert ef fects, master effects, and total effects. Use the Bus Select setting in the P5: Audio CD - Ripping page to specify the bus to which the CD audio will be sent.
Effect Guide 744 Mixer In Program, Combination, and Sequencer modes, the P8 - Insert FX page lets you set “Pan (CC#8)” (post-IFX panning), “Bus Sel. (Bus Select),” “Ctrl Bus” (FX control bus), REC Bus , and Send1 and Send2 levels to the master effects.
Insert Effects (IFX1…IFX12) Controlling the Insert Effects via MIDI 745 you want to use the Send1 or Send2 levels to route the signal through a master ef fect in series (i.e., not as a send effect). Ctrl Bus (FX Control Bus) This specifies the FX Control bus that follows the insert effect.
Effect Guide 746 Gch: Select this option if you wish to control the parameters on the global MIDI channel . This is a common setting. All Routed: Select this option to control the parameters on all the channels (channels 1–16 that have a “*” mark) that are r outed to the corresponding Insert Effects.
Master Effects (MFX1, 2) In/Out 747 Master Ef fects (MFX1, 2) In/Out The I/Os of Master Effects MFX1 and MFX2 ar e stereo- in/stereo-out. Send1 and Send2 determine the send level to the Master Effects. (For Send1 and 2, see “Routing” and “Mixer .
Effect Guide 748 the Send1 (to MFX1) and Send2 (to MFX2) parameters specified independently for the oscillators (Program/Sampling mode), timbr es (Combination mode), tracks (Sequencer mode), and audio inputs (in all modes).
Master Effects (MFX1, 2) Routing 749 OSC1/EX i 1 Send1=127 (100%) *064 (50%)=064 (50%) OSC1/EX i 1 Send2=064 (50%) *127 (100%)=064 (50%) OSC2/EX i 2 Send1=064 (50%) *064 (50%)=032 (25%) OSC2/EX i 2 Send2=127 (100%) *127 (100%)=127 (100%) If IFX1–12 is selected for Bus Select , use the Send1 and Send2 parameters for the post-IFX signals.
Effect Guide 750 post-IFX2, 3, and 4 signals to set the send levels of T imbres 2, 3, and 4, and use the Send1 and Send2 parameters for the post-IFX5 signal to set the send levels of T imbres 5 and 6. For T imbres 7 and 16, the settings of Send1 (to MFX1) and Send2 (to MFX2) will be effective.
Master Effects (MFX1, 2) Mixer 751 Audio CD In Sampling mode you can apply the insert effects, master effects, and total ef fects to the sound of an audio CD from the internal CD-R/W or a USB- connected external CD drive.
Effect Guide 752 Chain Direction If you have checked the Chain box, you can set the direction of the connection her e. Y ou can also visually confirm the direction on the LCD. Chain Level This parameter determines the level of signals routed from one MFX to the other MFX in a chain connection.
Total Effects (TFX1, 2) In/Out 753 T otal Ef fects (TFX1, 2) In/Out The total effects TFX1 and TFX2 ar e stereo-in and stereo-out. The Dry (unpr ocessed) side of the W et/Dry parameter sends the stereo input sound dir ectly to the stereo output. The way in which the W et (processed) side is output depends on the type of effect, as follows.
Effect Guide 754 Mixer Master V olume This sets the level of the final output after passing through the total ef fects. Note: Y ou can use the control surface to contr ol the master volume. Master volume can also be controlled from the P0– Contr ol Surface page.
Outputs Main Outputs 755 Outputs Main Outputs The main L/MONO and R outputs of the OASYS are output from the AUDIO OUTPUT (MAIN) L/MONO and R jacks, the S/P DIF OUT (MAIN) jack, and the headphone jack.
Effect Guide 756 Ef fect/Mixer Block Diagrams Program mode Pan Oscillator/EXi 1 Send1 Select from: L/R IFX1 IFX2 IFX3 IFX4 IFX5 IFX6 IFX7 IFX8 IFX9 IFX10 IFX11 IFX12 IFX2 Bus IFX2 IFX1 Bus IFX1 Chain .
Effect/Mixer Block Diagrams Individual Outputs 757 Combination mode, Sequencer mode Pan Timbre/Track 1 Send1 Select from: L/R IFX1 IFX2 IFX3 IFX4 IFX5 IFX6 IFX7 IFX8 IFX9 IFX10 IFX11 IFX12 IFX2 Bus IF.
Effect Guide 758 Sampling mode Pan Stereo Sample L Send1 IFX2 Bus IFX2 IFX1 Bus IFX1 Chain & Chain to MFX2 MFX1 Return1 / 2 AUDIO OUTPUT (MAIN) L/Mono, R IFX4 Bus IFX4 IFX3 Bus IFX3 IFX5 Bus IFX5 .
Examples of the effect graphics Individual Outputs 759 Examples of the ef fect graphics Here ar e some examples of the effects that display graphics. 012: Stereo Graphic EQ Parametric EQ/EQ Parametric.
Effect Guide 760 Xover Filters Xover Filters is used in 004: St.Multiband Compressor , 015: Stereo Isolator , and 086: Multiband Mod. Delay . Limiter Limiter is used in 005: Stereo Limiter , and in “Limiter” of Mono-Mono Serial and Mono//Mono Parallel effects #121 and following.
Examples of the effect graphics Individual Outputs 761 002: Stereo Compressor 003: Stereo Expander Indicates the range specified by Soft Knee Width. Other items are the same as for Limiter . Refer to Limiter . Indicates the output response relative to the input.
Effect Guide 762 Multiband Limiter The Multiband Limiter is used in 006: Multiband Limiter and 007: Stereo Multiband Limiter . 008: Stereo Master Limiter Dyna Compressor Dyna Compressor is used in 001: Ster eo Dyna Compressor , and in “Comp” of Mono-Mono Serial and Mono//Mono Parallel effects #1 14 and following.
Examples of the effect graphics Individual Outputs 763 Gate Gate is used in 009: Stereo Gate and in 140: Reverb Gate. 004: St Multiband Compressor This is a realtime indication of the control input signal level following the Side Chain EQ (Input) and the output signal level (Output).
Effect Guide 764 Dynamics 000: No Ef fect Choose this option when you are not using the selected effects slot. This fr ees up processing resour ces for other effects and/or synth voices.
Dynamics 002: Stereo Compressor 765 002: Stereo Compressor This is a sophisticated stereo compr essor that allows you to make detailed settings, such as the level detection method and the compression curve. ENVELOPE Source [Input, FX Control 1, FX Control 2] The action of the compressor is contr olled by the level of the selected Source .
Effect Guide 766 compressor becomes a brick-wall limiter; once the signal hits the Threshold , the output level will no longer increase, r egardless of the input level. Threshold [dB] [–40…0] Compression happens only when the input signal exceeds this level.
Dynamics 004: St.Multiband Compressor 767 SIDE CHAIN EQ This multimode filter applies only to the control signal, and not to the main audio path. Use it to alter the response of the expander so that it r eacts (or does not react) only to specific fr equencies.
Effect Guide 768 Range [dB] [–24.0…+18.0] The combination of Threshold and Range controls the band’s basic functionality (traditional compressor , low- level expander , etc.), and the combination of Range and Knee creates the band’s compr ession/expansion.
Dynamics 006: Multiband Limiter 769 SIDE CHAIN EQ This EQ applies only to the control signal, and not to the main audio path. Use it to alter the response of the limiter so that it reacts (or does not r eact) only to specific frequencies.
Effect Guide 770 Amount [–63…+63] Sets the modulation amount of the output gain. LOW Offset [dB] [–40…0] This adjusts the Threshold level for the low range. MID Offset [dB] [–40…0] This adjusts the Threshold level for the mid range. HIGH Offset [dB] [–40…0] This adjusts the Threshold level for the high range.
Dynamics 009: Stereo Gate 771 LIMITER Threshold [dB] [–30.0…0.0] This affects both the limiting thr eshold and the output gain. Signals above the Threshold will be limited; signals below this level will not be limited, but will still benefit from any incr ease in output gain (see below).
Effect Guide 772 GA TE Threshold [0…100] Sets the level at which gating is applied. Note that this does not apply when the ENVELOPE Source is set to Dmod. Attack [1…100] Sets the attack time. Release [1…100] Sets the release time. Delay Time [msec] [0…100] This sets the delay time for the input to the gate.
EQ and Filters 011: Stereo Parametric 4EQ 773 EQ and Filters 011: Stereo Parametric 4EQ This is a stereo 4-band parametric equalizer . Y ou can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation.
Effect Guide 774 012: Stereo Graphic 7EQ This is a stereo 7-band graphic equalizer . The bar graph of the gain setting for each band gives you a clear , visual idea of fr equency responses. Y ou can select a center frequency setting for each band fr om twelve types, according to the sound.
EQ and Filters 014: Stereo Exciter/Enhncr 775 014: Stereo Exciter/Enhncr This effect is a combination of the Exciter , which adds a punch to the sound and the Enhancer , which adds spread and pr esence. Pre EQ T rim [0…100] Sets the 2-band EQ input level.
Effect Guide 776 XOVER FIL TER T rim [0…100] Sets the input level. Frequency Low-Mid [Hz] [100…500] Sets the frequency at which the low and mid bands ar e divided. Frequency Mid-High [Hz] [2000…6000] Sets the frequency at which the mid and high bands are divided.
EQ and Filters 017: St. Vintage/Custom Wah 777 MIDI/T empo Sync MIDI/T empo Sync [Check-box] On (checked): When MIDI/T empo Sync is On , the LFO will synchronize to tempo as set by BPM , below . The LFO speed will be controlled by the Base Note and T imes parameters, below .
Effect Guide 778 CONTROL Sweep Mode [Auto, Dmod, LFO] Selects the control fr om auto-wah, modulation source, and LFO. For more information, see “Sweep Mode” on page 776. Source [Off…T empo] Selects the modulation source for the wah when Sweep Mode is set to Dmod .
EQ and Filters 018: Stereo Random Filter 779 FIL TER Manual [0…100] Sets the filter ’s center frequency , before LFO modulation. Depth [0…100] The LFO modulates the filter ’s frequency; this sets the intensity of the LFO modulation. Source [Off…T empo] Selects a source to modulate the LFO Depth .
Effect Guide 780 Common 1 or 2 : the steps use the frequency or tempo sync of the selected Common LFO, so that you can synchronize multiple LFO-based ef fects together . Common LFO Phase Offset [degrees] [+/–180] Sets the phase offset when T ype = Common 1 or Common 2.
EQ and Filters 020: Stereo Sub Oscillator 781 Amount [–20.00…+20.00] This sets the Frequency modulation amount, in Hz. MIDI/T empo Sync [Check-box] BPM [MIDI, 40.00…240.00] Base Note [ … ] Times [x1…x32] When MIDI/T empo Sync is on, the LFO speed is set by BPM , Base Note , and T imes , instead of Frequency .
Effect Guide 782 021: T alking Modulator This effect adds an unusual character , like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an inter esting effect that sounds as if the guitar or synthesizer is talking.
EQ and Filters 022: Stereo Decimator 783 022: Stereo Decimator This effect cr eates a rough sound like a cheap sampler by lowering the sampling frequency , reducing the bit depth, and creating aliasing.
Effect Guide 784 023: Stereo Analog Record This effect simulates the noise caused by scratches and dust on analog recor ds. It also reproduces some of the modulation caused by a warped turntable. Pre EQ T rim [0…100] Sets the EQ input level. Fc [Hz] [300…10.
EQ and Filters 024: Stereo Wave Shaper 785 Wave Shape T ables Pre LPF [0…100] Sets the damping amount in the high range. Source [Off…T empo] Selects the source that will modulate the amount of high range damping. Amount [+/–100] Sets the depth by which the amount of high range damping will be modulated.
Effect Guide 786 025: Piano Body/Damper This effect simulates the r esonance of the piano sound board caused by the string vibration, and also simulates the resonance of other strings that ar e not being played when you press the damper pedal. It will create a very r ealistic sound when applied to acoustic piano sounds.
EQ and Filters 026: Vocoder 787 2. Go to the Global P0: Basic Setup-Audio page. 3. For the Audio Input to which you connected the mic, temporarily set Bus Select to L/R.
Effect Guide 788 Overdrive, Amp models, and Mic models 027: OD/Hi-Gain W ah This versatile effect of fers two different-sounding distortion modes (Overdrive and Hi-Gain), a modulatable wah-wah filter , a speaker simulation, and 3-band EQ. It’s suitable for guitars, organs, and general sonic mayhem.
Overdrive, Amp models, and Mic models 028: OD/HyperGain Wah 789 OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance. For mor e information, see “OUTPUT” on page 764. 028: OD/HyperGain W ah This distortion effect has two modes: over drive and hyper-gain that pr oduces a strong distortion.
Effect Guide 790 029: Stereo Guitar Cabinet This simulates the acoustical character of a guitar amp’s speaker cabinet. CABINET SIMULA TOR T rim [0…100] Sets the input level. T ype [TWEED 1x12, TWEED 4x10, BLACK 2x10, BLACK 2x12, AC15, AC30, AD412, UK H30, UK T75, US V30] Selects the type of the cabinet.
Overdrive, Amp models, and Mic models 031: Guitar Amp Model +Cabinet 791 Q [0.5…10.0] Sets Band 4’s bandwidth. Gain [dB] [–18…+18] Sets the gain of Band 4. OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance.
Effect Guide 792 OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance. For mor e information, see “OUTPUT” on page 764. Recommended Combinations of Guitar Amp Models and Cabinet Simulators 032: Stereo Bass Cabinet This simulates the acoustical character of a bass amp’s speaker cabinet.
Overdrive, Amp models, and Mic models 034: Bass Amp Model +Cabinet 793 Amount [+/–100] Sets the modulation amount of the output level. Bass [0…100] Sets the bass (low range) level. Middle [0…100] Sets the middle (mid range) level. Mid Range [0…4] Sets the mid-frequency range.
Effect Guide 794 Recommended Combinations of Bass Amp Models and Cabinets 035: Bass Amp T ubeDrive +Cab This simulates a bass amp (with gain and drive) and speaker cabinet. BASS AMP MODEL Amplifier T ype [See Below] Selects the type of the amplifier .
Overdrive, Amp models, and Mic models 036: Tube PreAmp Modeling 795 036: T ube PreAmp Modeling This effect simulates a two-stage vacuum tube pr eamp. Y ou can make individual settings for two vacuum tubes connected in series. This lets you create the warm sound typical of vacuum tubes.
Effect Guide 796 MIC SIMULA TOR T ype [Vnt.Dy/55SH, Mlt.Cn/C414, Pc.Cn/C451, Whale/MD421, V o.Dy/SM58, Mlt.Dy/SM57, V o.Cn/U87, V o.T ube/U47, BDr .Dy/RE20] Selects the type of mic. Position [Close, On, Off, Far] This expresses the ef fect that the mic position has on the sound.
Chorus, Flanger, and Phaser 040: Stereo Chorus 797 Chor us, Flanger , and Phaser 040: Stereo Chor us This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. Y ou can add spread to the sound by of fsetting the phase of the left and right LFOs from each other .
Effect Guide 798 041: Stereo Harmonic Chor us This effect applies chorus only to higher fr equencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner . Y ou can also use feedback to turn the chorus into a flanger .
Chorus, Flanger, and Phaser 043: Multitap Cho/Delay 4Taps 799 MODULA TION L Pre Delay [msec] [0.0…50.0] Sets the delay time for the left channel. p.797. R Pre Delay [msec] [0.0…50.0] Sets the delay time for the right channel. p.797. Depth1 [0…100] Sets the depth of LFO1 modulation.
Effect Guide 800 MOD DELA Y T aps 1-4 There ar e four delay taps, each with separate settings for delay time, chorus depth, level, and pan. The chorus LFO phases are dif ferent for each tap: T ap 1 = 0 degrees T ap 2 = 180 degrees T ap 3 = 90 degrees T ap 4 = 270 degrees T ap 1…4 [msec] [0…1000] This sets the tap’s delay time.
Chorus, Flanger, and Phaser 045: Bi Chorus 801 Source [Off…T empo] This selects a modulation source to modulate the tap output levels (as set by Status , above) and the T ap 1 Feedback amount. Amount [+/–100] Sets the modulation amount for the T ap 1 Feedback .
Effect Guide 802 LFO2 Amount [–20.00…+20.00] This sets the LFO2 Frequency modulation amount, in Hz. MIDI/T empo Sync [Check-box] BPM [MIDI, 40.00…240.00] LFO1 Note [ … ] Times [x1…x32] LFO2 Note [ … ] Times [x1…x32] When MIDI/T empo Sync is on, the LFO speeds are set by BPM , Note , and T imes , instead of Frequency .
Chorus, Flanger, and Phaser 047: Polysix Ensemble 803 047: Polysix Ensemble This models the ensemble effect built into the classic Korg PolySix pr ogrammable polyphonic synthesizer . POL YSIX ENSEMBLE Depth [0…100] Sets the depth of the effect. Source [Off…T empo] Selects the modulation source that will contr ol the effect depth.
Effect Guide 804 OUTPUT W et/Dr y [–W et… –1:99, Dr y , 1: 99…W et] Sets the balance between the “wet” processed sound and the dry input. Negative values invert the phase of the wet signal. This interacts with Feedback ; for more information, see “Feedback” on page 803.
Chorus, Flanger, and Phaser 051: Stereo Phaser 805 Decay [1…100] Sets the EG decay time. FLANGER L Delay Bottom [msec] [0.0…50.0] Sets the lower limit of the left-channel delay time. For more information on the Bottom and T op settings, see the graphic under “Frequency Bottom” on page 777.
Effect Guide 806 MIDI/T empo Sync [Check-box] BPM [MIDI, 40.00…240.00] Base Note [ … ] Times [x1…x32] When MIDI/T empo Sync is on, the LFO speed is set by BPM , Base Note , and T imes , instead of Frequency . For more information, see “MIDI/T empo Sync” on page 777.
Chorus, Flanger, and Phaser 053: Stereo Envelope Phaser 807 Amount [+/–100] Sets the modulation amount for W et/Dry . 053: Stereo Envelope Phaser This stereo phaser uses an envelope generator for modulation. Y ou will obtain the same pattern of phasing each time you play .
Effect Guide 808 Amount [+/–100] Sets the amount by which the phaser 1 LFO modulation depth will be controlled. Resonance [0…100] This controls the intensity of Phaser 1. For mor e information, see “Resonance” on page 805. PHASER2 Manual [0…100] Sets the frequency of phaser 2.
Modulation and Pitch Shift 055: Stereo Vibrato 809 Modulation and Pitch Shift 055: Stereo Vibrato This effect modulates the pitch of the input signal to create a shimmering timbr e.
Effect Guide 810 OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance. For mor e information, see “OUTPUT” on page 764.
Modulation and Pitch Shift 057: 2-Voice Resonator 811 057: 2-V oice Resonator This effect r esonates the input signal at a specified pitch. Y ou can set the pitch, output level, and pan settings for two resonators individually . Y ou can control the r esonance intensity via an LFO.
Effect Guide 812 058: Doppler This effect simulates the “Doppler ef fect” of a moving sound with a changing pitch, like the siren of a passing ambulance.
Modulation and Pitch Shift 059: Scratch 813 059: Scratch This effect is applied by r ecording the input signal and moving the modulation source. It simulates the sound of scratches you can make using a turntable.
Effect Guide 814 GRAIN SHIFTER Duration [0…100] Duration sets the length of the sampled grain, and the LFO Sample Cycle controls how often a new grain is sampled. In between Sample Cycles, the current grain is repeated continuously . Source [Off…T empo] Selects the source that will modulate the duration of the grain.
Modulation and Pitch Shift 062: Stereo Envelope Tremolo 815 Frequency [Hz] [0.02…20.00] This sets the LFO speed, in Hz. It applies only when MIDI/T empo Sync , below , is Off . Source [Off…T empo] This selects a modulation source for the Frequency .
Effect Guide 816 OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance. For mor e information, see “OUTPUT” on page 764.
Modulation and Pitch Shift 064: Stereo Phaser+Tremolo 817 064: Stereo Phaser+T remolo This effect combines a ster eo phaser and tremolo, with linked LFOs. Swelling phaser modulation and tremolo effects synchr onize with each other , creating a soothing modulation effect particularly suitable for electric piano.
Effect Guide 818 065: Stereo Ring Modulator This effect cr eates a metallic sound by applying the oscillators to the input signal. Use the LFO or Dynamic Modulation to modulate the oscillator to create a radical modulation. Matching the oscillator frequency with a note number will produce a ring modulation effect in specific key ranges.
Modulation and Pitch Shift 066: Stereo Frequency Shifter 819 066: Stereo Frequency Shifter This is a stereo ef fect that shifts the frequency of the input signal. Y ou can use LFO modulation and delay to produce a wide range of pitch-change ef fects. FREQUENCY SHIFTER High Damp [%] [0…99] Sets the high-frequency attenuation of the delayed sound.
Effect Guide 820 067: Detune This effect of fsets the pitch slightly from the input signal. Compared to a chorus, this can be used to cr eate a more subtle thickening ef fect, INPUT Input Level Dmod [%] [+/–100] Sets the modulation amount of the input level.
Modulation and Pitch Shift 069: Stereo Pitch Shifter 821 High Damp [%] [0…100] Sets the damping amount in the high range. OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance. For mor e information, see “OUTPUT” on page 764.
Effect Guide 822 OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance. For mor e information, see “OUTPUT” on page 764. 070: Pitch Shifter BPM This pitch shifter enables you to set the delay time to match the song tempo.
Modulation and Pitch Shift 072: Pitch Shift Mod. 823 INPUT Input Level Dmod [%] [+/–100] Sets the modulation amount of the input level. p.820. Source [Off…T empo] Selects the modulation source for the input level. p.820. PITCH SHIFTER Mode [Slow , Medium, Fast] Switches Pitch Shifter mode.
Effect Guide 824 Source [Off…T empo] Selects the modulation source of the depth of modulation. Amount [+/–100] Sets the modulation amount of the depth of modulation. Pan [L, 1:99…99:1, R] This simultaneously controls the panning and ster eo width for the pitch-shifted and dry sounds.
Modulation and Pitch Shift 074: Rotary Speaker 825 Amount [+/–100] Sets the modulation amount for controlling the mix level of the direct sound. Depth [0…100] Sets the vibrato depth. Source [Off…T empo] Selects the modulation source that will contr ol vibrato depth.
Effect Guide 826 Horn/Rotor Balance [Rotor , 1…99, Horn] Sets the level balance between the high-frequency horn and low-frequency r otor . p.825. MIC These settings model a pair of stereo micr ophones, recor ding the rotary speaker . Distance [0…100] This adjusts the distance between the rotary speaker and the microphones.
Modulation and Pitch Shift 076: Rotary Speaker Pro CX 827 MIC These settings model a pair of stereo micr ophones recor ding the rotary speaker . They are identical to those of the Rotary Speaker effect; for mor e information, see “MIC” on page 826.
Effect Guide 828 Stop Deceleration [0…100] This sets how long it takes the horn to come to rest after the Mode Switch has changed from Rotate to Stop . ROTOR The rotor carries the low fr equencies of the Rotary Speaker . Its parameters ar e identical to those of the Horn, above.
Delay 077: L/C/R Delay 829 Delay 077: L/C/R Delay This multitap delay outputs three T ap signals to the left, right, and center respectively . Y ou can also adjust the left and right spread of the delay sound. INPUT Input Level Dmod [%] [+/–100] Sets the modulation amount of the input level.
Effect Guide 830 R Delay Time [msec] [0…5460] Sets the delay time of the Right Delay . Level [0…50] Sets the output level of the Right Delay . Feedback (C Delay) [+/–100] Sets the feedback amount of the Center Delay . Source [Off…T empo] Selects the modulation source for the Center Delay feedback.
Delay 080: Stereo/Cross Long Delay 831 080: Stereo/Cross Long Delay This is a stereo delay , and can by used as a cross- feedback delay effect in which the delay sounds cr oss over between left and right by changing the feedback routing. Y ou can set a maximum of 2,730msec for the delay time.
Effect Guide 832 T ap2 Time [msec] [0.0…1360.0] Sets the T ap2 delay time. Feedback (T ap2) [+/–100] Sets the T ap2 feedback amount. Source [Off…T empo] Selects the modulation source of the T ap2 feedback amount. Amount [+/–100] Sets the modulation amount of the T ap2 feedback amount.
Delay 083: Stereo Dynamic Delay 833 MOD DELA Y L Delay Time [msec] [0.0…1000.0] Sets the delay time for the left channel. R Delay Time [msec] [0.0…1000.0] Sets the delay time for the right channel. L Depth [0…200] Sets the depth of the left LFO modulation.
Effect Guide 834 When Polarity is positive, the “T arget” value is obtained by multiplying the parameter value by the “Offset” value (if the input level is below the threshold), or equals the parameter value if the input level exceeds the threshold.
Delay 085: Tape Echo 835 085: T ape Echo This effect simulates a tape echo unit with thr ee playback heads. The distortion and tonal change typical of magnetic tape are also r eproduced. INPUT T rim [0…100] Sets the input gain. Pre T one [0…100] This models the reduced high fr equencies of an analog tape delay , before the saturation stage.
Effect Guide 836 086: Multiband Mod. Delay This effect divides the input signal into low , mid, and high-frequency bands, and applies a modulation delay to each band. Dmod Input Level [%] [+/–100] Sets the modulation amount of the input level. p.820.
Delay 087: Reverse Delay 837 BAND4 LFO Band 4’s LFO has the same parameters as the “BAND1 LFO,” above. OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance. For mor e information, see “OUTPUT” on page 764.
Effect Guide 838 If you set Sync Source to Gate1, this will be reset at each note-on, meaning that you will always hear the reverse playback of the sound that occurs between the note-on and the specified Reverse T ime . If you don’t specify Sync Source , the location at which reverse playback starts will be indeterminate.
Delay 089: Auto Reverse 839 The effect is of f when a value for the modulation source specified for the Reset Source parameter is 63 or smaller , and the ef fect is on when the value is 64 or higher .
Effect Guide 840 Reverse Time [msec] [20…2640] This specifies the maximum time of the reverse playback. For short, single-note slapback effects, set the Reverse T ime to a low value. Direct Mix [Always On, Always Of f, Cross Fade] Selects how the dry sound is mixed.
Delay 091: L/C/R BPM Delay 841 091: L/C/R BPM Delay The L/C/R delay enables you to match the delay time with the song tempo. Y ou can also synchronize the delay time with the arpeggiator or sequencer . If you program the tempo befor e performance, you can achieve a delay effect that synchr onizes with the song in real-time.
Effect Guide 842 092: L/C/R BPM Long Delay The L/C/R delay enables you to match the delay time with the song tempo. Y ou can set the delay time up to 5,460msec INPUT Input Level Dmod [%] [+/–100] Sets the modulation amount of the input level. p.820.
Delay 094: Stereo BPM Long Delay 843 INPUT Input Level Dmod [%] [+/–100] Sets the modulation amount of the input level. p.820. Source [Off…T empo] Selects the modulation source for the input level. p.820. DELA Y BPM [MIDI, 40.00…240.00] MIDI syncs to the system tempo; 40-240 sets the tempo manually for this individual effect.
Effect Guide 844 Adjust [%] [–2.50…+2.50] Fine-adjust the left channel delay time. R Delay Base Note [ … ] Selects the type of notes to specify the right channel delay time. p.822. Times [x1…x32] Sets the number of notes to specify the right channel delay time.
Delay 096: Stereo BPM Mod. Delay 845 Source [Off…T empo] Selects the modulation source of the ef fect sound’s stereo image width. Amount [+/–100] Sets the modulation amount of the effect sound’s stereo image width. OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance.
Effect Guide 846 Times [x1…x32] Sets the number of notes to specify the right channel delay time. p.822. L Depth [0…200] Sets the depth of the left LFO modulation. R Depth [0…200] Sets the depth of the right LFO modulation. L Feedback [+/–100] Sets the feedback amount of left delay .
Delay 098: Tape BPM Echo 847 Source [Off…T empo] Selects the modulation source for the panning width. Amount [+/–100] Set the modulation amount of the panning width. OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance.
Effect Guide 848 Source [Off…T empo] Selects the modulation source for the Feedback Level . Amount [+/–100] Sets the modulation amount for the Feedback Level . T one High Damp [%] [0…100] This cuts the high frequencies in both the main output and the feedback.
Reverb and Early Reflections 100: Overb 849 Reverb and Early Reflections 100: Overb The O-V erb features a high-quality , diffusion-based reverb cor e.
Effect Guide 850 In real acoustic spaces, high fr equencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a mor e realistic sound. Bass Crossover [Hz] [20…24.00k] Sets the crossover fr equency for the Bass Gain.
Reverb and Early Reflections 105: Reverb Room 851 Pre Delay Thru [%] [0…100] Sets the mix ratio of non-delay sound. p.851. OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance. For mor e information, see “OUTPUT” on page 764.
Effect Guide 852 107: Early Reflections This effect is only the early r eflection part of a reverberation sound, and adds pr esence to the sound. Y ou can select one of the four decay curves. Pre EQ T rim [0…100] Sets the input level of EQ applied to the effect sound.
Reverb and Early Reflections 108: Early Reflections Hi Dens 853 T ype [Sharp, Loose, Modulated, Reverse] Selects the decay curve for the early reflections. For more information, see “T ype” on page 852. ER Time [msec] [10…1600] Sets the time length of early reflection.
Effect Guide 854 Mono-Mono Serial 109: P4EQ - Exciter This effect combines a mono four -band parametric equalizer and an exciter . P ARAMETRIC EQ T rim [0…100] Sets the parametric EQ input level. Band1 Fc [Hz] [20…1.00k] Sets the center frequency of Band 1.
Mono-Mono Serial 111: P4EQ - Chorus/Flanger 855 Gain [dB] [–18…+18] Sets the gain of Band 2. Band3 Fc [Hz] [300…10.00k] Sets the center frequency of Band 3. Q [0.5…10.0] Sets the bandwidth of Band 3. p.773. Gain [dB] [–18…+18] Sets the gain of Band 3.
Effect Guide 856 CHORUS/FLANGER LFO W aveform [T riangle, Sine] Selects the LFO W aveform. Frequency [Hz] [0.02…20.00] Sets the LFO speed. FLANGER Delay Time [msec] [0.0…1350.0] Sets the delay time. Depth [0…100] Sets the depth of LFO modulation.
Mono-Mono Serial 113: P4EQ - Multitap Delay 857 Resonance [+/–100] Sets the resonance amount. p.805. Output Mode [Normal, W et Inver t] Selects whether the phaser output is mono or pseudo- stereo. For mor e information, see “Output Mode” on page 857.
Effect Guide 858 114: Comp - W ah This effect combines a mono compr essor and a wah. Y ou can change the order of the connection. Routing Routing [Comp › W ah, W ah › Comp] Switches the order of the compr essor and wah. COMPRESSOR Pre EQ T rim [0…100] Sets the EQ input level.
Mono-Mono Serial 116: Comp - OD/HiGain 859 COMPRESSOR Pre EQ T rim [0…100] Sets the EQ input level. LEQ Gain [dB] [–15…+15] Sets the gain of the Low EQ. HEQ Gain [dB] [–15…+15] Sets the gain of the High EQ. COMPRESSOR Sensitivity [1…100] Sets the sensitivity .
Effect Guide 860 Gain [dB] [–18…+18] Sets the gain of Mid/High EQ 2. OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance. For mor e information, see “OUTPUT” on page 764. 117: Comp - P4EQ This effect combines a mono compr essor and a four- band parametric equalizer .
Mono-Mono Serial 119: Comp - Phaser 861 LEQ Gain [dB] [–15…+15] Sets the gain of the Low EQ. HEQ Gain [dB] [–15…+15] Sets the gain of the High EQ. COMPRESSOR Sensitivity [1…100] Sets the sensitivity . p.764. Attack [1…100] Sets the attack level.
Effect Guide 862 Resonance [+/–100] Sets the resonance amount. p.805. W et/Dr y [Dr y , 1:99…99:1, W et] Sets the phaser effect balance. p.780, p.805. Source [Off…T empo] Selects the W et/Dry modulation source for the phaser . Amount [+/–100] Sets the W et/Dry modulation amount for the phaser .
Mono-Mono Serial 121: Limiter - P4EQ 863 121: Limiter - P4EQ This effect combines a mono limiter and a four -band parametric equalizer . Y ou can change the order of the effects. Routing Routing [Limiter ➝ P4EQ, P4EQ ➝ Limiter] Switches the order of the limiter and parametric EQ.
Effect Guide 864 Attack [1…100] Sets the attack time. p.766. Release [1…100] Sets the release time. p.766. Gain Adjust [dB] [–Inf, –38…+24] Sets the limiter output gain. p.766. CHORUS/FLANGER Pre EQ T rim [0…100] Sets the EQ input level. LEQ Gain [dB] [–15…+15] Sets the gain of the Low EQ.
Mono-Mono Serial 124: Limiter - Multitap Delay 865 Resonance [+/–100] Sets the resonance amount. p.805. Output Mode [Normal, W et Inver t] Selects whether the phaser output is mono or pseudo- stereo. For mor e information, see “Output Mode” on page 857.
Effect Guide 866 Routing Routing [Exciter ➝ Comp, Comp ➝ Exciter] Switches the order of the exciter and compr essor . EXCITER Pre EQ T rim [0…100] Sets the EQ input level. LEQ Gain [dB] [–15…+15] Sets the gain of the Low EQ. HEQ Gain [dB] [–15…+15] Sets the gain of the High EQ.
Mono-Mono Serial 127: Exciter - Chorus/Flanger 867 127: Exciter - Chor us/Flanger This effect combines a mono limiter and a chorus/flanger . EXCITER Pre EQ T rim [0…100] Sets the EQ input level. LEQ Gain [dB] [–15…+15] Sets the gain of the Low EQ.
Effect Guide 868 PHASER LFO W aveform [T riangle, Sine] Selects the LFO W aveform. Frequency [Hz] [0.02…20.00] Sets the LFO speed. PHASER Manual [0…100] Sets the frequency to which the ef fect is applied. Depth [0…100] Sets the depth of LFO modulation.
Mono-Mono Serial 130: OD/Hi Gain - Amp Sim 869 130: OD/Hi Gain - Amp Sim This effect combines a mono over drive/high-gain distortion and an amp simulation. Y ou can change the order of the ef fects. Routing Routing [OD/HG ➝ Amp, Amp ➝ OD/HG] Switches the order of the over drive and amp.
Effect Guide 870 Drive [1…100] Sets the degree of distortion. Output Level [0…50] Sets the overdrive output level. Source [Off…T empo] Selects the modulation source for the over drive output level. Amount [–50…+50] Sets the modulation amount of the overdrive output level.
Mono-Mono Serial 133: OD/Hi Gain - Multitap Dly 871 Drive [1…100] Sets the degree of distortion. Output Level [0…50] Sets the overdrive output level. Source [Off…T empo] Selects the modulation source for the over drive output level. Amount [–50…+50] Sets the modulation amount of the overdrive output level.
Effect Guide 872 EQ Low Fc [Hz] [20…1.00k] Sets the center frequency for Low EQ (shelving type). Gain [dB] [–18…+18] Sets the gain of the Low EQ. Mid1 Fc [Hz] [300…10.00k] Sets the center frequency for Mid/High EQ 1 (peaking type). Q [0.5…10.
Mono-Mono Serial 135: Decimator - Amp Sim 873 Amount [+/–100] Sets the W et/Dry modulation amount for the wah. AMP SIM Amplifier T ype [SS, EL84, 6L6] Selects the type of guitar amplifier . OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance.
Effect Guide 874 Output Level [0…100] Sets the compressor output level. p.764. OUTPUT This is the standard ef fects output section, with modulatable control over wet/dry balance. For mor e information, see “OUTPUT” on page 764. 137: Amp Sim - T remolo This effect combines a mono amp simulation and a tremolo.
Mono-Mono Serial 139: Phaser - Chorus/Flanger 875 T ap2 Time [msec] [0.0…1360.0] Sets the T ap2 delay time. T ap1 Level [0…100] Sets the T ap1 output level. p.832. Feedback [+/–100] Sets the T ap2 feedback amount. High Damp [%] [0…100] Sets the damping amount in the high range.
Effect Guide 876 140: Reverb - Gate This effect combines a mono r everb and a gate. REVERB Pre EQ T rim [0…100] Sets the EQ input level. LEQ Fc [Low , Mid-Low] Selects the cutoff fr equency (low or mid-low) of the low-range equalizer . LEQ Gain [dB] [–15.
Mono/Mono Parallel 140: Reverb - Gate 877 Mono/Mono Parallel 141: P4EQ // P4EQ through 185: Mt.BPM Dly//Mt.BPM Dly are parallel ef fects, with the left input going through one ef fect, and the right going through the other .
Effect Guide 878 OUTPUT Pan [L000…C064…R127] Sets the stereo image. W et/Dr y [Dr y , 1:99…99:1, W et] Sets the balance between the effect and the dry input. Source [Off…T empo] Selects a modulation source for W et/Dry . Amount [+/–100] Sets the modulation amount for W et/Dry .
Mono/Mono Parallel 140: Reverb - Gate 879 WA H Frequency Bottom [0…100] Sets the lower limit of the wah center frequency . p.777. Frequency T op [0…100] Sets the upper limit of the wah center frequency . p.777. Resonance [+0…+100] Sets the resonance amount.
Effect Guide 880 T ap2 Base Note [ … ] Selects the type of notes to specify the delay time for T ap2. p.822. Times [x1…x32] Sets the number of notes to specify the delay time for T ap2. p.822. T ap1 Level [0…100] Sets the T ap1 output level.
Mono/Mono Parallel 144: P4EQ // Exciter 881 144: P4EQ // Exciter This effect connects a four -band EQ and an exciter in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “4 band EQ” on page 877 and “Exciter” on page 878.
Effect Guide 882 148: P4EQ // Phaser This effect connects a four -band EQ and a phaser in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “4 band EQ” on page 877 and “Phaser” on page 879.
Mono/Mono Parallel 152: Comp // Exciter 883 152: Comp // Exciter This effect connects a compr essor and an exciter in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Compressor” on page 877 and “Exciter” on page 878.
Effect Guide 884 156: Comp // Phaser This effect connects a compr essor and a phaser in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Compressor” on page 877 and “Phaser” on page 879.
Mono/Mono Parallel 160: Limiter // OD/Hi Gain 885 160: Limiter // OD/Hi Gain This effect connects a limiter and an over drive in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Limiter” on page 877 and “OD/HI-GAIN” on page 878.
Effect Guide 886 164: Limiter // Mtap BPM Dly This effect connects a limiter and a multitap BPM delay in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Limiter” on page 877 and “Multi-tap BPM Delay” on page 879.
Mono/Mono Parallel 168: Exciter // Chorus/Flanger 887 168: Exciter // Chor us/Flanger This effect connects an exciter and a chorus/flanger in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Exciter” on page 878 and “Chorus/Flanger” on page 879.
Effect Guide 888 172: OD/Hi Gain // W ah This effect connects an over drive and a wah in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “OD/HI-GAIN” on page 878 and “W AH” on page 878.
Mono/Mono Parallel 176: Wah // Wah 889 176: W ah // W ah This effect connects two wahs in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “W AH” on page 878. 177: W ah // Chor us/Flanger This effect connects a wah and a chorus/flanger in parallel.
Effect Guide 890 180: Cho/Flange // Cho/Flanger This effect connects two chorus/flangers in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Chorus/Flanger” on page 879.
Mono/Mono Parallel 183: Phaser // Phaser 891 183: Phaser // Phaser This effect connects two phasers in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Phaser” on page 879.
Effect Guide 892.
893 KARMA GE guide About the KARMA GE guide This section of the manual explains the GE parameters of the KARMA function built into the OASYS, organized accor ding to the groups that make up the Generated Effects. The OASYS provides more than two thousand preset GEs (Generated Effects) .
KARMA GE guide 894 Display example 000…125: CC#000…CC#125 PB: Pitch Bend Env: parameter name [Env] #No. #No. #No. Parameters of the Env (Envelope) Group also indicate the being controlled by that GE parameter , and indicate the parameter or MIDI message that is controlled by the Envelope.
About KARMA Overview 895 About KARMA Over view KARMA stands for K ay A lgorithmic R ealtime M usic A rchitectur e, named after its inventor , Stephen Kay . The KARMA function generates MIDI data, using many differ ent complex algorithms seamlessly integrated to provide a powerful “music generation engine”.
KARMA GE guide 896 KARMA Architecture (Diagram) KARMA REALTIME CONTROLS GE Note Series Phase Rhythm Duration Index Cluster Velocity CCs/Pitch Envelope Repea.
GE (Generated Effect) Group Overview 897 GE (Generated Ef fect) Group Over view The phrases and patterns produced by a KARMA module are generated by a GE (Generated Ef fect) .
KARMA GE guide 898 which of up to ten notes you may have played are to be generated. If a step of the Cluster Pattern has rows 0, 2 and 4 selected, then the first, third, and fifth notes in the Note Series will be generated at that step. What these notes actually are will be influenced by the Note Series and Input Sort settings.
GE (Generated Effect) Group GE Global Parameters 899 because it can simplify a dense GE in an interesting sounding way . For example, you can turn a comping keyboard part into a single note bass line.
KARMA GE guide 900 Note Series Group Over view The Note Series Group controls the cr eation of a “ Note Series ” in memory , which is the foundation of a large per centage of Generated Effects. The Note Series is a collection of pitches and corresponding velocities, created fr om initial notes coming from input source material (i.
Note Series Group Parameters 901 3: Chromatic The 12 steps of a chromatic scale will be used as input source material. The first note of the Note Series is based on the lowest note received as input sour ce material. 4: Whole T one The 6 steps of a whole tone scale will be used as input source material.
KARMA GE guide 902 Changes or cycling. Doubled notes caused by the use of the “Double” parameter in the Index Gr oup will also be wrapped around at the top of the Note Series when this is off . 0: Off The notes determined by the Repetitions setting (described above) are used as the range within which to generate notes.
Note Series Group Parameters 903 key of E . In the above example, playing a C would result in a E diatonic scale , playing a D r esults in an F# minor scale (F# Dorian mode) and so on. Not available if “GE T ype” = 1: Generated-Gated . For more information, see “GE T ype” on page 897.
KARMA GE guide 904 Phase Group Over view A Generated Effect has two dif ferent “Phases.” Each of them is a separate collection of certain parameters including Rhythm, V elocity , Cluster , Pan and Index Patterns, among others.
Phase Group General Parameters 905 in the middle of the Note Series from which the indexes can be chosen in either direction accor ding to the Index Pattern. Not available when “GE T ype” ( ☞ p.897) = 1: Generated-Gated . If 2: Generated-Drum , the Note Series can be applied as pitch bend, discussed elsewhere.
KARMA GE guide 906 Phase Change occurs. This can be used to simulate the T riton Arpeggiator setting “Arpeggio T ype”: Up&Down. 4: B-cycle back from beginning of Phase Allows “cycling” to occur at the beginning of the playback portion of the Phase.
Phase Group End Loop Parameters 907 number of events is then performed in each Phase, regar dless of any other circumstances which might trigger a Phase Change. When the Phase “Length Mode” is 0: AC-Actual , then these parameters are not available.
KARMA GE guide 908 T emplate Steps 13…16 Same as above, except for steps 13–16. Note that if the number of steps in the Phase Pattern (Pattern Items) is less than the steps for which T emplates are being changed, these will produce no audible results.
Rhythm Group Overview 909 Rhythm Group Over view The Rhythm Group controls the r hythmic characteristics of the Generated Effect. It can also have an influence on when “Auto Bend” pitch bending effects (set up on the Bend Gr oup) are generated. About Rhythm Patterns Rhythm Patterns control the timing with which notes will be generated.
KARMA GE guide 910 Swing Use Multiplier [0…3] The “Rhythm Multiplier” (explained later on in this chapter) causes the values in the Rhythm Pattern to be increased or decr eased by a percentage.
Rhythm Group Random Weighting Parameters - Pools 911 Random W eighting Parameters - Pools The Random W eighting Parameters - Pools are made available when at least one step (column) in the Rhythm Pattern has multiple rhythmic values selected (constituting a “random pool” of values).
KARMA GE guide 912 value is +99 , the choices are “locked” to no ties whatsoever; when the value is -99 , the choices are “locked” to ties always (and the effect is the same as if absolute ties were selected). For mor e information, see “Random W eighting Curves” on page 961.
Rhythm Group Associated Parameters 913 T emplate + Restore [0: [As Stored]…63] Similar to the above setting; however , the internal settings of the GE can be restor ed and used as part of the real-time T emplate operation.
KARMA GE guide 914 Duration Group Over view The Duration Group contains the parameters that control the duration of the notes in a Generated Ef fect. About Duration Patterns Duration Patterns control the duration of notes for each “rhythm event” that is generated accor ding to the settings in the Rhythm Group.
Duration Group Associated Parameters 915 notes, any step in the Duration Pattern (as modified by the Duration V alue) that is shorter than a quarter note will cause the notes (and all sustaining notes at that time) to have the specified duration.
KARMA GE guide 916 Random W eighting Parameters - Pools The Random W eighting Parameters - Pools are made available when at least one step (column) in the Duration Pattern has multiple rhythmic values selected (constituting a “random pool” of values).
Index Group Overview 917 Index Group Over view The Index Group controls the or der of the pitches as they are generated fr om the Note Series, and some other characteristics that can affect the number of notes generated at a time.
KARMA GE guide 918 2: Random W alk (“Random W alk Max Step”: 1…9) Makes available the “Random W alk Max Step” parameter . Causes the pitches to meander from the start pitch in a random fashion, with the largest step that can be taken in any direction contr olled by the “Random W alk Max Step” parameter .
Index Group Associated Parameters 919 voicings, or randomizing Drum Patterns in a manner differ ent than above. Another ef fect of this is that after each cluster , the next cluster starts wher e the previous cluster left off, in ef fect advancing through the Phase and the Note Series (or Drum Pattern) much more quickly .
KARMA GE guide 920 An Index Pattern T emplate consists of: • the configuration of the Index Pattern Grid • Random Weighting Parameters T emplate [1…63] ☞ p.912 “Rhythm Group”: “T emplate”. T emplate + Restore [ 0: [As Stored] …63] ☞ p.
Cluster Group Overview 921 Cluster Group Over view The Cluster Group contains the parameters that control the “clustering” characteristics of the Generated Effect (the number of notes to generate simultaneously each time a rhythm event occurs, thereby cr eating chords and polyphonic phrases).
KARMA GE guide 922 Random W eighting Parameters The Random W eighting Parameters are made available when at least one step (column) in the Cluster Pattern has multiple values selected (constituting a “random pool” of values). For more information, see “Rhythm Gr oup” on page 909, and “Random W eighting Parameters - Pools” on page 91 1.
Velocity Group Overview 923 V elocity Group Over view The V elocity Group contr ols most of the aspects that affect the velocities of the notes in the Generated Ef fect. About V elocity Patter ns A V elocity Pattern repr esents amounts to be subtracted from the initial velocities of notes as they ar e about to be generated.
KARMA GE guide 924 1/64, an input velocity of 64 would enter KARMA as 32 (velocities in the range 1–127 are scaled into the range 1–64, or 50% softer). Note: Setting the two values to the same value creates a constant value, and would be the same as using “V elocity Mode” = 2: Constant .
Velocity Group Associated Parameters 925 indicated by the pattern, with a net advance of six steps. This means that each note in a cluster or each note of a drum pattern that is generated simultaneously can be given its own velocity .
KARMA GE guide 926 CCs/Pitch Group Over view The CCs/Pitch Group allows the editing of parameters that control generation of CC (Control Change) messages . For example, this can control the panning (CC #10) of the notes in the Generated Effect (ster eo placement left to right).
CCs/Pitch Group Random Weighting Parameters 927 Not available in Phase 2 when Pitch Offsets ar e being used. CC Mode [0…5] Not available in Phase 2 when Pitch Offsets ar e being used. 0: Pattern When 0: Pattern is selected, the Pattern Grids will be used to generate the assigned CC/Bend.
KARMA GE guide 928 Octaves-Random Factor [–99…+99] Controls the shape of the weighting curve being applied to the bottom part of the CC Pattern Grid (Octaves). For more information, see “Rhythm Gr oup” on page 909 and “Pools-Random Factor” on page 91 1.
CCs/Pitch Group Associated Parameters 929 Pitch Offset Patterns and ensuring that the r esults stay in a certain key or chord. The note tables used to shift the notes are the same as the ones used in Note Series Group “Note T ype”: 1: Scalic . For more information, see “Note T ype” on page 900.
KARMA GE guide 930 W aveSeq Group Over view The W aveSeq Group controls a set of parameters that allow the waveforms of the OASYS’s programs to be varied in real-time, cr eating popular “wave-sequence” style effects. About W aveSeq Patterns W aveSeq Patterns control the waveforms of the synth programs that ar e being used to generate notes.
WaveSeq Group Pattern Grid & Associated Parameters 931 1: Osc2 In Both Phases The specified waveforms will be selected according to the switching of the Phase Pattern, but only for Oscillator 2.
KARMA GE guide 932 W aveform T ype [0, 1] Specifies whether the messages sent will change the program's oscillator(s) to dif ferent Multisamples, or differ ent W ave Sequences. 0: MultiSound The choices indicated by the pattern values will cause various Multisamples to be selected for the specified oscillators.
WaveSeq Group Associated Parameters 933 T emplate + Restore [0: [As Stored]…63] For more information, see “Rhythm Gr oup” on page 909, and “T emplate + Restore” on page 913.
KARMA GE guide 934 Envelope Group Over view Each Generated Effect has 3 envelopes which can be applied to various options such as V elocity , T empo, Pitch Bend, Duration, Repeat T ime, and any CC (Control Change).
Envelope Group Parameters 935 velocities of the notes being generated, to impart an overall velocity shape while maintaining the accents within the individual notes. 1: [T A] T empo-Absolute Controls the speed of the Rif f, for accelerando and ritard ef fects.
KARMA GE guide 936 Decay Time [0…99] The time it will take to reach the “Sustain Lev (Sustain Level)” from the Attack Level. This is a portion of the overall time setting specified in the “T ime Scale” parameter described below .
Envelope Group Level Combinations 937 T empo Relative [0, 1] When 1: On , makes the selected envelope’s time scale relative to tempo. This means that the envelope can T rack the notes being generated, or a particular length of time.
KARMA GE guide 938 Dec/Rel Time (Decay/Release Time) [0…99] Controls an Envelope’s Decay and Release T imes at the same time - both will be set to the same value. All Times [0…99] Controls an Envelope’s Attack, Decay and Release T imes at the same time - all will be set to the same value.
Repeat (Melodic Repeat) Group Overview 939 Repeat (Melodic Repeat) Group Over view Melodic Repeat allows any note to be repeated in a delay-like fashion, with many additional features and enhancements. When the GE T ype is one of the “Generated” types (i.
KARMA GE guide 940 Dotted Rhythms [0…8] Selects a value for the “Rhythm V alue” parameter from a subset of the entire range. The subset consists of the dotted values along with 0: None and 8: Rhythm Pattern . This is used to provide r eal-time control of the “Rhythm V alue” parameter while excluding certain of the in-between values.
Repeat (Melodic Repeat) Group General Parameters 941 algorithms to shift the notes to musically correct ones, even in pending repeated notes that haven’t yet sounded. Even when the T ranspose setting is 0 , this can be used to make the pending repeated notes conform to the new chord, which is impossible with outboar d analog/digital delays.
KARMA GE guide 942 Range Parameters These parameters affect the pitch range of the repeating notes as they transpose, and what happens when they go outside of the range.
Repeat (Melodic Repeat) Group GE Mode = Real-Time Parameters 943 GE Mode = Real-Time Parameters If the “GE T ype” is 3: Real-T ime , these additional parameters are also available.
KARMA GE guide 944 “Chord Quantize (R T)” setting of 0: Off . This may or may not be desirable; sometimes you may want it, other times you may not. When “Chord Quantize (R T)” is set to 1: On , the notes in the first repeat of the chord will be har d quantized so that they generate simultaneously .
Bend Group Overview 945 Bend Group Over view The Bend Group allows various shapes of automatic pitch bending to be applied to individual notes as they are generated. It also allows a special “arpeggiated bending” option to be applied to Drum Patterns.
KARMA GE guide 946 13, 14, 15, 17 & 18 not available when “GE T ype” (“GE T ype” on page 897) is 3: Real-T ime . Force Bend If Zero [0, 1] When using next or previous note bending, if the two pitches to be bent between are adjacent, a bend of zer o can result (no bend).
Bend Group GE Mode = Real-Time Parameters 947 the length and twice as fast as an 8th note duration. If the duration is varied in real-time, the length of the bends will also be varied. Not available when “GE T ype” ( ☞ p.897) is 3: Real- T ime, since the duration of the note is determined by actually playing the keyboard.
KARMA GE guide 948 0: Bend , it would be the same as starting a note with the Joystick all the way in the pitch down position, and then moving it to the center . 1: T o The bend starts at the current pitch (i.e. Joystick center), and ends at a pitch offset equal to the Amount setting.
Drum Group Overview 949 Dr um Group Over view The Drum Group allows up to three dif ferent Drum or Melodic Patterns (of equal or differ ent lengths) to be created, edited, and simultaneously looped, while being separately modified by various other parameters.
KARMA GE guide 950 Also shown above is a 65th column, known as the “Always Column” and indicated by the abbreviation “a” underneath it. When a row is selected in this column, it will cause any.
Drum Group Random Weighting Parameters– Pools 951 Pattern V el. Of fset [–127…+127] Subtracts or adds a constant amount to the velocities for each Drum Pattern. Allows a Pattern’s relative volume to be raised or lowered with r egard to the other Patterns.
KARMA GE guide 952 The following table summarizes the effect of the various W eighting Curves and the Factor field on Drum Sound choices: Random W eighting Parameters– Rests The Random W eighting Parameters - Rests are made available when at least one column in the grid has a rest and at least one other Drum Sound turned on.
Drum Group Associated Parameters 953 Keyboard T rack [0, 1] Allows the Drum Pattern to track the input notes if desired, ther eby changing keys depending on the chord.
KARMA GE guide 954 T ime Controls Editor) to contr ol all three Patterns at the same time. The values 0~8 select one of 9 differ ent combinations, shown in the following table: Off Melodic Repeat will be turned off in each step of the Phase Pattern, for the specified Drum Patterns.
Drum Group Associated Parameters 955 T emplate Parameters The two T emplate Parameters select from one of three banks of Drum Pattern T emplates within the current selected T emplate Bank (shared by all three Dr um Patterns), and load the parameters into the selected Drum Pattern Editing Grid and associated parameters.
KARMA GE guide 956 Direct Index Group Over view Direct Index means to take a contr oller and map it into the Note Series directly , so that notes can be directly indexed and generated in real-time.
Direct Index Group Duration Parameters 957 Held Note T rig Mode [0…3] Selects one of several options for deciding what happens when Direct Index notes ar e being sustained, and the chord is changed so that the sustained note(s) no longer “fit” with that chord (i.
KARMA GE guide 958 0: Poly Extend Each note will sustain until the next generation of the same note, or until that note is no longer a part of the Note Series (caused by playing a new chord, for example). For example, if the notes to a CMaj chord ar e sustaining and the chord is changed to a CMinor , only the Es will be shut off.
Direct Index Group Bend Parameters 959 14: Next Index+1 Bends each note to the index in the Note Series that is 2 indexes forward (note that this may be an up or down bend depending on how the Note Series is constructed and sorted).
KARMA GE guide 960 Appendices Using Auto-Bend Auto-Bend refers to a featur e of KARMA that can generate a bend along with every generated note. It can be used to create gliding ef fects between notes .
Appendices Random Weighting Curves 961 “GE T ype” 3: Real-Time Since the duration of the note is determined by actually playing the keyboard, Bend Gr oup “Length” 25: Note Duration is not available for this GE T ype, and will act the same as 7: 16th if selected.
KARMA GE guide 962 Exponential S (Exp-S) W ith a positive Factor (+ ), choices will be exponentially weighted towards the center values in the pool, and away from the lower and upper values in the pool.
Appendices Random Weighting Curves 963 Comparison of Exponential and Logarithmic Cur ves Exponential Curves and Logarithmic Curves have similar shapes. They are dif ferent, however , as the following diagram illustrates: This characteristic can be used to even more finely tune the effect you ar e trying to achieve.
KARMA GE guide 964 With a Positive Factor (+40): Exponential Cur ve (Exp) 75% chance of a choice from the upper 10% of the pool; 25% chance of a choice from the lower 90% of the pool. Logarithmic Cur ve (Log) 90% chance of a choice from the upper 25% of the pool; 10% chance of a choice from the lower 75% of the pool.
965 Appendices Alternate Modulation Sources (AMS) Alternate Modulation Over view Alternate Modulation lets you use controllers, envelopes, LFOs, etc. to modulate Program parameters. Y ou can use one controller to modulate multiple parameters simultaneously .
Appendices 966 Filter1 A Amp 1 Cutoff Mod 1 Cutoff Mod 2 Cutoff Mod 1 Cutoff Mod 2 Pan Mod LFO1 LFO2 Resonance Mod Frequency Mod 2 Frequency Mod 1 Frequency Mod 2 Frequency Mod 1 Amp Mod 1 EXi 1 EXi 2.
Alternate Modulation Sources (AMS) AMS (Alternate Modulation Source) List 967 AMS (Alternate Modulation Source) List Physical and MIDI controllers Off This means that no modulation source is selected. Note Number This is the note’s MIDI note number , fr om 0 (C-2) to 127 (G9).
Appendices 968 Knob Mod.8 (CC#21) This AMS source always responds to MIDI CC#21, and will usually also correspond to Knob 8(USER 4). For more information, see “Knob Mod.
Alternate Modulation Sources (AMS) AMS (Alternate Modulation Source) List 969 T empo This lets you use the system tempo as a modulation source. 120 is the center , for a value of 0; 60BPM is -99, and 240BPM is +99.
Appendices 970 Step Sequencer This is the output of the per-voice Step Sequencer . For more information, see “8–1: Step Sequencer” on page 203. EG1 (Filter), EG2 (Pitch), and EGs 3 & 4 These are the outputs of the four assignable EGs. For more information, see “7–1: EG 1 (Filter)” on page 199.
Alternate Modulation Sources (AMS) Alternate Modulation settings 971 LFO1 …2 These are the outputs of the two assignable LFOs. For more information, see “8–2: LFO 1” on page 205. Alternate Modulation settings When you operate an AMS (Alternate Modulation Source), the modulation destination will be af fected as shown in the table below .
Appendices 972 Notes for the table *1 EXT(+–): JS X, Ribbon (CC#16), KnobMod.5 (CC#17), KnobMod.6 (CC#19), KnobMod.7 (CC#20), KnobMod.8 (CC#21) *2 When T empo is selected as an AMS sour ce, the base value is =120. For example if the Pitch AMS is set to T empo, and Intensity is set to 12.
Alternate Modulation Sources (AMS) Alternate Modulation settings 973 • You can select Common LFO, LFO1 or 2 as the AMS , and use the LFO to control the resonance level. Output Level (Program 3–1b) Y ou can use the wave sequence’s AMS Out, EG, LFO, keyboard tracking, contr ollers, or tempo etc.
Appendices 974 Pan (Program 4–1c) The oscillator pan can be controlled by the wave sequence’s AMS Out, EG, LFO, keyboard tracking, controllers, or tempo etc.
Alternate Modulation Sources (AMS) Alternate Modulation settings 975 • By setting AMS to Gate 1, you can make the Common LFO reset when a note is played from a state in which all notes are off. For example, this will ensure that a filter sweep always starts from the same place.
Appendices 976 Dynamic Modulation Sources (Dmod) Y ou can control certain effect parameters using the joystick, vector joystick, ribbon controller , etc. “on the fly .” These parameters can also be controlled by KARMA, the V ector joystick and EG, or the sequencer .
Dynamic Modulation Sources (Dmod) Dynamic Modulation Source List 977 Gate1, Gate1+Damper The effect is at maximum during note-on, and will stop when all keys are r eleased. W ith Gate1 + Damper , the effect will r emain at maximum even after the keys are released, as long as the damper (sustain) pedal is pressed.
Appendices 978 Te m p o The resulting modulation will be zer o at 120 BPM, the maximum positive value at 240 BPM, and the maximum negative value at 60 BPM.
Controller Assignments SW1/2 Assignments 979 Controller Assignments SW1/2 Assignments Switch assignments are saved separately with each Program, Combination, and Song.
Appendices 980 Chord SW This enables and disables Chord mode. For mor e information, see “Using Chord mode” on page 49 of the Operation Guide. Realtime Knobs 5–8 Assignments Knob assignments are saved separately with each Program, Combination, and Song.
Controller Assignments Foot Switch Assignments 981 F/A Release (CC#72) This scales the release times of the Filter and Amp EGs. Pitch LFO1 Spd (CC#76) This scales LFO1’s frequency . Pitch LFO1 Dep (CC#77) This scales the effect of LFO1 on the Pitch.
Appendices 982 Program Down This decrements the curr ent Program or Combination number , for hands-fr ee patch changes. For more information, see “Program Up,” above. Song Star t/Stop The switch can be used to start/stop the sequencer . Simultaneously , a MIDI Start or Stop message will be transmitted.
Controller Assignments Foot Pedal Assignments 983 Foot Pedal (CC#04) Y ou can use this general-purpose controller as an AMS or Dmod source. Note that you’ll also need to assign Foot Pedal (CC#04) to control the desir ed parameter within the Program or Ef fect.
Appendices 984 Dynamic MIDI Sources & Destinations Dynamic MIDI Sources The sources (Dynamic MIDI Sour ces) are organized into the following groups JS +Y #01…JS X: Contr oller group Short Note.
Dynamic MIDI Sources & Destinations Dynamic MIDI Sources 985 Note: If you want to use the ±X axis of the vector joystick as a source, set the Global P2–1c: MIDI CC# Assign-V ector Joystick/Pads parameter “VJS X” to CC#1 19. VJS +X Mod. (CC#85) The +X direction (the left dir ection) of the vector joystick (CC#85) will be the source.
Appendices 986 Use “Input” to specify the applicable KARMA module. White Note Use Bottom and To p (7–7b) to specify the range of note numbers. Only the white notes (C, D, E, F , G, A, B) within the specified range will be the source. Black Note Use Bottom and To p (7–7b) to specify the range of note numbers.
Dynamic MIDI Sources & Destinations Dynamic MIDI Destinations 987 etc. to turn latch on so that the currently-operating Envelope1, 2, or 3 will continue to be held even after you release the keyboar d or the Pad 1–8.
Appendices 988 Dynamic MIDI 1 Source (7–7b): KARMA On/Off Dynamic MIDI 1 Bottom (7–7b): 000 Dynamic MIDI 1 To p (7–7b): 127 Dynamic MIDI 1 Action (7–7b): Momentary Dynamic MIDI 1 Destination (.
Dynamic MIDI Sources & Destinations Dynamic MIDI Destinations 989 Note input in the key zone specified for each module will not be used for normal chord detection on KARMA modules for which Smart Scan is operating.
Appendices 990 Use this when you wish to stop the phrase or pattern played by the KARMA module and simultaneously switch to realtime note generation by Dir ect Index. Direct Index 1 W ay [Continuous] The same as Direct Index (above), but only functions in one direction of the selected contr oller .
MIDI transmission when the OASYS’s controllers are operated Dynamic MIDI Destinations 991 MIDI transmission when the OASYS’ s controllers are operated The following tables show the relation betwee.
Appendices 992 39 … 63 – * * * * * * *** 64 Damper * * * * * * * * * * * 65 Por tamento On/Off * * * * * * * * * * * * 66 Sostenuto * * * * * * * * * * * * 67 Soft pedal * * * * * * * * * * * * 68.
MIDI transmission when the OASYS’s controllers are operated Dynamic MIDI Destinations 993 (1): When a KARMA controller is assigned to a CC# indicated by [*] (Global P2– Controller) #: Fixed *: Assignable [*]: The vector joystick, KARMA realtime contr ols, and chord trigger contr ollers can be assigned to CC#00– 1 19.
Appendices 994 If the Status is INT or BTH, operating one of the OASYS’s controllers will af fect only that MIDI track. Simultaneously , the same effect will also apply to any MIDI track with the same MIDI Channel setting. In the case of Master V olume, the universal exclusive message Master V olume will be transmitted.
OASYS and MIDI CCs Responses to standard MIDI controllers 995 OASYS and MIDI CCs Responses to standard MIDI controllers The following table shows how the OASYS responds to MIDI control change messages, and the r elation between settings and controller movements on the OASYS.
Appendices 996 31 KARMA LA TCH On/Off control 0…63(Off), 64…127(On) Equivalent to on/off when CC#14 is assigned to the KARMA LA TCH switch *7 32 Bank select (LSB) 0…127 LSB of bank select messag.
OASYS and MIDI CCs Responses to standard MIDI controllers 997 Y ou can assign any control change number (CC#00– 1 19) to the REAL TIME KNOBS 5–8 or vector joystick CC control. In this case, the transmitted values will all be 0…127. Y ou can assign any control change number (CC#00– 1 19) to the KARMA Realtime Control switches and sliders.
Appendices 998 *3 The volume of the OASYS is determined by multiplying the V olume (CC#07) with the Expression (CC#1 1). In Sequencer mode when you stop the song playback and return the location to the beginning of the track, the V olume will be set to the starting value, and the Expression will be set to the maximum value (127).
OASYS and MIDI CCs Parameters controlled by MIDI CCs #70-79 999 AL-1 and STR-1 CX-3 MS-20EX 73 (Attack time) EG Times: Filter EG 1/2 Attack (see page 69) Amp EG 1/2 Attack (see page 79) Amp EG 1/2 Tim.
Appendices 1000 PolysixEX 78 (LFO1 delay) LFO1 Delay (see page 207) 79 (Filter EG intensity) LPF EG2/EXT (see page 287) 70 (Sustain level) PolysixEX EG SUST AIN (see page 313) 71 (Filter resonance) VC.
MIDI applications About MIDI 1001 MIDI applications About MIDI MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of musical data between electronic musical instruments and computers.
Appendices 1002 Outgoing MIDI data will be handled with settings equivalent to Key T ranspose 0, V elocity Curve 4, and After T ouch Curve 3. Connecting an external MIDI sequencer or computer Y ou can.
MIDI applications Messages transmitted and received by the OASYS 1003 total effects, the pan following the insert effect, and send 1 and 2. • When you operate the keyboard or controllers of the OASY.
Appendices 1004 For more information, see “Bank Map” on page 643. • In Combination P0: Play, program change and bank select messages are transmitted/received on the global MIDI channel.
MIDI applications Messages transmitted and received by the OASYS 1005 • In Combination and Sequencer modes, transmission/reception can be switched on/off for each timbre/track (“Enable JS+Y” Combination/ Sequencer 3–1a).
Appendices 1006 transmitted by each track whose Status is BTH, EXT, or EX2. For more information, see “Pan” on page 419. Note: If you’ve used the CONTROL ASSIGN TIMBRE/TRACK switch to select 1–8/9–16, operating the knobs will transmit panpot data to control the panning.
MIDI applications Messages transmitted and received by the OASYS 1007 Controller (CC#18) [Bn, 12, vv] This message will be transmitted when the OASYS’s V ALUE slider is operated.
Appendices 1008 Note: In Program mode, the corr esponding program parameters will be temporarily edited by these messages. Y ou can W rite the program to save the modified state (except for certain parameters).
MIDI applications Messages transmitted and received by the OASYS 1009 The CC# settings for the pads are made in the Global P2– Controller page. Normally you will leave these Off.
Appendices 1010 2. [Bn, 06, mm, 26, vv]: Use data entry to set the value. Normally only the upper byte is used. A value of 0 [mm, vv=00, 00] is +00, and a value of 1536 [mm, vv=0C, 00] is +12 (one octave). Although it is possible to set a negative value for a timbre/track, only positive values can be set using RPN messages.
MIDI applications Messages transmitted and received by the OASYS 1011 Exclusive Program Write Request or Combination Write Request message, in addition to the usual method of using the OASYS’s switches. For more information, see “Loading & saving data, and creating CDs” on page 163 of the Operation Guide.
Appendices 1012 Status is BTH, EXT , or EX2. An external tone generator connected to MIDI OUT will sound, and the tempo of an external sequencer can be controlled. Using the external MIDI device as master and the OASYS as slave Connect the OASYS’s MIDI IN connector to the MIDI OUT connector of the external MIDI device.
MIDI applications Messages transmitted and received by the OASYS 1013 Local Control Off : Notes fr om the KARMA function or RPPR will not be transmitted from MIDI OUT . The OASYS will sound only in response to MIDI messages received at MIDI IN, or generated by the KARMA function or RPPR.
Appendices 1014 MIDI Implementation OASYS MIDI IMPLEMENT A TION 26,Dec,2004 Consult your local Korg dealer for more infomation on MIDI System Exclusive implementation. 1.TRANSMITTED DA T A 1-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal Status Second Third Description ( Transmitted by .
MIDI Implementation Messages transmitted and received by the OASYS 1015 2.RECOGNIZED RECEIVE DA TA 2-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal Status Second Third Description ( Use .
Appendices 1016 Status Second Third Description ( Use ..... ) ENA [Hex] [H] [D] [H] [D] Bn 6A (106) ≤ 3F/ ≥ 40 ( ≤ 63/ ≥ 64) ( as KARMA SW5 ) *4 C Bn 6B (107) ≤ 3F/ ≥ 40 ( ≤ 63/ ≥ 64) .
MIDI Implementation Messages transmitted and received by the OASYS 1017 2-4-2 UNIVERSAL SYSTEM EXCLUSIVE MESSAGES ( REAL TIME ) Master Volume [ F0,7F,0g,04,01,vv,mm,F7 ] 3rd byte g : Global Channel 6t.
Appendices 1018 Error and confirmation messages A (ADC–Are Y ou Sure) ADC Overload Meaning: If the ADC OVERLOAD! indication appears above the Recording Level bar , the signal is distorting because of an overload at the AUDIO INPUT stage.
Error and confirmation messages D (Destination–Disk) 1019 Can’t open pattern Continue? Meaning: When you finished recor ding, it was not possible to allocate enough memory to open the pattern that was Put into the track. (When it must be opened automatically .
Appendices 1020 • Without using Overwrite, specify a different sample for the destination (save location). Destination sample is empty Meaning: The sample for editing is empty . Destination song is empty Meaning: The song that was specified as the copy destination or bounce destination does not exist.
Error and confirmation messages F (File–Front) 1021 Meaning: When you executed the Disk mode Utility Save Sampling Data for All, All Multisamples, All Samples, or One Multisample, a directory alr eady existed on the disk with the same name as the directory that you attempted to cr eate on the OASYS.
Appendices 1022 I (Illegal–Index) Illegal file description Meaning: The filename that you specified when saving a file or creating a dir ectory contained invalid characters. T o solve this problem: • Change the filename you are specifying. Filenames not permitted by MS-DOS cannot be used as a filename.
Error and confirmation messages N (No data–Not enough song memory) 1023 • Delete other song data etc. to increase the amount of free memory. Memor y over flow Meaning: While receiving exclusive data in Disk mode Save Exclusive , all remaining internal memory was used up.
Appendices 1024 Meaning: When in Disk mode you attempted to load an EXL file from media other than the internal hard disk, memory for temporary use could not be allocated on the internal hard disk. T o solve either of these problems: • On the internal hard disk, create free space that is larger than the .
Error and confirmation messages P (Pattern–Program) 1025 monaural multisample, select Single. If converting a stereo multisample, select Double. P (Pattern–Program) Pattern conflicts with events .
Appendices 1026 Sample used in other multisample(s) Continue? Meaning: The sample you are editing is used by other multisamples. T o continue editing, press the OK button. Selected file/path is not correct Meaning: When loading a divided .PCG file, you attempted to load a .
Error and confirmation messages U (Unable to create directory–USB Hub) 1027 The system update has now been installed. T o complete the process, you must now restar t the OASYS. Please tur n the power off, and then on again. Meaning: This will appear when you execute the Global P0 page menu command “Update System Software.
Appendices 1028 Y (Y ou) Y ou can’t undo this operation Are you sure? Meaning: Once you enter event editing (even if you leave event editing without actually editing an event), it will no longer be possible to execute a Compare of the previous edit.
Disk mode information AIFF and WAVE format details: importing 1029 Disk mode information AIFF and W A VE for mat details: impor ting AIFF files When data is loaded into the OASYS, the following four chunks are r eferenced: Common chunk, Sound Data chunk, Marker chunk, and Instrument chunk.
Appendices 1030 About KORG format files KORG format file str ucture There ar e three types of sample-related Kor g-format files: .KMP files for multisamples, .KSF files for samples, and .KSC files which handle the first two as a collection. Similar to the AIFF format, .
Disk mode information About KORG format files 1031 If the .KSF filename is “SKIPPEDSAMPL”, it will be treated as a sample skipped during loading. If the .
Appendices 1032 • Divided sample parameter chunk • Divided sample data chunk KSC (Korg SCript) files These files are text files which contain a list of filenames for .KMP/.KSF files which are to be handled together . Lines beginning with # are ignor ed as comment lines.
Disk mode information CD-R/RW disks on the OASYS: UDF and packet-writing 1033 CD-R/RW disks on the OASYS: UDF and packet-writing The OASYS lets you use CD-R/R W disks like you would a floppy disk or a removable har d disk.
Appendices 1034 CD-RW media CD-R W disks cannot be converted into ISO9660 format, and so they can only be read by devices or computers which support UDF and packet-writing.
Option boards/Memory/Calendar battery CD-R/RW disks on the OASYS: UDF and packet-writing 1035 Option boards/Memor y/Calendar batter y Please read this before you begin installation Safety precautions W arnings • Before installing an option, be sure to disconnect the power supply cable and the connecting cables to any peripheral devices.
Appendices 1036 About option boards/memor y/calendar batter y Y ou can expand the functionality of the OASYS by installing the following items. EXB-DI (Digital interface board) By installing the EXB-DI you can add ADA T Optical format 24-bit 48 kHz digital outputs corresponding to channels 1–8.
Option boards/Memory/Calendar battery Installing an option board/memory/calendar battery 1037 Installing an option board/memor y/calendar batter y Opening and closing the front panel Y ou must read “Safety precautions” on page 1035 before you install anything.
Appendices 1038 Installing the EXB-DI 1. Open the front panel as described in “Opening and closing the front panel,” steps 1–6. 2. Remove the EXB-DI from its bag.
Option boards/Memory/Calendar battery Installing an option board/memory/calendar battery 1039 3. Raise the cover to the angle shown in the following illustration; then pull out and remove it. Be careful not to dr op the cover or screws inside the OASYS.
Appendices 1040 Installing the calendar batter y 1. Open the front panel as described in steps 1–6 of “Opening and closing the front panel,” on page 1037. 2. Remove the two screws from the memory/calendar battery cover . 3. Raise the cover to the angle shown in the following illustration; then pull out and remove it.
Option boards/Memory/Calendar battery EXB-DI option 1041 EXB-DI option The EXB-DI option provides an ADA T™ Compatible Optical Output which digitally outputs the audio signal from the OASYS, and also allows the digital signal to be synchronized with another digital audio device.
Appendices 1042 Updating the system 1. Downloading the system file The most recent system file can be downloaded to your computer from the Kor g website (http://www .
Using the included Restore CDs to restore the system and factory sounds EXB-DI option 1043 Using the included Restore CDs to restore the system and factor y sounds If for some reason the OASYS will not start up normally , or some other problem occurs, you can use the included set of Restore CDs to r eturn the OASYS to its factory-preset state.
Appendices 1044 [ ] Restore OS and factor y sounds If for some reason the OASYS will no longer start up normally , try this option first. It does the following: • Restores the system software on the internal hard drive.
1045 V oice Name List Combinations INT -A # Name Categor y A000 Particles & W aves Synth A001 WS Layer Keys Keyboard A002 Orchestra & Timpani Orchestral A003 Locale Five BassSplits A004 Always W atching Y ou.
Voice Name List 1046 INT -B # Name Categor y B000 Pure Attitude Synth B001 California Phase Shifter Keyboard B002 Alexander's Folk-Dance Orchestral B003 W urly-Hop Split BassSplits B004 Motivation MotionSynth B005 Grind and Bump Drums/Hits B006 Natural Str .
1047 INT -C # Name Categor y C000 Summer Anthem EXs1 Synth C001 Electus Grandus EXs1 Keyboard C002 V elo Dynamic Orch. EXs1 Orchestral C003 Random Scattered Colours BassSplits C004 Nano W orlds EXs1 M.
Voice Name List 1048 S: single program, D: double pr ogram, : drums program d S: single program, D: double pr ogram, : drums program d Programs Bank INT -A [HD-1] # Name Categor y A000 S OASYS Piano K.
1049 S: single program, D: double pr ogram, : drums program d S: single program, D: double pr ogram, : drums program d Bank INT -B [HD-1] # Name Categor y B000 S 3 W ay Stereo Grand Keyboard B001 D Be.
Voice Name List 1050 S: single program, D: double pr ogram, : drums program d S: single program, D: double pr ogram, : drums program d Bank INT -C [HD-1] # Name Categor y C000 D Stereo Concer t Piano .
1051 S: single program, D: double pr ogram, : drums program d S: single program, D: double pr ogram, : drums program d Bank INT -D [HD-1] # Name Categor y D000 D Classic Piano Knob6 Keyboard D001 D BPM Ribbon Trance MotionSynth D002 D A.
Voice Name List 1052 S: single program, D: double pr ogram, : drums program d S: single program, D: double pr ogram, : drums program d Bank INT -E [HD-1] EXs1 # Name Categor y E000 D OASYS Piano-Damper EXs1 Keyboard E001 D Coming Home EXs1 MotionSynth E002 D Dist.
1053 A: AL-1, C: CX-3, -: Off A: AL-1, C: CX-3, -: Off Bank INT -F [EXi] # EXi1/2 Name Categor y F000 A/A Giant Rotar y SW1,2 MotionSynth F001 A/A V ocalisms SW1 Split V ocal/Air y F002 A/A Piano Wire.
Voice Name List 1054 MS: MS-20EX, P6: PolysixEX, S: STR-1, A: AL-1, C: CX-3, -: Off MS: MS-20EX, P6: PolysixEX, S: STR-1, A: AL-1, C: CX-3, -: Off Bank USER-D [EXi] LAC-1 # EXi1/2 Name Categor y D000 .
1055 S: STR-1, A: AL-1, -: Off S: STR-1, A: AL-1, -: Off Bank USER-E [EXi] # EXi1/2 Name Category E000 S/S Nylon STR-1 Acoustic Guitar/Plucked E001 S/S 6 Steel Strings Guitar/Plucked E002 S/- Lovely Acoustic Guitar Guitar/Plucked E003 S/S Distortion Guitar 1 VJS Guitar/Plucked E004 S/- Sitar SW1 STR-1 Guitar/Plucked E005 S/- A.
1056 A: AL-1, C: CX-3, -: Off A: AL-1, C: CX-3, -: Off Bank USER-F [EXi] # EXi1/2 Name Categor y F000 C/- Felix'sDaKat Organ F001 C/- Perc Organ 1 SW1 Organ F002 C/- Memphis Soul Organ F003 C/- Mr.
1057 S: single program, D: double pr ogram, : drums program d S: single program, D: double pr ogram, : drums program d Bank G / g(1)…g(9) / g(d) # Name Categor y GM001 S Acoustic Piano Keyboard g(1)001 S Acoustic Piano w Keyboard g(2)001 S Acoustic Piano d Keyboard GM002 S Bright Piano Keyboard g(1)002 S Bright Piano w Keyboard GM003 S El.
Voice Name List 1058 S: single program, D: double pr ogram, : drums program d S: single program, D: double pr ogram, : drums program d GM061 S French Horn Brass g(1)061 D W arm French Hor n Brass GM06.
1059 Bank USER-A [HD–1] EXs2 Dr um Kits GM Drum Kits # Name Categor y A000 D OASYS Piano EXs2 Keyboard A001 D St. Concert Piano EXs2 Keyboard A002 D 3 W ay Stereo Grand EXs2 Keyboard A003 D Deep OAS.
1060 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1061 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1062 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1063 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1064 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1065 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern...Phase Gr oup [ ] = can be controlled or changed by GE Parameters. 358 E.Piano 06 CL1 - Comp/Lead 1 Generated-Riff [Regular] 10 -- VE -- -- [On] [On] 8 1 1 1 1 1 1 1 1 359 E.
1066 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1067 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1068 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1069 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1070 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1071 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1072 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1073 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1074 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1075 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1076 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1077 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1078 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1079 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1080 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1081 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1082 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1083 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1084 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1085 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1086 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1087 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1088 GE T ype...GE Group, Note T ype...Note Series Group, CC-A/B...CCs Gr oup, Env T ype...Envelope Group Bend...Bend Gr oup, Repeat...Repeat Group, Phase Pattern.
1089 KARMA RTC Names # Name 000 [no name] 001 Alternate Drum Map 002 Alternate DrumMap On/Off 003 Arp<->Gated<->Fixed 004 Arpeggio<->Gated 005 Auto Transpose On 006 Bend (Note) On/Of.
1090 311 Note Patter n <-> Chord 312 Note Patter n [1] 313 Note Patter n [2] 314 Note Pattrn<>Rand[1] 315 Note Pattrn<>Rand[2] 316 Note Pattrn<>Random 317 Note Random Jump 318 .
1091 External Setups 000: NI Pro53 001: Atmosphere 002: B4 003: FM7 (requires FM7 controller file) Controller Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 Knob7 Knob8 Name Filter Cutoff Filter Resonance Filte.
1092 004: Subtractor (Reason) 005: NNXT (Reason) 006: Dr .Rex (Reason) 007: Redrum (Reason) 8-channel mixer Controller Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 Knob7 Knob8 Name Filter1 Cutoff Filter1 Reson.
1093 008: Redrum (Reason) 8-channel Editor 009: Malstrom (Reason) 010: Mixer (Reason) 011: NN-19 (Reason) Controller Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 Knob7 Knob8 Name Drum1 Pitch Drum2 Pitch Drum3 .
1094 012: Legacy MS-20 013: Legacy Polysix 014: NI Elektrik Piano 015: USB Ultra Focus Controller Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 Knob7 Knob8 Name VCO1 W aveform VCO1 Level VCO2 W aveform VCO2 Lev.
1095 016: 8-channel MIDI Mixer 000: NI Pro53 002: B4 003: FM7 (requires FM7 controller file) 014: NI Elektrik Piano These product names are the trademarks or registered trademarks of NA TIVE INSTRUMENTS Software Synthesis GmbH. 001: Atmosphere This product name is a trademark or a registered trademark of Spectrasonics.
1096 Multisamples ROM mono # Name 0000 Acoustic Piano 1 mf -L 0001 Acoustic Piano 1 mf -R 0002 Acoustic Piano 1 f -L 0003 Acoustic Piano 1 f -R 0004 Acoustic Piano 1 ff -L 0005 Acoustic Piano 1 ff -R 0006 Acoustic Piano 1 mf-mono 0007 Acoustic Piano 1 f-mono 0008 Acoustic Piano 1 ff-mono 0009 A.
1097 0308 El.Guitar Muted 3 V AR 0309 Acoustic Bass 1 0310 Acoustic Bass 2 mp 0311 Acoustic Bass 2 mf 0312 Acoustic Bass 2 f 0313 Acoustic Bass 2 Noise a 0314 Acoustic Bass 2 Noise b 0315 El.Bass-Finger 1 0316 El.Bass-Finger 2 0317 El.Bass-Finger 3 PB 0318 El.
1098 0620 VS36 0621 VS37 0622 VS38 0623 VS39 0624 VS40 0625 VS41 0626 VS42 0627 VS43 0628 VS44 0629 VS45 0630 VS46 0631 VS47 0632 VS48 0633 VS49 0634 VS50 0635 VS51 0636 VS52 0637 VS53 0638 VS54 0639 .
1099 0932 "Thuum" 0933 "Kaahh" 0934 "T chh" 0935 "Pan" 0936 "Ti" 0937 "Cap" 0938 "Chhi" 0939 "Tinn" 0940 "Haaa".
1100 ROM stereo 1244 Industr y Hit 26 1245 Industr y Loop 1 1246 Industr y Loop 2 1247 Industr y Loop 3 1248 V oice 01 1249 V oice 02 1250 V oice 03 1251 V oice 04 1252 V oice 05 1253 V oice 06 1254 V.
1101 EXs1 mono EXs1 stereo EXs2 mono EXs2 stereo # Name 0000 Acoustic Piano 1 mp -L 0001 Acoustic Piano 1 mp -R 0002 Acoustic Piano 1 mp-mono 0003 Acoustic Piano 2 mf -L 0004 Acoustic Piano 2 mf -R 0005 Acoustic Piano 2 ff -L 0006 Acoustic Piano 2 ff -R 0007 Acoustic Piano 3 0008 Acoustic Piano 4 0009 Piano Damper -L 0010 Piano Damper -R 0011 E.
1102 Drumsamples ROM mono # Name 0000 BD-01-amb f 0001 BD-01-amb ff 0002 BD-02-amb mf 0003 BD-02-amb f 0004 BD-03-amb mf 0005 BD-03-amb f 0006 BD-04-amb mf 0007 BD-04-amb f 0008 BD-05-amb mp 0009 BD-0.
1103 0308 SD-Dance 61 0309 SD-Dance 62 0310 SD-Dance 63 0311 SD-Dance 64 0312 SD-Dance 65 0313 SD-Dance 66 0314 SD-Dance 67 0315 SD-Dance 68 0316 SD-Dance 69 0317 SD-Dance 70 0318 SD-Dance 71 0319 SD-.
1104 0620 Bongo 1 Lo-Closed 0621 Bongo 1 Lo-Flam 0622 Bongo 1 Lo-Muffl edFlam 0623 Bongo 1 Lo-Stick 0624 Bongo 1 Lo-StickEdge mf 0625 Bongo 1 Lo-StickEdge f 0626 Bongo 1 Lo-StickBounce 0627 Bongo 1 L.
1105 0932 Jew's Harp 03 0933 Jew's Harp 04 0934 Jew's Harp 05 0935 Jew's Harp 06 0936 Jew's Harp 07 0937 Jew's Harp 08 0938 Jew's Harp 09 0939 Jew's Harp 10 094.
1106 EXs1 mono 1244 Machine Gun 1245 Laser Gun 1246 Cannon 1 1247 Cannon 2 1248 Cannon 3 1249 Explosion 1250 Thunder 1251 Wind 1252 Stream 1253 Bubble 1254 ChurchBell 1255 Old T elephone-Ring 1256 T e.
1107 0155 SD-08-dr y f -L 0156 SD-08-dr y f -R 0157 SD-08-dr y ff -L 0158 SD-08-dr y ff -R 0159 SD-09-dr y mp -L 0160 SD-09-dr y mp -R 0161 SD-09-dr y mf -L 0162 SD-09-dr y mf -R 0163 SD-09-dr y f -L .
1108 0467 T om Rock1-dr y Lo ff -L 0468 T om Rock1-dr y Lo ff -R 0469 T om Rock1-dr y Mid mp -L 0470 T om Rock1-dr y Mid mp -R 0471 T om Rock1-dr y Mid mf -L 0472 T om Rock1-dr y Mid mf -R 0473 T om R.
1109 0779 Conga Hi-Open mf -L 0780 Conga Hi-Open mf -R 0781 Conga Hi-Open f -L 0782 Conga Hi-Open f -R 0783 Conga Hi-OpenFlam -L 0784 Conga Hi-OpenFlam -R 0785 Conga Hi-OpenSlap -L 0786 Conga Hi-OpenS.
1110 1091 Shaker 1-Pull a -R 1092 Shaker 1-Pull b -L 1093 Shaker 1-Pull b -R 1094 Shaker 1-Accent a -L 1095 Shaker 1-Accent a -R 1096 Shaker 1-Accent b -L 1097 Shaker 1-Accent b -R 1098 Shaker 1-Slow .
1111 EXs1 stereo 1403 V ocoder V oice 27 "Four" 1404 V ocoder V oice 28 1405 V ocoder V oice 29 1406 PC V oice 1-06 "One" 1407 PC V oice 1-07 "Three" 1408 PC V oice 1-08 .
1112 0229 T om Vintage Hi ff 0230 T om Rock1-dr y Lo mp 0231 T om Rock1-dr y Lo mf 0232 T om Rock1-dr y Lo f 0233 T om Rock1-dr y Lo ff 0234 T om Rock1-dr y Mid mp 0235 T om Rock1-dr y Mid mf 0236 T o.
1113 These sounds Processed with INFINITY™. 0541 Shaker 1-Accent b 0542 Shaker 1-Slow a 0543 Shaker 1-Slow b 0544 Shaker 1-Slow c 0545 Shaker 1-Roll a 0546 Shaker 1-Roll b 0547 Shaker 1-Roll c 0548 .
1114 W ave Sequences INT # Name INT000 19 Orch/Band HITS INT001 Ac.Guitar Rhythm 01 INT002 Air Rotation INT003 Alter nating Currents INT004 Analog Wave Advance INT005 B/W Hi Hat INT006 BabbleBeat INT007 Bell Boyz INT008 Bell Breath INT009 Bell Morph INT010 Bell Ringer INT011 Bell W aveseq.
1115 Preset Patterns T emplate Songs # Name (Pattern/Dr um kit) P000 Pop&Balad 1/Std P001 Pop&Balad 2/Std P002 Pop&Balad 3/Std P003 Pop&Balad 4/Std P004 Pop&Balad 5/Std P005 Pop&am.
1116 Demo Songs 0. Sinfonia Russe EXs1 1. Love Embraces All EXs1 2. TEKNOSYS EXs1 3. Night On The T own 4. Primitive Song 00 “Sinfonia Russe EXs1” Song 02 “TEKNOSYS EXs1” by Peter Schwartz ©2005 Peter Schwartz - all rights reser ved Song 01 “Love Embraces All EXs1” by Rogers Benjamin Dowling ©2005 Visionsound Music (www .
K ORG INC. 4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan © 2005 KORG INC. IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used.
An important point after buying a device Korg Electronic Keyboard (or even before the purchase) is to read its user manual. We should do this for several simple reasons:
If you have not bought Korg Electronic Keyboard yet, this is a good time to familiarize yourself with the basic data on the product. First of all view first pages of the manual, you can find above. You should find there the most important technical data Korg Electronic Keyboard - thus you can check whether the hardware meets your expectations. When delving into next pages of the user manual, Korg Electronic Keyboard you will learn all the available features of the product, as well as information on its operation. The information that you get Korg Electronic Keyboard will certainly help you make a decision on the purchase.
If you already are a holder of Korg Electronic Keyboard, but have not read the manual yet, you should do it for the reasons described above. You will learn then if you properly used the available features, and whether you have not made any mistakes, which can shorten the lifetime Korg Electronic Keyboard.
However, one of the most important roles played by the user manual is to help in solving problems with Korg Electronic Keyboard. Almost always you will find there Troubleshooting, which are the most frequently occurring failures and malfunctions of the device Korg Electronic Keyboard along with tips on how to solve them. Even if you fail to solve the problem, the manual will show you a further procedure – contact to the customer service center or the nearest service center
