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Korg modwave native Manual

Korg modwave native Manual

Wavetable synthesizer
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WAVETABLE SYNTHESIZER
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  • Page 1 WAVETABLE SYNTHESIZER...

  • Page 2: Table Of Contents

    Contents Introduction ............................1 Main Features ........................................1 Structure ..........................................2 User Interface Elements ....................................2 Conventions in this manual ..................................3 Getting Started ............................4 Installation and updates ....................................4 Play page ........................................... 4 Edit pages .......................................... 7 Sound Browser ........................................ 9 Saving Sounds .......................................11 Modulation ........................................13 MIDI Learn ........................................14...
  • Page 3 Velocity Zones .......................................55 Modulation List page ...........................56 Modulation Sources ..........................58 Kaoss Physics ............................61 Overview .........................................61 Kaoss Physics page .......................................62 Kaoss Physics settings ....................................63 Kaoss Launch .........................................64 Envelopes .............................65 Filter/Amp/Osc 1/Osc 2 Envelope ................................65 Filter/Amp/Osc 1/Osc 2 Envelope Curve ..............................65 Filter/Amp/Osc 1/Osc 2 Envelope Trigger ............................66 LFOs ..............................67 Filter/Amp/Pitch/Osc 1/Osc 2 LFO ................................67 Key Track ...............................70...
  • Page 4 Troubleshooting ..........................95 No sound .........................................95 The sound has clicks, pops, or noise ...............................95 Sound is delayed ......................................95 Can’t control the software synthesizer from a MIDI device connected to the computer .............95 Specifications ............................96 Operating requirements ...................................96 Support and service ..........................97 Before you contact us ....................................97 Information to provide when contacting us ............................97...

  • Page 5: Introduction

    Introduction Introduction Thank you for purchasing Korg’s modwave native software synthesizer. To help you get the most out of your new instrument, please read this manual carefully. Main Features In 1985, Korg’s DW-8000 combined digital wavetables with rich analog filters to give users sounds which were impossible to create with analog oscillators.

  • Page 6: Structure

    Categories, Collections, and search text. Each individual selector remembers these settings for as long as modwave native is open and unless a new parent sound is selected (for example, the Program is the parent sound of the Motion Sequence).

  • Page 7: Conventions In This Manual

    Press the Save icon to bring up the Save dialog. Note that this does not appear for items which can’t be edited within modwave native, such as Multisamples and Scales. Right-click/control-click (macOS) on the name to bring up a contextual menu. For most items, this includes options for saving and renaming.

  • Page 8: Getting Started

    Korg Software Pass application for installation and updates. Optionally, modwave native can check for updates automatically; see “Check for Updates” on page 18. Your software license is registered to your Korg ID. You can download the Korg Software Pass application and manage your Korg ID at https://id.korg.com.
  • Page 9 Getting Started 2: Kaoss Physics Press the power button to turn Kaoss Physics on and off. Presets let you store and recall all of the Kaoss Physics settings. Use the < and > arrows to step through Presets one by one, or click on the name to bring up a browser window. Start the motion by dragging and releasing the on-screen ball with your mouse or trackpad.
  • Page 10 16: Undo and Redo modwave native supports multiple levels of undo and redo for most actions, including importing data, deleting, renaming, editing Set Lists, editing parameters, and so on. For instance, you could import a bundle file containing a thousand objects, edit Filter Cutoff, rename all of your Programs, and finally add a new modulation routing to Amp LFO Frequency, and safely undo all actions in turn.

  • Page 11: Edit Pages

    Getting Started Edit pages 5: Program Select 1: Layer Select 6: Sync & Tempo 2: Page Tabs 7: Mod Knobs 3: Main Editing Area 8: Mod Inspector 4: Mod Sources The Synthesis, Sequencer, Setup, and Effects pages all follow this basic layout, and the other pages under Edit also include most of these elements.
  • Page 12 Getting Started When running as a stand-alone application, this changes to the Clock parameter, which lets you choose the MIDI clock source (Internal, External, or Auto). Tempo [40…300] This is the stored tempo for the Performance. It applies only if Sync To Host is Off (when running as a plug-in) or when Clock is set to Internal or Auto (when running stand-alone);...

  • Page 13: Sound Browser

    Important: The Search, Categories, and Collections settings continue to affect data selection, even after the Sound Browser is closed. Each individual selector remembers these settings for as long as modwave native is open and unless a new parent sound is selected (for example, the Program is the parent sound of the Motion Sequence). For more information, see “Selectors”...
  • Page 14 Getting Started Favorite icon 5: Info panel This panel lets you view the metadata for the selected items, including the Name, Collection, Categories 1 & 2, Author, and Notes. The Inspector panel can be resized by dragging its left edge. 6: Select/Cancel Press Select to confirm the selection and close the window, or Cancel to revert to the previous selection.

  • Page 15: Saving Sounds

    Getting Started Saving Sounds The Performance, with its two Layers, is the main way of selecting, editing, and saving sounds. While you can save Programs, Motion Sequences, Motion Sequence Lane Presets, and Effects Presets, you don’t have to do so: all data is contained in the Performance.
  • Page 16 Getting Started Right-click/control-click (macOS) on the name and select the Rename… command in the contextual menu. 5. Select Rename. 6. Enter the new name, and press OK to confirm. Names can be up to 24 characters long. 7. Make sure to save the Performance once you’re done.

  • Page 17: Modulation

    Filter Cutoff, can have up to 31 incoming modulation routings. There is no fixed limit on the total number of modulation routings. For descriptions of all of modwave native’s modulation sources, see “Modulation Sources” on page 58.

  • Page 18: Midi Learn

    To use MIDI Learn with the Mod Knobs: 1. Route a MIDI controller to modwave native. 2. Right-click/control-click (macOS) on the desired Mod Knob. A contextual menu will appear.

  • Page 19: Automation

    Getting Started A new modulation routing will appear. 4. Right-click/control-click (MacOS) on one of the Source selectors. A contextual menu will appear. 5. Select MIDI Learn from the contextual menu. 6. On the MIDI controller, move a knob, wheel, slider, etc. to generate a CC. The source will be set to the CC.

  • Page 20: Randomize

    Getting Started Randomize Randomize uses a combination of preset selection and select value randomization, rather than direct randomization of all parameters. To use Randomize: 1. Press the (Randomize) button at the top right of the window. The Randomize dialog will appear. 2.

  • Page 21: Main Menu

    This opens the Korg app Help Center (https://support.korguser.net) in your browser. About This shows the software version number and abbreviated credits. modwave native is the result of a team effort, built through the talents of many more people than can be listed on-screen!

  • Page 22: Settings

    Main Menu Settings Open this dialog using the Settings selection in the Main Menu. Check for Updates [Check Automatically, Check now...] Check Automatically: When this is enabled, the software checks at startup to see if a new version is available. If so, a dialog appears with a download link.
  • Page 23 Main Menu Velocity curve Velocity e ect MIDI Velocity 1 (Heavy), 2, 3: These are for heavy playing; most of the variation occurs in the upper velocity range. 4 (Normal): This is the default. 5, 6: These are for lighter playing. 7: This is for very light playing, at the expense of control in the middle of the range.
  • Page 24 The value shown for A4’s frequency assumes that the scale is set to Equal Temperament. If a different scale is selected, the actual frequency of A4 may be different. Global MIDI Channel [1…16] This is the basic MIDI channel for modwave native. It applies to: MIDI received by any Layer with Use Global MIDI Channel enabled • •...
  • Page 25 GPU usage. Generally speaking, Core Graphics is recommended for Apple Silicon-based hardware (such as M1 and M2 processors), and Open GL is recommended for Intel-based hardware. All instances of modwave native must be re-loaded before changes take effect; a reliable way to do this is to restart your DAW.

  • Page 26: User Sample Banks

    User Sample Banks simultaneously. Note that the hardware modwave can load only one at a time; this is the only significant difference between the hardware and modwave native. All of the Banks must be placed in a single, user-specified folder. To set the location of this folder: 1.

  • Page 27: Synthesis Page

    Synthesis page Synthesis page 1: Oscillator Mode 2: Program Select 3: Layer Select 4: Osc Select 5: A/B Blend For information on all of the standard Edit page elements, see “Edit pages” on page 7. 1. Oscillator Mode This three-way switch controls the basic capabilities of the current Oscillator. A plays a single Wavetable, A/B plays a blend of two phase-synchronous Wavetables, and Sample plays a Multisample.

  • Page 28: Oscillator 1/2

    Osc 1 and Osc 2 can each play either a single Wavetable, a modulatable blend of two Wavetables, or a Multisample. modwave native ships with over 200 Wavetables, and you can also import your own. The sound of the Wavetables can be changed in different ways.
  • Page 29 Synthesis page Even + Clip: This combines Even Only and Hard Clip, producing a brighter version of the Wavetable with increased overtones with only even harmonics. Skip + Clip: This combines Skip Every 3 and Hard Clip, producing a brighter version of the Wavetable with increased overtones and with every third harmonic removed.
  • Page 30 Synthesis page A/B Blend [0.00...100.00] This appears only if Mode is set to A/B. It controls the balance between Waves A and B. Use this to combine characteristics of two different Wavetables (such as a pure-sounding table and a buzzy-sounding one), or the same Wavetable processed by two different Wavetable Modifiers.
  • Page 31 Synthesis page Xfd Width (Crossfade Width) [0.00...100.00] As the Position changes, the Wavetable changes from one waveform to another. When changing between two adjacent waveforms, the transition can be gradual or immediate. Xfade Width controls the amount of the Position range spent interpolating between neighboring waveforms vs.
  • Page 32 Synthesis page gentle (for percussive sounds) or to make them start more quickly (for sounds with slow attacks). The number of available offsets will vary depending on the specific Multisample. If no alternate start points are available, this will show n/a. Channel [Stereo, Left, Right, n/a] This applies to stereo Multisamples only;...

  • Page 33: Filter

    Synthesis page Pitch and Phase Octave [–2, –1, 0, +1, +2] This sets the basic pitch of the Oscillator, in octaves. The default is 0. Transpose [–12…+12] This adjusts the pitch of the Oscillator in semitones, over a range of ±1 octave. For Multisamples this also affects the index into the Multisample map, potentially changing the sample selection, similar to transposing the entire keyboard.
  • Page 34 MS-20 LP and HP: These 12dB/octave, self-resonating filters lovingly recreate the distinctive timbral signature of the classic Korg MS-20. Raising Resonance will cause increasing amounts of saturation and overdrive, creating a more aggressive tone. Input volume can have a strong effect on this character; for more information, see “Gain” on page 31.
  • Page 35 Synthesis page 2-Pole LP/HP/BP/BR (Resonance) Bass [Full, Tight] This is available only when Type is one of the 2-pole Resonant or 4-pole Resonant settings, or Multi Filter. Resonance Bass controls the character of the filter resonance at low cutoff frequencies. Its effect is most noticeable with high Resonance settings.
  • Page 36 Synthesis page Multi Filter Advanced settings To dive even deeper into the Multi Filter, press the Advanced button. This appears only when Multi Filter is selected, and replaces the normal filter controls with the Mode 1, Mode 2, and Manual controls, as described below. To exit Advanced mode, press Advanced again.

  • Page 37: Common Pitch

    Synthesis page Common Pitch These settings apply to the entire Program, including Osc 1/2 and the Sub Oscillator. Octave [–2, –1, 0, +1, +2] This sets the basic pitch, in octaves. The default is 0. Transpose [–12…+12] This adjusts the pitch in semitones, over a range of ±1 octave. For Multisamples this also affects the index into the Multisample map, potentially changing the sample selection, similar to transposing the entire keyboard.

  • Page 38: Amp

    Synthesis page Portamento Portamento [Off, On] Portamento lets the pitch glide smoothly between notes, instead of changing abruptly. On: Turns on Portamento, so that pitch glides smoothly between notes. Off: Turns off Portamento. This is the default. Fingered [Off, On] Fingered applies only when Portamento is On.
  • Page 39 Synthesis page Key Track [–100%…+100%] This adjusts the intensity of Key Track’s effect on the level. For more information, see “Key Track” on page 70. [L100…L1, C0, R1…R100] This sets the left-right pan. Note that this can be modulated per voice! Random Pan [Off, On] Off: The normal pan controls, above, apply.

  • Page 40: Motion Sequencing 2.0

    Motion Sequencing 2.0 Motion Sequencing 2.0 Overview Motion Sequencing 2.0 is evolved from the wavestate’s Wave Sequencing 2.0. Sequences run individually for each voice. Timing, Pitch, Shape, and four sets of Step Sequence values (Seq A-D) are separated into “Lanes. ” Each lane can have a different number of Steps, its own Loop Start and Loop End, and its own loop direction or step order randomization.

  • Page 41: Sequencer Page

    Motion Sequencing 2.0 Sequencer page This page shows a real-time overview of the Motion Sequence for the Program’s newest-sounding voice. Note: Through modulation and probability, each voice in each Lane of each Motion Sequence may be on different steps, and may also have different Start/End settings. 1: Motion Sequence selector 2: Sync Notes 3: Use Master &...

  • Page 42: Motion Sequence

    Motion Sequencing 2.0 6: Motion Sequence Inspector This area shows details for the currently selected Lane or Step. To edit Lane parameters, click on the Lane’s title. To edit Step parameters, click on a Step. 7: Mod Inspector This shows the modulation routings for the selected parameter. You can add or delete routings from the list, adjust modulation intensity, and change the selected Mod Sources (including adding a second Mod Source for routings created by drag-and-drop).

  • Page 43: Standard Lane Controls

    Motion Sequencing 2.0 On: If at least one note of the Program is already playing, the Motion Sequence lanes for newly played notes will start on the same steps as those of the oldest note. See the graphic below. There may still be variations due to per-note modulation or Probability.

  • Page 44: Step Probability

    Motion Sequencing 2.0 Note Advance When this is On, each note played will increment the Start Step by one. Try using this with the Arpeggiator! Random Order When this is On, the Steps will play in a different order every time the loop repeats. To understand how Random Order works, imagine that each Step is on a note-card.
  • Page 45 Motion Sequencing 2.0 Tempo [Off, On] Tempo controls both the Master Lane and the Timing Lane. The Timing Lane Speed parameter is affected as well; see its entry below for details. Off: Master Lane Loop Duration and Timing Lane Step Duration are set by time, in seconds. On: Master Lane Loop Duration and Timing Lane Step Duration are set by rhythmic values.

  • Page 46: Pitch

    Motion Sequencing 2.0 modulating the Sample Lane Start Step by velocity, you can create a sound with up to 64 velocity switches. For instance, you can use this to switch between a large number of different Shapes. Duration [Tempo Off: 0.0000…10.0000 seconds] [Tempo On: List of rhythmic values] If Tempo is Off, you can set the length of the step in seconds.
  • Page 47 Motion Sequencing 2.0 (Scale Type) [Major, Minor, Hrmnic Maj, Hrmnic Min, Melodic Min, Dorian, Phrygian, Lydian, Mixolydian, Locrian, Penta Maj, Penta Min, Diminished, Half Dim, Augmented, Whole Tone, Tritone, Blues, Bebop Dom, Flamenco, Romani, Hungarian, Persian, Harmonics, Acoustic, Enigmatic] This selects the scale to which the generated notes will be confined. It only applies if Fit To Scale is On. Notes generated by Pitch Lane (if Scale Key = C) Scale Major...

  • Page 48: Shape

    Motion Sequencing 2.0 This applies only if the Pitch Lane Transition parameter is set to Individual. Off: Pitch will change abruptly at each step. This is the default. Lin: The pitch will glide linearly from step to step. Exp: The pitch will glide from step to step, with most of the change at the end of the glide. Log: The pitch will glide from step to step, with most of the change at the start of the glide.

  • Page 49: Motion Sequence Steps Contextual Menu

    Motion Sequencing 2.0 Transition [Off, Lin, Exp, Log, Individual] This controls whether the value changes abruptly at each new step, or glides to the new value. Off: Pitch will change abruptly at each step. This is the default. Lin: The pitch will glide linearly from step to step. Exp: The pitch will glide from step to step, with most of the change at the end of the glide.
  • Page 50 Motion Sequencing 2.0 Copy Step This copies the selected Step(s), placing them on the clipboard. Paste Step These commands paste the Step(s) on the clipboard over the selected Step(s). If you have cut or copied multiple Steps, and then select a range of Steps as the Paste destination, the following will happen: •...

  • Page 51: Arp & Setup Page

    Arp & Setup page Arp & Setup page Arpeggiator Each Layer has its own Arpeggiator. Since this is in the Layer, you can leave the Arpeggiator set up and audition it with different Programs. See "Structure" on page 2. The Arpeggiator is particularly effective in conjunction with Note Advance, so that each generated note starts on a new step in the Lane.
  • Page 52 Arp & Setup page Down Alt1 Alt2 Random Octaves [1…4] This controls the range of the arpeggiated notes. 1 uses the pitches as played. 2-4 transpose upwards by the specified number of octaves. Sort [Off, On] Off: The Arpeggiator Patterns will be based on the order in which the notes were originally played. For instance, Up will play the notes in the originally played order, and Down will play the notes in reverse order.

  • Page 53: Layer Setup

    Arp & Setup page Trigger Latch [Off, On] Off: The Arpeggiator will only play as long as notes are being held on the keyboard (or via the damper pedal). On: The Arpeggiator will continue to play after notes are released. Sync Notes [Off, On] Off: The arpeggiator starts immediately when the first note is played, and does not synchronize to any Motion...

  • Page 54: Program Setup

    Arp & Setup page Rx Other CCs [Off, On] On: This is the default. The Layer will respond normally to MIDI CCs. Off: The Layer will ignore all MIDI CCs (except for CC#64), as well as Aftertouch, Poly Aftertouch, and Pitch Bend. Program Setup Volume [-Inf, -84.9…0.0 dB]...
  • Page 55 Arp & Setup page • Model the voice-leading of vintage synthesizers • Control the resources required by individual Programs This setting does not limit the Unison Voices parameter. For instance, if Max # of Notes is set to 6, and Unison Voices is set to 3, you can play up to 6 notes, each with 3 Unison voices.
  • Page 56 Arp & Setup page 1…100: Unison voices are detuned asymmetrically. This makes the detuning more complex, and changes the way in which the pitches beat against one another—like slightly out-of-tune oscillators in a vintage synthesizer. Higher numbers increase the effect. Stereo (Spread) [0…100] Stereo lets you create a wider stereo field when using Unison.

  • Page 57: Zones & Scales Page

    Zones & Scales page Zones & Scales page Performance Setup Hold [Off, On] This duplicates the Hold button at the top of the window. Use Hold to hold notes or chords, leaving your hands free for knobs and modulation. This works differently from the Damper Pedal. When Hold is On, notes or chords are held indefinitely until you play a new note or chord, at which point the previous notes are cut off and the new ones will sound.

  • Page 58: Performance Scale

    Zones & Scales page Tempo [40…300] This is the stored tempo for the Performance, duplicating the control above the Mod Knobs. It applies only if Sync To Host is Off (when running as a plug-in) or when Clock is set to Internal or Auto (when running stand-alone); otherwise, it is grayed out.

  • Page 59: Keyboard Zones

    Zones & Scales page Keyboard Zones High (A, B), Low (A, B) [C-1…G9] These set the highest and lowest notes on which the Layer will sound. Note: The graphic shows only the standard range of 88 notes. HFade (High Fade A, B) [0…127] 0: The High key acts as a hard split, with full volume on one side and silence on the other.

  • Page 60: Modulation List Page

    Modulation List page Modulation List page 1. Mod List 2. Show In Mod List 3. Mod Sources This page gathers together all of the modulation sources and modulation routings into a single screen. You can even edit the original values of the modulated parameters, along with all of the modulation settings. For general information on using modulation, see “Modulation”...
  • Page 61 Modulation List page 5: Mod Sources All of the main controllers and programmable modulation sources are shown here, including the keyboard with note number, velocity, aftertouch, and Pitch and Mod Wheels, Kaoss Physics, Envelopes, LFOs, Key Tracking, Mod Processors, and the Step Seq Lanes. Graphics show the mod source outputs, making it easy to figure out what’s creating a specific modulation effect.

  • Page 62: Modulation Sources

    Modulation Sources Modulation Sources Controllers This means that no modulation source is selected. Mod Wheel CC 1 This is the standard Mod Wheel (unipolar MIDI CC#1). Kaoss Bttn CC 12 This is the front-panel KAOSS button on the hardware modwave (unipolar MIDI CC#12). Damper CC 64 This is the damper or sustain pedal (unipolar MIDI CC#64).
  • Page 63 Modulation Sources Note Number This provides simple key tracking. C4 is the center, with a value of 0. Below C4 is negative, to a minimum at MIDI note 0; above C4 is positive, to a maximum at MIDI note 127. Aftertouch and Poly Aftertouch These are MIDI Aftertouch and Poly Aftertouch, respectively, representing pressure on the keyboard after note-on.
  • Page 64 Modulation Sources # Notes/Voices Resulting value 0.02 … … Poly Legato When you play a legato phrase, the first note of that phrase (and notes within 30 msec of the first note) has a Poly Legato value of 0.0. Subsequent notes in the phrase have a Poly Legato value of 1.0. CC + This is a list of MIDI CCs 1 to 119, interpreted as unipolar signals.

  • Page 65: Kaoss Physics

    Kaoss Physics Kaoss Physics Overview Kaoss Physics models a ball rolling on a surface. You can start the motion by dragging and releasing the on-screen ball with your mouse or trackpad, or launch the ball automatically using a trigger source such as Gate + Damper. You can also directly control the ball by dragging without releasing.

  • Page 66: Kaoss Physics Page

    Kaoss Physics modwave native’s Kaoss Physics MIDI Control in the Settings window. For more information, see “Kaoss Physics (Kaoss Physics MIDI Control)” on page 21. Kaoss Physics page 1. Kaoss Physics Preset 2. Kaoss Physics On/O 3. Control Area 4. Main...

  • Page 67: Kaoss Physics Settings

    Kaoss Physics 6. Drag To Create Routings To create modulation routings from Kaoss Physics, click and hold on the letters X, Y, A (for Angle), or D (for Distance), and then drag to the desired mod destination. For more information, see “Drag and drop modulation routings” on page Kaoss Physics settings Hold Position [Off, On]...

  • Page 68: Kaoss Launch

    Kaoss Physics Lag Time [0 msec...10 sec] This controls a set of lag filters which smooth out the modulation values generated by Kaoss Physics. 0 msec is the default; the modulation values directly represent the movement of the ball. Higher values create increasingly gentle transitions between values, smoothing out abrupt changes. Note: Lag Time affects only the modulation outputs, rather than the motion of the ball.

  • Page 69: Envelopes

    Envelopes Envelopes Filter/Amp/Osc 1/Osc 2 Envelope Attack (Attack Time) [0.000 ms…90 seconds] This sets how long the envelope takes to rise to the peak level. Decay (Decay Time) [0.000 ms…90 seconds] This sets how long it takes to settle from the peak to the Sustain level. Sustain (Sustain Level) [–100…+100 (Filter and Pitch) or 0…+100 (Amp)] This sets the level at the end of the Decay time.

  • Page 70: Filter/Amp/Osc 1/Osc 2 Envelope Trigger

    Envelopes A Curve of 10 (exp/log) sweeps through the waveforms quickly at the start of the envelope segment, and much more slowly at the end of the segment. By default, the Osc 1/2 Envelopes use 0 (linear) for all segments. Attack, Decay, Release Curves [0 (Linear), 1…9, 10 (exp/log)]...

  • Page 71: Lfos

    LFOs LFOs Filter/Amp/Pitch/Osc 1/Osc 2 LFO The five LFOs—Filter, Amp, Pitch, Osc 1, and Osc 2—all work identically. Tempo [Off, On] On: The LFO synchronizes to the system tempo, with its speed controlled by Base Note and Multiply. Off: The LFO speed is controlled by the Frequency parameter, in Hz. Base Note [List of rhythmic values] Tempo is On, this sets the basic speed of the LFO.
  • Page 72 LFOs Offset [–100…+100] By default, almost all of the LFO waveforms are centered around 0, and then swing all the way from -100 to +100. Offset lets you shift the LFO up and down, so that—for instance—it’s centered on 50, and then swings from -50 to +150.
  • Page 73 LFOs Sync Notes [Off, On] Off: The LFO starts each time you press a key, and an independent LFO runs for each note. This is the default. On: The LFO starts from the phase determined by the first note in the phrase, so that the LFOs for all notes being held are synchronized together.

  • Page 74: Key Track

    00.00 consistent across the entire range. Slope= +1.00 –1.00 The modwave native keyboard tracking can also be much Slope= –0.50 more complex, since it allows you to create different rates Slope= –1.00 of change over up to four different parts of the keyboard.

  • Page 75: Amp Key Track

    Amp Keyboard Tracking (“Key Track”) changes the volume as you play up and down the keyboard. This may be used to make the volume more consistent, or to create special effects. The modwave native’s Amp Key Track can be fairly complex, if desired. For instance, you can: •...
  • Page 76 Key Track Differences from Filter Keyboard Track Amp modulation works slightly differently from other mod routings, in that positive modulation is limited to 2x gain. For more information, see “Notes on Amp Modulation” on page 34. This means that, when applied to Amp Level, Amp Key Track’s negative Slopes act as if they are steeper than positive Slopes.

  • Page 77: Modulation Processors

    Modulation Processors Modulation Processors Overview Modulation Processors transform a modulation signal to make it into something new. The original modulation signal also remains available. There are two Modulation Processors per Program. The Modulation Processor outputs appear in the list of modulation sources, just like the LFOs and Envelopes. Type [Gate, Offset, Quantize, Scale, Curve, Smooth, Sum ] This controls the type of processing performed by the Mod Processor.

  • Page 78: Offset

    Modulation Processors Below Threshold [Fixed Value, Source] This sets the output of the Gate when the Control Source is less than the Threshold. When this is set to Fixed Value, you can set a value between -100% and +100%. When it is set to Source, you can select any modulation source. At &...

  • Page 79: Quantize

    Modulation Processors Quantize This changes a continuous signal into a series of discrete steps. Use this to change the shape of LFOs or envelopes, or to force a controller to land on a few specific values. Unipolar Bipolar (e.g. Mod Wheel) (e.g.

  • Page 80: Scale

    Modulation Processors Scale This processor uses a modulation source to scale the input. For instance, you can control the amount of an LFO with an Envelope, or control the amount of an Envelope with a MIDI controller. Input [List of Modulation Sources] This selects the main input for the Mod Processor.
  • Page 81 Modulation Processors Curve and Mode Bipolar Triangle Wave Unipolar Triangle Wave Asymmetric Asymmetric Symmetric (not recommended) +100 +100 –100 –100 Symmetric Curve = 0 (original waveform) +100 Curve = +100 Curve = -100 –100 Curve [–100.00%…+100.00%] This controls the amount of curvature, and whether the curves are concave or convex. As you can see in the graphic examples, the curve will emphasize certain value ranges, and deemphasize others.

  • Page 82: Smooth

    Modulation Processors Smooth This creates more gentle transitions between values, smoothing out abrupt changes such as a quick move on a wheel or a sharp edge on an LFO. You have separate control of the amount of smoothing during the attack (when the signal is increasing) and decay (when it’s decreasing).
  • Page 83 Modulation Processors Input = LFO Sum Source = Env Output...

  • Page 84: Effects Page

    Effects page Effects page 1: Mini Editor 2: E ect Type 3: E ect Preset 4: E ect On/O 5: Detailed Editor Overview Each Program has its own Pre FX, Mod FX, and Delay. 1. Mini Editor The three effects have “mini editors” with the most important parameters, providing a quick overview of all of the Program’s effects.

  • Page 85: Mini Editors

    Effects page Mini Editors Wet/Dry [Dry, 1:99…99:1, Wet] This controls the balance between the original signal (Dry) and the effected signal (Wet). FX Edit 1/2/3 Each effect has three “edit” controls. These are macros which may control multiple internal parameters, and which may be set up differently for each Preset.

  • Page 86: Mod Fx

    Polysix Ensemble This models the mono-in, stereo-out ensemble effect built into the classic Korg Polysix synthesizer. Small Phase This models a classic mono phaser made in New York City during the 70s, with its warm, rich tone and liquid transparency.

  • Page 87: Delay

    Effects page Vintage Chorus This models a mono chorus best-known for being built into a guitar amp. Speed and Depth provide a broader range of sounds than the original device. Vintage Flanger A model of a truly classic mono analogue flanger. This amazing stompbox’s bucket-brigade technology provides a sweeping, whooshing sound, perfect for chords.

  • Page 88: Reverb & Eq Page

    Reverb & EQ page Reverb & EQ page 4. Reverb Type 5. Reverb Preset 1. Reverb On/O 2. Layer A/B Reverb Sends 3. EQ On/O The Performance has a Master Reverb and Master EQ, shared by both Layers. See “Structure” on page 2. 1.

  • Page 89: Master Eq

    Reverb & EQ page Master EQ Performances include a dedicated parametric EQ after the Master Reverb. Use Trim to compensate for EQ boosts. The L (Low) and H (High) bands can be set to Peak, Shelf, or Cut (Low cut/High cut).

  • Page 90: Librarian Page

    What’s the Librarian for? The Librarian page shows all of the contents of the modwave native. It’s most useful for editing metadata for your own sounds, and for importing and exporting data. For selecting sounds, use the pop-up sound browser instead.
  • Page 91 Librarian page 4: Metadata columns For each item, the list shows the Type, Name, Collection, Category, Author, and Notes, as well as whether or not the item is locked factory data. You can drag the top of the columns to re-arrange them, or to resize the columns. Click on a column heading to sort;...

  • Page 92: Librarian Contextual Menu

    .mwbackup files), so that sounds are fully compatible between the two. The Import and Export commands let you: • Load new sounds • Transfer data between modwave native and the hardware modwave, or from one installation of modwave native to another • Back up and restore data...
  • Page 93 UUIDs modwave native uses a database to keep sounds organized. Internally, sounds are identified not by their names, but rather by a unique tag attached to the file, called a UUID (“Universally Unique Identifier”). This means that even if a sound’s name has been changed, the system still knows it’s the same sound.

  • Page 94: Importing Wavetables

    2. Edit the Wavetable as desired. 3. Save the results to a new .wav file, using the same name as the Wavetable in the modwave native’s database. Using the same name is important; see “Duplicates and file names, ” below.
  • Page 95 .wav-format Wavetables don’t have modwave native UUIDs until after they’ve been imported into the database (see “UUIDs” on page 89). So, to check for duplicate files, modwave native uses the name of the .wav file on disk. If you import a .wav-format Wavetable file, and it has the same name as a Wavetable already in modwave native’s database, the...

  • Page 96: Set Lists

    Set Lists Set Lists Set List window This window shows all 64 Slots of a Set List. You can open multiple Set List windows at once. If one of the windows shows the active Set List (as configured in the Settings dialog), the note “(Active)” appears after its name in the title bar. Set List window Slots selected for cut/copy/paste are outlined in blue “Active”...

  • Page 97: Editing Set Lists

    Set Lists Editing Set Lists Duplicating Set Lists To duplicate a Set List: 1. In the Librarian, set the Data Type to Set List. 2. Select one or more Set Lists. 3. Right-click/Control-click on one of the selected Set Lists to bring up the contextual menu. 4.

  • Page 98: Set List Contextual Menu

    Set Lists Destination Drag action Edit action Affect on Original Slots On top of a Slot Paste Different Set List Original Slots always remain unchanged Between Slots Insert Before Note that dragging to a different Set List always leaves the original Slots intact; option-drag is not required. Set List contextual menu Right-click or control-click (macOS) on a Slot to bring up the contextual menu.
  • Page 99 Troubleshooting Troubleshooting Please check the following points if you experience problems. No sound • Are the main Level or any other volume-related parameters set to 0? • Is your computer set to produce sound? • If you’re using Windows, open the Control Panel and check “Sound and Audio Device Properties. ” •...
  • Page 100 Specifications Specifications • Maximum polyphony: 32 notes (depending on the computer’s CPU) • Number of Layers: 2 • Presets: 250 • Effects: 31 types • Modulation: Most parameters can be modulated, including parameters of individual Motion Sequence Steps. Depending on Motion Sequence length, there can be more than 1,000 potential modulation targets per Program. •...
  • Page 101 Support and service Support and service If you have questions about the product, please contact the Korg distributor for the country in which you purchased it. Before you contact us • Before you contact us, check whether this manual or the Korg app Help Center (https://support.korguser.net) has an answer for your question.

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