Korg PS60 Owner's Manual page 42

Editing
Editing the filter
The filter modifies the tonal character by allowing just
the high-frequency, low-frequency, or a specific
frequency band of the sound to pass through.
• Adjust the cutoff frequency to modify the tonal
character. "Cutoff (Filter Cutoff)" (p. 41)
In the case of a low pass filter, the filter will vary the
brightness of the sound. Normally, lower settings will
make the sound darker, and higher settings will make
the sound brighter.
Level
LPF
Low
Cutoff
frequency
In the case of a high-pass filter, sound will be removed
from the low-frequency range, making the sound
thinner.
Level
Cutoff
frequency
Note: The way in which the effect occurs will depend
on the program's filter type and routing ( "Filter,"
PG p.35).
• Resonance emphasizes the region near the cutoff
frequency (see diagram below) "Resonance (Filter
Resonance)" (p. 41).
This emphasis will not occur if the resonance is set to
0; the frequency region beyond the cutoff will be
attenuated smoothly.
With moderate settings, the resonance will modify the
tonal character of the filter, producing a nasal
character or possibly a more intense sound. With
extremely high settings, an oscillation reminiscent of
whistling will occur.
• You can use the EG and LFO to apply time-varying
change to the filter's cutoff frequency.
Filter EG
The filter EG controls the filter's cutoff frequency to
create time-varying change in the tonal character.
The depth of the effect produced by the filter EG is
specified by "Flt EG Int (Filter EG Intensity)" (p. 41).
The filter EG's envelope is specified by the "Filter/Amp
EG" (p. 41) and "Filter EG" (p. 41) settings.
38
Frequency
High
HPF
LFO1 2
LFO1, LFO2, and the Common LFO control the filter's
cutoff frequency to create cyclic change in the tonal
character. You can use this to create an auto-wah effect.
The depth of the effect produced by the filter LFO is
specified by the "FltLFO1toA (Filter LFO1 Intensity to
A)," "FltLFO1toB (Filter LFO1 Intensity to B),"
"FltLFO2toA (Filter LFO2 Intensity to A)," and
"FltLFO2toB (Filter LFO2 Intensity to B)" settings
(p. 44).
The speed etc. of the effect is specified by the "LFO"
(p. 42).
Editing the amp
• You can produce a variety of changes in the amp
volume by applying modulation to the amp.
The amp EG and LFO are used to control the volume.
Amp EG
Different sounds have characteristic shapes to their
volume levels.
For example, the volume of a piano note begins at a
high volume the instant you play the note, and then
decreases gradually.
The volume of an organ note, on the other hand,
remains constant as long as you continue pressing the
key.
The volume of a note on a violin or wind instrument
can be varied during the note by the musician (i.e., by
regulating the amount of pressure on the bow or the
force of the breath).
Piano
Volume
Volume decays gradually
Time
The amp EG applies time-varying change to the
oscillator volume.
Conversely, by changing the volume contour–for
instance, applying a string-like Amp EG curve to an
organ multisample– you can produce interesting and
unusual sounds.
The amp EG's envelope is specified by the "Filter/Amp
EG" (p. 41) and "Filter EG" (p. 41) settings.
LFO1, 2
These LFOs produce cyclic change in the volume
(tremolo effect).
The depth by which the LFOs modulate the volume is
specified by the "AMPLFO1Int (Amp LFO1 Intensity)"
and "AmpLFO2Int (Amp LFO2 Intensity)" settings of
OSC1 (or OSC2) (p. 44).
Organ
Volume
Volume remains constant
until note is released
Time