Saving Your Edited Settings; Important Editing Parameters - Korg WAVEDRUM Owner's Manual

Saving your edited settings

If you would like to use your edited program again later,
you'll need to save it. If you've edited a program and then
power-off or switch to a different program without sav-
ing it, the changes that you made will be lost.
Changes you make to the settings of Global mode will
also be lost if you power-off without saving. After edit-
ing, be sure to save your changes if you want to keep
them.
Never turn off the power while data is being saved.
Doing so may harm the memory.
Saving a program
This operation will save all of the Edit 1 and Edit 2 mode
parameters of the program that is currently selected.
1.
In Edit 1 or Edit 2 mode, press the WRITE but-
ton.
The WRITE button will blink, and the save-destina-
tion program number 0 0 – 9 9 will blink in the dis-
play. You can't save to P 0 0 – P 9 9 .
2.
Turn the VALUE knob to select the program num-
ber for the desired save location.
note: When you save a program, the contents of the
destination program will be lost.
3.
Press the WRITE button once again; the program
will be saved, and you'll return to Live mode.
If you decide not to save, press any button other than
the WRITE button.
When you save, the button where the edited program
had been assigned will be reassigned to the newly
saved program (number).
Saving global settings
This operation will save all Global mode parameters
other than the loop phrase start/stop setting. When you
turn on the power, the loop phrase will be stopped.
1.
In Global mode, press the WRITE button. The
WRITE button will blink, and the display will
blink G L b .
2.
Press the WRITE button once again; the settings
will be saved.
If you decide not to save, press any button other than
the WRITE button.
Editing Saving your edited settings

Important editing parameters

Tune and decay
Edit 1 – Tune ( t u n ): This adjusts the pitch.
Depending on the algorithm, the pitch may change
smoothly or in semitone steps. Also depending on the
pitch, this may affect the vibration of the skin, or the
body resonances.
For algorithms where the Tune parameter has a special
role, its specific function is described separately for each
algorithm (See pages 16, 26).
For PCM instruments, you can adjust the pitch in semi-
tone steps in a range of four octaves up or down.
Edit 1 – Decay ( d c Y ): This adjusts the time it takes for the
sound to decay.
Like the Tune parameter, there are cases where the
Decay parameter will affect only the vibration of the
skin, or the body resonance.
For algorithms where the Decay parameter has a special
role, its specific function is described separately for each
algorithm (See pages 16, 26).
Head and rim volume and pan
Edit 1 – Level ( L E U ): This adjusts the volume balance
between the head and rim.
Edit 1 – Pan ( P a n ): This adjusts the panning of the head
and rim.
Edit 2 – Pre EQ ( E q ): Use this to select the EQ/amp type
that will be most appropriate, depending on whether
you're using your hand or a stick to strike the drum.
Reverb and delay
Edit 1 – Reverb ( r E b ): This adjusts the reverberation
added to the sound. You can adjust the reverb type and
depth.
Edit 1 – Delay ( d L y ): This adjusts the delay that is added
to the sound. You can adjust the delay time and depth.
Algorithm
The WAVEDRUM implements a variety of synthesis
methods in software, including analog, additive, non-lin-
ear, and physical modeling. These methods are then
combined, and the result is processed. These combina-
tions are called "algorithms ," and the WAVEDRUM con-
tains 36 different algorithms. An algorithm collects the
elements that determine the sound of an instrument or
other sound-producing object, and combines these ele-
ments in a wide variety of ways. This means that when a
source sound (such as the sound of a drum head being
struck) is passed through an algorithm, it will be output
as a sound that is uniquely transformed by the character-
istics of that algorithm, for example becoming the sound
of a snare drum, the ringing of a bell, or the sound of a
metal pipe being struck.
Each algorithm consists of different elements that deter-
mine the sound in various ways, and each element is
expressed as an "amount" (large/small, long/short, posi-
tive/negative) such as the size of a guitar's body, the
depth of a snare's shell, the length of a pipe, or the den-
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