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Korg Synthesizer User Manual

Dsp synthesizer option for trinity series music workstation drs
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  • Page 2: Table Of Contents

    Contents 1. Introduction --------------------- 1 Features of MOSS-TRI ----------------- 1 2. Bank M Program Structure -- 2 Program structure ------------------------ 2 Editing -------------------------------------- 3 Characteristics of each oscillator ---- 4 3. Parameters ---------------------- 5 Program Play Mode --------------------- 5 Program Play P1 ---------------------- 5 1–1: Program Play ------------------ 5 Program Edit Mode --------------------- 6 Program Edit P1 ---------------------- 6...

  • Page 3: Introduction

    Before you use this product, be sure to read the “Safety precautions” found at the beginning of the Parameter Guide. This guide explains the bank M parameters which are added when the MOSS-TRI DSP Synthesizer Option is installed (pre-installed in the Trinity V3 series). For details on parameters other than bank M, refer to your Parameter Guide, Basic Guide, and Effect Guide.

  • Page 4: Bank M Program Structure

    2. Bank M program structure Program structure Each program of bank M has the following structure. OSC Section Mixer Section Oscillator 1 Oscillator 2 LPF/HPF/BPF/BRF/2BPF Mixer Sub Oscillator LPF/HPF/BPF/BRF/2BPF Noise Generator LFO1 LFO2 LFO3 LFO4 Oscillator section This is the section which creates the waveform that is the basis of the sound. These settings are made by the “Program Edit P1”...

  • Page 5: Editing

    Filter section This section modifies the waveform by attenuating or emphasizing specific portions of the frequency spectrum. It contains two multi-mode filters. Each filter can be set to one of the following types: low pass filter, high pass filter, band pass filter, band reject filter, or dual band pass filter. This lets you modify the brightness of the sound.

  • Page 6: Characteristics Of Each Oscillator

    10:Brass Model to 13: Bowed String Model, OSC 2 will not be available for use. 01: Standard OSC This simulates the oscillator of an analog synthesizer. It can produce the same effects as an analog synthesizer, such as pulse width modulation ( 02: Comb Filter OSC This oscillator creates pitched sound from noise or an impulse.

  • Page 7: Parameters

    3. Parameters This section explains the bank M parameters which are added when the MOSS-TRI DSP Synthesizer Option is installed (pre-installed in the Trinity V3 series). For details on parameters other than bank M, refer to your Parameter Guide, Basic Guide, and Effect Guide.

  • Page 8: Program Edit Mode

    Program Edit Mode The Write Program item in the page menu commands of each page lets you write an edited program to the program number you specify. Be sure to write an edited program that you wish to keep. If you turn off the power or select another program before you write, the edited program cannot be recovered.
  • Page 9 1–1c: Assign/Hold Here, you can specify how notes will sound when keys are pressed. Voice Assign Selects whether the sound will be played monophonically or polyphonically. Mono (Multi): Multi-triggered monophonic playing. Mono (Single): Single-triggered monophonic playing Poly: Polyphonic playing When Poly is selected, the Retrigger Control and Threshold parameters will be unavailable. Priority Specifies the priority order that will be used when the number of keys pressed exceeds the maximum polyphony.
  • Page 10 1–1e: Scale Specifies the scale type Type (Scale Type) Selects the basic scale for the internal tone generator. The user scales can be specified in Global mode “3-1: User Scale” ( page 127 in Parameter Guide). Equal Temperament The most widely used scale, consisting of equally-spaced semitone steps. Pure Major The major chords of the selected key will be perfectly in tune.
  • Page 11 1–1f: Panel Switch Assign These parameters assign the function of the front panel SW1 and SW2 switches (assignable panel switches 1 and 2). AMSource AMSource The functions which can be assigned to SW1 and SW2 are the same (except for Modulation), and are as follows: JS(X) Lock, JS(+Y) Lock, JS(–Y) Lock, Ribbon(X) Lock, Ribbon(Z) Lock, After Touch Lock, JS &...

  • Page 12: 1-2: Osc Basic

    1–2: OSC Basic 1–2a 1–2b 1–2c 1–2d 1–2a: Multi Oscillator Synthesis Setup Here, you can make settings for the oscillator. The parameters that are set in “2-1: OSC 1” and “2-2: OSC 2” will differ depending on the oscillator type that is selected here. OSC 1 (Oscillator 1 Type) Selects the oscillator type for oscillator 1.
  • Page 13 1–2c: Bending Specifies the width of pitch change that will occur when the joystick is moved to left and right. JS(+X) (Joystick Intensity +X) Specifies the amount and direction of pitch change (in semitone units) that will occur when the joystick is moved to the right.

  • Page 14: 1-3: Osc 1 Pitch

    1–3: OSC 1 Pitch Here, you can make settings for the basic pitch of oscillator 1, pitch modulation, and pitch slope. 1–3a 1–3b 1–3c 1–3a: Basic Pitch Specifies the basic pitch of oscillator 1 Octave Specifies the basic pitch of oscillator 1 in steps of an octave. 32' is two octaves below, 16' is one octave below, 8' is standard pitch, and 4' is one octave above.

  • Page 15: 1-4: Osc 2 Pitch

    AMS.2 (Alternate Modulation Source 2) Selects a modulation source 2 ( page 64 of this manual) which will modify the pitch (e.g., apply vibrato). Intensity (Pitch AMS.2 Intensity) Specifies the depth and direction of the pitch change that will be controlled by “AMS.2.” 1–3c: Pitch Slope Specifies how pitch will change in relation to the keyboard (key) Center Key...

  • Page 16: Program Edit P2

    Waveform modulation Pulse width modulation (PWM) on an analog synthesizer produces time-varying change in the pulse width of a pulse wave. The waveform modulation provided by the MOSS-TRI option is an extension of this, which varies not only the pulse width but also the waveform of a sawtooth wave or triangle wave.
  • Page 17 2–1a: Wave Main Wave Selects the main waveform. Select either Saw (sawtooth wave) or Pulse (pulse wave). Level Specifies the output level of the main waveform. Wave Edge Adjusts the amount of high-range overtones for the main waveform. As the pitch rises, this effect will become stronger, and in the low range there will be little effect.
  • Page 18 Type (Wave Shape Table Type) Use the radio buttons to select the wave shaping table which will modify the input waveform. Clip (clip type) and Reso (resonant type) tables will modify the waveform as shown by the diagrams in Shape, below.

  • Page 19: 02: Comb Filter

    02: Comb Filter In this oscillator, the signal from the other oscillator waveform or the noise generator is sent through a comb filter, and the feedback level of the comb filter is varied in order to produce tonal change. When noise is input, raising the feedback of the comb filter will gradually change the sound into a pitched tone.
  • Page 20 Level (Input Wave Level) Specifies the volume level of the signal that will be input to the comb filter. Noise Level This parameter will be available only if “Input” has been set to OSC2(1)+Noise, SubOSC+Noise, Filter1+Noise or Filter2+Noise. It specifies the volume level of the noise generator output which will be input to the comb filter.

  • Page 21: 03: Vpm

    03: VPM The output of a carrier is phase-modulated by a modulator, and output through wave shape processing. By controlling the wave shaping parameters and the feedback gain, tonal changes that are different than simple phase modulation can be produced. Modulator Pitch Modulator Level Modulator...
  • Page 22 AMS.1 (Alternate Modulation Source 1) Selects a modulation source 1 ( page 64 of this manual) that will control “Shape” value. Intensity (Shape AMS.1 Intensity) Specifies the depth and direction of the effect of “AMS.1.” AMS.2 (Alternate Modulation Source 2) Selects a modulation source 2 ( page 64 of this manual) that will control “Shape”...

  • Page 23: 04: Resonance

    04: Resonance This oscillator produces a wide range of tonal change by allowing you to specify the cutoff frequency and resonance of four band pass filters (BPF). You can select one of the following sources to be the input for the filters: the output of the other oscillator, the sub-oscillator, the output of the noise generator, or the output of filter 1 or filter 2.
  • Page 24 2–1b: BPF1…4 Here, you can make settings for each band pass filter 1—4. Level Specifies the output level. Coarse Specifies the harmonic (overtone) of the oscillator pitch at which the center frequency of the filter will be located. You can specify from the first to the 16th harmonic. AMS (Alternate Modulation Source) Selects a modulation source ( page 64 of this manual) that will control Coarse.

  • Page 25: 05: Ring Modulation

    05: Ring Modulation This multiplies the modulator and carrier and outputs the signal produced. One of four types of waveform can be selected as the carrier. Since the result will be a metallic sound with little sense of pitch, this is suitable for producing sound effects. The Ring Modulation oscillator contains an internal carrier oscillator.

  • Page 26: 06: Cross Modulation

    06: Cross Modulation This uses a modulator to frequency-modulate a carrier. You can select one of four waveforms as the carrier. In general, a pitch envelope is applied to the modulator. A carrier oscillator is built-in to the Cross Modulation OSC. You can select the output of the other oscillator etc.

  • Page 27: 07: Sync Modulation

    07: Sync Modulation This uses the modulator as the master waveform and the carrier as the slave waveform (which will be synchronized to the master). When the master waveform begins a new cycle (i.e., the instant that it passes the zero point going from negative to positive), the phase of the slave waveform is reset to 0, causing it to begin a new cycle.

  • Page 28: 08: Organ Model

    08: Organ Model This is an oscillator used to produce organ-type sounds. The oscillator simulates three drawbars similar to electric organs of the past. You can specify the footage [Harmo] and waveform setting for each drawbar, allowing a wide range of sounds to be created.
  • Page 29 2–1b: Percussion Level Specifies the volume level of the percussion effect for drawbar 1. 2–1c: Drawbar 2 The parameters are structured identically to those of “2-1a: Drawbar 1.” Refer to “2-1a: Drawbar 1” and “2-1b: Percussion Level.” 2–1d: Drawbar 3 The parameters are structured identically to those of “2-1a: Drawbar 1.”...

  • Page 30: 09: Electric Piano Model

    09: Electric Piano Model This oscillator simulates an electric piano. There are four groups of parameters: Hammer (which specifies how the shape and motion of the hammer will affect tonal change and attack noise), Tone Generator (which vibrates in response to being struck by the hammer), Pickup (which specifies the tonal change that occurs when the vibration of the tone generator is converted into an electrical signal), and Low EQ (which is a shelving-type low EQ to adjust the low range).
  • Page 31 2–1b: Tone Generator The Decay and Release that you specify here will control the output level of the oscillator. In order for these settings to have an effect, they must be set longer than the decay and release of the EG which you are using for the Amp.

  • Page 32: 10: Brass Model

    10: Brass Model This oscillator is a physical model which simulates lip-reed instruments such as a trumpet or trombone. By using key velocity or modulation wheel to modulate the Pressure (the force of breath blown into the mouthpiece) you can produce performance expressions that are very similar to those of an actual lip-reed instrument.
  • Page 33 2–1a: Inst Type Inst Type Selects the instrument type which will determine the bore length and shape of the simulated instrument. Jump Bend (+X) Specifies how the pitch will change when the joystick is moved in the +X direction (toward the right). If this is checked, the pitch will rise by in steps by changing the resonance of the bore, as on a trumpet.
  • Page 34 2–1d: Bell Character Tone Specifies the tone of the bell. As this value is increased, the low frequency portion will disappear, producing a less solid tone. Resonance Specifies the level at which the frequency region in the area of the “Tone” will be boosted. As this value is increased, the resonance effect will become stronger.

  • Page 35: 11: Reed Model

    11: Reed Model This oscillator is a physical model which simulates woodwind reed instruments such as a saxophone or oboe. By using key velocity or the modulation wheel to control Pressure (the strength with which the reed is blown), you can use performance expressions that are very close to those of an actual woodwind instrument.
  • Page 36 2–1b: Breath Pressure Selects the EG which will control pressure. For details on the settings for each EG, refer to “Program Edit P5” for EG 1—4, and “4-2: Amp EG” for Amp EG. Intensity (Pressure EG Intensity) Specifies the depth and direction of the effect that the EG will have on the pressure. AMS.1 (Alternate Modulation Source 1) Selects a modulation source 1 ( page 64 of this manual) that will control pressure.
  • Page 37 Shape Specifies the character of the table that will shape the input waveform. For details on how the waveform will change, refer to the “Wave Shape” diagram ( page 16 of this manual) for the 01: Standard OSC. AMS (Alternate Modulation Source) Selects a modulation source ( page 64 of this manual) that will control “Wave Shape.”...

  • Page 38: 12: Plucked String Model

    12: Plucked String Model This oscillator is a physical model which simulates plucked string instruments such as a guitar or bass guitar. You can specify aspects of the model such as the attack waveform that is produced when the string is plucked by a pick or finger, the characteristics of the string, the location of the pickup, etc Signal Flow String Model String Model...
  • Page 39 Noise Level Specifies the level of the noise component that is included in the attack waveform. As this value is increased, a greater portion of noise will be included in the attack, and the sound will be brighter with more overtones. The noise signal used here is taken from the output of the noise generator.
  • Page 40 KTr (Damp Keyboard Track) Specifies how the Damp amount will be affected by the keyboard location. With positive (+) settings, the Damp value will increase as you play notes above C4. With negative (–) settings, the Damp will decrease as you play notes above C4. Damp when Damp=25 AMS (Alternate Modulation Source)
  • Page 41 Dispersion Specifies the inharmonicity of the higher partials relative to the fundamental. With a value of 0, the partials will be located at integer (whole number) multiples of the fundamental. As this value is increased, the partials will move further away from integer multiple locations. In general, thin and flexible strings can be simulated by a low “Dispersion”...

  • Page 42: 13: Bowed String Model

    13: Bowed String Model This oscillator is a physical model which simulates the sound of a bowed string instrument such as a violin or cello. By controlling the bowing speed and the bowing pressure, you can create performance expressions that are very close to those of an actual bowed string instrument. Bowed String Model Bridge Reflection 2–1a...
  • Page 43 Differential If this is not checked, the value produced by EG, AMS.1 and AMS.2 will be used as the bowing speed. If you wish to use EG to control the bowing speed, leave this item un-checked. If this is checked, the rate of change of EG, AMS.1 and AMS.2 will be used as the bowing speed. •...

  • Page 44: 2-2: Osc 2

    Damp KTr Key Specifies the key above and below which keyboard tracking will begin to apply to the “Damp” effect. Low Int Specifies the depth and direction in which the “Damp” amount will change for notes below the “Damp KTr Key.”...

  • Page 45: 2-3: Sub/Noise

    2–3: Sub/Noise Here, you can make settings for the sub-oscillator and the noise generator. The sub oscillator lets you select one of four basic waveforms. In the mixer section, the signal from the sub oscillator is mixed with the signals of oscillators 1 and 2. The noise generator produces white noise.
  • Page 46 2–3b: Noise Generator Here, you can make various settings for the noise generator. Filter Type Selects the type of filter that will be applied to the output of the noise generator. When Thru is selected, the Input Trim, Frequency, AMS.1, Intensity (Cutoff Frequency AMS.1 Intensity), AMS.2, Intensity (Cutoff Frequency AMS.2 Intensity), and Resonance settings will be unavailable.

  • Page 47: Program Edit P3

    Program Edit P3 Here, you can make settings for the mixer and filter. For the way in which the mixer, filter and amp sections are connected, refer to “3-2a: Filter Routing.” 3–1: Mixer The mixer allows you to set the levels at which the five signals (OSC 1, OSC 2, Noise Generator, Feedback, Sub OSC) will be combined into the two mixer outputs.
  • Page 48 3–1b: OSC 1 Out 2 These parameters adjust the level at which the oscillator 1 signal is output from mixer output 2, and specify a modulation source that will control this level. Refer to the above explanation of “3-1a: OSC1 3–1c: OSC 2 Out 1 These parameters adjust the level at which the oscillator 2 signal is output from mixer output 1, and...

  • Page 49: 3-2: Filter 1

    3–2: Filter 1 Here, you can make settings for one of the two multi-mode filters. Each multi-mode filter can be set to one of five filter types. Cutoff Frequency Input Trim Multimode Filter 3–2a 3–2b 3–2c 3–2d 3–2e 3–2a: Routing (Filter Routing) Use the radio buttons to select the way in which filters 1 and 2 will be combined.
  • Page 50 3–2b: Filter 1 Type Selects the filter type. When Dual BPF is selected, the “3-3: Filter 1 SUB” parameters can also be set. When you select Dual BPF, the “3- 2c: Cutoff” and “3-2e: Resonance” parameter names will change to Cutoff A and Resonance A respectively. Filter Types and Cutoff Frequency Low Pass Filter (LPF) A low pass filter is the most...
  • Page 51 3–2d: Keyboard Track Keyboard tracking settings specify how the cutoff frequency of filter 1 will be varied according to keyboard position. Low Key Specifies the key at which Lower keyboard tracking will begin. High Key Specifies the key at which Higher keyboard tracking will begin. Low Int.

  • Page 52: 3-3: Filter 1Sub

    3–3: Filter 1SUB If the “3-2b: Filter 1” Type parameter was set to Dual BPF, you can make settings for the “3-3: Filter 1 SUB” parameters. 3–3a 3–3b 3–3c 3–3d 3–3a: Input Trim Specifies the level of the input to filter 1. If this value is raised, the sound may become distorted if the resonance setting is high, etc.
  • Page 53 Low Int. Specifies the depth and direction of cutoff frequency change that will occur below the “Low Key.” With a setting of –50, the change will match the change in pitch. High Int. Specifies the depth and direction of cutoff frequency change that will occur above the “High Key.” With a setting of +50, the change will match the change in pitch.

  • Page 54: 3-4: Filter 2

    3–4: Filter 2 Here, you can make settings for one of the two multi-mode filters. Each multi-mode filter can be set to one of five filter types. 3–4a 3–4b 3–4c 3–4d 3–4e 3–4a: Link to Filter 1 If this is checked, Filter 2 will be linked to Filter 1, and the following settings will be the same as the settings of Filter 1.

  • Page 55: Program Edit P4

    Program Edit P4 Here, you can make volume-related settings. There are two independent amps, and the signals which are input to each amp are determined by the setting of “3-2a: Routing” ( page 47 of this manual). 4–1: Amp 4–1a 4–1b 4–1c 4–1d...
  • Page 56 High Int. Specifies the way in which keyboard tracking will affect the volume of notes below the High Key. If Low Int. or High Int. are set to positive (+) settings, you will need to lower the “4-1a: Amp 1” Amplitude value.

  • Page 57: 4-2: Amp Eg

    4-2: Amp EG AMSource Here, you can make settings for the Amp EG. The Amp EG lets you specify how the sound will change over time. Since the Amp EG can also be used as a general-purpose controller, it can create time-variant change in parameters other than volume.
  • Page 58 4–2c: Level Control Velocity Specifies the depth and direction of the effect that velocity will have on the level of the amp EG. When " Velocity" is set to a positive (+) value Note-on Settings of the Amp EG 4–2d: Level Modulation AMS (Alternate Modulation Source) Selects a modulation source ( page 64 of this manual) that will control the level of the Amp EG.

  • Page 59: Program Edit P5

    Program Edit P5 This section provides four general purpose EGs (envelope generators). The four EGs can be used as modulation sources for the parameters of other sections to create time-variant change in the sound. Attack level Note-on Attack time 5–1: EG 1 AMSource 5–1a 5–1b...
  • Page 60 Decay (Decay Time) Specifies the time from when the attack time ends until the Break Level is reached. Slope (Slope Time) Specifies the time from when the decay time ends until the Sustain Level is reached. Release (Slope Time) Specifies the time from note-off (when a note is released) until the Release Level is reached. 5–1c: Level Control Velocity Specifies the depth and direction of the effect that velocity will have on the EG levels.

  • Page 61: 5-2: Eg 2

    5–2: EG 2 AMSource 5–3: EG 3 AMSource 5–4: EG 4 AMSource EG 2, EG 3 and EG 4 have the same parameters as EG 1. Refer to “5-1: EG 1.” Prog. Edit...

  • Page 62: Program Edit P6

    Program Edit P6 This section provides four LFOs (Low Frequency Oscillators). These LFOs can be used as modulation sources for parameters of other sections, to create cyclic changes in the sound. 6–1: LFO 1 AMSource 6–1a 6–1b 6–1c 6–1d 6–1a: Wave Form/Key Sync Wave Form Settings for the general-purpose LFOs 0: Triangle 0...
  • Page 63 Key Sync Use the radio buttons to select the key sync setting (i.e., whether or not the phase of the LFO waveform will be returned to its initial state when a note-on occurs). OFF : The LFO will operate (cycle) regardless of note-on. by TIMBRE : Key sync will occur for the LFOs of all voices at the time of the first note-on that occurs in a state when no keys are on.

  • Page 64: 6-2: Lfo 2

    6–1d: Amplitude Modulation AMS (Alternate Modulation Source 1) Selects a modulation source ( page 64 of this manual) that will control the amplitude of the LFO waveform. Intensity (Amplitude AMS Intensity) Specifies the depth and direction of the effect that “AMS” will have on the amplitude of the LFO waveform. Offset Specifies the center value of the LFO waveform.

  • Page 65: Program Edit P7

    Program Edit P7 Here, you can make settings for the insertion effects. For details on the parameters etc., refer to Parameter Guide page 44, “Program Edit P7.” Program Edit P8 Here, you can make settings for the master effects. For details on the parameters etc., refer to Parameter Guide page 44 “Program Edit P7.” Prog.

  • Page 66: Data

    Retrigger Controller List 00: OFF 01: Velocity (Soft) 02: Velocity (Medium) 03: Velocity (Hard) 04: Note Number(Linear) 05: Note Number(Exp) 06: After Touch 07: Joy Stick (X) 08: Joy Stick (+Y) 09: Joy Stick (-Y) 10: AfterTouch+JS(+Y) 11: Ribbon (X) 12: Ribbon (+X) 13: Ribbon (-X) 14: Ribbon (Z)

  • Page 67: Precautions

    Precautions Regarding program change (MIDI) reception Depending on the oscillator type used by a program, some time may be required after a program change is received until a bank M program is actually selected. When selecting programs, please leave ample time between the program change and the following note-on.

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