Korg KROSS Operation Manual page 48

Playing and editing Programs
Resonance
Resonance emphasizes the frequencies around the cutoff
frequency, as shown in the diagram below.
When this is set to 0, there is no emphasis, and frequencies
beyond the cutoff will simply diminish smoothly.
At medium settings, the resonance will alter the timbre of the
filter, making it sound more nasal, or more extreme. At very
high settings, the resonance can be heard as a separate,
whistling pitch.
To make the resonance track the keyboard pitch, please see
"Key Follow" on page 27 of the Parameter Guide.
Low resonance
Modulating the filters
You can modulate the filter cutoff frequency using the Filter
EG, the LFOs, keyboard tracking, and other built-in and
MIDI controllers. This is a great way to add a rich variety of
tonal change to the sound.
Filter EG
The Filter EG is a multi-stage envelope, which you can use
to modulate the filter as well as other Program parameters.
The EG itself is set up on the P-FILTER EG> ENVELOPE
page; the way that it affects the filters is controlled by the
parameters described below, on the P-FILTER> EG-I
(Intensity) page.
The Intensity to A and Intensity to B settings control the
basic amount of EG modulation for filter frequencies A and
B, respectively, before other modulation.
The Velocity to A and Velocity to B settings let you use
velocity to control the amount of EG modulation.
The Filter EG AMS setting selects an AMS modulation
source to scale the amount of the Filter EG that's applied to
Filters A and B. The two filters share a single AMS source,
with separate intensity A or B settings.
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LFO modulation
You can modulate the filter via LFO1, LFO2, and the
Common LFO. Among other applications, LFO modulation
of the filter can produce the classic "auto-wah" effect.
The P-FILTER> LFO-I (Intensity) page lets you set up the
following parameters separately for each LFO:
Intensity to A and Intensity to B specify how much the
LFO changes the tone.
The AMS setting selects an AMS modulation source to scale
the amount of the LFO applied to Filters A and B. The two
filters share a single AMS source, with separate intensity
settings.
High resonance
For example if AMS is set to SW1: #80, turning SW1 on
will apply an auto-wah effect. (see page 40)
Keyboard Track
Most acoustic instruments get brighter as you play higher
pitches. At its most basic application, keyboard tracking re-
creates this effect by increasing the cutoff frequency of a
lowpass filter as you play higher on the keyboard. Usually,
some amount of key tracking is necessary in order to make
the timbre consistent across the entire range.
The KROSS keyboard tracking can also be much more
complex, since it allows you to create different rates of
change over up to four different parts of the keyboard. For
instance, you can:
• Make the filter cutoff frequency increase very quickly
over the middle of the keyboard, and then open more
slowly–or not at all–in the higher octaves.
• Make the cutoff frequency increase as you play lower on
the keyboard.
• Create abrupt changes at certain keys, for split-like
effects.
How Key Track works: Keys and Ramps
The keyboard tracking works by creating four ramps, or
slopes, between five keys on the keyboard.
For details, please see "How it works: Keys and Ramps" on
page 26 of the Parameter Guide.