Korg KROSS Parameter Manual page 48

Program mode
Random3 (S/H) generates a pulse wave with random timing. It's
the opposite of traditional sample and hold; the timing varies, but
the levels don't.
Random4–6 (Cont=Continuous) are smoothed versions of
Random 1–3, with ramps instead of steps. You can use them to
create more gentle random variations.
Phase (Start Phase)
This controls the phase of the waveform at the start of the note, in
steps of 5 degrees.
If Key Sync is Off, the Start Phase will apply only to the first note
of the phrase.
Offset
By default, almost all of the LFO waveforms are centered around
0, and then swing all the way from –99 to +99. This parameter lets
you shift the LFO up and down, so that for instance it's centered
on 50, and then swings from –49 to +149.
For example, let's say that you're using an LFO for vibrato. If the
Offset is 0, the vibrato will be centered on the note's original
pitch, bending it both up and down.
If the Offset is +99, on the other hand, the vibrato will only raise
the pitch above the original note.
Offset settings and pitch change produced by vibrato
Pitch
The one exception to this is the Guitar waveform, which is
designed to emulate bending a string on a guitar so that the pitch
only goes up, and not down. Because of this, the waveform is
centered on 50, and not on 0. Of course, you can always use a
negative Offset to shift it back down below 0 again!
Since the Offset affects the output values of the LFO, it's
important to note that it affects the signal after the Shape function,
as shown below:
How the LFO signal is affected by Shape and Offset
Waveform
Shape
Shape adds curvature to the basic waveform. As you can see in the
graphic below, this can make the waveforms either more rounded
or more extreme. It can also be useful to emphasize certain value
ranges, and de-emphasize others.
For example, let's say that you are using a triangle LFO to
modulate filter cutoff. If Shape emphasizes the high value range,
the filter will spend more time at the higher frequencies. If it
emphasizes the low range, the filter will spend more time at the
lower frequencies.
LFO Shape
+99
0
–99
Shape = 0 (original waveform)
Shape = +99
Shape = –99
40
[–180...+180, Random]
[–99...+99]
Shape
[–99...+99]
Note: Shape does not affect the Square and Random3 waveforms,
since their values are always either +99 or –99. When these are
selected, Shape is grayed out.
AMS (Shape)
This selects an AMS source for controlling the LFO's Shape.
Modulating the shape can dramatically alter the effect of the LFO
try it out!
For a list of AMS sources, please see "AMS (Alternate
Modulation Source) List" on page 292.
AMS Intensity
This controls the depth and direction of the AMS (Shape)
modulation.
Start
Key Sync.
On (checked): When Key Sync is On, the LFO starts each time
you press a key, and an independent LFO runs for each note. This
is the normal setting.
Off (unchecked): When Key Sync is Off, 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. The Fade and
Delay settings will only apply to the first note's LFO.
Note that even if Key Sync is Off, each note's LFO speed may still
be different if you modulate the Frequency by note number,
velocity, key scaling, or other note-specific AMS sources.
Fade
The LFO can fade in gradually, instead of simply starting
immediately at full strength. This parameter specifies the time
from when the LFO begins to play until it reaches its maximum
amplitude.
If the Delay parameter is being used, then the fade will begin after
the delay is complete.
When Key Sync is Off, the fade will apply only to the first note in
the phrase.
LFO Fade and Delay
Delay Fade
Note-on
Delay
This sets the time from note-on until the LFO starts.
When Key Sync is Off, the delay applies only to the first note of
the phrase.
[List of AMS Sources]
[–99...+99]
[Off, On]
[00...99]
[00...99]