Korg wavestate Owner's Manual
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Korg wavestate Owner's Manual

Wave sequencing synthesizer
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WAVE SEQUENCING SYNTHESIZER
Owner's Manual
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  • Page 1 WAVE SEQUENCING SYNTHESIZER Owner’s Manual...

  • Page 2: Table Of Contents

    About the wavestate manuals........
  • Page 3 Contents Gate Lane ......................28 Gate Lane Step .
  • Page 4 Contents Overview ....................... . 69 Main page .

  • Page 5: Getting Started

    Getting Started Getting Started Thank you for purchasing the Korg wavestate Wave Sequencing Synthesizer. About the wavestate manuals The documentation for the wavestate consists of the following: • Precautions • Quick Start Guide • Owner’s Manual (what you’re reading now)

  • Page 6: Shift

    Getting Started To go back to selecting sounds, press PERFORM. If you don’t see the main page the first time, press PERFORM again; two presses will always bring you to the home page with the Performance name selected. SHIFT SHIFT Hold down to use alternative functions for knobs and buttons, labeled in blue text.

  • Page 7: Structure

    Getting Started Structure The wavestate plays one Performance at a time. A Performance has four Layers, A…D, a Vector Envelope, and a master reverb and EQ. Each Layer contains an Arpeggiator, a Program, and other settings such as MIDI channel, key and velocity zones, etc.

  • Page 8: Selecting And Playing Sounds

    Selecting and Playing Sounds Selecting and Playing Sounds Selecting Sounds Selecting Performances from the display 1. Press the PERFORM button, and if necessary press it again. Wherever you are in the system, the second press will always bring up the home page, with the large Performance name selected.

  • Page 9: Using Set Lists

    Selecting and Playing Sounds 2. Select the Category or Collection parameter, and turn the VALUE knob or press ENTER. The Category or Collection Select popup appears. The lists will vary depending on the data type. 3. Select the desired Category or Collection, and press ENTER. The display returns to the Performance Select popup, showing only sounds in the selected Category or Collection.

  • Page 10: Assigning A Performance To A Set List Slot

    Selecting and Playing Sounds Assigning a Performance to a Set List Slot 1. Select the Performance that you’d like to assign. 2. Press the SET LIST button, so that it is lit. 3. Hold WRITE and press the Slot to which you’d like to save. WRITE The Write page appears, with that Slot already selected.

  • Page 11: Basic Editing

    Progress Bar Step Bank A-D Wave Sequence Overview This is the wavestate’s main page, where you can select Performances, set the Layer’s Program, and see a real-time overview of the Layer’s Wave Sequence. PERFORM Wherever you are in the system, pressing twice in row always returns here, with the Performance name selected.

  • Page 12: Layer Programs

    Setting values from the keyboard You can set velocities and note numbers directly from the keyboard, or via MIDI. This applies throughout the wavestate. To do so: 1. Select the velocity or note number parameter you’d like to edit. 2. Press and hold the ENTER button.

  • Page 13: Keyboard Zones

    Basic Editing Keyboard Zones Fade-in/ Fade-out Shortcut: Pressing a LAYER button switches to the current parameter in the selected Layer's column. High (A…D), Low (A…D) [C-1…G9] These set the highest and lowest notes on which the Layer will sound. Note: The graphic shows only the standard range of 88 notes. HFade (High Fade A…D) [0…127] 0: The High key acts as a hard split, with full volume on one side and silence on the other.

  • Page 14: Voice Assign

    Basic Editing Random Pitch Range [0.0…50.0 cents] This parameter creates random variations in pitch for each note. At the default of 0.0, pitch will be completely stable; higher values create more randomization. This can be helpful for simulating instruments that have natural pitch instabilities, such as analog synths, tape-loop keyboards, or acoustic instruments.
  • Page 15 Basic Editing Mode = Mono Mono Legato [Off, On] Mono Legato is available when Voice Assign Mode is set to Mono. Legato means to play in a smooth, connected way; the next note is played before the last note is released. On: The first note in a legato phrase will sound normally;...

  • Page 16: Layer Setup

    Basic Editing 1…100: Unison voices are detuned asymmetrically. This makes the detuning more complex, and changes the way in which the pitches beat against one another—like slightly out-of-tune oscillators in a vintage synthesizer. Higher numbers increase the effect. Stereo (Spread) [0…100] Stereo lets you create a wider stereo field when using Unison.

  • Page 17: Performance Setup

    Basic Editing Performance Setup Volume [-Inf, -84.9…0.0 dB] This controls the Performance volume, for balancing levels with other sounds. Octave [-2…+2] This transposes the entire Performance by 2 octaves, up or down. Tempo (TAP TEMPO) [40…300] ENTER TEMPO. This sets the tempo for the Performance. To jump to this parameter quickly, use Transpose [-12…+12] This transposes the entire Performance by 12 semitones, up or down.

  • Page 18: Write

    Write Write Saving Sounds The Performance, with its four Layers, is the main way of selecting, editing, and saving sounds. While you can save Programs, Wave Sequences, and Wave Sequence Lane Presets, you don’t have to do so: all data is contained in the Performance.

  • Page 19: Name

    Write Name Note: you can name Programs, Wave Sequences, and Lanes without writing them separately. As long as you save the enclosing Performance, the new name will be saved. Editing names 1. On the Write page, select the Name. 2. Press ENTER, or turn the VALUE dial.

  • Page 20: Delete From Database

    Write Delete from Database This page lets you delete user-created items from the database. Note: Factory data cannot be deleted. Using Delete To delete an item from the database: 1. Set the Type as desired. 2. Cursor to Select, and press ENTER. The selection popup appears.

  • Page 21: Wave Sequencing 2.0

    Wave Sequencing 2.0 Wave Sequencing 2.0 Overview Wave Sequencing 2.0 is a dynamic system. Instead of each step being a matched set of sample, pitch, duration, etc., the different parameters are separated into “lanes.” Each lane can have a different number of steps, and its own start, end, loop start, and loop end.

  • Page 22: Editing Steps

    Wave Sequencing 2.0 Editing Steps There are up to 64 Steps per Lane, in four banks: A1-A16, B1-B16, etc. To view and edit individual Steps: 1. Select the desired Lane by pressing its button. 2. Press the WSEQ STEPS button, so that it is lit. The 16 buttons at the bottom of the panel now select Steps.

  • Page 23: Mode = Wave Sequence

    Wave Sequencing 2.0 Mode [Wave Sequence, Single Multisample] Wave Sequence: The Program will use a Wave Sequence. Single Multisample: The Program will use a Multisample instead of a Wave Sequence. All of the Lane controls will be disabled. Mode = Wave Sequence Preset [List of Presets] Sync Notes...

  • Page 24: Mode = Single Multisample

    Wave Sequencing 2.0 Mode = Single Multisample MS (Multisample) [List of Multisamples] Select this parameter and then either move VALUE or press ENTER to bring up the Multisample Select popup. Chan (Channel) See “Chan (Channel)” on page 25. S. Offset (Start Offset) See “S.

  • Page 25: Front-Panel Lane Controls

    Wave Sequencing 2.0 Front-Panel Lane Controls These controls apply to all lanes except Master. (Master still has Presets, however.) LANE PRESET Pressing this button jumps to the Preset parameter for the current Lane. Lane Presets store all of the parameters for the Lane and its Steps.

  • Page 26: Timing

    Wave Sequencing 2.0 Timing This Lane controls the duration and crossfade of each Step, creating rhythms or smooth, evolving sounds. Timing Lane Tempo Off Tempo On Preset, Start, End, Loop Start, Loop End, Repeats See “Front-Panel Lane Controls” on page 21. TEMPO (SHIFT-TIMING) [Off, On]...

  • Page 27: Timing Lane Step

    Wave Sequencing 2.0 Swing Resolution = Beat 1 Beat 2 Swing % +100% –100% +200% +300% Timing Lane Step Tempo Off Tempo On Step [A1…D16] This is the current Step. You can edit this parameter on-screen, or use the WSEQ STEP buttons to select Steps directly.
  • Page 28 Wave Sequencing 2.0 TEMPO is On, you can set the basic length of the step as a rhythmic value, relative to the system tempo. The values range from a 32nd note to a double breve (four whole notes), including dotted notes and triplets. This length is then modified by x (Multiply Base Note by…), below.

  • Page 29: Sample

    Wave Sequencing 2.0 Sample This Lane sets the sample played by each Step. Sample Lane Preset, Start, End, Loop Start, Loop End, Repeats See “Front-Panel Lane Controls” on page 21. Pitch Lane [Only Affects Pitch, Affects Sample Map] Multisamples typically include many different samples, mapped across the keyboard. When you transpose the OCTAVE keyboard using the buttons, for instance, it’s not just the pitch that changes;...

  • Page 30: Pitch

    Wave Sequencing 2.0 Semi (Semitones) [-12…+12] This transposes the Multisample up or down by up to 12 semitones. Use this (and other pitch-related parameters on this page) instead of the Pitch Lane when you want the transposition to be tied to a specific Multisample. Fine (Fine Tune) [-99…+99] This tunes the Multisample up or down by up to 99 cents (1/100 of a semitone).

  • Page 31: Pitch Lane Step

    Wave Sequencing 2.0 Pitch Lane Step Step See “Step” on page 23. Transpose [-24.00…+24.00 semitones] This offsets the played note by up to two octaves, up or down. This also affects the index into the Multisample map, potentially changing the sample selection, similar to transposing the entire keyboard. Tune [-12.00…+12.00 semitones] This changes the tuning by up to one octave up or down.

  • Page 32: Gate

    Wave Sequencing 2.0 Gate [Truncate, Scale Shape] Scale Shape: the shape is scaled in time by the Gate Length (as well as the Timing Step Duration). For example, if Gate Length is 50%, the “ADSR” shapes will play twice as fast. Use this to create more variation in the generated shapes. Truncate: the shape is scaled in time only by the Timing Step Duration.

  • Page 33: Wave Sequence Utility

    Wave Sequencing 2.0 Value * Random +: The Step’s Value is scaled by a unipolar random amount. If the Value is positive, the output will be positive; if the Value is negative, the output will be negative. Value + S & H Mod: The Step uses the programmed value, and modulation is updated only at the start of the Step. For instance, if an LFO is modulating Value, only the LFO’s amplitude at the very start of the step matters;...

  • Page 34: Vector

    Vector Vector Overview Vector Synthesis lets you control the sound by moving the Vector Joystick, using the programmable Vector Envelope, or the combination of the two. What does Vector mean? Modulation generally works by moving a single control, like a slider, in a straight line. At one end of the control, the modulation is at its minimum;...

  • Page 35: Vector Volume Control And Modulation

    Vector When the Vector Envelope is in use, the Vector Joystick offsets the Vector Envelope position by up to halfway across either axis. For instance, if the Envelope is all the way to the right of the X axis, and the Joystick is all the way to the left, the actual Vector position will be in the center of the X axis.

  • Page 36: Vector Env Time

    Vector X (0…3, R) [-127…+127] 0 is the center; -127 is far left, and +127 is far right. Y (0…3, R) [-127…+127] 0 is the center; -127 is top, and +127 is bottom. Vector Env Time The front-panel knobs control the five Time parameters. The units are in either seconds or note values, depending on the Vector Env Setup page’s Mode parameter.
  • Page 37 Vector 0<->3 and 1<->3: These loop forwards-backwards. For instance, 1<->3 makes the envelope play as follows: 0, 1, 2, 3, 2, 1, 2, 3 etc. (Loop) Repeats [Off, 1...126, Inf] Off: The Vector Envelope proceeds to point 3, stays there until the note is released, and then proceeds to the Release point.

  • Page 38: Arpeggiator

    Arpeggiator Arpeggiator Arpeggiator The Arpeggiator is particularly effective in conjunction with Note Advance, so that each generated note starts on a new step in the Lane. Try this with the Sample Lane in particular, with a single Timing step set to Gate. Arpeggiator (ARPEGGIATOR) [Off, On]...
  • Page 39 Arpeggiator Latch (SHIFT-ARPEGGIATOR) [Off, On] Off: The Arpeggiator will only play as long as notes are being held on the keyboard (or via the damper pedal). On: The Arpeggiator will continue to play after notes are released.

  • Page 40: Filter

    Filter Filter Filter Type (FILTER TYPE) [Bypass, 2-pole LPF, 2-pole HPF, 2-pole BPF,2-pole Band Reject, 4-pole LPF, 4-pole HPF, 4-pole BPF, 4-pole Band Reject, Multi Filter, MS-20 LPF, MS-20 HPF, Polysix] FILTER TYPE button selects and edits the Type parameter. Three useful settings are available Pressing the front panel directly: the Polysix LPF, the MS-20 LPF, and a 2-pole resonant HPF.
  • Page 41 MS-20 LPF and HPF: These 12dB/octave, self-resonating filters lovingly recreate the distinctive timbral signature of the classic Korg MS-20. If the input level is high, raising Resonance will cause increasing amounts of saturation and overdrive, creating a more aggressive tone. To control this, use Trim (see “Trim” on page 38).

  • Page 42: Multi Filter

    Filter Gain [High, Normal] This is available only when Type is MS-20 LPF, MS-20 HPF, or Polysix. Normal provides the resonance character of a typical analog 4-pole filter. High creates a more pronounced resonance. Crossfade [0…100] This is available only when Type is Multi Filter. Crossfade morphs between the Mode 1 and Mode 2 settings. 0 is all Mode 1, 100 is all Mode 2, and 1-99 are intermediate values between the two Modes.

  • Page 43: Manual

    Filter Manual When Mode is set to Manual, these parameters let you create your own mix of the filters. You may wonder why Band Reject is not included here. This is because it’s not a filter mode per se. Instead, it’s created by equal amounts of High Pass and Low Pass.

  • Page 44: Filter Key Track

    The wavestate 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: •...

  • Page 45: How Key Track Works: Keys And Slopes

    Filter How Key Track works: Keys and Slopes The keyboard tracking works by creating four ramps, or At the Center Key, the modulation amount is always 0. slopes, between five keys on the keyboard. The bottom and Mod Amount Mod Amount top keys are fixed at the bottom and top of the MIDI range, Slope: respectively.
  • Page 46 Filter (Low) Key [C–1…G9] This sets the breakpoint note between the two lower slopes—the “hinge” of the lower door. The Low Key can’t be set above the Mid Key. Low-Mid Slope [–Inf, –12.00…+12.00, +Inf] This sets the slope between the Low and Mid keys. For normal key track, use negative values. -1.00 is the default. Mid Key [C–1…G9] This sets the center of the keyboard tracking—the main “hinge.”...

  • Page 47: Pitch

    Pitch Pitch Pitch Octave (SHIFT-RESONANCE) [–2, –1, 0, +1, +2] This sets the basic pitch, in octaves. The default is 0. Transpose [–12…+12] This adjusts the pitch in semitones, over a range of ±1 octave. This also affects the index into the Multisample map, potentially changing the sample selection, similar to transposing the entire keyboard.

  • Page 48: Pitch Mod

    Pitch Off: Legato/detached playing will not affect Portamento. Type [Constant Rate, Constant Time] Constant Rate: Portamento will always take the same amount of time to glide a given distance in pitch—for instance, one second per octave. Put another way, gliding several octaves will take much longer than gliding a half-step. Constant Time: Portamento will always take the same amount of time to glide from one note to another, regardless of the difference in pitch.
  • Page 49 Pitch Pitch Bend Down [–60…+60] This sets the maximum amount of pitch bend, in semitones, when you move wheel below the center point. For normal pitch bend, set this to a negative value.

  • Page 50: Amp

    Notes on Amp Modulation Amp modulation scales the Amp Level and Amp Envelope. The final volume is determined by multiplying these by any additional modulation sources, with an upper limit of 2x the original level. If the original level is low, the maximum modulated volume will also be low.

  • Page 51: Amp Key Track

    Keyboard tracking (“Key Track”) changes the volume as you play up and down the keyboard. This may be used to make the volume more consistent, or to create special effects. The wavestate’s Key Track can be fairly complex, if desired. For instance, you can: •...
  • Page 52 Differences from Filter Keyboard Track Amp Key Track’s minimum value produces silence, while its maximum value provides a 2x boost in gain. This means that unlike Filter Key Track, Amp Key Track’s negative Slopes are steeper than positive Slopes. Key Track Slope Change in level amount...

  • Page 53: Modulation

    Modulation Modulation Using Modulation Modulation Overview Most front-panel controls and on-screen parameters can be modulated. You can also create multiple modulation routings to the same destination. Each modulation routing includes a primary modulation source, an intensity, and a secondary modulation source; the three are multiplied together to create the modulation amount. Once a modulation routing is created, you can change either of the sources, but you cannot change the destination.

  • Page 54: Viewing And Editing Modulations

    Modulation Filter and Pitch Env Velocity Intensity Filter and Pitch Envelope Velocity Intensity cannot themselves be modulated. Viewing and Editing Modulations All user-created modulation routings can be viewed and edited on the Mods page. Note: preset modulation routings, such as Filter Envelope modulation of Filter Cutoff or Pan LFO modulation of Pan, are not shown here.

  • Page 55: Mod Knobs

    Modulation 2. Press a Lane, Envelope, LFO, or Effect button; move a KNOB; hold ENTER and move a controller or play a note on the keyboard (for Velocity); send a MIDI message; or for the Filter, Amp, or Pitch sections, move a knob for that section.

  • Page 56: Modulation Sources

    Modulation These stored values can themselves be modulated by the wheels, the vector joystick and envelope, and MIDI CCs; additionally, Program Mod Knobs can be modulated by the Performance Mod Knobs. Each Mod Knob can be either unipolar (+) or bipolar (+/-). + (Unipolar) -/+ (Bipolar) +100...

  • Page 57: Mod Knobs

    This provides simple key tracking, going from minimum at MIDI note 0 to maximum at MIDI note 127. Aftertouch and Poly Aftertouch These receive Aftertouch and Poly Aftertouch via MIDI. Note: the wavestate keyboard itself does not generate aftertouch. Mod Knobs This section of the Modulation Sources list contains the 8 Performance Mod Knobs, followed by the 8 Mod Knobs for the current Layer’s Program.
  • Page 58 Modulation Step Seq Lane This is the output of the Wave Sequence’s Step Seq Lane. Note: this will not work consistently as an envelope trigger source. Step Pulse This generates a brief trigger pulse at the start of each Wave Sequence Step. Tempo This lets you use the system tempo as a modulation source.

  • Page 59: Envelopes

    This tends to sound better than straight, linear segments. Classic analog synth envelopes made these curved shapes naturally. The wavestate goes a step further than vintage synths, however, and lets you control the amount of curvature separately for each envelope segment.

  • Page 60: Filter/Amp/Pitch Envelope Trigger

    Envelopes Different curve settings for up and down Generally, upwards segments use different curvature settings than downward segments. For instance, a curve of 3 is a good default setting for upward segments, such as Attack. On the other hand, a curve of 6 or more is good for downward segments, such as Decay and Release.
  • Page 61 Envelopes On: The envelope will start automatically at note-on. This is the default. Off: The envelope will only start via the Trigger Source. Note: The Trigger Source’s value at note-on can cause the envelope to trigger instantly. If the Threshold is positive or 0, this will happen if the value is at or above the Threshold;...

  • Page 62: Lfos

    LFOs LFOs Filter/Amp/Pitch/Pan LFO The four LFOs—Filter, Amp, Pitch, and Pan—all work identically. Tempo (TEMPO SYNC) [Off, On] On: The LFO synchronizes to the system tempo, with its speed controlled by Base Note and Multiply. Off: The LFO speed is controlled by the Frequency parameter, in Hz. Base Note (FREQUENCY) [List of rhythmic values]...
  • Page 63 LFOs Waveform (WAVEFORM) [Triangle…Random6 (Continuous)] Most of the waveforms are self-explanatory, but a few will benefit from more details: GTR (Guitar) is intended for guitar vibrato. It is positive-only, so that when used for pitch, it only bends upwards. RND 1 (Random 1) generates traditional sample and hold waveforms: random level changes with steady timing. RND 2 (Random 2) randomizes both levels and timing.
  • Page 64 LFOs 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! Offset affects the signal after the Shape function, as shown below: LFO Signal Flow...
  • Page 65 LFOs SYNC NOTES [Off, On] This is controlled by the SYNC NOTES button. Off: The LFO starts each time you press a key, and an independent LFO runs for each note. This is the default. On: 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.

  • Page 66: Modulation Processors

    Modulation Processors Modulation Processors Overview Modulation Processors transform a modulation signal to make it into something new. The original modulation signal also remains available. There are two Modulation Processors per Program. The Modulation Processor outputs appear in the list of modulation sources, just like the LFOs and Envelopes. Type [Gate, Offset, Quantize, Scale, Curve, Smooth, Sum ] This controls the type of processing performed by the Mod Processor.

  • Page 67: Offset

    Modulation Processors Below (Below Threshold) [Fixed Val, Source] This sets the output of the Gate when the Control Source is less than the Threshold. When this is set to Fixed Val, you can set a value between -100% and +100%. When it is set to Source, you can select any modulation source. Above (At &...

  • Page 68: Quantize

    Modulation Processors Quantize This changes a continuous signal into a series of discrete Unipolar Bipolar steps. Use this to change the shape of LFOs or envelopes, or (e.g. Mod Wheel) (e.g. LFO) to force a controller to land on a few specific values. +100 Original Input...

  • Page 69: Scale

    Modulation Processors Scale This processor uses a modulation source to scale the input. For instance, you can control the amount of an LFO with an Envelope, or control the amount of an Envelope with a MIDI controller. Input [List of Modulation Sources] This selects the main input for the Mod Processor.
  • Page 70 Modulation Processors Mode [Symmetric, Asymmetric] Asymmetric produces a single curve, extending from –100 to +100. Symmetric produces two matching curves extending outwards from 0 to –100 and +100, respectively. Curve and Mode Bipolar Triangle Wave Unipolar Triangle Wave Asymmetric Asymmetric Symmetric (not recommended) +100...

  • Page 71: Smooth

    Modulation Processors Smooth This creates more gentle transitions between values, smoothing out abrupt changes such as a quick move on a wheel or a sharp edge on an LFO. You have separate control of the amount of smoothing during the attack (when the signal is increasing) and decay (when it’s decreasing).
  • Page 72 Modulation Processors Input [List of Modulation Sources] This selects the main input for the Mod Processor. Input = LFO Main Input Amount [–100%…+100%] This controls the gain and polarity of the Input. Sum Source = Env Sum Source [List of Modulation Sources] This selects the modulation source to merge into the Input.

  • Page 73: Effects

    Effects Effects Overview FX, and DELAY. Additionally, the Performance has a master REVERB Each Layer has its own parametric EQ. See “Structure” on page 3. SHIFT-press or double-press the effects buttons to turn them on and off. Main page Type (EFFECT TYPE) [List of Effects]...

  • Page 74: Edit Page

    Effects Edit page EDIT 1/2/3 controls (E1/E2/E3 on the display) are macros which may control multiple internal parameters, and which may be set up differently for each Preset. There are general conventions for the EDIT knobs of each effect Type, as reflected in the on-screen labels.

  • Page 75: Tremolo

    Polysix Ensemble This models the mono-in, stereo-out ensemble effect built into the classic Korg Polysix synthesizer. Small Phase This models a classic mono phaser made in New York City during the 70s, with its warm, rich tone and liquid transparency.

  • Page 76: Vintage Chorus

    Effects Vintage Chorus This models a mono chorus best-known for being built into a guitar amp. Speed and Depth provide a broader range of sounds than the original device. Vintage Flanger A model of a truly classic mono analogue flanger. This amazing stompbox’s bucket-brigade technology provides a sweeping, whooshing sound, perfect for chords.

  • Page 77: Master Reverb

    Effects Master Reverb Early Reflections This provides different early reflection patterns, useful for small ambiences, gated reverbs, and reverse effects. Overb The Overb features a high-quality, diffusion-based reverb core, including randomization for richer and smoother reverb timbres. Master EQ Performances include a dedicated parametric EQ. To edit the EQ: 1.

  • Page 78: Randomize

    Randomize Randomize Randomize uses a combination of preset selection and select value randomization, rather than direct randomization of all parameters. Using Randomize To randomize the entire Performance: 1. Press the (Randomize) button. The Randomize page will appear, with Scope set to Performance by default. If Scope has been previously changed to another setting, hold and press PERFORM.

  • Page 79: Utility

    Tune [–50 (427.47Hz)…+50 (452.89Hz)] This adjusts the overall tuning of the entire wavestate in one-cent units, over a range of ±50 cents. (A cent is 1/100 of a semitone.) At the default of 0, A4 = 440 Hz. The value shown for A4’s frequency assumes that the scale is set to Equal Temperament. If a different scale is selected, the actual frequency of A4 may be different.

  • Page 80: Controllers

    Internal: The wavestate will use the Performance’s Tempo setting (also shown and controlled by the button). Use this when playing the wavestate by itself, or when you want the wavestate to control the tempo of external MIDI devices such as a sequencer or drum machine.
  • Page 81 This setting controls how the Transpose and Velocity Curve settings work.You can think of these as a set of MIDI effects processors, which can be used in one of two places within the wavestate. Note: Regardless of the Convert Position, Transpose and Velocity Curve always apply when playing internal sounds directly from the wavestate keyboard.

  • Page 82: Midi Cc Assign

    Curve Tone Scale Transpose generator Transpose Note Number changes wavestate built-in keyboard MIDI Out Transmitted Received Knob Mode [Scale, Jump] When you switch to a new Performance or select a different Layer, Wave Sequence Lane, Effect, Envelope, LFO, etc., the parameter values “underneath” the front-panel knobs will change—but the physical knobs won’t move automatically.

  • Page 83: Global Scale

    Utility Function Default CC assignment Layer B Mod Knobs 1…8 88…95 Layer C Mod Knobs 1…8 102…109 Layer D Mod Knobs 1-8 110…117 Global Scale Global Scale [Off, On] On: The settings on this page control the instrument’s scales. Performance scales are ignored. Off: The scale settings on this page are ignored.

  • Page 84: Preferences

    Auto Power-Off [Disabled, 4 Hours] By default, to conserve energy, the wavestate will automatically turn off after about four hours have elapsed without use of the front panel, keyboard, or MIDI input. You can disable this feature, if desired. When the power turns off, any un-saved edits or settings will be lost. Make sure that you save important settings before this occurs.

  • Page 85: About

    “voice stealing.” This shows the amount of voice stealing, in real time. About This page shows the software version number and abbreviated credits. The wavestate is the result of a team effort, built through the talents of many more people than can be listed on-screen!

  • Page 86: Usb

    You can connect the wavestate to computers via USB, to send and receive MIDI and to organize sound data with the wavestate Librarian. MIDI The wavestate is a class-compliant USB MIDI device, and requires no driver for MIDI functionality. Librarian The wavestate Librarian supports macOS and Windows, and is available as a download from www.korg.com.

  • Page 87: Specifications

    Specifications Specifications Keyboard: 37 keys (velocity and release-velocity sensitive) Maximum Polyphony: 64 stereo voices Sound generating system: Wave Sequencing 2.0 Sounds: Ships with over 240 Performances, 740 Programs, and 1,000 Wave Sequences Storage for tens of thousands of user Performances Structure: Performance: 4 Layers, Reverb, EQ;...

  • Page 88: Midi Implementation Chart

    *2: Supports universal system exclusive messages device inquiry, master volume, master fine tuning, and master coarse tuning Mode 1: Omni On, Poly Mode 2: Omni On, Mono O: Yes Mode 3: Omni Off, Poly Mode 4: Omni Off, Mono X: No Consult your local Korg distributor for more information on the MIDI implementation.
  • Page 89 © 2020 KORG INC. www.korg.com Published 01/2020...

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