Page 1 Parameter Guide...
Page 2 Thank you for purchasing the Korg NAUTILUS. To help you get the most out of your new instrument, please read this manual carefully. About this manual The owner’s manuals and how to use them Conventions in this manual These manuals apply to all NAUTILUS models. The front...
Page 3: Table Of Contents
Contents 8–5: Insert FX.......101 About this manual ......ii 8–7: IFX 1–12.
Page 4 4–5: String Main......221 PROGRAM > AL-1: Amp ..... 162 4–6: Damping/Dispersion .
Page 5 5–6: VPM Osc 3 ......335 PROGRAM > MS-20EX: AMS Mixers ..278 5–7: VPM Osc 4 .
Page 6 8–9: Common FX LFO ..... . . 429 SGX-2: Tone adjust ......356 COMBINATION >...
Page 7 8–9: Common FX LFO ..... . . 517 0–4: Sample Manage ......643 0–5: Network .
Page 8 Routing ........755 048: Stereo Flanger ......806 Mixer.
Page 9 105: Reverb Room ......857 163: Limiter // Phaser ......885 106: Reverb Bright Room .
Page 10 AIFF and WAVE format details: exporting ..939 Korg format sample files ..... 940 OASYS .SNG file compatibility.
Page 11: Program Mode: Hd-1
We named the HD-1 “High Definition” because of its high frequencies, and sound that is smooth, rich, and superior sound, starting with Korg’s proprietary low-aliasing detailed across the entire audio spectrum. sample playback oscillators, full-bandwidth multimode resonant filters, and extraordinarily fast &...
Page 12: Program > Home
PROGRAM mode: HD-1 PROGRAM > Home This is the main page of PROGRAM mode for HD-1 Page Select Programs. Among other things, you can: Select the pages using the methods shown below. • Select Programs 1. Press the PAGE button to display “Page Select”. •...
Page 13 PROGRAM > Home 0–1: Overview 0–1a: Program Select Program Select Popup Program Select Main Category Favorite Tempo Bank Type Program Select [0...127 (A...T Bank), Tempo ( ) [040.00…300.00, EXT] 1...128 (GM, g(1)...g(9), g(d) Bank] This is the tempo for the current Program, which applies to tempo-synced LFOs and Wave Sequences, Arpeggiator, This is the currently selected Program.
Page 14 PROGRAM mode: HD-1 When you press the Quick Layer or Quick Split buttons, the Key Zone Quick Layer or Quick Split dialog box appears. For detailed This indicates the key zone in which OSC1 will sound. The descriptions, see “Quick Layer,” below, and “Quick Split” 61-, 73- or 88-note keyboard region is also shown.
Page 15: Program Select Menu
PROGRAM > Home Program Select menu Program Select menu Category/Program Select menu Sub-category tab Category tab Category Scroll bar Bank(List) button Category button Favorite button Bank(10key) button Find button 1. Press the Program Select Popup button, then press the Note: You can assign a category to a Program in the “Write Category button to open the Category/Program Select Program”...
Page 16 PROGRAM mode: HD-1 Bank/Program Select menu Program list Bank button Scroll bar Bank(List) button Category button Favorite button Bank(10key) button Find button Bank button Numeric keypad Bank(List) button Category button Favorite button Bank(10key) button Find button 1. Press the Program Select Popup button to open the 5.
Page 17 PROGRAM > Home Program Select menu Banks GM, g(1…9), and g(d): General MIDI Find dialog Press the Bank(List) button to display “Bank Select”, and The Find dialog lets you search for data by name. It’s press the GM button. reached by the magnifying glass icon at the bottom of the If a GM variation bank doesn’t have a different version of Select menu for Programs, Combinations, Songs, Set Lists, the current Program, the basic GM sound will be recalled...
Page 18: Quick Layer
PROGRAM mode: HD-1 Quick Layer Keyboard Zones KEYBOARD Graphic Category image Program Select Popup Volume (Layer) (Layer) Program Select (Layer) Solo (Layer) Octave (Layer) Zone Category image Program Select Volume (Main) Popup (Main) Program Select (Main) Solo (Main) Octave (Main) Select ARP/DRUM Write Layered Combi Tempo...
Page 19 PROGRAM > Home Quick Layer The keyboard graphic shows notes as they are played on the MAIN PROG physical keyboard. (Program Select) [List of Programs] LAYER PROG By default, this will be the currently selected Program. You can also select a different Program, if desired. You can use Layer Program Select [List of Programs] all of the normal Program selection methods, including bank...
Page 20 PROGRAM mode: HD-1 Settings that are saved in a Combination Timbre The following timbres are used: • Main Program: T01 • Layer or Split Program: T02 • Drum Track: T10 All of these Timbres (T01, 02, 10) are set to Play; the remaining timbres are set to Mute.
Page 21: Quick Split
PROGRAM > Home Quick Split Quick Split Select Split Mode Keyboard Zones KEYBOARD Graphic Split Point Solo (Lower) Program Select Popup (Lower) Program Select (Main) Program Select (Lower) Solo (Main) Octave (Lower) Octave (Main) Category image Volume (Main) Volume (Lower) Category image Select ARP/DRUM Write Splitted Combi...
Page 22 PROGRAM mode: HD-1 (Program Select) [List of Programs] Volume [000...127] This selects the Split Program to add to the Main Program. This adjusts the volume of the Drum Track. Initially, the You can use all of the normal Program selection methods, value defaults to match the Drum Track volume in the source including bank and number, category, and Find.
Page 23: 0-2: Performance Meter
PROGRAM > Home 0–2: Performance Meter 0–2: Performance Meter 0–2PMC 0–2a This page lets you look at the real-time performance of the Voice Stealing NAUTILUS, including voice usage, voice stealing, and Sometimes, if a lot of voices are already sounding, there effects.
Page 24 PROGRAM mode: HD-1 Number of Sounding Voices This shows the total number of currently sounding voices. Voices will have different CPU costs depending on which of the synth engines they use. With double Programs, various HD-1 options (see below), and layers and crossfades in COMBINATION and SEQUENCER modes, a single key on the keyboard may play a large number of voices.
Page 25: 0-6: Arp Drum
PROGRAM > Home 0–6: ARP DRUM 0–6: ARP DRUM 0–6PMC 0–6a 0–6c 0–6f 0–6b 0–6d 0–6e This page lets you make basic adjustments to Arpeggiator. DRUM A single arpeggiator and drum track or step sequencer can be Switches the drum function on/off. used in PROGRAM mode.
Page 26 PROGRAM mode: HD-1 Note: When the drum function is off and the arpeggiator 0–6e: Scene 1–4 Button pattern is set to the preset pattern, the “Immediately” setting will be used, since it does not have a length parameter. Selects the scene. More When step sequence B Arpeggiator A (when latch is enabled)
Page 27 PROGRAM > Home 0–6: ARP DRUM Off: With the DRUM function turned on (the LED will Mid Gain [–18.0…+18.0dB] blink), the drums will start playing when a note-on is This controls the gain of the Mid Sweep EQ, in increments received (such as when you play a key).
Page 28 PROGRAM mode: HD-1 Off: The Program will not go to any of the outputs directly. This section appears only if Use Drum Kit Settings is On. You can use this to route the sound completely through the Note also that if the Drum Kit doesn’t use routing to the IFX MFX.
Page 29 PROGRAM > Home 0–6: ARP DRUM P2: ALT1 More Open the Scene 1–4 Setup detailed settings dialog box. ALT1 P3: ALT2 ALT2 Sort [Off, On] This expands all of the notes (keys) that are played together into an arpeggio, and sets the order in which they sound. On (checked): The arpeggio is played in order of scale tones, regardless of the order in which the note-on signals were played.
Page 30 PROGRAM mode: HD-1 Key: Each note will sound with the velocity value at which starts right when you press a key. Note that when “Sync” is it was actually played. set to “Off”, the drum track pattern will not synchronize with the arpeggiator that is currently playing;...
Page 31 PROGRAM > Home 0–6: ARP DRUM Touch View Touch Grid (Tone Panel) Touch Grid (Accent Panel) Touch View Selects the display area of the Touch Grid. Touch Grid Tone Panel Insert or delete tones by pressing somewhere on the Tone Panel (upper part of the matrix).
Page 32: 0-8: Sampling
PROGRAM mode: HD-1 0–8: Sampling 0–8PMC 0–8d 0–8e 0–8a 0–8c 0–8b 0–8f This page lets you adjust the volume, pan, effects sends, and L/R: This lets you sample the signal heard at the main L/R busing for the audio inputs, including analog inputs 1 & 2, outputs, including any processing by TFX 1/2.
Page 33 PROGRAM > Home 0–8: Sampling Source Bus = L/R Source Bus = L/R Indiv. Master CLIP !! Sampling L-Mono Total R-Mono Stereo Insert Audio Inputs Monitor Level L/MONO AUDIO OUTPUT HEADPHONES Insert Bus = L/R or IFX1-12 Source Bus = REC Bus 1/2 Source Bus = REC Bus 1/2 Indiv.
Page 34 PROGRAM mode: HD-1 Source Bus = USB 1/2 Source Bus = USB 1/2 Indiv. CLIP !! Sampling L-Mono R-Mono Stereo Insert Effects USB-B 1 (L) Monitor Level L/MONO AUDIO OUTPUT Insert HEADPHONES Effects [x] Source Direct Solo USB-B 2 (R) Level Insert Effects...
Page 35 PROGRAM > Home 0–8: Sampling The resulting 24-bit files can be used at full resolution in Tips: If you have sufficient RAM memory, it’s a good idea to audio tracks. You can also load them into SAMPLING set a generous amount of Sample Time. After you sample, mode, at which time they will be automatically converted to you can then use the Truncate menu command to delete 16-bit data.
Page 36 PROGRAM mode: HD-1 L/R: The external audio input signal will be sent to the L/R 0–8b: Audio Input bus. IFX1…12: The external audio input signal will be sent to the IFX1–12 bus. Choose one of these settings if you want to apply an insert effect while sampling.
Page 37 PROGRAM > Home 0–8: Sampling Send1 (to MFX1) [000…127] 0–8c: Rec Level [dB] Send2 (to MFX2) [000…127] ADC OVERLOAD! These adjust the levels at which the external audio input If the signal level from the analog audio inputs is too high, signal is sent to the master effects.
Page 38 PROGRAM mode: HD-1 If there is distortion, but the “ADC OVERLOAD!” message The MAX position is about 40 dB higher than the MIN does not appear, it’s possible that the distortion is being setting. caused by the settings of the internal effects. To solve this Auto Sampling Setup problem, either lower the input Level (see “Level,”...
Page 39: 0-9: Tone Adjust
PROGRAM > Home 0–9: Tone Adjust 0–9: Tone Adjust 0–9PMC 0–9b 0–9a 0–9PMC 0–9b 0–9a Switches 1–16 button 0–9a: Tone Adjust Switches to the Switch page of Tone Adjust. The Tone Adjust function lets you edit the parameters of a Sliders 1–8, 9–17 buttons program like an analog synthesizer, by using the switches and sliders shown in the display.
Page 40 PROGRAM mode: HD-1 for instance), and saves the results into the Program Relative Tone Adjust parameter scaling parameters directly. At that point, all of the Relative parameters are reset to 0. Edits to Absolute parameters are immediately reflected in Parameter the corresponding on-screen parameters, and vice-versa.
Page 41 PROGRAM > Home 0–9: Tone Adjust Value [Depends on parameter] 0–9b: Tone Adjust Edit This shows the current value of the parameter. The range of Press the (EDIT) icon to edit the assignments and other values will vary depending on the parameter assigned to the settings for the Tone Adjust function.
Page 42 PROGRAM mode: HD-1 Filter EG Release Time. (–99…+99) LFO2 Stop. (PROG/Off/On, Absolute) This scales the release times of the Filter EGs. This Absolute parameter controls whether LFO2 is stopped or running. For more information, please see “Stop” on Amp EG Attack Time. (–99…+99) page 84.
Page 43 PROGRAM > Home 0–9: Tone Adjust MS/WS Type. (Off/MS/WavSeq, Meta) Per-Oscillator parameters This Meta-parameter modifies the MS/WS Select parameter, These parameters affect each Oscillator separately. In the so that you can specifically choose to select either list, the parameters for Oscillator 1 appear first, with each Multisamples or Wave Sequences.
Page 44 PROGRAM mode: HD-1 Filter LFO 1 Intensity to A. (–99…+99, Absolute) This controls the depth and direction of Filter A cutoff modulation from LFO1, as described under “3–3a: LFO 1/2” on page 69. Filter LFO 1 Intensity to B. (–99…+99, Absolute) This controls the depth and direction of Filter B cutoff modulation from LFO1, as described under “3–3a: LFO 1/2”...
Page 45: Program > Basic/X-Y/Controllers
PROGRAM > Basic/X-Y/Controllers 1–1: Program Basic PROGRAM > Basic/X-Y/Controllers 1–1: Program Basic 1–1PMC 1–1a 1–1b 1–1h 1–1c 1–1d 1–1e 1–1f 1–1g This page contains all of the basic settings for the Program. 1–1b: Oscillator Mode Among other things, you can: •...
Page 46 PROGRAM mode: HD-1 • A Wave Sequence uses twice as many voices as a Legato means to play note so that they are smooth and Multisample. A stereo Wave Sequence uses twice as connected; the next note is played before the last note is many voices as a mono Wave Sequence.
Page 47 PROGRAM > Basic/X-Y/Controllers 1–1: Program Basic Max # of Notes applies only when the main Voice Assign For instance, let’s say that the Number of voices parameter Mode is set to Poly. If Mono is selected, this is grayed out. is set to 3, Detune is set to 24, and Thickness is Off: This setting does not limit the Unison Number of Voices Voice one will be detuned down by 12 cents, voice two will...
Page 48 PROGRAM mode: HD-1 Equal Temperament allows easy modulation, so that a chord Osc 1 Top [C–1…G9] progression played in the key of C sounds roughly the same This sets the highest key on which Oscillator 1 will play. as the same progression played in F#. Sacrificed, however, is some of the purity of individual intervals offered by the Osc 2 Bottom [C–1…G9]...
Page 49 Swing uses the Wave Sequence’s Resolution A half-damper pedal is a special type of continuous foot setting pedal, such as the Korg DS-1H. In comparison to a standard Since the programmed rhythms of Tempo Wave Sequences footswitch, half-damper pedals offer more subtle control of can vary widely, each has its own Swing Resolution setting, sustain, which can be especially useful for piano sounds.
Page 50 PROGRAM mode: HD-1 The off and full-on positions of the half-damper work just like a standard footswitch. In conjunction with the Enable Half-Damper parameter, below, intermediate positions allow a graduated control of sustain, similar to the damper pedal of an acoustic piano. Enable Half-Damper [On, Off] When this is On (checked), Half-Damper pedals, normal...
Page 51: 1-5: X-Y Control
PROGRAM > Basic/X-Y/Controllers 1–5: X-Y Control 1–5: X-Y Control 1–5PMC 1–5a 1–5c 1–5b X-Y Control is a function used for vector synthesis control. You can also use the X-Y control to move its position automatically over time, as shown below. Vector synthesis is a function that controls the parameters of programs or effects by using an X-Y envelope that you X-Y control moving the X-Y Point...
Page 52 PROGRAM mode: HD-1 The Equal Power check-box makes the Vector create a The volumes at the extreme ends of the X axis are fixed. At smooth fade between the two Oscillators, while the OSC1/2 the left side, Osc 1 is always at 100% volume; at the right Center Volume parameters allow you to create more side, Osc 1 is always at 0%.
Page 53 PROGRAM > Basic/X-Y/Controllers 1–5: X-Y Control Each of the four directions of the Vector can send a different Negative sends out only –X, starting at 0 at the far left, and CC, including left (–X), right (+X), up (+Y), and down (–Y). increasing to 127 at the far right.
Page 54 PROGRAM mode: HD-1 Show Point [X-Y Control, X-Y Envelope Point 0…4] You can view the volume and CC values for the current position of the X-Y Control, or for any of the EG’s five points. Oscillator Volume & CC Display This read-only display shows the volume and CC values for the current X-Y point, as selected by the Show Point parameter, above.
Page 55: 1-6: X-Y Envelope
PROGRAM > Basic/X-Y/Controllers 1–6: X-Y Envelope 1–6: X-Y Envelope 1–6PMC 1–6a 1–6b 1–6c The X-Y Envelope works to control the X-Y position. It’s 1–6a: Basic also special because it’s the only programmable modulation source which lets you modulate both Program and Effects X-Y Envelope On [Off, On] parameters.
Page 56 PROGRAM mode: HD-1  Forwards-Backwards Loop, Loop Type = 1 Loop Type [03, 13, 23, 03, 13] This selects the start and end points of the loop, and whether Loop Type = 13 the loop is forwards only or forwards-backwards. The first three selections, 03, 13, and 23, loop forwards only.
Page 57 PROGRAM > Basic/X-Y/Controllers 1–6: X-Y Envelope Time [0ms…60sec] v 1–6: Page Menu Commands This parameter lets you set the Transition time in seconds • Compare →p.112 and milliseconds. It applies only when the Mode is set to Time. • Write Program →p.112 (Base Note) [Off…...
Page 58: 1-8: Controllers
PROGRAM mode: HD-1 1–8: Controllers 1–8PMC 1–8a 1–8b This page lets you set up the functionality of buttons 1 and 2 1–8b: Panel Switch Assign (SW1/2) and RT Control Knobs 1–6. These settings are made independently for each Program. These settings control the functionality of SW1 and SW2. 1–8a: RT Control Knob Assign These settings assign functions (mainly MIDI control changes) to RT control knobs 1–6.
Page 59 PROGRAM > Basic/X-Y/Controllers 1–8: Controllers Mode [Toggle, Momentary] This specifies the mode of on/off when the SW1 button is pressed. Toggle: The state will alternate between On and Off each time you press the SW1 button. Momentary: The state will remain On only while you continue holding down the SW1 button.
Page 60: Program > Osc/Pitch
PROGRAM mode: HD-1 PROGRAM > OSC/Pitch These pages control the first and most basic elements of HD- • Set the basic pitch of the sound, including the octave, 1’s sounds: the Multisamples that the oscillators play, and fine tuning, and so on. the pitch at which it plays them.
Page 61 PROGRAM > OSC/Pitch 2–1: OSC1 Basic Key is the normal mode. from drive, or native NAUTILUS samples (including third- party sound libraries and samples that you create yourself). When you select Key + Damper, notes will only sound if Anything that can be used in SAMPLING mode can also be the damper pedal is being held down.
Page 62 PROGRAM mode: HD-1 To select a Multisample or Wave Sequence: Wave Sequence Select menu 1. Press the Multisample/Wave Sequence Select popup Use the tabs to select a bank, and then select a Wave button to open the menu. Sequence. Press the OK button to confirm your selection, or press the Cancel button to revert to the previous setting.
Page 63 PROGRAM > OSC/Pitch 2–1: OSC1 Basic Crossfade Curves Start Offsets: SAMPLING mode and User Sample Banks Linear With SAMPLING mode and User Sample Bank Multisamples, only Off and 1st are available. Off uses the normal start point, and 1st uses the loop start instead. 2nd through 8th will be grayed out.
Page 64 PROGRAM mode: HD-1 2–1d: OSC 1 Velocity Zone 2–1f: Drum Kit In addition to setting the velocity zones for each of the four Drum Kit [A...O] Multisamples in a single Oscillator, you can also set high This selects a drum kit for the Oscillator. Drum Kits allow and low velocities for each of the two Oscillators as a whole.
Page 65: 2-2: Osc1 Pitch
PROGRAM > OSC/Pitch 2–2: OSC1 Pitch 2–2: OSC1 Pitch 2–2PMC 2–2a 2–2b 2–2d 2–2c This page contains all of the settings for Oscillator 1’s pitch JS (+X) [–60…+12] modulation. For example, you can: This sets the maximum amount of pitch bend, in semitones, •...
Page 66 PROGRAM mode: HD-1 When the Intensity is set to a negative (–) value, the effect of JS+Y Intensity (LFO1 JS+Y Int.) [–12.00…+12.00] the EG is reversed; positive EG values mean lower pitches, Moving the joystick “up” from the center detent position, and negative EG values mean higher pitches.
Page 67: 2-5: Osc2 Basic
PROGRAM > OSC/Pitch 2–5: OSC2 Basic 1. Go to the PROGRAM > Basic/X-Y/Controllers– Mode [Constant Rate, Constant Time] Switch page. Constant Rate means that Portamento will always take the 2. Under Switch, set either Switch1 or Switch2 to same amount of time to glide a given distance in pitch - for Portamento SW (CC#65).
Page 68: 2-9: Pitch Eg
PROGRAM mode: HD-1 2–9: Pitch EG 2–9PMC 2–9a 2–9b 2–9c 2–9d The Pitch EG, or Envelope Generator, lets you create 2–9a: EG Reset complex, time-varying changes to the pitch of Oscillators 1 and 2. The parameters on this page control the shape of the AMS (EG Reset AMS) [List of AMS Sources] EG.
Page 69 PROGRAM > OSC/Pitch 2–9: Pitch EG Attack [00…99] 2–9b: Envelope This sets how long the EG takes to move from the Start level Pitch EG to the Attack level. The minimum attack time is 2/3 of a millisecond–as fast as Attack Break Sustain Level...
Page 70 PROGRAM mode: HD-1 For example, if you set the AMS source to Velocity and set Attack [0 (Linear), 1…9, 10 (Exp/Log)] Start to +99, the Start level will increase as you play harder. This sets the curvature of the Attack segment - the transition If you instead set Start to –99, the Start level will decrease as from the Start level to the Attack level.
Page 71 PROGRAM > OSC/Pitch 2–9: Pitch EG Slope [–99…+99] This controls the depth and direction of the AMS modulation for the Slope time. v 2–9: Page Menu Commands • Compare →p.112 • Write Program →p.112 • Exclusive Solo →p.113 • Copy Oscillator →p.119 •...
Page 72: Program > Filter
PROGRAM mode: HD-1 PROGRAM > Filter Filtering can make subtle or dramatic changes to the • Make basic settings for each oscillator’s filters, including oscillator’s timbre. Each oscillator has two multimode routing, modes, cutoff, resonance, etc. resonant filters, A and B, as well as a dedicated filter •...
Page 73 PROGRAM > Filter 3–1: Filter1 Serial and Parallel Routing With low resonance settings, you can use the Band Pass filter to create telephone or vintage phonograph sounds. With higher resonance settings, it can create buzzy or nasal timbres. Oscillator Filter A (Low Pass) Filter B (High Pass) Band Reject.
Page 74 PROGRAM mode: HD-1 Resonance Low resonance value High resonance value Resonance [00…99] v 3–1: Page Menu Commands Resonance emphasizes the frequencies around the cutoff • Compare →p.112 frequency. When this is set to 0, there is no emphasis, and frequencies •...
Page 75: 3-2: Filter1 Mod
PROGRAM > Filter 3–2: Filter1 Mod. 3–2: Filter1 Mod. 3–2PMC 3–2a 3–2b 3–2c This page contains the settings for Oscillator 1’s filter 3–2a: Keyboard Track modulation. Among other things, you can: Most acoustic instruments get brighter as you play higher •...
Page 76 PROGRAM mode: HD-1 • Make the filter cutoff increase very quickly over the Keyboard Track Shape and Intensity middle of the keyboard, and then open more slowly–or Intensity = +99 (Original Shape) not at all–in the higher octaves. • Make the cutoff increase as you play lower on the keyboard.
Page 77 PROGRAM > Filter 3–2: Filter1 Mod. +Inf and –Inf ramps Velocity to A [–99…+99] This lets you use velocity to scale the amount of the Filter +Inf and –Inf are special settings which create abrupt EG applied to Filter A. changes for split-like effects.
Page 78 PROGRAM mode: HD-1 AMS (Filter EG) [List of AMS Sources] This selects any AMS modulation source to scale the amount of the Filter EG applied to Filters A and B. The two filters share a single AMS source, with separate intensity settings. Otherwise, the AMS modulation will work in the same way as the Velocity to A parameter, described above.
Page 79: 3-3: Filter1 Lfo Mod
PROGRAM > Filter 3–3: Filter1 LFO Mod. 3–3: Filter1 LFO Mod. 3–3PMC 3–3a 3–3b LFO1, LFO2, and the Common LFO can all modulate Filter JS–Y Intensity to A (LFO1) [–99…+99] A and B’s cutoff frequencies. You can control the strength of Moving the joystick “down”...
Page 80: 3-4: Filter1 Eg
PROGRAM mode: HD-1 LFO 2 v 3–3: Page Menu Commands The parameters for LFO2 are identical to those for LFO1. • Compare →p.112 For more information, see the descriptions under LFO1, above. • Write Program →p.112 • Exclusive Solo →p.113 3–3b: Common LFO •...
Page 81 PROGRAM > Filter 3–4: Filter1 EG cause inconsistent behavior, or may mean that the EG EG Value Actual Time doesn’t reset at all. If this happens, reduce the Threshold 10.9 seconds until the EG triggers consistently. 87.3 seconds 3–4b: Envelope Attack [00…99] Filter EG...
Page 82 PROGRAM mode: HD-1 As another example, let’s say that you’ve assigned the Different curve settings for up and down Common LFO to modulate Break Level. The LFO may be You may find that different amounts of curvature are suitable moving all the time, but the Break Level is only affected by for segments which go up and segments which go down.
Page 83: 3-5: Filter2
PROGRAM > Filter 3–5: Filter2 When the AMS source is at its maximum value–for instance, AMS2 and AMS3 when Velocity is at 127–a setting of +8 will make the Attack These select the second and third AMS sources, respectively, time almost twice as long, and a setting of –8 will cut the for controlling the EG’s Time parameters.
Page 84: Program > Amp/Eq
PROGRAM mode: HD-1 PROGRAM > Amp/EQ Oscillators 1 and 2 have separate controls for volume (also • Set the pan position and pan modulation. called “amplitude,” or “amp” for short), pan, and Drive, as • Control amp level and modulation, including keyboard well as dedicated amp envelopes and keyboard tracking tracking, the amp envelope, LFO modulation, and AMS generators.
Page 85 PROGRAM > Amp/EQ 4–1: Amp1/Driver1 Intensity [–99…+99] Use DKit Setting [Off, On] This controls the depth and direction of the AMS modulation This option is available only when the Oscillator Mode is for Low Boost. set to Drums or Double Drums. Unlike standard Programs, Drum Kits can have a different pan setting for every note.
Page 86: 4-2: Amp1 Mod
PROGRAM mode: HD-1 4–2: Amp1 Mod. 4–2PMC 4–2a 4–2b 4–2c This page contains the settings for Oscillator 1’s Amp level You can think of the resulting shape as being like two modulation. Among other things, you can: folding doors attached to a hinge in the center. At the Center key (the main hinge), the keyboard tracking has no effect.
Page 87 PROGRAM > Amp/EQ 4–2: Amp1 Mod. Center-High and High-Top: negative ramps make the Ramp Change in level keyboard tracking’s output go down as you play higher on -Inf Silent in one half-step the keyboard, and positive ramps make the output go up. –99 Silent in one whole-step Differences from other Keyboard Tracks...
Page 88 PROGRAM mode: HD-1 For example, if AMS is set to After Touch, positive settings 4–2b: Amp Modulation mean that aftertouch will increase the amount of LFO1 applied to the Amp level. You can modulate the Amp level by both velocity and an AMS source.
Page 89: 4-3: Amp1 Eg
PROGRAM > Amp/EQ 4–3: Amp1 EG 4–3: Amp1 EG 4–3PMC 4–3a 4–3b 4–3c 4–3d These parameters let you create time-varying changes in the 4–3b: Envelope volume of oscillator 1. These parameters specify how the amp 1 EG will change over time. 4–3a: EG Reset Amp EG AMS (EG Reset)
Page 90 PROGRAM mode: HD-1 Amp EG Curve Time Higher values mean longer times, as shown below. Curve = 0 (Linear) EG Value Actual Time Curve = 10 (Exp/Log) 0.667 ms 10 ms 44 ms 104 ms 224 ms 464 ms Curve = 0 (Linear) Curve = 10 (Exp/Log) 944 ms 1.8 seconds...
Page 91: 4-5: Amp2/Driver2
PROGRAM > Amp/EQ 4–5: Amp2/Driver2 Once an EG segment begins, it can’t be AMS1 [List of AMS Sources] modulated Selects the first AMS source to control the EG’s Time parameters. Velocity and Keyboard Track can both be useful Once the EG has started a segment between two points, that here, for instance.
Page 92: 4-6: Amp2 Mod
PROGRAM mode: HD-1 4–6: Amp2 Mod. This page controls Oscillator 2’s amp modulation. It is The parameters are identical to those for Oscillator 1, as available only when the Oscillator Mode is set to Double; if described under “4–2: Amp1 Mod.,” on page 76. not, the page will be grayed out.
Page 93: Program > Lfo
PROGRAM > LFO 5–1: OSC1 LFO1 PROGRAM > LFO Each of the Oscillators has two LFOs, which you can use to These pages let you set up all of the parameters for all five modulate the filter, amp, pitch, and many other parameters. LFOs.
Page 94 PROGRAM mode: HD-1 Random4–6 (Continuous) are smoothed versions of Frequency Value Frequency in Hz Random 1–3, with ramps instead of steps. You can use them 4.14 Hz to create more gentle random variations. 5.69 Hz Start Phase [–180…+180, Random] 7.49 Hz This controls the phase of the waveform at the start of the note, in steps of 5 degrees.
Page 95 PROGRAM > LFO 5–1: OSC1 LFO1 Offset settings and pitch change produced by vibrato When AMS1 is at its maximum value (for instance, when the joystick is pushed all the way up), the AMS affects the frequency as shown below: Offset = –99 Offset = 0 Offset = +99...
Page 96: 5-2: Osc1 Lfo2
PROGRAM mode: HD-1 Times [01…32] v 5–1: Page Menu Commands This multiplies the length of the Base Note. For instance, if • Compare →p.112 the Base Note is set to a sixteenth note, and Times is set to 3, the LFO will cycle over a dotted eighth note. •...
Page 97: 5-9: Common Lfo
PROGRAM > LFO 5–9: Common LFO 5–9: Common LFO 5–9PMC 5–9a 5–9b 5–9c This is a single, free-running LFO, global for all voices in AMS (Shape) [List of AMS Sources] the Program–like the modulation LFOs in some vintage This selects a modulation source for controlling the LFO’s analog synths.
Page 98 PROGRAM mode: HD-1 Off (unchecked): When Stop is Off, the LFO will function normally. Reset AMS [List of AMS Sources] This selects an AMS source to reset the LFO to the Start Phase. The LFO resets when the AMS value passes the halfway mark: +50 for most AMS sources, or 64 for MIDI controllers.
Page 99: Program > Ams Mixer/Common Keytrack
PROGRAM > AMS Mixer/Common KeyTrack 6–1: OSC 1 AMS Mix PROGRAM > AMS Mixer/Common KeyTrack Each Oscillator has two AMS Mixers, which are simple but These pages let you control all of these modulation sources. powerful tools for combining and modifying AMS signals. Note that when the Oscillator Mode is set to Single, only The two Oscillators also share two Common keyboard Oscillator 1’s AMS Mixers are active;...
Page 100 PROGRAM mode: HD-1 Amt A x B AMS Mixer, Type = A+B AMS Mixer, Type = A x B Amt A AMS A Output AMS B AMS A Output AMS B Amt B Amt A This Mixer Type uses AMS B to scale the amount of AMS A.
Page 101 PROGRAM > AMS Mixer/Common KeyTrack 6–1: OSC 1 AMS Mix AMS Mixer Offset examples Muting individual Wave Sequence steps with AMS A: LFO You can use AMS Mixers in conjunction with the AMS outputs of Wave Sequences. For instance, you can use SW1 to turn one or more steps of a Wave Sequence on or off.
Page 102 PROGRAM mode: HD-1 Higher Decay settings mean longer times. Smoothing This Mixer Type smooths out the AMS input, creating more Shape gentle transitions between values. You have separate control This Mixer Type adds curvature to the AMS input. Shape of the amount of smoothing during the attack (when the can create custom controller curves, such as exponential signal is increasing) and decay (when it’s decreasing).
Page 103 PROGRAM > AMS Mixer/Common KeyTrack 6–1: OSC 1 AMS Mix AMS Mixer Shape examples Quantize Bipolar Triangle Wave This Mixer Type changes the input from a continuous signal Asymmetric Asymmetric into a series of discrete steps. Instead of moving smoothly between values, it will snap immediately from one value to another.
Page 104 PROGRAM mode: HD-1 You can also choose whether the gate will be able to open AMS B [List of AMS Sources] and close continuously in response to the control source, or This lets you set an AMS source to pass through the Gate whether it only opens or closes at the beginning of the note, when the Control Source is greater than or equal to the and then stays that way over the note’s entire duration.
Page 105: 6-5: Osc 2 Ams Mixer
PROGRAM > AMS Mixer/Common KeyTrack 6–5: OSC 2 AMS Mixer 6–5: OSC 2 AMS Mixer This page controls the two AMS Mixers for Oscillator 2. These are available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “6–1: OSC 1 AMS Mix,”...
Page 106: 6-9: Common Keytrack
PROGRAM mode: HD-1 6–9: Common KeyTrack 6–9PMC 6–9a 6–9b The two Oscillators share two Common keyboard tracking Common Keyboard Tracking generators, in addition to each Oscillator’s dedicated keyboard tracking for the Filter and Amp. You can use these At the Center Key, the AMS value is always 0. Common keytracks as AMS sources for modulating most Ramp: AMS destinations.
Page 107 PROGRAM > AMS Mixer/Common KeyTrack 6–9: Common KeyTrack Ramp value AMS change 6–9a: Keyboard Track 1 no change +10 per octave Low Break [C–1…G9] +20 per octave This sets the breakpoint note between the two lower ramps - +Inf goes to +99 in 1 half-step the “hinge”...
Page 108: Program > Ifx
PROGRAM mode: HD-1 PROGRAM > IFX These pages let you can make settings for the insert effects. • Make detailed settings for insert effects For instance, you can: • Make common LFO settings for effects • Send the output of a oscillator to an insert effect For more information, please see “Effect Guide”...
Page 109 PROGRAM > IFX 8–1: Routing Use Dkit Setting = On In PROGRAM mode, you can resample your keyboard or 8–1c: Bus Select Arpeggiator performance, or sample an external audio signal from the AUDIO INPUT jacks. Bus Select (IFX/Indiv.Out Assign) (All OSCs to) In order for you to sample, Source Bus must be set to a REC [L/R, IFX1...12, 1...4, 1/2, 3/4, Off] bus.
Page 110 PROGRAM mode: HD-1 OSC2 Send1 (to MFX1) [000…127] OSC2 Send2 (to MFX2) [000…127] Sets the volume (send level) at which the output of OSC2 will be sent to master effects 1 and 2. These parameters will be valid when Oscillator Mode is set to Double and Bus Select is set to L/R or Off.
Page 111: 8-5: Insert Fx
PROGRAM > IFX 8–5: Insert FX 8–5: Insert FX 8–5PMC 8–5a You can also use the Find button to search for effects by 8–5a: IFX name. For more information, see “Find dialog” on page 7. Here you can choose effects for each of the 12 inserts, turn IFX1 On/Off [Off, On] them on and off, configure chaining, and adjust the post-IFX...
Page 112 PROGRAM mode: HD-1 Pan (CC#8) (Post IFX Pan) [L000…C064…R127] IFX2: Chain to [IFX3…IFX12] Specifies the panning immediately after the insert effect. IFX3: Chain to [IFX4…IFX12] You can use CC#8 to control this. IFX4: Chain to [IFX5…IFX12] Bus Sel. (Bus Select) [L/R, 1…4, 1/2…3/4, Off] IFX5: Chain to [IFX6…IFX12]...
Page 113: 8-7: Ifx 1-12
Dynamic Modulation, or Dmod for short. own settings here. For a complete list of Dmod sources, see “Dynamic P01…P15: These usually contain Korg preset data (though Modulation Source List” on page 910. some effects may not include presets). We recommend that you store your settings in U00–U15.
Page 114 PROGRAM mode: HD-1 6. If you’ve come up with settings you like and want to save them as a new preset, use the Write FX Preset menu command. IFX1 Parameters Set the parameters for the effect type selected for insert effect 1.
Page 115: 8-9: Common Fx Lfo
PROGRAM > IFX 8–9: Common FX LFO 8–9: Common FX LFO 8–9PMC 8–9a 8–9b The two Common FX LFOs allow you to synchronize LFO- MIDI/Tempo Sync [Off, On] based modulation for multiple effects, such as phasers, On (checked): The LFO will synchronize to the system flangers, filters, and so on.
Page 116 PROGRAM mode: HD-1 Common FX LFO LFO Type = Common1 Stereo Flanger Common FX LFO1 Frequency[Hz] Waveforem = Triangle Reset Phase Offset = 0 [deg] Generate original LFO waveform Stereo Phaser Waveforem = Sine Phase Offset = 0 [deg] Stereo Auto Pan Waveforem = Sine Phase Offset = +90 [deg] v 8–9: Page Menu Commands...
Page 117: Program > Mfx/Tfx
PROGRAM > MFX/TFX 9–1: Routing PROGRAM > MFX/TFX Here you can make settings for the master effects and total • Make detailed settings for master effects and total effects effects. For instance, you can: For more information, please see “Effect Guide” on •...
Page 118 PROGRAM mode: HD-1 Category/MFX Select menu Chain Direction [MFX1->MFX2, MFX2->MFX1] TFX1 On/Off [Off, On] Specifies the direction of the connection when MFX1 and This turns total effect 1 on/off. If this is off, the input will be MFX2 are chained. passed directly through.
Page 119: 9-2: Mfx1
PROGRAM > MFX/TFX 9–2: MFX1 9–2: MFX1 9–2PMC 9–2a 9–2b 9–2a: MFX1 v 9–2: Page Menu Commands Here you can edit the parameters of the effect you choose for • Compare →p.112 MFX1 in the MFX/TFX– Routing page. • Write Program →p.112 Effect dynamic modulation (Dmod) is controlled on the global MIDI Channel (GLOBAL 1–1a).
Page 120: 9-3: Mfx2
PROGRAM mode: HD-1 9–3: MFX2 9–4: TFX1 9–5: TFX2 These pages let you edit the parameters of Master Effect 2 and Total Effects 1 and 2. The parameters for MFX2, TFX1, and TFX2 are the same as for MFX1. For more information, see “9–2: MFX1” on page 109.
Page 121: Hd-1: Tone Adjust
HD-1: Tone Adjust 9–5: TFX2 HD-1: Tone Adjust Tone Adjust provides an elegant physical interface to the HD-1’s parameters. Most of the factory sounds use the default layout, as shown below. You can also customize the layout for individual sounds, if desired. HD-1 Tone Adjust Default Settings [OSC1] Button 7: [OSC2]...
Page 122: Program: Page Menu Commands
PROGRAM mode: HD-1 PROGRAM: Page Menu Commands Compare →p.112 • Save your edits Write Program →p.112 • Rename the Program Exclusive Solo →p.113 • Assign the Program to a Category Show MS/WS/DKit Graphics →p.113 • Mark the Program as a Favorite Add To Set List →p.113 Initialize Program...
Page 123 PROGRAM: Page Menu Commands Exclusive Solo Exclusive Solo Add To Set List This command is available on every page in PROGRAM This command, available on the Home pages of mode. PROGRAM, COMBINATION, and SEQUENCER modes, allows the addition of the current Program, Combination, or The function of the Solo button will switch each time you Song to a Set List.
Page 124 PROGRAM mode: HD-1 2. Press OK. The Program’s edit buffer will be initialized, restored to default values. Note that in this case the stored data is not affected. If you want to keep the initialized Program, you’ll need to use the Write command. To initialize all Programs in the current bank: 1.
Page 125 PROGRAM: Page Menu Commands Select Sample No. 4. “Convert to” specifies whether the sample will Auto Optimize RAM automatically be converted into a program as soon as If Auto Optimize RAM is enabled, you don’t need to use it has been sampled. This is convenient when you want the Optimize RAM command;...
Page 126 PROGRAM mode: HD-1 Select Directory/File for Sample To Disk 4. Press the Stop button once again to stop playback. Initialize If the WAVE file is mono, the same sound will be output to If you selected Initialize: L/R. Auto Sampling Setup Auto Sampling Setup is available on the Audio In/Sampling tab of the Play page.
Page 127 PROGRAM: Page Menu Commands Auto Sampling Setup Program after resampling. If you want to convert the USB 1/2: These are the USB audio inputs, for sampling sample, check the “Convert to Program” option, and from a connected computer. use “Program” to specify the desired convert- 2.
Page 128 PROGRAM mode: HD-1 Automatically-set parameters and their values Resample Program Initialize REC Audio Input (Combination) Play Input (Input Source) Input1, 2, USB 1, 2 Input1, 2, USB 1, 2 [Source Audio] Bus Select FX Ctrl Bus REC Bus Input 1, USB 1 Send1/2 L000 L000...
Page 129 PROGRAM: Page Menu Commands Reset Tone Adjust 4. Select either All or Assignments Only to specify the portion and the assignments and current values of the Tone Adjust parameters you want to copy. corresponding OSC portion will be copied. All: Copies all of the Tone Adjust parameters and their If “Tone Adjust too”...
Page 130 PROGRAM mode: HD-1 Index [001…128] Sample Parameters An Index is a key zone in a Multisample, including a single Sample Parameters is available on the OSC 1/2 Basic Sample and all of its associated parameters. This is the pages. currently selected Index. This command lets you adjust basic timbral parameters for The number following “/”...
Page 131 PROGRAM: Page Menu Commands Sync Both EGs LEQ Gain [-36dB…+00…+36dB] Copy External Scene This adds to, or subtracts from, the Program’s Low EQ gain This command copies the settings of the scene used by a setting. If the EQ is bypassed, this will have no effect. specified program, combination, or song.
Page 132 PROGRAM mode: HD-1 3. Select the effect to copy. You can also copy from the Swap Scene master effect or the total effect. This command swaps (exchanges) the settings of two All: All settings of the insert effect (the contents of the SCENE 1-4 buttons.
Page 133 PROGRAM: Page Menu Commands Cut IFX Slot This command also provides an Auto Routing option that IFX3–IFX5 will be relocated to IFX4–6, resulting in a automatically adjusts related parameters in order to preserve chain consisting of IFX1–IFX6. the previously-existing routing. This command is convenient when you want to add an effect within a chain of insert effects.
Page 134 PROGRAM mode: HD-1 3. Press the OK button to execute the Clean Up IFX Routings command, or press the Cancel button if you decide to cancel. Drum Kits not supported by Auto Routing Drum Kits can store separate Bus Select settings for each key.
Page 135 PROGRAM: Page Menu Commands Copy MFX/TFX Copy MFX/TFX Write FX Preset Copy MFX/TFX is available on all of the MFX/TFX pages. Write FX Preset is available on all of the effects parameter editing pages, including IFX 1-12, MFX 1 and 2, and TFX 1 This command lets you copy any desired effect settings from and 2.
Page 136 PROGRAM mode: HD-1 If sounds within a single bank use multiple KSCs, select the Current Program option. For instance, some users keep all sample-related Programs in Bank USER-G, but Program 000 uses Friday.KSC, Program 001 uses Saturday.KSC, and so on. The Current Program option lets you deal with each Program individually.
Page 137: Program Mode: Exi
PROGRAM mode: EXi EXi PROGRAM > Home This is the main page of PROGRAM mode for EXi Programs. Among other things, you can: • Select Programs • Jump directly to the main editing pages • Make edits Arpeggiator, Drum truck/Step sequencer to Scene •...
Page 138: 0-1: Overview
PROGRAM mode: EXi 0–1: Overview 0–1PMC 0–1a 0–1b 0–1d 0–1c 0–1a: Program Select 0–1c: Quick Layer, Split Bank (Bank Select) [A...T] Quick Layer Bank Type [EXi] Quick Split EXi programs can be used by all banks except for GM. This Quick Layer and Quick Split let you automatically combine setting is made in the “Set Program Bank Type”...
Page 139: 0-2: Performance Meter
EXi PROGRAM > Home 0–2: Performance Meter v 0–1: Page Menu Commands • Compare →p.112 • Write Program →p.112 • Exclusive Solo →p.113 • Show MS/WS/DKit Graphics →p.113 • Add To Set List →p.113 • Initialize Program →p.113 • Load required samples →p.114 •...
Page 140: Exi Program > Basic/X-Y/Controllers
PROGRAM mode: EXi EXi PROGRAM > Basic/X-Y/Controllers These pages control the basic elements of the Program, • Set up X-Y CCs to modulate Program and Effects along with the Vector synthesis features. parameters For instance, you can: • Program the X-Y Envelope to move the X-Y position automatically •...
Page 141 EXi PROGRAM > Basic/X-Y/Controllers 4–1: Program Basic Poly: The program will play polyphonically, allowing you Normal: When you play legato, the envelopes and LFOs play chords. (and samples, if the EXi supports samples) will not be reset. Instead, only the pitch of the oscillator will change. This Mono: The program will play monophonically, producing setting is particularly effective for wind instruments and only one note at a time.
Page 142 PROGRAM mode: EXi Number of Voices [2…16] Voice Detune This controls the number of detuned voices that will be played for each note when using Unison. It applies only –12 when Unison is On. –4 Stereo Spread [0…100] Stereo Spread lets you create a wider stereo field when using Unison.
Page 143 A half-damper pedal is a special type of continuous foot Hold Bottom [C-1…G9] pedal, such as the Korg DS-1H. In comparison to a standard This sets the lowest key affected by the Hold function. footswitch, half-damper pedals offer more subtle control of sustain, which can be especially useful for piano sounds.
Page 144: 4-2: Exi Audio Input
PROGRAM mode: EXi v 4–1: Page Menu Commands • Compare →p.112 • Write Program →p.112 • Exclusive Solo →p.113 • Copy EXi Oscillator →p.140 • PAGE →p.126 • MODE →p.126 4–2: EXi Audio Input 4–2PMC 4–2a 4–2b These parameters let you route audio into EXi instruments 4–2a: EXi 1 which support audio input, including the STR-1, MS-20EX, and MOD-7.
Page 145: 4-5: X-Y Control
EXi PROGRAM > Basic/X-Y/Controllers 4–5: X-Y Control Channel Select [Stereo/L+R, Left, Right] v 4–2: Page Menu Commands Stereo/L+R: This selection routes a stereo signal to EXi • Compare →p.112 with stereo inputs, and an L+R summation to EXi with mono inputs.
Page 146: Exi Program > Modulation
PROGRAM mode: EXi EXi PROGRAM > Modulation The entire Program shares several modulation sources, • Two Common Key Tracking generators, which are set up including: for the entire Program, but then calculated individually for each voice • A single Common LFO, shared by all the voices - similar to the global LFO on some vintage analog synths These pages let you set up these Program-wide modulation sources.
Page 147 EXi PROGRAM > Modulation 5–1: Common Step Seq 2. Set the Filter Type to Lowpass, and the Routing to 5–1a: Step Sequencer 24dB (4-pole). 3. Set the Filter Cutoff to 00. Mode [Loop, One Shot] 4. On the Filter Mod page, set Filter A’s AMS to Loop makes the Step Sequence loop continuously between Common Step Sequencer, and set the Intensity to 90.
Page 148 PROGRAM mode: EXi Command buttons 5–1b: Sequencer Reset Step [AMS Sources] Step [01…32] This selects an AMS source to reset the sequence to the Start Step. Selects the step that you want to edit. To create an effect similar to the per-voice Step Sequencer’s Insert Key Sync Off setting, set this to Gate 1+ Damper, and set Inserts the cut or copied step at the current step.
Page 149: 5-2: Common Lfo
EXi PROGRAM > Modulation 5–2: Common LFO v 5–1: Page Menu Commands • Compare →p.112 • Write Program →p.112 • Exclusive Solo →p.113 • Copy Step Sequencer →p.140 • PAGE →p.126 • MODE →p.126 5–2: Common LFO This is a single, free-running LFO, global for all voices in This is the same as with HD-1 programs.
Page 150: Exi Program: Page Menu Commands
PROGRAM mode: EXi EXi PROGRAM: Page Menu Commands Compare →p.112 4. Use the “To” field to select the copy-destination oscillator. Write Program →p.112 Exclusive Solo →p.113 5. Press the OK button to execute the Copy Oscillator Show MS/WS/DKit Graphics →p.113 operation, or press the Cancel button if you decide not to execute.
Page 151: Exi: Al-1 Analog Synthesizer
EXi: AL-1 Analog Synthesizer AL-1 Overview The AL-1 is Korg’s most full-featured virtual analog • Two key tracking generators and two AMS mixers synthesizer to date. It’s played from within EXi Programs, so • Up to 80 voices of polyphony you can layer it with any other EXi–or layer two AL-1s...
Page 152: Exi Program > Home
EXi: AL-1 Analog Synthesizer EXi PROGRAM > Home 0–1: Overview 0–1PMC 0–1b 0–1d This is the main page of PROGRAM mode. For a full Common Key Zone description of this page and all of its functions, please see This shows the key zones for EXi1 and EXi2, as set on the “EXi PROGRAM >...
Page 153 EXi PROGRAM > Home 0–1: Overview Driver, Low Boost, Pan, Amp Level This shows the Amp section’s Driver, Low Boost, Pan, and Amp Level values. If the Driver section’s Bypass is on, Driver and Low Boost are not shown. Press this area to jump to the PROGRAM > AL-1: Amp- Amp/Driver page.
Page 154: Program > Al-1: Osc/Pitch
EXi: AL-1 Analog Synthesizer PROGRAM > AL-1: OSC/Pitch These pages control the most basic elements of AL-1’s • Set the basic pitch of the sound, including the octave, sounds: the waveforms that the oscillators play, and the pitch fine tuning, and so on. at which it plays them.
Page 155 PROGRAM > AL-1: OSC/Pitch 4–1: OSC Basic Detuned Saw 2 is similar to Detuned Saw 1, except that the The width controls the timbre of the oscillator, from pure second sawtooth is 180 degrees out of phase. This produces and hollow at 50% (a square wave) to thin and reedy at the a timbre similar to pulse width modulation, with the Detune extremes.
Page 156 EXi: AL-1 Analog Synthesizer Note also that FM, Sync, and Ring Mod can all be used Transpose [–12…+12] simultaneously. This adjusts the pitch in semitones, over a range of ±1 octave. [List of AMS Sources] This selects an AMS source to control the FM Amount. For Tune [–1200…+1200] a list of AMS sources, see “Alternate Modulation Source...
Page 157: 4-2: Osc Sub
PROGRAM > AL-1: OSC/Pitch 4–2: OSC Sub 4–2: OSC Sub 4–2PMC 4–2a 4–2b 4–2c AM includes both the traditional ring modulation effect and 4–2a: Sub Oscillator the dry signal of the Carrier input. The Sub Oscillator plays exactly one octave below Rectify means that any negative parts of the Modulator’s Oscillator 1.
Page 158: 4-3: Mixer
EXi: AL-1 Analog Synthesizer Saturation [0…99] v 4–2: Page Menu Commands This control clips the noise signal, for added crunch. Subtle • Compare →p.112 variations in saturation are more noticeable with very low Filter Frequency settings (see below), allowing you to create organic, rumbling timbres.
Page 159 PROGRAM > AL-1: OSC/Pitch 4–3: Mixer [List of AMS Sources] This selects an AMS source to control the Oscillator 1 Balance. For a list of AMS sources, see “Alternate Modulation Source (AMS) List” on page 901. Intensity [–99…+99] This controls the depth and direction of the Oscillator 1 Balance AMS modulation.
Page 160: 4-4: Pitch Common
EXi: AL-1 Analog Synthesizer 4–4: Pitch Common 4–4PMC 4–4a 4–4c 4–4b This page lets you modulate the pitch of Oscillators 1, 2, and If you want to create more complex effects, you can assign the Sub Oscillator simultaneously, so that the modulation key tracking as an AMS source.
Page 161 PROGRAM > AL-1: OSC/Pitch 4–4: Pitch Common On (checked): Turns on Fingered Portamento. LFO Intensity [–48.00…+48.00] Off (unchecked): Turns off Fingered Portamento. This controls the initial effect of the LFO on the pitch, in semitones, before any JS+Y or AMS modulation. Mode [Constant Rate, Constant Time] Negative (–) settings will invert the phase of the LFO.
Page 162: 4-5: Pitch Eg/Mod
EXi: AL-1 Analog Synthesizer 4–5: Pitch EG/Mod 4–5PMC 4–5a 4–5b 4–5c 4–5d This page lets you modulate the pitches of Oscillators 1 and [List of AMS Sources] 2 separately–as opposed to the Pitch Common page, whose This selects an AMS modulation source to scale the amount controls affect both Oscillators at once.
Page 163 PROGRAM > AL-1: OSC/Pitch 4–5: Pitch EG/Mod AMS 2 [List of AMS Sources] This selects a second modulation source for controlling the pitch of Oscillator 1 and the Sub Oscillator. For a list of AMS sources, see “Alternate Modulation Source (AMS) List”...
Page 164: Program > Al-1: Filter
EXi: AL-1 Analog Synthesizer PROGRAM > AL-1: Filter 5–1: Basic 5–1PMC 5–1a 5–1b 5–1c This routes all of the inputs to both filters, at equal volumes. Interaction between the filters and the Dual signal paths mixer You can also send one Oscillator through Filter A, and the When the Filter Routing is set to either Single or 24dB (4- other through Filter B, to create a layered sound.
Page 165 PROGRAM > AL-1: Filter 5–1: Basic Serial. This uses both Filters A and B as separately Filter Types and Cutoff Frequency controllable 2-pole filters. The output of Filter A is processed through Filter B. Parallel. This also uses both Filter A and Filter B. Unlike Serial, above, the outputs of the two filters are kept separate, with individual control over both level and pan.
Page 166 EXi: AL-1 Analog Synthesizer Frequency [00…99] Intensity [–99…+99] This controls the cutoff frequency of Filter A, in increments This controls the depth and direction of the Pan AMS of 1/10 of an octave. The specific effect of the cutoff modulation. frequency will change depending on the selected Filter Type, as described above.
Page 167: 5-2: Multi Filter
PROGRAM > AL-1: Filter 5–2: Multi Filter 5–2: Multi Filter 5–2PMC 5–2a 5–2b 5–2c 5–2d This page is available only when the Filter A Type is set to 5–2b: Mode Crossfade Multi Filter. Mode 1 [List of filter types] What’s a Multi Filter? This sets the filter type for Mode 1.
Page 168: 5-3: Filter Mod
EXi: AL-1 Analog Synthesizer Intensity Mod AMS [List of AMS Sources] Highpass [–99…+99] This selects an AMS source to modulate the intensity of the This sets the volume of the Highpass filter output. main Mode 1-2 Crossfade AMS. Bandpass [–99…+99] For instance, you can set AMS to use one of the LFOs, and This controls the volume of the Bandpass filter output.
Page 169 PROGRAM > AL-1: Filter 5–3: Filter Mod. There is one difference between the two, however: the AL- Key Follow 1’s Filter tracking is affected by Portamento, so that it To create the classic Key Follow effect, in which the filter changes smoothly during glides.
Page 170 EXi: AL-1 Analog Synthesizer For a list of AMS sources, see “Alternate Modulation Source (AMS) List” on page 901. Intensity [–99…+99] This controls the depth and direction of the AMS modulation. Filter B The EG parameters for Filter B are the same as those for “Filter A,”...
Page 171: 5-4: Filter Lfo Mod
PROGRAM > AL-1: Filter 5–4: Filter LFO Mod. 5–4: Filter LFO Mod. 5–4PMC 5–4a 5–4b There are three LFO-to-Frequency controls for each filter: a 5–4b: Filter B basic amount (LFO Intensity), joystick -Y control of LFO amount (JS- Y Intensity), and AMS control of LFO amount The settings for Filter B are the same as those for “5–4a: (AMS Intensity).
Page 172: Program > Al-1: Amp
EXi: AL-1 Analog Synthesizer PROGRAM > AL-1: Amp These pages let you control the sound’s volume (also called • Set the pan position and pan modulation. “amplitude,” or “amp” for short), pan, and Drive, as well as • Control amp level and modulation, including keyboard its dedicated amp envelopes and keyboard tracking tracking, the amp envelope, LFO modulation, and AMS generators.
Page 173 PROGRAM > AL-1: Amp 6–1: Amp/Driver For example, if Pan is set to C064 and AMS is set to Note [List of AMS Sources] Number, positive (+) intensities will cause the sound to This selects an AMS modulation source to control the Low move toward the right as you play higher than C4, and Boost amount.
Page 174: 6-2: Amp Mod
EXi: AL-1 Analog Synthesizer 6–2: Amp Mod. 6–2PMC 6–2a 6–2b This page contains the settings for Oscillator 1’s Amp level Ramp modulation. Among other things, you can: Bottom-Low [-Inf, –99…+99, +Inf] • Set up complex keyboard tracking shapes to control the This sets the slope between the bottom of the MIDI note Amp level.
Page 175 PROGRAM > AL-1: Amp 6–2: Amp Mod. Intensity [–99…+99] 6–2b: Amp Modulation This controls the depth and direction of the Intensity Mod You can modulate the Amp level by velocity and two AMS AMS. Even if the main AMS2 Intensity is set to 0, sources.
Page 176: 6-3: Amp Eg
EXi: AL-1 Analog Synthesizer 6–3: Amp EG 6–3PMC 6–3a 6–3b 6–3c 6–3d The AL-1’s Amp EG is identical to the HD-1’s. For more 6–3b: Envelope detailed explanations of the Amp EG features, please see “4– 3: Amp1 EG,” on page 79. These parameters specify how the amp EG will change over time.
Page 177 PROGRAM > AL-1: Amp 6–3: Amp EG Note: Once the EG has started a segment between two Attack [00…99] points, that segment can no longer be modulated. For This sets how long the EG takes to move from the Start level instance, if the EG is in the middle of the Decay time, you to the Attack level.
Page 178 EXi: AL-1 Analog Synthesizer AMS2 and AMS3 These select the second and third AMS sources, respectively, for controlling the EG’s Time parameters. Each has its own intensities for Attack, Decay, Slope, and Release. The parameters of both AMS2 and AMS 3 are identical to those of AMS1, above.
Page 179: Program > Al-1: Eg 1-4
PROGRAM > AL-1: EG 1-4 7–1: EG 1 (Filter) PROGRAM > AL-1: EG 1-4 There are four assignable EGs, in addition to the Amp EG. In the midst of all this flexibility, we thought it would also be Each of these can be used as an AMS modulation source to good to provide a little structure.
Page 180 EXi: AL-1 Analog Synthesizer Attack [00…99] 7–1b: Envelope This sets how long the EG takes to move from the Start level to the Attack level. The minimum attack time is 2/3 of a millisecond–as fast as Attack Break Sustain the most punchy of classic analog synths. Level Level Level...
Page 181 PROGRAM > AL-1: EG 1-4 7–1: EG 1 (Filter) For a list of AMS sources, see “Alternate Modulation Source Attack [0 (Linear), 1…9, 10 (Exp/Log)] (AMS) List” on page 901. This sets the curvature of the Attack segment - the transition from the Start level to the Attack level.
Page 182: 7-2: Eg 2 (Pitch)
EXi: AL-1 Analog Synthesizer Release [–99…+99] v 7–1: Page Menu Commands This controls the depth and direction of the AMS modulation • Compare →p.112 for the Release time. AMS2 and AMS3 • Write Program →p.112 These select the second and third AMS sources, respectively, •...
Page 183: Program > Al-1: Step Seq/Lfo
PROGRAM > AL-1: Step Seq/LFO 8–1: Step Sequencer PROGRAM > AL-1: Step Seq/LFO 8–1: Step Sequencer 8–1PMC 8–1d 8–1a 8–1a 8–1b 8–1c Overview 8–1a: Step Sequencer The Step Sequencer creates complex, rhythmic patterns, for Mode [Loop, One Shot] use as an AMS modulation source. For instance, you can Loop makes the Step Sequence loop continuously between modulate a filter to create sample-and-hold effects, modulate the Start Step and the End Step.
Page 184 EXi: AL-1 Analog Synthesizer When Key Sync is Off, the Step Sequencers for all notes are 8–1d: Step Parameters synchronized together (unless the Start Step is modulated by note-specific AMS sources). The first note in a legato Each of the 32 steps has its own settings for Value and phrase will start from the Start Step;...
Page 185: 8-2: Lfo 1
PROGRAM > AL-1: Step Seq/LFO 8–2: LFO 1 Exp/Comp Duration When you press the Exp/Comp button, the Step Sequence Value dialog box will appear. The value of each step will be This doubles the duration of the steps or the “x (Multiply expanded or compressed by the percentage (%) you specify.
Page 186 EXi: AL-1 Analog Synthesizer Note: Shape does not affect the Square and Random 3 8–2a: LFO 1 waveforms, since their values are always either +99 or -99. When these are selected, Shape is grayed out. Waveform [Triangle…Random6 (Continuous)] This selects the basic LFO waveform, as shown in the [List of AMS Sources] graphic below.
Page 187 PROGRAM > AL-1: Step Seq/LFO 8–2: LFO 1 determined by the combination of the Waveform, Start Fade [00…99] Phase, Shape, and Offset), and then holds that value until The LFO can fade in gradually, instead of simply starting the end of the note. immediately at full strength.
Page 188: 8-3: Lfo 2
EXi: AL-1 Analog Synthesizer Off (unchecked): The Frequency settings will determine the Intensity Mod AMS [List of AMS Sources] speed of the LFO, and the tempo settings will have no effect. This selects a secondary AMS modulation source to scale the intensity of AMS1.
Page 189: Program > Al-1: Ams Mixer
PROGRAM > AL-1: AMS Mixer 9–1: AMS Mixer PROGRAM > AL-1: AMS Mixer The AMS Mixers combine two AMS sources into one, or This also means that the original, unmodified inputs to the process an AMS source to make it into something new. AMS Mixers are still available as well.
Page 190: Al-1: Tone Adjust
EXi: AL-1 Analog Synthesizer AL-1: Tone Adjust AL-1 Tone Adjust Default Settings Button 6: Sync On/Off Buttons 1–5: Buttons 7 & 8: Mixer Mutes LFOs 1 & 2 OSC 1, OSC 2, Stop Sub OSC/Audio, Ring Mod, Noise Oscillators 1 & 2 Width/Phase/ Detune AMS Intensity...
Page 191 AL-1: Tone Adjust 9–1: AMS Mixer Mixer Pitch • OSC 1 level (absolute) • Pitch Slope (absolute) • OSC 2 level (absolute) • Pitch LFO AMS Intensity (absolute) • Sub OSC/Audio Input level (absolute) • Ring Mod level (absolute) • Noise level (absolute) Filter A In addition to the standard Tone Adjust filter parameters, the AL-1 adds the following:...
Page 192: Exi Al-1: Page Menu Commands
EXi: AL-1 Analog Synthesizer EXi AL-1: Page Menu Commands Compare →p.112 Copy LFO Write Program →p.112 Exclusive Solo →p.113 This copies settings from one AL-1 LFO to another. Copy Envelope →p.182 1. Select “Copy LFO” to open the dialog box. Swap Envelope →p.182 Copy Step Sequencer...
Page 193: Exi: Cx-3 Tonewheel Organ
The CX-3 is a detailed model of a classic tone-wheel organ, Because of this, you can use a maximum of eight CX-3s based on Korg’s ground-breaking CX-3 keyboard. simultaneously in a Combination or Song. If other EXis with fixed resources are in use, the maximum number of CX-3s Its awesome sound starts with perfect tone-wheel phase will be reduced accordingly.
Page 194: Exi Program > Cx-3: Play
EXi: CX-3 Tonewheel Organ EXi PROGRAM > CX-3: Play 0–1: Overview 0–1PMC 0–1a 0–1d Rotary Speaker speed indicator This is the main page of PROGRAM mode. For a full Perc, V/C, and Split show programmed values– description of this page and all of its functions, please see not AMS “EXi PROGRAM >...
Page 195 EXi PROGRAM > CX-3: Play 0–1: Overview EX Percussion Rotary Speaker This area shows the EX Percussion settings. It will only Mode appear if the Drawbar Mode is set to EX. This shows the Amp/VC/Rotary Mode (Classic CX-3 or Press this area to jump to the PROGRAM > CX-3: Custom).
Page 196: Program > Cx-3: Basic
EXi: CX-3 Tonewheel Organ PROGRAM > CX-3: Basic 4–1: Basic 4–1PMC 4–1a 4–1c 4–1b 4–1d Bright produces a crisp effect, slightly brighter than 4–1a: Drawbar Mode traditional tone-wheel organs. Mellow produces a slightly darker, more traditional tone. Drawbar Mode [Normal, EX] This is a basic control, which affects the parameters Overtone Level [0…99]...
Page 197 PROGRAM > CX-3: Basic 4–1: Basic Dirty adds a small amount of noise at note-on and note-off, Key-On Click Level [ 0…99] for a small amount of extra punch. You can also use this if This controls the amount of click noise at note-on. you’re looking to duplicate the gate timbre of the CX-3 and BX-3.
Page 198: 4-2: Controllers
EXi: CX-3 Tonewheel Organ 4–2: Controllers 4–2PMC 4–2a 4–2b 4–2c [List of AMS Sources] 4–2a: Pitch Bend This selects an AMS source to modulate Expression. For a list of AMS sources, see “Alternate Modulation Source JS+ X [-60…+12] (AMS) List” on page 901. This sets the maximum amount of pitch bend, in semitones, This parameter is grayed out if Mode, below, is set to Level when you move the joystick to the right.
Page 199 PROGRAM > CX-3: Basic 4–2: Controllers is set to Keep Current, then the Program will initially use the Finally - note that the assignable switches, SW1 and SW2, AMS input, until (and unless) the Expression Level setting can themselves be set to either momentary or toggle modes, is changed.
Page 200: Program > Cx-3: Split & Drawbars
EXi: CX-3 Tonewheel Organ PROGRAM > CX-3: Split & Drawbars You can set up the organ to use a single sound across the entire keyboard, or to split the keyboard between two different sets of drawbars. 5–1: Keyboard Split 5–1PMC 5–1a 5–1a: Split v 5–1: Page Menu Commands...
Page 201: 5-2: Drawbars
PROGRAM > CX-3: Split & Drawbars 5–2: Drawbars 5–2: Drawbars 5–2PMC 5–2a 5–2b 5–2c The drawbars are the heart of the CX-3. These settings This models the behavior of the original instruments, in control the basic harmonic content of the sound, the which the 1’...
Page 202: 5-3: Ex Drawbars
EXi: CX-3 Tonewheel Organ 5–2c: Drag Across Drawbars v 5–2: Page Menu Commands • Compare →p.112 Drag Across Drawbars [Off, On] Off (un-checked): When Drag Across Drawbars is Off, • Write Program →p.112 you can edit CX-3 drawbars just as you would other slider controls, by touching and dragging the individual drawbars •...
Page 203 PROGRAM > CX-3: Split & Drawbars 5–3: EX Drawbars Ex Drawbars 2-4 Level [0…8] These parameters specify the volumes of EX Drawbars 2-4. For more information, see “Ex Drawbar 1 Level,” above. 5–3c and 5–3d: Upper EX Drawbars These parameters control the individual EX drawbar pitches and volume levels for the Upper split.
Page 204: Program > Cx-3: Percussion
EXi: CX-3 Tonewheel Organ PROGRAM > CX-3: Percussion Percussion adds a pitched attack to the notes, for a more crisp, punchy timbre. When you play legato, percussion will only sound for the first note in the phrase. 6–1: Percussion 6–1PMC 6–1a 6–1c 6–1b...
Page 205 PROGRAM > CX-3: Percussion 6–1: Percussion To put it another way, setting the Level to Soft makes the drawbars louder. This parameter controls the difference in drawbar volume between the Soft and Loud Percussion settings. 6–1c: Decay Decay [Slow, Fast] This toggles the Percussion Decay time between Slow and Fast.
Page 206: 6-2: Ex Percussion
EXi: CX-3 Tonewheel Organ 6–2: EX Percussion 6–2PMC 6–2a 6–2b When the Drawbar Mode is set to EX, the Percussion can v 6–2: Page Menu Commands use a mix of up to five drawbar pitches, instead of just one. • Compare →p.112 These include 2-2/3’...
Page 207: Program > Cx-3: Amp, V/C, Rotary Speaker
PROGRAM > CX-3: Amp, V/C, Rotary Speaker 7–1: Amp/V/C PROGRAM > CX-3: Amp, V/C, Rotary Speaker 7–1: Amp/V/C 7–1PMC 7–1a 7–1b 7–1c 7–1d 7–1e 7–1f 7–1a: Amp 7–1b: EQ Amp Type [Type 1, Type 2, Pre Amp] Treble [-10…+10] This selects one of two amp models, or a direct line-out from This adjusts the high frequency range of the amp, as selected the organ’s preamp.
Page 208 EXi: CX-3 Tonewheel Organ AMS Mode [Toggle, Momentary] 7–1e: Custom This determines the behavior of the Vibrato/Chorus AMS for These parameters are available only if the Mode, above, is the Upper drawbars. For details, see “AMS Mode” on set to Custom. page 189.
Page 209: 7-2: Rotary Speaker
PROGRAM > CX-3: Amp, V/C, Rotary Speaker 7–2: Rotary Speaker When this is set to Random, the Pan position will change at Intensity [–99…+99] each note-on. Note that all notes of the CX-3 share the same This controls the depth and direction of the AMS modulation Pan value, and will move together to the new position.
Page 210 EXi: CX-3 Tonewheel Organ Wet/Dry [Dry,1:99…99:1,Wet] Fast Overrides Stop [Off, On] This adjusts the balance between the dry signal coming into When this is enabled, switching the Speed to Fast via AMS the Rotary Speaker and the output of the effect. will always push the Rotary Speaker into Fast mode - even if it had previously been stopped.
Page 211 PROGRAM > CX-3: Amp, V/C, Rotary Speaker 7–2: Rotary Speaker Speaker Type [CX-3, Natural, Natural + Direct, 7–2d: Rotor Resonant, Resonant + Direct, The rotor carries the low frequencies of the Rotary Speaker. Bright, Bright + Direct] Its parameters are identical to those of the Horn, above. Speaker Type only appears when the Amp/VC/Rotary Mode is set to Custom (see “Amp/VC/Rotary mode”...
Page 212: Program > Cx-3: Ams Mixer
EXi: CX-3 Tonewheel Organ PROGRAM > CX-3: AMS Mixer The AMS Mixers combine two AMS sources into one, or This also means that the original, unmodified inputs to the process an AMS source to make it into something new. AMS Mixers are still available as well. For instance, if you use Velocity as an input to a AMS Mixer, you can use the For instance, they can add two AMS sources together, or use processed version of the Velocity to control one AMS...
Page 213: Cx-3: Tone Adjust
CX-3: Tone Adjust 9–1: AMS Mixer CX-3: Tone Adjust CX-3 Tone Adjust Default Settings Buttons 1–4: Percussion On/Off, Perc. Level Soft/Loud, Buttons 5–6: Perc. Decay Slow/Fast, Upper V/C On/Off, Button 7: Perc. Harmonic 2nd/3rd Lower V/C On/Off Wheel Brake On/Off Button 8: Split On/Off Expression Level...
Page 214 EXi: CX-3 Tonewheel Organ Percussion • Percussion On/Off • Level Soft/Loud • Decay Slow/Fast • Harmonic 2nd/3rd • EX Percussion levels 1-5 Vibrato/Chorus • Vibrato/Chorus Type • Upper Drawbars V/C On/Off • Lower Drawbars V/C On/Off Expression • Expression Level •...
Page 215: Changes From The Original Cx-3
Changes from the original CX-3 9–1: AMS Mixer Changes from the original CX-3 With the NAUTILUS CX-3, Korg has taken the original, Rotary Speaker Acceleration and Deceleration ground-breaking CX-3 model and made it even better. If The Rotary Speaker Acceleration/Deceleration parameters you’d like to convert sounds from the original CX-3, the...
Page 216: Exi Cx-3: Page Menu Commands
EXi: CX-3 Tonewheel Organ EXi CX-3: Page Menu Commands Compare →p.112 Write Program →p.112 Exclusive Solo →p.113 Copy Drawbars →p.206 Swap Drawbars →p.206 PAGE →p.126 MODE →p.126 Copy Drawbars This copies drawbar or EX drawbar settings within the CX-3 oscillator. 1.
Page 217: Exi: Str-1 Plucked String
EXi: STR-1 Plucked String STR-1 Overview The STR-1 Plucked String offers a comprehensive and • Dual multi-mode resonant filters (including Korg’s Multi sophisticated set of physical modeling synthesis tools, Filter, as first introduced in the AL-1), plus an additional capable of creating both traditional sounds (acoustic and...
Page 218 EXi: STR-1 Plucked String STR-1 uses EXi fixed resources The STR-1 uses EXi fixed resources for its modeled feedback. This uses up a small amount of processing power, even if you’re not playing any notes. Because of this, you can use only sixteen STR-1s simultaneously in a Combination or Song.
Page 219: Exi Program > Str-1: Home
EXi PROGRAM > STR-1: Home 0–1: Overview EXi PROGRAM > STR-1: Home 0–1: Overview 0–1PMC 0–1b Excitation Pluck 0–1d Excitation PCM Oscil Excitation (Mixer) Excitation Pluck String (Damping / Dispersion) String (Main) This is the main page of PROGRAM mode. For a full •...
Page 220 EXi: STR-1 Plucked String This shows the Amp section’s Pan and Amp Level values. Press this area to jump to the STR-1: Amp page. EGs and LFOs EG 1…4, Amp EG Graphics These show the shapes of the five EGs. Touch any of them to jump directly to the corresponding edit page.
Page 221: Program > Str-1: String
PROGRAM > STR-1: String 4–1: Pluck/Noise PROGRAM > STR-1: String 4–1: Pluck/Noise 4–1PMC 4–1a 4–1b Harpsichord. This type includes small amount of noise 4–1a: Pluck before the main pluck. Type [Ac Guitar 1…Harpsichord] Randomization [0…100] This selection models different types of plucking actions, This adds a small amount of variation to each strike of the including picks and finger-plucking.
Page 222 EXi: STR-1 Plucked String [List of AMS Sources] 4–1b: Noise Generator This selects a modulation source to control the Delay. For a The noise generator includes Saturation, for creating unique list of AMS sources, see “Alternate Modulation Source and chaotic noise effects, and a dedicated 1-pole filter to (AMS) List”...
Page 223: 4-2: Pcm Osc
PROGRAM > STR-1: String 4–2: PCM OSC 4–2: PCM OSC 4–2PMC 4–2a Using the string as a comb filter for PCM Using PCM in the STR-1 You can use the string as a comb filter for the PCM Oscillator. To do so: Using PCM samples to “pluck”...
Page 224 EXi: STR-1 Plucked String Smp: New Sampling Session will appear when there’s data Layering PCM with modeled string timbres in SAMPLING mode which hasn’t yet been saved to drive as You can also simply layer PCM samples with string timbres. a User Sample Bank.
Page 225 PROGRAM > STR-1: String 4–2: PCM OSC Reverse [Off, On] v 4–2: Page Menu Commands This lets you play the selected multisample backwards, • Compare →p.112 without looping. Note: If the individual samples within a Multisample are • Write Program →p.112 already set to Reverse, they will still play in reverse, regardless of this setting.
Page 226: 4-3: Pcm Osc Pitch
EXi: STR-1 Plucked String 4–3: PCM OSC Pitch 4–3PMC 4–3a 4–3c 4–3b 4–3d 4–3e This section controls the pitch modulation for the PCM When this is set to 0, playing different notes on the keyboard oscillator. won’t change the pitch at all; it will be as if you’re always playing C4.
Page 227 PROGRAM > STR-1: String 4–3: PCM OSC Pitch 4–3b: Portamento 4–3c: LFO Portamento lets the pitch glide smoothly between notes, LFO Select [LFO 1, LFO 2, LFO 3, LFO 4, instead of changing abruptly. Common LFO] This selects an LFO to modulate the PCM Oscillator’s pitch. Portamento and MIDI If Portamento is either enabled for both the String and the The LFO Intensity, JS+ Y Intensity, and AMS are all...
Page 228 EXi: STR-1 Plucked String The Pitch EG’s shape can swing all the way from +99 to -99. v 4–3: Page Menu Commands When the Intensity is set to a positive (+) value, positive values from the EG raise the pitch, and negative values •...
Page 229: 4-4: Excitation Mixer
PROGRAM > STR-1: String 4–4: Excitation Mixer 4–4: Excitation Mixer 4–4PMC 4–4b 4–4a 4–4c 4–4d Intensity [-99…+99] 4–4a: PCM Oscillator This controls the depth and direction of AMS 2. Level [00...99] This controls the PCM Oscillator’s input level to the String. 4–4b: Pluck These parameters control the Pluck Table’s input level to the Phase Invert...
Page 230 EXi: STR-1 Plucked String Band Pass. This cuts out all parts of the sound, both highs AMS 1 [List of AMS Sources] and lows, except for the region around the cutoff frequency. This selects the first modulation source for controlling the Since this filter cuts out both high and low frequencies, its Frequency.
Page 231: 4-5: String Main
PROGRAM > STR-1: String 4–5: String Main 4–5: String Main 4–5PMC 4–5a 4–5c 4–5b 4–5d How Position affects the timbre 4–5a: Excitation Depending upon the Position, some overtones will be The Excitation is the force that makes the string start to emphasized, and others de-emphasized.
Page 232 EXi: STR-1 Plucked String “thump” which can be caused by low-frequency excitation Volume signals, including plucks with very low (or negative) Width Shape of comb filter: values. Other Tone settings will make the comb filter described under Position, above, work differently. Settings between – 100 and 0 will reduce the effect of the filter, until–at 0–it has no effect at all.
Page 233 PROGRAM > STR-1: String 4–5: String Main If Use Excitation Position is On, this parameter is grayed 4–5b: Harmonic out. This models pressing down lightly (or firmly) in the middle Pressure [0.0…100.0] of the string, like playing harmonics on a guitar. This controls how hard the string is being pressed down.
Page 234 EXi: STR-1 Plucked String Intensity [-100.0…+100.0] 4–5c: Decay This controls the depth and direction of the Nonlinearity modulation. Decay [0…100] This controls the overall decay time of the string without AMS2 [List of AMS Sources] affecting frequency content. This interacts with Damping, This selects a second modulation source to control the which controls the decay time for high frequencies.
Page 235: 4-6: Damping/Dispersion
PROGRAM > STR-1: String 4–6: Damping/Dispersion 4–6: Damping/Dispersion 4–6PMC 4–6a 4–6b Intensity [-100.0…+100.0] 4–6a: Damping This controls the depth and direction of AMS 2. Damping [0…100.0] AMS 3 [List of AMS Sources] This controls the decay time for the string’s high This selects a third modulation source to control the frequencies.
Page 236 EXi: STR-1 Plucked String Character [Bell, String] v 4–6: Page Menu Commands This changes the way that the upper harmonics become • Compare →p.112 detuned as Dispersion is increased. With the Bell setting, as you increase the Dispersion • Write Program →p.112 amount, the lower harmonics will go out of tune gradually, but the upper harmonics will do so very steeply.
Page 237: 4-7: String Pitch
PROGRAM > STR-1: String 4–7: String Pitch 4–7: String Pitch 4–7PMC 4–7a 4–7b 4–7c 4–7d 4–7e 4–7a: Main 4–7b: Portamento Portamento lets the pitch glide smoothly between notes, Octave [–2[32’], –1[16’], +0[8’], +1[4’], +2[2’]] instead of changing abruptly. This sets the basic pitch of the String, in octaves. The default is +0[8'].
Page 238 EXi: STR-1 Plucked String Constant Time means that Portamento will always take the 4–7d: Pitch EG same amount of time to glide from one note to another, regardless of the difference in pitch. This is especially useful EG Select [EG 1 (Filter), EG 2 (Pitch), when playing chords, since it ensures that each note in the EG 3, EG 4, Amp EG] chord will end its glide at the same time.
Page 239 PROGRAM > STR-1: String 4–7: String Pitch AMS 2 [List of AMS Sources] This selects a second modulation source for controlling the String’s pitch. For a list of AMS sources, see “Alternate Modulation Source (AMS) List” on page 901. Intensity [+/-48.00 semitones] This controls the depth and direction of the AMS 2 pitch modulation, in semitones.
Page 240: 4-8: Pickups/Feedback
EXi: STR-1 Plucked String 4–8: Pickups/Feedback 4–8PMC 4–8a 4–8b 4–8c Pickups don’t “hear” the entire string; they only hear the part 4–8a: Pickup 1 of the string directly above them. If that part of the string isn’t vibrating (for instance, if it’s being held down!), there’s Position [0…100.0] very little for a pickup to listen to–and thus the pickup won’t...
Page 241 PROGRAM > STR-1: String 4–8: Pickups/Feedback Pickup Position You can also route live or recorded audio through the string an/or filters, in realtime–and we’re sure that you’ll be able to think of other creative uses! Position = 0.0 Position = 100.0 Source and Channel The feedback source and channel (left, right, or L+R summation) are selected by the Input Source and Channel...
Page 242: 4-9: Mixer
EXi: STR-1 Plucked String 4–9: Mixer 4–9PMC 4–9a 4–9b 4–9c 4–9d 4–9e The Mixer page controls the volume levels and filter routing In between, the String will go to a combination of both for the main String output, as well as the direct outputs filters.
Page 243 PROGRAM > STR-1: String 4–9: Mixer 4–9e: Pickup 2 Pickup 2 has the same mixer parameters as described under “4–9a: String,” above. v 4–9: Page Menu Commands • Compare →p.112 • Write Program →p.112 • Exclusive Solo →p.113 • PAGE →p.126 •...
Page 244: Program > Str-1: Filter
EXi: STR-1 Plucked String PROGRAM > STR-1: Filter 5–1: Basic 5–1PMC 5–1a 5–1b Dual signal paths Interaction between the filters and the You can also send the String through Filter A, and the PCM mixer Oscillator through Filter B (or vice-versa), to create a layered sound.
Page 245 PROGRAM > STR-1: Filter 5–1: Basic Parallel. This also uses both Filter A and Filter B. Unlike Filter Types and Cutoff Frequency Serial, above, the outputs of the two filters are kept separate, with individual control over both level and pan. 24dB (4-Pole).
Page 246 EXi: STR-1 Plucked String Frequency [00…99] Intensity [–99…+99] This controls the cutoff frequency of Filter A, in increments This controls the depth and direction of the Pan AMS of 1/10 of an octave. The specific effect of the cutoff modulation. frequency will change depending on the selected Filter Type, as described above.
Page 247: 5-2: Multi Filter
PROGRAM > STR-1: Filter 5–2: Multi Filter 5–2: Multi Filter 5–2PMC 5–2a 5–2b 5–2c 5–2d This page is available only when the Filter A Type is set to Low Pass, High Pass, Band Pass, and Band Reject are the Multi Filter. standard filter types.
Page 248 EXi: STR-1 Plucked String Intensity [–99…+99] This controls the depth and direction of the Intensity Mod AMS. 5–2c: Manual 1 These parameters let you create your own mix of the filters. When Mode 1 is set to Manual 1, it will use these settings. You may wonder why Band Reject is not included here.
Page 249: 5-3: Filter Mod
PROGRAM > STR-1: Filter 5–3: Filter Mod. 5–3: Filter Mod. 5–3PMC 5–3a 5–3b 5–3c 5–3c This page contains all of the settings for Filter Frequency Intensity to B [–99…+99] modulation (except for the LFOs, which are on their own This controls how much the keyboard tracking will affect page).
Page 250 EXi: STR-1 Plucked String Bottom-Low [-Inf, –99…+99, +Inf] Velocity Intensity [–99…+99] This sets the slope between the bottom of the MIDI note This lets you use velocity to scale the amount of the EG range and the Low Break key. For normal key track, use applied to Filter A.
Page 251: 5-4: Filter Lfo Mod
PROGRAM > STR-1: Filter 5–4: Filter LFO Mod. v 5–3: Page Menu Commands • Compare →p.112 • Write Program →p.112 • Exclusive Solo →p.113 • PAGE →p.126 • MODE →p.126 5–4: Filter LFO Mod. 5–4PMC 5–4a 5–4b There are three LFO-to-Frequency controls for each filter: a [AMS Sources] basic amount (LFO Intensity), joystick -Y control of LFO This selects an AMS modulation source to scale the amount...
Page 252: Program > Str-1: Amp
EXi: STR-1 Plucked String PROGRAM > STR-1: Amp These pages let you control the sound’s volume (also called • Set the pan position and pan modulation. “amplitude,” or “amp” for short), pan, and the dedicated amp • Control amp level and modulation, including keyboard envelopes and keyboard tracking generators.
Page 253: 6-2: Amp Mod
PROGRAM > STR-1: Amp 6–2: Amp Mod. • Exclusive Solo →p.113 v 6–1: Page Menu Commands • Compare →p.112 • PAGE →p.126 • MODE →p.126 • Write Program →p.112 6–2: Amp Mod. 6–2PMC 6–2a 6–2b This page contains the settings for the STR-1’s Amp level Center [C–1…G9] modulation.
Page 254 EXi: STR-1 Plucked String Center-High [-Inf, –99…+99, +Inf] Intensity Mod AMS [AMS Sources] This sets the slope between the Center and High Break keys. This selects a secondary AMS modulation source to scale For normal key track, use positive values. the intensity of AMS2.
Page 255: 6-3: Amp Eg
PROGRAM > STR-1: Amp 6–3: Amp EG 6–3: Amp EG 6–3PMC 6–3a 6–3b 6–3c 6–3d The STR-1’s Amp EG is identical to the HD-1’s. For more 6–3b: Amp EG detailed explanations of the Amp EG features, please see “4– 3: Amp1 EG,” on page 79. These parameters specify how the amp EG will change over time.
Page 256 EXi: STR-1 Plucked String Note: Once the EG has started a segment between two Attack [00…99] points, that segment can no longer be modulated. For This sets how long the EG takes to move from the Start level instance, if the EG is in the middle of the Decay time, you to the Attack level.
Page 257 PROGRAM > STR-1: Amp 6–3: Amp EG AMS2 and AMS3 These select the second and third AMS sources, respectively, for controlling the EG’s Time parameters. Each has its own intensities for Attack, Decay, Slope, and Release. The parameters of both AMS2 and AMS 3 are identical to those of AMS1, above.
Page 258: Program > Str-1: Eg 1-4
EXi: STR-1 Plucked String PROGRAM > STR-1: EG 1-4 The STR-1 has four assignable EGs, in addition to the Amp In the midst of all this flexibility, we thought it would also be EG. Each of these can be used as an AMS modulation source good to provide a little structure.
Page 259: Program > Str-1: Ams Mixers/String Track
PROGRAM > STR-1: AMS Mixers/String Track 9–1: AMS Mixers 1/2 PROGRAM > STR-1: AMS Mixers/String Track Finally, you can cascade the AMS Mixers together–for AMS Mixers instance, you can use AMS Mixer 1 as an input to AMS The AMS Mixers combine two AMS sources into one, or Mixer 2.
Page 260 EXi: STR-1 Plucked String String Track lets you do exactly this. It’s a variation of 9–9b: Strings keyboard tracking, which divides the keyboard into 6 zones, corresponding to 6 strings. You can then set four different Strings 1-6 [C–1…G9] offsets for each string: one each for Damping and These six parameters set the pitches of the strings, from the Dispersion, and then the two general-purpose String Track lowest pitch (String 1) to the highest pitch (String 6).
Page 261: Str-1: Tone Adjust
STR-1: Tone Adjust 9–9: String Track STR-1: Tone Adjust STR-1 Tone Adjust Default Settings Button 1, 2: Button 7, 8: PCM Transpose +12, LFO1 Stop String Transpose +12 LFO2 Stop Button 15, 16: LFO3 Stop LFO4 Stop String String String String Str Excitation Str Harmonic...
Page 262 EXi: STR-1 Plucked String PCM Oscillator Filter A • PCM Osc MS Select (PROG/0…16383) In addition to the standard Tone Adjust filter parameters, the STR-1 adds the following: • PCM Osc MS Bank (MS: ROM Mono…EXs7 Mono) • Filter A Type •...
Page 263: Exi Str-1: Page Menu Commands
EXi STR-1: Page Menu Commands 9–9: String Track EXi STR-1: Page Menu Commands Compare →p.112 Write Program →p.112 Exclusive Solo →p.113 Remap MS/Sample Banks →p.125 Copy Envelope →p.182 Swap Envelope →p.182 Copy LFO →p.182 Swap LFO →p.182 PAGE →p.126 MODE →p.126...
Page 264 EXi: STR-1 Plucked String...
Page 265: Exi: Ms-20Ex
• AMS modulation of all original MS-20 parameters, distinctive, often aggressive timbral signature. along with four AMS Mixers To this core, we added features first introduced in the Korg • Live audio input Legacy MS-20 plug-in. Then, we added significant patch- •...
Page 266: On-Screen Knobs And Switches And The Parameter Details Area
EXi: MS-20EX All of the other voice allocation options are fully supported, Unsupported EXi Common parameters including Mono, Mono Legato, Unison, etc. The MS-20EX supports all of the EXi Common parameters, except for two of the voice allocation options: Poly Legato and Mono Mode (Normal/Use Legato Offset).
Page 267: Exi Program > Ms-20Ex: Home
EXi PROGRAM > MS-20EX: Home 0–1: Overview EXi PROGRAM > MS-20EX: Home 0–1: Overview 0–1PMC 0–1b 0–1d This is the main page of PROGRAM mode. For a full Patch Panel description of this page and all of its functions, please see This section shows a miniature overview of the Patch Panel, “EXi PROGRAM >...
Page 268 EXi: MS-20EX 0–1d: Common 3Band EQ Graphic Mute (1) [On, Off] Mute (2) [On, Off] Mute (DrumT) [On, Off] EXi1 Instrument Volume [000…127] EXi2 Instrument Volume [000…127] Drum Track Volume [000…127] This is the same as with HD-1 programs. For more information, please see “0–1d: Common”...
Page 269: Program > Ms-20Ex: Oscillators & Filters
PROGRAM > MS-20EX: Oscillators & Filters 4–1: Oscillators & Filters PROGRAM > MS-20EX: Oscillators & Filters 4–1: Oscillators & Filters 4–1PMC 4–1b 4–1c 4–1d 4–1e 4–1a 4–1f 0.00 produces a square wave. Increasing the value produces 4–1a: Oscillators narrower pulses, until at 10.00 the pulse is so narrow as to be silent.
Page 270 EXi: MS-20EX VOLTAGE CONTROLLED OSCILLATOR 2 FINE TUNE WAVEFORM , RING FINE TUNE [–5.00…+5.00] This sets the basic timbre of Oscillator 2. This adjusts the pitch of the oscillators, in steps of 1/5 of a cent (for a total range of +/- 1 semitone). (Sawtooth): This produces the traditional, buzzy analog synth sound.
Page 271 PROGRAM > MS-20EX: Oscillators & Filters 4–1: Oscillators & Filters PEAK [0.00…10.00] FREQUENCY [0.00…10.00] Peak controls the resonance of the filter, which emphasizes This controls the cutoff frequency of the Lowpass Filter. the frequencies around the cutoff frequency. This is scaled by MIDI CC#74. When this is set to 0, there is no emphasis, and frequencies PEAK [0.00…10.00]...
Page 272 EXi: MS-20EX ANALOG [0.00…10.00] v 4–1: Page Menu Commands This models the instability of an analog system by adding • Compare →p.112 subtle randomization to the VCO and VCF frequencies. This parameter is not modulatable. • Write Program →p.112 • Exclusive Solo →p.113 4–1f: Parameter Details When you touch a knob, a yellow square appears around it, •...
Page 273: Modulation
PROGRAM > MS-20EX: MG, EG, and Modulation 5–1: MG, EG, and Modulation PROGRAM > MS-20EX: MG, EG, and Modulation 5–1: MG, EG, and Modulation 5–1PMC 5–1d 5–1e 5–1f 5–1g 5–1a 5–1b 5–1h 5–1c To handle all of these possible cases, instead of using a fixed 5–1a: VOLTAGE CONTROLLED AMPLIFIER “Amp EG”...
Page 274 EXi: MS-20EX TEMPO SYNC [ON, OFF] 5–1c: ENVELOPE GENERATOR 1 Touch the text/LED area to turn TEMPO SYNC on and off. By default, EG 1 is triggered by note-ons. However, you can On (LED lit): When TEMPO SYNC is On, the MG use the Patch Panel’s TRIG IN or EG 1 TRIG IN jacks to synchronizes to the system tempo, as set by either the Tempo trigger it from a different source, such as the MG, AMS...
Page 275 PROGRAM > MS-20EX: MG, EG, and Modulation 5–1: MG, EG, and Modulation This is scaled by MIDI CC#72. HOLD TIME [0.00…10.00] Adjusts the time for which the input state of the trigger Using EGs 3–6 to control the amplitude signal (e.g., note-on) is held after the trigger is released. EG 2 is always connected to the VCA.
Page 276 EXi: MS-20EX The rest of the parameters on this page can be modulated by 5–1f: EXTERNAL MODULATION 2 AMS, as described below. Source [Off, MG Tri, MG Pulse, EG 1, EG 1 REV, (Parameter group) EG 2, EG 2 REV, List of AMS Sources] This shows the group of the parameter (such as VCO This selects the modulation source to control the parameters MIXER).
Page 277: Program > Ms-20Ex: Patch Panel
PROGRAM > MS-20EX: Patch Panel 6–1: Patch Panel PROGRAM > MS-20EX: Patch Panel 6–1: Patch Panel 6–1PMC 6–1e 6–1b 6–1c 6–1a 6–1i 6–1d 6–1j 6–1f 6–1k 6–1l 6–1g 6–1h Making connections Using the Patch Panel You can make connections between patch points in two different ways, as described below.
Page 278 EXi: MS-20EX Note: You can also select the output jack. However, if the 2. Press the Disconnect button in the Detail Panel. output is connected to more than one input, all of the All of the output’s connections will be deleted. connections from that output will be affected, as described below.
Page 279 PROGRAM > MS-20EX: Patch Panel 6–1: Patch Panel • VCO 1 and 2 pitch: “MG/T.EXT” on page 260 Tip: Creating self-triggering patches • HPF frequency: “MG/T.EXT” on page 261 Normally, new notes and EGs 1 and 2 are triggered by •...
Page 280 EXi: MS-20EX 6–1c: VCA, VOLUME, and outputs 6–1d: MODULATION GENERATOR and SAMPLE & HOLD VCA IN jack This Patch Panel modification provides a direct input to the main VCA. INITIAL GAIN input jack The VCA is internally patched to the output of EG 2. MODULATION GENERATOR (MG) This jack allows an external controller to vary the VCA in addition to EG 2.
Page 281 PROGRAM > MS-20EX: Patch Panel 6–1: Patch Panel IN jack EG 1 OUT jack This is the input to the S&H. You can connect this to the This allows you to route EG 1 to another point on the Patch noise generator, a VCO, an LFO, etc.
Page 282 EXi: MS-20EX 3. Adjust the EG 1 Delay and Attack controls to create 6–1i: Keyboard Trigger and CV outputs the desired delay and fade-in times CONTROL INPUT jack This controls the level of the MVCA. It’s normalled to the EG 1 output, but you can patch in any other control signal. This input includes built-in lowpass filtering, which acts as a smoother on the control signal.
Page 283 PROGRAM > MS-20EX: Patch Panel 6–1: Patch Panel HPF, LPF, or BPF, mix it with the built-in VCOs and noise MIXER 2 generator, and so on. You can also use the ESP to convert the This is a second 2-in, 1-out mixer, identical to “MIXER 1,” audio to a trigger or CV source, as described under “Using above.
Page 284 EXi: MS-20EX (BAND PASS FILTER) IN jack ENV OUT jack This Patch Panel modification provides a direct input to the This is the output of the ENVELOPE FOLLOWER. Bandpass filter. This means that you can use the filter Connect this to any modulation input. separately from the Envelope Follower, if desired.
Page 285 PROGRAM > MS-20EX: Patch Panel 6–1: Patch Panel 7. Connect the ENV OUT jack to the VCA’s INITIAL GAIN jack. This makes the VCA level follow the amplitude of the ESP’s signal, as generated by the envelope follower. 8. Connect the F×V CV OUT jack to the VCO 1+2 CV IN jack (or the VCO 2 CV IN jack).
Page 286 EXi: MS-20EX Knobs If a knob is selected, this area shows its parameter group and parameter name, its exact value, and its AMS assignments. All six Patch Panel knobs, including Master Volume, are modulatable. (Parameter group) This shows the group of the parameter (such as VCO MIXER).
Page 287: Program > Ms-20Ex: Eg
PROGRAM > MS-20EX: Patch Panel 7–1: EG 3 PROGRAM > MS-20EX: EG The MS-20EX has four assignable EGs, in addition to the original MS-20 EGs 1 and 2. Each of these can be used as an AMS modulation source to control a wide variety of parameters.
Page 288: Program > Ms-20Ex: Ams Mixers
EXi: MS-20EX PROGRAM > MS-20EX: AMS Mixers The AMS Mixers combine two AMS sources into one, or This also means that the original, unmodified inputs to the process an AMS source to make it into something new. AMS Mixers are still available as well. For instance, if you use Aftertouch as an input to a AMS Mixer, you can use the For instance, they can add two AMS sources together, or use processed version of the Aftertouch to control one AMS...
Page 289: Ms-20Ex: Tone Adjust
MS-20EX: Tone Adjust Common Tone Adjust parameters MS-20EX: Tone Adjust MS-20EX Tone Adjust Default Settings Button 7, 8, 15, 16: LFO 1, 2, 3, 4 Stop VCO1 VCO2 Waveform Waveform Cutoff Peak EG2/Ext Mod Frequency Peak EG2/Ext Mod Delay Attack Release Attack Decay...
Page 290 EXi: MS-20EX Filter/Amp EG Decay Time. (–99…+99, CC#75) LPF Frequency This scales the decay time of EG2. It interacts with CC# 75. LPF Peak Filter/Amp EG Sustain Level. (–99…+99, CC#70) CUTOFF FREQUENCY MODULATION (LPF) This scales the sustain level of EG2. LPF Mod MG/T.Ext Filter/Amp EG Release Time.
Page 291 MS-20EX: Tone Adjust MS-20EX Tone Adjust parameters LFOs In addition to supporting the standard Tone Adjust LFO parameters, the MS-20EX adds the following separate controls: • LFO 1, 2, 3, and 4 Waveform • LFO 1, 2, 3, and 4 Shape •...
Page 292: Exi Ms-20: Page Menu Commands
EXi: MS-20EX EXi MS-20: Page Menu Commands Compare →p.112 Write Program →p.112 Exclusive Solo →p.113 Copy Envelope →p.182 Swap Envelope →p.182 Copy LFO →p.182 Swap LFO →p.182 Delete All Connections →p.282 PAGE →p.126 MODE →p.126 Delete All Connections This command removes all of the connections from the Patch Panel, so that you can start from a blank slate.
Page 293: Exi: Polysixex
(up to 180 voices!). It the Common LFO, Common Step Sequencer, Key Track combines the features and sonic character of the classic Korg 1 & 2, Arpeggiator, EQ, and effects–as well as layering Polysix (and the Legacy Polysix plug-in) with many with any other EXi (including using two PolysixEXs additional capabilities unique to the NAUTILUS.
Page 294: On-Screen Knobs And Switches And The Parameter Details Area
EXi: PolysixEX All of the other voice allocation options are fully supported, Unsupported EXi Common parameters including Mono, Mono Legato, Unison, etc. The PolysixEX supports all of the EXi Common parameters, except for two of the voice allocation options: Poly Legato and Mono Mode (Normal/Use Legato Offset).
Page 295: Exi Program > Polysixex: Home
EXi PROGRAM > PolysixEX: Home 0–1: Overview EXi PROGRAM > PolysixEX: Home 0–1: Overview 0–1PMC 0–1b 0–1d This is the main page of PROGRAM mode. For a full EGs and LFOs description of this page and all of its functions, please see EG 2,3 Graphics “EXi PROGRAM >...
Page 296 EXi: PolysixEX v 0–1: Page Menu Commands • Compare →p.112 • Write Program →p.112 • Exclusive Solo →p.113 • Show MS/WS/DKit Graphics →p.113 • Add To Set List →p.113 • Initialize Program →p.113 • PAGE →p.126 • MODE →p.126...
Page 297: Program > Polysixex: Main
PROGRAM > PolysixEX: Main 4–1: Patch Panel PROGRAM > PolysixEX: Main 4–1: Patch Panel 4–1PMC 4–1a 4–1g 4–1b 4–1h 4–1c 4–1i 4–1d 4–1e 4–1f PW/PWM [0.00…10.00] 4–1a: VCO When WAVEFORM is set to PW, this directly controls the shape of the waveform. VIBRATO INT [0.00…10.00] When WAVEFORM is set to PWM, this controls the...
Page 298 EXi: PolysixEX If TEMPO SYNC is ON, this multiplies the length of the PWM SPEED [0.00…10.00] BASE NOTE. For instance, if the BASE NOTE is set to a The PolysixEX has an LFO dedicated to pulse width sixteenth note, and Times is set to 3, the MG will cycle over modulation (PWM).
Page 299 PROGRAM > PolysixEX: Main 4–1: Patch Panel ATTENUATOR [–20.0…+20.0dB] 4–1d: EG Adjusts the volume up or down by 20dB, in 0.1 dB increments. This is separate from the main VOLUME knob, below. Sustain Also, unlike VOLUME, the ATTENUATOR is per-voice, Level which means that you can modulate it via per-voice AMS sources such as EGs, LFOs 1 and 2, key tracking, etc.
Page 300 EXi: PolysixEX Int Mod [List of AMS Sources] 4–1h: EFFECTS You can modulate the main AMS Intensity from another AMS source. This selects that source. For a list of AMS MODE [OFF, CHORUS, PHASE, ENSEMBLE] sources, see “Alternate Modulation Source (AMS) List” on Switches the effect mode.
Page 301: Program > Polysixex: Modulation
PROGRAM > PolysixEX: Modulation & Arpeggiator 5–1: Mod & Arp PROGRAM > PolysixEX: Modulation & Arpeggiator 5–1: Mod & Arp 5–1PMC 5–1a 5–1b 5–1d 5–1c 5–1a: EXTERNAL MODULATION 5–1b: ARPEGGIATOR The External Modulation section offers an easy way to ON/OFF [Off, On] assign modulation to multiple destinations at once, using any Switches the arpeggiator on/off.
Page 302 EXi: PolysixEX SPEED/TIMES [0.00…10.00/16…1] Int Mod [List of AMS Sources] If TEMPO SYNC is OFF, this controls the speed of the You can modulate the main AMS Intensity from another arpeggiator. AMS source. This selects that source. If TEMPO SYNC is ON, this multiplies the length of the For a list of AMS sources, see “Alternate Modulation Source BASE NOTE.
Page 303: Program > Polysixex: Eg
PROGRAM > PolysixEX: Modulation & Arpeggiator 7–1: EG 2 • Exclusive Solo →p.113 v 5–1: Page Menu Commands • Compare →p.112 • PAGE →p.126 • MODE →p.126 • Write Program →p.112 PROGRAM > PolysixEX: EG The PolysixEX has two assignable EGs, in addition to the original EG.
Page 304: Polysixex: Tone Adjust
EXi: PolysixEX PolysixEX: Tone Adjust PolysixEX Tone Adjust Default Settings Button 1: Button 7, 8: VCA Mode LFO 1 & 2 Stop Button 9, 10: Button 15, 16: Arp Tempo & MG Tempo & Key Sync Key Sync Filter Filter Filter EG Filter Kbd Pulse...
Page 305 PolysixEX: Tone Adjust PolysixEX Tone Adjust parameters Filter EG, Amp EG, and Pitch EG Attack Time, Decay OUTPUT Time, Sustain Level, Release Time are not supported by Volume the PolysixEX. Volume AMS Int Pitch LFO1 Intensity. (–99…+99, CC#77) This scales the VIBRATO INT parameter. MODULATION GENERATOR (MG) MG Key Sync MG Tempo Sync...
Page 306: Exi Polysixex: Page Menu Commands
EXi: PolysixEX LFOs In addition to supporting the standard Tone Adjust LFO parameters, the PolysixEX adds the following separate controls: • LFO 1 and 2Waveform • LFO 1 and 2 Shape EXi PolysixEX: Page Menu Commands Compare →p.112 Write Program →p.112 Exclusive Solo →p.113...
Page 307: Synthesizer
The MOD-7 supports all of the EXi Common parameters, • A PCM sample playback oscillator using Korg’s ultra- except for two of the voice allocation options: Poly Legato low-aliasing PCM technology, as first introduced in the and Mono Mode (Normal/Use Legato Offset).
Page 308 EXi: MOD-7 Waveshaping VPM Synthesizer MOD-7 over view EG 1-9 Amp EG LFO1-4 Mixer 1-4 Mixer 5-8 Per-voice step LFO1 LFO1 LFO1 LFO1 sequencer LFO1 LFO1 LFO1 LFO1 LFO1 LFO1 LFO1 LFO1 Amp Key Filter Key Track Track FM Oscillators/ Waveshapers FM Osc 1-6 FM Osc 1-6 FM Osc 1-6...
Page 309: Using The Parameter Details Area
MOD-7 Overview Using the Parameter Details area Using the Parameter Details area Parameter Details area Main area Overview The LCD displays are divided into two sections. The first is the main part of the display, which includes all of the major MOD-7 parameters.
Page 310: Loading Dx Sounds
EXi: MOD-7 Waveshaping VPM Synthesizer Loading DX sounds 8. Select the bank and Program range into which to load Overview the sounds. The MOD-7 can load sounds created for the vintage DX7. Important: If you select an HD-1 bank, it will be changed to There are thousands of these sounds available on the an EXi bank, and all of the bank’s HD-1 Programs will be internet, providing a massive pre-existing library of timbres...
Page 311: Synthesis With The Mod-7: A Guided Tour
Sometimes, these artifacts may be useful as part of the VPM and FM Synthesis overall timbre; other times, they may be unwelcome guests. Variable Phase Modulation (VPM) synthesis refers to Korg’s The most valuable tool to mitigate aliasing is Key Tracking, patented contributions to Frequency Modulation (FM) which lets you reduce the modulator levels at higher synthesis.
Page 312: Individual Oscillators And Subtractive Synthesis
EXi: MOD-7 Waveshaping VPM Synthesizer Individual oscillators and subtractive synthesis Each of the six VPM Oscillators can be used on its own, to This causes the pitch to be very slightly higher than nominal. generate sine, saw, triangle, or square waveforms, plus We’re going to detune all six oscillators, to create a fat, timbres created by waveshaping.
Page 313: Vpm (Aka Fm)
Synthesis with the MOD-7: a guided tour VPM (aka FM) VPM (aka FM) Basic VPM Feedback To start using VPM in earnest, simply connect the output of Continuing from the above, let’s take a brief look at one VPM Oscillator to the input of another. You can do this Feedback.
Page 314: Filtered Vpm
EXi: MOD-7 Waveshaping VPM Synthesizer Notice how the sound becomes more flat and static. A small 5. Set the Break and Sustain Levels to 00. amount of detuning can add a lot of interest to the sound. 6. While playing the keyboard, experiment with different settings of the Tone Adjust Slider 1 and 9.
Page 315: Pcm As A Vpm Modulator
Synthesis with the MOD-7: a guided tour PCM as a VPM modulator 8. Set Filter A’s Resonance to 65. Look in the Parameter Details area, and verify that it says Osc 4 at the top. Also, verify that the middle line reads In 1 - 9.
Page 316: Waveshaping
EXi: MOD-7 Waveshaping VPM Synthesizer 6. Play the keyboard at different velocities, and notice lots of noise; to get good results, you may need to lower the how the timbre changes. modulator’s level significantly. You might also try processing the PCM (or any bright modulator signal) PCM samples can often be very bright and harmonically through a lowpass or bandpass filter, before sending it into complex.
Page 317 Synthesis with the MOD-7: a guided tour Waveshaping 6. In Parameter Details, set Drive AMS Intensity to 0dB. Notice the “filter sweep” sound. This comes entirely from modulating the drive through the table; by itself, the 7. Set the Table to Linear. multisample has a very dark tone.
Page 318: Ring Modulation
EXi: MOD-7 Waveshaping VPM Synthesizer 9. Experiment with different settings of Slider 7. Oscillators, in serial or parallel. For an example of this, listen to factory MOD-7 Program USER-B 049, “Dancing This controls the cutoff frequency of Filter A. This filter Waveshapes.”...
Page 319 Synthesis with the MOD-7: a guided tour Ring Modulation Conclusion We’ve now looked at most of the synthesis techniques provided by the MOD-7, including subtractive, VPM, PCM + VPM, waveshaping, and ring modulation. To step beyond the basics, try looking through some of the factory sounds to see how they work.
Page 320: Exi Program > Mod-7: Home
EXi: MOD-7 Waveshaping VPM Synthesizer EXi PROGRAM > MOD-7: Home 0–1: Overview 0–1PMC 0–1b 0–1d This is the main page of PROGRAM mode. For a full description of this page and all of its functions, please see Pan, Amp Level “EXi PROGRAM >...
Page 321 EXi PROGRAM > MOD-7: Home 0–1: Overview 0–1d: Common 3Band EQ Graphic Mute (1) [On, Off] Mute (2) [On, Off] Mute (DrumT) [On, Off] EXi1 Instrument Volume [000…127] EXi2 Instrument Volume [000…127] Drum Track Volume [000…127] This is the same as with HD-1 programs. For more information, please see “0–1d: Common”...
Page 322: Program > Mod-7: Patch Panel
EXi: MOD-7 Waveshaping VPM Synthesizer PROGRAM > MOD-7: Patch Panel 4–1: Patch Panel 4–1PMC 4–1b 4–1a The patch panel shows an overview of most components in Plugging a cable into an output jack lets you use the signal the MOD-7, and lets you: elsewhere on the patch panel, and does not interrupt the “normal”...
Page 323 PROGRAM > MOD-7: Patch Panel 4–1: Patch Panel PCM->Filter->VPM includes the standard set of Jumping directly to edit pages configurations, using PCM (through a 2-pole filter) as an FM modulator. You can jump to the detailed edit pages for any of the blocks shown on the Patch Panel.
Page 324 EXi: MOD-7 Waveshaping VPM Synthesizer Group Algorithm Group Algorithm PCM+4+2 -> 4-pole DX #1 & #2 PCM+3+3 -> 4-pole DX #3 PCM+2+2+2 -> 4-pole DX #4 PCM+2+2+1+1 -> 4-pole DX #5 PCM+2+1+1+1+1 -> 4-pole DX #6 PCM + VPM PCM+4+2 -> parallel filters DX #7, #8, &...
Page 325 PROGRAM > MOD-7: Patch Panel 4–1: Patch Panel (Connection) [Jack name] This read-only parameter shows the jack to which the selected jack is connected, including the normalled connection. If nothing is connected to the jack, the bottom line reads “(No Connection).” If the selected jack is an output connected to multiple inputs, only the first connection is shown, followed by an ellipse.
Page 326: Program > Mod-7: Oscillator
EXi: MOD-7 Waveshaping VPM Synthesizer PROGRAM > MOD-7: Oscillator 5–1: Osc Main 5–1PMC 5–1a 5–1g 5–1d 5–1b 5–1f 5–1c 5–1e This page includes: Pitch Slope, pitch, and note • Pitch slope and portamento settings • Pitch modulation applied equally to the PCM Oscillator Pitch and all six VPM Oscillators (note that individual oscillators have their own pitch modulation, as well)
Page 327 PROGRAM > MOD-7: Oscillator 5–1: Osc Main Intensity [–48.00…+48.00] Fingered [Off, On] This controls the depth and direction of the Pitch AMS This parameter allows you to control Portamento through modulation, in semitones. your playing style. When it’s enabled, playing legato will turn on Portamento, and playing detached will turn it off Pitch Slope Parameter Details again.
Page 328 EXi: MOD-7 Waveshaping VPM Synthesizer None is the same as if the EG was always at its maximum Feedback [–100…+100] level. This controls the feedback levels of all Carriers. Noise Generator Parameter Details Detune [–100…+100] These items appear in the Parameter Details area when any This controls the fine-tuning of all Modulators.
Page 329 PROGRAM > MOD-7: Oscillator 5–1: Osc Main • The Pitch Slope graphic appears when any of the Pitch 5–1f: EXi Audio Input parameters are selected. Important: the audio input is only active when v 5–1: Page Menu Commands notes are played The MOD-7 can process live audio inputs, feedback from •...
Page 330: 5-2: Pcm Osc
EXi: MOD-7 Waveshaping VPM Synthesizer 5–2: PCM Osc 5–2PMC 5–2a 5–2b For more information about using PCM in the MOD-7, MS1 (High) including hands-on tutorials, see “PCM as a VPM These are the settings for the first and highest velocity zone. modulator”...
Page 331 PROGRAM > MOD-7: Oscillator 5–2: PCM Osc EXs Multisample banks are PCM expansion sets created On (checked): The Multisample will play back in reverse. especially for the NAUTILUS. Each has its own unique Off (unchecked): The Multisample will play back normally. number;...
Page 332: 5-3: Pcm Mod
EXi: MOD-7 Waveshaping VPM Synthesizer 5–2b: Velocity Zone v 5–2: Page Menu Commands • Compare →p.112 Velocity zone graphic This is a graphic representation of the velocity zones for • Write Program →p.112 MS1–4. The currently selected MS is shown in green. •...
Page 333 PROGRAM > MOD-7: Oscillator 5–3: PCM Mod The two folding doors swing out from this center point to Ratio Pitch in semitones create changes in the higher and lower ranges of the Root pitch keyboard. +12.00 +19.01 Low Break [C–1…G9] +24.00 This sets the breakpoint note between the two lower ramps–...
Page 334 EXi: MOD-7 Waveshaping VPM Synthesizer Multiply: This is the default, and is similar to the way that Keyboard Track Parameter Details most other NAUTILUS Amp modulation works. AMS is The Keyboard Track graphic appears in the Parameter multiplied along with all of the other modulators. Details area when any of the Keyboard Track parameters are Expressed mathematically, this is: selected.
Page 335: 5-4: Vpm Osc1
PROGRAM > MOD-7: Oscillator 5–4: VPM Osc1 5–4: VPM Osc1 5–4PMC 5–4a 5–4g 5–4b 5–4d 5–4e 5–4c 5–4f The six VPM Oscillators are the main tools of the MOD-7, and can be used in various ways for both generating waveforms and processing audio. For general information about these different possibilities, please see “Synthesis with the MOD-7: a guided tour”...
Page 336 EXi: MOD-7 Waveshaping VPM Synthesizer Sine + Waveshaper: This is the ultra-super-deluxe mode: 5–4b: Oscillator sine oscillator, waveshaper, lowpass and highpass filters, and ring modulator. Three scoops, hot fudge sauce, whipped The Oscillator parameters do not apply when the Mode is set cream, chopped nuts, and a cherry on top.
Page 337 PROGRAM > MOD-7: Oscillator 5–4: VPM Osc1 one random value, and those for EXi2 would have another. AMS1 Int. Mod [List of AMS Sources] To get the vintage DX7 behavior, set oscillators to Free Run You can modulate AMS 1’s Intensity from another AMS and set their phase to 0.
Page 338 EXi: MOD-7 Waveshaping VPM Synthesizer Sine Sine2 Sine4 5–4c: Waveshaper This section is available only when the Mode is set to Sine + Waveshaper or Waveshaper. Note that, if the same oscillator is using both FM and waveshaping, they occur in that order: first the sine oscillator Pickups is modulated by the inputs, and then the result is waveshaped.
Page 339 PROGRAM > MOD-7: Oscillator 5–4: VPM Osc1 Add 1Plus3: This produces the fundamental plus the 3rd TX Wave 2 TX Wave 3 TX Wave 4 TX Wave 7 harmonic at equal amplitude, and sounds like an 8’ + 2 2/3’ organ stop.
Page 340 Pulse Octave Inverter1 01/W and Waveshaper Effect tables Integers Super Square Line Sine2 Comb The rest of the tables are based on those of the classic Korg 01/W and the Waveshaper effect. Sine + Saw 2 Cycle Frequency3 Frequency7 Snake...
Page 341 PROGRAM > MOD-7: Oscillator 5–4: VPM Osc1 overall level. You can compensate for this with a Key Slope [0…75] combination of Makeup Gain and Output Level This scales the amount of Drive as you move up and down modulation: the keyboard, with a center point of C4. Key Slope can help to keep the timbre even across the keyboard, and also help to 1.
Page 342 EXi: MOD-7 Waveshaping VPM Synthesizer The four ramp values control the rate of change between High-Top [–Inf, –99…+99, +Inf] each pair of keys. For instance, if the Low-Center Ramp is This sets the slope between the High Break key and the top set to 0, the value will stay the same between the Low Break of the MIDI note range.
Page 343 PROGRAM > MOD-7: Oscillator 5–4: VPM Osc1 Amp Keyboard Tracking Ramp values: Louder x2 Change to No change Volume Silence Ramp values: –99 –97 –95 –48 –25 Low Break: D1 Center: G2 High Break: C4 More details on ring modulation 5–4e: Ring Modulator In the most simple case, when both the Carrier and Ring modulation adds new frequencies to the audio by...
Page 344 EXi: MOD-7 Waveshaping VPM Synthesizer If both inputs contain three frequencies each, the number of AMS Mode [Add, Multiply] sidebands grows to 18; if they contain four frequencies each, To calculate the VPM Oscillator’s output volume, the main it grows to 32; with five each, the sidebands grow to 50. So, Level parameter, Velocity Sens, Key Tracking, and the the effect can become very complicated, very fast! selected EG are always multiplied together.
Page 345: 5-5: Vpm Osc 2
PROGRAM > MOD-7: Oscillator 5–5: VPM Osc 2 • The Keyboard Track graphic appears when any of the v 5–4: Page Menu Commands parameters in the Keyboard Track section are selected. • Compare →p.112 • Crossfade Modulation appears when (Ring Mod) Crossfade is selected.
Page 346: Program > Mod-7: Filter
6 inputs. The MOD-7 includes dual multimode resonant filters, For detailed descriptions of the filter parameters, see “5–1: including Korg’s Multifilter. These filters are almost Basic” on page 154. identical to those of the AL-1, except for the following: For information about using the filters in the MOD-7, •...
Page 347: Program > Mod-7: Amp & Mixer
PROGRAM > MOD-7: Amp & Mixer 7–1: Mixers 1-3 PROGRAM > MOD-7: Amp & Mixer 7–1: Mixers 1-3 7–1PMC 7–1a 7–1c 7–1b 7–1c 7–1b When the Source is set to Note Number, a Threshold of Overview 00 is middle C. These are the three 2-in, 1-out mixers on the Patch Panel.
Page 348: 7-2: Output Mixer
EXi: MOD-7 Waveshaping VPM Synthesizer Link 1->2 [Off, On] 7–1b: Mixers 2 and 3 This merges the output of Mixer 1 into the output of Mixer 2. The controls for Mixers 2 and 3 are the same as those for “7– Link 2->3 [Off, On] 1a: Mixer 1,”...
Page 349: 7-3: Amp
PROGRAM > MOD-7: Amp & Mixer 7–3: Amp Next, make the following settings in the LFO: [List of AMS Sources] This selects an AMS source to modulate Pan. For a list of 4. Enable the Key Sync check-box. AMS sources, see “Alternate Modulation Source (AMS) 5.
Page 350: Program > Mod-7: Eg
EXi: MOD-7 Waveshaping VPM Synthesizer PROGRAM > MOD-7: EG The MOD-7 has nine assignable EGs, in addition to the Amp These EGs are similar to those of the AL-1, but with slightly EG. Each of these can be used as an AMS modulation source simplified AMS modulation, Sustain Level modulation, and to control a wide variety of parameters.
Page 351 PROGRAM > MOD-7: EG 8–1: EG 1 Tip: Multiple Rhythmic Envelopes via the Step Break [–99…+99] Sequencer Break, short for Break Point, sets the level at the end of the Decay time. 1. Set up several EGs with Trigger at Note-On set to Off, and the trigger AMS source set to the per-voice Step Sustain [–99…+99]...
Page 352 EXi: MOD-7 Waveshaping VPM Synthesizer Classic analog synth envelopes made these curved shapes EG Level Modulation naturally. The NAUTILUS goes a step further than vintage synths, however, and lets you control the amount of curvature separately for each of the four envelope segments. When you change the curvature, the EG times remain the same.
Page 353: 8-2: Eg 2
PROGRAM > MOD-7: EG 8–2: EG 2 For example, if you set the AMS source to Velocity and set 8–1d: Time Modulation Attack to +99, the Attack time will get much longer at higher velocities. If you instead set Attack to –99, the Attack time These settings let you use an AMS source to control the will get much shorter at higher velocities.
Page 354: Ams Mixers
EXi: MOD-7 Waveshaping VPM Synthesizer PROGRAM > MOD-7: Seq, LFO, and AMS Mixers The MOD-7 has one per-voice Step Sequencer and four There are also eight AMS Mixers: four full-functioned, and assignable LFOs, in addition to the EXi Program’s Common another four which support only the A+B and Amt AxB LFO and Common Step Sequencer.
Page 355: Mod-7: Tone Adjust
MOD-7: Tone Adjust Common Tone Adjust parameters MOD-7: Tone Adjust MOD-7 Tone Adjust Default Settings Buttons 1–6: Button 7, 8: VPM Osc 1–6 LFO 1 & 2 Stop On/Off Button 9, 10: PCM On & Reverse Filter A Filter B VPM Osc 1–6 Ratio Cutoff Cutoff...
Page 356 EXi: MOD-7 Waveshaping VPM Synthesizer LFOs MOD-7 Tone Adjust parameters In addition to supporting the standard Tone Adjust LFO In addition to the Common Tone Adjust parameters listed parameters, the MOD-7 adds the following separate above, the MOD-7 adds a number of its own parameters. controls: Note that these additional parameters are separate for each •...
Page 357: Exi Mod-7: Page Menu Commands
EXi MOD-7: Page Menu Commands Copy VPM Oscillator EXi MOD-7: Page Menu Commands Compare →p.112 Write Program →p.112 Exclusive Solo →p.113 Remap MS/Sample Banks →p.125 Copy Envelope →p.182 Swap Envelope →p.182 Copy Step Sequencer →p.140 Copy LFO →p.182 Swap LFO →p.182 Delete All Connections →p.282...
Page 358 EXi: MOD-7 Waveshaping VPM Synthesizer...
Page 359: Exi: Sgx-2 Premium Piano
EXi: SGX-2 Premium Piano SGX-2 Overview The SGX-2 Premium Piano EXi is designed to provide an optimal acoustic piano experience, combining world-class sounds, subtle performance nuances, and a dedicated, easy- to-use interface. Features include: • Virtual Memory Technology (VMT), for access to gigabytes of sample data •...
Page 360: Exi Program > Sgx-2: Home
EXi: SGX-2 Premium Piano EXi PROGRAM > SGX-2: Home 0–1: Overview 0–1PMC 0–1b Piano Type 0–1d Components and Levels Common Key Zone Piano graphic This is the main page of PROGRAM mode. For a full String Resonance and Una Corda graphics description of this page and all of its functions, please see This shows the status of the String Resonance and Una “EXi PROGRAM >...
Page 361 EXi PROGRAM > SGX-2: Home 0–1: Overview v 0–1: Page Menu Commands • Compare →p.112 • Write Program →p.112 • Exclusive Solo →p.113 • Show MS/WS/DKit Graphics →p.113 • Add To Set List →p.113 • Initialize Program →p.113 • PAGE →p.126 •...
Page 362: Program > Sgx-2: Main
EXi: SGX-2 Premium Piano PROGRAM > SGX-2: Main 4–1: Main 4–1PMC 4–1a 4–1b 4–1c [Random, L001…C064…R127] 4–1a: Piano Type This controls the stereo position of the piano, “leaning” the original stereo image to the left or right as desired. A setting Piano Type [List] of C064 maintains the original stereo image;...
Page 363 PROGRAM > SGX-2: Main 4–1: Main This parameter controls the triggering of new Damper Lid Position [0…+100] Resonance samples. Editing the parameter does not affect Opening and closing the lid controls the overall brightness of currently sounding notes. the piano. 0 is fully closed, 50 is the normal position, and 100 is fully open.
Page 364: Program > Sgx-2: String Resonance
EXi: SGX-2 Premium Piano PROGRAM > SGX-2: String Resonance/Una Corda 5–1: String Resonance/Una Corda 5–1PMC 5–1a 5–1b 5–1a: String Resonance 5–1b: Una Corda Grand pianos typically have three pedals. From left to right, String Resonance [Off, On] these are the Una Corda pedal (also called the soft pedal), the When a note is played on an acoustic piano, any other un- sostenuto pedal, and the sustain or damper pedal.
Page 365 PROGRAM > SGX-2: String Resonance/Una Corda 5–1: String Resonance/Una Corda v 5–1: Page Menu Commands • Compare →p.112 • Write Program →p.112 • Exclusive Solo →p.113 • PAGE →p.126 • MODE →p.126...
Page 366: Sgx-2: Tone Adjust
EXi: SGX-2 Premium Piano SGX-2: Tone adjust SGX-2 Tone Adjust Default Settings Buttons: 5: Note Release Enable 6: Mechanical Noise Enable 7: Damper Noise Enable Buttons: 1: Stereo Perspective 2: Resonance Enable Resonance Velocity Release Note Release Mechanical Damper Velocity Lid Position Level Intensity...
Page 367: Exi Sgx-2: Page Menu Commands
EXi SGX-2: Page Menu Commands 5–1: String Resonance/Una Corda for the Common Step Sequencer. For more information, Transpose please see “Smoothing” on page 137. Velocity Intensity Release Time SGX-2 Tone Adjust parameters Components In addition to the Common Tone Adjust parameters listed Damper Resonance Enable above, the SGX-2 adds a number of its own parameters.
Page 368 EXi: SGX-2 Premium Piano...
Page 369: Exi: Ep-1 Mds Electric Piano
Multi-Dimensional Synthesis (MDS) • Poly Legato MDS is an original technology from Korg. To create the EP- • Mono Mode (Normal or Use Legato Offset) 1 models, we first sample the instrument at many different dynamic levels and pitches.
Page 370: On-Screen Knobs, Sliders & Switches And The Parameter Details Area
EXi: EP-1 MDS Electric Piano On-screen knobs, sliders & switches and the Parameter Details area Parameter Details The LCD displays include graphic knobs for all of the main EP-1 parameters. These let you view and edit parameters quickly and easily. You can program any sound from the original electric pianos using only these knobs.
Page 371: Exi Program > Ep-1: Home
EXi PROGRAM > EP-1: Home 0–1: Overview EXi PROGRAM > EP-1: Home 0–1: Overview 0–1PMC 0–1b 0–1d Common Key Zone This is the main page of PROGRAM mode. For a full Common Key Zone description of this page and all of its functions, please see This shows the key zones for EXi1 and EXi2, as set on the “EXi PROGRAM >...
Page 372: Exi Program > Ep-1: Basic/Oscillator
EXi: EP-1 MDS Electric Piano EXi PROGRAM > EP-1: Basic/Oscillator 4–1: Basic 4–1PMC 4–1a 4–1b Pitch Slope, pitch, and note 4–1a: Electric Piano Model Type [Tine EP I Early, Tine EP I Late, Pitch Tine EP II, Tine EP V, Tine EP DMP, Reed EP 200, Reed EP 200A] This selects the electric piano model.
Page 373 EXi PROGRAM > EP-1: Basic/Oscillator 4–1: Basic v 4–1: Page Menu Commands • Compare →p.112 • Write Program →p.112 • Exclusive Solo →p.113 • PAGE →p.126 • MODE →p.126...
Page 374: 4-2: Oscillator
EXi: EP-1 MDS Electric Piano 4–2: Oscillator 4–2PMC 4–2a 4–2b 4–2c Intensity [–100…+100] 4–2a: Harmonic Sound This controls the depth and direction of the Release AMS modulation. Level [000…100] This controls the volume level of the main pitched part of the sound.
Page 375 EXi PROGRAM > EP-1: Basic/Oscillator 4–2: Oscillator [List of AMS Sources] This selects an AMS source to control the Attack Brightness. For a list of AMS sources, see “Alternate Modulation Source (AMS) List” on page 901. Intensity [-18.0…+00.0…+18.0] This controls the depth and direction of the Attack Brightness AMS modulation.
Page 376: Exi Program > Ep-1: Panel/Ifx/Amp
EXi: EP-1 MDS Electric Piano EXi PROGRAM > EP-1: Panel/IFX/Amp 5–1: Common 5–1PMC 5–1b 5–1a 5–1g 5–1e 5–1h 5–1f 5–1c 5–1d Note: You can select Random pan only from the on-screen 5–1a: Model Type UI, and not from MIDI. EP Model Type [Tine EP I, Tine EP II, 5–1c: Insert Effect Tine EP V, Tine EP DMP,...
Page 377: Tine Ep
EXi PROGRAM > EP-1: Panel/IFX/Amp Tine EP [List of AMS Sources] Intensity [range depends on parameter] This selects a modulation source to control the selected This controls the depth and direction of the AMS parameter. For a list of AMS sources, see “Alternate modulation.
Page 378 EXi: EP-1 MDS Electric Piano Intensity [–10.0…+10.0] This controls the depth and direction of the Intensity AMS modulation. 5–1h: Amp & Cabinet ON/OFF [On, Off] This enables the amp and cabinet modeling. [List of AMS Sources] This selects an AMS source to turn the amp and cabinet model on or off.
Page 379: Reed Ep
EXi PROGRAM > EP-1: Panel/IFX/Amp Reed EP Reed EP 5–1PMC 5–1b 5–1a 5–1i 5–1h 5–1j 5–1c 5–1d These parameters apply when the EP Model Type is set to [List of AMS Sources] either Reed 200 or Reed 200a. This selects an AMS source to control the SPEED. For a list of AMS sources, see “Alternate Modulation Source (AMS) List”...
Page 380: Insert Effects
EXi: EP-1 MDS Electric Piano Insert Effects The parameters vary depending on the selected effect. Source [List of Dmod Sources] This selects a modulation source to control the LFO modulation Depth. Small Phase This classic phaser, made in New York City during the 70s, Amount [–100…+100] has a notably warm and rich tone with liquid transparency.
Page 381 EXi PROGRAM > EP-1: Panel/IFX/Amp Insert Effects Vintage Chorus Black Chorus This models a chorus best-known for being built into a guitar Modeled after a classic stereo chorus known for both crystal- amp. You can use the Speed and Depth knobs for an even clean tone and quiet operation, and especially well-suited to broader range of possibilities than on the original device.
Page 382 EXi: EP-1 MDS Electric Piano Wet/Dry [Dry, 1: 99…99:1, Wet] Source [List of Dmod Sources] Sets the balance between the “wet” processed sound and the This selects a modulation source to control the Depth. dry input. The default is Wet. Amount [–100…+100] Note: When Mode is set to Chorus, the Intensity control is...
Page 383 EXi PROGRAM > EP-1: Panel/IFX/Amp Insert Effects OUTPUT Auto Sensitivity [0…100] This sets the sensitivity of auto-wah. Increase the value if the Wet/Dry [Dry, 1:99…99:1, Wet] input signal is too low to sweep the wah. Reduce the value if Sets the balance between the “wet” processed sound and the the input signal is so high that the sweep stops temporarily.
Page 384: Exi Program > Ep-1: Ams Mixers
EXi: EP-1 MDS Electric Piano EXi PROGRAM > EP-1: AMS Mixers The EP-1’s AMS Mixers are identical to those of the AL-1. For detailed explanations, please see “9–1: AMS Mixer,” on page 179.
Page 385: Ep-1: Tone Adjust
EP-1: Tone Adjust Insert Effects EP-1: Tone Adjust EP-1 Tone Adjust Default Settings Button 4: Button 6: Tine Vibrato On/Off Cabinet On/Off Tine Tine Vibrato Vibrato Cabinet Hammer Attack Volume Treble Bass Intensity Speed Drive Width Brightness Attack Release Harmonic Harmonic Harmonic Noise...
Page 386: Exi Ep-1: Page Menu Commands
EXi: EP-1 MDS Electric Piano EP-1 Tone Adjust parameters In addition to the Common Tone Adjust parameters listed above, the EP-1 adds a number of its own parameters. Note that these additional parameters are separate for each EXi, as opposed to being shared by both EXi in the Program. All of the EP-1 Tone Adjust parameters are of the Absolute type, which directly correspond to the main parameter values.
Page 387: Combination Mode
COMBINATION mode This is the main page of COMBINATION mode. Among other things, you can: • Select combinations • Make edit ARP, Drum truck/Step sequencer to Scene • Make audio input and resampling settings for use in COMBINATION mode COMBINATION > Home 0–1: Mixer 0–1PMC 0–1a...
Page 388 COMBINATION mode 040.00…300.00 allow you to set a specific tempo in BPM, Category with 1/100 BPM accuracy. In addition to using each VALUE When the timbre status is “INT”, the Program category used controller, or by playing a few quarter-notes on the TAP by the timbre is displayed.
Page 389 COMBINATION > Home 0–1: Mixer Status [Off, INT, EXT, EX2] 0–1c: Volume This sets whether the Timbre controls the internal sounds, or external MIDI devices. [RND, L001…C064…R127] When controlling external MIDI devices, it also allows you This specifies the pan of each timbre. to choose between using the internal Bank Select numbers L001…C064…R127: A setting of L001 is far left and R127 (as set by the front-panel buttons), or using custom Bank...
Page 390 COMBINATION mode Gray Timbre/Track number, and [Inactive] shown CX-3 & other EXi: Limitations on EXi fixed after Program name resources If you try to load a Program which would exceed the maximum amount of EXi fixed resources, the newly added Dynamic resources and fixed resources Program will not sound.
Page 391 COMBINATION > Home 0–1: Mixer 2. Press a tab in the left or right column to select a To switch combinations category. You cannot choose a category tab to which • Choose “Combination Select” and turn the VALUE dial no combinations have been assigned. or use the +/−...
Page 392 COMBINATION mode For more information, see “Find dialog” on page 7. Bank/Combination Select 6. Press the OK button to execute, or press the Cancel 1. Press the popup button located at the left of button to cancel your selection. “Combination Select” to access the Bank/Combination Select menu.
Page 393 COMBINATION > Home 0–1: Mixer Hold Balance [Off, On] On (checked): When any one of the volume sliders is moved, the volume of the other timbres will change as well. The volume balance of timbres 1–16 will be maintained. This is useful when you wish to adjust the overall volume. v 0–1: Page Menu Commands •...
Page 394: Quick Layer
COMBINATION mode Quick Layer Keyboard Zones KEYBOARD Graphic Category image Volume Bank (Layer) (Bank/Program Select) Program Select (Layer) Solo (Layer) Octave (Layer) Zone (Layer) Category image Volume Bank (Main) (Bank/Combination Select) Combination Select (Main) Solo (Main) Octave (Main) Select ARP/DRUM Write Layered Combi Tempo...
Page 395 COMBINATION > Home Quick Layer Note: Selecting the Layer Program will automatically copy the Layer Program’s insert effects. In the same way, the “Send1” and “Send2” values will be copied to the master effect. However, the values will not be copied if there are not enough insert effects available.
Page 396 COMBINATION mode Volume [-127...000...+127] MAIN COMBI Adjusts the volume of the drum track program. The default value is equal to the “Drum Track Volume” of the program Main Combination [List of Combinations] in question selected in “Select ARP/DRUM”. By default, this will be the currently selected Combination. Note: The volume will be adjusted in the same way as that of You can also select a different Combination, if desired.
Page 397: Quick Split
COMBINATION > Home Quick Split Quick Split Select Split Mode Keyboard Zones KEYBOARD Graphic Split Point Solo (Lower) Combination Program Select (Main) Select (Lower) Octave (Lower) Solo (Main) Octave (Main) Category image Volume (Main) Volume (Lower) Category image Select ARP/DRUM Write Splitted Combi Tempo...
Page 398 COMBINATION mode Category image LOWER or UPPER PROG This display-only graphic represents the category or sub- category of the Main Combination. Lower Program (Upper Program) Select the programs to add to the lower or upper side. Octave [-2, -1, 0, +1, +2] Use the “Bank/Program Select”...
Page 399: 0-2: Performance Meters
COMBINATION > Home 0–2: Performance Meters Note: The volume will be adjusted in the same way as that of Write Splitted Combi the main Combination. +001...-127 lowers the volume, and +001...+127 raises the volume. When you’ve created a split sound that you like, press the Write Splitted Combi button to save it as a combination.
Page 400: 0-6: Arp Drum
COMBINATION mode 0–6: ARP DRUM 0–6PMC 0–1a These settings are for the arpeggiator function in be the length of the selected drum track or step sequencer. Combination mode. You can use two arpeggiators (A and B) When the drum function is off, the length of the scene is and a drum track or step sequencer in COMBINATION used for the length of the arpeggiator.
Page 401 COMBINATION > Home 0–6: ARP DRUM DRUM MIDI ch: Timbre Zone Bypass [Off, On] Sets whether to enable the key zone settings (???) and velocity zone settings (???) of the timbres, for the phrases and patterns of each arpeggiator. On (checked): Bypasses the timbre key zone and velocity zone settings for the phrases and patterns that are generated.
Page 402: 0-8: Sampling
COMBINATION mode 0–8: Sampling 0–8PMC 0–8d 0–8a 0–8c 0–8b This page lets you adjust the settings for the analog and Save to [RAM, Disk] digital audio inputs, and the sampling-related settings for Sample Mode [L-Mono, R-Mono, Stereo] COMBINATION mode. You can sample incoming audio signals or resample internal Sample Time [min] [sec] NAUTILUS sounds, including ARP and real-time...
Page 403 COMBINATION > Home 0–8: Sampling Bus Select (IFX/Indiv.) [L/R, IFX1…12, 1…4, 1/2…3/4, Off] FX Ctrl Bus (FX Control Bus) [Off, 1, 2] REC Bus [Off, 1…4, 1/2, 3/4] Send1 (to MFX1) [000…127] Send2 (to MFX2) [000…127] PLAY/MUTE [Off, On] Solo ON/OFF [Off, On] [L000…C064…R127] Level...
Page 404: 0-9: Tone Adjust
COMBINATION mode 0–9: Tone Adjust 0–9PMC 0–9b 0–9a Sliders 1–8, 9–17 buttons 0–9a: Tone Adjust Switches to the Slider page of Tone Adjust. Tone Adjust provides two important features Timbre select simultaneously: • It lets you use all of the sliders, and switches to control Timbre [1…16] Program parameters - like the knobs on an analog synth,...
Page 405 COMBINATION > Home 0–9: Tone Adjust When a switch is assigned to a Relative parameter, or an Then Tone Absolute parameter with more than two states: Adjust If the old And the new Switch On = On Value (see below) parameters Program is…...
Page 406: Combination > Eq/X-Y/Controllers
COMBINATION mode COMBINATION > EQ/X-Y/Controllers 1–1: Timbre EQ 1–1PMC 1–1a 1–1b Each Timbre has a dedicated three-band EQ, with sweepable Timbre Category mid band. This page lets you view and adjust the settings for This shows the abbreviated category name of the Program all 16 Timbres at once.
Page 407: 1-5: X-Y Volume
COMBINATION > EQ/X-Y/Controllers 1–5: X-Y Volume High Gain [–18.0…+00.0…+18.0dB] Timbre 02…16 (Timbre Number) This controls the gain of the 10kHz High Shelf EQ, in These parameters adjust the three-band EQ (with sweepable increments of 0.5dB. mid range) for timbres 2 through 16. They are the same as for timbre 1.
Page 408 COMBINATION mode 1–5a: Combination Name 1–5c: X-Y Graphic Bank [A...N] X-Y Graphic This shows a diagram of the X-Y space, including the five Combination Select [000...127: Name] points of the X-Y Envelope (labeled 0–4). Tempo ( ) [040.00...300.00, EXT] The transitions between the EG’s points are shown by black lines, and the loop transition is shown by a gray line.
Page 409 COMBINATION > EQ/X-Y/Controllers 1–5: X-Y Volume Vector Synthesis system, Combi mode Combination Combi X-Y Volume Control X-Y Modulation of Timbres 1-16 Center Volume Timbre Volume and Equal Power settings Combi switch: Enable Volume control Combi X-Y Envelope Combi X-Y CC Control Combi switch: X-Y Control Enable CC control...
Page 410 COMBINATION mode Timbre Center Volume, X-Y Assign = –X Timbre 01 X-Y Assign [Off, +X, –X, +Y, –Y] 100% This assigns an axis of the Vector to control the Timbre’s volume. See the diagram “X-Y Assign and Program Volume,” below, for more details. Volume 50% Off means that the X-Y position will not affect the Timbre’s volume.
Page 411: 1-6: X-Y Cc
COMBINATION > EQ/X-Y/Controllers 1–6: X-Y CC 1–6: X-Y CC 1–6PMC 1–1a 1–6a The X-Y CC Control is generated by the X-Y position. 1–6a: X-Y CC Control Normally, this will only affect internal sounds and effects. If you like, however, you can also enable a Global parameter to X-Y CC Control lets you use the X-Y Envelope to control send these generated CCs to external MIDI devices.
Page 412 COMBINATION mode X-Y CC Modes Show Point [X-Y Control, X-Y Envelope Point 0…4] Positive Negative You can view the volume and CC values for the current Generates only +X, Generates only –X, position of the X-Y Control, or for any of the EG’s five increasing from left to right.
Page 413: 1-7: X-Y Envelope
COMBINATION > EQ/X-Y/Controllers 1–7: X-Y Envelope 1–7: X-Y Envelope 1–7PMC 1–1a 1–7a 1–7b 1–7c The X-Y Envelope works to control the X-Y position. It’s 1–7a: Basic particularly convenient for modulating effects, since it’s the only Combi-wide programmable modulation source. Refer to PROGRAM mode for the respective settings. The X-Y Envelope is different from the other envelopes in several ways: 1–7b: X-Y Envelope Loop...
Page 414: 1-8: Controllers
COMBINATION mode 1–8: Controllers 1–8PMC 1–8a 1–8PMC 1–8b Here you can set the Combination functions of the SW1 1–8b: Panel Switch Assign switch, SW2 switch, and the RT control knobs 1–6. These settings are made independently for each combination. Here you can assign the function of the SW1 and SW2 buttons.
Page 415: Combination > Timbre Parameters
COMBINATION > Timbre Parameters 2–1: MIDI COMBINATION > Timbre Parameters 2–1: MIDI 2–1PMC 1–1a 1–1b 2–1a Here you can make MIDI settings for each Timbre. Priority is On, then the Timbre’s voices can only be stolen by other priority voices; all voices with Timbre Priority Off will be stolen first.
Page 416: 2-2: Osc
COMBINATION mode 2–2: OSC 2–2PMC 1–1a 1–1b 2–2a These settings specify how each Timbre will be played. For HD-1 programs whose Oscillator Mode (PROGRAM 1–1b) is Double, this setting lets you specify that only OSC1 or OSC2 will sound. For EXi programs in which EXi1 and 2–2a: OSC EXi2 are not turned off in the Instrument Type (EXi Common 4–1), this setting lets you specify that only EXi1 or...
Page 417 COMBINATION > Timbre Parameters 2–2: OSC Max # of Notes [Dynamic, 1…16] Dynamic is the default. With this setting, you can play as many notes as the system allows. 1-16 lets you limit the maximum number of notes played by the Timbre.
Page 418: 2-3: Pitch
COMBINATION mode 2–3: Pitch 2–3PMC 1–1a 1–1b 2–3a 2–3b Here you can make pitch-related settings for each timbre. If the Timbre does not use an HD-1 Drum Program–for example, if it uses a Single or Double HD-1 Program, or an EXi Program–then MIDI RPN Coarse Tune will 2–3a: Pitch control Transpose, and RPN Fine Tune will control Detune.
Page 419: 2-4: Delay
COMBINATION > Timbre Parameters 2–4: Delay 2–3b: Combination’s Scale v 2–3: Page Menu Commands This specifies the scale that the combination will use. For • Compare →p.112 more information, please see “1–1e: Scale” on page 38. • Write Combination →p.433 Type (Combi’s Scale) [Equal Temperament…User •...
Page 420: 2-5: Wave Seq/Arp
COMBINATION mode v 2–4: Page Menu Commands • Compare →p.112 • Write Combination →p.433 • Exclusive Solo →p.113 • Copy From Program →p.433 • PAGE →p.126 • MODE →p.126 2–5: Wave Seq/ARP 2–5PMC 1–1a 1–1b 2–5a Here you can make settings related to wave sequence and –300…+300: The Swing% specified here is used regardless Arpeggiator functionality for each timbre.
Page 421 COMBINATION > Timbre Parameters 2–5: Wave Seq/ARP ARP Timbre Off Control [Normal, Timbre Off by ARP Off, Timbre Off by ARP On] Nrm (Normal): The ARP button will not control whether a timbre will sound. Normally you will select Normal. by Off (Timbre Off by ARP Off): The timbre will sound as usual when the ARP button is on.
Page 422: 2-6: Exi Audio Input
COMBINATION mode 2–6: EXi Audio Input 2–6PMC 1–1a 1–1b 2–6a 2–6b These parameters let you route audio into EXi instruments Channel Select [Stereo/L+R, Left, Right] which support audio input, including the STR-1, MS-20EX, Stereo/L+R: This selection routes a stereo signal to EXi and MOD-7.
Page 423: Combination > Midi Filter/Zones
COMBINATION > MIDI Filter/Zones 3–1: MIDI Filter1 COMBINATION > MIDI Filter/Zones 3–1: MIDI Filter1 3–1PMC 1–1a 1–1b 3–1a These settings allow you to apply filters to the MIDI data 3–1a: MIDI Filter1 that will be transmitted and received by each timbre 1–16. For example even if two timbres are being played by the Timbre 01 same MIDI channel, you can make settings so that the...
Page 424 COMBINATION mode Enable JS–Y [Off, On] Specifies whether MIDI CC#02 (the –Y axis of the NAUTILUS’s joystick setting) will be transmitted and received. Enable Ribbon [Off, On] Specifies whether or not MIDI CC#16 will be transmitted or received. Note: MIDI CC#16 can also be transmitted and received by assigning each MIDI CC# to the RT control knobs or foot pedal.
Page 425: 3-2: Midi Filter2
COMBINATION > MIDI Filter/Zones 3–2: MIDI Filter2 3–2: MIDI Filter2 3–2PMC 1–1a 1–1b 3–2a 3–2a: MIDI Filter2 v 3–2: Page Menu Commands • Compare →p.112 Timbre 01 Enable Realtime Control Knob 1 [Off, On] • Write Combination →p.433 Sets whether to receive MIDI CC#74 (the filter cutoff •...
Page 426: 3-3: Midi Filter3
COMBINATION mode 3–3: MIDI Filter3 3–3PMC 1–1a 1–1b 3–3a 3–3a: MIDI Filter3 v 3–3: Page Menu Commands • Compare →p.112 Timbre 01 Enable SW1 [Off, On] • Write Combination →p.433 • Exclusive Solo →p.113 Enable SW2 [Off, On] • Copy From Program →p.433 Specifies whether or not the effect of the SW1 and SW2 switches will be received.
Page 427: 3-5: Keyboard Zones
COMBINATION > MIDI Filter/Zones 3–5: Keyboard Zones 3–5: Keyboard Zones 3–5PMC 1–1a 3–5a 1–1b 3–5a These settings specify the keyboard range in which each 3–5a: Zone Map timbre will sound. This area provides a graphic display of the note and velocity The top/bottom key parameters specify the range of notes in ranges in which each MIDI Track will sound.
Page 428 COMBINATION mode 3–5b: Keyboard Zones v 3–5: Page Menu Commands • Compare →p.112 Timbre 01 Top Key [C–1…G9] • Write Combination →p.433 Specifies the top key (upper limit) of the notes that will • Exclusive Solo →p.113 sound each timbre. •...
Page 429: 3-6: Velocity Zones
COMBINATION > MIDI Filter/Zones 3–6: Velocity Zones 3–6: Velocity Zones 3–6PMC 1–1a 3–6a 1–1b 3–6a Sets the Top/Bottom Velocity parameters to specify the 3–6b: Velocity Zones range of velocities that will sound for each timbre 1–16, and set the Top/Bottom Slope parameters to specify the range Timbre 01 over which the volume will change.
Page 430 COMBINATION mode How volume will change according to keyboard location Volume Velocity Bottom Slope Top Slope Bottom Velocity Top Velocity “Top Velocity” and “Bottom Velocity” settings can also be input by holding down the ENTER button and playing a note on the keyboard.
Page 431: Combination > Ifx
COMBINATION > IFX 8–1: Routing1 COMBINATION > IFX You can also specify the bus routing for the program used by • Make detailed settings for insert effects each timbre 1–16. For instance, you can: • Make common LFO settings for effects •...
Page 432 COMBINATION mode Bus Select (IFX/Indiv.Out Assign) 8–1b: Routing1 [L/R, IFX1…12, 1…4, 1/2…3/4, Off] This specifies the output bus for the timbre’s program Timbre 01 (Timbre Number) oscillator. This parameter can also be edited from the IFX– Bus Select (IFX/Indiv. Out Assign) Dkit [Off, On] Routing 2 page.
Page 433 COMBINATION > IFX 8–1: Routing1 Example: Inserting a single IFX into multiple timbre Example: Inserting a separate IFX into each timbre, and then inserting an IFX at the final stage Example: Sharing a portion of a timbre’s IFX chain with another timbre Send1 (MFX1) [000…127] v 8–1: Page Menu Commands...
Page 434: 8-2: Routing2
COMBINATION mode 8–2: Routing2 8–2PMC 8–1a 1–1a 1–1b 8–2b Here you can specify the program oscillator output bus, The REC buses are dedicated internal buses for recording, effect control bus, and REC bus for each timbre 1 through used for sampling in the various modes or for recording audio tracks in SEQUENCER mode.
Page 435: 8-5: Insert Fx
COMBINATION > IFX 8–5: Insert FX • Copy Insert Effect →p.122 v 8–2: Page Menu Commands • Swap Insert Effect →p.122 • Compare →p.112 • Drum Kit IFX Patch →p.437 • Write Combination →p.433 • PAGE →p.126 • Exclusive Solo →p.113 •...
Page 436 COMBINATION mode IFX2: Chain to [IFX3…IFX12] IFX3: Chain to [IFX4…IFX12] IFX4: Chain to [IFX5…IFX12] IFX5: Chain to [IFX6…IFX12] IFX6: Chain to [IFX7…IFX12] IFX7: Chain to [IFX8…IFX12] IFX8: Chain to [IFX9…IFX12] IFX9: Chain to [IFX10…IFX12] IFX10: Chain to [IFX11…IFX12] IFX11: Chain to [IFX12] v 8–5: Page Menu Commands •...
Page 437: 8-7: Ifx 1-12
COMBINATION > IFX 8–7: IFX 1–12 8–7: IFX 1–12 8–7PMC 8–7a 8–7b This page lets you edit the parameters of the insert effect 1. Drum Kits and the MIDI Control Channel Use the tabs at left to select IFX1 through IFX12. If a Timbre is using a Drum Kit, and the Timbre’s Bus Select (IFX/Indiv.
Page 438 COMBINATION mode v 8–7: Page Menu commands • Compare →p.112 • Write Combination →p.433 • Exclusive Solo →p.113 • Copy Insert Effect →p.122 • Swap Insert Effect →p.122 • Write FX Preset →p.125 • PAGE →p.126 • MODE →p.126...
Page 439: 8-9: Common Fx Lfo
COMBINATION > IFX 8–9: Common FX LFO 8–9: Common FX LFO 8–9PMC 8–9a 8–9b The two Common FX LFOs allow you to synchronize LFO- 8–9b: Common FX LFO2 based modulation for multiple effects, such as phasers, flangers, filters, and so on. These parameters are the same as for Common FX LFO1.
Page 440: Combination > Mfx/Tfx
COMBINATION mode COMBINATION > MFX/TFX Here you can make settings for the master effects and total • Make detailed settings for master effects and total effects effects. For instance, you can: For more information, please see “Effect Guide” on page 729. •...
Page 441: 9-2: Mfx1
You can use different MIDI channels to control Dmod for each effect, if desired, as selected by the Ch (Control P01…P15: These usually contain Korg preset data (though Channel) parameter. some effects may not include presets). We recommend that you store your settings in U00–U15.
Page 442: 9-3: Mfx2
COMBINATION mode v 9–2: Page Menu Commands • Compare →p.112 • Write Combination →p.433 • Exclusive Solo →p.113 • Copy MFX/TFX →p.125 • Swap MFX/TFX →p.125 • Write FX Preset →p.125 • PAGE →p.126 • MODE →p.126 9–3: MFX2 9–4: TFX1 9–5: TFX2 These pages let you edit the parameters of Master Effect 2 and Total Effects 1 and 2.
Page 443: Combination: Page Menu Commands
COMBINATION: Page Menu Commands Write Combination COMBINATION: Page Menu Commands Compare →p.112 Write Combination →p.433 Exclusive Solo →p.113 Copy From Program →p.433 Add To Set List →p.113 Load required samples →p.114 Edit Program →p.434 Initialize Combination →p.435 Optimize RAM →p.114 Select Sample No.
Page 444 COMBINATION mode Note: Copy-source insert effects set to 000: No Effect Edit Program will not be copied. However, if 000: No Effect is located inside the chain, it will be copied. This command, available on the Home– Mixer page in COMBINATION mode and the Home–...
Page 445 COMBINATION: Page Menu Commands Initialize Combination Parameters unavailable while editing in context When editing a Program in context, you’ll hear the Combination or Song’s effects, EQ, ARP, and Drum Track. Because of this, related pages, tabs, parameters, and functions within the Program will be unavailable, including: •...
Page 446 COMBINATION mode 3. If you’ve selected a Combination or Song, select a Auto Sampling Setup specific Timbre or Track as well. Auto Sampling Setup is available on the Audio 4. Choose either All or Assignments Only to select the In/Sampling tab of the Play page. Tone Adjust parameters that you want to copy.
Page 447 COMBINATION: Page Menu Commands Copy X-Y Envelope Copy External Scene Please see “Copy External Scene” on page 121. Copy Scene Please see “Copy Scene” on page 121. Swap Scene Please see “Swap Scene” on page 122. Copy X-Y Envelope Copy Insert Effect Copy X-Y Envelope is available on the X-Y Envelope tab This command copies effects settings from Program, of the EQ/X-Y/Controllers page.
Page 448 COMBINATION mode 3. In the DrumKit “IFX” popup, select the output bus to which you want to patch the signal: an insert effect or L/R, 1–4, 1/2–3/4, or Off. 4. To execute the Drum Kit Insert Effect Patch command, press the OK button. To cancel, press the Cancel button.
Page 449: Sequencer Mode
SEQUENCER mode Sequencer Overview The NAUTILUS contains a sophisticated sequencer that The factory preset Template Songs let you get up and integrates a 16-track MIDI sequencer with a 16-track running quickly with matched sets of sounds and effects for internal drive recorder. various styles of music.
Page 450 SEQUENCER mode Parameter-related features Drive recorder section • When the Status of a track is set to INT or Both, an • You can use up to 300,000 audio events (or 400,000 external sequencer can be used to play NAUTILUS as a MIDI events), up to 200 songs, and up to 999 measures multi-timbral tone generator.
Page 451: Setup Parameters & Musical Data
Sequencer Overview Setup parameters & Musical data • For each song, you can use twelve stereo insert effects, Common section two stereo master effects, and two stereo total effects. • As the MIDI clock master, you can choose either • When you’ve created songs, you can resample them to Internal, External or Auto, letting you synchronize the drive to create WAVE files.
Page 452 SEQUENCER mode You should be aware that audio events and regions can be deleted by event editing or region editing commands, and can also be lost by turning off the power before saving them to the internal drive. If only the WAVE file is left, leaving the WAVE file on the internal drive will unnecessarily occupy space, so we recommend that you execute the MEDIA–...
Page 453: Sequencer > Home
SEQUENCER > Home 0–1: Mixer SEQUENCER > Home 0–1: Mixer 0–1PMC 0–1a 0–1b 0–1PMC 0–1a 0–1c Here you can make basic settings for MIDI track recording When MIDI Clock (GLOBAL 1–1a) is set to Internal and playing back in the song, and can select the program that (or Auto, if no MIDI clocks are being received), the will be used by each track.
Page 454 SEQUENCER mode Transport Recording from measure 2 of track 2 when Meter = **/** when Meter =7/8 SEQUENCER LOCATE button Track 1 Track 1 1 (4/4) 2 (3/4) 3 (4/4) 3 (4/4) 1 (4/4) 2 (3/4) 3 (4/4) Press the LOCATE button to go to the location that you set. Track 2 Track 2 1 (4/4)
Page 455 SEQUENCER > Home 0–1: Mixer If MIDI Clock (GLOBAL 1–1a) is set to “Internal,” the When the song changes, tracks whose track Status is above tempo setting (040.00–240.00) is used. If you’ve EXT, EX2 or Both will transmit Bank Select, Program selected Auto, operation will automatically switch from Change, Volume, Pan, Portamento, Send1, 2, Post IFX Internal to External if MIDI Clock data is received from an...
Page 456 SEQUENCER mode Off (unchecked): Single track recording setup will be REC Resolution (Realtime REC Quantize selected. Recording will occur on the track selected by Resolution) Track Select. [Hi, 3 , , 3 , , 3 , , ] This cannot be selected if Recording Setup is set to This lets you correct timing as you record.
Page 457 SEQUENCER > Home 0–1: Mixer • Use the Category/Track Program Select menu to view 0–1c: Volume and select programs by category. • Use the Favorite function; in the Bank/Track Program Recording MIDI Track Pan and Volume Select menu or the Category/Track Program Select, you The pan and volume that you specify here will be used when can view and select programs whose “Favorite”...
Page 458 SEQUENCER mode Track 02…16 (Track Number) For more information, please see “Track 01 (Track Number)” on page 446.
Page 459 SEQUENCER > Home 0–1: Mixer If Track Select is AUDIO1–8 or AUDIO9–16: 0–1PMC 0–1a 0–1b 0–1PMC 0–1a 0–1c Here you can make settings for recording and playback of REC Source [(Stereo Pair Off): Audio Input1…2, audio tracks in the song. You can specify the audio source USB1…2, L, R, REC1…4, Indiv.1…4] for recording, and change the Play/Mute status, Solo status, [(Stereo Pair On): Audio Input1/2,...
Page 460 SEQUENCER mode Audio Input 1…2 (mono) or 1/2 (stereo): Choose these to The input signal will be recorded directly, without passing record directly from analog inputs 1-2. through any buses or effects, and without being affected by the audio input mixer settings. REC Source = Indiv.
Page 461 SEQUENCER > Home 0–1: Mixer L, R, L/R: This is the L/R bus, after passing through both the L/R bus) in response to sequencer playback, keyboard TFX 1 and 2. Choose this if you want to record an external playing, or MIDI input. See the diagram “REC Source = L, audio signal being sent to the L/R bus (specified by 0–8a), or R,”...
Page 462 SEQUENCER mode Indiv.1…4 (mono), Indiv.1/2…3/4 (stereo): The Indiv.1/2– If Stereo Pair is on and you’ve selected Indiv.1/2, the Indiv. Indiv.3/4 output buses will be recorded. Similarly to when bus 1 will be sent to odd-numbered tracks, and Indiv. bus 2 using the REC buses, you can choose this when you want to will be sent to even-numbered tracks.
Page 463 SEQUENCER > Home 0–1: Mixer Track 02…16 (Track Number) For details, see “Track 01 (Track Number)” on page 449. v 0–1: Page Menu Commands • Compare →p.112 • Memory Status →p.521 • Exclusive Solo →p.113 • Rename Song →p.521 • Initialize Song →p.522 •...
Page 464: 0-5: Midi Track Loop
SEQUENCER mode 0–5: MIDI Track Loop 0–5PMC 0–1a 0–5a When playing or recording a song, you can independently Example) When “Play Intro” is checked loop the MIDI tracks. 0–5a: Track Select Selected Track Info This displays information about the currently selected MIDI or audio track.
Page 465 SEQUENCER > Home 0–5: MIDI Track Loop v 0–5: Page Menu Commands • Compare →p.112 • Memory Status →p.521 • Exclusive Solo →p.113 • Rename Song →p.521 • Initialize Song →p.522 • Copy From Song →p.522 • Load Template Song →p.522 •...
Page 466: 0-6: Recording Setup
SEQUENCER mode 0–6: Recording Setup 0–6PMC 0–1a 0–6a 0–6c 0–6b 0–6d Here you can specify the realtime recording method, adjust To begin recording, press the SEQUENCER REC button and levels and make other settings for audio recording, and then the SEQUENCER START/STOP button. To stop adjust the metronome settings.
Page 467 SEQUENCER > Home 0–6: Recording Setup Auto Punch In Start Measure [M001…M999] 0–6b: Recording Setup (Audio Track) Auto Punch In End Measure [M001…M999] Automation Only [Off, On] When Recording Setup is set to Auto Punch In, specify the On (checked): Only audio track automation events will be measures at which recording will start and end.
Page 468 SEQUENCER mode Audio Input/Output Stereo Pair (0-2c) Audio Input (0–2a) = On BUS(IFX/Indiv.) REC Source (0-2c) = L/R Insert ADC OVERLOAD ! = L/R or IFX1-12 CLIP ! Effects L-Mono AUDIO INPUT 1,2 Total R-Mono Stereo Effects LEVEL Analog to Level (MIC/LINE) Digital...
Page 469 SEQUENCER > Home 0–6: Recording Setup If the signal distorts even after you turn down the analog v 0–6: Page Menu Commands input gain, the settings of the internal effects may be causing the distortion. Try turning down “(Input 1, 2) •...
Page 470: 0-7: Arp Drum
SEQUENCER mode 0–7: ARP DRUM 0–7PMC 0–1a These settings are for the arpeggiator function in Scene Cue Mode SEQUENCER mode. Select either “Immediately” or “Measure” for the timing to You can use two arpeggiators (A and B) and a drum track or be used when you change scenes while they are playing.
Page 471 SEQUENCER > Home 0–7: ARP DRUM Common/Scan Zone: Arppegio Pattern [P0...P4, A0000...A2047, B000...B127] Configures the respective settings for arpeggiators A and B. For more on the various parameters, refer to PROGRAM Loop/1Shot mode. For more information, see “Common/Scan Zone :” on page 16.
Page 472: 0-8: Sampling
SEQUENCER mode • Copy From Song →p.522 • Copy From Program →p.525 • Load Template Song →p.522 • Copy Scene →p.121 • Save Template Song →p.523 • Swap Scene →p.122 • FF/REW Speed →p.523 • Add To Set List →p.113 •...
Page 473 SEQUENCER > Home 0–8: Sampling Sampling START button: Pressing the SAMPLING REC These parameters configure the input source for button will cause the NAUTILUS to enter sampling-standby analog/digital audio devices as well as the input level, pan, mode, and sampling will begin when you press the the various buses and the send level to the master effect.
Page 474: 0-9: Tone Adjust
SEQUENCER mode 0–9: Tone Adjust 0–9PMC 0–1a 0–9b 0–9a Sliders 1–8, 9–17 buttons 0–9a: Tone Adjust Switches to the Slider page of Tone Adjust. Tone Adjust provides two important features Track select simultaneously: • It lets you use all of the sliders, and switches to control Track [1…16] Program parameters - like the knobs on an analog synth,...
Page 475 SEQUENCER > Home 0–9: Tone Adjust Switches 1–16 Then Tone Tone Adjust switches act a little differently than sliders. Adjust If the old And the new parameters When a switch is assigned to a Relative parameter, or an Program is… Program is…...
Page 476: Sequencer > Eq/X-Y/Controllers
SEQUENCER mode SEQUENCER > EQ/X-Y/Controllers 1–1: MIDI Track EQ 1–1PMC 1–1a 1–1b Each Track has a dedicated three-band EQ, with sweepable RPPR (Assign) will not show all of the RPPR assignments if mid band. This page lets you view and adjust the settings for there are many of them.
Page 477 SEQUENCER > EQ/X-Y/Controllers 1–1: MIDI Track EQ Input Trim [00…99] This controls the volume level going into the EQ. Note that this parameter uses a linear scale; 50 is equivalent to –6dB, 25 is the same as –12dB, and so on. High settings of the Low, Mid, and High Gain controls can cause substantial increases in the overall level.
Page 478: 1-2: Audio Track Eq
SEQUENCER mode 1–2: Audio Track EQ 1–2PMC 1–1a 1–2a Here you can adjust the three-band EQ (with sweepable mid v 1–2: Page Menu Commands range) for audio track. • Compare →p.112 1–2a: 3 Band Parametric EQ • Memory Status →p.521 Track 01…16 (Track Number) •...
Page 479: 1-5: X-Y Volume
SEQUENCER > EQ/X-Y/Controllers 1–5: X-Y Volume 1–5: X-Y Volume 1–5PMC 1–1a 1–5a 1–5b Vector Synthesis lets you control Track volumes and 1–5a: X-Y Volume Control Program & Effects parameters by using the programmable X-Y Envelope, or by the combination of the two. X-Y Volume Control lets you adjust the relative volumes of the 16 Tracks by moving the X-Y Envelope from left to right For more background information on Vector Synthesis,...
Page 480 SEQUENCER mode When Equal Amount is Off, the individual Track Center Note: For an interesting variation on this effect, turn Equal Volume parameters determine the way in which X-Y Amount Off, and instead set all of the Track Center position affects volume. Volumes to 50%.
Page 481 SEQUENCER > EQ/X-Y/Controllers 1–5: X-Y Volume The volumes at the extreme ends of the axis are fixed, 1–5b: X-Y Graphic depending on the setting of the X-Y Assign parameter. For instance, if X-Y Assign is set to –X, the Track will X-Y Graphic always be at 100% volume on the left side, and 0% (silent) This shows a diagram of the vector space, including the five...
Page 482: 1-6: X-Y Cc
SEQUENCER mode 1–6: X-Y CC 1–6PMC 1–1a 1–6a Note that, in SEQUENCER mode, only the Song’s X-Y CCs 1–6a: X-Y CC Control can be sent to external MIDI instruments; the individual Program’s X-Y CCs are only used internally. X-Y CC Control lets you use the X-Y Envelope to control the Song’s Effects.
Page 483 SEQUENCER > EQ/X-Y/Controllers 1–6: X-Y CC [Off…MIDI CC#119] Show Point [X-Y Control, X-Y Envelope Point 0…4] This assigns the controller sent by the +X X-Y. You can use this as an AMS source to control Program parameters, or as a You can view the volume and CC values for any of the EG’s Dmod source to control Effects parameters.
Page 484: 1-7: X-Y Envelope
SEQUENCER mode 1–7: X-Y Envelope 1–7PMC 1–1a 1–7a 1–7b 1–7c The X-Y Envelope works to control the X-Y position. It’s 1–7a: Basic particularly convenient for modulating effects, since it’s the only programmable modulation source stored with the Song, Refer to PROGRAM mode for the respective settings. outside of ARP.
Page 485 SEQUENCER > EQ/X-Y/Controllers 1–7: X-Y Envelope v 1–7: Page Menu Commands • Compare →p.112 • Memory Status →p.521 • Exclusive Solo →p.113 • Rename Song →p.521 • Initialize Song →p.522 • Copy From Song →p.522 • Load Template Song →p.522 •...
Page 486: 1-8: Controllers
SEQUENCER mode 1–8: Controllers 1–8PMC 1–1a 1–8a 1–8b Here you can set the Sequencer functions of the SW1 button, SW2 button, and the RT control knobs 1–6. These settings are made independently for each song. When you operate these buttons and knobs during recording, the MIDI messages assigned to them will be recorded.
Page 487 SEQUENCER > EQ/X-Y/Controllers 1–8: Controllers 1–8PMC 1–1a 1–8a 1–8b 1–8b: Sw v 1–8: Page Menu Commands Here you can assign the function of the SW1 and SW2 • Compare →p.112 buttons. For details on the functions that can be assigned, see “SW1/2 Assignments”...
Page 488: Sequencer > Track Parameters
SEQUENCER mode SEQUENCER > Track Parameters 2–1: MIDI 2–1PMC 0–1a 1–1b 2–1a Here you can make MIDI-related settings for each MIDI EXT: When the musical data recorded in the MIDI track is track. played back, or when you select a MIDI track that is set to EXT and play the keyboard and operate the controllers, MIDI data will be transmitted to an external device, but the 2–1a: MIDI...
Page 489 SEQUENCER > Track Parameters 2–1: MIDI MIDI Channel [01…16] v 2–1: Page Menu Commands Specifies the MIDI channel that the MIDI track will use to • Compare →p.112 transmit and receive musical data. The MIDI channel you specify here will be the receive channel when Status is INT, the transmit channel when it is EXT or EX2, and the •...
Page 490: 2-2: Osc
SEQUENCER mode 2–2: OSC 2–2PMC 0–1a 1–1b 2–2a These parameters specify how each MIDI track will be When the track whose Status (2–1a) is INT or Both, MIDI sounded. control change CC#5 (Portamento Time) and CC#65 (Portamento Switch) can be received to control this and change the setting.
Page 491 SEQUENCER > Track Parameters 2–2: OSC Track 02…16 (Track Number) Here you can make OSC settings for MIDI tracks 2 through 16. These are the same as for track 1. See “Track 01:”. v 2–2: Page Menu Commands • Compare →p.112 •...
Page 492: 2-3: Pitch
SEQUENCER mode 2–3: Pitch 2–3PMC 0–1a 1–1b 2–3a 2–3b Here you can make pitch-related settings for each MIDI Bend Range [PRG, –24…+00…+24] track. Specifies the amount of pitch change that will occur when the pitch bender is operated, in semitone units. 2–3a: Pitch PRG: The pitch range specified by the program will be used.
Page 493 SEQUENCER > Track Parameters 2–3: Pitch Random [0…7] As this value is increased, an increasingly random deviation will be added to the pitch at each note-on. If Status (2–1a) is INT, this setting will affect the pitch produced by the NAUTILUS. If Status is EXT, this setting will affect the note number of the note messages transmitted via MIDI.
Page 494: 2-4: Delay
SEQUENCER mode 2–4: Delay 2–4PMC 0–1a 1–1b 2–4a This specifies the time (delay) from when the MIDI track For example if you set Base Note to a quarter note ( ) and receives a note-on until the sound begins. Times to 02, that MIDI track will sound with a delay of a half note ( ).
Page 495: 2-5: Wave Seq/Arp
SEQUENCER > Track Parameters 2–5: Wave Seq/ARP 2–5: Wave Seq/ARP 2–5PMC 0–1a 1–1b 2–5a Here you can make settings related to wave sequence and Note that Quantize Trigger applies only when the Wave Arpeggiator functionality for each MIDI track. Sequence’s Mode is set to Tempo. For more information, see “Mode”...
Page 496 SEQUENCER mode If the Status (0–1b) of each track is INT, you can use the “Track On/Off Ctrl” setting to stop the oscillator of each track from sounding. If you set “OSC On/Off Ctrl” to by Off or by On settings and operate the ARP ON/OFF button while real-time- recording a song, you must be aware of the following points.
Page 497: 2-6: Exi Audio Input
SEQUENCER > Track Parameters 2–6: EXi Audio Input 2–6: EXi Audio Input 2–6PMC 0–1a 1–1b 2–6a 2–6b These parameters let you route audio into EXi instruments REC 1/2…3/4 and FX Control 1, 2 use the audio from the which support audio input, including the STR-1, MS-20EX, selected bus.
Page 498: 2-7: Audio Track Delay
SEQUENCER mode 2–7: Audio Track Delay 2–7PMC 0–1a 1–1b 2–7a Here you can specify a delay time by which the audio events v 2–7: Page Menu Commands of each audio track will be delayed relative to their “Location.” • Compare →p.112 •...
Page 499: Sequencer > Midi Filter/Zones
SEQUENCER > MIDI Filter/Zones 3–1: MIDI Filter1 SEQUENCER > MIDI Filter/Zones 3–1: MIDI Filter1 3–1PMC 0–1a 1–1b 3–1a Here you can select whether or not to apply filtering to the 3–1a: MIDI Filter 1 MIDI data received by MIDI tracks 1–16. For example even if two tracks are receiving the same MIDI channel, one can Track 01 (Track Number) be set to respond to damper pedal activity while the other...
Page 500 SEQUENCER mode Track 02…16 (Track Number) These are the MIDI Filter 1 settings for MIDI tracks 2 through 16. They are the same as for track 1. See “Track 01:”. v 3–1: Page Menu Commands • Compare →p.112 • Memory Status →p.521 •...
Page 501: 3-2: Midi Filter2
SEQUENCER > MIDI Filter/Zones 3–2: MIDI Filter2 3–2: MIDI Filter2 3–2PMC 0–1a 1–1b 3–2a Here you can enable transmission for the RT Control Knobs Track 02…16 (Track Number) 1–6. These are the MIDI Filter 2 settings for MIDI tracks 2 through 16.
Page 502: 3-3: Midi Filter3
SEQUENCER mode 3–3: MIDI Filter3 3–3PMC 0–1a 1–1b 3–3a 3–3a: MIDI Filter 3 v 3–3: Page Menu Commands • Compare →p.112 Track 01 (Track Number) Enable SW1 [Off, On] • Memory Status →p.521 • Exclusive Solo →p.113 Enable SW2 [Off, On] •...
Page 503: 3-5: Keyboard Zones
SEQUENCER > MIDI Filter/Zones 3–5: Keyboard Zones 3–5: Keyboard Zones 3–5PMC 0–1a 3–5a 1–1b 3–5b Here you can specify the key zones in which MIDI tracks 1– 3–5b: Keyboard Zones 16 will sound. The top/bottom key settings specify the zone in which MIDI Track 01 (Track Number) tracks 1–16 will sound, and the top/bottom slope settings specify the key range over which the volume will change...
Page 504 SEQUENCER mode Bottom Slope [00, 01, 02, 03, 04, 06, 08, 10, 12, 18, 24, 30, 36, 48, 60, 72] Specifies the range of keys (12 is one octave) over which the volume will be reached starting from the bottom key. 0: The volume will be at the original level from the bottom key.
Page 505: 3-6: Velocity Zones
SEQUENCER > MIDI Filter/Zones 3–6: Velocity Zones 3–6: Velocity Zones 3–6PMC 0–1a 3–6a 1–1b 3–6b Here you can set the Top/Bottom Velocity parameters to Top Slope [0…120] specify the range of velocities that will be sounded by MIDI Specifies the number of velocity steps over which the tracks 1–16, and Top/Bottom Slope specify the range over original volume will be reached, starting from the Top which the volume will be adjusted.
Page 506 SEQUENCER mode Track 02…16 (Track Number) These are the velocity zone settings for MIDI tracks 2 through 16. They are the same as for track 1. See “Track 01”:. v 3–6: Page Menu Commands • Compare →p.112 • Memory Status →p.521 •...
Page 507: Sequencer > Track Edit
SEQUENCER > Track Edit 4–1: Track Edit SEQUENCER > Track Edit 4–1: Track Edit 4–1PMC 0–1a 4–1a 4–1b Here you can edit MIDI tracks, the master track, and audio region that you want to edit. Then choose a command from tracks.
Page 508 SEQUENCER mode • Create Control Data →p.544 4–1b: Track Select, From Measure, To • Erase Control Data →p.545 End of Measure • Quantize →p.545 Track Select[MIDI Track01…MIDI Track16, Master • Shift/Erase Note →p.546 Track, Audio Track01…Audio Track16] • Modify Velocity →p.547 Here you can select the track you want to edit (or use as the •...
Page 509: 4-2: Midi Track Name
SEQUENCER > Track Edit 4–2: MIDI Track Name 4–2: MIDI Track Name 4–2PMC 0–1a 1–1b 4–2a Here you can assign a name to each track. 4–2a: MIDI Track Names T01…T16 [MIDI Track Name] Here you can rename the MIDI tracks. Press the text edit button to open the dialog box, and set the name as desired (up to 24 characters).
Page 510: 4-3: Audio Track Name
SEQUENCER mode 4–3: Audio Track Name 4–3PMC 0–1a 4–3a Here you can assign a name to each audio track. 4–3a: Audio Track Names T01…T16 [Audio Track Name] Here you can rename the audio tracks. Press the text edit button to open the dialog box, and set the name as desired (up to 24 characters).
Page 511: Sequencer > Pattern/Rppr
SEQUENCER > Pattern/RPPR 5–1: Pattern Edit SEQUENCER > Pattern/RPPR On the NAUTILUS you can use preset patterns, and user which lets you trigger patterns assigned to each key simply patterns. by pressing the desired key, and realtime-record the patterns that play back. (See the RPPR Setup page.) Preset patterns provide patterns that are suitable for drum tracks, and can be selected from any song.
Page 512 SEQUENCER mode [Hi, 3 , , 3 , , 3 , , ] Rec Resolution 5–1c: USED IN SONG TRACK, USED IN Specifies how the timing of the data being recorded into the RPPR pattern will be corrected. For details, see “REC Resolution (Realtime REC Quantize Resolution)”...
Page 513: 5-2: Pattern Name
SEQUENCER > Pattern/RPPR 5–2: Pattern Name 5–2: Pattern Name 5–2PMC 5–1a 5–1b 5–2c 5–2a: User Pattern Names Pattern name [U00…U99] Here you can rename the pattern. Press the text edit button to open the dialog box, and set the name as desired (up to 24 characters). If a USB QWERTY keyboard (commercially available) is connected, you can use this to enter text instead of the on-screen keyboard.
Page 514: 5-3: Rppr Setup
SEQUENCER mode 5–3: RPPR Setup 5–3PMC 5–3a 5–3b 5–3c Here you can make settings for the RPPR (Realtime Pattern Track Select [MIDI Track01…MIDI Track16, Play/Recording) function. RPPR lets you assign patterns to Master Track, Audio Track01…Audio Track16] individual keys, and then playback patterns simply by When you play a key that is not assigned to RPPR, it will pressing individual notes on the keyboard.
Page 515 SEQUENCER > Pattern/RPPR 5–3: RPPR Setup Non-assignable Assigned keys and Track of the keys tracks selected key Key range Key range Key range shown in the Selected key RPPR Setup List 5–3c: RPPR Setup Same key, or C2 Key-on Key-off Key-on (KEY) [C#2…C8]...
Page 516 SEQUENCER mode Paste Sync settings This pastes the settings from the copy buffer (obtained by Key 1 on Key 2 on Key 1 off Copy) into the selected KEY. Example: Assigning Patterns to Keys Song Before you begin, assign a drum Program to MIDI track 1. Patterns 1 and 2 are set to Mode=Manual, and have identical Sync settings...
Page 517: Sequencer > Ifx
SEQUENCER > IFX 8–1: MIDI Routing1 SEQUENCER > IFX You can also specify the bus routing for the program used by • Make detailed settings for insert effects each MIDI track 1–16 and audio track 1–16. For instance, • Make common LFO settings for effects you can: For details on Insert Effects, see “Effect Guide”...
Page 518 SEQUENCER mode Off: The track will not be output from the L/R bus, IFX1–12 buses, or Individual 1–4 buses. Choose the Off setting if you want the program oscillator output of the track to be connected in series to a master effect. Use Send1 (to MFX1) and Send2 (to MFX2) to specify the send levels.
Page 519: 8-2: Midi Routing2
SEQUENCER > IFX 8–2: MIDI Routing2 8–2: MIDI Routing2 8–2PMC 8–1a 1–1a 1–1b 8–2a Here you can specify the program oscillator output bus, The REC buses are dedicated internal buses for recording, effect control bus, and REC bus for each MIDI track 1 used for sampling in the various modes or for recording through 16.
Page 520 SEQUENCER mode v 8–2: Page Menu Commands • Compare →p.112 • Memory Status →p.521 • Exclusive Solo →p.113 • Copy Insert Effect →p.122 • Swap Insert Effect →p.122 • Drum Kit IFX Patch →p.437 • Put Effect Setting to Track →p.554 •...
Page 521: 8-3: Audio Routing1
SEQUENCER > IFX 8–3: Audio Routing1 8–3: Audio Routing1 8–3PMC 8–1a 1–1a 1–1b 8–3a Here you can specify the buses for the outputs of audio change accordingly during playback. You can also modify tracks 1–16. You can also adjust the send amounts to the these settings during playback.
Page 522: 8-4: Audio Routing2
SEQUENCER mode 8–4: Audio Routing2 8–4PMC 8–1a 1–1a 1–1b 8–4a Here you can specify the buses, effect control bus, and REC v 8–4: Page Menu Commands bus for the outputs of audio tracks 1–16. • Compare →p.112 8–4a: Audio Routing2 •...
Page 523: 8-5: Insert Fx
SEQUENCER > IFX 8–5: Insert FX 8–5: Insert FX 8–5PMC 1–1a 8–5a IFX1 8–5a: IFX IFX1 [000…197] Here you can choose the type of each insert effect 1 through 12, its on/off status, chaining, and adjust the post-IFX mixer IFX1 On/Off [Off, On] settings.
Page 524 SEQUENCER mode IFX2: Chain to [IFX3…IFX12] IFX3: Chain to [IFX4…IFX12] IFX4: Chain to [IFX5…IFX12] IFX5: Chain to [IFX6…IFX12] IFX6: Chain to [IFX7…IFX12] IFX7: Chain to [IFX8…IFX12] IFX8: Chain to [IFX9…IFX12] IFX9: Chain to [IFX10…IFX12] IFX10: Chain to [IFX11…IFX12] IFX11: Chain to [(IFX12)] v 8–5: Page Menu Commands •...
Page 525: 8-7: Ifx 1-12
SEQUENCER > IFX 8–7: IFX 1–12 8–7: IFX 1–12 8–7PMC 8–7a 8–7b This page lets you edit the parameters of the insert effect 1. Note: If you want to control an IFX to which an audio track Use the tabs at left to select IFX1 through IFX12. is routed, use a MIDI track whose channel matches the “Ch (Control Channel)”...
Page 526 SEQUENCER mode v 8–7: Page Menu Commands • Compare →p.112 • Memory Status →p.521 • Exclusive Solo →p.113 • Copy Insert Effect →p.122 • Swap Insert Effect →p.122 • Write FX Preset →p.125 • Put Effect Setting to Track →p.554 •...
Page 527: 8-9: Common Fx Lfo
SEQUENCER > IFX 8–9: Common FX LFO 8–9: Common FX LFO 8–9PMC 1–1a 8–9a 8–9b The two Common FX LFOs allow you to synchronize LFO- 8–9b: Common FX LFO2 based modulation for multiple effects, such as phasers, flangers, filters, and so on. These parameters are the same as for Common FX LFO1.
Page 528: Sequencer > Mfx/Tfx
SEQUENCER mode SEQUENCER > MFX/TFX Here you can make settings for the master effects and total effects. For more information, please see “Effect Guide” on page 729. 9–1: Routing 9–1PMC 1–1a 9–1a 9–1b 9–1c Here you can specify the type of master effects and total 9–1b: TFX1, 2 effects, and turn them on/off.
Page 529: 9-2: Mfx1
SEQUENCER > MFX/TFX 9–2: MFX1 9–2: MFX1 9–2PMC 9–2a Here you can edit the parameters of the Master Effect 1. For details on the individual effects, please see the “Effect Guide” on page 729. Effects Modulation: Dmod v 9–2: Page Menu Commands Most effects have one or more parameters which can be modulated in realtime.
Page 530: 9-3: Mfx2
SEQUENCER mode 9–3: MFX2 9–4: TFX1 9–5: TFX2 These pages let you edit the parameters of Master Effect 2 and Total Effects 1 and 2. To select different effects types, use the P9– Routing page. The parameters of MFX2, TFX1, and TFX2 are the same as for MFX1.
Page 531: Sequencer: Page Menu Commands
SEQUENCER: Page Menu Commands Memory Status SEQUENCER: Page Menu Commands Compare →p.112 Load Drum Track Pattern →p.553 Copy External Scene →p.121 Memory Status →p.521 Exclusive Solo →p.113 Copy Scene →p.121 Rename Song →p.521 Swap Scene →p.122 Initialize Song →p.522 Copy Insert Effect →p.122 Copy From Song →p.522...
Page 532 SEQUENCER mode While loading a Template Song, you can also optionally load Initialize Song one or more Drum Track patterns. This command erases all data in the current song, and 1. Select “Load Template Song” to open the dialog box. restores all parameters to their default states.
Page 533 SEQUENCER: Page Menu Commands Save Template Song Save Template Song Set Location (for Locate Key) This command saves the program selections, track This sets the Sequencer’s locate point. When you press the parameters, effect settings, Arpeggiator settings, and the LOCATE button, the Song will move to the measure, beat, name and tempo of the current song as a user template song and tick specified here.
Page 534 SEQUENCER mode GM Initialize menu command - Automatically-set parameters and their values Page Parameter MIDI Track 1–9, 11–16 Track 10 Program Select G001 g(d)001 Play/Mute, Solo Home Play/Rec - Mixer C064 C064 Volume Auto Load Prog EQ Bypass Input Trim EQ/X-Y/ MIDI Track EQ High Gain...
Page 535 SEQUENCER: Page Menu Commands Copy from Combi Copy from Combi Copy From Program This command copies the parameters of the specified This command copies settings from the program you specify combination to the setting data of the currently selected to the currently selected song. song.
Page 536 SEQUENCER mode If you check the Seq.Event check box, a note event will Select Sample No. automatically be created in the track specified by Track. Note-on will occur at the location at which sampling This command specifies the sample number into which began, and note-off will occur at the location at which samples will be written.
Page 537 SEQUENCER: Page Menu Commands Auto HDR/Sampling Setup For more information, see “Auto HDR/Sampling Setup: Auto HDR/Sampling Setup Automatically-set parameters and their values” on page 531. This command walks you through making the appropriate settings for various common operations, including drive HDR (Audio Track Recording) recording, audio track bouncing, and sampling/resampling 1.
Page 538 SEQUENCER mode If “Source Audio” is set to Audio Input 1/2 (Stereo), or If Mode is set to Mono, you can bounce up to 15 tracks; USB 1/2 (Stereo), choose from Audio Tracks 1&2– if it’s set to Stereo, you can bounce up to 14 tracks. 15&16.
Page 539 SEQUENCER: Page Menu Commands Auto HDR/Sampling Setup When you bounce, the audio processed by IFX1 and 4. Press the OK button to execute the command. If you MFX/TFX will be recorded on audio track 03. decide not to execute, press the Cancel button. For more information, see “Auto HDR/Sampling Setup: 2ch MIX to Disk Automatically-set parameters and their values”...
Page 540 SEQUENCER mode Note: If you continue sampling after executing In-Track If you selected In-Track Sampling: Sampling, successive samples will automatically be 1. Refer to Auto HDR/Sampling Setup steps 1 and 2, and assigned to C#2, D2, … etc. However if you execute select In-Track Sampling.
Page 541 SEQUENCER: Page Menu Commands Auto HDR/Sampling Setup Auto HDR/Sampling Setup: Automatically-set parameters and their values HDR (Audio Bounce Audio 2ch Mix to Resample In-Track Initialize Track Recording) Track Disk SEQ Play Sampling Input 1 & 2, Input 1 & 2, Input 1 &...
Page 542 SEQUENCER mode *5 When Save to=RAM, when Convert to Program=On The window will cover the parameters for some of the Tracks on either the right or left sides of the display. If you *6 If IFX=Off, set to [Source Audio]. If Stereo, turn Stereo select one of these Tracks, the window will automatically Pair off.
Page 543 SEQUENCER: Page Menu Commands MIDI Step Recording To input data with a continuously-changing value such as 7. Input the note events described below by playing pitch bend, it is best to use the “Create Control Data” menu notes on the keyboard or by pressing the buttons in command.
Page 544 SEQUENCER mode 6. Select the event that you wish to edit, and use the MIDI Event Edit VALUE controller etc. to modify its value(s). Here you can edit individual events of MIDI data that were By modifying the value of the “Beat Tick” location within input.
Page 545 SEQUENCER: Page Menu Commands Audio Event Edit The following table shows the types of musical data that can Audio Event Edit be edited by “MIDI Event Edit” and the range of their values. This command lets you edit individual audio events that have been recorded, or trim (i.e., make adjustments in steps BAR (displayed only) Meter: 1/4…16/16...
Page 546 SEQUENCER mode • If you check the “Anchor” check box, the anchor point you press the Cancel button, the region will not be location will be displayed in Measure and “Beat Tick”, changed. and you can specify the location using this anchor point If stereo pairing is enabled and you’re editing a stereo as the reference.
Page 547 SEQUENCER: Page Menu Commands Audio Event Edit If you check “Trim Audio Event Start,” editing the On (checked): When you set “Edit Range Start” or “Edit “Start” value will simultaneously modify the location Range End,” you will only be able to select zero-cross (Measure and “Beat Tick”) of the audio event.
Page 548 SEQUENCER mode Select the location “Beat Tick” at which you wish to Audio Automation Edit insert an event, and press the Insert button to insert an event. This lets you edit individual automation data events. All edits are performed only on the single audio track that is •...
Page 549 SEQUENCER: Page Menu Commands Erase Track Copy Track This command copies musical data from the copy source track to the specified track. Be aware that the track data of the copy-destination will be erased when you execute the Copy Track operation. 2.
Page 550 SEQUENCER mode 3. Use “From” to select the bounce-source track, and All: Erase all data from that track. “To” to select the bounce-destination track. Audio Event: Erase audio events. (By default, the track you choose in Track Select will be Automation Event: Erase all automation events (EQ, specified for “From”.) Send 1/2, Pan, Volume).
Page 551 SEQUENCER: Page Menu Commands Delete Measure If in step 4 you uncheck All Tracks and execute this Delete Measure operation, the measures will not be deleted from the master track. Time signature and tempo data will remain This command deletes the specified measures. unchanged, and the time signature and tempo of the When the Delete Measure command is executed, the musical measures that were moved forward as a result of the...
Page 552 SEQUENCER mode Audio tracks Time signature = **/** Track 1 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4) Before Insert 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4) Track 2 Insert two measures Track 2 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4)
Page 553 SEQUENCER: Page Menu Commands Copy Measure 3. In From Measure and To End of Measure, specify the Copy Measure range of measures that will be repeated. By default, the range of measures will be set as specified This command copies the measures of musical data specified as the “From”...
Page 554 SEQUENCER mode By default, the range of measures will be set as specified Example: When you copy measures 5–7 of track 1 to the third measure of track 2, on the Track Edit page. measures 3–5 of track 2 will be rewritten. 4.
Page 555 SEQUENCER: Page Menu Commands Erase Control Data location, you can leave the “Start Value” unchanged, and Note: To erase all control change data from specified set only the “End Value.” measures, you can also use the “Erase Measure” menu command, and set “Kind” to Control Change. However, 6.
Page 556 SEQUENCER mode specify the number (“No.”). To quantize all control changes, select All. Resolution = のとき 1拍 2拍 3拍 4拍 After Touch: Quantize both Channel Pressure and Swing =0% Polyphonic Key Pressure messages. +100 Swing =+100% Pitch Bend: Pitch bend data will be quantized. -100 Swing =-100% Program Change: Program change data will be...
Page 557 SEQUENCER: Page Menu Commands Modify Velocity • Erasing notes For a Start Velocity of 1 and End Velocity of 127 8. Check “Erase Note.” Curve 1 Curve 2 Curve 3 If you wish to erase all note data in the specified range of Velocity Velocity Velocity...
Page 558 SEQUENCER mode QWERTY keyboard (commercially available) is Select the region at which you want to insert, and press connected, you can use this to enter text instead of the on- the Insert button to insert a region. screen keyboard. • Cut region Regions whose names are shown as “=No Assign=”...
Page 559 SEQUENCER: Page Menu Commands Volume Ramp Off: You will be able to specify “Start,” “End,” and Fade In “Anchor Point” in units of a single sample. This is the normal setting. Duration Lock [Off, On] This specifies whether the length between “Start” and “End”...
Page 560 SEQUENCER mode (By default, From Measure and To End of Measure will Copy Song’s Tempo to Region be the range of measures you specified in the Track Edit page.) This command changes the tempo used by the specified regions of audio events so that the audio event tempo will 4.
Page 561 SEQUENCER: Page Menu Commands Step Recording (Loop Type) However, this time signature is only temporary, and when Step Recording (Loop Type) you “put” or “copy” the pattern in a track of a song, the pattern will play according to the time signature of that Here you can perform step recording into a pattern.
Page 562 SEQUENCER mode Bounce Pattern Put To MIDI Track This command combines the musical data of the bounce This command places a pattern into a MIDI track. source pattern and bounce destination pattern, and places the Unlike the “Copy To MIDI Track” menu command, this combined musical data in the bounce destination.
Page 563 SEQUENCER: Page Menu Commands Copy To MIDI Track If you wish to, you can continue “putting” the pattern. To 6. Press the OK button to execute Convert To Drum exit the command, press the Exit button. Track Pattern, or press the Cancel button if you decide not to continue.
Page 564 SEQUENCER mode Note: The slot’s MIDI control channel, as specified by the Put Effect Setting to Track Ch parameter on the IFX1–12 pages, will not be copied. This inserts effect settings into a track as System Exclusive events. Use this when you want to change the effect settings Swap Insert Effect during a song.
Page 565 SEQUENCER: Page Menu Commands Put Effect Setting to Track Note: Return the location to a point earlier in the song, and play back to verify that the effect changes as you intend. You can also use the Track Edit page menu command “MIDI Event Edit”...
Page 566 SEQUENCER mode 2) Using the song’s own effect settings from the beginning of the song, and inserting effect settings from elsewhere into the middle of the song In this example, we’ll apply an insert effect (IFX3) to MIDI track 3, and make settings so that it uses 051: Stereo Phaser from the beginning of the song.
Page 567: In Sequencer Mode
System Exclusive events supported in Sequencer mode Put Effect Setting to Track System Exclusive events supported in Sequencer mode You can record and play back System Exclusive events, and • Exclusive messages received from an external MIDI edit tracks that contain System Exclusive events. device •...
Page 568 SEQUENCER mode...
Page 569: Set List Mode
SET LIST mode Overview Set Lists make it simple to play and organize any of the sounds loaded into the NAUTILUS, without regard for what bank they’re stored in or whether they’re Programs, Combinations, or even Songs. Large on-screen buttons with selectable colors make sound selection fast and foolproof, and the Program Up or Down footswitch assignments can be used for hands-free sound changes.
Page 570: Set List > Home
SET LIST mode SET LIST > Home 0–1: Play 0–1PMC 0–1a 0–1b 0–1c 0–1d Previous Next 0–1f 0–1e 0–1g 0–1h Line 2: The sound registered to the slot, or the name for that Overview slot (Slot Name → 1–1a (link)) is displayed. Slot names that are set for slots will be displayed first, if they exist.
Page 571 SET LIST > Home 0–1: Play Set List Select menu Scroll bar 0–1c: Slot information 0–1d: Slot Select This section shows information for the selected Slot. The Slot Select [000…127] number, Slot name, and Program, Combination, or Song The 128 Slots are shown either 4, 8, or 16 at a time, name are shown in large text.
Page 572 Bank Map If you’re on the last button on the current page, pressing + The GLOBAL > Basic Setup– Bank Map (KORG, GM(2)) button will advance you to the first button of the next group parameter does not affect the reception or transmission of of Slots.
Page 573 SET LIST > Home 0–1: Play Program 0–1e: GRAPHIC EQ EQ: Displays the OSC (EXi) and drum track EQ. Press this The graphic at the bottom of the page shows the frequency to display a larger screen for making adjustments. curve created by the Set List EQ, along with whether or not the EQ is bypassed.
Page 574 SET LIST mode 0–1h: TONE ADJ v 0–1: Page Menu Commands Here you can change the Tone Adjust settings for the • Compare →p.112 selected Program, Combination or song. • Write Set List →p.569 This works the same as the Tone Adjust page for each mode. •...
Page 575: Set List > Edit
SET LIST > Edit 1–1: Edit SET LIST > Edit 1–1: Edit 1–1PMC 0–1a 0–1b 0–1c 1–1a 1–1b Previous Next 1–1c On this page, you can: 1–1a: Slot parameters • Edit the individual Slots in the list, including their Program/Combination/Song assignment, comment text (Item Type) [Program, Combination, Song] and font size, (such as lyrics or performance notes),...
Page 576 SET LIST mode Set List Edit Comment Keyboard Track [1…16] For songs, you can assign the local keyboard to play any of the 16 MIDI tracks. If you like, you can have the same Song in multiple Slots, each with a different Keyboard Track. You can then switch between the Slots, changing the sound assigned to the keyboard, as the Song continues to play.
Page 577 SET LIST > Edit 1–1: Edit Set List Slot Volume For layered and split sounds, the dynamics effect will be applied to both sounds. Program, Universal Exclusive Combination, Master Volume Note: The effect controlled may differ, depending on the or Song (Fom Knobs, Pedals, Front Panel Program.
Page 578 SET LIST mode Adding items to the Set List, from other modes PROGRAM, COMBINATION, and SEQUENCER modes each have a command in their Home page menus: Add To Set List. You can use this to add items to Set Lists while browsing through sounds, without needing to hop back and forth between modes.
Page 579: Set List: Page Menu Commands
SET LIST: Page Menu Commands Write Set List SET LIST: Page Menu Commands Compare →p.112 Initialize Set List Write Set List →p.569 Exclusive Solo →p.113 This brings up a confirmation dialog, with the text: Initialize Set List →p.569 Initialize Set List: Are You Sure? Edit Program/Combination/Song →p.569 Update Program/Combination...
Page 580 SET LIST mode...
Page 581: Sampling Mode
SAMPLING mode Sampling Overview The NAUTILUS can sample external audio from the analog, Once a sample is loaded into SAMPLING mode, you can USB inputs, at 48 kHz 16-bit resolution (or 24-bit to drive), use it directly in Drum Kits, or make it into a Multisample in mono or stereo.
Page 582: Sampling Features
HD-1 Program. It can then be edited and played just like any other Program, including processing with filters and The NAUTILUS features Korg’s Open Sampling System. effects. You could even re-sample that Program, and This lets you use sampling and resampling not only in start all over again…...
Page 583 Sampling Overview Sampling features • The grid function displays a BPM-based grid on the Sampling in PROGRAM, COMBINATION, waveform display, helping you to create loops or make and SEQUENCER modes waveform edits that match the desired BPM. At this time, you can set the BPM value by pressing TAP button •...
Page 584: Sampling > Recording
SAMPLING mode SAMPLING > Recording This page is where you make basic settings for recording • Specifying the sampling time, loop settings, and +12dB (sampling), including: boost • Specifying the output destinations for the external audio • Creating and editing multisamples and indexes inputs •...
Page 585 SAMPLING > Recording 0–1: Recording Keyboard Index zone (currently selected Index is reversed) Original Key (currently selected Original Key is displayed in red) Index01 Index02 Index03...Index08 C4 key Keyboard range By holding down the ENTER button and playing a note, you can select the corresponding index, and the specified key will be the base key and will be shown in green.
Page 586 SAMPLING mode Top Key [C-1…G9] About stereo multisamples and stereo Specifies the highest key in the zone of the index. The zone samples is defined by this Top Key. Stereo multisamples: Under the following conditions, two For example, suppose that you set a Top Key of B2 for index multisamples will be handled as a stereo multisample.
Page 587 SAMPLING > Recording 0–1: Recording Press the SAMPLING REC button to enter sampling 0–1d: REC Sample Setup standby mode, where you can adjust the signal level with the slider. Start by setting the level to “0.0”, and bring up the Save to [RAM, Disk] level shown by the bar so that it does not exceed 0 dB.
Page 588 SAMPLING mode Stereo: The L and R channels of the Source Bus will be Off (unchecked): +12dB will not be enabled for newly sampled in stereo, creating a stereo multisample. recorded samples. You can still enable it manually for individual samples as desired, at any time. This is the default Sample Time [min] [sec] setting.
Page 589 SAMPLING > Recording 0–1: Recording Example: Sampling a stereo source connected to Zone Range [1 Key…127 Keys] AUDIO INPUTS 1 and 2 Specifies the key range of the newly created index. If using the Audio Input: 1 Key: Each individual note of the keyboard will be an index.
Page 590 SAMPLING mode Press this button on the Sample Edit page in SAMPLING mode to play back the selected sample. v 0–1: Page Menu Commands • Delete Sample →p.606 • Copy Sample →p.606 • Rename Sample →p.606 • Move Sample →p.607 •...
Page 591: 0-8: Audio Input
SAMPLING > Recording 0–8: Audio Input 0–8: Audio Input 0–8PMC 0–8e 0–8a 0–8c 0–8b 0–8PMC 0–8e 0–8d 0–8c Here you can specify the output destination and input level When sampling in stereo, the odd-numbered channel (such etc. for the external audio signals being input from the as 1 or 3) corresponds to the left channel, and the even- INPUT jacks.
Page 592 SAMPLING mode 5. To stop sampling, press the SAMPLING Trigger [Sampling START button, Note On, START/STOP button once again. Threshold] Alternatively, sampling will end automatically if it Specifies how sampling will be initiated. continues to the time specified for Sample Time (0–1d). Sampling START button: Pressing the SAMPLING REC button will cause the NAUTILUS to enter sampling-standby Pre Trigger REC...
Page 593 SAMPLING > Recording 0–8: Audio Input 2. If you want to apply an insert effect, set the IFX– Indiv.1…4: The metronome will be heard only in the Routing page Bus Select (8–1b) parameter to IFX1– selected individual output. 12, and select the insert effect you want to use. Level [000…127] If you want to apply a master effect, use the IFX–...
Page 594 SAMPLING mode 1…4: The external audio input signal will be sent to the Set “Bus Select (IFX/Indiv.)” to any setting besides off, specified REC bus. The Pan setting is ignored, and the and then raise the “Level” value to input the sound from signal is sent in monaural.
Page 595 SAMPLING > Recording 0–8: Audio Input v 0–8: Page Menu Commands • Delete Sample →p.606 • Copy Sample →p.606 • Rename Sample →p.606 • Move Sample →p.607 • Sample Mono To Stereo (Change Sample Type) →p.607 • Delete MS (Delete Multisample) →p.608 •...
Page 596: Sampling > Sample Edit
SAMPLING mode SAMPLING > Sample Edit In this page you can edit sample data (waveform data). You reverse (backward playback), and link (connect two can make detailed edits while watching the sample samples) waveform display. Here are the main operations you will •...
Page 597 SAMPLING > Sample Edit 1–1: Sample Edit Sample waveform display Tempo [040.00…480.00] 1–1d: Edit Range This specifies the spacing of the grid. The grid is defined by this setting and Resolution. Start [000000000…] You can also set this by using the TAP button. [000000000…] Tip: If you don’t know the tempo of the sample, set the This specifies the range (start address and end address) of...
Page 598 SAMPLING mode v 1–1: Page Menu Commands • Delete Sample →p.606 • Copy Sample →p.606 • Rename Sample →p.606 • Move Sample →p.607 • Sample Mono To Stereo (Change Sample Type) →p.607 • Delete MS (Delete Multisample) →p.608 • Copy MS (Copy Multisample) →p.608 •...
Page 599: Sampling > Loop Edit
SAMPLING > Loop Edit 2–1: Loop Edit SAMPLING > Loop Edit In this page you can specify the region of the sample that • When performing the above operations, you can will play and the portion that will loop. You can edit the automatically detect zero-crossing points, or display a waveform down to the level of individual samples while grid (vertical lines) and edit according to BPM values or...
Page 600 When Loop is On, this is the end point of the see “Auto +12dB On” on page 578. loop. This setting is saved in Korg format sample files (.KSF), and is recognized by the KRONOS, OASYS, M3, Loop (Loop On) [Off, On] TRITON Extreme, and TRITON STUDIO.
Page 601 SAMPLING > Loop Edit 2–1: Loop Edit v 2–1: Page Menu Commands • Delete Sample →p.606 • Copy Sample →p.606 • Rename Sample →p.606 • Move Sample →p.607 • Sample Mono To Stereo (Change Sample Type) →p.607 • Delete MS (Delete Multisample) →p.608 •...
Page 602: Sampling > Multisample Edit
SAMPLING mode SAMPLING > Multisample Edit In this page you can edit multisamples. You can create, • Create and edit multisamples and indexes delete, copy, and paste indexes, and assign samples to • Edit the playback level and pitch of samples indexes.
Page 603 SAMPLING > Multisample Edit 3–1: Multisample Edit Note: The playback level will also be affected by the +12dB 3–1c: Create Zone Preference setting. If +12dB is on, the sample will play back approximately +12dB louder. For more information, see Position [Right (to Selected Index), “+12dB”...
Page 604: Sampling >Eq
SAMPLING mode SAMPLING >EQ In this page you can edit a mid-sweepable three-band EQ that is applied to the output of the multisample. 4–1: EQ 4–1PMC 4–1a Here you can edit the mid-sweepable three-band EQ that is Mid Gain [–18.0…+00.0…+18.0dB] applied to the output of the multisample.
Page 605: Sampling > Ifx
SAMPLING > IFX 8–1: Routing SAMPLING > IFX Here you can make insert effect settings for use in • Make detailed settings for insert effects SAMPLING mode. • Make common LFO settings for effects If you want to apply an insert effect IFX1–12 to the external For details on insertion effects, see “Effect Guide”...
Page 606 SAMPLING mode 8–1c: FX Control Bus FX Control Bus [Off, 1, 2] This sends the output of the oscillator (multisample) to a FX Control bus (stereo 2-channel; FX Ctrl1, 2) Use the FX Control buses when you want to use a separate sound to control the input of an effect.
Page 607: 8-5: Insert Fx
SAMPLING > IFX 8–5: Insert FX 8–5: Insert FX 8–5PMC 8–5b 8–5a 8–1d In this page you can select the effect types for the insert Chain to [IFX2…IFX12] effects, turn them on/off, and make chaining settings. You can chain up to twelve insert effects together in series, to create more complex effects.
Page 608 SAMPLING mode 1…4: The signal will be output in monaural to the selected v 8–5: Page Menu Commands AUDIO OUTPUT (INDIVIDUAL). • Copy Insert Effect →p.122 1/2…3/4: The signal will be panned by the “Pan (CC#8)” setting and sent in stereo to the selected AUDIO OUTPUT •...
Page 609: 8-7: Ifx 1-12
SAMPLING > IFX 8–7: IFX 1–12 8–7: IFX 1–12 8–7PMC 8–7a 8–7b This page lets you edit the parameters of the insert effect 1. v 8–7: Page Menu Commands Use the tabs at left to select IFX1 through IFX12. • Copy Insert Effect →p.122 •...
Page 610: 8-9: Common Fx Lfo
SAMPLING mode 8–9: Common FX LFO 8–5PMC 8–5b 8–5a 8–1d The two Common FX LFOs allow you to synchronize LFO- 8–9b: Common FX LFO2 based modulation for multiple effects, such as phasers, flangers, filters, and so on. The parameters are identical to those for Common FX LFO1. The Common LFOs control only the frequency, MIDI synchronization, and reset options;...
Page 611: Sampling > Mfx/Tfx
SAMPLING > MFX/TFX 9–1: Routing SAMPLING > MFX/TFX Here you can select the effect types for the master effects Note: When you sample, MFX1 On/Off, MFX2 On/Off, and total effects, and turn them on/off. TFX1 On/Off, and TFX2 On/Off are automatically turned off.
Page 612 SAMPLING mode Chain 9–1c: Master Volume Chain On/Off [Off, On] Master Volume [000…127] On (checked): Chain (series connection) will be turned on This controls the final volume level after total effects 1 and for MFX1 and MFX2. 2, as heard at AUDIO OUTPUT (MAIN OUT) L/MONO and R.
Page 613: 9-2: Mfx1
SAMPLING > MFX/TFX 9–2: MFX1 9–2: MFX1 9–2PMC 9–2a 9–2a: MFX1 v 9–2: Page Menu Commands Here you can edit the parameters of the master effect 1. • Copy MFX/TFX →p.125 • Swap MFX/TFX →p.125 Effect dynamic modulation (Dmod) is controlled on the global MIDI Channel (GLOBAL 1–1a).
Page 614: 9-3: Mfx2
SAMPLING mode 9–3: MFX2 9–4: TFX1 9–5: TFX2 These pages let you edit the parameters of Master Effect 2 and Total Effects 1 and 2. To select different effects types, use the Routing page, as described under “9–1: Routing” on page 601.
Page 615: Sampling: Page Menu Commands
SAMPLING: Page Menu Commands 9–5: TFX2 SAMPLING: Page Menu Commands Delete Sample →p.606 Remarks on editing stereo Copy Sample →p.606 samples Rename Sample →p.606 • For stereo samples, the L channel and R channel samples Move Sample →p.607 are edited simultaneously. If you wish to edit only the L Sample Mono To Stereo (Change Sample Type) →p.607 channel or R channel, select a mono multisample, and...
Page 616 SAMPLING mode Note: Normally, you will leave “Save to No.” at its default When copying a stereo sample, specify both setting, and execute without checking Overwrite. When you the L and R channels for the copy destination sample execute, both the data before and after editing will be number.
Page 617 SAMPLING: Page Menu Commands Move Sample If a USB QWERTY keyboard (commercially available) is 5. To execute the Move Sample operation, press the OK connected, you can use this to enter text instead of the on- button. To cancel without executing, press the Cancel screen keyboard.
Page 618 SAMPLING mode sample numbers. The sample data (waveform data) will Delete MS (Delete Multisample) be shared between the copy source and copy destination. (Additional sample memory area will not be consumed.) This command deletes the currently selected multisample or all multisamples. 1.
Page 619 SAMPLING: Page Menu Commands Convert MS (Multisample) To Program However by executing the Convert MS To Program command, you can quickly and easily convert the SAMPLING mode settings into a new program, without having to make any PROGRAM mode settings as described above.
Page 620 SAMPLING mode MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type) This command converts a mono multisample to stereo, or a stereo multisample to mono. If the selected multisample is mono, the dialog box will allow you to execute MS Mono To Stereo.
Page 621 SAMPLING: Page Menu Commands Auto Sampling Setup Note: Only 16-bit or 24-bit, 44.1kHz or 48kHz WAVE files Automatically-set parameters and their values” on are supported. Other bit depths and sampling rates are not page 613. supported. REC Audio Input 3. Press the SAMPLING START/STOP button or the If you select REC Audio Input: on-screen Play button.
Page 622 SAMPLING mode Auto Resample through IFX If you select Auto Resample through IFX: 1. Use “IFX” to select the effect that you want to apply to the sample. 2. Press the OK button to execute Auto Sampling Setup (Auto Resample through IFX), or press the Cancel button if you decide not to execute.
Page 623 SAMPLING: Page Menu Commands Truncate (for Sample Edit) Auto Sampling Setup: Automatically-set parameters and their values [Auto Resampling through [Initialize] [REC Audio Input] IFX] Input (Input Source) Input 1& 2, USB 1& 2 [Source Audio] Input 1& 2, USB 1& 2 Bus Select [IFX] FX Ctrl Bus...
Page 624 SAMPLING mode 3. The range to be edited is shown by Range Start and End. 4. In Save to No., specify the save destination sample number. By default, an unused sample number will be selected. If Overwrite is checked, the sample number will be fixed to the current sample, and cannot be changed.
Page 625 SAMPLING: Page Menu Commands Copy 3. To Start will indicate the starting address at which the Copy data will be inserted. This command copies the sample data from the area between 4. In Save to No., specify the save destination sample the Start and End points into the sample data buffer.
Page 626 SAMPLING mode 2. Select “Paste” to open the dialog box. Paste When you execute this command, the sample data placed in the buffer by executing Copy in the SAMPLING mode Sample Edit page will be placed in the sample starting at the Start address.
Page 627 SAMPLING: Page Menu Commands Normalize/Level Adjust If Overwrite is checked, the sample number will be fixed Normalize/Level Adjust to the current sample, and cannot be changed. See “About Overwrite” on page 605. This command uniformly modifies the data values (volume) of the data between the Start–End.
Page 628 SAMPLING mode Power: The volume will change non-linearly. When you The left and right channels of a Stereo sample must have use the Mix menu command to combine a faded-in the same sampling rate. Although it is possible to select waveform with a different faded-out waveform (i.e., mono multisamples for -L and -R and convert their crossfade), using a Linear fade-in/out may produce an...
Page 629 SAMPLING: Page Menu Commands Link 3. The sample number selected for Front Sample No. Link will be displayed. When the command is executed, this sample will be placed in front. This command connects the currently selected sample with another sample. If you select one side of a stereo sample, it will automatically be detected as a stereo sample, and the SOUND A...
Page 630 SAMPLING mode 8. To execute the Link command, press the OK button. Time Slice To cancel without executing, press the Cancel button. Time Slice lets you convert a mono or stereo rhythmic If you link samples of different sampling rates (such as sample, such as a drum loop, into a set of individual hits and created by Rate Convert), the newly created sample will matching sequencer data.
Page 631 SAMPLING: Page Menu Commands Time Slice Beat: Specifies the number of quarter-note beats. When 150BPM you specify Beat, the Source BPM will indicate the playback BPM at the original key. This BPM value will automatically be calculated from the start address to the end address (if loop is off) or from the loop start address Played closer together, but pitch is unchanged...
Page 632 SAMPLING mode In the case of a stereo sample, a stereo multisample will be temporarily used. The sample at each index will sound in stereo. Time Slice step 4 7. Make adjustments where the automatic attack Index [Source, xxx(001…090)/yyy(001…090)] detection did not occur correctly. Selects the sample index.
Page 633 SAMPLING: Page Menu Commands Time Slice particular attention to sections “A” and “B,” and then execute step 9. If the noise is still obtrusive, then you can adjust the end address. 8. Save the sliced samples to the multisample to which they have been assigned.
Page 634 SAMPLING mode Use New BPM to specify the BPM value of the sample you wish to create. The Ratio will automatically be calculated from the Source BPM and the New BPM values. It is not possible to make settings that would cause Source BPM or New BPM to exceed the range of 40.00–...
Page 635 SAMPLING: Page Menu Commands Time Stretch Time Slices requires vacant samples, multisamples, and relative parameters in order to execute. Be sure that there is sufficient free area before you execute. If there is insufficient free area, an error will occur. Note: If you open the Time Slice dialog box on the same sample, it will be sliced in the same way as previously.
Page 636 SAMPLING mode would set Beat to 4. The Source BPM will be calculated ZOOM: This controls horizontal and vertical zoom automatically. If the Source BPM is not calculated as in/out for the waveform shown in the “Sample waveform 120.00 due to inaccuracies in the start address (or loop display.”...
Page 637 SAMPLING: Page Menu Commands Time Stretch Be aware that if you exit Time Stretch without using the loop start address to the end address (if loop is on). If you Save button then press the OK button to save the sample, already know the BPM value and the calculated value is the sample(s) you created will be lost.
Page 638 SAMPLING mode Index [Source, Result, xxx(001…090)/yyy(001…090)] Selects the index for the sample whose waveform you wish to display. If you select Source, the original waveform before time- stretching will be selected. If you select Result, the time-stretched sample will be selected.
Page 639 SAMPLING: Page Menu Commands Crossfade Loop If the length from the beginning of the sample to the loop Crossfade Loop start is shorter than the length from the loop start to the loop end, Crossfade Length can be set only up to the When looping a pitched instrument sample of a complex length from the beginning of the sample to the loop start.
Page 640 SAMPLING mode quarter-note 120 BPM sample to 240 BPM, the Pitch will be set to +12.00. This calculation is performed within the NAUTILUS’s limits of precision. Minor discrepancies may occur in the final BPM calculation. Copy Insert Effect For more information, please see “Copy Insert Effect” on page 122.
Page 641: Global Mode
GLOBAL mode GLOBAL > Basic Setup In GLOBAL mode you can make settings that affect the If you want settings made in GLOBAL mode to persist entire instrument, such as master tuning, MIDI, and memory after the power is turned off, you must write them into protect.
Page 642 GLOBAL mode Key Transpose can be controlled by the MIDI Master Convert Position = Pre MIDI Convert Position = Post MIDI Coarse Tuning message, on the Global MIDI Channel. Velocity (Keyboard to MIDI Out) Velocity (MIDI In to sound engines) This is a Universal System Exclusive message, with the format (F0, 7F, nn, 04, 04, vv, mm, F7: nn=MIDI channel, vv/mm=value).
Page 643 Combinations. Bank Select can work in one of two ways: the received via MIDI, but will not affect the transmitted standard way (“Korg”) or the General MIDI way. Usually, data. the standard method is preferable. When using General MIDI sequences, however, you may wish to use GM(2) instead.
Page 644 GLOBAL mode This function does not memorize the contents of any recalled values. The “Knob Mode” setting specifies the point parameters that were edited. Before turning off the power, at which the value will begin changing when you move a be sure to write your data or save it in MEDIA mode.
Page 645 GLOBAL > Basic Setup 0–1: Basic This parameter provides a global override for the per- Auto Optimize RAM [Off, On] Program settings, if you’d prefer to always see the names When sampling to RAM, this controls whether or not the rather than the graphics.
Page 646 GLOBAL mode • Set lists (write) v 0–1: Page Menu Commands • Set list data from the internal drive (load) • Write Global Setting →p.684 • Set list data in a MIDI data dump (receive) • Set Program Bank Type →p.684 Off (unchecked): You can write to the set list memory on •...
Page 647: 0-2: Audio
GLOBAL > Basic Setup 0–2: Audio 0–2: Audio 0–2PMC 0–2a 0–2b 0–2c This page controls the default mixer settings for the audio • Similarly, in MEDIA mode, if you switch to MEDIA inputs, including level, pan, effects busing, and so on. It also mode from a Program, Combi, or Song with Use Global lets you route the main L/R outputs to a pair of individual Setting set to On.
Page 648 GLOBAL mode REC Bus [Off, 1, 2, 3, 4, 1/2, 3/4] [L000…C064…R127] This sends the external audio input signal to the REC buses This specifies the panning of the external audio input signal. (four mono channels; 1, 2, 3, 4). With a stereo audio source, you will normally set the inputs to L000 and R127 respectively.
Page 649 GLOBAL > Basic Setup 0–2: Audio 0–2c: Analog Setup TFX通過後 Individual BUS AUDIO OUTPUT 1 2 3 4 L (MONO) (MAIN) (INDIVIDUAL) L/R BUS Indiv. Assign = 1/2 Private monitoring On stage, or in the studio, it can be convenient to audition sounds or make edits without sending the signal to the mixer, or to the main monitors.
Page 650: 0-3: Ksc Auto-Load
Applying changes immediately Overview Normally, changes only take affect after the next restart. To KSC stands for Korg Sample Collection. KSC files contain load and un-load KSCs immediately: links to RAM and/or EXs sample data, including 1. Press the Do auto-load now button.
Page 651 GLOBAL > Basic Setup 0–3: KSC Auto-Load You can keep frequently-used KSC files in the list for easy SAMPLING mode Data access, and enable and disable their Auto-load check-boxes Multisamples [nnnn/4,000] as desired. This shows the number of Multisamples in SAMPLING KSC file [File name] mode, out of the maximum of 4,000.
Page 652 GLOBAL mode See also “Removing a KSC from the list” on page 640. Do auto-load now Pressing this button brings up a confirmation dialog: This will erase all EXs and RAM samples, and then load the selected KSC files. Are you sure that you want to proceed? [Cancel] [OK] If you press OK, the system clears all RAM and EXs sample data, and then goes through the auto-load process...
Page 653: 0-4: Sample Manage
GLOBAL > Basic Setup 0–4: Sample Manage 0–4: Sample Manage 0–4PMC 0–4a 0–4d 0–4c You can select individual items from the list, and then use Overview the Unload or Change load method buttons to affect the selected items. This page offers tools for managing all the loaded sample data, including SAMPLING mode, EXs, and User Sample To select two or more items at once, enable the Multiple Banks.
Page 654 GLOBAL mode Unloading an entire bank of data You can also un-load an entire bank of data at once. To do 1. In the menu, select the Unload all in bank command. The Unload all data from selected bank dialog will appear. 2.
Page 655: 0-5: Network
The NAUTILUS supports a specific set of off-the-shelf USB IP address conflict appears if the Address Method is set to Ethernet adapters. Check the Korg website for a list of Manual and another machine is detected on the same compatible products.
Page 656 GLOBAL mode A detailed discussion of TCP/IP is outside the scope of this Password [text] manual. If you need more information about how to The password may be left blank, if you are not concerned configure the TCP/IP settings, see the documentation for about security, and can be up to 32 characters, including your router or other network equipment.
Page 657: 0-8: Quick Access
GLOBAL > Basic Setup 0–8: Quick Access 0–8: Quick Access 0–8PMC 0–8a This assigns the operations to the Quick Access A through F Type1 Type2 Type3 Type4 buttons on the front panel. You can select from one of four Current templates to assign.
Page 658: 0-9: Manual Info
GLOBAL mode 0–9: Manual Info 0–9PMC 0–9b 0–9a You can download and view the Owner's Manual using your tablet device or smartphone. Note: You’ll need a Wi-Fi connection to download the data. 0–9a: Manual Select the name (type) of the manual. 0–9b: Manual URL The link to the selected Owner’s Manual will be shown as a 2D code.
Page 659: Global > Midi
GLOBAL > MIDI 1–1: MIDI GLOBAL > MIDI 1–1: MIDI 1–1PMC 1–1a 0–1c 1–1b 0–1d 0–1e Here you can make MIDI-related settings that affect the Use the global MIDI channel to switch IFX 1–12 (CC#92), entire NAUTILUS. You can also transmit MIDI System MFX1&2 (CC#94) and TFX1&2 (CC#95) on/off.
Page 660 GLOBAL mode Velocity MIDI IN Curve Sequencer Record Play Local Sequencer Control Velocity Aftertouch Record Curve=4 Curve Tone Generator Tone Scale Transpose generator Transpose MIDI IN Enable ARP Module Pitch change to MIDI Out NAUTILUS Enable MIDI In MIDI OUT Transmitted Table Received Table to ARP Module...
Page 661 GLOBAL > MIDI 1–1: MIDI Auto defaults to using the internal tempo, and then MIDI Clock automatically switches to external if MIDI Clock messages MIDI Clock (MIDI Clock Source) [Internal, are received. It will then switch back to internal tempo in the following circumstances: External MIDI, External USB, Auto MIDI, Auto USB]...
Page 662 GLOBAL mode Normally you will use this to control the internal tone You can use ARP to control external MIDI devices, and generator or effects, but you can also use it to transmit record ARP-generated phrases into an external sequencer. To messages to an external MIDI device, or to record these do so, use the Send the output of ARP to external movements on the internal sequencer or an external...
Page 663 GLOBAL > MIDI 1–1: MIDI An incoming program change on a channel other than the 1–1c: MIDI Filter global MIDI channel will switch the program of any timbre that matches that MIDI channel. Enable Program Change [Off, On] Off (unchecked): An incoming program change message on On (checked): Program changes will be transmitted and the global MIDI channel will switch the program of any received.
Page 664 GLOBAL mode • Volume: CC#7 volume v 1–1: Page Menu Commands • Pan: CC#10 pan • Write Global Setting →p.684 • Portamento: CC#65 portamento On/Off, CC#5 • Dump Program →p.688 portamento time • Dump Combination →p.688 • Send 1/2: CC#93 send 1 level, CC#91 send 2 level •...
Page 665: Global > Controllers/Scales
DAMPER jack. If the polarity does not match, operating the damper pedal will not produce the correct 2. Set the To menu to CC Default. result. If no damper pedal is connected, set this to (–) Korg 3. Press OK. Standard.
Page 666 GLOBAL mode The controls for ARP, the pads, and the X-Y Control will all be set to their recommended CC assignments. For more information, see “Reset Controller MIDI Assign” on page 690. If you prefer, you may also manually assign the controls to any other CCs.
Page 667: 2-2: User Scales
GLOBAL > Controllers/Scales 2–2: User Scales 2–2: User Scales 2–2PMC 2–2a 2–2b Here you can make settings for sixteen different User Octave 2–2b: User All Notes Scale Scales and one User All Notes scale. The user scales you create here can be selected from the Tune [–99…+99] following pages.
Page 668: 2-3: Function Assign
GLOBAL mode 2–3: Function Assign 2–3PMC 2–3a This page is designed for use with external MIDI and USB 2–3a: Special Function Assignments for MIDI controllers in live performance. It allows you to map External MIDI Input incoming MIDI CCs to all of the functions available for assignment to the NAUTILUS rear-panel foot switch input All of the assignments have the same two parameters, MIDI or SW1/2.
Page 669 GLOBAL > Controllers/Scales 2–3: Function Assign Program Up and Program Down D.TRACK Enable These functions increment (Program Up) or decrement The selected controller will turn the Drum Track on and off, (Program Down) the current Program, Combination, or Set duplicating the functionality of the front-panel DRUM List Slot number, for hands-free patch changes.
Page 670: Global > Category Name
GLOBAL mode GLOBAL > Category Name Programs, Combinations, and Arpeggiator are organized into On these pages, you can: categories and sub-categories. Categories make it easy to • Change the names of any of the categories and sub- find a particular type of sound, such as keyboards, bass, or categories, including both the factory and user categories drums, or a specific type of ARP GE, such as arpeggios or •...
Page 671: 3-2: Combi Category
GLOBAL > Category Name 3–2: Combi Category v 3–1: Page Menu Commands • Write Global Setting →p.684 • PAGE →p.126 • MODE →p.126 3–2: Combi Category 3–2PMC This specifies the combination category and sub-category names. For more information, see “3–1: Program Category”. v 3–2: Page Menu Commands •...
Page 672: Global > Wave Sequence
As shipped from the factory, all banks except A, G–T Sequence as a whole. empty. You can use these for storing sounds that you create yourself, optional sound banks from Korg, or third-party sound libraries. Each User bank has space for 32 Wave 4–1a: Basic Sequences.
Page 673 GLOBAL > Wave Sequence 4–1: Seq. Parameter In Tempo mode, step durations are specified in rhythmic When Swing is set to +300%, up-beats will be moved all the values, and are synchronized to the system tempo. way to the next down-beat. At this point, the notes on the up- beats will not be heard at all.
Page 674 GLOBAL mode On the other hand, if you play the note up to three 32nd notes 4–1c: Wave Sequence early, it will assume that you’re intending the note to sound on the next beat. In this case, the note-on is delayed until the Start Step [1…64] next 8th note.
Page 675 GLOBAL > Wave Sequence 4–1: Seq. Parameter Backwards/Forwards plays from the Start Step to the Loop 5th note: 3, 4, 5, 6 End, then backwards from the Loop End to the Loop Start, 6th note: 4, 5, 6 and then forwards again to the Loop End, and so on. 7th note: 5, 6 Backwards plays from the Start Step to the Loop End, then 8th note: 6...
Page 676: 4-2: Step Parameter
GLOBAL mode Intensity [–63…+63] Intensity [1…400%] This controls the depth and direction of the Position This controls the amount of Duration modulation. modulation. Negative modulation moves the position earlier 1% means that, at the maximum AMS value, step durations in the sequence, to the limit of Step 1. Positive modulation and crossfade times will be 100 times shorter than their moves the position later in the sequence, to the limit of the programmed settings.
Page 677 GLOBAL > Wave Sequence 4–2: Step Parameter When the Multisample Select window is open, you can use Swing [–300%…+000…+300%] the Find button to search for Multisamples by name. For Swing adjusts the position of the up-beats, relative to the more information, see “Find dialog” on page 7. Wave Sequence’s Resolution setting.
Page 678 GLOBAL mode Note: In Time mode, the Xfade time cannot exceed the total Start Offsets: SAMPLING mode and User Sample duration of the two steps being crossfaded; in Tempo mode, Banks it cannot exceed twice the duration of the shorter of the two With SAMPLING mode and User Sample Bank steps.
Page 679 GLOBAL > Wave Sequence 4–2: Step Parameter Wave Sequence step Durations, Crossfade times, and Fade-In and Fade-Out shapes Step 1 Step 2 Step 3 Step 4 Duration Duration Duration Duration Volume Time Step 1 Step 2 Step 3 Step 4 Crossfade Crossfade Crossfade...
Page 680: Global > Drum Kit
GLOBAL mode GLOBAL > Drum Kit Drum Kits, as the name implies, are optimized for creating drum sounds. They are created and edited here in GLOBAL mode, and can then be used in PROGRAM > Basic/X- Y/Controllers– Program Basic page. You can process them through the HD-1’s filter, amp, drive, effects, and so on, similar to Multisamples or Wave Sequences.
Page 681: 5-1: Sample Setup
GLOBAL > Drum Kit 5–1: Sample Setup 5–1: Sample Setup 5–1PMC 5–1a 5–1c 5–1b This page lets you assign sounds to each key in the Drum Drum Kit bank contents Kit. A single key is shown at a time. Each key can have up to Bank Contents 8 Drum Samples (DS1–8), and each DS has its own settings...
Page 682 GLOBAL mode Smp: [file name] will appear when a User Sample Bank has Assign [Off, On] been loaded into SAMPLING mode. The name is the file On (checked): The drum samples you assigned for DS1–4 name itself along with those of all its enclosing folders. will sound.
Page 683 GLOBAL > Drum Kit 5–1: Sample Setup more appropriate for a given pair of drum samples. Layer, Reverse [Off, On] true to its name, lets you layer the two drum samples This lets you play the selected drum sample backwards, together without any crossfading.
Page 684: 5-2: Sample Parameter
GLOBAL mode v 5–1: Page Menu Commands • Compare →p.112 • Write Drum Kit →p.691 • Copy Key Setup →p.691 • Swap Key Setup →p.691 • PAGE →p.126 • MODE →p.126 5–2: Sample Parameter 5–2PMC 5–2a 5–2b Here you can edit the attack and decay, tuning, filter cutoff +12 is one octave up, and –12 is one octave down.
Page 685 GLOBAL > Drum Kit 5–2: Sample Parameter 3 Band Parametric EQ [dB] [–36.0…+36.0] [–36.0…+36.0] High [–36.0…+36.0] These parameters adjust the gain for each band of the three- band parametric EQ. The gain settings for each key and drum sample are applied to the “Low Gain,” “Mid Gain,” and “High Gain”...
Page 686: 5-3: Voice/Mixer
GLOBAL mode 5–3: Voice/Mixer 5–3PMC 5–1a 5–3a 5–3b Specify the voice assign, pan, and effect routing etc. for each 5–3b: Mixer key of the drum kit. Drum kits will sound using the settings of the program that is selected in PROGRAM mode. Pan is valid if “Use 5–3a: Voice Assign Mode DKit Setting”...
Page 687 GLOBAL > Drum Kit 5–3: Voice/Mixer Compressor and gate-type effects: • 002: Stereo Compressor • 003: Stereo Expander • 005: Stereo Limiter • 009: Stereo Gate • 010: Stereo Noise Reduction Example: Gated Reverb This is an example of applying a gated reverb to only a specific snare sound.
Page 688: Global > Arp Pattern
GLOBAL mode GLOBAL > ARP Pattern Here’s where you can create user arpeggio patterns. You can use “Arp Pattern Select” in the ARP DRUM page for each mode (among other places) to select and use the arpeggio patterns you’ve edited. Before editing an arpeggio pattern Selecting a program that will sound On this page, the program will sound as it was in the mode...
Page 689: 6-1: Arpeggio Pattern
GLOBAL > ARP Pattern 6–1: Arpeggio Pattern 6–1: Arpeggio Pattern 6–1PMC 6–1a Length 6–1a: Arpeggio Module Length (Pattern Length) [01...64] Arpeggio Module [A, B] Specifies the length of the arpeggiator pattern. After the When you want to edit an arpeggio pattern after switching pattern has played the notes specified in “Resolution”...
Page 690 GLOBAL mode Running Up: If there are more Tones in a step than arpeggio Setup Fixed Note notes specified (notes played on the keyboard), the arpeggio Opens the Fixed Notes dialog box. Select the notes used will return to the first note (if Sort is Off), or the lowest note when “Arpeggio Tone Mode”...
Page 691 GLOBAL > ARP Pattern 6–1: Arpeggio Pattern Velocity [001...127, Key] Key: The Tones of the steps will sound at the velocity you used when playing the keys. 001–127: The Tones will always sound at the velocity you set. This setting is enabled when “Velocity” in the ARP settings of Scene Setup (found in each Program, Combination or Song) is set to “Step”.
Page 692: Global > Options Info
16 characters long, and uses only the characters 0-9 and A-F. EXs sample data is installed in MEDIA mode. For more You’ll need this ID when registering on www.korg.com, information, see “Install EXs” on page 726. which is required for purchasing options.
Page 693 NAUTILUS,” below. Purchasing option licenses from your Korg distributor If you do not have access to the internet, your national Korg distributor will be happy to assist you in purchasing option authorization codes. 1. Write down your NAUTILUS Public ID.
Page 694: Global: Page Menu Commands
GLOBAL mode GLOBAL: Page Menu Commands Compare →p.112 Write Global Setting →p.684 Set Program Bank Type →p.684 Change all bank references →p.685 Touch Panel Calibration →p.685 Half Damper Calibration →p.685 LCD Setup →p.686 2. To write the data, press the OK button. To cancel Update System Software →p.686 without writing, press the Cancel button.
Page 695 GLOBAL: Page Menu Commands Change all bank references 4. Verify the settings. Then press the OK button to down the ENTER button and press QUICK ACCESS execute, or press the Cancel button to cancel. D button. This will call up the calibration dialog. 3.
Page 696 NAUTILUS may become inoperable. If The update will be in compressed, zip format. this occurs, using the Restore DVDs may be required; please contact your local Korg distributor. 2. Un-zip the downloaded file. When the update is complete, a new message will appear:...
Page 697 GLOBAL: Page Menu Commands Display Public ID Display Public ID The Public ID is a unique identifier, like a very specific name; it is different for each and every NAUTILUS. It’s 16 characters long (not counting the dashes between each pair of characters), and uses only the characters 0-9 and A-F.
Page 698 Rear Panel Illumination Setup This command lets you send the internal memory’s Drum The Korg logo on the rear panel includes an LED for Kit data as a System Exclusive data dump. You can choose illumination. This command lets you turn the LED on or off, to send all of the Drum Kits from all of the banks, all of the as you wish.
Page 699 GLOBAL: Page Menu Commands System Exclusive Data Dumps When performing a data dump from the NAUTILUS onto System Exclusive Data Dumps a MIDI data filer, do not transmit multiple data dumps together. If multiple data is saved together, the These commands allow the NAUTILUS internal data to be NAUTILUS will have less than the required time to write transmitted to another NAUTILUS, MIDI data filter, or the data into memory, and will be unable to receive all of...
Page 700 GLOBAL mode • When receiving an All Programs data dump, only bank Copy Scale data whose bank type matches will be received. If banks of a different bank type are received, the message This command copies data from a preset scale or between “Program Bank Type Conflicts”...
Page 701 GLOBAL: Page Menu Commands Write Drum Kit press the OK button to confirm or press the Cancel button Copy Key Setup to cancel your selection. 4. Press the OK button to execute the Write Wave This command copies the Drum Sample assignments and other settings from one Drum Kit key to another.
Page 702 GLOBAL mode Be careful when executing the “Copy Arpeggio Pattern” command, as the settings of the currently selected arpeggio pattern will be overwritten. Uninstall EXs Optional EXs may be uninstalled to reclaim space on the internal drive(s). To do so: 1.
Page 703: Media Mode
.MID Standard MIDI File (SMF) • Removable disk drives .EXL MIDI System Exclusive data • USB flash media Korg Multisample Parameter file Songs and .KMP • CD-R/RW drives regions (NAUTILUS format) With external drives and flash media, the NAUTILUS .KSF Korg Sample File (Korg format) supports MS-DOS FAT16 and FAT32 disk formats.
Page 704 MEDIA mode Files available in MEDIA mode DOS file .PCG file All programs 1 program 1 program bank A...T All combinations 1 combination 1 combination bank A...N (Grey) All drum kits 1 drum kit 1 drum kit DOS directory bank A...O (User) (Yellow) All arpeggio...
Page 705: Media
MEDIA 0–1: Load MEDIA 0–1: Load 0–1PMC 0–1b 0–1c 0–1a This page lets you load a selected file or directory into Auditioning sounds which use non-ROM samples internal memory. Use the Open and Up buttons to select the When auditioning sounds from disks, the system can only desired file or directory, and press the Load button to load it.
Page 706 MEDIA mode No Media: Media is not inserted in the removable media PCG Preview drive (other than a CD-ROM or CD-R/RW drive) By selecting a single .PCG file for a Program, Combination, The volume label display of a CD-R/RW drive will depend drum kit or wave sequence (for which the bank is open) in on the inserted media and the page.
Page 707 MEDIA 0–1: Load File When the menu command Translation is off (not checked), Multisample (.KMP) and Sample (.KSF) files will be shown with their low-level DOS file names—for example, “TROMB073.KMP.” When Translation is on (checked), you’ll see the full 16- character Multisample and Sample names, as shown elsewhere in the system—for example, “Trombone Section.”...
Page 708: 0-2: Save
MEDIA mode 0–2: Save 0–2PMC 0–1b 0–1c 0–1a Here you can save data from internal memory to internal or v 0–2: Page Menu Commands external disks, CD-R/RW, flash media, etc. • Hide unknown files →p.701 Use the Open and Up buttons to move to the desired directory, and then select the desired menu command.
Page 709: 0-3: Utility
MEDIA 0–3: Utility 0–3: Utility 0–3PMC 0–1b 0–1c 0–1a Here you can rename, copy, or delete the selected drive or file, create a new directory, format, and set the date and time. After selecting a folder or file, select the desired menu command.
Page 710: 0-9: Media Info
MEDIA mode 0–9: Media Info 0–9a 0–1a This screen shows information about the media. Use “Drive Select” to select the media. 0–9a: Media Information Volume Label: The volume label of the media. Drive: This is the specified drive. Device Type: The type of media. Product ID: The vendor ID, product, and product version, etc.
Page 711: Media: Page Menu Commands
MEDIA: Page Menu Commands Hide unknown files MEDIA: Page Menu Commands Hide unknown files →p.701 When this is enabled (shown as checked in the menu), stereo Multisamples, Drum Samples, and Samples in the KSC will Translation →p.701 appear as a single entry in the form of [name]-St. This can Show L/R as Stereo Pair →p.701 make long lists more compact and easier to read.
Page 712 MEDIA mode Sequencer data If a file to be loaded cannot be found, or when loading a file that was saved across media • “Load .SNG” on page 707 If a necessary file cannot be found in the current directory or •...
Page 713 MEDIA: Page Menu Commands Load selected .SNG Allocation Load .PCG Data in the .PCG file will be loaded. .SNG file to load Internal memory of the Internal memory of the KRONOS after loading KRONOS before loading SNG000 SNG000 SNG000 SNG001 SNG002 SNG002 SNG003...
Page 714 MEDIA mode .KSC Allocation Load Programs .KMP file to load Internal memory of the Internal memory of the All program data from the .PCG file will be loaded. KRONOS after loading KRONOS before loading KMP000 KMP000 KMP000 KMP001 KMP002 KMP002 KMP003 KMP003 KMP003...
Page 715 MEDIA: Page Menu Commands Load selected Note: You cannot set the “To” field to a bank whose type 3. To load the data, press the OK button. To cancel differs from the selected program. without loading, press the Cancel button. Note: If “Multiple Select”...
Page 716 MEDIA mode Load a single Drum Kit The selected drum kit will be loaded into the drum kit number you specify. 1. For the “Arp Pattern” (upper row), when loading an arpeggio pattern other than the one selected, reselect the arpeggio pattern to load. Note: The selected arpeggio pattern will sound when you play the keyboard, even if it hasn't been loaded yet.
Page 717 MEDIA: Page Menu Commands Load selected INT bank, the Wave Sequences will be loaded into the first 32 slots (INT–000 …031), and the remaining Wave Sequences will be unaffected. Load a single Wave Sequence The selected wave sequence data will be loaded into the wave sequence number you select as the load-destination.
Page 718 MEDIA mode Load a single Song Load Pattern Data Data for the selected song will be loaded into the song The selected user pattern will be loaded into a user pattern of number you specified as the load destination. the selected loading destination song. 1.
Page 719 MEDIA: Page Menu Commands Load selected Load a Region Load Presets (P01–15) This loads the selected region data into the region number Preset (preset) data (P01–15) for the selected effect will be you select as the load-destination. loaded. Load Presets (P01-P15) in “Stereo Dyna Compressor” 1.
Page 720 The program bank and program numbers loaded into the page 571. song will follow the “Bank Map” (GLOBAL 0–1d) setting. If “Bank Map” is Korg, bank A will be selected Maximum numbers of Samples and Multisamples for bank select 00.00 (MSB.LSB). If “Bank Map” is that can be loaded into SAMPLING mode GM(2), bank G will be selected.
Page 721 KSF files Select “SFX_A_00.WAV,” and choose “Load selected” to open the dialog box. Files with the extension .KSF (Korg Sample File) contain the parameters and waveform data which make up a single sample. A .KSF file can be used as one of the samples used by a multisample.
Page 722: For More Information On User Sample Banks, See "User
MEDIA mode If you enter SFX_*_00 or SFX_* and press OK, the 2. Set the Load Method as desired. following files will be loaded: This sets the preferred way to load the KSC’s EXs and User Sample Bank data: load it into RAM, or use Virtual SFX_A_00.WAV Memory.
Page 723 MEDIA: Page Menu Commands Load selected Samples used by the Multisample Load .KSF • Un-referenced Samples folder All samples not in Multisamples The selected .KSF file will be loaded as a sample. EXs(n) (Name) • Multisamples folder Multisamples • Drum Samples List of Drum Samples To load data from within a .KSC: 1.
Page 724 MEDIA mode with the Append option). If you save the data, it will be stored in Korg format. It is also possible to export as a .AIF or .WAV file; see “Export Samples as AIF/WAV”. Note: You can load multiple files within the directory. (See “Multiple Select”...
Page 725 MEDIA: Page Menu Commands Load selected Note: When you load two multisamples whose multisample names are identical except for ending in “-L” and “-R,” they Load AKAI Program File will be recognized in SAMPLING mode as a stereo The selected Program file will be loaded as a NAUTILUS multisample.
Page 726 MEDIA mode When you execute the command, the combinations that SoundFont 2.0 files may contain sound data that is are created will be loaded starting at the bank and number assigned to use ROM sample data from a specific sound you specify here.
Page 727 MEDIA: Page Menu Commands Load selected The Programs and Combinations will be loaded in order Choose this setting if the Combinations or Songs being from the bank and number you specify. loaded rely on both user and preload Programs. This is the default.
Page 728 MEDIA mode Also when using Save PCG or Save Sampling Data to .SNG file: Songs, region data save an individual program, drum kit, or multisample or .KSC file: References to Multisamples, Samples, and Drum sample created in SAMPLING mode, we recommend Samples from SAMPLING mode, EXs, or User Sample that you save the data in the same directory with the same Banks...
Page 729 MEDIA: Page Menu Commands Save PCG & SEQ If the error message “No space available on medium” Save PCG & SEQ Data appears, see “If the data being saved does not fit on one volume of media” on page 718. When you save, files will be created in the current directory.
Page 730 The extension “.PCG” will be added automatically. For What’s a KSC file? example, the name “NewFile” will result in a file named KSC stands for Korg Sample Collection. .KSC files contain NewFile.PCG. links to SAMPLING mode, EXs, and/or User Sample Bank If a USB QWERTY keyboard (commercially available) is data, including Multisamples, Samples, and Drum Samples.
Page 731 MEDIA: Page Menu Commands Save to Standard MIDI File greater than 9,999, only the first three characters will be Using Save Sampling Data used. For example: 1. Select “Save Sampling Data” to open the dialog box. 0000: NewSample_0000 → NEWS0000.KSF Save Multisample and Sample Data 0001: C#3-EGuitar →...
Page 732 Note: Normally, it is recommended that you use Save All or 3. Use the text edit button to open the text edit dialog Save Sampling Data to save sample data in Korg format box, and set the name as desired.
Page 733 MEDIA: Page Menu Commands Rename Export Samples as AIF/WAV does not export multisample When exporting All Samples or Samples in One MS, and files. The exported AIFF or WAVE format samples can be all of the sample data does not fit on one volume of re-loaded, but if the sample number when saving is different media, another dialog box will appear, directing you to than the sample number when loading, you may need to re-...
Page 734 MEDIA mode Delete This command deletes the selected file or directory. Delete is valid only when a DOS file or a DOS directory is selected. If you are browsing inside a .PCG, .SNG, or .KSC file, for instance, the menu command will be grayed out. 1.
Page 735 MEDIA: Page Menu Commands Create Directory 3. To delete the unused WAV files, press the OK button. Format To cancel without affecting any files, press the Cancel button. This command formats the selected media. The volume label (a name for the entire media) you specify will be assigned to Once you press OK, the deletion is permanent and cannot the media.
Page 736 MEDIA mode 6. Specify the file system. 4. If you want to change the filename for saving, press the text edit button in the lower line to open the text FAT16 can format a maximum of 4 Gigabytes. If you are edit dialog box, and set the name as desired.
Page 737 MEDIA: Page Menu Commands Install EXs 5. Go to the MEDIA– Utility page. GLOBAL “0–4: Sample Manage” on page 643 6. Using the Drive Select menu at the bottom of the page, MEDIA mode menu command “Load .PCG” on page 703 select the USB storage device.
Page 738 MEDIA mode...
Page 739: Effect Guide
Effect Guide Overview The NAUTILUS provides 12 insert effects, two master Cho/Fln/Phs: Pitch and phase modulation effects such as effects, and two total effects, together with a mixer section 040…054 chorus and flanger that controls the routing of these effects. Mod/P.Shift: Other modulation effects such as tremolo and For each of these effect processors, you can choose from...
Page 740: Effects In Each Mode
Effect Guide Effects in each mode total effects to make final adjustments. All of these settings PROGRAM mode can be made independently for each program. EXi Programs With HD-1Programs, you can use insert effects to process have a different filter and amp structure for each type, but the final sound in the same way that you use the Filter, you can also apply insert effects, master effects, and total Driver, Amplifier, and EQ (equalizer) to process the sound...
Page 741 Overview Effects in each mode When effects are applied to the audio inputs, certain Audio Input effect types or parameter settings may cause oscillation to You can also use the external audio inputs in PROGRAM, occur. If this occurs, adjust the input level, output level, COMBINATION, and SEQUENCER modes.
Page 742: Dynamic Modulation (Dmod) And Tempo Synchronization
Effect Guide Dynamic modulation (Dmod) and Tempo Synchronization Dynamic modulation (Dmod) BPM/MIDI Sync: Delay Time Dynamic modulation lets you control certain effects parameters in real-time, using either the built-in controllers or MIDI. These effect parameters are marked with the logo For more information, see “Dynamic Modulation Sources (Dmod)”...
Page 743: Common Fx Lfos
Overview Common FX LFOs Common FX LFOs Normally, LFO-based effects–such as choruses, flangers, Common FX LFO phasers, filters, and auto-panners–each have their own LFO Type = Common1 independent LFO. The NAUTILUS effects support this Stereo Flanger Common FX LFO1 standard mechanism, but add a new one: Common FX Frequency[Hz] Waveforem = Triangle Reset...
Page 744 Effect Guide 1. Set up the Timbres and effects as shown in the Compressor (COMBINATION mode) diagram below. Compressors, limiters, and gates use the level of the audio 2. Set IFX2’s Ctrl Bus to FX Ctrl1. input to control the level of the audio output. For these This sends the output of IFX2 to FX Control Bus 1.
Page 745: Effect I/O
Overview Effect I/O 1. For Timbre 1 (the carrier), set Bus Select to IFX1. Rhythmic Vocoder (COMBINATION mode) This sends the signal to the Vocoder, as the carrier. Vocoder effects produce their distinctive sound by using an 2. For Timbre 2 (the drum program we’re using as the audio signal (the modulator) to modulate a different audio modulator), set FX Control Bus to FX Ctrl1.
Page 746 Effect Guide PROGRAM mode (CX-3) PROGRAM mode (EP-1) Expression Minimum, Level (CX-3: Basic page) Harmonic/Attack Noise/Release Noise Level (EP-1: Basic/Oscillator page) Drawbar (CX-3: Split/Drawbar page) Output Level (EP-1: Basic/Oscillator page) Output Level (CX-3: Amp/VC/Rotary Speaker page) Volume (EP-1: Panel/IFX/Amp page) PROGRAM mode (STR-1) Cabinet On/Off, Drive (EP-1: Panel/IFX/Amp page) Mixer Level (STR-1: String-Mixer page)
Page 747: Insert Effects (Ifx1
Insert Effects (IFX1…IFX12) In/Out Insert Effects (IFX1…IFX12) In/Out Insert Effects (IFX 1–12) have a stereo input and a stereo IFX1: 148: P4EQ // Phaser output. If you set the Wet/Dry parameter (IFX– IFX1–12 page) to Dry (no effect), the input signal will be passed through, in stereo, without being processed by the effect.
Page 748: Routing
Effect Guide Routing You can use up to twelve channels (IFX 1…12) for the Insert If you check the IFX1 checkbox, the output of IFX1 will be Effects in any mode. sent to the input of the IFX you specify in “Chain to.” Effects can be chained only in ascending order of their number;...
Page 749 Insert Effects (IFX1…IFX12) Routing If you de-select the box, all drum instrument outputs are sent to the bus specified by Bus Select (PROGRAM 8–1c). You may apply any Insert Effects to all drum instruments, regardless of the DrumKit settings. Fig. 2–1b Fig.
Page 750 Effect Guide Tip: You can use each timbre/track’s Bus Select, post-IFX COMBINATION and SEQUENCER modes Chain to and Chain parameters (IFX– Insert FX page of each mode) to create a variety of routings. Use Bus Select (IFX– Routing1 and 2 page in each mode) for timbres (Combination) and tracks (Sequencer) to select an Insert Effect to apply to the corresponding timbres and tracks.
Page 751 Insert Effects (IFX1…IFX12) Routing The following diagram (Fig. 2–2a) shows an example of Select setting. Other timbres are sent to L/R. The output COMBINATION mode. The Timbre 1 output is sent to IFX1 signal passes through the TFX1 and 2, then goes to AUDIO and the Timbre 2 output is sent to IFX2 according to the Bus OUTPUT (MAIN) L/MONO and R.
Page 752 Effect Guide In diagram (Fig. 2–2c) below, Drum Program is assigned to Drum Programs in COMBINATION and Timbre 1, and normal Programs are assigned to Timbres 2 SEQUENCER modes and 3. Bus Select is set to DKit for Timbre 1, IFX1 for Timbre 2, and IFX2 for Timbre 3.
Page 753 Insert Effects (IFX1…IFX12) Routing Fig. 2–2e...
Page 754 Effect Guide In the example shown in the diagram (Fig. 2–3a), the signal SAMPLING mode from AUDIO INPUT 1 and 2 is being sent to IFX1. Use the IFX page to select an insert effect, and edit its parameters. The analog, and USB audio inputs can be processed by the insert effects, master effects, or total effects then sampled.
Page 755 Insert Effects (IFX1…IFX12) Routing Set Bus Select to specify the bus to which the external audio Analog, and USB inputs input will be sent. You can select L/R, IFX1–12, 1–4, 1/2– 3/4, or Off. If you want to apply an insert effect, select In PROGRAM, COMBINATION, and SEQUENCER IFX1–12.
Page 756: Mixer
Effect Guide Mixer In PROGRAM, COMBINATION, and SEQUENCER You can control these parameters via CC#8. modes, the IFX– Insert FX page lets you set “Pan (CC#8)” (post-IFX panning), “Bus Sel. (Bus Select),” “Ctrl Bus” (FX Bus Sel. (Bus Select) control bus), REC Bus, and Send1 and Send2 levels to the master effects.
Page 757 Insert Effects (IFX1…IFX12) Mixer FX Control buses can be used with vocoder, compressor, and guitar through NAUTILUS IFX while listening to a ARP gate-type effects. drum phrase, and record the processed guitar without recording the drums. For details on the effects that be used with FX Control buses, see “FX Control Buses”...
Page 758: Controlling The Insert Effects Via Midi
Effect Guide Controlling the Insert Effects via MIDI Using the Dynamic Modulation (Dmod) function enables Note: Since SEQUENCER mode lets you record and play you to control all effect parameters in real-time during exclusive messages and edit tracks that include System performance from the controllers of the NAUTILUS or a Exclusive events, you can use them to switch effects or connected MIDI sequencer.
Page 759: Master Effects (Mfx1, 2)
Master Effects (MFX1, 2) In/Out Master Effects (MFX1, 2) In/Out The I/Os of Master Effects MFX1 and MFX2 are stereo- in the stereo field. Normally, you will use these as insert in/stereo-out. Send1 and Send2 determine the send level to effects, but you can also use them as master effects.
Page 760: Routing
Effect Guide Routing Master effects MFX1 and MFX2 can both be used in any If you have set Bus Select to L/R or Off, Send1 (to MFX1) mode. If you are not using any Insert Effects in any mode, and Send2 (to MFX2) of the Routing page are effective. the Master Effects send levels are determined by the Send1 These parameters can be set for oscillators 1 and 2 (to MFX1) and Send2 (to MFX2) parameters specified...
Page 761 Master Effects (MFX1, 2) Routing If the Program’s Oscillator Mode is set to Drums, the “Use effective. (At this time, the actual send levels use these Send DKit Setting” box (PROGRAM 8–1b) becomes available. If 1 and 2 values multiplied by the Send1 and 2 settings for you check this box, Send1 and Send2 levels for each key of Program oscillators 1 and 2.) the selected DrumKit become effective.
Page 762 Effect Guide SAMPLING mode You can apply insert effects, master effects, and total effects to an external audio source (analog or USB), and sample the result. You can also apply insert effects, master effects, and total effects to samples assigned to a multisample, and resample the result.
Page 763: Mixer
Master Effects (MFX1, 2) Mixer Mixer The input levels to the master effects are determined by the send levels. In the MFX/TFX– Routing page of each mode, you can specify the output level and chaining (series connection) between the two master effects. Return1, Return2 These adjust the amount of signal that is returned from the master effects MFX1 and MFX2 outputs to the L/R bus.
Page 764: Controlling The Master Effects Via Midi
Effect Guide Controlling the Master Effects via MIDI In the same way as for insert effects, parameters of the master effects can also be controlled in realtime via Dynamic Modulation (Dmod) from the NAUTILUS’s controllers or an external MIDI device during performance or from the sequencer.
Page 765: Total Effects (Tfx1, 2)
Total Effects (TFX1, 2) In/Out Total Effects (TFX1, 2) In/Out The total effects TFX1 and TFX2 are stereo-in and stereo- If you select 000:No Effect, the stereo input will be passed to out. The Dry (unprocessed) side of the Wet/Dry parameter the stereo output without any processing.
Page 766: Mixer
Effect Guide Mixer Master Volume This sets the level of the final output after passing through the total effects. Using MIDI to control the Total Effects In the same way as for Insert and Master Effects, the Total Effects can be controlled in realtime via Dynamic Modulation (Dmod).
Page 767: Outputs
Outputs Main Outputs Outputs Main Outputs The main L/MONO and R outputs of the NAUTILUS are output from the AUDIO OUTPUT (MAIN) L/MONO and R jacks, and the headphone jack. Individual Outputs The NAUTILUS is equipped with four individual audio outputs, which can be used as individual mono outputs, stereo pairs, or any combination of the two.
Page 768: Effect/Mixer Block Diagrams
Effect Guide Effect/Mixer Block Diagrams PROGRAM mode...
Page 769 Effect/Mixer Block Diagrams Individual Outputs COMBINATION mode, SEQUENCER mode...
Page 770 Effect Guide SAMPLING mode...
Page 771: Dynamics
Dynamics 000: No Effect Dynamics 000: No Effect Choose this option when you are not using the selected • Insert Effects and Total Effects pass through the dry, effects slot. This frees up processing resources for other unprocessed signal effects and/or synth voices. •...
Page 772: 002: Stereo Compressor
Output Level [0…100] Dyna Compressor - Sensitivity Level Sets the output level of the compressor. Sensitivity=100 Source [Off…Tempo] Sensitivity=40 Selects the modulation source for the Output Level. Amount [+/–100] Time Sets the modulation amount for the Output Level. Attack [1…100] This controls the onset time of the compressor.
Page 773 Dynamics 002: Stereo Compressor Select [L/R Mix, Left, Right, L/R Individually] EQ On [Check-box] This determines how the left and right channels of the Switches the EQ on and off. selected Source are used for controlling the compressor. Type [Low Pass, Band Pass, High Pass, Band Note that this parameter applies only to the control signal;...
Page 774 Soft Knee Width Soft Knee Width = 0 dB Soft Knee Width = 30 dB Threshold Soft Knee Width Input Level Attack [msec] [0.45…500.0] This determines how quickly the compressor will take affect after the signal crosses above the threshold. Release [msec] [5…5000] This controls how quickly the compressor will stop reducing...
Page 775: 003: Stereo Expander
Dynamics 003: Stereo Expander 003: Stereo Expander On-screen graphic, 003 Stereo Expander The yellow line shows the output level, relative to the input level. This will change according to the Ratio, Threshold, and Soft Knee Width. The expander lowers the level when the input signal is below the Threshold, to the left of the gray area.
Page 776: 004: St.multiband Compressor
004: St.Multiband Compressor On-screen graphic, 004 St. Multiband Compressor crossover Crossover between bands 3 and 4 Crossover between bands 2 and 3 Crossover between bands 1 and 2 This shows an approximation of each band’s frequency response. Red lines indicate the crossover points. Vertical axis: Gain (dB) Horizontal axis: Cutoff frequency (Hz) Band1 Band2 Band3 Band4...
Page 777 Dynamics 004: St.Multiband Compressor You can also create special compression effects, such as compressing (or expanding) only the middle range of levels. For more information, see the diagram below. Range / Knee 0 dB Range Range = 0 Range > 0 Range <...
Page 778: 005: Stereo Limiter
005: Stereo Limiter On-screen graphic, 005 Stereo Limiter The yellow line shows the output level, relative to the input level. This will change according to the Ratio and Threshold settings. Input above the Threshold will be compressed. In the example shown here, a –10 dB input will result in –20 dB output.
Page 779: 006: Multiband Limiter
Dynamics 006: Multiband Limiter [0.5…10.0] Release [1…100] Sets the EQ bandwidth for the control signal. Sets the release time. For more information, see “Release [msec]” on page 764. Gain [dB] [–18.0…+18.0] Gain Adjust [dB] [–Inf, –38…+24] Sets the EQ gain for the control signal. Sets the output gain.
Page 780: 007: Stereo Multiband Limiter
Threshold [dB] [–40…0] Sets the overall level above which the limiter is applied. Each band’s Offset parameter then works as an offset for this Offset [dB] [–40…0] parameter. This adjusts the Threshold level for the low range. For more information, see “Threshold [dB]” on page 763. Attack [1…100] Sets the attack time.
Page 781: 008: Stereo Mastering Limiter
Dynamics 008: Stereo Mastering Limiter 008: Stereo Mastering Limiter This stereo limiter is optimized for mastering full mixes. It OUTPUT uses a short look-ahead delay (1.3 ms) for zero-overshoot performance, and automatically optimizes the output level to Wet/Dry [Dry, 1:99…99:1, Wet] a specified maximum.
Page 782: 009: Stereo Gate
009: Stereo Gate On-screen graphic, 009 Stereo Gate The red mark shows the Threshold setting. These lights show the relation of the control input to the Threshold, in real-time. Under (green) means the input is below the Threshold, and Over (red) means that it is above the Threshold. Going above the Threshold may make the gate open or close, depending on the Polarity setting.
Page 783: 010: Stereo Noise Reduction
Dynamics 010: Stereo Noise Reduction +: This is the default setting, for normal gate behavior. The With –, the direction in which the modulation source opens gate will open when the input is above the Threshold, and or closes the gate is reversed as well. close when the input falls below it.
Page 784: Eq And Filters
EQ and Filters 011: Stereo Parametric 4EQ On-screen graphic, 011 Stereo Parametric 4EQ Red area: • Shows the combined frequency response of all 4 bands. • The effect of Trim is not shown. The currently selected band is shown by a thick red line. Vertical axis: Gain (dB) Horizontal axis: Cutoff frequency (Hz) Red lines show the frequencies of bands 1, 2, 3, and 4.
Page 785: 012: Stereo Graphic 7Eq
EQ and Filters 012: Stereo Graphic 7EQ Band2 Source [Off…Tempo] GAIN MOD Selects the modulation source for the Band 2 gain. Parametric 4EQ - Band2 Gain Mod Amount [dB] [–18.0…+18.0] -mod +15dB Sets the modulation amount for the Band 2 gain. Band2 Cutoff +6dB +6dB...
Page 786: 013: Stereo Master 3Eq
013: Stereo Master 3EQ This is a stereo three-band equalizer, with sweepable low OUTPUT and high shelving and a fully parametric mid-band. The low and high gains can be controlled in real-time. You can use This is the standard effects output section, with modulatable this as a TFX to make final adjustments to the sound.
Page 787: 014: Stereo Exciter/Enhncr
EQ and Filters 014: Stereo Exciter/Enhncr 014: Stereo Exciter/Enhncr This effect is a combination of the Exciter, which adds a ENHANCER punch to the sound and the Enhancer, which adds spread and presence. L Delay Time [msec] [0.0…50.0] The L and R Delay Time parameters set the delay times for Stereo In - Stereo Out the Enhancer’s left and right channels.
Page 788: 015: Stereo Isolator
015: Stereo Isolator This is a stereo effect that separates the input signal into low, ISOLATOR mid, and high-frequency bands, and controls the volume of each band independently. For example you can separately Low Gain [dB] [–Inf, –59…+12] boost or cut the kick, snare, and hi-hat sounds from a drum Sets the low-frequency gain.
Page 789 EQ and Filters 016: Stereo Wah/Auto Wah Envelope Shape Level Frequency Bottom [0…100] Envelope This sets the wah frequency when the modulation signal (selected by Sweep Mode) is at its minimum level. value = 0...+100 value = 0...–100 To reverse the sweep direction, you can set this to be higher Time than the Frequency Top, below.
Page 790: 017: St. Vintage/Custom Wah
017: St. Vintage/Custom Wah This effect models the tonal character of a vintage wah Common LFO Phase Offset [degrees] [+/–180] pedal. You can customize the tone and range settings. When Type is set to Common FX LFO 1 or 2, this lets you offset the phase from the master LFO.
Page 791: 018: Stereo Random Filter
EQ and Filters 018: Stereo Random Filter 018: Stereo Random Filter This stereo band pass filter is modulated by an LFO, using Phase [degrees] [–18…+18] either a step-shape waveform and or a sample-and-hold This sets the LFO phase difference between the left and shape.
Page 792: 019: Multi Mode Filter
Step LFO type OUTPUT Type (Step) [Individual, Common1, Common2] Wet/Dry [–Wet, –99:1…–1:99, This controls the LFO source for the steps. It does not affect Dry, 1:99…99:1, Wet] the triangle LFO. This sets the balance between the effect and the dry input. Individual: the steps use the Frequency and MIDI/Tempo From –Wet to –1:99, the effect sound’s phase will be Sync parameters, above.
Page 793: 020: Stereo Sub Oscillator
EQ and Filters 020: Stereo Sub Oscillator Amount [–20.00…+20.00] Type [Individual, Common1, Common2] This sets the Frequency modulation amount, in Hz. This controls whether the effect uses its individual LFO, or one of the Common FX LFOs. For more information, see MIDI/Tempo Sync [Check-box] “LFO Type”...
Page 794: 021: Talking Modulator
021: Talking Modulator This effect adds an unusual character, like a human voice, to Voice Bottom [A, I, U, E, O] the input signal. Modulating the tone via dynamic Selects a vowel sound at the minimum modulation value. modulation, you can create an interesting effect that sounds as if the guitar or synthesizer is talking.
Page 795: 022: Stereo Decimator
EQ and Filters 022: Stereo Decimator 022: Stereo Decimator This effect creates a rough sound like a cheap sampler by Amount [+/–100] lowering the sampling frequency, reducing the bit depth, and Sets the modulation amount of the output level. creating aliasing. Stereo In - Stereo Out Left Wet / Dry...
Page 796: 023: Stereo Analog Record
023: Stereo Analog Record This effect simulates the noise caused by scratches and dust NOISE on analog records. It also reproduces some of the modulation caused by a warped turntable. Density [0…100] Sets the noise density. Stereo In - Stereo Out Left Tone [0…100]...
Page 797 EQ and Filters 024: Stereo Wave Shaper Resonant1 Resonant2 Zinger GeoGraphic Take6 Exciter Booster Claver Reptile SyncSter Profile Star Soft Road Rubber Parabola Wurly Take1 Vital Signs Forest Zigzag Pre LPF [0…100] Sets the damping amount in the high range. Source [Off…Tempo] Selects the source that will modulate the amount of high...
Page 798: 025: Piano Body/Damper
Source [Off…Tempo] OUTPUT Selects the modulation source for the Output Level. This is the standard effects output section, with modulatable Amount [+/–100] control over wet/dry balance. For more information, see “OUTPUT” on page 762. Sets the modulation amount for the Output Level. 025: Piano Body/Damper This effect simulates the resonance of the piano sound board Source...
Page 799 EQ and Filters 026: Vocoder For instance, bright synthesizer sounds, distorted guitars, Source [Input, FX Control 1, FX Control 2] noise, or strings all make good carrier signals. Selects the signal to use as the Modulator input. For more information on using vocoders, see “Vocoder Input uses the input to the Vocoder effect.
Page 800: Overdrive, Amp Models, And Mic Models
Overdrive, Amp models, and Mic models 027: OD/Hi-Gain Wah This versatile effect offers two different-sounding distortion Drive Mode [Overdrive, Hi-Gain] modes (Overdrive and Hi-Gain), a modulatable wah-wah This switches between two different distortion timbres: filter, a speaker simulation, and 3-band EQ. It’s suitable for overdrive and hi-gain distortion.
Page 801: 028: Od/Hypergain Wah
Overdrive, Amp models, and Mic models 028: OD/HyperGain Wah OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 762. 028: OD/HyperGain Wah This distortion effect has two modes: overdrive and hyper- Source [Off…Tempo] gain that produces a strong distortion.
Page 802: 029: Stereo Guitar Cabinet
029: Stereo Guitar Cabinet This simulates the acoustical character of a guitar amp’s Type [TWEED 1x12, TWEED 4x10, BLACK 2x10, speaker cabinet. BLACK 2x12, AC15, AC30, AD412, UK H30, UK T75, US V30] Stereo In - Stereo Out Selects the type of the cabinet. See “031: Guitar Amp Model Left Wet / Dry +Cabinet”...
Page 803: 031: Guitar Amp Model +Cabinet
Overdrive, Amp models, and Mic models 031: Guitar Amp Model +Cabinet Band4 Fc [Hz] [500…20.00k] OUTPUT Sets the center frequency of Band 4. This is the standard effects output section, with modulatable [0.5…10.0] control over wet/dry balance. For more information, see “OUTPUT”...
Page 804: 032: Stereo Bass Cabinet
OUTPUT AMP MODEL CABINET UK 90'S UK T75 This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see UK MODERN UK T75, US V30 “OUTPUT” on page 762. US MODERN US V30 US HIGAIN US V30, UK T75 Recommended Combinations of Guitar BOUTIQUE OD...
Page 805: 034: Bass Amp Model +Cabinet
Overdrive, Amp models, and Mic models 034: Bass Amp Model +Cabinet Middle [0…100] Presence [0…100] Sets the middle (mid range) level. Sets the presence (high-frequency tone). Mid Range [0…4] OUTPUT Sets the mid-frequency range. This is the standard effects output section, with modulatable Treble [0…100] control over wet/dry balance.
Page 806: 035: Bass Amp Tubedrive +Cab
Recommended Combinations of Bass Amp Models and Cabinets AMP MODEL CABINET LA STUDIO LA 4X10 or LA 1X18 JAZZ JAZ 1X15 GOLD PANEL MDN 4X10 SCOOPED MTL 4X10 VALVE2 CLS 8X10 VALVE CLS 8X10 CLASSIC COMBI 035: Bass Amp TubeDrive +Cab This simulates a bass amp (with gain and drive) and speaker CABINET SIMULATOR cabinet.
Page 807: 036: Tube Preamp Modeling
Overdrive, Amp models, and Mic models 036: Tube PreAmp Modeling 036: Tube PreAmp Modeling This effect simulates a two-stage vacuum tube preamp. You With the Wet Invert setting, the phase of the signal will be can make individual settings for two vacuum tubes inverted between stage 1 and stage 2.
Page 808: 038: Mic Modeling +Preamp
038: Mic Modeling +PreAmp This effect simulates a mic and vacuum tube preamp. You At higher settings, the waveform will change at high gain can choose from various types of mic and positions to create levels, tending to cause distortion. Lower settings will differing sonic characters.
Page 809: Chorus, Flanger, And Phaser
Chorus, Flanger, and Phaser 040: Stereo Chorus Chorus, Flanger, and Phaser 040: Stereo Chorus This effect adds thickness and warmth to the sound by MIDI/Tempo Sync [Check-box] modulating the delay time of the input signal. You can add [MIDI, 40.00…300.00] spread to the sound by offsetting the phase of the left and right LFOs from each other.
Page 810: 041: Stereo Harmonic Chorus
041: Stereo Harmonic Chorus This effect applies chorus only to higher frequencies. This Source [Off…Tempo] can be used to apply a chorus effect to a bass sound without This selects a modulation source for the Frequency. making the sound thinner. You can also use feedback to turn the chorus into a flanger.
Page 811: 042: St. Bi-Phase Modulation
Chorus, Flanger, and Phaser 042: St. Bi-phase Modulation 042: St. Bi-phase Modulation This stereo chorus effect adds two different LFOs together. LFO1/2 You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, Bi-Phase Modulation LFO very complex waveforms will create an analog-type, unstable modulated sound.
Page 812: 043: Multitap Cho/Delay 4Taps
043: Multitap Cho/Delay 4Taps This effect has four chorus blocks, each with a different LFO Pan 1…4 [L6…L1, C, R1…R6] phase. You can create a complex stereo image by setting This sets the tap’s stereo position. each block’s delay time, depth, output level, and pan individually.
Page 813: 045: Bi Chorus
Chorus, Flanger, and Phaser 045: Bi Chorus Status 1…6 [Always On, Always Off, Source [Off…Tempo] → → Off (Dmod), Off On (Dmod)] This selects a modulation source to modulate the tap output levels (as set by Status, above) and the Tap 1 Feedback This turns the tap on or off, or allows its output level to be amount.
Page 814 Stereo: Chorus 1 goes to the left output, and chorus 2 goes to LFO 1/2 Lock / LFO2 Phase the right output. LFO 1/2 Lock: Unlock LFO 1/2 Lock: Lock - LFO1 Chorus1 Output Level [0…100] Chorus1 Chorus1 LFO1 LFO1 Sets the output level for chorus 1.
Page 815: 046: Ensemble
This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 762. 047: Polysix Ensemble This models the ensemble effect built into the classic Korg OUTPUT PolySix programmable polyphonic synthesizer. This is the standard effects output section, with modulatable control over wet/dry balance.
Page 816: 048: Stereo Flanger
048: Stereo Flanger This effect gives a significant swell and movement of pitch MIDI/Tempo Sync [Check-box] to the sound. It is more effective when applied to a sound [MIDI, 40.00…300.00] with a lot of harmonics. This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and Base Note [ …...
Page 817: 049: Stereo Random Flanger
Chorus, Flanger, and Phaser 049: Stereo Random Flanger 049: Stereo Random Flanger The stereo effect uses a step-shape waveform and random High Damp [%] [0…100] LFO for modulation, creating a unique flanging effect. This sets the amount of high-frequency attenuation in the flanger’s feedback loop.
Page 818: 051: Stereo Phaser
Feedback [+/–100] OUTPUT This controls the intensity of the flanger. For more information, see “Feedback” on page 806. Wet/Dry [–Wet…–1:99, Dry, 1: 99…Wet] Sets the balance between the “wet” processed sound and the High Damp [%] [0…100] dry input. Negative values invert the phase of the wet signal. This sets the amount of high-frequency attenuation in the This interacts with Feedback;...
Page 819: 052: Stereo Random Phaser
Chorus, Flanger, and Phaser 052: Stereo Random Phaser Source [Off…Tempo] OUTPUT Selects a modulation source for Wet/Dry. Wet/Dry [–Wet…–1:99, Dry, 1: 99…Wet] Amount [+/–100] Sets the balance between the “wet” processed sound and the Sets the modulation amount for Wet/Dry. dry input.
Page 820: 053: Stereo Envelope Phaser
053: Stereo Envelope Phaser High Damp [%] [0…100] Stereo In - Stereo Out This sets the amount of high-frequency attenuation in the Left Wet / Dry phaser’s feedback loop. Increasing the value will cut high- Phaser range harmonics. Resonance High Damp Phaser OUTPUT Right...
Page 821: 054: Bi Phaser
Chorus, Flanger, and Phaser 054: Bi Phaser 054: Bi Phaser This effect provides two independent phasers that can be MODE connected in series or in parallel. Routing [Dual, Serial] Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Selects whether the phasers are connected in parallel or in Left Wet / Dry...
Page 822: Modulation And Pitch Shift
Modulation and Pitch Shift 055: Stereo Vibrato This effect modulates the pitch of the input signal to create a VIBRATO shimmering timbre. AutoFade allows you to increase or decrease the vibrato speed. Depth [0…100] Sets the depth of LFO modulation Stereo In - Stereo Out Left Wet / Dry...
Page 823: 056: Stereo Auto Fade Mod
Modulation and Pitch Shift 056: Stereo Auto Fade Mod. 056: Stereo Auto Fade Mod. This stereo chorus/flanger effect enables you to control the Shape [+/–100] LFO speed and effect balance using auto fade, and you can Changes the curvature of the LFO Waveform. For more spread the sound by offsetting the phase of the left and right information, see “Shape”...
Page 824: 057: 2-Voice Resonator
057: 2-Voice Resonator This effect includes two independent resonators, which each MIDI/Tempo Sync [Check-box] resonate at a specified pitch in response to the input signal. [MIDI, 40.00…300.00] You can use this to add a unique character to a string sound by emphasizing certain harmonics, for instance, or to Base Note [ …...
Page 825: 058: Doppler
Modulation and Pitch Shift 058: Doppler 058: Doppler This effect simulates the “Doppler effect” of a moving sound When Mode is set to 1-Shot, the Doppler effect happens with a changing pitch, like the siren of a passing ambulance. only once when triggered, and then stops until it is triggered Mixing the effect sound with the dry sound will create a again.
Page 826: 059: Scratch
059: Scratch This effect simulates the sound of scratching on a turntable, PLAYBACK by recording the input and then modulating the playback. Scratch Source [Off…Tempo] Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out This selects the modulation source for the “scratch.” The Left Wet / Dry modulation value corresponds to the playback position.
Page 827: 061: Stereo Tremolo
Modulation and Pitch Shift 061: Stereo Tremolo Source [Off…Tempo] Sample Cycle / Duration Selects a modulation source for LFO speed. Sample Cycle Duration Amount [–20.00…+20.00] Sets the modulation amount of LFO speed. MIDI/Tempo Sync [Check-box] [MIDI, 40.00…300.00] Base Note [ … ] Times [x1…x32] Source...
Page 828: 062: Stereo Envelope Tremolo
MIDI/Tempo Sync [Check-box] Common LFO Phase Offset [degrees] [+/–180] When Type is set to Common FX LFO 1 or 2, this lets you [MIDI, 40.00…300.00] offset the phase from the master LFO. Base Note [ … ] OUTPUT Times [x1…x32] This is the standard effects output section, with modulatable When MIDI/Tempo Sync is on, the LFO speed is set by control over wet/dry balance.
Page 829: 063: Stereo Auto Pan
Modulation and Pitch Shift 063: Stereo Auto Pan 063: Stereo Auto Pan Frequency [Hz] [0.02…20.00] Stereo In - Stereo Out This sets the LFO speed, in Hz. It applies only when Left Wet / Dry MIDI/Tempo Sync, below, is Off. Source [Off…Tempo] Depth...
Page 830: 064: Stereo Phaser+Tremolo
064: Stereo Phaser+Tremolo This effect combines a stereo phaser and tremolo, with linked LFOs. Swelling phaser modulation and tremolo effects synchronize with each other, creating a soothing L/R Phase Type [Phaser - Tremolo, modulation effect particularly suitable for electric piano. Phaser - Tremolo Spin, Phaser - Tremolo LR, Stereo In - Stereo Out...
Page 831: 065: Stereo Ring Modulator
Modulation and Pitch Shift 065: Stereo Ring Modulator Common LFO Phase Offset [degrees] [+/–180] OUTPUT When Type is set to Common FX LFO 1 or 2, this lets you This is the standard effects output section, with modulatable offset the phase from the master LFO. control over wet/dry balance.
Page 832: 066: Stereo Frequency Shifter
OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 762. 066: Stereo Frequency Shifter This is a stereo effect that shifts the frequency of the input MIDI/Tempo Sync [Check-box] signal.
Page 833: 067: Detune
Modulation and Pitch Shift 067: Detune 067: Detune This effect offsets the pitch slightly from the input signal. PITCH SHIFTER Compared to a chorus, this can be used to create a more subtle thickening effect, Pitch Shift [cents] [+/–100] Sets the pitch difference from the input signal. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry...
Page 834: 069: Stereo Pitch Shifter
Feedback [+/–100] DELAY Sets the feedback amount. Delay Time [msec] [0…2000] High Damp [%] [0…100] Sets the delay time. Sets the amount of high-frequency attenuation for the feedback path. Feedback Position [Pre, Post] Pre feeds the delay back through the pitch shifter. Each time the feedback repeats, the pitch will get increasingly lower or OUTPUT higher.
Page 835: 070: Pitch Shifter Bpm
Modulation and Pitch Shift 070: Pitch Shifter BPM 070: Pitch Shifter BPM This pitch shifter enables you to set the delay time to match Base Note [ … ] the song tempo. This sets the basic delay length, relative to the BPM setting. The values range from a 32nd note to a whole note, including triplets.
Page 836: 071: Stereo Pitch Shifter Bpm
071: Stereo Pitch Shifter BPM This stereo pitch shifter enables you to set the delay time to Time Over? R > [---, OVER!] match the song tempo. Display the error message if the right channel delay time exceeds the upper limit. p.825. Stereo In - Stereo Out Left L Base Note...
Page 837: 072: Pitch Shift Mod
Modulation and Pitch Shift 072: Pitch Shift Mod. 072: Pitch Shift Mod. This effect uses an LFO to modulate the pitch shift amount, Amount [–20.00…+20.00] and lets you adjust the panning and stereo width between the Sets the modulation amount of LFO speed. effected and dry sounds.
Page 838: 073: Organ Vibrato/Chorus
073: Organ Vibrato/Chorus This effect simulates the chorus and vibrato circuitry of a CUSTOM vintage organ. The modulation speed and depth can be customized. [0…100] This effect works the same as the Chorus/Vibrato included in Sets the mix level of the direct sound when Mode=Preset. the CX-3.
Page 839 Modulation and Pitch Shift 074: Rotary Speaker Mode [Toggle, Moment] This parameter controls how the modulation source switches These settings model a pair of stereo microphones, recording between rotation and stop. the rotary speaker. When Mode = Toggle, the speaker rotates or stops alternately each time you press the pedal or move the Rotary Speaker - Mic Placement joystick.
Page 840: 075: Rotary Speaker Pro Od
075: Rotary Speaker Pro OD This is a stereo rotary speaker model, including amp HORN overdrive and speaker simulation. These parameters control the speed and acceleration of the Rotary Speaker speed indicator horn. They are identical to those of the Rotary Speaker In PROGRAM, COMBINATION, SEQUENCER, and SET effect;...
Page 841: 076: Rotary Speaker Pro Cx
Modulation and Pitch Shift 076: Rotary Speaker Pro CX 076: Rotary Speaker Pro CX This effect models a vintage rotary speaker, with detailed Fast Override Stop control over both timbre and behavior. This effect model is Fast Override Stop: Off Fast Override Stop: On equivalent to the CX-3 Classic model.
Page 842 ROTOR The rotor carries the low frequencies of the Rotary Speaker. Its parameters are identical to those of the Horn, above. Fast Speed [0…100] Slow Speed [0…100] Acceleration [0…100] Deceleration [0…100] Start Acceleration [0…100] Stop Deceleration [0…100] Balance and Tone Horn/Rotor Balance [Rotor, 1…99, Horn] Sets the volume balance between the high-frequency horn...
Page 843: Delay
Delay 077: L/C/R Delay Delay 077: L/C/R Delay This multitap delay outputs three Tap signals to the left, Level [0…50] right, and center respectively. You can also adjust the stereo Sets the output level of the Right Delay. width of the delays. Feedback (C Delay) [+/–100] Sets the feedback amount of the Center Delay...
Page 844: 079: Stereo/Cross Delay
R Delay Time [msec] [0…5460] High Damp [%] [0…100] Sets the delay time of the Right Delay. Sets the amount of high-frequency attenuation for the feedback path. Level [0…50] Low Damp [%] [0…100] Sets the output level of the Right Delay. This controls the low-frequency damping in the feedback Feedback (C Delay) [+/–100]...
Page 845: 080: Stereo/Cross Long Delay
Delay 080: Stereo/Cross Long Delay 080: Stereo/Cross Long Delay This is a stereo delay with adjustable feedback routing, high R Delay Time [msec] [0.0…] 2730.0 and low damping, modulatable feedback and input level, and Sets the delay time for the right channel. up to 2,730msec of delay time.
Page 846: 082: Stereo Modulation Delay
Tap2 Time [msec] [0.0…1360.0] Low Damp [%] [0…100] Sets the Tap2 delay time. This controls the low-frequency damping in the feedback loop. See “Low Damp [%]” on page 833. Feedback (Tap2) [+/–100] Spread [+/–100] Sets the Tap2 feedback amount. This controls the stereo width of the effect. The stereo image Source [Off…Tempo] is widest with a value of 50, and narrows to mono with a...
Page 847: 083: Stereo Dynamic Delay
Delay 083: Stereo Dynamic Delay MIDI/Tempo Sync [Check-box] R Delay Time [msec] [0.0…1000.0] Sets the delay time for the right channel. [MIDI, 40.00…300.00] L Depth [0…200] Base Note [ … ] Sets the amount of pitch modulation for the left channel. Times [x1…x32] 0…100 produce chorus-like effects;...
Page 848: 084: Stereo Auto Panning Delay
Low Damp [%] [0…100] DELAY This controls the low-frequency damping in the feedback loop. See “Low Damp [%]” on page 833. L Delay Time [msec] [0.0…1360.0] Sets the delay time for the left channel. Spread [+/–100] Sets the width of the stereo image of the effect sound. For R Delay Time [msec] [0.0…1360.0] more information, see “Spread”...
Page 849: 085: Tape Echo
Delay 085: Tape Echo 085: Tape Echo This effect models a tape echo unit with three playback Level and Pan 1…3 heads, including the distortion and tonal changes typical of Each tap has its own controls for level and pan. magnetic tape.
Page 850: 086: Multiband Mod. Delay
086: Multiband Mod. Delay This effect divides the input signal into low, mid, and high- Feedback [+/–100] frequency bands, and applies a modulation delay to each Sets the feedback amount for band 1. band. Amt (Feedback Amount) [+/–100] Sets the amount of modulation for the band 1 feedback. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry...
Page 851: 087: Reverse Delay
Delay 087: Reverse Delay BAND4 LFO OUTPUT Band 4’s LFO has the same parameters as the “BAND1 This is the standard effects output section, with modulatable LFO,” above. control over wet/dry balance. For more information, see “OUTPUT” on page 762. 087: Reverse Delay This is a delay that plays back the input signal in reverse.
Page 852: 088: Hold Delay
Note: Resetting the delay (using Sync Source) while reverse OUTPUT playback is still being heard may cause noise artifacts. This is the standard effects output section, with modulatable For drums or short phrases, you’ll need to adjust Reverse control over wet/dry balance. For more information, see Time appropriately in order to use this effectively.
Page 853: 089: Auto Reverse
Delay 089: Auto Reverse This is an easy way to get to the default effects settings, This stops the recording. The phrase will now start to loop. which we’ll be using: Since Loop Time is set to Auto, the loop’s duration will match that of the recording.
Page 854: 090: Sequence Bpm Delay
090: Sequence BPM Delay This four-tap tempo delay includes a selection of patterns in High Damp [%] [0…100] 16th notes and dotted 8th notes. Sets the amount of high-frequency attenuation for the feedback path. Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Left Low Damp [%] [0…100]...
Page 855: 091: L/C/R Bpm Delay
Delay 091: L/C/R BPM Delay 091: L/C/R BPM Delay The L/C/R delay enables you to match the delay time with R Delay Base Note [ … ] the song tempo. You can also synchronize the delay time This sets the basic length of the Right Delay, relative to the with the arpeggiator or sequencer.
Page 856: 092: L/C/R Bpm Long Delay
092: L/C/R BPM Long Delay The L/C/R delay enables you to match the delay time with Times [x1…x32] the song tempo. You can set the delay time up to 5,460msec This multiplies the length of the Right Delay’s Base Note. Level [0…50] Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out...
Page 857: 093: Stereo Bpm Delay
Delay 093: Stereo BPM Delay 093: Stereo BPM Delay This stereo delay enables you to set the delay time to match L Feedback [+/–100] the song tempo. Fine adjustment lets you change the Sets the feedback amount for the left channel. rhythmic feel of the delays.
Page 858: 094: Stereo Bpm Long Delay
094: Stereo BPM Long Delay The stereo delay enables you to match the delay time with L Feedback [+/–100] the song tempo. You can set the delay time up to 2,730msec. Sets the feedback amount for the left channel. R Feedback [+/–100] Stereo In - Stereo Out Left...
Page 859: 095: Stereo Bpm Multitap Delay
Delay 095: Stereo BPM Multitap Delay 095: Stereo BPM Multitap Delay This four-tap delay enables you to select a tempo and rhythm Source [Off…Tempo] pattern to set up each tap. Selects the modulation source of the Tap 2 feedback amount. Amount [+/–100] Stereo In - Stereo Out...
Page 860: 096: Stereo Bpm Mod. Delay
096: Stereo BPM Mod. Delay This stereo tempo delay uses either an LFO or a Dmod Dmod Sync [Check-box] source to modulate the delay time. This causes the delay’s This enables reset of the LFOs from a Dmod source, as pitch to vary, creating an effect which swells and shimmers selected below.
Page 861: 097: St. Bpm Auto Panning Dly
Delay 097: St. BPM Auto Panning Dly R Delay Base Note [ … ] L Feedback [+/–100] This sets the basic length of the Right Delay, relative to the Sets the amount of feedback for the left delay. Negative BPM setting. values invert the phase.
Page 862: 098: Tape Bpm Echo
Amount [+/–100] AUTO PAN Set the modulation amount of the panning width. Depth [0…100] Sets the panning width. OUTPUT This is the standard effects output section, with modulatable Source [Off…Tempo] control over wet/dry balance. For more information, see Selects the modulation source for the panning width. “OUTPUT”...
Page 863: 099: Reverse Bpm Delay
Delay 099: Reverse BPM Delay Feedback Tone Tap1…3 Feedback Amount [+/–100] High Damp [%] [0…100] Sets the individual tap’s feedback level. Negative values This cuts the high frequencies in both the main output and invert the phase. These individual levels are summed the feedback.
Page 864 Source [Off…Tempo] Selects the modulation source of feedback amount. Amount [+/–100] Sets the feedback amount. High Damp [%] [0…100] Sets the amount of high-frequency attenuation. Sync Source [Off…Tempo] Selects the modulation source that will reset the point at which the sound is captured for reverse playback. For more information, see “Reverse Time and Sync Source”...
Page 865: Reverb And Early Reflections
Reverb and Early Reflections 100: Overb Reverb and Early Reflections 100: Overb The Overb features a high-quality, diffusion-based reverb Diffusion1 [0…100] core. In addition to setting the size of the room, you can Diffusion 1 and 2 soften the sound before it enters the reverb model its shape and materials by adjusting the diffusion core, shaping the timbre of the initial reflections.
Page 866: 101: Reverb Hall
In real acoustic spaces, high frequencies generally delay MODULATION somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound. Rate [0.02…5.00] Bass Crossover [Hz] [20…24.00k] The O-Verb includes randomization in the reverberant wash, to diminish resonant peaks and add a rich character to the Sets the crossover frequency for the Bass Gain.
Page 867: 105: Reverb Room
Reverb and Early Reflections 105: Reverb Room Pre Delay Thru [%] [0…100] Reverb - Hall / Plate Type Level The un-delayed input is mixed together with the Pre Delay output, and the result is fed into the reverb. Pre Delay Thru controls the level of the un-delayed input (the Pre Delay level is always at maximum).
Page 868: 107: Early Reflections
107: Early Reflections This effect is only the early reflection part of a reverberation EARLY REFLECTIONS sound, and adds presence to the sound. You can select one of the four decay curves. Pre Delay [msec] [0…200] Sets the time taken from the original sound to the first early Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out reflection.
Page 869 Reverb and Early Reflections 108: Early Reflections Hi Dens Type [Sharp, Loose, Modulated, Reverse] Selects the decay curve for the early reflections. For more information, see “Type” on page 858. ER Time [msec] [10…1600] Sets the time length of early reflection. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance.
Page 870: Mono-Mono Serial
Mono-Mono Serial 109: P4EQ - Exciter through 140: Reverb - Gate provide MULTITAP DELAY serial chains of mono effects. These include various combinations of EQ, Compressor, Limiter, Exciter, Tap1 Time [msec] [0.0…1360.0] Overdrive, Wah, Chorus/Flanger, Phaser, Multitap Delay, Sets the Tap1 delay time. Gate, and Reverb, as described below.
Page 871 Mono-Mono Serial 108: Early Reflections Hi Dens Release [1…100] Gain [dB] [–18…+18] Sets the release time. For more information, see “Release Sets the gain of Mid/High EQ 2. [msec]” on page 764. Gain Adjust [dB] [–Inf, –38…+24] Sets the limiter output gain. For more information, see “Gain CONTROL Adjust [dB]”...
Page 872 FLANGER Resonance [+/–100] This controls the intensity of the phaser effect. Positive and Delay Time [msec] [0.0…1350.0] negative values create different timbres. Sets the delay time. Mixing the processed and dry signals via Wet/Dry will enhance the effect. For maximum intensity, set Resonance Depth [0…100] and Wet/Dry so that they are either both positive or both...
Page 873: 109: P4Eq - Exciter
Mono-Mono Serial 109: P4EQ - Exciter 109: P4EQ - Exciter This effect combines a mono four-band parametric equalizer PARAMETRIC EQ and an exciter. This is a 4-band parametric EQ. For detailed information, see “PARAMETRIC EQ” on page 860. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Parametric 4Band EQ...
Page 874: 112: P4Eq - Phaser
112: P4EQ - Phaser This effect combines a mono four-band parametric equalizer PARAMETRIC EQ and a phaser. This is a 4-band parametric EQ. For detailed information, see “PARAMETRIC EQ” on page 860. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Parametric 4Band EQ...
Page 875: 115: Comp - Amp Sim
Mono-Mono Serial 115: Comp - Amp Sim 115: Comp - Amp Sim This effect combines a mono compressor and an amp COMPRESSOR simulation. You can change the order of the effects. Pre EQ Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out For detailed information, see “Pre EQ”...
Page 876: 118: Comp - Chorus/Flanger
OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 762. 118: Comp - Chorus/Flanger This effect combines a mono compressor and a COMPRESSOR chorus/flanger. You can change the order of the effects. Pre EQ Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out For detailed information, see “Pre EQ”...
Page 877: 120: Comp - Multitap Delay
Mono-Mono Serial 120: Comp - Multitap Delay 120: Comp - Multitap Delay This effect combines a mono compressor and a multitap Pre EQ delay. You can change the order of the effects. For detailed information, see “Pre EQ” on page 861. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry...
Page 878: 123: Limiter - Phaser
CHORUS/FLANGER OUTPUT This is the standard effects output section, with modulatable Pre EQ control over wet/dry balance. For more information, see For detailed information, see “Pre EQ” on page 861. “OUTPUT” on page 762. LFO and FLANGER This effect can produce either chorusing or flanging, depending on the settings.
Page 879: 125: Exciter - Comp
Mono-Mono Serial 125: Exciter - Comp 125: Exciter - Comp This effect combines a mono exciter and a compressor. You EXCITER can change the order of the effects. Pre EQ Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out For detailed information, see “Pre EQ”...
Page 880: 128: Exciter - Phaser
128: Exciter - Phaser This effect combines a mono limiter and a phaser. EXCITER For detailed information, see “EXCITER” on page 860. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry PHASER Exciter Phaser EQ Trim...
Page 881: 131: Od/Hi Gain - Cho/Flanger
Mono-Mono Serial 131: OD/Hi Gain - Cho/Flanger 131: OD/Hi Gain - Cho/Flanger When Routing is set to Flanger > OD/HG, the Chorus/Flanger’s Output Mode will be grayed out and Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left internally set to Normal.
Page 882: 134: Wah - Amp Sim
134: Wah - Amp Sim This effect combines a mono wah and an amp simulation. You can change the order of the effects. For detailed information, see “WAH” on page 861. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Routing...
Page 883: 136: Decimator - Comp
Mono-Mono Serial 136: Decimator - Comp 136: Decimator - Comp High Damp [%] [0…100] Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Sets the amount of high-frequency attenuation. Left Wet / Dry Routing Decimator Compressor Resolution Output Level BIT SHAPE...
Page 884: 138: Cho/Flanger - Multitap Dly
138: Cho/Flanger - Multitap Dly This effect combines a mono chorus/flanger and a multitap LFO and FLANGER delay. This effect can produce either chorusing or flanging, depending on the settings. For detailed information, see “CHORUS/FLANGER” on page 861. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Note: Unlike the other Mono-Mono Serial effects, this...
Page 885 Mono-Mono Serial 140: Reverb - Gate High Damp [%] [0…100] Sets the amount of high-frequency attenuation. Reverb Time [sec] [0.1…10.0] Sets the reverberation time. Wet/Dry [Dry, 1:99…99:1, Wet] Sets the reverb effect balance. GATE For details on the Gate graphics, see “009: Stereo Gate” on page 772.
Page 886: Mono/Mono Parallel
Mono/Mono Parallel 141: P4EQ // P4EQ through 185: Mt.BPM Dly//Mt.BPM Amount [+/–100] Dly are parallel effects, with the left input going through one Sets the modulation amount for Wet/Dry. effect, and the right going through the other. These provide various combinations of 4-band EQ, Compressor, Limiter, Compressor Exciter, Overdrive, Wah, Chorus/Flanger, Phaser, and Multitap Delay, as described below.
Page 887 Mono/Mono Parallel 140: Reverb - Gate Gain Adjust [dB] [–Inf, –38…+24] Drive [1…100] Sets the output gain. See “Gain Adjust [dB]” on page 764. Sets the degree of distortion. OUTPUT Output Level [0…50] Sets the output level. [L000…C064…R127] Source [Off…Tempo] Sets the stereo image.
Page 888 OUTPUT LFO Frequency [Hz] [0.02…20.00] [L000…C064…R127] Sets the LFO speed. Sets the stereo image. Wet/Dry [Dry, 1:99…99:1, Wet] Sets the balance between the effect and the dry input. Frequency Bottom [0…100] Source [Off…Tempo] Sets the lower limit of the wah center frequency. See “Frequency Bottom”...
Page 889: 141: P4Eq // P4Eq
Mono/Mono Parallel 141: P4EQ // P4EQ Times [x1…x32] High Damp [%] [0…100] Sets the number of notes to specify the delay time for Tap1. Sets the amount of high-frequency attenuation. See “High See “Times” on page 825. Damp [%]” on page 833. Tap2 Base Note [ …...
Page 890: 143: P4Eq // Limiter
143: P4EQ // Limiter This effect connects a four-band EQ (p.876) and a limiter (p.876) in parallel. The pan and effect balance can be Stereo In - Stereo Out Parametric 4Band EQ adjusted independently for each. Wet / Dry Left For detailed information on the effects parameters, see “4 Trim Parametric 4Band EQ...
Page 891: 147: P4Eq // Chorus/Flanger
Mono/Mono Parallel 147: P4EQ // Chorus/Flanger 147: P4EQ // Chorus/Flanger This effect connects a four-band EQ and a chorus / flanger in parallel. The pan and effect balance can be adjusted Stereo In - Stereo Out Parametric 4Band EQ independently for each. Wet / Dry Left For detailed information on the effects parameters, see “4...
Page 892: 151: Comp // Limiter
151: Comp // Limiter This effect connects a compressor and a limiter in parallel. The pan and effect balance can be adjusted independently for Stereo In - Stereo Out Compressor each. Wet / Dry Left For detailed information on the effects parameters, see Envelope - Control Trim “Compressor”...
Page 893: 155: Comp // Chorus/Flanger
Mono/Mono Parallel 155: Comp // Chorus/Flanger 155: Comp // Chorus/Flanger This effect connects a compressor and a chorus / flanger in parallel. The pan and effect balance can be adjusted Stereo In - Stereo Out Compressor independently for each. Wet / Dry Left For detailed information on the effects parameters, see Envelope - Control...
Page 894: 159: Limiter // Exciter
159: Limiter // Exciter This effect connects a limiter and an exciter in parallel. The pan and effect balance can be adjusted independently for Stereo In - Stereo Out Limiter each. Wet / Dry Left For detailed information on the effects parameters, see Envelope - Control “Limiter”...
Page 895: 163: Limiter // Phaser
Mono/Mono Parallel 163: Limiter // Phaser 163: Limiter // Phaser This effect connects a limiter and a phaser in parallel. The pan and effect balance can be adjusted independently for Stereo In - Stereo Out Limiter each. Wet / Dry Left For detailed information on the effects parameters, see Envelope - Control...
Page 896: 167: Exciter // Wah
167: Exciter // Wah This effect connects an exciter and a wah in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Exciter Wet / Dry For detailed information on the effects parameters, see Left “Exciter”...
Page 897: 171: Od/Hi Gain // Od/Hi Gain
Mono/Mono Parallel 171: OD/Hi Gain // OD/Hi Gain 171: OD/Hi Gain // OD/Hi Gain This effect connects two overdrives in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Overdrive / Hi-Gain Wet / Dry For detailed information on the effects parameters, see Left...
Page 898: 175: Od/Hi Gain // Mt Bpm Dly
175: OD/Hi Gain // Mt BPM Dly This effect connects an overdrive and a multitap BPM delay in parallel. The pan and effect balance can be adjusted Stereo In - Stereo Out Overdrive / Hi-Gain independently for each. Wet / Dry Left For detailed information on the effects parameters, see Overdrive / Hi-Gain...
Page 899: 179: Wah // Multitap Bpm Dly
Mono/Mono Parallel 179: Wah // Multitap BPM Dly 179: Wah // Multitap BPM Dly This effect connects a wah and a multitap BPM delay in parallel. The pan and effect balance can be adjusted Stereo In - Stereo Out Wah / Auto Wah independently for each.
Page 900: 183: Phaser // Phaser
183: Phaser // Phaser This effect connects two phasers in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Phaser Wet / Dry For detailed information on the effects parameters, see Left “Phaser”...
Page 901: Vintage
Vintage 186: Small Phase Vintage 186: Small Phase This classic phaser, made in New York City during the 70s, has a notably warm and rich tone with liquid transparency. Speed [Hz] [0.10…10.00] Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out This controls the speed of the phaser’s LFO.
Page 902: 188: Black Phase
188: Black Phase Inspired by a classic European phaser pedal. Resonance [000…100] This controls the intensity of the phaser effect. Mixing the processed and dry signals via Wet/Dry will enhance the Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out effect.
Page 903: 190: Black Chorus
Vintage 190: Black Chorus 190: Black Chorus Modeled after a classic stereo chorus known for both crystal- clean tone and quiet operation, and especially well-suited to tine electric pianos. Speed [Hz] [0.10…10.00] This controls the speed of the LFO. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Source [List of Dmod Sources]...
Page 904: 192: Vintage Flanger
Source [List of Dmod Sources] OUTPUT This selects a modulation source to control the Speed. For a This is the standard effects output section, with modulatable list of Dmod sources, see the “Dynamic Modulation Source control over wet/dry balance. For more information, see List”...
Page 905: 194: Vox Wah
Vintage 194: Vox Wah Level [0…100] Source [List of Dmod Sources] Compression reduces the overall gain of the signal. This Selects a modulation source for Wet/Dry. allows you to compensate for that effect, by boosting the Amount [–100…+100] gain again at the output. Sets the modulation amount for Wet/Dry.
Page 906: 195: Stereo Ep Cabinet
195: Stereo EP Cabinet This effect models the built-in speaker and amplifiers of a set Source [List of Dmod Sources] of classic electric pianos, based on the amps and cabinets This selects a modulation source to control the Drive. from the EP-1. Amount [–100…+100] This controls the depth and direction of the Drive...
Page 907: 197: Rotary Speaker Pro Cx Custom
Vintage 197: Rotary Speaker Pro CX Custom Bass [-10…+10] This adjusts the low frequency range of the amp. Treble [-10…+10] This adjusts the high frequency range of the amp. OUTPUT This is the standard effects output section, with modulatable [-10…+10] control over wet/dry balance.
Page 908 relatively easy in the software world of the NAUTILUS, and HORN it gives you separate control over the tone and stereo spread of the high and low frequencies. The horn carries the effect’s high frequencies, while the rotor carries the low frequencies. The other rotary speaker effects have only one pair of mics, but are otherwise similar;...
Page 909: Appendices
Appendices Alternate Modulation Sources (AMS) Alternate Modulation Overview Alternate Modulation lets you use controllers, envelopes, For instance, they can add two AMS sources together, or use LFOs, etc. to modulate Program parameters. They’re called one AMS source to scale the amount of another. You can “Alternate Modulation”...
Page 910 Appendices Alternate Modulation - EXi AL-1 Analog Synthesizer Type Common LFO Common Step Seq Shape Shape Shape Shape Intensity Mod Intensity Mod Intensity Mod Intensity Mod Start Mod Intensity Mod Frequency Mod 1 Frequency Mod 1 Frequency Mod 1 Frequency Mod 1 Shape LFO1 LFO2...
Page 911: Alternate Modulation Source (Ams) List
Alternate Modulation Sources (AMS) Alternate Modulation Source (AMS) List Alternate Modulation Source (AMS) List Value Slider (CC#18) Physical and MIDI controllers You can use the value slider as a modulation source, but only when the following are true: • You’re on the PROGRAM > Home page, and the big This means that no modulation source is selected.
Page 912 It corresponds to MIDI CC#64. Note: When used as a reset controller for Common LFO and Common Step Sequencer, Gate2 and Gate2+Damper will When using Korg’s optional half-damper pedal, the DS-1H, have the same effect. this AMS source is continuous–not just on/off.
Page 913 Alternate Modulation Sources (AMS) Alternate Modulation Source (AMS) List AMS Mixer1&2 Common Key Track1&2 These are the outputs of the oscillator’s AMS Mixers. For These are the outputs of the two Common Key Track more information, see “6–1: OSC 1 AMS Mix” on page 89. generators, which are shared between both EXi.
Page 914 Appendices Filter Key Track and Amp Key Track EG2…3 These are the outputs of the Filter and Amp Key Track These are the outputs of the two assignable EGs (in addition generators, respectively. For more information, see “5–3: to the original Polysix EG). For more information, see “7–1: Filter Mod.”...
Page 915: Alternate Modulation Settings
Alternate Modulation Sources (AMS) Alternate Modulation settings Alternate Modulation settings When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the table below. By using alternate modulation, you can create complex systems of modulation in which EG, LFO, keyboard tracks, and controllers work together.
Page 916 Appendices HD-1 AMS AMS source EXT(+/–) *1 & value range –Max… Wave Filter & Common 0…+Max Pitch & Common Note LFO1 & 2 Key Track EXT(+) Filter EGs AMS Out Number Key Track 1 & 2 1 & 2 –99… –99…...
Page 917 Alternate Modulation Sources (AMS) Alternate Modulation settings Wave –63…0…+63 0…+63 Sequence 0…+63 –63…0…+63 – – – – Position Wave Sequence 400% 1x…4x 1/100x…1x…4x – 1/100x…1x…4x 1x…4x Step Duration Notes for the table: Pitch LFO 1/2 Intensity (PROGRAM 2–2c) EXT(+–): JS X, CC#16, CC#17, CC#19, Knob Pitch modulation intensity of the LFO1/2 can be controlled Mod.5 (CC#20), Knob Mod 6 (CC#21) by the wave sequence’s AMS Out, Common LFO, an EG,...
Page 918 Appendices AMS to LFO for Filter A and Filter B, and set the LFO Driver Drive (PROGRAM 4–1a) to +99 and –99 respectively. The output of Filter A and Driver Low Boost (PROGRAM 4–1a) Filter B will be cyclically faded-in/out by the LFO. You can use the wave sequence’s AMS Out, EG, LFO, keyboard tracking, controllers, and tempo etc.
Page 919 Alternate Modulation Sources (AMS) Alternate Modulation settings preceding point is reached. For example, the Alternate Pan (PROGRAM 4–1c) Modulation value at the moment the envelope reaches the The oscillator pan can be controlled by the wave sequence’s attack level will determine the decay time. AMS Out, EG, LFO, keyboard tracking, controllers, or tempo etc.
Page 920: Dynamic Modulation Sources (Dmod)
Appendices Dynamic Modulation Sources (Dmod) Overview You can control certain effect parameters using the joystick, Dynamic Modulation (Example) “on the fly.” Wet / Dry Wet / Dry=10:90 Controlling effects in this way is referred to as Dynamic Amt= +50 Modulation. For example, you can push the joystick up to Wet / Dry=60:40 Amt= –50 speed up the LFO of the chorus or flanger, to create a wah-...
Page 921 Dynamic Modulation Sources (Dmod) Dynamic Modulation Source List Gate1, Gate1+Damper Knob Mod.5 (CC#20) Knob Mod.6 (CC#21) The effect is at maximum during note-on, and will stop when all keys are released. With Gate1 + Damper, the effect will When the SELECT button on the front panel is set to remain at maximum even after the keys are released, as long “SOUND”, knob 5 (EFFECT) will output a CC#20 message.
Page 922 Appendices MIDI/Tempo Sync function The MIDI/Tempo Sync function can be used with most effects that have an LFO, such as “016:Stereo Wah/Auto Wah”, and with some delay-type effects such as “091:L/C/R BPM Delay”. The function can also be used with the Common FX LFO.
Page 923: Controller Assignments
Controller Assignments SW1/2 Assignments Controller Assignments SW1/2 Assignments Switch assignments are saved separately with each Program, 3. Release the joystick. Combination, and Song. In SAMPLING mode, assignments Since SW2 is locking JS+Y, the filter remains open, even apply to the entire mode. For more information, see: though the joystick has physically snapped back to its center position.
Page 924: Rt Control Knobs 1-6 Assignments
Appendices RT Control Knobs 1–6 Assignments The RT control knobs 1–6 can be set to control the following If both CC#7 and CC#11 are used simultaneously, the one functions when the SELECT button on the front panel is set with the lower value determines the maximum volume, and to “USER”.
Page 925: Foot Switch Assignments
SELECT button on the front panel is set to “SOUND”. Foot Switch Assignments You can connect a footswitch (such as the optional Korg PS- Sostenuto (CC#66) 1) to the rear-panel ASSIGNABLE SWITCH input, and then This controls the sostenuto effect, which holds only the notes use it to control a wide variety of functions, as described being played at the moment that the footswitch is turned on.
Page 926 Appendices Tap Tempo This duplicates the function of the front-panel TAP button, for setting the system tempo in real-time. ARP ON/OFF The foot switch will turn ARP on/off. ARP LATCH ON/OFF The foot switch will turn ARP LATCH on/off. JS+Y (CC#01) The switch will control the effect produced by joystick movement in the +Y direction (Vertical upward).
Page 927: Foot Pedal Assignments
Controller Assignments Foot Pedal Assignments Foot Pedal Assignments You can connect a pedal (such as the optional Korg XVP-20 MFX Send 1 & 2 (CC#s 93 & 91) or EXP-2) to the rear-panel ASSIGNABLE PEDAL input, These control the send levels to Master Effects 1 and 2, and then use it to control a wide variety of functions, as respectively.
Page 928 Appendices MIDI transmission from NAUTILUS controllers MIDI Messages and physical controllers Available X-Y CC Control LATCH DRUM Foot Foot Available MIDI messages Joystick SW1, 2 Damper Control Control Knob On/Off On/Off On/Off Switch Pedal for AMS Dmod 1...6 Note-off (velocity) *(1) Note-on (note number) Note-on (velocity)
Page 929 MIDI transmission from NAUTILUS controllers Foot Pedal Assignments Available X-Y CC Control LATCH DRUM Foot Foot Available MIDI messages Joystick SW1, 2 Damper Control Control Knob On/Off On/Off On/Off Switch Pedal for AMS Dmod 1...6 Foot switch On/Off Controller (CC#83) –...
Page 930 Appendices Fixed assignments SEQUENCER mode The following physical controls have fixed assignments to When one of the NAUTILUS’s controllers is operated, its MIDI CCs: effect will apply to the MIDI track 1–16 that is selected by Track Select (SEQUENCER 0–1a). Joystick +Y Modulation 1 (CC#1) If the Status (SEQUENCER 2–1a) of the track selected by...
Page 931: Nautilus And Midi Ccs
NAUTILUS and MIDI CCs Responses to standard MIDI controllers NAUTILUS and MIDI CCs Responses to standard MIDI controllers The following table shows the relationships between MIDI CCs, physical controls on the NAUTILUS, and synthesis and effects parameters. Name Range Notes Bank select (MSB) 0…127 Bank Select message MSB...
Page 932 Appendices Name Range Notes Decay time 0…127 Scales Decay and Slope times of the filter and amp EGs LFO1 speed 0…127 Scales LFO1 speed LFO1 depth 0…127 Scales amount of pitch modulation by LFO1 LFO1 delay 0…127 Scales LFO1 delay Filter EG intensity 0…127 Scales amount of cutoff modulation by filter EG...
Page 933 NAUTILUS and MIDI CCs Responses to standard MIDI controllers RPN CC#100=0 (Pitch Bend Range) *5 Effect Depths 2, 4, and 5 These CCs are recognized only on the global MIDI channel. CC#06 Bend range, Semitones VALUE slider and CC#18 Most of the time, the VALUE slider is used only for entering values.
Page 934: Parameters Controlled By Midi Ccs #70-79
Appendices Parameters controlled by MIDI CCs #70-79 MIDI CCs#70–79 have fixed assignments to control basic • “SGX-2” on page 926 Program parameters, for quick and simple control of timbre. • “EP-1” on page 926 You can use these CCs from MIDI, or from the front-panel These CCs modulate the underlying parameters, instead of controls.
Page 935 NAUTILUS and MIDI CCs Parameters controlled by MIDI CCs #70-79 EG Times: EG 1 (Filter) Attack (see page 170) Amp EG Attack (see page 167) Amp EG Time Modulation: Attack (see page 167) 73 (Attack time) EG Levels: Amp EG Start (see page 166) Amp EG Attack (see page 166) Amp EG Level Modulation: Start (see page 167) 74 (Filter cutoff frequency)
Page 936 Appendices EG Times: EG 8 (Filter) Attack (see page 341) Amp EG Attack (see page 167) Amp EG Time Modulation: Attack (see page 167) 73 (Attack time) EG Levels: Amp EG Start (see page 166) Amp EG Attack (see page 166) Amp EG Level Modulation: Start (see page 167) 74 (Filter cutoff frequency) Filter A&B Frequency (see page 157)
Page 937: Midi Applications
MIDI applications About MIDI MIDI applications About MIDI MIDI stands for Musical Instrument Digital Interface, and is more MIDI devices, performance data can be exchanged a world-wide standard for exchanging various types of between the devices, even if they were made by different musical data between electronic musical instruments and manufacturers.
Page 938: Usb Midi Controllers
NAUTILUS. If the controller supports different internal MIDI clock is not supported from USB MIDI devices. setups (such as Scenes on Korg devices), you can switch between them to change the controller’s functionality. System Exclusive messages from USB MIDI devices are limited to 16-bytes.
Page 939: Messages Transmitted And Received By The Nautilus
• The global MIDI channel is used to transmit/ receive number will depend on the “Bank Map” setting exclusive data and for messages that switch effects (GLOBAL 0–1d). Korg is the default setting. For more on/off. information, see “Bank Map” on page 633.
Page 940 COMBINATION and SEQUENCER modes. Pitch bend • The GLOBAL > Basic Setup– Bank Map (Korg, Pitch bend change [En, bb, mm] GM(2)) parameter does not affect the reception or transmission of Set List Program and Bank Select (n: channel, bb: lower byte of the value, mm: upper byte of messages.
Page 941 MIDI applications Messages transmitted and received by the NAUTILUS and the X-Y Control, you will normally use the default on page 913) settings that are assigned when you execute GLOBAL > • In COMBINATION and SEQUENCER modes, Controllers/Scales– the page menu command “Reset transmission/reception of this message can be turned Controller MIDI Assign”...
Page 942 Appendices Send 1/2 settings. For more information, see “OSC1 Controlling pan (stereo position) Send1 (to MFX1)” on page 99. • In SEQUENCER mode, when you adjust Send 1 Pan (CC#10) [Bn, 0A, vv] (MFX1) or Send 2 (MFX2), or when you re-select a (vv: value, where 00 is far left, 64 is center, and 127 is far song or return to the beginning of the measure, Send 1/2 right)
Page 943 This message is transmitted when you operate a damper NAUTILUS’s RT control knobs 1–4. pedal (Korg DS-1H etc.) connected to the DAMPER jack, Sustain level (CC#70) [Bn, 46, vv] and the damper effect will be turned on/off. If the DS-1H is Attack time (CC#73) [Bn, 49, vv] used, a half-damper effect can be applied.
Page 944 Transposing NAUTILUS will respond by transmitting an inquiry RPN coarse tune [Bn, 65, 00, 64, 02] message that means “I am a Korg NAUTILUS, with system This RPN message adjusts the transposition for Programs, version …” Combination Timbres, and Sequencer Tracks.
Page 945 MIDI applications Messages transmitted and received by the NAUTILUS Master coarse tuning [F0, 7F, nn, 04, 04, vv, mm, F7] Editing sounds via SysEx (Normally only the upper byte mm is used. A value of 8192 [mm, vv=40, 00] is center, 6656 [mm, vv=34, 00] is –12 By using various MIDI System Exclusive data dumps, you semitones, and 9728 [mm, vv=4C, 00] is +12 semitones.) can rewrite all programs or an individual program.
Page 946 Appendices Using the external MIDI device as master and the Playing the NAUTILUS multi-timbrally NAUTILUS as slave from an external device Connect the NAUTILUS’s MIDI IN connector to the MIDI OUT connector of the external MIDI device. The NAUTILUS can be connected to an external device and played multi-timbrally in the following ways.
Page 947 MIDI applications Messages transmitted and received by the NAUTILUS 2. On GLOBAL P1: MIDI, enable Local Control On. Un-synchronized clocks 3. Make the following ARP External Routing settings If you need to record tempo changes in real-time, instead of (GLOBAL 1–1b). re-creating them later, you can also record without synchronizing the clocks.
Page 948 Appendices When a SMF is loaded into a song in MEDIA mode, the program bank that is selected will differ depending on the “Bank Map” (GLOBAL 0–1d) setting. When playing/loading SMF data that conforms to the GM specifications, set “Bank Map” to GM(2). SEQUENCER mode In MEDIA mode when you convert a song into a Standard MIDI File and save it, you can choose either format 0 or...
Page 949: Media Mode And File Format Information
MEDIA mode and file format information AIFF and WAVE format details: importing MEDIA mode and file format information AIFF and WAVE format details: importing AIFF files WAVE files When data is loaded into the NAUTILUS, the following four When loading, the NAUTILUS references the Format chunks are referenced: Common chunk, Sound Data chunk, Chunk, Sample Chunk, and Wave Data.
Page 950: Korg Format Sample Files
6–0 original key Loading TRINITY files into the NAUTILUS Top key (0–127) [1 byte] When a Korg format file saved on the TRINITY is loaded Tune (–99…+99 cents) [1 byte] into the NAUTILUS: Level (–99…+99 cents) [1 byte] •...
Page 951 MEDIA mode and file format information Korg format sample files If the .KSF filename is “SKIPPEDSAMPL”, it will be Attributes [1 byte] treated as a sample skipped during loading. Loop tune (–99…+99 cents) [1 byte] Legacy files may include .KSF filenames of...
Page 952 Save dialog. NAUTILUS 2.0. For this reason, references to EXs0…EXs125 are still written in the #2 style, for KSC files have been used in previous Korg products, backwards compatibility. including the TRITON and OASYS. These products used the KSC 1.0 format, while the NAUTILUS uses a the new,...
Page 953 MEDIA mode and file format information Korg format sample files Example file 1 Here’s a simple pair of KSC files. Somethings.KSC contains some SAMPLING mode data, and so when saving the system also creates Somethings_UserBank.KSC. The file Somethings.KSC: #KORG Script Version 1.0 #uuid:5a27d1e1-63c7-4d32-92fa-f6bc95ee6ee6 DOODL000.KMP...
Page 954 Here’s a more complicated example. MyCollection.KSC and the associated MyCollection_UserBank.KSC contain both SAMPLING mode data and references to other data, including references to MS/DS from EXs1 and references to samples in a User Sample Banks called OtherThings. The file MyCollection.KSC: #Korg Script Version 1.0 #uuid:c8ea3f90-6f2a-11e1-b0c4-0800200c9a66 NEWMS000.KMP NEWMS001.KMP NEWMS002.KMP...
Page 955: Oasys .Sng File Compatibility
2.0 data. KSF filename convention (samples used by the multisample) The first line of the file must begin with “#Korg Script M S 0 0 1 0 0 3 . K S F Version 1.0” and subsequent lines (except for comment lines) consist only of filenames.
Page 956: Cd-R/Rw Disks On The Nautilus: Udf And Packet-Writing
CD-RWs) into ISO9660. This makes it possible for the data Re-formatting: Data that has been written to CD-R cannot to be read by other Korg devices that support the ISO9660 be erased as it can on a floppy disk. This means that re-...
Page 957: Notice: Use Of Gpl And Lgpl Software
The Korg NAUTILUS software is copyright Korg Inc., and is independent of Linux. Its use is covered by the Korg NAUTILUS Software License, described elsewhere in the documentation. The GPL license does not apply to this software, and its source code is not provided.
Page 958: Updating The System
USB storage device. The most recent system update can be downloaded to a 12.Wait approximately ten seconds, and then turn the computer from the Korg website power on again. (http://www.korg.com/NAUTILUS). For more details, see The system version number is shown on the startup the instructions on the website.
Page 959: Restoring The System And Factory Sounds
These three options will not alter any user data stored connected DVD drive. Download the recovery disk image on the disk, as long as it is not stored in the FACTORY file from the Korg website, and burn the image to folder. commercially-available DVD-R media from your computer.
Page 960 If for some reason the NAUTILUS will no longer start up normally, try this option first. It does the following: When contacting your Korg dealer or distributor, let them know that you need to re-authorize your NAUTILUS, and • Restores the system software on the internal hard drive.

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Nautilus-61

Korg NAUTILUS Series Parameter Manual

About this Manual

PROGRAM Mode: HD-1

HD-1 Overview

PROGRAM > Home

PROGRAM > Basic/X-Y/Controllers

PROGRAM > Osc/Pitch

PROGRAM > Filter

PROGRAM > Amp/Eq

Program > Lfo

PROGRAM > AMS Mixer/Common Keytrack

Program > Ifx

Program > Mfx/Tfx

HD-1: Tone Adjust

PROGRAM: Page Menu Commands

PROGRAM Mode: Exi

Exi PROGRAM > Home

Exi PROGRAM > Basic/X-Y/Controllers

Exi PROGRAM > Modulation

Exi PROGRAM > EQ

Exi PROGRAM > IFX

Exi PROGRAM > MFX/TFX

Exi PROGRAM: Page Menu Commands

Exi: AL-1 Analog Synthesizer

AL-1 Overview

Exi PROGRAM > Home

PROGRAM > AL-1: Osc/Pitch

PROGRAM > AL-1: Filter

PROGRAM > AL-1: Amp

Program > Al-1: Eg 1-4

PROGRAM > AL-1: Step Seq/Lfo

PROGRAM > AL-1: AMS Mixer

AL-1: Tone Adjust

Exi AL-1: Page Menu Commands

Exi: CX-3 Tonewheel Organ

CX-3 Overview

Exi PROGRAM > CX-3: Play

PROGRAM > CX-3: Basic

PROGRAM > CX-3: Split & Drawbars

PROGRAM > CX-3: Percussion

PROGRAM > CX-3: Amp, V/C, Rotary Speaker

PROGRAM > CX-3: AMS Mixer

CX-3: Tone Adjust

Changes from the Original CX-3

Exi CX-3: Page Menu Commands

Exi: STR-1 Plucked String

STR-1 Overview

Exi PROGRAM > STR-1: Home

PROGRAM > STR-1: String

PROGRAM > STR-1: Filter

PROGRAM > STR-1: Amp

Program > Str-1: Eg 1-4

Program > Str-1: Lfo 1-4

PROGRAM > STR-1: AMS Mixers/String Track

STR-1: Tone Adjust

Exi STR-1: Page Menu Commands

Exi: MS-20EX

MS-20EX Overview

Exi PROGRAM > MS-20EX: Home

PROGRAM > MS-20EX: Oscillators & Filters

PROGRAM > MS-20EX: MG, EG, and

Modulation

PROGRAM > MS-20EX: Patch Panel

Program > Ms-20Ex: Eg

Program > Ms-20Ex: Lfo

PROGRAM > MS-20EX: AMS Mixers

MS-20EX: Tone Adjust

Exi MS-20: Page Menu Commands

Exi: Polysixex

Polysixex Overview

Exi PROGRAM > Polysixex: Home

PROGRAM > Polysixex: Main

PROGRAM > Polysixex: Modulation

Arpeggiator

PROGRAM > Polysixex: EG

PROGRAM > Polysixex: LFO

PROGRAM > Polysixex: AMS Mixers

Polysixex: Tone Adjust

Exi Polysixex: Page Menu Commands

Exi: MOD-7 Waveshaping VPM