Creating Time-Varying Changes (Lfo And Eg) - Korg KROSS Operation Manual

Creating time-varying changes
(LFO and EG)
Using LFOs
You can use the cyclic change produced by the LFO (Low
Frequency Oscillator) to modulate numerous aspects of the
sound.
Each Program has two LFOs: LFO1 and LFO2. There is also
a single Common LFO, shared by both Oscillators. While
LFO1 and LFO2 are separate for each voice, the Common
LFO is shared by all voices in the Program. This makes it
useful when you want all of the voices to have an identical
LFO effect.
You can use these LFOs to modulate many different
Program parameters, including:
• Pitch (for vibrato)
• Filters (for wah effects)
• Volume (for tremolo)
• Pan (for auto-panning)
The LFOs can modulate many other parameters, in addition
to those listed above.
Using the basic LFO
1. Access the P-OSC LFO> 1. WAV page.
OSC Waveform
2. Select the oscillator (OSC) that you want to edit. (see
page 30)
3. Select a Waveform.
Step through the various waveforms, and notice their
shapes shown in the display.
There are a number of waveforms to choose from. Each
are suited to different applications:
Triangle and Sine are the classic LFO shapes for vibrato,
tremolo, panning, and filter wah effects.
Square is useful for gated on and off filter and amp
effects, and can create trills when modulating pitch.
The Guitar waveform is designed especially for guitar
vibrato; it bends only upwards from the base value.
Saw and Exp. (Exponential) Saw Down are good for
rhythmic filter and amp effects.
Random 1 (S/H) creates the classic sample-and-hold
effect, which is great for modulating a resonant filter.
4. After looking at the different waveforms, select
Triangle.
5. Select the Shape parameter, and use the VALUE dial
to move through its different settings, from –99 to +99.
Notice how the shape of the waveform becomes more
curved, and how –99 emphasizes the lower part of the
shape, and +99 emphasizes the upper part.
Detailed Editing with Programs Creating time-varying changes (LFO and EG)
6. Select the Phase parameter, and use the VALUE dial
to sweep through its range of values.
Notice how the waveform shifts from side to side.
Among other things, this lets you offset the LFOs from
one another in time, which can create interesting organic
effects.
7. Use the Fade and Delay settings to control the way the
LFO sounds at the beginning of the note.
8. Access the P-OSC LFO> 1. FRQ page.
9. Use the FREQUENCY parameter to set the speed of
the LFO.
For more information on LFOs, please see page 39 of the
Parameter Guide.
All of these parameters control the way that the LFO
works. In order for the LFO to actually affect the sound,
you can use the dedicated LFO routings on the Filter,
Pitch, and Amp pages, or use the LFOs as AMS sources
for a wide variety of parameters.
Using EGs (Envelope Generators)
An envelope creates a modulation signal by moving from
one level to another over a specified time, and then moving
to another level over another period of time, and so on.
The Program includes three EGs, for Pitch, Filter, and Amp.
These produce time-varying changes in pitch, tone, and
volume respectively. They can also be used to modulate a
number of other program parameters via AMS.
Attack Level
note-on
Level
Decay Time
Attack Time
Start Level
Note: The parameters that can be modulated by an EG and
the range of values will differ depending on the EGs
provided for each section.
note-off
Break Level
Sustain Level
Release Time
Slope Time
Release
Level
Time
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