Page 1 Patches & Effects Guide This is a hypertext-enabled document. All references to page numbers are live links. Just click on the page number, and the document will go there automatically!
Page 2 Third-Party Products Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Korg assumes no responsibility with regard to the performance or use of these products. Manual Version: 10/19/01 Copyright 1999-2001 Korg Inc. All rights reserved.
Page 3: Table Of Contents
Contents General Information............... 1 Modulation Sources ......................2 MIDI Tempo LFOs ........................5 Patches ..................7 Analog Synths................8 Analog 1 Osc ..........................9 Analog 2 Osc ........................14 Analog Bass-Lead ........................22 Comb Synth ..........................28 KB-303 ...........................35 Mini Synth ..........................38 Noise Synth ..........................44 Pro Synth ..........................50 Pro Synth Mod ........................57 EP (Electric Piano)..............
Page 4 Xenon 2 ..........................144 Xenon 2i ..........................153 Xenon 4 ..........................162 Xenon 4+ ........................... 171 Xenon 4m .......................... 180 Percussion ................190 Percussion Synth ......................191 Percussion Synth 2 ......................193 Beat Box ..........................196 VPM ..................199 VPM 2 OP .......................... 200 VPM 4 OP ..........................
Page 5 Dual MIDI Gate ........................ 287 Expander Gate ........................289 Limiter ..........................292 MIDI Gate .......................... 294 St Compressor ......................... 296 St Expander Gate ......................298 St Limiter ..........................301 Delay..................303 3Tap Delay A ........................304 3Tap MidiDly ........................307 40Sec MidiDly ........................
Page 6 Graphic EQ 10 ........................388 Graphic EQ 7 ........................390 High Cut Filter ........................392 High-Low Shelf ........................393 Low Cut Filter ........................395 St 3-Band EQ ........................396 St 5-Band EQ ........................398 St Graphic EQ10 ......................401 St Hi-Lo Shelf ........................403 St HighCut Filter ......................
Page 7 Organ FX ................503 Rotary Speaker ......................... 504 Vibrato Chorus ......................... 508 Other Effects ............... 509 Decimator .......................... 510 LR Gain ..........................512 Piano Body ......................... 513 St Decimator ........................515 St Gain ..........................516 Sub Oscillator ........................517 The Producer ........................520 Pan &...
Page 8 O-Verb LE .......................... 617 O-Verb XL ......................... 619 Room Ambience ....................... 625 Room Reverb ........................627 Index ..................629 viii OASYS PCI...
Page 9: General Information
General Information...
Page 10: Modulation Sources
Modulation Sources General Information Modulation Sources You can modulate any parameter on any Patch or Effect control panel, using any of these MIDI modulation sources. For more information, see the Using Modulation section in the Users Guide. List of Modulation Sources None.
Page 11 General Information Modulation Sources Mod Wheel. MIDI Modulation Wheel (controller #1). Aftertouch. MIDI Aftertouch. Mod Wheel+AT. This is the sum of Mod Wheel and Aftertouch. Mod Wheel+AT/2. This is similar to Mod Wheel+AT, but the affect of Aftertouch is cut in half. Pitchbend.
Page 12 Modulation Sources General Information Keyboard Tracking Linear +127 +127 +127 -127 -127 -127 MIDI Note MIDI Note MIDI Note Left Lin Left Exp Left Log +127 +127 +127 -127 -127 -127 MIDI Note MIDI Note MIDI Note Right Lin Right Exp Right Log +127 +127...
Page 13: Midi Tempo Lfos
General Information MIDI Tempo LFOs MIDI Tempo LFOs Use the LFO's MIDI Phase Reset The OASYS PCI’s MIDI-synced LFOs can be triggered via MIDI. This ensures that the LFO starts in phase with the music.You can include one or more triggers in the MIDI sequence, so that the LFO sounds the same every time.
Page 14 MIDI Tempo LFOs General Information the LFO being out of phase, so that it doesn't sit properly in the groove. To avoid this: Leave a blank measure at the start of the sequence. Start your MIDI data, and send the ﬁrst LFO trigger, in measure 2. OASYS PCI...
Page 15: Patches
Patches Patches OASYS PCI...
Page 16: Analog Synths
Analog Synths Analog Synths OASYS PCI...
Page 17: Analog 1 Osc
Analog Synths Analog 1 Osc Analog 1 Osc Analog 1 Osc is a one-oscillator analog synth model, including a 24dB per octave lowpass ﬁlter, pulse width modulation, noise generator, ﬁlter and amplitude ADSR envelopes, and a routable LFO. Oscillator Frequency +/- 24.
Page 18 Analog 1 Osc Analog Synths Glide Glide 0-100. This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off. At 100, notes will take a long time to glide to the new pitch. Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window.
Page 19 Analog Synths Analog 1 Osc Envelope amount affect on cutoff frequency +100 Key Track +/- 100. This adjusts the ﬁlter cutoff in response to incoming MIDI notes, as shown below. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Page 20 Analog 1 Osc Analog Synths Release 0-100. This sets the release time of the ﬁlter envelope, which controls how long it takes the envelope to fall to zero after the note is released. ADSR Envelope Sustain Level Attack time Decay time Sustain while Release time holding note...
Page 21 Analog Synths Analog 1 Osc Waveform Sine, Triangle, Saw, Square. This sets the shape of the LFO. LFO Mod Oscillator Freq On, Off. When this is enabled, the LFO will modulate the pitch of the oscillator. Pulse Width On, Off. When this is enabled, the LFO will modulate the oscillator’s pulse width. Filter Cutoff On, Off.
Page 22: Analog 2 Osc
Analog 2 Osc Analog Synths Analog 2 Osc Analog 2 Osc is a two-oscillator analog synth model, including a 24dB per octave multi-mode, multi-pole ﬁlter, pulse width modulation, colored noise generator, ring modulator, ﬁlter and amplitude ADSR envelopes, and a routable LFO. Oscillator 1 Frequency +/- 24.
Page 23 Analog Synths Analog 2 Osc Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Key Track +/- 100. This sets the way in which the oscillator’s pitch tracks MIDI notes, centered on E4. 100 is normal tracking, with one octave of MIDI notes resulting in one octave of pitch change.
Page 24 Analog 2 Osc Analog Synths Noise 0-100. This controls the output level of the noise generator. The button to the right of the knob turns the output on and off completely. Glide Glide 0-100. This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes.
Page 25 Analog Synths Analog 2 Osc pitch. At medium settings, the resonance will alter the timbre of the ﬁlter, but will not usually be heard as a separate pitch. The timbre and intensity of the resonance will change depending on the ﬁlter Type setting - 4 Pole, 2 Pole, or 2 Pole > 2 Pole. Envelope +/- 100.
Page 26 Analog 2 Osc Analog Synths Key Tracking Key Track amount +100 +100 -100 -100 MIDI Note Mode Lowpass, Highpass, Bandpass. This selects whether the ﬁlter will cut high frequencies (Lowpass), cut low frequencies (Highpass), or cut all frequencies above and below the cutoff point (Bandpass). Lowpass.
Page 27 Analog Synths Analog 2 Osc Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the ﬁlter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 28 Analog 2 Osc Analog Synths Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held. Release 0-100. This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Page 29 Analog Synths Analog 2 Osc Output Volume +12 to -123.9dB, -INF. This is the output volume for the Patch. This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Page 30: Analog Bass-Lead
Analog Bass-Lead Analog Synths Analog Bass-Lead Analog Bass-Lead is a simple one-oscillator analog synth model, including a 12dB per octave lowpass ﬁlter, pulse width modulation, ADSR ﬁlter envelope, attack- release amplitude envelope, and a routable LFO. Oscillator Frequency +/- 24. This sets the coarse tuning of the oscillator over a four-octave range, in half- steps.
Page 31 Analog Synths Analog Bass-Lead Glide 0-100. This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off. At 100, notes will take a long time to glide to the new pitch. Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window.
Page 32 Analog Bass-Lead Analog Synths Filter Cutoff 0-100. This controls the cutoff frequency of the 12dB per octave lowpass ﬁlter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged. Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Page 33 Analog Synths Analog Bass-Lead Envelope amount affect on cutoff frequency +100 -100 Key Track +/- 100. This adjusts the ﬁlter cutoff in response to incoming MIDI notes, as shown below. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Page 34 Analog Bass-Lead Analog Synths Decay 0-100. This sets the decay time of the ADSR envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete. Sustain 0-100. This sets the sustain level for the ADSR envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Page 35 Analog Synths Analog Bass-Lead Filter Cutoff On, Off. When this is enabled, the LFO will modulate the ﬁlter cutoff frequency. Initial 0-100. This sets the initial amount of LFO modulation. Mod Source List of Modulation Sources. This sets the modulation source for controlling the LFO amount.
Page 36: Comb Synth
Comb Synth Analog Synths Comb Synth The Comb Synth is a one-oscillator analog synth model, but with a comb ﬁlter instead of a standard ﬁlter. It also includes pulse width modulation, ﬁlter and amplitude ADSR envelopes, and a routable LFO. Oscillator Frequency +/- 24.
Page 37 Analog Synths Comb Synth Glide Glide 0-100. This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off. At 100, notes will take a long time to glide to the new pitch. Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window.
Page 38 Comb Synth Analog Synths Key Track +/- 100. This adjusts the ﬁlter cutoff in response to incoming MIDI notes, as shown below. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette. Key Tracking Key Track amount +100 +100...
Page 39 Analog Synths Comb Synth You can also make the ﬁlter produce one pitch, while the oscillator produces another. For instance, to make the ﬁlter play a ﬁfth above the oscillator: Follow instructions 1 through 9 above. In the Program Edit window, change the Patch’s Coarse Tune to +7. This will make the ﬁlter play 7 half-steps (a ﬁfth) higher.
Page 40 Comb Synth Analog Synths Envelope +/- 100. The ADSR envelope can be used to control the ﬁlter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob.
Page 41 Analog Synths Comb Synth Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held. Release 0-100. This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Page 42 Comb Synth Analog Synths IMPORTANT: The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if ﬁlter resonance is high, settings above 0dB may cause clipping. Vel Sens (Velocity Sensitivity) 0-100.
Page 43 Analog Synths KB-303 KB-303 This is a very simple analog synth, structured after the tone generator of a particular synth/sequencer popular in the dance community. It features a resonant lowpass ﬁlter, a simple envelope, and a special “accent” feature. KB-303 Waveform Sawtooth, Pulse.
Page 44 KB-303 Analog Synths Envelope amount affect on cutoff frequency +100 Decay 0-100. This sets the decay time of the envelope, which controls how long it takes the envelope to fall to the minimum level. Accent 0-100. This sets the intensity of the Accent effect, which is triggered by the Accent Source modulator, as set below.
Page 45 Analog Synths KB-303 Time 0-100. This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off. At 100, notes will take a long time to glide to the new pitch. Note that this will also vary depending on the Patch’s voice allocation setting, in the Program Edit window.
Page 46: Mini Synth
Mini Synth Analog Synths Mini Synth The Mini Synth is a precise model of a classic analog mono synth, including a special 24dB per octave lowpass ﬁlter, three oscillators, colored noise generator, speciﬁcally shaped ﬁlter and amplitude ADS envelopes, and VCA output nonlinearity.
Page 47 Analog Synths Mini Synth Mod Controller List of Modulation Sources. This sets the source for controlling the amount of the Mod Mix sent to the ﬁlter and oscillators. For a complete list, please see “Modulation Sources” on page 2. The Mod Mix determines the modulation amount. Oscillator modulation is enabled by the Osc.
Page 48 Mini Synth Analog Synths Waveform Triangle, Reverse Saw, Sawtooth, Square, Pulse 30%, Pulse 10%. This selects the shape of the oscillator. Control On, Off. This enables and disables keyboard control of the oscillator. On. Oscillator 3’s pitch will track the keyboard. Generally, you should select this option when using oscillator 3 as an audio oscillator.
Page 49 Analog Synths Mini Synth (This 1/3, 2/3, 1 granularity is authentic to the original instrument. If you like, of course, you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.) Noise Noise 0-100. This controls the output level of the noise generator. Color White, Pink.
Page 50 Mini Synth Analog Synths Envelope amount affect on cutoff frequency +100 Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100.
Page 51 Analog Synths Mini Synth Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 52: Noise Synth
Noise Synth Analog Synths Noise Synth The Noise Synth is an analog synth model with only a noise generator–no oscillators–for creating percussion and sound effects. It includes a 24dB per octave multi-mode, multi-pole ﬁlter, ﬁlter and amplitude ADSR envelopes, a routable LFO, and a second noise source for ﬁlter modulation.
Page 53 Analog Synths Noise Synth Resonance 0-100. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch.
Page 54 Noise Synth Analog Synths Key Tracking Key Track amount +100 +100 -100 -100 MIDI Note Mode Lowpass, Highpass, Bandpass. This selects whether the ﬁlter will cut high frequencies (Lowpass), cut low frequencies (Highpass), or cut all frequencies above and below the cutoff point (Bandpass). Lowpass.
Page 55 Analog Synths Noise Synth Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the ﬁlter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 56 Noise Synth Analog Synths Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held. Release 0-100. This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Page 57 Analog Synths Noise Synth Vel Sens (Velocity Sensitivity) 0-100. This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities. OASYS PCI...
Page 58: Pro Synth
Pro Synth Analog Synths Pro Synth The Pro Synth is a precise model of a classic analog synth, including a special 24dB per octave lowpass ﬁlter, two oscillators with multiple simultaneous waveform outputs and sync, noise generator, poly mod, speciﬁcally shaped ﬁlter and amplitude ADS envelopes, and VCA output nonlinearity.
Page 59 Analog Synths Pro Synth Oscillator A Frequency +/- 24. This sets the coarse tuning of the oscillator over a four-octave range, in half- steps. Waveform Sawtooth, Pulse, Triangle. This selects the shape of oscillator A. If Pulse is selected, the Pulse Width control, below, sets the width of the pulse. Pulse Width 0.0-100.0.
Page 60 Pro Synth Analog Synths Oscillator B Frequency +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Shape Sawtooth, Pulse, Triangle.
Page 61 Analog Synths Pro Synth Filter Cutoff 0-100. This controls the cutoff frequency of the special 24dB per octave lowpass ﬁlter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged. Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Page 62 Pro Synth Analog Synths Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the ﬁlter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 63 Analog Synths Pro Synth Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete. Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Page 64 Pro Synth Analog Synths Filter On, Off. This selects the ﬁlter cutoff as a modulation destination. Mod Controller List of Modulation Sources. This sets the source for controlling the amount of the Source Mix sent to the selected destinations. For a complete list, please see “Modulation Sources”...
Page 65: Pro Synth Mod
Analog Synths Pro Synth Mod Pro Synth Mod This is a slightly “hot-rodded” version of the Pro Synth, with the ampliﬁer envelope available as a poly mod source, an extra AR envelope, a ring modulator, variable key tracking on oscillator B pitch and ﬁlter cutoff, inversion for the ﬁlter envelope, and individual amounts for the controller mod destinations.
Page 66 Pro Synth Mod Analog Synths Oscillator A Frequency +/- 24. This sets the coarse tuning of the oscillator over a four-octave range, in half- steps. Waveform Sawtooth, Pulse, Triangle. This selects the shape of oscillator A. If Pulse is selected, the Pulse Width control, below, sets the width of the pulse.
Page 67 Analog Synths Pro Synth Mod Oscillator B Frequency +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Shape Sawtooth, Pulse, Triangle.
Page 68 Pro Synth Mod Analog Synths Filter Cutoff 0-100. This controls the cutoff frequency of the special 24dB per octave lowpass ﬁlter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged. Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Page 69 Analog Synths Pro Synth Mod Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the ﬁlter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 70 Pro Synth Mod Analog Synths Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 71 Analog Synths Pro Synth Mod Controller Mod Source Mix 0-100. Both the LFO and the noise generator can be used as modulation sources. This knob determines the balance between the two. At 0, only the output of the LFO is used; at 100, only the noise generator is used. The Mod Controller and Initial parameters control the amount of modulation.
Page 72 Pro Synth Mod Analog Synths Freq B 0.0-36.0. This sets the depth of oscillator B frequency modulation, in half-steps. This routing is turned on and off by the Freq B switch, in the Controller Mod section. PW A 0-100 This sets the depth of oscillator A pulse width modulation. This routing is turned on and off by the PW A switch, in the Controller Mod section.
Page 73 Analog Synths Pro Synth Mod AR Envelope Attack time Release time Amp Env ADSR, AR. The Amp Env switch determines whether the ampliﬁer will use the simple Amp AR envelope, or the more complex Amp ADSR envelope. Switching to the AR envelope allows you to use the ADSR envelope as a poly mod source, and adjust it as desired without affecting the output volume.
Page 74: Ep (Electric Piano)
EP (Electric Piano) EP (Electric Piano) OASYS PCI...
Page 75: Reed Piano
EP (Electric Piano) Reed Piano Reed Piano This Patch models a reed-style electric piano, such as those made by a company whose name begins with “W.” It includes modeling of the hammer, the reed, and the pickup. Hammer Width 0-100. This controls the width of the hammer. The default value is 50; values above or below this will cause the timbre to become darker.
Page 76 Reed Piano EP (Electric Piano) Release 0-100. This sets the release time for the reed. Release Mod List of Modulation Sources. This sets the modulation source for controlling the Reed Release. For a complete list, please see “Modulation Sources” on page 2. Amount 0-100.
Page 77: Guitar
Guitar Guitar OASYS PCI...
Page 78: Plucked String
Plucked String Guitar Plucked String This Patch models plucked string instruments, such as guitars. It includes string gauge, bridge rigidity, control over pick type and technique, pickup position and tone, and more. Damping Damping 0-100. This controls the decay time for the string’s high frequencies. Lower settings mean a shorter high frequency decay time.
Page 79 Guitar Plucked String Key Track +/-100. This adjusts the decay time as you play higher and lower on the keyboard. At the center key (as set above), the decay time will be exactly the value set by the Decay knob. With positive tracking, the decay time will increase as you play above the center key, and decrease as you play below it.
Page 80 Plucked String Guitar Step. The pitch will change by half-step increments, as if hitting the frets on a guitar. Pitch Mod List of Modulation Sources. This sets the modulation source for controlling the pitch. For a complete list, please see “Modulation Sources” on page 2. Amount 0.0-24.0.
Page 81 Guitar Plucked String Noise These controls allow you to “pluck” the string using ﬁltered noise. The Pluck controls, above, offer a different way to “pluck” the string. You can also use Pluck and Noise together, to create speciﬁc tones. Level 0.0-100.0.
Page 82 Plucked String Guitar Amount 0-100. This sets the amount by which the mod source affects the vibrato depth. Pickup Pickup On, Off. This enables the pickup modeling. Turning this off is the same as setting the Tone to 0. Position 0.0-100.0.
Page 83: Small Plucked String
Guitar Small Plucked String Small Plucked String This Patch is a more DSP-efﬁcient plucked string model. It offers higher polyphony than the Plucked String Patch, but fewer features. Damping Damping 0-100. This controls the decay time for the string’s high frequencies. Lower settings mean a shorter high frequency decay time.
Page 84 Small Plucked String Guitar Key Track +/-100. This adjusts the decay time as you play higher and lower on the keyboard. At the center key (as set above), the decay time will be exactly the value set by the Decay knob. With positive tracking, the decay time will increase as you play above the center key, and decrease as you play below it.
Page 85 Guitar Small Plucked String Level 0.0-100.0. This adjusts the force of the pluck. If the level is 0, the Pluck will not affect the string at all. Vel Mod (Velocity Modulation) 0.0-100.0. This allows you to modulate the pluck level via velocity. A velocity of 127 will add the speciﬁed amount to the setting on the Level knob.
Page 86 Small Plucked String Guitar Amount 0.0-10.0Hz. This sets the amount, in Hz, by which the mod source affects the vibrato frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob. Depth 0-100.
Page 87: Slap Bass
Guitar Slap Bass Slap Bass This Patch models a slapped electric bass. It includes string gauge, bridge rigidity, control over pick type and technique, pickup position and tone, and more. String Damping Damping 0-100. This controls the decay time for the string’s high frequencies. Lower settings mean a shorter high frequency decay time.
Page 88 Slap Bass Guitar Key Track +/-100. This adjusts the decay time as you play higher and lower on the keyboard. At the center key (as set above), the decay time will be exactly the value set by the Decay knob. With positive tracking, the decay time will increase as you play above the center key, and decrease as you play below it.
Page 89 Guitar Slap Bass Maximum 0-100. This sets the maximum amount of force, even with modulation. Velocity Velocity 0-100. This models the velocity of the “slap” across the string, which affects the amount of high frequencies in the sound. Contact Time 0-100.
Page 90 Slap Bass Guitar Amount 0.0-10.0Hz. This sets the amount, in Hz, by which the mod source affects the vibrato frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob. Depth 0-100.
Page 91: Small Slap Bass
Guitar Small Slap Bass Small Slap Bass This Patch is a more DSP-efﬁcient slap bass model. It offers higher polyphony than the Slap Bass Patch, but fewer features. String Decay 0-100. This controls the overall decay time of the string. Damping 0-100.
Page 92 Small Slap Bass Guitar Slap Noise These controls allow you to adjust the level and timbre of the sharp “slap” sound. Noise 0-100. This adjusts the level of the slap noise. Cutoff 0-100. This adjusts the cutoff frequency of a ﬁlter dedicated to the slap noise. Vel.
Page 93: Organ
Organ Organ OASYS PCI...
Page 94: Tonewheel Organ
Tonewheel Organ Organ Tonewheel Organ This Patch models a classic tonewheel organ, including complete drawbar control, perfect tonewheel phase coherency, fully programmable key click, and true mono percussion. Drawbars 0.0-8.0. This controls the volume of the 16’ drawbar. 5 1/3' 0.0-8.0.
Page 95 Organ Tonewheel Organ Trigger Down, Up and Down. This controls whether the key click will be triggered only when a key is pressed down, or when a key is either pressed down or released. Down. The key click will only trigger when a key is pressed down. Up and Down.
Page 96 Tonewheel Organ Organ Attack 0-100. This controls the attack time of the percussion. See also the Width parameter, below, which controls the overall duration of the percussion. Decay 0-100. This controls the decay time of the percussion. Width 0-100. This controls the total duration of the percussion. If the width is set to a small value, and the attack is set to a large value, you may not hear the percussion at all.
Page 97: Z1 Organ
Organ Z1 Organ Z1 Organ This Patch is the additive synthesis organ model from the Korg Z1. There are three main drawbars, each with assignable waveform and tuning ratio, a sub-oscillator, and a simple envelope. Drawbar 1 Waveform Triangle, Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm. This sets the waveform for the ﬁrst drawbar.
Page 98 Z1 Organ Organ Traditional organ “foot” tunings are noted where applicable. Fine Tune +/-100. This sets the ﬁne tuning for the second drawbar, in cents (1/100 of a semitone). Level 0-100. This sets the volume level for the second drawbar. Mod Source List of Modulation Sources.
Page 99 Organ Z1 Organ Sub-Oscillator The sub-oscillator creates a sine waveform, and has a lower range than the three drawbars. Tuning Ratio 0.5 (32’), 1 (16’), 2 (8’), 4 (4’). This sets the coarse tuning for the third drawbar. The number indicates the tuning ratio from the root pitch. In additive synthesis, this is sometimes referred to as the “partial.”...
Page 100 Z1 Organ Organ AR Envelope Attack time Release time Pitch Modulation Mod Source List of Modulation Sources. This sets the modulation source for controlling the pitch. For a complete list, please see “Modulation Sources” on page 2. Amount +/-24. This sets the amount by which the mod source affects the pitch, in semitones. OASYS PCI...
Page 101 Organ Z1 Organ OASYS PCI...
Page 102: Pcm
OASYS PCI...
Page 103: Pcm Patches Overview
PCM Patches Overview PCM Patches Overview OASYS PCI includes a number of PCM-based Patches, each with different features intended for various different purposes. The chart below shows how the Patches relate to one another. Patch Application Oscillators Vel Switch Filter Envelopes LFOs Special 4-pole...
Page 104: Argon 4
Argon 4+ Argon 4+ Argon 4+ is a dual-oscillator PCM synth plug-in with two-level velocity-switched multisamples. Features include a 4 pole (24dB per octave) resonant lowpass ﬁlter, two DSP-rate ADSR envelopes for ﬁlter and amplitude modulation, two pitch ramps, and two DSP-rate, complex MIDI-synchronized global LFOs. Oscillator 1 Samples Lo Multisample...
Page 105 Argon 4+ Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
Page 106 Argon 4+ Pitch Ramp affect on pitch +12.0 Normal Pitch -12.0 Time Pitch Mod LFO 1 0.0-100.0. This sets the amount by which LFO 1 modulates pitch. LFO 2 0.0-100.0. This sets the amount by which LFO 2 modulates pitch. Oscillator 2 The parameters for Oscillator 2 are the same as those for Oscillator 1, as described above.
Page 107 Argon 4+ 4 Pole Filter Filter Cutoff 0-100. This controls the cutoff frequency of the 24dB per octave lowpass ﬁlter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged. Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Page 108 Argon 4+ Envelope amount affect on cutoff frequency +100 -100 LFO 1 +/- 100.0. LFO 1 can be used to control the ﬁlter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. LFO 2 +/- 100.0. LFO 2 can be used to control the ﬁlter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Page 109 Argon 4+ ADSR Envelope Sustain Level Attack time Decay time Sustain while Release time holding note Key Tracking Amount +/- 100. This adjusts the ﬁlter cutoff as you play higher and lower on the keyboard. At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob.
Page 110 Argon 4+ Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held. Release 0-100. This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Page 111 Argon 4+ LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Saw Up Square -180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚ Sine Saw Down Sample &...
Page 112 Argon 4+ LFO Control Frequency Knob, Manual Tempo, MIDI Tempo. The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks). If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
Page 113 Argon 4+ Fade-In 0-100. The LFO can be at full level instantly, or can fade in over time after a note is played. This parameter controls how long it takes the LFO to rise to full level after the ﬁrst note is pressed. When you release all notes on the keyboard, and then play a new note, the LFO fade-in will start again.
Page 114: Cobalt 2
Cobalt 2 Cobalt 2 Cobalt 2 is a PCM synth plug-in with a two-level velocity-switched multisample, a 2 pole (12dB per octave) lowpass ﬁlter, and two DSP-rate ADSR envelopes for ﬁlter and amplitude modulation. Oscillator Samples This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Page 115 Cobalt 2 Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 116 Cobalt 2 This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead. Envelope +/- 100. The ADSR envelope can be used to control the ﬁlter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Page 117 Cobalt 2 Center C-1 to G#9. This sets the key around which the ﬁlter tracking is centered. Envelope Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100.
Page 118 Cobalt 2 Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 119: Cobalt 2 St
Cobalt 2 St Cobalt 2 St Cobalt 2 is a PCM synth plug-in with stereo oscillator, a two-level velocity-switched multisample, a 2 pole (12dB per octave) lowpass ﬁlter, and two DSP-rate ADSR envelopes for ﬁlter and amplitude modulation. Stereo Oscillator Samples This Patch lets you use velocity to switch between the two stereo (or mono) Multisamples.
Page 120 Cobalt 2 St Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 121 Cobalt 2 St This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead. Envelope +/- 100. The ADSR envelope can be used to control the ﬁlter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Page 122 Cobalt 2 St Center C-1 to G#9. This sets the key around which the ﬁlter tracking is centered. Envelope Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100.
Page 123 Cobalt 2 St Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 124: Cobalt 4
Cobalt 4 Cobalt 4 Cobalt 4 is a PCM synth plug-in with a two-level velocity-switched multisample, a 4 pole (24dB per octave) lowpass ﬁlter, and two DSP-rate ADSR envelopes for ﬁlter and amplitude modulation. Oscillator Samples This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Page 125 Cobalt 4 Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 126 Cobalt 4 This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead. Envelope +/- 100. The ADSR envelope can be used to control the ﬁlter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Page 127 Cobalt 4 Center C-1 to G#9. This sets the key around which the ﬁlter tracking is centered. Envelope Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100.
Page 128 Cobalt 4 Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 129: Cobalt 4
Cobalt 4+ Cobalt 4+ Cobalt 4+ is a PCM synth plug-in with a two-level velocity-switched multisample, a 4 pole (24dB per octave) resonant lowpass ﬁlter, and two DSP-rate ADSR envelopes for ﬁlter and amplitude modulation. Oscillator Samples This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Page 130 Cobalt 4+ Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 131 Cobalt 4+ This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead. Resonance 0-100. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly.
Page 132 Cobalt 4+ knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it. Note that you can also modulate any parameter using the “Key Tracking”...
Page 133 Cobalt 4+ Ampliﬁer Envelope These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the ﬁgure “ADSR Envelope,” above. Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Page 134: Krypton 2
Krypton 2 Krypton 2 Krypton 2 is a PCM synth plug-in optimized for drums, with a two-level velocity- switched multisample, a 2 pole (12dB per octave) lowpass ﬁlter, and a simple, DSP- rate attack-decay envelope. Oscillator Samples This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Page 135 Krypton 2 Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 136 Krypton 2 Ampliﬁer Envelope These parameters control an attack-decay envelope dedicated to the output volume. Attack 0-100. This sets the attack time of the envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100.
Page 137: Krypton 2E
Krypton 2e Krypton 2e Krypton 2e is a PCM synth plug-in optimized for drums, with a two-level velocity- switched multisample, a 2 pole (12dB per octave) lowpass ﬁlter, output pan, and two DSP-rate attack-decay envelopes for ﬁlter and amplitude modulation. Oscillator Samples This Patch lets you use velocity to switch between the two Multisamples.
Page 138 Krypton 2e Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 139 Krypton 2e This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead. Envelope +/- 100. The attack-decay envelope can be used to control the ﬁlter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Page 140 Krypton 2e AR Envelope Attack time Decay time Ampliﬁer Envelope These parameters control an attack-decay envelope dedicated to the output volume. Attack 0-100. This sets the attack time of the envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100.
Page 141 Krypton 2e 0-127. This sets the output pan of the Patch. The “Use Sample Pan” parameter, below, allows you to vary the pan separately for each Sample in the Multisample. Use Sample Pan On, Off. When this parameter is on, the per-Sample pan offsets in the Multisample will be added to the Pan setting (above).
Page 142: Krypton 2P
Krypton 2p Krypton 2p Krypton 2p is a PCM synth plug-in optimized for drums, with a two-level velocity- switched multisample, a 2 pole (12dB per octave) lowpass ﬁlter, output pan, and a simple, DSP-rate attack-decay envelope. Oscillator Samples This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Page 143 Krypton 2p Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 144 Krypton 2p Ampliﬁer Envelope These parameters control an attack-decay envelope dedicated to the output volume. Attack 0-100. This sets the attack time of the envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100.
Page 145 Krypton 2p 0-127. This sets the output pan of the Patch. The “Use Sample Pan” parameter, below, allows you to vary the pan separately for each Sample in the Multisample. Use Sample Pan On, Off. When this parameter is on, the per-Sample pan offsets in the Multisample will be added to the Pan setting (above).
Page 146: Looper
Looper Looper Looper is a PCM synth plug-in optimized for playback of drum loops and simple drum sounds, with a single multisample oscillator and a DSP-rate attack-release envelope. Oscillator Multisample This is the Multisample assigned to the oscillator. To select a Multisample: Drag a Multisample from the Catalog onto the desired Multisample slot.
Page 147 Looper AR Envelope Attack time Sustain while Release time holding note Volume +12 to -123.9dB, -INF. This is the output volume for the Patch. IMPORTANT: The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if ﬁlter resonance is high, settings above 0dB may cause clipping.
Page 148: Looper St
Looper St Looper St Looper ST is a PCM synth plug-in optimized for playback of drum loops and simple drum sounds, with a single, stereo oscillator and a DSP-rate attack-release envelope. Stereo Oscillator Multisample This is the Multisample assigned to the oscillator. This Patch supports both stereo and mono Multisamples.
Page 149 Looper St AR Envelope Attack time Sustain while Release time holding note Volume +12 to -123.9dB, -INF. This is the output volume for the Patch. IMPORTANT: The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible.
Page 150: Looper X
Looper X Looper X Looper X is a PCM synth plug-in optimized for playback of drum loops and simple drum sounds, similar to Looper. In addition to a single multisample oscillator and a DSP-rate attack-release envelope, Looper X adds Multisample-controlled output pan.
Page 151 Looper X AR Envelope Attack time Sustain while Release time holding note Volume +12 to -123.9dB, -INF. This is the output volume for the Patch. IMPORTANT: The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible.
Page 152: Xenon 2
Xenon 2 Xenon 2 Xenon 2 is a PCM synth plug-in with a two-level velocity-switched multisample. Features include a 2pole (12dB per octave) resonant lowpass ﬁlter, two DSP-rate ADSR envelopes for ﬁlter and amplitude modulation, a pitch ramp, and a DSP- rate, complex MIDI-synchronized global LFO.
Page 153 Xenon 2 Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 154 Xenon 2 Pitch Ramp affect on pitch +12.0 Normal Pitch -12.0 Time Pitch Mod LFO Amt 0.0-100.0. This sets the amount by which the LFO modulates pitch. 2 Pole Filter Filter Cutoff 0-100. This controls the cutoff frequency of the 12dB per octave lowpass ﬁlter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Page 155 Xenon 2 pitch. At medium settings, the resonance will alter the timbre of the ﬁlter, but will not usually be heard as a separate pitch. Filter Mod Envelope +/- 100. The ADSR envelope can be used to control the ﬁlter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Page 156 Xenon 2 Decay 0-100. This sets the decay time of the ﬁlter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete. Sustain 0-100. This sets the sustain level for the ﬁlter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Page 157 Xenon 2 Ampliﬁer Envelope These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the ﬁgure “ADSR Envelope,” above. Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Page 158 Xenon 2 Global LFO Waveform Waveform Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold. This selects the waveform of the LFO. LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Saw Up Square...
Page 159 Xenon 2 LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Offset +/-100. This offsets the center point of the LFO, allowing you to create modulation which is only positive or only negative, or anywhere in between. 0 is the default. LFO Control Frequency Knob, Manual Tempo, MIDI Tempo.
Page 160 Xenon 2 To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately. Frequency The controls in the Frequency section only apply when the LFO Control is set to Frequency Knob.
Page 161: Xenon 2I
Xenon 2i Xenon 2i Xenon 2i is similar to Xenon 2, but uses a special, extra-high-quality interpolation method for improved ﬁdelity on high frequencies. Features include a 2pole (12dB per octave) resonant lowpass ﬁlter, two DSP-rate ADSR envelopes for ﬁlter and amplitude modulation, a pitch ramp, and a DSP-rate, complex MIDI-synchronized global LFO.
Page 162 Xenon 2i Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 163 Xenon 2i Pitch Ramp affect on pitch +12.0 Normal Pitch -12.0 Time Pitch Mod LFO Amt 0.0-100.0. This sets the amount by which the LFO modulates pitch. 2 Pole Filter Filter Cutoff 0-100. This controls the cutoff frequency of the 12dB per octave lowpass ﬁlter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Page 164 Xenon 2i pitch. At medium settings, the resonance will alter the timbre of the ﬁlter, but will not usually be heard as a separate pitch. Filter Mod Envelope +/- 100. The ADSR envelope can be used to control the ﬁlter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Page 165 Xenon 2i Decay 0-100. This sets the decay time of the ﬁlter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete. Sustain 0-100. This sets the sustain level for the ﬁlter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Page 166 Xenon 2i Ampliﬁer Envelope These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the ﬁgure “ADSR Envelope,” above. Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Page 167 Xenon 2i Global LFO Waveform Waveform Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold. This selects the waveform of the LFO. LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Saw Up Square...
Page 168 Xenon 2i LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Offset +/-100. This offsets the center point of the LFO, allowing you to create modulation which is only positive or only negative, or anywhere in between. 0 is the default. LFO Control Frequency Knob, Manual Tempo, MIDI Tempo.
Page 169 Xenon 2i To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately. Frequency The controls in the Frequency section only apply when the LFO Control is set to Frequency Knob.
Page 170: Xenon 4
Xenon 4 Xenon 4 Xenon 4 is a PCM synth plug-in with a two-level velocity-switched multisample. Features include a 4 pole (24dB per octave) lowpass ﬁlter, two DSP-rate ADSR envelopes for ﬁlter and amplitude modulation, a pitch ramp, and a DSP-rate, complex MIDI-synchronized global LFO.
Page 171 Xenon 4 Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 172 Xenon 4 Pitch Ramp affect on pitch +12.0 Normal Pitch -12.0 Time Pitch Mod LFO Amt 0.0-100.0. This sets the amount by which the LFO modulates pitch. 4 Pole Filter Filter Cutoff 0-100. This controls the cutoff frequency of the 24dB per octave lowpass ﬁlter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Page 173 Xenon 4 envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob. At 0, the envelope will have no affect.
Page 174 Xenon 4 Release 0-100. This sets the release time of the ﬁlter envelope, which controls how long it takes the envelope to fall to zero after the note is released. ADSR Envelope Sustain Level Attack time Decay time Sustain while Release time holding note Key Tracking...
Page 175 Xenon 4 Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete. Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Page 176 Xenon 4 LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Saw Up Square -180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚ Sine Saw Down Sample &...
Page 177 Xenon 4 LFO Control Frequency Knob, Manual Tempo, MIDI Tempo. The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks). If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
Page 178 Xenon 4 Tempo Manual Tempo 40-240 bpm. This sets the tempo when the LFO Control is set to Manual Tempo. Subdivision 1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes. This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Page 179: Xenon 4
Xenon 4+ Xenon 4+ Xenon 4+ is a PCM synth plug-in with a two-level velocity-switched multisample. Features include a 4 pole (24dB per octave) resonant lowpass ﬁlter, two DSP-rate ADSR envelopes for ﬁlter and amplitude modulation, a pitch ramp, and two DSP- rate, complex MIDI-synchronized global LFOs.
Page 180 Xenon 4+ Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 181 Xenon 4+ Pitch Ramp affect on pitch +12.0 Normal Pitch -12.0 Time Pitch Mod LFO 1 0.0-100.0. This sets the amount by which LFO 1 modulates pitch. LFO 2 0.0-100.0. This sets the amount by which LFO 2 modulates pitch. 4 Pole Filter Filter Cutoff...
Page 182 Xenon 4+ Resonance 0-100. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch.
Page 183 Xenon 4+ Envelope Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the ﬁlter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 184 Xenon 4+ Center C-1 to G#9. This sets the key around which the ﬁlter tracking is centered. Ampliﬁer Envelope These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the ﬁgure “ADSR Envelope,” above. Attack 0-100.
Page 185 Xenon 4+ Vel Sens (Velocity Sensitivity) 0-100. This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities. Global LFO 1 Waveform Waveform...
Page 186 Xenon 4+ LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Offset +/-100. This offsets the center point of the LFO, allowing you to create modulation which is only positive or only negative, or anywhere in between. 0 is the default. LFO Control Frequency Knob, Manual Tempo, MIDI Tempo.
Page 187 Xenon 4+ To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately. Frequency The controls in the Frequency section only apply when the LFO Control is set to Frequency Knob.
Page 188: Xenon 4M
Xenon 4m Xenon 4m Xenon 4m is a PCM synth plug-in with a two-level velocity-switched multisample. Features include a multi-mode, multi-pole resonant lowpass ﬁlter, two DSP-rate ADSR envelopes for ﬁlter and amplitude modulation, a pitch ramp, and two DSP- rate, complex MIDI-synchronized global LFOs. Oscillator Samples This Patch lets you use velocity to switch between the two Multisamples.
Page 189 Xenon 4m Pitch Tune +/- 48. This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps. Fine +/- 100. This sets the ﬁne tuning of the oscillator, in cents (1/100 of a semitone). Slope +/- 2.00. The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller.
Page 190 Xenon 4m Pitch Ramp affect on pitch +12.0 Normal Pitch -12.0 Time Pitch Mod LFO 1 0.0-100.0. This sets the amount by which LFO 1 modulates pitch. LFO 2 0.0-100.0. This sets the amount by which LFO 2 modulates pitch. 4 Pole Multimode Filter Filter Cutoff...
Page 191 Xenon 4m This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead. Resonance 0-100. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly.
Page 192 Xenon 4m on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob. At 0, the envelope will have no affect. At +100, the envelope will open the ﬁlter all the way at its peak, even if Cutoff is set to 0.
Page 193 Xenon 4m Sustain 0-100. This sets the sustain level for the ﬁlter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held. Release 0-100. This sets the release time of the ﬁlter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Page 194 Xenon 4m Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 195 Xenon 4m Global LFO 1 Waveform Waveform Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold. This selects the waveform of the LFO. LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚...
Page 196 Xenon 4m LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Offset +/-100. This offsets the center point of the LFO, allowing you to create modulation which is only positive or only negative, or anywhere in between. 0 is the default. LFO Control Frequency Knob, Manual Tempo, MIDI Tempo.
Page 197 Xenon 4m To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately. Frequency The controls in the Frequency section only apply when the LFO Control is set to Frequency Knob.
Page 198: Percussion
Percussion Percussion OASYS PCI...
Page 199: Percussion Synth
Percussion Percussion Synth Percussion Synth This Patch is an analog-style percussion synthesizer, very similar to the synth voices in the Korg Electribe-R. It includes an oscillator, a noise generator, a pitch/modulation envelope, and an amplitude envelope. Oscillator Waveform Triangle, Sine. This selects the waveform for the oscillator.
Page 200 Percussion Synth Percussion whose decay time is controlled by the Speed knob. The Depth knob controls the level of the noise. The pitch of the oscillator will not be modulated. Envelope. The oscillator pitch will be modulated by a simple envelope, whose decay time is controlled by the Speed knob.
Page 201: Percussion Synth 2
Percussion Percussion Synth 2 Percussion Synth 2 This Patch is an enhanced version of the Percussion Synth, adding independent control of oscillator and noise output levels, a selection of ﬁlter types for the noise generator, and a full ADSR amplitude envelope. Oscillator Waveform Triangle, Sine.
Page 202 Percussion Synth 2 Percussion Noise EG. This adds noise to the output; you can control the timbre of the noise using the controls under Noise Color, below. The noise has a dedicated envelope, whose decay time is controlled by the Speed knob. The Depth knob controls the level of the noise.
Page 203 Percussion Percussion Synth 2 Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete. Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Page 204: Beat Box
Beat Box Percussion Beat Box This Patch combines two analog-style percussion synthesizers, similar to the Percussion Synth, with a MIDI-synced sequencer. To trigger the Beat Box from MIDI, set the Sequence Start/Stop parameter to Stop, and then modulate this parameter with Note Gate. For best results, re-trigger the Beat Box every few measures.
Page 205 Percussion Beat Box Depth 0-100. The Depth control changes in meaning according to the Type selection. With Saw, Square, Triangle, Random, and Envelope, the Depth sets the amount of pitch modulation. With Noise EQ, the Depth sets the volume of the noise. Noise Color This section controls the timbre of the noise when the Type is set to Noise EG.
Page 206 Beat Box Percussion Step Sequencer Sequence Stop, Run. This controls whether the sequencer is running or stopped. To trigger the Beat Box via MIDI, set this to Stop, and then modulate with Note Gate. Clock Manual Tempo, MIDI Tempo. This sets whether the sequencer will use the tempo set by the Manual Tempo knob, or tempo received via MIDI.
Page 207: Vpm
OASYS PCI...
Page 208: Vpm 2 Op
VPM 2 OP VPM 2 OP This Patch is a two-operator VPM synthesizer. VPM stands for Virtual Phase Modulation, in which the phase of one oscillator (the Carrier) is modulated by another oscillator (the Modulator), producing a complex timbre. The combination of an oscillator and its amplitude envelope is known as an “operator.”...
Page 209 VPM 2 OP Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 210 VPM 2 OP Ratio 1.0-31.0. This selects the basic tuning for the oscillator. Changing the modulator’s ratio will affect the timbre of the carrier. Fine 0.0-100.0. This allows you to ﬁne-tune the ratio. You can think of this as the digits to the right of the decimal.
Page 211 VPM 2 OP The level knob has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead. Vel Sens (Velocity Sensitivity) 0-100. This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control;...
Page 212: Vpm 4 Op
VPM 4 OP VPM 4 OP This Patch is a four-operator VPM synthesizer, with two carrier-modulator pairs. The two pairs can be used to create layered sounds, with each contributing a different sonic element. This Patch is slightly more DSP-efﬁcient than the more ﬂexible VPM 4 OP Select.
Page 213 VPM 4 OP Detune +/-10.00. This allows you to detune the oscillator, in cents (1/100 of a semitone). Waveform Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm. This sets the waveform for the oscillator. Envelope This envelope controls the overall output level of the Patch. Attack 0-100.
Page 214 VPM 4 OP Vel Sens (Velocity Sensitivity) 0-100. This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities. Modulator - OP 2 and OP 4 Oscillator The modulator operators change the timbre of the carriers.
Page 215 VPM 4 OP Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete. Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Page 216 VPM 4 OP Amount 0-100. This sets the amount by which the mod source affects the vibrato depth. OASYS PCI...
Page 217: Vpm 4 Op Select
VPM 4 OP Select VPM 4 OP Select This Patch is a four-operator VPM synthesizer with eight selectable algorithms, as shown in “VPM 4 OP Select algorithms,” on page 212. VPM stands for Virtual Phase Modulation, in which the phase of one oscillator (the Carrier) is modulated by another oscillator (the Modulator), producing a complex timbre.
Page 218 VPM 4 OP Select Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete. Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Page 219 VPM 4 OP Select Vibrato Frequency 0.0-20.0 Hz. This controls the initial speed of the vibrato. Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the vibrato frequency. For a complete list, please see “Modulation Sources” on page 2. Amount 0.0-10.0Hz.
Page 220 VPM 4 OP Select Algorithm Select Alg 1-8. The algorithm controls which operators are carriers, which are modulators, and how all of the operators are connected together. There are eight different algorithms, as shown below. VPM 4 OP Select algorithms Fdbk OP 4 Fdbk...
Page 221: Vpm 4 Op Stack
VPM 4 OP Stack VPM 4 OP Stack This Patch is a four-operator VPM synthesizer, with one carrier and three modulators. The three modulators control each other in series, and then the result controls the timbre of the carrier. This Patch is slightly more DSP-efﬁcient than the more ﬂexible VPM 4 OP Select.
Page 222 VPM 4 OP Stack Fine 0.0-100.0. This allows you to ﬁne-tune the ratio. You can think of this as the digits to the right of the decimal. For instance, setting the Ratio to 3.0 and Fine to 53.0 results in an actual ratio of 3.53. Setting Fine to 100 is the same as increasing the Ratio by 1. Detune +/-10.00.
Page 223 VPM 4 OP Stack Level 0.0-100.0. This is the output volume for the operator, and for the Patch as a whole. The level knob has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Page 224 VPM 4 OP Stack Attack 0-100. This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 225 VPM 4 OP Stack Depth Mod List of Modulation Sources. This sets the modulation source for controlling the vibrato depth. For a complete list, please see “Modulation Sources” on page 2. Amount 0-100. This sets the amount by which the mod source affects the vibrato depth. OASYS PCI...
Page 226: Waveguide
Waveguide Waveguide OASYS PCI...
Page 227: Flute
Waveguide Flute Flute This Patch is a physical model of a ﬂute, including breath pressure, the tonal quality of the breath noise, the interaction between the breath and the bore, the tonal quality of the bore, playing style, and more. Breath Pressure Pressure 0.0-100.0.
Page 228 Flute Waveguide Chiff This is a simple envelope, modeling the initial attack of the ﬂute. It can control both level (gain) and frequency (pitch). Decay 0-100. This controls the decay time of the chiff envelope. Gain Amt 0-100. This sets the amount by which the chiff envelope affects the ﬂute’s volume level.
Page 229 Waveguide Flute Mode/Tune 0.0-100.0. This models the distance from the mouth to the mouthpiece, which affects the pitch. Flautists will vary this distance to make small pitch corrections, by rolling the ﬂute towards the mouth or away from it. Small values will produce detuning; this range represents the practical distance that can be achieved by a real ﬂautist.
Page 230 Flute Waveguide LFO – > Pitch Depth Depth 0.0-100.0. This sets the initial depth of the LFO to pitch, before modulation. Depth Mod List of Modulation Sources. This sets the modulation source for controlling the LFO depth. For a complete list, please see “Modulation Sources” on page 2. Mod Amt 0.0-100.0.
Page 231: Tenor Sax
Waveguide Tenor Sax Tenor Sax This Patch is a physical model of a tenor saxophone, including breath pressure, the tonal quality of the breath noise, playing style, and the characteristics of the reed, bore, and bell. Breath Pressure Input 0.0-100.0. This controls the overall force of the breath pressure, modeling how hard you are blowing into the sax.
Page 232 Tenor Sax Waveguide Breath Noise Gain 0.0-100.0. This is the maximum breath level, scaled by the Breath Pressure section’s Input and Input Mod parameters. Frequency 0-8000Hz. The tone of the breath noise is shaped by a bandpass ﬁlter, and this controls the center frequency of that ﬁlter.
Page 233 Waveguide Tenor Sax Amount 0-100. This sets the amount by which the mod source affects the growl. Horn Glide 0-100. This models the time that the horn takes to transition between notes. Bell Width 0-5000Hz. This models the width of the saxophone’s bell, which acts as a highpass ﬁlter.
Page 234 Tenor Sax Waveguide Bore Amount 0.00-100.00. This sets the amount by which the mod source affects the brightness of the bore. Breath Amount 0.00-100.00. This sets the amount by which the mod source affects the breath pressure. Output Lowpass 0-24000 Hz. This sets the frequency of the overall lowpass ﬁlter. The ﬁlter can be used to make the sound more mellow and rounded.
Page 235: Trombone
Waveguide Trombone Trombone This Patch is a physical model of a trombone, including breath pressure, the character of the breath noise, the timbre of the bell, and authentic “rip” and vibrato effects. Breath Pressure Pressure 0.0-100.0. This controls the overall force of the breath pressure, modeling how hard you are blowing into the trombone.
Page 236 Trombone Waveguide the trombone. The timbre of the noise is controlled by a resonant bandpass ﬁlter, and there is a dedicated ramp envelope to control the level of the noise (for creating attack sounds). Gain 0.0-100.0. This is the maximum breath level, scaled by the Breath Pressure section’s Pressure and Pressure Mod parameters.
Page 237 Waveguide Trombone You can use the highpass to create muted effects. Resonance 0.00-100.00. This controls the resonance of the highpass ﬁlter. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch.
Page 238 Trombone Waveguide Amount 0.0-10.0Hz. This sets the amount, in Hz, by which the mod source affects the LFO frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob. Vibrato Depth Depth 0.00-100.00.
Page 239: Trumpet
Waveguide Trumpet Trumpet This Patch is a physical model of a trumpet, including breath pressure, the character of the breath noise, the timbre of the bell, and authentic “rip” and vibrato effects. Breath Pressure Pressure 0.0-100.0. This controls the overall force of the breath pressure, modeling how hard you are blowing into the trumpet.
Page 240 Trumpet Waveguide the trumpet. The timbre of the noise is controlled by a resonant bandpass ﬁlter, and there is a dedicated ramp envelope to control the level of the noise (for creating attack sounds). Gain 0.0-100.0. This is the maximum breath level, scaled by the Breath Pressure section’s Pressure and Pressure Mod parameters.
Page 241 Waveguide Trumpet You can use the highpass to create muted effects. Resonance 0.00-100.00. This controls the resonance of the highpass ﬁlter. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch.
Page 242 Trumpet Waveguide Amount 0.0-10.0Hz. This sets the amount, in Hz, by which the mod source affects the LFO frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob. Vibrato Depth Depth 0.00-100.00.
Page 243: Vocal
Waveguide Vocal Vocal This Patch is a physical model of a human voice, including the timbre of the glottal pulse, randomized vibrato, the breath noise, and the vowel shape or “formant.” Pitch Ramp This section controls a simple pitch envelope. Depth +/-100.
Page 244 Vocal Waveguide Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window. Poly Retrig, Poly Reuse, Mono Legato, and Unison modes are generally the most suitable for use with Glide, but you may ﬁnd that you like other settings as well.
Page 245 Waveguide Vocal Random Vibrato Amount 0-100. This sets the amount of randomness applied to the vibrato frequency. Smoothing 0-100. This sets the amount of smoothing applied to the randomness. At low settings, the randomness may cause large, instantaneous jumps in the vibrato frequency;...
Page 246 Vocal Waveguide Level Mod List of Modulation Sources. This sets the modulation source for controlling the glottal pulse output level. For a complete list, please see “Modulation Sources” on page 2. Mod Amount 0-100. This sets the amount by which the mod source affects the glottal pulse output level.
Page 247 Waveguide Vocal play six notes creating individual glottal pulses and breath noises, which will then all go through a single formant ﬁlter. Input Trim 0-100. This sets the input level to the formant ﬁlter. If the ﬁlter resonance is high, you may need to turn down the input to prevent clipping.
Page 248 Vocal Waveguide LFO Freq 0.00-4.00 Hz. This sets the frequency, or speed, of the LFO. LFO Shape +/-100. This adjusts the shape of the LFO waveform. Positive values shape the curve so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down”...
Page 249: Effects
Effects...
Page 250: Amp & Speaker
Amp & Speaker Amp & Speaker OASYS PCI...
Page 251: Guitar Amp
Amp & Speaker Guitar Amp Guitar Amp This effect simulates the frequency response characteristics of guitar ampliﬁers. You can obtain a realistic guitar ampliﬁer sound. It’s also effective for organ sounds. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 252: St Guitar Amp
St Guitar Amp Amp & Speaker St Guitar Amp This is a stereo-in, stereo-out amp simulator. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal. Amp Simulator Ampliﬁer Type SS, EL84, 6L6.
Page 253: Chorus
Chorus...
Page 254: 4-Tap Chorus
4-Tap Chorus Chorus 4-Tap Chorus This effect has four chorus blocks, each with a different LFO phase. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also set some of the chorus blocks to combine the chorus and delay effects.
Page 255 Chorus 4-Tap Chorus Mod Amt +/-100. This sets the amount by which the mod source affects tap 1’s delay feedback. Frequency 0.00-20.00Hz. This controls the speed of the LFOs. Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources.
Page 256: 6-Tap Chorus
6-Tap Chorus Chorus 6-Tap Chorus This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by setting a different delay time and depth for each block. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the chorus effect itself has only a single, mono input.
Page 257 Chorus 6-Tap Chorus Taps 2-6 Each of Taps 2-6 has its own LFO, running at a preset phase offset from Tap 1’s LFO, as shown below: 0° 180° 60° 240° 120° 300° Phase Delay 0.0-670.0ms. This sets the delay time for the tap, in milliseconds. Depth 0-100.
Page 258 6-Tap Chorus Chorus Spread +/-100. This controls the width of the effect’s stereo image. Frequency 0.00-20.00Hz. This controls the speed of the LFOs. Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources.
Page 259: Chorus
Chorus Chorus Chorus This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the chorus effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 260 Chorus Chorus Mod Amount +/-100. This sets the amount by which the mod source affects the LFO speed. Output Mode Mono, Stereo. This controls whether the effect output is mono or simulated stereo. When this is set to Mono, the output is in mono. When this is set to Stereo, the output is simulated stereo, with the right effect output inverted.
Page 261: Eq Chorus
Chorus EQ Chorus EQ Chorus This is a mono-in, mono-out chorus, combined with a two-band shelving EQ. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the chorus effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 262 EQ Chorus Chorus Mod Amount +/-100. This sets the amount by which the mod source affects the LFO depth. Waveform Triangle, Sine. This selects the shape of the LFO. Frequency 0.02-20.00Hz. This controls the speed of the LFOs. Frequency Mod List of Modulation Sources.
Page 263: Harmonic Chorus
Chorus Harmonic Chorus Harmonic Chorus This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also add feedback, to turn the chorus into a ﬂanger. Input Source Left, L + R.
Page 264 Harmonic Chorus Chorus Feedback +/-100. This sets the feedback amount of the chorus. Increasing the feedback will allow you to use the effect as a ﬂanger. Damping 0-100. This controls the high-frequency damping in the feedback path. Levels Low Band 0-100.
Page 265: St 2-Band Chor
Chorus St 2-Band Chor St 2-Band Chor This is a stereo-in, stereo-out chorus effect, with completely separate choruses for high and low frequencies. Thick, ﬁne chorus effects can be created when this effect is applied to strings or ensemble sounds. Input Level -INF, -69.0 to 0.0dB.
Page 266 St 2-Band Chor Chorus LFO Phase 0° +90° +180° –180° –90° 0° Low Band Chorus Left Delay 0.0-50.0ms. This sets the delay time for the left channel, in milliseconds. Right Delay 0.0-50.0ms. This sets the delay time for the right channel, in milliseconds. Waveform Triangle, Sine.
Page 267 Chorus St 2-Band Chor Depth Modulation Modulate High Band, Low Band, Both. This selects whether depth modulation affects just the high band chorus, just the low band chorus, or both bands at once. Depth Mod List of Modulation Sources. This sets the modulation source for controlling the LFO depth.
Page 268: St Bi-Phase Chr
St Bi-Phase Chr Chorus St Bi-Phase Chr This stereo-in, stereo-out chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound.
Page 269 Chorus St Bi-Phase Chr LFO 2 Amt +/-100. This sets the amount by which the mod source affects LFO 2’s depth. LFO 1 Waveform Triangle, Sine. This selects the shape of LFO 1. Frequency 0.00-20.00Hz. This controls the speed of LFO 1. Frequency Mod List of Modulation Sources.
Page 270 St Bi-Phase Chr Chorus Interaction between the two LFOs Depth1 LFO1 LFO2 Depth2 Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix.
Page 271: St Chorus
Chorus St Chorus St Chorus This is a stereo-in, stereo-out chorus. You can enhance the stereo effect by offsetting the phase of the left and right LFOs from each other. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 272 St Chorus Chorus L/R Phase +/-180. This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect. LFO Phase 0° +90° +180° –180° 0° –90°...
Page 273: St Eq Chorus
Chorus St EQ Chorus St EQ Chorus This is a stereo chorus with a two-band shelving EQ. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 274 St EQ Chorus Chorus Spread +/-100. This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
Page 275 Chorus St EQ Chorus Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 276: St Harmonicchr
St HarmonicChr Chorus St HarmonicChr This is a stereo-in, stereo-out harmonic chorus, which applies chorus only to higher frequencies. It can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also add feedback, to turn the chorus into a ﬂanger. Shifting the left and right LFO phases from each other will enhance the stereo width.
Page 277 Chorus St HarmonicChr Waveform Triangle, Sine. This selects the shape of the LFO. L/R Phase +/-180. This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
Page 278 St HarmonicChr Chorus High Band 0-100. This sets the output level for the chorused high band. Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix.
Page 279: St Step Chorus
Chorus St Step Chorus St Step Chorus This is a stereo-in, stereo-out chorus, with a step effect on the LFO. You can enhance the stereo effect by offsetting the phase of the left and right LFOs from each other. Input Level -INF, -69.0 to 0.0dB.
Page 280 St Step Chorus Chorus L/R Phase +/-180. This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect. LFO Phase 0° +90° +180° –180° 0°...
Page 281 Chorus St Step Chorus Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount –100…+100. This sets the amount by which the mod source affects the wet/dry mix.
Page 282: St Step Chor 2
St Step Chor 2 Chorus St Step Chor 2 This is a stereo-in, stereo-out chorus effect, with completely separate choruses for high and low frequencies. You can also use the high-range chorus as a step chorus, employing a step-shape LFO waveform. Thick, ﬁne chorus effects can be created when this effect is applied to strings or ensemble sounds.
Page 283 Chorus St Step Chor 2 LFO Phase 0° +90° +180° –180° –90° 0° Step LFO On, Off. This turns the step effect on and off. Step Freq 0.00-50.00Hz. This sets the frequency for the step waveform. Level 0-100. This sets the output level for the high band chorus. Low Band Chorus Left Delay 0.0-50.0ms.
Page 284 St Step Chor 2 Chorus L/R Phase +/-180. This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown above, enhances the stereo effect. Level 0-100. This sets the output level for the low band chorus. Depth Modulation Modulate High Band, Low Band, Both.
Page 285: St Tempochorus
Chorus St TempoChorus St TempoChorus This is a stereo-in, stereo-out chorus with a complex, tempo-controlled LFO. For more information on syncing LFOs to MIDI, see “MIDI Tempo LFOs” on page 5. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 286 St TempoChorus Chorus LFO Control Frequency Knob, Manual Tempo, MIDI Tempo. The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks). If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
Page 287 Chorus St TempoChorus Phase Reset List of Modulation Sources. This sets the MIDI controller which will reset the LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization.
Page 288 St TempoChorus Chorus Subdivision 1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes. This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Page 289: Tempo Chorus
Chorus Tempo Chorus Tempo Chorus This is a chorus with a complex, tempo-controlled LFO. For more information on syncing LFOs to MIDI, see “MIDI Tempo LFOs” on page 5. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the chorus effect itself has only a single, mono input.
Page 290 Tempo Chorus Chorus If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount. If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Page 291 Chorus Tempo Chorus Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO speed. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the LFO speed. Manual Tempo 40 to 240 bpm.
Page 292: Compressor & Gate
Compressor & Gate...
Page 293: Compressor
Compressor & Gate Compressor Compressor This is a mono-input, mono-output compressor. Compressors regulate volume level, and are also often used to give a “punchy” effect to sounds such as guitars, basses, pianos, and drums. Input -INF, -69.0 to 0.0dB. This sets the input level for the compressor. Input meter This meter shows the input level.
Page 294 Compressor Compressor & Gate Threshold -40.0 to 0.0dB. This determines the input level at which the compressor will start to work. Input levels above the threshold will be compressed, and input levels below the threshold will not be compressed. Attack 1-100ms.
Page 295: Dual Midi Gate
Compressor & Gate Dual MIDI Gate Dual MIDI Gate This is a stereo-in, stereo-out MIDI-controlled gate. Unlike the Expander Gate, which is controlled by the input level, the Dual MIDI Gate opens and closes via MIDI triggers. The left and right channels may be controlled completely separately, with independent MIDI triggers and envelope settings.
Page 296 Dual MIDI Gate Compressor & Gate Decay 0-100. This sets the decay time of the channel’s amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete. Sustain 0-100. This sets the sustain level for the channel’s amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Page 297: Expander Gate
Compressor & Gate Expander Gate Expander Gate This is a mono-input, mono-output expander and gate. You might think of it as an inverse compressor; when the input falls below the threshold, the output level is reduced. This allows you to mute low-level sounds to clean up a recording with background noise, and can also be used for creative effects, such as gated reverbs.
Page 298 Expander Gate Compressor & Gate Gate Ratio and Threshold Output Level Ratio = 1:1 Ratio = 1:20 Input Level Threshold Threshold -80.0 to 0.0dB. This determines the input level at which the gate will open. Input levels below the threshold will be reduced in gain, and input levels above the threshold will be passed through unchanged.
Page 299 Compressor & Gate Expander Gate Gate Attack and Release Threshold Attack = 0. Release = 20 Attack = 50, Release = 500 Attack Release OASYS PCI...
Page 300: Limiter
Limiter Compressor & Gate Limiter This is a mono-in, mono-out limiter. This effect limits gain to an absolute maximum level, somewhat like a compressor with an inﬁnite ratio. It also features automatic makeup gain with a controllable volume ceiling, and lookahead for eliminating transient overshoot.
Page 301 Compressor & Gate Limiter Lookahead 0.00-3.00ms. The lookahead delays the signal very slightly, allowing the limited to “look ahead” for large volume jumps. This allows better handling of large transients, such as in drums, percussion, bass and guitar, and other sounds with sharp attacks.
Page 302: Midi Gate
MIDI Gate Compressor & Gate MIDI Gate This is a mono-in, mono-out MIDI-controlled gate. Unlike the Expander Gate, which is controlled by the input level, the MIDI Gate opens and closes via a MIDI trigger. You can use this for manually gating a recorded signal, for precise control over the gating process, or for special effects, such as rhythmic gating.
Page 303 Compressor & Gate MIDI Gate Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held. Release 0-100. This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Page 304: St Compressor
St Compressor Compressor & Gate St Compressor This is a stereo-in, stereo-out compressor. Compressors regulate volume level, and are also often used to give a “punchy” effect to sounds such as guitars, basses, pianos, and drums. Input -INF, -69.0 to 0.0dB. This sets the input level for the compressor. Input meter This meter shows the input level.
Page 305 Compressor & Gate St Compressor Threshold -40.0 to 0.0dB. This determines the input level at which the compressor will start to work. Input levels above the threshold will be compressed, and input levels below the threshold will not be compressed. Attack 1-100ms.
Page 306: St Expander Gate
St Expander Gate Compressor & Gate St Expander Gate This is a stereo-input, stereo-output expander and gate. You might think of it as an inverse compressor; when the input falls below the threshold, the output level is reduced. This allows you to mute low-level sounds to clean up a recording with background noise, and can also be used for creative effects, such as gated reverbs.
Page 307 Compressor & Gate St Expander Gate Gate Ratio and Threshold Output Level Ratio = 1:1 Ratio = 1:20 Input Level Threshold Threshold -80.0 to 0.0dB. This determines the input level at which the gate will open. Input levels below the threshold will be reduced in gain, and input levels above the threshold will be passed through unchanged.
Page 308 St Expander Gate Compressor & Gate Gate Attack and Release Threshold Attack = 0. Release = 20 Attack = 50, Release = 500 Attack Release OASYS PCI...
Page 309: St Limiter
Compressor & Gate St Limiter St Limiter This is a stereo-in, stereo-out limiter. This effect limits gain to an absolute maximum volume level, somewhat like a compressor with an inﬁnite ratio. It also features automatic makeup gain with a controllable volume ceiling, and lookahead for eliminating transient overshoot.
Page 310 St Limiter Compressor & Gate Lookahead 0.00-3.00ms. The lookahead delays the signal very slightly, allowing the limited to “look ahead” for large volume jumps. This allows better handling of large transients, such as in drums, percussion, bass and guitar, and other sounds with sharp attacks.
Page 311: Delay
Delay...
Page 312: 3Tap Delay A
3Tap Delay A Delay 3Tap Delay A This is a three-tap multitap delay, with separate level, pan, feedback amount, and high and low ﬁlters for each tap. The delay length can be set either in milliseconds or by tempo and note value. Input Source Left, L + R.
Page 313 Delay 3Tap Delay A Delay Time 0.0-2000.0ms. This sets the delay time for the tap, in milliseconds. This parameter only applies when the Delay Mode is set to Delay Time. When Delay Mode is set to Tempo, this has no effect. Note Value 1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
Page 314 3Tap Delay A Delay Feedback Modulation Feedback Mod List of Modulation Sources. This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 315: 3Tap Mididly
Delay 3Tap MidiDly 3Tap MidiDly This is a three-tap multitap delay with smooth, clickless MIDI clock synchronization. You can also modulate the delay times smoothly via MIDI controllers. Each tap has its own level, pan, feedback amount, and high and low ﬁlters.
Page 316 3Tap MidiDly Delay Taps 1-3 Each of the three taps has the same features. Delay Time 0.0-8000.0ms. This sets the delay time for the tap, in milliseconds. This parameter only applies when the Delay Mode is set to Delay Time. When Delay Mode is set to Tempo, this has no effect.
Page 317 Delay 3Tap MidiDly High Cut 24-24000Hz. This ﬁlter cuts the tap’s high frequencies. Use this to make the delay sound warmer, like a tape delay. Feedback Modulation Feedback Mod List of Modulation Sources. This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally.
Page 318: 40Sec Mididly
40Sec MidiDly Delay 40Sec MidiDly This is a three-tap multitap delay with smooth, clickless MIDI clock synchronization, and a maximum delay time of 40 seconds. You can also modulate the delay times smoothly via MIDI controllers. Each tap has its own level, pan, feedback amount, and high and low ﬁlters.
Page 319 Delay 40Sec MidiDly Taps 1-3 Each of the three taps has the same features. Delay Time 0.0-40000.0ms. This sets the delay time for the tap, in milliseconds. This parameter only applies when the Delay Mode is set to Delay Time. When Delay Mode is set to Tempo, this has no effect.
Page 320 40Sec MidiDly Delay High Cut 24-24000Hz. This ﬁlter cuts the tap’s high frequencies. Use this to make the delay sound warmer, like a tape delay. Feedback Modulation Feedback Mod List of Modulation Sources. This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally.
Page 321: Delay Mod Long
Delay Delay Mod Long Delay Mod Long This is an 8-second version of Delay Mod (described on page 315), featuring smoothly modulatable delay time and high and low ﬁlters. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 322 Delay Mod Long Delay Feedback Mod List of Modulation Sources. This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the feedback level. Damping High 0-100.
Page 323: Delay Mod
Delay Delay Mod Delay Mod This is a delay with smoothly modulatable delay time and high and low ﬁlters. For a longer version of the same delay, see “Delay Mod Long” on page 313. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 324 Delay Mod Delay Feedback Mod List of Modulation Sources. This sets the modulation source for controlling the delay feedback level. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the feedback level. Damping High 0-100.
Page 325: Delay
Delay Delay Delay This is a simple delay with high and low ﬁlters. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 326 Delay Delay Damping High 0-100. This ﬁlter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay. 0-100. This ﬁlter cuts the delay’s low frequencies. Use this to make the delay sound thinner. Output Mode Mono, Stereo.
Page 327: Diffuse Delay
Delay Diffuse Delay Diffuse Delay This is a two-tap multitap delay with dual input diffusers. The diffusers are based on part of the O-Verb reverb, and serve to soften and blur the delayed sound. The delays also feature smooth, clickless MIDI clock synchronization, and individual level, pan, feedback amount, and high and low ﬁlters per tap.
Page 328 Diffuse Delay Delay Smoothing 0.0-100.0. This determines how long it takes for the delay times to respond to tempo changes and MIDI controller modulation. 50.0 works well in most cases. Lower settings will mean that the delay times will change very quickly, but may also cause clicking.
Page 329 Delay Diffuse Delay Invert Phase On, Off. This controls the phase of the feedback. You can use this to adjust the tonal quality of the delay, as it overlaps with other delays or with the main signal. Low Cut 24-24000Hz. This ﬁlter cuts the tap’s low frequencies. Use this to make the delay sound thinner.
Page 330 Diffuse Delay Delay Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. OASYS PCI...
Page 331: Dual Delay
Delay Dual Delay Dual Delay This is a true stereo delay with high and low ﬁlters, and separate controls for the left and right channels. Input Level (Left and Right) -INF, -69.0 to 0.0dB. This sets the input level for the left and right delays. It does not affect the dry signal.
Page 332 Dual Delay Delay Mod Amt (Left and Right) +/-100. This sets the amount by which the mod source affects the left and right feedback levels. Output Wet/Dry (Left and Right) Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal for the left and right channels.
Page 333: L-C-R Delay
Delay L-C-R Delay L-C-R Delay This is a three-tap delay with preset panning for the three taps, stereo width control, and high and low ﬁlters. For a longer version of the same delay, see “L-C-R Dly Long” on page 328. Input Source Left, L + R.
Page 334 L-C-R Delay Delay Center -INF, -69.0 to 0.0dB. This sets the output level for the center delay. Right -INF, -69.0 to 0.0dB. This sets the output level for the right delay. Center Feedback This section controls the feedback for the center delay. Feedback +/-100.
Page 335 Delay L-C-R Delay Spread Mod List of Modulation Sources. This sets the modulation source for controlling the stereo spread. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the stereo spread. Output Wet/Dry Dry, 1:99-99:1, Wet.
Page 336: L-C-R Dly Long
L-C-R Dly Long Delay L-C-R Dly Long This is a longer version of L-C-R Delay (described on page 325), featuring preset panning for the three taps, stereo width control, and high and low ﬁlters. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 337 Delay L-C-R Dly Long Center -INF, -69.0 to 0.0dB. This sets the output level for the center delay. Right -INF, -69.0 to 0.0dB. This sets the output level for the right delay. Center Feedback This section controls the feedback for the center delay. Feedback +/-100.
Page 338 L-C-R Dly Long Delay Spread Mod List of Modulation Sources. This sets the modulation source for controlling the stereo spread. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the stereo spread. Output Wet/Dry Dry, 1:99-99:1, Wet.
Page 339: Midi Delay
Delay Midi Delay Midi Delay This is a single-tap delay with smooth, clickless MIDI clock synchronization, and dedicated high and low ﬁlters. You can also modulate the delay times smoothly via MIDI controllers. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 340 Midi Delay Delay Delay Delay Time 0.0-8000.0ms. This sets the delay time, in milliseconds. This parameter only applies when the Delay Mode is set to Delay Time. When Delay Mode is set to Tempo, this has no effect. Note Value 1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
Page 341 Delay Midi Delay Feedback Modulation Feedback Mod List of Modulation Sources. This sets the modulation source for controlling the delay feedback levels. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the feedback level. Output Wet/Dry Dry, 1:99-99:1, Wet.
Page 342: Multitap Delay
Multitap Delay Delay Multitap Delay This is a two-tap, mono-in, mono-out delay with high and low ﬁlters. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 343 Delay Multitap Delay High Cut 0-100. This ﬁlter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay. Feedback Feedback +/-100. This adjusts the amount of feedback into the delay line. Negative values invert the phase of the feedback.
Page 344: St Delay Long
St Delay Long Delay St Delay Long This is a four-second version of St Delay (described on page 338), featuring a true stereo delay, with high and low ﬁlters. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 345 Delay St Delay Long Feedback Mod List of Modulation Sources. This sets the modulation source for controlling the delay feedback level. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the feedback level. Spread Spread +/-100.
Page 346: St Delay
St Delay Delay St Delay This is a simple true stereo delay, with high and low ﬁlters. For a longer version of the same delay, see “St Delay Long” on page 336. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 347 Delay St Delay Feedback Mod List of Modulation Sources. This sets the modulation source for controlling the delay feedback level. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the feedback level. Spread Spread +/-100.
Page 348: St Diffuse Dly
St Diffuse Dly Delay St Diffuse Dly This is a true stereo delay with dual input diffusers for each channel. The diffusers are based on part of the O-Verb reverb, and serve to soften and blur the delayed sound. The delays also feature smooth, clickless MIDI clock synchronization, and individual level, pan, feedback amount, and high and low ﬁlters for each channel.
Page 349 Delay St Diffuse Dly Left Delay and Right Delay The left and right delays have the same features. Delay Time 0.0-8000.0ms. This sets the delay time for the tap, in milliseconds. This parameter only applies when the Delay Mode is set to Delay Time. When Delay Mode is set to Tempo, this has no effect.
Page 350 St Diffuse Dly Delay High Cut 24-24000Hz. This ﬁlter cuts the tap’s high frequencies. Use this to make the delay sound warmer, like a tape delay. Stereo Link On, Off. This allows you to link the controls of the two channels. On.
Page 351 Delay St Diffuse Dly Output Direct Diffusion 0-100. This allows you to add in the sound of the diffusers alone, before the delays. Rolloff 0-24000Hz. This controls an overall lowpass ﬁlter on the output of the delays. Settings around 6-8kHz are good for producing a warm, smooth sound. Wet/Dry Dry, 1:99-99:1, Wet.
Page 352: St Dynamic Dly
St Dynamic Dly Delay St Dynamic Dly The output level of this stereo delay is controlled by the input signal level. You can use this as a ducking delay, so that delay is only heard when you play softly (or pause after playing a phrase), or as a gated delay, so that the delay is only heard when you are playing loudly.
Page 353 Delay St Dynamic Dly Release 0-100. This sets the time that it takes for the gate to close, or for the ducker to open. Offset Level 0-100. This allows the delay output to pass around the dynamics section, so that there is a minimum level of delay even when the dynamics aren’t letting any signal through.
Page 354 St Dynamic Dly Delay High Cut 0-100. This ﬁlter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay. Low Cut 0-100. This ﬁlter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
Page 355: St Midi Dly
Delay St Midi Dly St Midi Dly This is a true stereo delay with smooth, clickless MIDI clock synchronization. You can also modulate the delay times smoothly via MIDI controllers, The right and left channels each have their own level, pan, feedback amount, and high and low ﬁlters.
Page 356 St Midi Dly Delay Note Value 1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars. This sets the length of the tap’s delay, in note value. This parameter only applies when the Delay Mode is set to Tempo.
Page 357 Delay St Midi Dly Flip Left/Right On, Off. This allows you to ﬂip the stereo image of the delayed signals. On. The pan settings for both channels will be inverted. For instance, if the channel is set to hard left, it will be ﬂipped to hard right; if it is set to 50 (half-right), it will be ﬂipped to -50 (half left).
Page 358: St Mod Delay
St Mod Delay Delay St Mod Delay This is a true stereo delay with smoothly modulatable delay time and high and low ﬁlters. For a longer version of the same delay, see “Delay Mod Long” on page 313. Input Level -INF, -69.0 to 0.0dB.
Page 359 Delay St Mod Delay Damping 0-100. This ﬁlter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay. Waveform Triangle, Sine. This selects the shape of the LFO. Waveforms and Phase -180˚ -90˚ 0˚...
Page 360 St Mod Delay Delay R Phase This sets the point in the waveform at which the right LFO starts. Whenever the Key Sync controller is received, the LFO will start from this point. Off-setting the phase between the right and left LFOs enhances the stereo effect. Manual Mod Mod Source List of Modulation Sources.
Page 361: St Multitap Dly
Delay St Multitap Dly St Multitap Dly This is a two-tap, true stereo delay with high and low ﬁlters, and a selection of feedback paths. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 362 St Multitap Dly Delay Delay 1 0.0-680.0ms. This sets the delay time for the ﬁrst tap, in milliseconds. Level 1 0-100. This sets the output level for the ﬁrst tap. Delay 2 0.0-680.0ms. This sets the delay time for the second tap, in milliseconds. Level 2 0-100.
Page 363 Delay St Multitap Dly Mod Amount +/-100. This sets the amount by which the mod source affects the stereo spread. Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix.
Page 364: Distortion
Distortion...
Page 365: Hyper-Gain Wah
Distortion Hyper-Gain Wah Hyper-Gain Wah This distortion effect includes enhanced-quality “hyper gain” mode, four-band parametric EQ, and modulatable wah. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 366 Hyper-Gain Wah Distortion Amp Simulation On, Off. This enables and disables the built-in ampliﬁer simulation. Post-Drive 4-Band EQ The 4-band parametric EQ processes the audio after the overdrive. 20-1.0kHz. This sets the center frequency of the low EQ band, in Hz. 0.5-10.0.
Page 367 Distortion Hyper-Gain Wah Gain +/-18.1dB. This sets the gain of the high EQ band. Off, On. This sets the initial state of the wah effect. On/Off Source List of Modulation Sources. This sets the modulation source for controlling the wah on/off. For a complete list, please see “Modulation Sources” on page 2. On/Off SW Momentary, Toggle.
Page 368: Hyper-Gain
Hyper-Gain Distortion Hyper-Gain This distortion effect includes enhanced-quality “hyper gain” mode and four-band parametric EQ. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 369 Distortion Hyper-Gain Amp Simulation On, Off. This enables and disables the built-in ampliﬁer simulation. Post-Drive 4-Band EQ The 4-band parametric EQ processes the audio after the overdrive. 20-1.0kHz. This sets the center frequency of the low EQ band, in Hz. 0.5-10.0.
Page 370 Hyper-Gain Distortion Gain +/-18.1dB. This sets the gain of the high EQ band. Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix.
Page 371: Overdrive Wah
Distortion Overdrive Wah Overdrive Wah This distortion effect includes overdrive and hi-gain modes, four-band parametric EQ, and modulatable wah. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 372 Overdrive Wah Distortion Amp Simulation On, Off. This enables and disables the built-in ampliﬁer simulation. Post-Drive 4-Band EQ The 4-band parametric EQ processes the audio after the overdrive. 20-1.0kHz. This sets the center frequency of the low EQ band, in Hz. 0.5-10.0.
Page 373 Distortion Overdrive Wah Gain +/-18.1dB. This sets the gain of the high EQ band. Off, On. This sets the initial state of the wah effect. On/Off Source List of Modulation Sources. This sets the modulation source for controlling the wah on/off. For a complete list, please see “Modulation Sources” on page 2. On/Off SW Momentary, Toggle.
Page 374: Overdrive
Overdrive Distortion Overdrive This distortion effect includes overdrive and hi-gain modes and four-band parametric EQ. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 375 Distortion Overdrive Amp Simulation On, Off. This enables and disables the built-in ampliﬁer simulation. Post-Drive 4-Band EQ The 4-band parametric EQ processes the audio after the overdrive. 20-1.0kHz. This sets the center frequency of the low EQ band, in Hz. 0.5-10.0.
Page 376 Overdrive Distortion Gain +/-18.1dB. This sets the gain of the high EQ band. Off, On. This sets the initial state of the wah effect. On/Off Source List of Modulation Sources. This sets the modulation source for controlling the wah on/off. For a complete list, please see “Modulation Sources” on page 2. On/Off SW Momentary, Toggle.
Page 377: Ensemble
Ensemble...
Page 378: Ensemble
Ensemble Ensemble Ensemble This is a mono-in, stereo-out ensemble, which combines three choruses panned left, right, and center with a complex-waveform “shimmering” LFO. Ensemble is most effective on string sounds. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 379 Ensemble Ensemble LFO added to the main LFO waveform. See the graphic below for more information. Shimmer Level Shimmer Time Depth 0-100. This controls the depth of LFO pitch modulation. Depth Mod List of Modulation Sources. This sets the modulation source for controlling the LFO depth.
Page 380: St Ensemble
St Ensemble Ensemble St Ensemble This is a stereo-in, stereo-out ensemble, which combines three choruses per channel (six total) panned left, right, and center with a complex-waveform “shimmering” LFO. Ensemble is most effective on string sounds. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 381 Ensemble St Ensemble Spread +/-100. This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
Page 382: Early Reflections
Early Reﬂections...
Page 383: Early Reflections Long
Early Reflections Early Reflections Long Early Reﬂections Long This effect models the initial reﬂections off the walls of a reverberant space, before the discrete echoes turn into an ambient wash. The different ER types also allow you to create gated and reverse reverb effects. This effect has a 600ms maximum ER time, but is otherwise similar to “Early Reﬂections,”...
Page 384 Early Reflections Long Early Reflections Early Reﬂections Types, Pre-Delay, and ER Time Sharp Loose Modulated Reverse Pre-Delay ER Time Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix.
Page 385: Early Reflections
Early Reflections Early Reflections Early Reﬂections This effect models the initial reﬂections off the walls of a reverberant space, before the discrete echoes turn into an ambient wash. The different ER types also allow you to create gated and reverse reverb effects. This effect has a 400ms maximum ER time, but is otherwise similar to “Early Reﬂections Long,”...
Page 386 Early Reflections Early Reflections Early Reﬂections Types, Pre-Delay, and ER Time Sharp Loose Modulated Reverse Pre-Delay ER Time Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix.
Page 388: 3-Band Eq
3-Band EQ 3-Band EQ This is a three-band EQ with high and low shelving and a fully parametric middle band, with very broad Q (from 0.25 to 32). As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 389 3-Band EQ Center 200-4000Hz This sets the center frequency of the parametric mid band, in Hz. 0.25-32.00. This sets the bandwidth of the parametric mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speciﬁc frequencies.
Page 390 3-Band EQ High and Low Shelving EQ Low Shelf High Shelf Gain + Gain - Frequency Frequency OASYS PCI...
Page 391: 3-Parametric
3-Parametric 3-Parametric This is an EQ with three fully parametric bands of peaking EQ. As with all EQs in the OASYS PCI, the curves are smooth and symmetric in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 392 3-Parametric Parametric “Q” Gain + High Q Low Q Gain - Frequency Center 50.0-10000.0Hz This sets the center frequency of the mid band, in Hz. 0.5-10.0. This sets the bandwidth of the mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speciﬁc frequencies.
Page 393: 5-Band Eq
5-Band EQ 5-Band EQ This is a ﬁve-band EQ with high and low shelving and three fully parametric peaking bands, with very broad Q (from 0.25 to 32). As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 394 5-Band EQ Low Mid Center 20-2000Hz This sets the center frequency of the low mid band, in Hz. 0.25-32.00. This sets the bandwidth of the low mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cut- ting or boosting very speciﬁc frequencies.
Page 395 5-Band EQ 0.25-32.00. This sets the bandwidth of the high mid band. Gain +/-18.1dB. This sets the amount of boost or cut for the high mid band. High Shelf Frequency 5000-20000Hz. This sets the cutoff frequency of the high shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown below.
Page 396: Graphic Eq 10
Graphic EQ 10 Graphic EQ 10 This is a mono-in, mono-out ten-band graphic EQ. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 397 Graphic EQ 10 +/-18.1dB. This sets the amount of boost or cut for the band centered on 2kHz. +/-18.1dB. This sets the amount of boost or cut for the band centered on 4kHz. +/-18.1dB. This sets the amount of boost or cut for the band centered on 8kHz. +/-18.1dB.
Page 398 Graphic EQ 7 Graphic EQ 7 This is a mono-in, mono-out seven-band graphic EQ, with a choice of six different frequency combinations. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 399 Graphic EQ 7 Band 6 Gain +/-18.1dB. This sets the amount of boost or cut for the sixth band. Band 7 Gain +/-18.1dB. This sets the amount of boost or cut for the seventh band. Frequency Bands Selection of six different sets of frequencies. This menu selects the frequencies assigned to the seven bands.
Page 400: High Cut Filter
High Cut Filter High Cut Filter This is a mono-in, mono-out high cut ﬁlter, with a choice of 12dB or 24dB per octave slope. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 401: High-Low Shelf
High-Low Shelf High-Low Shelf This is a mono-input, mono-output two-band EQ, with high and low shelving. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 402 High-Low Shelf High and Low Shelving EQ Low Shelf High Shelf Gain + -3dB -3dB Gain - Frequency Frequency OASYS PCI...
Page 403: Low Cut Filter
Low Cut Filter Low Cut Filter This is a mono-in, mono-out low cut ﬁlter, with a choice of 12dB or 24dB per octave slope. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 404: St 3-Band Eq
St 3-Band EQ St 3-Band EQ This is a stereo-in, stereo-out three-band EQ with high and low shelving and a fully parametric middle band. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 405 St 3-Band EQ slightly more than four octaves; a Q of 32 creates a bandwidth of about 1/22 of an octave, or about half a semitone. The Q for this band is symmetric, as described under “Symmetric Q,” on page 380. Parametric “Q”...
Page 406: St 5-Band Eq
St 5-Band EQ St 5-Band EQ This is a stereo-in, stereo-out ﬁve-band EQ with high and low shelving and three fully parametric peaking bands. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 407 St 5-Band EQ slightly more than four octaves; a Q of 32 creates a bandwidth of about 1/22 of an octave, or about half a semitone. The Q for this band is symmetric, as described under “Symmetric Q,” on page 385. Parametric “Q”...
Page 408 St 5-Band EQ High Shelf Frequency 5000-20000Hz. This sets the cutoff frequency of the high shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown below. Gain +/-18.1dB. This sets the amount of boost or cut for the high shelf. High and Low Shelving EQ Low Shelf High Shelf...
Page 409: St Graphic Eq10
St Graphic EQ10 St Graphic EQ10 This is a stereo-in, stereo-out ten-band graphic EQ. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 410 St Graphic EQ10 +/-18.1dB. This sets the amount of boost or cut for the band centered on 8kHz. +/-18.1dB. This sets the amount of boost or cut for the band centered on 16kHz. OASYS PCI...
Page 411: St Hi-Lo Shelf
St Hi-Lo Shelf St Hi-Lo Shelf This is a stereo-input, stereo-output two-band EQ, with high and low shelving. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 412 St Hi-Lo Shelf High and Low Shelving EQ Low Shelf High Shelf Gain + Gain - Frequency Frequency OASYS PCI...
Page 413: St Highcut Filter
St HighCut Filter St HighCut Filter This is a stereo-in, stereo-out high cut ﬁlter, with a choice of 12dB or 24dB per octave slope. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 414: St Lowcut Filter
St LowCut Filter St LowCut Filter This is a stereo-in, stereo-out low cut ﬁlter, with a choice of 12dB or 24dB per octave slope. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs. For the more technically inclined, the EQ calculations are all double-precision, using ﬁrst-order error-feedback.
Page 415: Filters
Filters...
Page 416: Auto Wah
Auto Wah Filters Auto Wah This is a model of a wah pedal, which can be swept either by an envelope follower or by a MIDI controller. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 417 Filters Auto Wah Resonance 0-100. This sets the resonance of the wah ﬁlter. Higher resonances will emphasize the cutoff frequency. Filter Mode LPF, BPF. This sets the type of ﬁlter used for the wah. LPF. The wah will use a lowpass ﬁlter. BPF.
Page 418 Auto Wah Filters Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. OASYS PCI...
Page 419: Dyna Exciter
Filters Dyna Exciter Dyna Exciter This effect emphasizes the frequency content of the input signal. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 420 Dyna Exciter Filters Blend +/-100. This parameter controls the intensity of the Exciter effect. Positive values emphasize different frequency patterns than negative values. Blend Mod List of Modulation Sources. This sets the modulation source for controlling the blend. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 421: Mini Filter
Filters Mini Filter Mini Filter This effect includes the special 24dB per octave lowpass ﬁlter and modeled VCA nonlinearity from the Mini Synth Patch, along with an ADSR envelope. You can play the ﬁlter from the keyboard, for processing audio or other synthesizer Patches. Input Level -INF, -69.0 to 0.0dB.
Page 422 Mini Filter Filters Envelope amount affect on cutoff frequency +100 Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100.
Page 423 Filters Mini Filter Key Track +/- 100. This adjusts the ﬁlter cutoff in response to incoming MIDI notes, centered on E4, as shown below. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette. Key Tracking Key Track amount +100...
Page 424 Mini Filter Filters Vel Sens (Velocity Sensitivity) 0-100. This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities. OASYS PCI...
Page 425: Random Filter
Filters Random Filter Random Filter This is a resonant lowpass ﬁlter modulated by a sample-and-hold LFO. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 426 Random Filter Filters Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO frequency. For a complete list, please see “Modulation Sources” on page 2. Mod Amt +/-100. This sets the amount by which the mod source affects the LFO frequency. Output Mode Mono, Stereo.
Page 427: Rez Filter Env
Filters Rez Filter Env Rez Filter Env This effect provides a resonant multimode, multi-pole ﬁlter, an ADSR envelope, and an LFO which can be routed to both cutoff and resonance. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 428 Rez Filter Env Filters no effect. At +100, the envelope will open the ﬁlter all the way at its peak, even if Cutoff is set to 0. Envelope amount affect on cutoff frequency +100 Key Track +/- 100. This adjusts the ﬁlter cutoff in response to incoming MIDI notes, as shown below.
Page 429 Filters Rez Filter Env Sustain 0-100. This sets the sustain level for the ﬁlter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held. Release 0-100. This sets the release time of the ﬁlter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Page 430 Rez Filter Env Filters 2 Pole. This is a 12dB per octave ﬁlter. Compared to the 4 Pole, this offers signiﬁcantly less attenuation of frequencies beyond the cutoff, but with slightly more pronounced resonance. 2 Pole > 2 Pole. This is two 12dB per octave ﬁlters in series. Of the three types, this offers by far the most extreme resonance effect.
Page 431: Rez Filter Lfo
Filters Rez Filter Lfo Rez Filter Lfo This effect combines a resonant multimode, multi-pole ﬁlter with a complex, MIDI- synced LFO. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs” on page 5. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 432 Rez Filter Lfo Filters Key Tracking Key Track amount +100 +100 -100 -100 MIDI Note Mode Lowpass, Highpass, Bandpass. This selects whether the ﬁlter will cut high frequencies (Lowpass), cut low frequencies (Highpass), or cut all frequencies above and below the cutoff point (Bandpass). Lowpass.
Page 433 Filters Rez Filter Lfo LFO Mod Depth Initial 0-100. This sets the initial amount of LFO ﬁlter modulation. Mod Source List of Modulation Sources. This sets the modulation source for controlling the LFO depth. For a complete list, please see “Modulation Sources” on page 2. Shape +/-100.
Page 434 Rez Filter Lfo Filters LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚...
Page 435 Filters Rez Filter Lfo LFO Control Frequency Knob, Manual Tempo, MIDI Tempo. The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks). If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
Page 436 Rez Filter Lfo Filters Subdivision 1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes. This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Page 437: Rez Filter Seq
Filters Rez Filter Seq Rez Filter Seq This effect combines a resonant multimode, multi-pole ﬁlter with an ADSR envelope and an analog-style sequencer. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 438 Rez Filter Seq Filters Key Tracking Key Track amount +100 +100 -100 -100 MIDI Note Resonance 0-100. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch.
Page 439 Filters Rez Filter Seq Attack 0-100. This sets the attack time of the ﬁlter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak. Decay 0-100. This sets the decay time of the ﬁlter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Page 440 Rez Filter Seq Filters Type 4 Pole, 2 Pole, 2 Pole > 2 Pole. This parameter selects the amount of frequency attenuation in the ﬁlter, and the character of the resonance. 4 Pole. This is a 24dB per octave ﬁlter. Of the three types, the 4 Pole offers the greatest attenuation of frequencies beyond the cutoff, coupled with a resonance slightly more delicate than the 2 Pole type.
Page 441 Filters Rez Filter Seq Run/Stop Mod List of Modulation Sources. This sets the modulation source for starting and stopping the sequence. For a complete list, please see “Modulation Sources” on page 2. Run/Stop Mode Momentary, Toggle. This determines the behavior of the run/stop modulator. Momentary.
Page 442 Rez Filter Seq Filters Sequencer Levels Step 1-16 +/-100. This sets the output level for each step. Baseline +/-100. This allows you to move the ﬁlter cutoff underneath the sequence, without affecting the Step 1-16 levels. It’s a very different effect than moving the Cutoff or Seq Amt knobs–try it out! OASYS PCI...
Page 443: Rez Filter+Amp
Filters Rez Filter+Amp Rez Filter+Amp This effect provides a resonant multimode, multi-pole ﬁlter, ﬁlter and amplitude ADSR envelopes, and an LFO which can be routed to both cutoff and resonance. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 444 Rez Filter+Amp Filters no effect. At +100, the envelope will open the ﬁlter all the way at its peak, even if Cutoff is set to 0. Envelope amount affect on cutoff frequency +100 Key Track +/- 100. This adjusts the ﬁlter cutoff in response to incoming MIDI notes, as shown below.
Page 445 Filters Rez Filter+Amp Sustain 0-100. This sets the sustain level for the ﬁlter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held. Release 0-100. This sets the release time of the ﬁlter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Page 446 Rez Filter+Amp Filters 2 Pole. This is a 12dB per octave ﬁlter. Compared to the 4 Pole, this offers signiﬁcantly less attenuation of frequencies beyond the cutoff, but with slightly more pronounced resonance. 2 Pole > 2 Pole. This is two 12dB per octave ﬁlters in series. Of the three types, this offers by far the most extreme resonance effect.
Page 447 Filters Rez Filter+Amp Sustain 0-100. This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held. Release 0-100. This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Page 448: St Auto Wah
St Auto Wah Filters St Auto Wah This is a stereo-input, stereo-output wah ﬁlter, which can be swept either by an envelope follower or by a MIDI controller. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 449 Filters St Auto Wah Resonance 0-100. This sets the resonance of the wah ﬁlter. Higher resonances will emphasize the cutoff frequency. Filter Mode LPF, BPF. This sets the type of ﬁlter used for the wah. LPF. The wah will use a lowpass ﬁlter. BPF.
Page 450 St Auto Wah Filters Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. OASYS PCI...
Page 451: Stereo Enhancer
Filters Stereo Enhancer Stereo Enhancer This stereo-input, stereo-output effect enhances the stereo image, and adds presence to the sound. It’s useful when you wish to emphasize a stereo effect, or to create a stereo image from a monaural source. Input Level -INF, -69.0 to 0.0dB.
Page 452 Stereo Enhancer Filters Blend Mod List of Modulation Sources. This sets the modulation source for controlling the blend. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the blend. Stereo Enhancer Width 0-100.
Page 453 Filters Stereo Enhancer Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry amount. OASYS PCI...
Page 454: Talking Mod
Talking Mod Filters Talking Mod This effect adds vocal formants to the input signal. By modulating the effect in real- time, you can create an interesting effect that makes almost any sound appear to be talking. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 455 Filters Talking Mod LFO Shape +/-100. This adjusts the shape of the LFO waveform. Positive values shape the curve so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below. LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100...
Page 456 Talking Mod Filters Resonance 0-100. This parameter sets the intensity of the vowel resonance. Higher resonance settings will add more character to the sound. Talking Modulator Voice Bottom Voice Center Voice Top + Max – Max Zero + Max Zero Output Wet/Dry Dry, 1:99-99:1, Wet.
Page 457: Wide Stereo
Filters Wide Stereo Wide Stereo This effect enhances the perception of stereo imaging in the input signal. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal. Stereo Enhancer Width 0-100.
Page 458 Wide Stereo Filters Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry amount. OASYS PCI...
Page 459: Flangers
Flangers...
Page 460: Envelope Flanger
Envelope Flanger Flangers Envelope Flanger This is a mono-input, mono-output ﬂanger, based on an envelope instead of an LFO. You can trigger the envelope via MIDI, and also simply control the ﬂanger directly from a MIDI controller. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 461 Flangers Envelope Flanger EG Trigger/Mod List of Modulation Sources. When Sweep Mode is set to EG, this selects the modulation source that triggers the envelope. When Sweep Mode is set to Mod Source, this selects the modulation source that controls the ﬂanger. For a complete list of modulation sources, please see “Modulation Sources”...
Page 462: Flanger
Flanger Flangers Flanger This is a mono-input, mono-output ﬂanger. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 463 Flangers Flanger LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Frequency 0.00-20.00Hz. This controls the speed of the LFO. Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO frequency.
Page 464: St Env Flanger
St Env Flanger Flangers St Env Flanger This is a stereo-in, stereo-out ﬂanger based on an envelope instead of an LFO. You can trigger the envelope via MIDI, and also simply control the ﬂanger frequency directly from a MIDI controller. Input Level -INF, -69.0 to 0.0dB.
Page 465 Flangers St Env Flanger Flanger Control Sweep Mode EG, Mod Source. This determines how the ﬂanger will be controlled. EG. The ﬂanger will be controlled by the envelope generator (EG). Mod Source. The ﬂanger will be controlled directly by the MIDI mod source. EG Trigger/Mod List of Modulation Sources.
Page 466: St Flanger
St Flanger Flangers St Flanger This is a stereo-in, stereo-out ﬂanger effect. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal. Stereo Flanger Delay 0.0-50.0ms. This sets the center delay for the ﬂanger. Depth 0-100.
Page 467 Flangers St Flanger Shape +/-100. This adjusts the shape of the LFO waveform. Positive values shape the curve so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below. LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100...
Page 468 St Flanger Flangers Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO speed. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-20.00Hz. This sets the amount by which the mod source affects the LFO speed. Output Wet/Dry Dry, 1:99-99:1, Wet.
Page 469: St Randomflange
Flangers St RandomFlange St RandomFlange This is a stereo-in, stereo-out ﬂanger, with step-shaped and sample-and-hold waveforms. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal. Stereo Random Flanger Delay 0.0-50.0ms.
Page 470 St RandomFlange Flangers output to mono. Negative values will reverse the left and right channels of the effect output. LFO Control Waveform Step Triangle, Step Sine, Random. This selects the main waveform for the LFO. L/R Phase +/-180. This sets the phase difference between the LFOs for the right and left channels.
Page 471 Flangers St RandomFlange Mod Amount +/-20.00Hz. This sets the amount by which the mod source affects the frequency of the main LFO. Step Amt +/-50.00Hz. This sets the amount by which the mod source affects the frequency of the step LFO. Random Step LFO LFO Frequency LFO Step Freq...
Page 472: St Tempoflanger
St TempoFlanger Flangers St TempoFlanger This is a stereo-in, stereo-out ﬂanger with a complex, MIDI-syncable tempo LFO. Try modulating the LFO parameters, such as shape, smoothing, and L/R phase, in real time. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs”...
Page 473 Flangers St TempoFlanger Waveform Waveform Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold. This selects the waveform of the LFO. Shape +/-100. This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the “up”...
Page 474 St TempoFlanger Flangers LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚...
Page 475 Flangers St TempoFlanger If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount. If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Page 476 St TempoFlanger Flangers in conjunction with MIDI Tempo synchronization. For a complete list of mod sources, please see “Modulation Sources” on page 2. To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Page 477: Sttempoflange2
Flangers StTempoFlange2 StTempoFlange2 This is a stereo-in, stereo-out ﬂanger, with a complex MIDI-synced main LFO. The main LFO can itself be modulated by a second MIDI-synced step LFO. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs” on page 5. Input Level -INF, -69.0 to 0.0dB.
Page 478 StTempoFlange2 Flangers Spread +/-100. This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
Page 479 Flangers StTempoFlange2 LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚...
Page 480 StTempoFlange2 Flangers If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount. If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Page 481 Flangers StTempoFlange2 in conjunction with MIDI Tempo synchronization. For a complete list of mod sources, please see “Modulation Sources” on page 2. To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Page 482 StTempoFlange2 Flangers Step Freq 0.00-80.00Hz. This controls the speed of the step LFO when the LFO Control is set to Frequency Knob. Step Freq Mod List of Modulation Sources. This sets the modulation source for controlling the speed of the step LFO. For a complete list, please see “Modulation Sources” on page 2.
Page 483 Flangers StTempoFlange2 Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. Invert Wet Phase On, Off. This allows you to invert the phase of the wet signal. OASYS PCI...
Page 484: Tempo Flanger
Tempo Flanger Flangers Tempo Flanger This is a mono-in, mono-out ﬂanger with a complex, MIDI-syncable tempo LFO. Try modulating the LFO parameters, such as shape and smoothing, in real time. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs”...
Page 485 Flangers Tempo Flanger LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚...
Page 486 Tempo Flanger Flangers LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Smoothing 0-100. This allows you to ﬁlter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions.
Page 487 Flangers Tempo Flanger To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately. Frequency The controls in the Frequency section only apply when the LFO Control is set to Frequency Knob.
Page 488 Tempo Flanger Flangers Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. OASYS PCI...
Page 489: Modulations
Modulations...
Page 490: Doppler
Doppler Modulations Doppler This effect simulates the Doppler effect, which causes perceived pitch to change as a sound-producing object moves by–such as a train passing while ringing its bell, or an ambulance driving by and sounding its siren. You can also mix the effect output with the dry signal, to create an unusual chorus effect.
Page 491 Modulations Doppler One Shot. The doppler will only act when triggered, and will then go through one cycle and stop. Loop. The doppler effect will run continuously. One Shot Trigger List of Modulation Sources. This sets the modulation source for triggering the doppler effect, when the Mode is set to One Shot.
Page 492: Dual Resonator
Dual Resonator Modulations Dual Resonator This effect includes two independent resonators, which each cause the input signal to resonate at a speciﬁed pitch. For example, the resonators can add a unique character to a string sound by emphasizing certain harmonics, or add a pitched element to a drum loop.
Page 493 Modulations Dual Resonator Manual. The Resonance parameter sets the intensity of resonance. Mod Source. The intensity of the resonance will be controlled directly from the MIDI mod source. LFO. The intensity of the resonance will be controlled by the LFO. Mod Source List of Modulation Sources.
Page 494: Resonator
Resonator Modulations Resonator This effect causes the input signal to resonate at a speciﬁed pitch. For example, the Resonator can add a unique character to a string sound by emphasizing certain harmonics, or add a pitched element to a drum loop. You can control the resonance intensity via an LFO.
Page 495 Modulations Resonator Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO frequency. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the LFO frequency. Output Mode Mono, Stereo.
Page 496: Ring Modulator
Ring Modulator Modulations Ring Modulator This effect creates a metallic sound by routing the input signal to an oscillator. You can create very extreme effects by modulating the oscillator using an LFO or MIDI modulation. Since the oscillator frequency can match the note number, you can create a ring modulation effect that follows the scale.
Page 497 Modulations Ring Modulator Note Note Offset +/-48. This allows you to offset the pitch from the received MIDI note numbers, in semitones. Note Fine +/-100. This allows you to ﬁne-tune the resonators, in cents (1/100 of a semitone). Note Offset Mod List of Modulation Sources.
Page 498 Ring Modulator Modulations Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 499: St Vibrato Af
Modulations St Vibrato AF St Vibrato AF This is a stereo-in, stereo-out vibrato effect, with a triggered auto fade envelope. The envelope can modulate LFO amount to vibrato, LFO amount to ﬁlter cutoff, and LFO frequency. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 500 St Vibrato AF Modulations Stereo Vibrato Depth 0-100. This controls the depth of the vibrato. Depth Mod List of Modulation Sources. This sets the modulation source for controlling the vibrato depth. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 501 Modulations St Vibrato AF “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below. LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Freq 0.00-20.00Hz.
Page 502: St Vibrato
St Vibrato Modulations St Vibrato This is a stereo-in, stereo-out vibrato effect. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal. Stereo Vibrato Depth 0-100. This controls the depth of the vibrato. Depth Mod List of Modulation Sources.
Page 503 Modulations St Vibrato Shape +/-100. This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
Page 504: Vibrato Af
Vibrato AF Modulations Vibrato AF This is a mono-in, stereo-out vibrato effect, with a triggered auto fade envelope. The envelope can modulate LFO amount to vibrato, LFO amount to ﬁlter cutoff, and LFO frequency. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 505 Modulations Vibrato AF Auto Fade Note Gate All Notes Off Note On AUTOFADE Fade-In Rate Vibrato Depth 0-100. This controls the depth of the vibrato. Depth Mod List of Modulation Sources. This sets the modulation source for controlling the vibrato depth. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 506 Vibrato AF Modulations LFO Depth Mod List of Modulation Sources. This sets the modulation source for controlling the ﬁlter LFO depth. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the ﬁlter LFO depth. Depth Auto Fade On, Off.
Page 507 Modulations Vibrato AF Freq Auto Fade On, Off. This enables modulation of frequency via the auto fade envelope. Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix.
Page 508: Vibrato
Vibrato Modulations Vibrato This is a mono-in, stereo-out vibrato effect. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 509 Modulations Vibrato Mod Amount +/-100. This sets the amount by which the mod source affects the ﬁlter LFO depth. Waveform Triangle, Sine. This selects the waveform for the LFO. Shape +/-100. This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential.
Page 510 Vibrato Modulations Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. OASYS PCI...
Page 511: Organ Fx
Organ FX...
Page 512: Rotary Speaker
Rotary Speaker Organ FX Rotary Speaker This is the rotary speaker model from the Korg G4. It includes independent speed and acceleration for the horn and rotor, parameterized mic placement, and overdrive and speaker simulations. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 513 Organ FX Rotary Speaker Out Level 0-100. This controls the volume level coming out of the overdrive section. Speaker Sim. Off, On. This turns the speaker simulation on and off. The speaker simulation gives the overdrive a rounder tone. Rotary On/Off Modulation Initial Mode Rotate, Stop.
Page 514 Rotary Speaker Organ FX Microphone Placement Horn Distance 0-100. This controls the distance of the mic from the horn (the high-frequency part of the rotary speaker). Horn Spread 0-100. This determines the stereo spread of the signal from the horn. Rotor Distance 0-100.
Page 515 Organ FX Rotary Speaker Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. OASYS PCI...
Page 516: Vibrato Chorus
Vibrato Chorus Organ FX Vibrato Chorus This is a physical model of the tonewheel organ’s classic vibrato-chorus effect. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 517: Other Effects
Other Effects...
Page 518: Decimator
Decimator Other Effects Decimator The Decimator downsamples incoming audio to create a gritty, rough effect. You can modulate the sample rate via MIDI controllers. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 519 Other Effects Decimator Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. OASYS PCI...
Page 520: Lr Gain
LR Gain Other Effects LR Gain This is a very simple effect which provides +/-18.1 dB of gain separately adjustable for the left and right channels. LR Gain Left Volume +/-18.1dB. This is the volume boost or cut for the left channel. Right Volume +/-18.1dB.
Page 521: Piano Body
Other Effects Piano Body Piano Body This effect models the resonance of the piano sound board, and also models the sympathetic resonance of unplayed strings, as occurs when you press the damper pedal. It is intended to be applied to acoustic piano sounds. Input Source Left, L + R.
Page 522 Piano Body Other Effects Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 523: St Decimator
Other Effects St Decimator St Decimator This is a stereo-input, stereo-output Decimator. It downsamples incoming audio to create a gritty, rough effect. You can modulate the sample rate via MIDI controllers. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 524: St Gain
St Gain Other Effects St Gain This is a very simple effect which provides +/-18.1 dB of boost or cut for a stereo signal. Stereo Gain Volume +/-18.1dB. This is the volume boost or cut for the stereo signal. OASYS PCI...
Page 525: Sub Oscillator
Other Effects Sub Oscillator Sub Oscillator This effect adds very low frequencies to the input signal. It’s useful when creating a roaring drum sound or emphasizing powerful, low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver.
Page 526 Sub Oscillator Other Effects Envelope Shape 0 to +100 Level Original Envelope 0 to -100 Time Sub Oscillator Mode Fixed, Note. This sets the way that the oscillator will be controlled. Fixed. The oscillator will use the Fixed Frequency, as set below. Note.
Page 527 Other Effects Sub Oscillator Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. OASYS PCI...
Page 528: The Producer
The Producer Other Effects The Producer The Producer is a revolutionary new effect that makes non-musicians and musicians happy at the same time. It’s designed to give A&R reps, managers, lawyers, and meddling parents the artistic control they’ve always coveted, while leaving musicians free to create.
Page 529 Other Effects The Producer Rappify. Adds attitude and street cred. (West Coast and East Coast options may be added in the future.) Target Demographic Future Adult +/-100. Increases or decreases the demographic appeal of a signal to listeners under the age of 18. Contemporary Adult +/-100.
Page 530: Pan & Tremolo
Pan & Tremolo...
Page 531: Shimmer
Pan & Tremolo Shimmer Shimmer This is a stereo-in, stereo-out tremolo effect, in which both the depth and frequency of the volume modulation may be controlled by an envelope follower driven by the input level. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 532 Shimmer Pan & Tremolo Shape +/-100. This adjusts the shape of the LFO waveform. Positive values shape the curve so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below. LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100...
Page 533 Pan & Tremolo Shimmer Envelope Shape 0 to +100 Level Original Envelope 0 to -100 Time Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix.
Page 534: St Auto Pan
St Auto Pan Pan & Tremolo St Auto Pan This is a stereo-in, stereo-out auto-panner. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal. Waveform Triangle, Sine. This selects the LFO shape. Shape +/-100.
Page 535 Pan & Tremolo St Auto Pan St Auto Pan LFO Phase LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees L-In L-In L-In R-In R-In R-In L-In L-In L-In R-In R-In R-In L-In L-In L-In R-In R-In...
Page 536 St Auto Pan Pan & Tremolo Mod Amount +/-100. This sets the amount by which the mod source affects the panning depth. Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources.
Page 537: St Envelope Pan
Pan & Tremolo St Envelope Pan St Envelope Pan This is a stereo-in, stereo-out auto-panner based on an envelope instead of an LFO. You can trigger the envelope via MIDI, and also simply control the pan directly from a MIDI controller. Input Level -INF, -69.0 to 0.0dB.
Page 538 St Envelope Pan Pan & Tremolo Left Input Pan Start 0-100. This sets the pan position of the left input when the envelope or mod source is at minimum. Pan End 0-100. This sets the pan position of the left input when the envelope or mod source is at maximum.
Page 539 Pan & Tremolo St Envelope Pan Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 540: St Tempo Pan
St Tempo Pan Pan & Tremolo St Tempo Pan This is a stereo-in, stereo-out auto-panner with a complex, MIDI-syncable tempo LFO. Try modulating the LFO parameters, such as shape, smoothing, and L/R phase, in real time. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs”...
Page 541 Pan & Tremolo St Tempo Pan LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚...
Page 542 St Tempo Pan Pan & Tremolo Shape +/-100. This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
Page 543 Pan & Tremolo St Tempo Pan L/R Phase +/-180. This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect–although with panning in particular, the two channels must contain fairly discrete material for this effect to be noticeable.
Page 544 St Tempo Pan Pan & Tremolo Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO speed. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the LFO speed. Tempo Manual Tempo 40-240 bpm.
Page 545: St Tempo Trem
Pan & Tremolo St Tempo Trem St Tempo Trem This is a stereo-in, stereo-out tremolo with a complex, MIDI-syncable tempo LFO. Try modulating the LFO parameters, such as shape, smoothing, and L/R phase, in real time. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs”...
Page 546 St Tempo Trem Pan & Tremolo LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚...
Page 547 Pan & Tremolo St Tempo Trem Shape +/-100. This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
Page 548 St Tempo Trem Pan & Tremolo L/R Phase +/-180. This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect. When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels.
Page 549 Pan & Tremolo St Tempo Trem Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO speed. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the LFO speed. Tempo Manual Tempo 40-240 bpm.
Page 550: St Tremolo Af
St Tremolo AF Pan & Tremolo St Tremolo AF This is a stereo-in, stereo-out tremolo effect, with a triggered auto fade envelope. The envelope can modulate LFO depth, LFO frequency, and the wet/dry mix. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 551 Pan & Tremolo St Tremolo AF Stereo Tremolo Depth 0-100. This controls the depth of the volume modulation. Depth Mod List of Modulation Sources. This sets the modulation source for controlling the tremolo depth. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 552 St Tremolo AF Pan & Tremolo LFO Phase 0° +90° +180° –180° –90° 0° Frequency 0.00-20.00Hz. This controls the speed of the LFOs. Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO frequency. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-20.00Hz.
Page 553 Pan & Tremolo St Tremolo AF Wet/Dry Auto Fade On, Off. This enables modulation of the wet/dry mix via the auto fade envelope. OASYS PCI...
Page 554: Sttempotrem Af
StTempoTrem AF Pan & Tremolo StTempoTrem AF This is a stereo-in, stereo-out tremolo effect, with a triggered auto fade envelope and a complex, MIDI-synced LFO. The envelope can modulate LFO depth and the wet/dry mix. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs”...
Page 555 Pan & Tremolo StTempoTrem AF Auto Fade Note Gate All Notes Off Note On AUTOFADE Fade-In Rate Stereo Tremolo Depth 0-100. This controls the depth of the volume modulation. Depth Mod List of Modulation Sources. This sets the modulation source for controlling the tremolo depth.
Page 556 StTempoTrem AF Pan & Tremolo LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚ Square OASYS PCI...
Page 557 Pan & Tremolo StTempoTrem AF Shape +/-100. This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
Page 558 StTempoTrem AF Pan & Tremolo L/R Phase +/-180. This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect. When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels.
Page 559 Pan & Tremolo StTempoTrem AF Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO speed. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the LFO speed. Tempo Manual Tempo 40-240 bpm.
Page 560: Tempo Tremolo
Tempo Tremolo Pan & Tremolo Tempo Tremolo This is a mono-in, mono-out tremolo with a complex, MIDI-syncable tempo LFO. Try modulating the LFO parameters, such as shape and smoothing, in real time. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs”...
Page 561 Pan & Tremolo Tempo Tremolo LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚ Square OASYS PCI...
Page 562 Tempo Tremolo Pan & Tremolo Shape +/-100. This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
Page 563 Pan & Tremolo Tempo Tremolo Phase Reset List of Modulation Sources. This sets the MIDI controller which will reset the LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization.
Page 564 Tempo Tremolo Pan & Tremolo Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. OASYS PCI...
Page 565: Tremolo
Pan & Tremolo Tremolo Tremolo This is a mono-in, mono-out tremolo effect. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 566 Tremolo Pan & Tremolo LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Frequency 0.00-20.00Hz. This controls the speed of the LFO. Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO frequency.
Page 567: Phasers
Phasers...
Page 568: Envelope Phaser
Envelope Phaser Phasers Envelope Phaser This is a mono-in, mono-out phaser based on an envelope instead of an LFO. You can trigger the envelope via MIDI, and also simply control the phaser frequency directly from a MIDI controller. Input Source Left, L + R.
Page 569 Phasers Envelope Phaser On. When this is on, the envelope will be triggered whenever a key is pressed. Off. When this is off, the envelope will only be retriggered after all currently held notes have been released. EG Attack 0-100. This sets the attack time of the envelope–the time that it takes to reach its maximum value after being triggered.
Page 570: Phaser
Phaser Phasers Phaser This is a mono-in, mono-out phaser effect. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 571 Phasers Phaser LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Frequency 0.00-20.00Hz. This controls the speed of the LFO. Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO frequency.
Page 572: St Env Phaser
St Env Phaser Phasers St Env Phaser This is a stereo-in, stereo-out phaser based on an envelope instead of an LFO. You can trigger the envelope via MIDI, and also simply control the phaser frequency directly from a MIDI controller. Input Level -INF, -69.0 to 0.0dB.
Page 573 Phasers St Env Phaser Note EG Retrig On, Off. This determines the way that the envelope triggers when the Trigger Source is set to Note Gate or Note Gate + Sustain. On. When this is on, the envelope will be triggered whenever a key is pressed. Off.
Page 574: St Phaser
St Phaser Phasers St Phaser This is a stereo-in, stereo-out phaser effect. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal. Stereo Phaser Center 0-100. This sets the center frequency of the phaser. Depth 0-100.
Page 575 Phasers St Phaser LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform L/R Phase +/-180. This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
Page 576 St Phaser Phasers Mod Amount +/-20.00Hz. This sets the amount by which the mod source affects the LFO frequency. Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix.
Page 577: St Randomphaser
Phasers St RandomPhaser St RandomPhaser This is a stereo-in, stereo-out phaser, with step-shaped and sample-and-hold waveforms. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal. Stereo Phaser Center 0-100.
Page 578 St RandomPhaser Phasers L/R Phase +/-180. This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect. LFO Phase 0° +90° +180° –180° 0° –90°...
Page 579 Phasers St RandomPhaser Random Step LFO LFO Frequency LFO Step Freq LFO Step Freq Step-Tri Random Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix.
Page 580: St Tempophase2
St TempoPhase2 Phasers St TempoPhase2 This is a stereo-in, stereo-out phaser, with a complex MIDI-synced main LFO. The main LFO can itself be modulated by a second MIDI-synced step LFO. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs”...
Page 581 Phasers St TempoPhase2 Waveform Waveform Triangle, Sine, Saw Up, Saw Down, Square, Noise. This selects the waveform of the main LFO. Shape +/-100. This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the “up”...
Page 582 St TempoPhase2 Phasers LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚...
Page 583 Phasers St TempoPhase2 If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount. If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Page 584 St TempoPhase2 Phasers in conjunction with MIDI Tempo synchronization. For a complete list of mod sources, please see “Modulation Sources” on page 2. To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Page 585 Phasers St TempoPhase2 Step Freq 0.00-80.00Hz. This controls the speed of the step LFO when the LFO Control is set to Frequency Knob. Step Freq Mod List of Modulation Sources. This sets the modulation source for controlling the speed of the step LFO. For a complete list, please see “Modulation Sources” on page 2.
Page 586 St TempoPhase2 Phasers Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. Invert Wet Phase On, Off. This allows you to invert the phase of the wet signal. OASYS PCI...
Page 587: St Tempophaser
Phasers St TempoPhaser St TempoPhaser This is a stereo-in, stereo-out phaser with a complex, MIDI-syncable tempo LFO. Try modulating the LFO parameters, such as shape, smoothing, and L/R phase, in real time. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs”...
Page 588 St TempoPhaser Phasers LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚...
Page 589 Phasers St TempoPhaser LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Smoothing 0-100. This allows you to ﬁlter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions.
Page 590 St TempoPhaser Phasers When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels. For instance, a 1/4 note LFO with an L/R Phase of +180 creates alternating stereo 8th notes. LFO Phase 0°...
Page 591 Phasers St TempoPhaser Tempo Manual Tempo 40-240 bpm. This sets the tempo when the LFO Control is set to Manual Tempo. Subdivision 1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes. This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Page 592: Tempo Phaser
Tempo Phaser Phasers Tempo Phaser This is a mono-in, mono-out phaser with a complex, MIDI-syncable tempo LFO. Try modulating the LFO parameters, such as shape and smoothing, in real time. For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo LFOs”...
Page 593 Phasers Tempo Phaser LFO Waveforms and Phase -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚ Triangle Sine 0˚ 90˚ +/-180˚ -90˚ 0˚ 0˚ 90˚ +/-180˚ -90˚ 0˚ Saw Up Saw Down -180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚...
Page 594 Tempo Phaser Phasers LFO Shape LFO Shape = 0 to +100 LFO Shape = 0 to -100 Sine Waveform Smoothing 0-100. This allows you to ﬁlter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions.
Page 595 Phasers Tempo Phaser To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately. Frequency The controls in the Frequency section only apply when the LFO Control is set to Frequency Knob.
Page 596 Tempo Phaser Phasers Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. OASYS PCI...
Page 597: Tremolo Phaser
Phasers Tremolo Phaser Tremolo Phaser This stereo-in, stereo-out effect follows a stereo phaser with a stereo tremolo. The phaser and tremolo LFOs are synchronized, with adjustable phase offsets. This effect works particularly well with electric piano sounds. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 598 Tremolo Phaser Phasers LFO Phase 0° +90° +180° –180° –90° 0° Center 0-100. This sets the center frequency of the phaser. Depth 0-100. This controls the amount of LFO modulation of the center frequency. Depth Mod List of Modulation Sources. This sets the source for controlling the frequency modulation depth.
Page 599 Phasers Tremolo Phaser Stereo Tremolo Shape +/-100. This adjusts the shape of the tremolo’s LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down”...
Page 600 Tremolo Phaser Phasers Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100. This sets the amount by which the mod source affects the wet/dry mix. OASYS PCI...
Page 601: Pitch Shifters
Pitch Shifters...
Page 602: 2Band Pitchshift
2Band PitchShift Pitch Shifters 2Band PitchShift This effect uses a crossover on the input, and then sends the resulting two bands through two independent pitch shifters. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 603 Pitch Shifters 2Band PitchShift Fine +/-100. .This controls the ﬁne tuning for the low band, in cents (1/100 of a semitone). Pitch Shift Mod List of Modulation Sources. This sets the modulation source for controlling the amount of pitch shift in the low band. For a complete list, please see “Modulation Sources”...
Page 604 2Band PitchShift Pitch Shifters Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 605: Detune
Pitch Shifters Detune Detune This is a subtle pitch shift effect, to be used for thickening, like a chorus. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 606 Detune Pitch Shifters When this is set to Mono, the output is in mono. When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible. Wet/Dry Dry, 1:99-99:1, Wet.
Page 607: Pitch Shift Mod
Pitch Shifters Pitch Shift Mod Pitch Shift Mod This effect modulates a subtle detune effect with an LFO. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 608 Pitch Shift Mod Pitch Shifters Waveform Triangle, Square. This selects the waveform for the LFO. Frequency 0.00-20.00Hz. This controls the speed of the LFO. Frequency Mod List of Modulation Sources. This sets the modulation source for controlling the LFO frequency. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-20.00Hz.
Page 609: Pitch Shifter
Pitch Shifters Pitch Shifter Pitch Shifter This effect is a mono-in, mono-out pitch shifter with feedback. Input Source Left, L + R. This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 610 Pitch Shifter Pitch Shifters Pitch Shift Mod List of Modulation Sources. This sets the modulation source for controlling the amount of pitch shift. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-24. This sets the amount by which the mod source affects the pitch shift, in semitones.
Page 611: St Pitch Shifter
Pitch Shifters St Pitch Shifter St Pitch Shifter This is a stereo-in, stereo-out pitch shifter, with individual controls for the left and right channels. Input Level -INF, -69.0 to 0.0dB. This sets the input level for the effect. It does not affect the dry signal.
Page 612 St Pitch Shifter Pitch Shifters Fine (Left and Right) +/-100.0. .This controls the ﬁne tuning for the pitch shifter, in cents (1/100 of a semitone). Pitch Shift Mod (Left and Right) List of Modulation Sources. This sets the modulation source for controlling the amount of pitch shift.
Page 613: Reverbs
Reverbs...
Page 614: Hall Ambience
Hall Ambience Reverbs Hall Ambience This effect provides the reverberant wash of the “Hall Reverb” effect, without the early reﬂections or pre-delay, and with only low shelving EQ. It uses relatively little DSP processing power. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 615 Reverbs Hall Ambience Rolloff 0-24000Hz. This controls an overall lowpass ﬁlter on the output of the reverb. Settings around 6-8kHz are good for producing a warm, smooth sound. Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources.
Page 616: Hall Reverb
Hall Reverb Reverbs Hall Reverb This is a Hall Reverb effect, using a standard comb-ﬁlter reverb topology. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 617 Reverbs Hall Reverb 0-100. This sets the stereo pan of the early reﬂection. Reverb Reverb Time 0.10-10.00. This is the time it takes for the reverb to decay. Damping 0-100. This is the amount of high-frequency damping in the reverb. If Damping is set to 0, the high frequencies will decay at the same rate as the low frequencies;...
Page 618: O-Verb
O-Verb Reverbs O-Verb The O-Verb is Korg’s new, diffusion-based reverb core, with separate dual input diffusion and reverb diffusion, randomization, and control of high, mid, and low decay times. This algorithm combines the O-Verb core with two bands of fully parametric peaking EQ.
Page 619 Reverbs O-Verb frequencies; at 24Hz, the high frequencies will decay almost instantly. In real acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound. Diffusion 0.00-100.00. This sets the amount of diffusion in the reverberant wash. Low settings will produce more discrete echoes, and high settings will produce a smoother reverb.
Page 620 O-Verb Reverbs 0.25-32.00. This sets the bandwidth of the parametric mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speciﬁc frequencies. A Q of 0.25 is creates a bandwidth of slightly more than four octaves;...
Page 621: O-Verb Er
Reverbs O-Verb ER O-Verb ER This effect adds four early reﬂection delays to the O-Verb reverb core. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 622 O-Verb ER Reverbs acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound. Diffusion 0.00-100.00. This sets the amount of diffusion in the reverberant wash. Low settings will produce more discrete echoes, and high settings will produce a smoother reverb.
Page 623 Reverbs O-Verb ER 0.25-32.00. This sets the bandwidth of the parametric mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speciﬁc frequencies. A Q of 0.25 is creates a bandwidth of slightly more than four octaves;...
Page 624 O-Verb ER Reverbs Output Delays Level -INF, -69.0 to 0.0dB. This sets the overall output level for the four delays. Rolloff 0-24000Hz. This controls an overall lowpass ﬁlter on the output of the effect. Settings around 6-8kHz are good for producing a warm, smooth sound. Reverb Level -INF, -69.0 to 0.0dB.
Page 625: O-Verb Le
Reverbs O-Verb LE O-Verb LE The O-Verb is Korg’s new, diffusion-based reverb core, with separate dual input diffusion and reverb diffusion, randomization, and control of high, mid, and low decay times. This effect includes just the reverb core itself. Input Source Left, L + R.
Page 626 O-Verb LE Reverbs acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound. Diffusion 0.00-100.00. This sets the amount of diffusion in the reverberant wash. Low settings will produce more discrete echoes, and high settings will produce a smoother reverb.
Page 627: O-Verb Xl
Reverbs O-Verb XL O-Verb XL This is the most comprehensive version of the O-Verb reverb, adding two MIDI- synced delays and eight ER delays to the reverb core. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 628 O-Verb XL Reverbs frequencies; at 24Hz, the high frequencies will decay almost instantly. In real acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound. Diffusion 0.00-100.00. This sets the amount of diffusion in the reverberant wash. Low settings will produce more discrete echoes, and high settings will produce a smoother reverb.
Page 629 Reverbs O-Verb XL 0.25-32.00. This sets the bandwidth of the parametric mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speciﬁc frequencies. A Q of 0.25 is creates a bandwidth of slightly more than four octaves;...
Page 630 O-Verb XL Reverbs Diffusion 1. The delay will use the signal from the ﬁrst diffuser, creating slightly diffuse, softer-sounding delays (depending on the setting of the diffuser itself). Diffusion 1&2. The delay will use the signal after it has passed through both diffusers, creating more diffuse, almost ﬂuffy-sounding delays, depending on the settings of the diffusers.
Page 631 Reverbs O-Verb XL Delay 1-8 Delays 1-4 Input and Delays 5-8 Input Direct, Diffusion 1, Diffusion 1&2. You can select different inputs for the two groups of delays, 1-4 and 5-8. Direct. The delays will use the signal directly from the input, before the diffusers. You can use this to create discrete, highly deﬁned delays.
Page 632 O-Verb XL Reverbs Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources. This sets the modulation source for controlling the wet/dry mix. For a complete list, please see “Modulation Sources” on page 2. Mod Amount +/-100.
Page 633: Room Ambience
Reverbs Room Ambience Room Ambience This effect provides the reverberant wash of the “Room Reverb” effect, without the early reﬂections or pre-delay, and with only low shelving EQ. It uses relatively little DSP processing power. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
Page 634 Room Ambience Reverbs Rolloff 0-24000Hz. This controls an overall lowpass ﬁlter on the output of the reverb. Settings around 6-8kHz are good for producing a warm, smooth sound. Output Wet/Dry Dry, 1:99-99:1, Wet. This sets the balance between the effect and the dry signal. Wet/Dry Mod List of Modulation Sources.
Page 635: Room Reverb
Reverbs Room Reverb Room Reverb This is a Room Reverb effect, using a standard comb-ﬁlter reverb topology. Input Source Left, L + R. This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input. When this is set to Left, only the left channel will be routed into the effect.
Page 636 Room Reverb Reverbs 0-100. This sets the stereo pan of the early reﬂection. Reverb Reverb Time 0.10-3.00 sec. This is the time it takes for the reverb to decay. Damping 0-100. This is the amount of high-frequency damping in the reverb. If Damping is set to 0, the high frequencies will decay at the same rate as the low frequencies;...
Page 637: Index
Index Numerics 2Band PitchShift 594 Ensemble 370 3-Band EQ 380 Envelope Flanger 452 3-Parametric 383 Envelope Phaser 560 3Tap Delay A 304 EQ Chorus 253 3Tap MidiDly 307 40Sec MidiDly 310 Flanger 454 4-Tap Chorus 246 Flute 219 5-Band EQ 385 6-Tap Chorus 248 Gate 289 Graphic EQ 10 388...
Page 638 MIDI Gate 294 St 2-Band Chor 257 Mini Filter 413 St 3-Band EQ 396 Mini Synth 38 St 5-Band EQ 398 Modulation St Auto Pan 526 List of Modulation Sources 2 St Auto Wah 440 Multitap Delay 334 St Bi-Phase Chr 260 St Chorus 263 St Compressor 296 Noise Synth 44...
Page 639 St. Harmonic Chorus 268 Stereo Enhancer 443 StTempoFlange2 469 StTempoTrem AF 546 Sub Oscillator 517 Talking Mod 446 Tempo Flanger 476 Tempo Phaser 584 Tempo Trem 552 Tenor Sax 223 The Producer 520 Tonewheel Organ 86 Tremolo 557 Tremolo Phaser 589 Trombone 227 Trumpet 231 Vibrato 500...

Korg Soundlink DRS OASYS PCI Patches & Effects Manual

General Information

Patches

Analog Synths

EP (Electric Piano)

Guitar

Organ

Pcm

Percussion

Vpm

Waveguide

Effects

Amp & Speaker

Chorus

Compressor & Gate

Delay

Distortion

Ensemble

Early Reflections

Eq

Filters

Flangers

Modulations

Organ FX

Other Effects

Pan & Tremolo

Phasers

Pitch Shifters

Reverbs

Index

Quick Links

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Summary of Contents for Korg Soundlink DRS OASYS PCI