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Korg wavestate native User Manual

Wave sequencing synthesizer
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WAVE SEQUENCING SYNTHESIZER
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Summary of Contents for Korg wavestate native

  • Page 1 WAVE SEQUENCING SYNTHESIZER...

  • Page 2: Table Of Contents

    Contents Introduction ............................1 Main Features ........................................1 Structure ..........................................2 User Interface Elements ....................................2 Conventions in this manual ..................................2 Getting Started ............................3 Installation and updates ....................................3 Edit page layout ......................................3 Sound Browser ........................................ 6 Saving Sounds .........................................
  • Page 3 Performance Pitch & Scale ..................................47 Mod List page ............................49 Modulation Sources ..........................51 Vector and Vector Envelope ........................54 Overview .........................................54 Position ..........................................55 Graphic Editor ........................................55 Duration ...........................................55 Loop ..........................................56 Vector Volume .......................................56 Envelopes .............................57 Filter/Amp/Pitch Envelope ..................................57 Filter/Amp/Pitch Envelope Curve ................................57 Filter/Amp/Pitch Envelope Trigger .................................58 LFOs ..............................59 Filter/Amp/Pitch/Pan LFO..................................59...
  • Page 4 Troubleshooting ..........................85 No sound .........................................85 The sound has clicks, pops, or noise ...............................85 Sound is delayed ......................................85 Can’t control the software synthesizer from a MIDI device connected to the computer .............85 Specifications ............................86 Operating requirements ...................................86 Support and service ..........................87 Before you contact us ....................................87 Information to provide when contacting us ............................87...

  • Page 5: Introduction

    Introduction Introduction Thank you for purchasing Korg’s wavestate native software synthesizer. To help you get the most out of your new instrument, please read this manual carefully. Main Features Wave Sequencing 2.0 wavestate native features Wave Sequencing 2.0, a new synthesis engine inspired by Korg’s classic Wavestation.

  • Page 6: Structure

    Introduction You can seamlessly exchange sounds between hardware and software. Produce in your DAW with wavestate native, and then play the same sounds onstage using the wavestate hardware. Create sounds with the hardware’s hands-on interface, and then share them with a computer-based collaborator.

  • Page 7: Getting Started

    Getting Started Installation and updates wavestate native uses the Korg Software Pass application for installation and updates. Your software license is registered to your Korg ID. You can download the Korg Software Pass application and manage your Korg ID at https://id.korg.com.
  • Page 8 Librarian is active. Undo/Redo wavestate native supports multiple levels of undo and redo for most actions, including importing data, deleting, renaming, editing Set Lists, editing parameters, and so on. For instance, you could import a bundle file containing a thousand objects, edit Filter Cutoff, rename all of your Programs, and finally add a new modulation routing to Amp LFO Frequency, and safely undo all actions in turn.
  • Page 9 Getting Started 10: Mod Knobs You can use the Mod Knobs in real-time performance, and also save the results as new sounds. The names are suggestions; they will do different things depending on the specific sound. The values are stored, and can themselves be modulated.

  • Page 10: Sound Browser

    Important: The Search, Categories, and Collections settings continue to affect data selection, even after the Sound Browser is closed. Each individual sound selector remembers these settings for as long as wavestate native is open and unless a new parent sound is selected (for example, the Program is the parent sound of the Wave Sequence). The previous/next buttons (<...

  • Page 11: Saving Sounds

    Getting Started 6: Search Type into this field to filter the list by searching for text in any of the metadata fields. Click on the “X” to clear the field. 7: Categories Categories let you filter by the type of sound, such as basses, leads, bells, etc. Each sound can be assigned to two Categories, and each data type—Performances, Programs, etc.—has its own list of Categories.

  • Page 12: Main Menu

    This opens the Korg app Help Center (https://support.korguser.net) in your browser. About This shows the software version number and abbreviated credits. wavestate native is the result of a team effort, built through the talents of many more people than can be listed on-screen!

  • Page 13: Settings

    This selects the current User Sample Bank, for use in Wave Sequence Sample Steps and Single Multisamples. This selection is stored with the DAW session, and applies to all open instances of wavestate native–even if the instances are in different hosts. You can have many different User Sample Banks stored on your computer, but only one can be used at a time.
  • Page 14 Getting Started Velocity curve Velocity e ect MIDI Velocity 1 (Heavy), 2, 3: These are for heavy playing; most of the variation occurs in the upper velocity range. 4 (Normal): This is the default. 5, 6: These are for lighter playing. 7: This is for very light playing, at the expense of control in the middle of the range.
  • Page 15 A4 may be different. Global MIDI Channel [1…16] This is the basic MIDI channel for wavestate native. It applies to: • MIDI received by any Layer with Use Global MIDI Channel enabled MIDI CCs received by and sent from the Program Mod Knobs, for any Layer with Use Global MIDI Channel •...
  • Page 16 Getting Started Function Default CC assignment Layer C Mod Knobs 1…8 102…109 Layer D Mod Knobs 1-8 110…117 Defaults Pressing the Defaults button resets the CC assignments to the defaults, as shown above. Copy and Paste These buttons let you copy and paste the CC assignments between plug-in instances.

  • Page 17: Modulation

    Filter Cutoff, can have up to 31 incoming modulation routings. There is no fixed limit on the total number of modulation routings. For descriptions of all of wavestate native’s modulation sources, see “Modulation Sources” on page 51.

  • Page 18: Midi Learn

    To use MIDI Learn with the Mod Knobs: 1. Route a MIDI controller to wavestate native. 2. Right-click/control-click (macOS) on the desired Mod Knob. A contextual menu will appear.

  • Page 19: Automation

    Getting Started Automation Automation from the plug-in host is supported for most, but not all, modulatable parameters. Even if a parameter is not directly available for automation, you may be able to create a modulation routing from a Mod Knob or Effect Edit knob, and then modulate the knob.

  • Page 20: Randomize

    Getting Started Randomize Randomize uses a combination of preset selection and select value randomization, rather than direct randomization of all parameters. To use Randomize: 1. Press the (Randomize) button at the top right of the window. The Randomize dialog will appear. 2.

  • Page 21: Overview Page

    Overview page Overview page 1: Performance Select 2: Wave Sequence Select 3: Master Lane Progress Bar 4: Program E ects 6: Mod Knob Mode 5: Mod 7: Wave Inspector Sequence Overview 8: Program Parameters 9: Program Select 1: Performance Select This shows the currently selected Performance.
  • Page 22 Overview page 6: Mod Knob mode [Performance, Layer A/B/C/D] These radio-buttons control whether to show the Performance Mod Knobs, or the Program Mod Knobs for the current Layer. Performance: The knobs will show the Performance Mod Knobs, which can modify parameters in any or all Layers at once.

  • Page 23: Synthesis Page

    Synthesis page Synthesis page 1: Filter Type 2: Filter graphic 3: Portamento 4: Mod Inspector 5: Layer Select 1: Filter Type This selects the Filter Type: Polysix, MS-20 LP, MS-20 HP, 2-pole LP, 2-pole HP, 2-pole BP, 2-pole BR, 4-pole LP, 4-pole HP, 4-pole BP, 4-pole BR, or Multi Filter.

  • Page 24: Filter

    MS-20 LP and HP: These 12dB/octave, self-resonating filters lovingly recreate the distinctive timbral signature of the classic Korg MS-20. Raising Resonance will cause increasing amounts of saturation and overdrive, creating a more aggressive tone. Input volume can have a strong effect on this character; for more information, see “Gain” on page 22.
  • Page 25 Synthesis page Low Resonance High Resonance Trim [0…100] This adjusts the volume level at the input to the filter. If you notice that the sound is distorting, especially with high Resonance settings, you can turn the level down here. Out (Output Level) [0…100] This controls the output level of the filter.
  • Page 26 Synthesis page MS-20 LP/HP and Polysix Gain [Loud, Less Resonance; Unity, Less Resonance; Normal, 1-osc input; Normal, 2-osc input] Gain is available only when Type is MS-20 LP, MS-20 HP, or Polysix. These filter types include saturation, which interacts with resonance. With anything other than very low resonance settings, input volume can have a strong effect on their character.

  • Page 27: Pitch

    Synthesis page LP (Lowpass), HP (Highpass), BP (Bandpass), Dry [-100%…+100%] These set the volume of the Lowpass, Highpass, Bandpass, and Dry signals, respectively. Negative values invert the phase. Filter Mod These four parameters control the default modulation routings for Filter Cutoff. You can create additional routings as desired, of course.
  • Page 28 Synthesis page When Slope is 0, playing different notes on the keyboard won’t change the pitch at all; it will be as if you’re always playing C4. Pitch 2oct 1oct Slope 1oct –1 Note on Keyboard C4 C5 Pitch Mod LFO Intensity [–144.00…+144.00] This controls the initial effect of the Pitch LFO on the pitch, in semitones.

  • Page 29: Amp

    Synthesis page Time [0.0000…50.0000 secs or secs/octave] This controls the portamento time. If Type is set to Constant Rate, the units are secs/octave (seconds per octave). If Type is set to Constant Time, the units are simply secs (seconds). Pitch Bend Range [–60…+60] This sets the maximum amount of pitch bend, in semitones, when you move the wheel above the center point.
  • Page 30 Synthesis page Random Pan [Off, On] Off: The normal pan controls, above, apply. On: Each voice will be randomly panned across the stereo field. All other pan controls are disabled.

  • Page 31: Wave Sequencing 2.0

    Wave Sequencing 2.0 Wave Sequencing 2.0 Overview Wave Sequencing 2.0 is a dynamic system. Instead of each Step being a matched set of sample, pitch, duration, etc., the different parameters are separated into “Lanes. ” The Lane controls which of its Steps are played, and how they loop. Each Lane can have a different number of Steps, and its own Start, End, Loop Start, and Loop End.

  • Page 32: Wave Sequence Page

    Wave Sequencing 2.0 Wave Sequence Page 1: Mode 2: Lane Preset Select 3: Wave Sequence Select 4: Lanes 5: Show # of steps 6: Wave Seq Inspector 8: Layer Select 7: Mod Inspector 9: Loop controls 10: Random Order 1: Mode This selects whether the Program will use a Wave Sequence or a Single Multisample.

  • Page 33: Wave Sequence

    Wave Sequencing 2.0 5: Show # of steps Use the 16/32/64 buttons to adjust the viewable range of the display, to show 16, 32, or 64 Steps, respectively. For compatibility with the hardware wavestate, Steps are named in groups of 16: A1…A16, B1…B16, C1…C16, and D1…D16;...

  • Page 34: Standard Lane Controls

    Wave Sequencing 2.0 Sync Notes Sounding Note Timing Lane A10 A11 A12 Sample Lane … Step Seq Lane New Note Timing Lane A10 A11 A12 Sample Lane … Step Seq Lane Mode = Single Multisample (Multisample) [List of Multisamples] This selects the Multisample for the Step. Use the < and > arrows to step through Multisamples one by one, or click on the name to bring up a browser window.

  • Page 35: Step Probability

    Wave Sequencing 2.0 Start, End, Loop Start, Loop End These control the Steps on which the Lane begins, ends, and loops. You can change them in real-time, while notes are sounding—and also modulate them via LFOs, Envelopes, etc. The Loop End must be less than or equal to the End step. Repeats [Off, 1…100, Inf] This controls the number of times that the Lane will loop.

  • Page 36: Timing

    Wave Sequencing 2.0 x (Multiply Base Note by…) [1…32] This appears only if Tempo is On. It multiplies the length of the Base Note. For instance, if the Base Note is set to a whole note, and Times is set to 3, the Master Lane will reset every three whole notes. Timing This Lane controls the duration and crossfade of each Step, creating rhythms or smooth, evolving sounds.
  • Page 37 Wave Sequencing 2.0 Swing Resolution = Beat 1 Beat 2 Swing % +100% –100% +200% +300% Scale Timing This command is available in the contextual menu for the Timing Lane. It allows you to edit all of the Timing Lane Step Durations at once, to make the sequence longer or shorter.

  • Page 38: Sample

    Wave Sequencing 2.0 Xfade [Time: 0.0000…10.0000 seconds] [Tempo: List of rhythmic values] If Timing Lane Xfade is set to Time, you can set the length of the crossfade in seconds. If Timing Lane Xfade is set to Tempo, you can set the basic length of the crossfade as a rhythmic value, relative to the system tempo.
  • Page 39 This selects the Multisample for the Step. Use the < and > arrows to step through Multisamples one by one, or click on the name to bring up a browser window. As with the other browsers in wavestate native, you can keep the browser open while listening to the results.

  • Page 40: Pitch

    Wave Sequencing 2.0 Pitch This Lane sets the pitch of each Step. Pitch Lane Preset, Start, End, Loop Start, Loop End, Repeats See “Standard Lane Controls” on page 30. Use Shape [Off, On] When this is On, non-zero pitch values will be scaled by the Shape Lane. If the pitch offsets are zero, Shape has no effect. Fit to Scale [Off, On] This lets you constrain the Pitch Lane’s output to a specific scale and key—especially useful when playing...

  • Page 41: Shape

    Wave Sequencing 2.0 BebopDominant Flamenco Romani HungarianMinor Persian Harmonics Acoustic Enigmatic Pitch Lane Step Transpose [-24…+24 semitones] This offsets the played note by up to two octaves, up or down. This also affects the index into the Multisample map, potentially changing the sample selection, similar to transposing the entire keyboard. Tune [-12.00…+12.00 semitones] This changes the tuning by up to one octave up or down.

  • Page 42: Gate

    Wave Sequencing 2.0 Phase [-180…+180°] This controls the start point of the shape. For example, to start in the middle of the shape, set the Phase to +180°. Prob (Probability) See “Step Probability” on page 31. Gate [Truncate, Scale Shape] Scale Shape: the shape is scaled in time by the Gate Length (as well as the Timing Step Duration).

  • Page 43: Wave Sequence Steps Contextual Menu

    Wave Sequencing 2.0 Value * Random +: The Step’s Value is scaled by a unipolar random amount. If the Value is positive, the output will be positive; if the Value is negative, the output will be negative. Value + S & H Mod: The Step uses the programmed value, and modulation is updated only at the start of the Step. For instance, if an LFO is modulating Value, only the LFO’s amplitude at the very start of the step matters;...
  • Page 44 Wave Sequencing 2.0 2. Select the Solo Step command. The Step will be marked with a yellow outline, and STEP SOLO will appear in yellow at the top of the window. The Wave Sequence will play as if that Lane was set to loop on the selected Step. Other Lanes will continue to play normally.

  • Page 45: Setup Page

    Setup page Setup page 1: Program Setup 2: Layer Pitch 3: MIDI 4: Layer Level 5: Voice Allocation 6: Arpeggiator 1: Program Setup This section includes control of the volume, transposition, trigger, and random tuning for the Program. 2: Layer Pitch This controls the octave and tuning of the Layer.

  • Page 46: Program Setup

    Setup page Program Setup Volume [-Inf, -84.9…0.0 dB] This controls the overall volume of the Program, for volume-balancing with other sounds. Transpose [-60…+60 semitones] This transposes the Program by up to +/- five octaves, in semitones. Random Pitch Range [0.0…50.0 cents] This parameter creates random variations in pitch for each note.
  • Page 47 Setup page Max # of Notes [Dynamic, 1…64] Max # of Notes is available when Voice Assign Mode is set to Poly. Dynamic is the default. With this setting, you can play as many notes as the system allows. 1-64 limits the number of notes played by the Program. Voices will be allocated dynamically up to this maximum. You can use this to: •...

  • Page 48: Layer Setup

    Setup page Voices Detune Thickness [0…100] This parameter controls the character of the detuning for the unison voices. 0: Unison voices are evenly distributed across the Detune range, as shown above. 1…100: Unison voices are detuned asymmetrically. This makes the detuning more complex, and changes the way in which the pitches beat against one another—like slightly out-of-tune oscillators in a vintage synthesizer.

  • Page 49: Arpeggiator

    Setup page Arpeggiator Each Layer has its own Arpeggiator. The Arpeggiator is particularly effective in conjunction with Note Advance, so that each generated note starts on a new step in the Lane. Try this with the Sample Lane, for instance, with a single Timing step set to Gate.
  • Page 50 Setup page On: The Arpeggiator will play notes according to the selected Pattern, and ignore the originally played order. Rhythm Resolution [32nd note triplet…1/4 note] This controls the speed of the Arpeggiator. Try modulating this from the Mod Wheel! Gate [0%…100%] This sets the length of the arpeggiated notes, as a percentage of the Resolution.

  • Page 51: Zones & Scales Page

    Zones & Scales page Zones & Scales page Keyboard Zones High (A…D), Low (A…D) [C-1…G9] These set the highest and lowest notes on which the Layer will sound. Note: The graphic shows only the standard range of 88 notes. HFade (High Fade A…D) [0…127] 0: The High key acts as a hard split, with full volume on one side and silence on the other.
  • Page 52 Zones & Scales page Active Scale [1, 2] If Perf Scale is On, this chooses which of the two scales below is used. You can control this via MIDI; see “CC Assign” on page 11. 1 (Scale 1) [Arabic, Equal Temperament, Kirnberger, Pelog, Pure Major, Pure Minor, Pythagoras, Slendro, Stretch, Werkmeister] This selects the first scale to be used.

  • Page 53: Mod List Page

    Mod List page Mod List page 1. Show In Mod List 3. Mod Knobs 2. Mod List 4. Layer Select 5. Mod Sources This page gathers together all of the modulation sources and modulation routings into a single screen. You can even edit the original values of the modulated parameters, along with all of the modulation settings.
  • Page 54 Mod List page 5: Mod Sources All of the main mod sources and programmable modulation sources are shown here, including the Vector Envelope and Joystick, Pitch and Mod Wheels, Velocity and Aftertouch, LFOs, Envelopes, Key Tracking, Mod Processors, and the Step Sequencer Lane. Graphics show the mod source outputs, making it easy to figure out what’s creating a specific modulation effect.

  • Page 55: Modulation Sources

    Modulation Sources Modulation Sources Controllers This means that no modulation source is selected. Mod Wheel CC 1 This is the standard Mod Wheel (unipolar MIDI CC#1). VectrJSX CC 16 and VectrJSY CC 17 These are the X- and Y-axis, respectively, of the Vector Joystick (bipolar MIDI CCs #16 and 17). Damper CC 64 This is the damper or sustain pedal (unipolar MIDI CC#64).
  • Page 56 Modulation Sources Aftertouch and Poly Aftertouch These are MIDI Aftertouch and Poly Aftertouch, respectively, representing pressure on the keyboard after note-on. Mod Knobs This section of the Modulation Sources list contains the 8 Performance Mod Knobs, followed by the 8 Mod Knobs for the current Layer’s Program.
  • Page 57 Modulation Sources CC +/- This is a list of MIDI CCs 1 to 119, interpreted as bipolar signals. MIDI value 64 is 0; values below 64 produce negative modulation, and values above 64 produce positive modulation. CCs with fixed assignments MIDI CCs 1 to 119 can all be used as modulation sources.

  • Page 58: Vector And Vector Envelope

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

  • Page 59: Position

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

  • Page 60: Loop

    Vector and Vector Envelope Beats and multiply (“x”) These parameters are shown when Tempo is On. You can set the durations in beats (1/32 note to 2 breve) and a multiplier (1…32). Speed [Tempo = Off: 0.01…100.00] [Tempo = On: 1/4…4x] This speeds up or slows down the envelope as a whole.

  • Page 61: Envelopes

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

  • Page 62: Filter/Amp/Pitch Envelope Trigger

    Envelopes Attack Decay Release [0 (Linear), 1…9, 10 (exp/log)] These set the curvatures of the Attack, Decay, and Release segments, respectively. You can edit curvatures in the Envelope graphic by hovering over the desired segment and then dragging the yellow dot left or right. Filter/Amp/Pitch Envelope Trigger Trigger Src (Trigger Source) [List of modulation sources]...

  • Page 63: Lfos

    LFOs LFOs Filter/Amp/Pitch/Pan LFO The four LFOs—Filter, Amp, Pitch, and Pan—all work identically. Tempo [Off, On] On: The LFO synchronizes to the system tempo, with its speed controlled by Base Note and Multiply. Off: The LFO speed is controlled by the Frequency parameter, in Hz. Base Note [List of rhythmic values] Tempo is On, this sets the basic speed of the LFO.
  • Page 64 LFOs Offset [–100…+100] By default, almost all of the LFO waveforms are centered around 0, and then swing all the way from -100 to +100. Offset lets you shift the LFO up and down, so that—for instance—it’s centered on 50, and then swings from -50 to +150.
  • Page 65 LFOs Sync Notes [Off, On] Off: The LFO starts each time you press a key, and an independent LFO runs for each note. This is the default. On: The LFO starts from the phase determined by the first note in the phrase, so that the LFOs for all notes being held are synchronized together.

  • Page 66: Key Track

    00.00 consistent across the entire range. Slope= +1.00 –1.00 The wavestate native keyboard tracking can also be much Slope= –0.50 more complex, since it allows you to create different rates Slope= –1.00 of change over up to four different parts of the keyboard.

  • Page 67: Amp Key Track

    Amp Keyboard Tracking (“Key Track”) changes the volume as you play up and down the keyboard. This may be used to make the volume more consistent, or to create special effects. The wavestate native’s Amp Key Track can be fairly complex, if desired. For instance, you can: •...
  • Page 68 Key Track Differences from Filter Keyboard Track Amp Key Track’s minimum value produces silence, while its maximum value provides a 2x boost in gain. This means that unlike Filter Key Track, Amp Key Track’s negative Slopes are steeper than positive Slopes. Key Track Slope Change in level...

  • Page 69: Modulation Processors

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

  • Page 70: Offset

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

  • Page 71: Quantize

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

  • Page 72: Scale

    Modulation Processors Scale This processor uses a modulation source to scale the input. For instance, you can control the amount of an LFO with an Envelope, or control the amount of an Envelope with a MIDI controller. Input [List of Modulation Sources] This selects the main input for the Mod Processor.
  • Page 73 Modulation Processors Curve and Mode Bipolar Triangle Wave Unipolar Triangle Wave Asymmetric Asymmetric Symmetric (not recommended) +100 +100 –100 –100 Symmetric Curve = 0 (original waveform) +100 Curve = +100 Curve = -100 –100 Curve [–100.00%…+100.00%] This controls the amount of curvature, and whether the curves are concave or convex. As you can see in the graphic examples, the curve will emphasize certain value ranges, and deemphasize others.

  • Page 74: Smooth

    Modulation Processors Smooth This creates more gentle transitions between values, smoothing out abrupt changes such as a quick move on a wheel or a sharp edge on an LFO. You have separate control of the amount of smoothing during the attack (when the signal is increasing) and decay (when it’s decreasing).
  • Page 75 Modulation Processors Input = LFO Sum Source = Env Output...

  • Page 76: Effects Page

    Effects page Effects page 1: Mini Editor 2: E ect Type 3: E ect Preset 4: E ect On/O 5: Detailed Editor Overview Each Program has its own Pre FX, Mod FX, and Delay. 1. Mini Editor The three effects have “mini editors” with the most important parameters, providing a quick overview of all of the Program’s effects.

  • Page 77: Mini Editors

    Effects page Mini Editors Wet/Dry [Dry, 1:99…99:1, Wet] This controls the balance between the original signal (Dry) and the effected signal (Wet). FX Edit 1/2/3 Each effect has three “edit” controls. These are macros which may control multiple internal parameters, and which may be set up differently for each Preset.

  • Page 78: Mod Fx

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

  • Page 79: Delay

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

  • Page 80: Reverb & Eq Page

    Reverb & EQ page Reverb & EQ page The Performance has a Master Reverb and Master EQ, shared by all four Layers. Master Reverb Early Reflections This provides different early reflection patterns, useful for small ambiences, gated reverbs, and reverse effects. Overb The Overb features a high-quality, diffusion-based reverb core, including randomization for richer and smoother reverb timbres.

  • Page 81: Librarian Page

    The list can show the Performances, Programs, Wave Sequences, Wave Sequence Lane presets, Scales, Effects presets, and Set Lists on the wavestate native. This menu chooses which type(s) of data are shown in the list. All Data shows all types of data at once.

  • Page 82: Librarian Contextual Menu

    Librarian page 4: Metadata columns For each item, the list shows the Type, Name, Collection, Category, Author, and Notes, as well as whether or not the item is locked factory data. You can drag the top of the columns to re-arrange them, or to resize the columns. Click on a column heading to sort;...

  • Page 83: Import And Export

    UUIDs wavestate native uses a database to keep sounds organized. Internally, sounds are identified not by their names, but rather by a unique tag attached to the file, called a UUID (“Universally Unique Identifier”). This means that even if a sound’s name has been changed, the system still knows it’s the same sound.
  • Page 84 This makes it easy to import and export groups of sounds. File Types wavestate native uses the file types below. All of these are compatible with the hardware wavestate’s Editor/Librarian. Note that .wsbackup files, which contain full backups of the hardware wavestate, are not supported by wavestate native. Type Extension...

  • Page 85: Set Lists

    Set Lists Set Lists Set List window This window shows all 64 Slots of a Set List. You can open multiple Set List windows at once. If one of the windows shows the active Set List (as configured in the Settings dialog), the note “(Active)” appears after its name in the title bar. Set List window Slots selected for cut/copy/paste are outlined in blue “Active”...

  • Page 86: Using Set Lists

    Set Lists Using Set Lists Set Lists let you group and order Performances for gigs or projects. A Set List has 64 Slots, arranged into four banks A-D, corresponding to MIDI Program Change messages 1-64. Note that Set Lists don’t contain separate copies of their sounds;...

  • Page 87: Set List Contextual Menu

    Set Lists Destination Drag action Edit action Affect on Original Slots On top of a Slot Paste Changed to Init Performance On top of a Slot, holding Option/Alt Paste Remain unchanged Same Set List Between Slots Insert Before Removed, as with Cut and Shift Slots Between Slots, holding Option/Alt Insert Before Remain, shifted down with the rest of the Slots...
  • Page 88 Set Lists Make Active When an active Set List window is open, this selects the current Set List Slot. When an inactive Set List window is open, this selects the Performance assigned to the Set List Slot.
  • Page 89 Troubleshooting Troubleshooting Please check the following points if you experience problems. No sound • Are the main Level or any other volume-related parameters set to 0? • Is your computer set to produce sound? • If you’re using Windows, open the Control Panel and check “Sound and Audio Device Properties. ” •...
  • Page 90 Specifications Specifications • Maximum polyphony: 64 notes (depending on the computer’s CPU) • Number of Layers: 4 • Presets: more than 250 • Effects: 31 types • Modulation: Most parameters can be modulated, including parameters of individual Wave Sequence Steps. Depending on Wave Sequence length, there can be more than 1,000 potential modulation targets per Program.
  • Page 91 Support and service Support and service If you have questions about the product, please contact the Korg distributor for the country in which you purchased it. Before you contact us • Before you contact us, check whether this manual or the Korg app Help Center (https://support.korguser.net) has an answer for your question.

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