Korg wavestate Owner's Manual
  1. Manuals
  2. Brands
  3. Korg Manuals
  4. Synthesizer
  5. wavestate
  6. Owner's manual
Korg wavestate Owner's Manual

Korg wavestate Owner's Manual

Wave sequencing synthesizer
Hide thumbs Also See for wavestate:
Table of Contents

Advertisement

Quick Links

Download this manual
wavestate
WAVE SEQUENCING SYNTHESIZER
wavestate mkII
WAVE SEQUENCING SYNTHESIZER
wavestate SE
WAVE SEQUENCING SYNTHESIZER
wavestate module
WAVE SEQUENCING SYNTHESIZER
Owner's Manual
E3

Advertisement

Table of Contents
loading
Need help?

Need help?

Do you have a question about the wavestate and is the answer not in the manual?

Questions and answers

Subscribe to Our Youtube Channel

Related Manuals for Korg wavestate

Summary of Contents for Korg wavestate

  • Page 1 WAVE SEQUENCING SYNTHESIZER wavestate mkII WAVE SEQUENCING SYNTHESIZER wavestate SE WAVE SEQUENCING SYNTHESIZER wavestate module WAVE SEQUENCING SYNTHESIZER Owner’s Manual...

  • Page 2: Table Of Contents

    References to different wavestate models ........
  • Page 3 Contents Shape Lane ......................31 Shape Lane Step .
  • Page 4 Contents Overview ....................... . 70 Gate.
  • Page 5 Editor/Librarian and Korg Sample Builder........

  • Page 6: Getting Started

    References to different wavestate models These manuals apply to all wavestate models with software version 3.0 or later, collectively referred to as “the wavestate.” The front panel and rear panel illustrations show the original wavestate, but they apply identically to the wavestate SE and wavestate mkII.

  • Page 7: Shift

    To go back to selecting sounds, press PERFORM. If you don’t see the main page the first time, press PERFORM again; two presses will always bring you to the home page with the Performance name selected. wavestate page map PRE FX, MOD FX, WET/DRY EDIT 1/2/3...

  • Page 8: Modulation

    (Randomize) button to bring up a set of pages containing shortcuts and usage tips. Structure The wavestate plays one Performance at a time. A Performance has four Layers, A…D, a Vector Envelope, and a master reverb and EQ. Each Layer contains an Arpeggiator, a Program, and other settings such as MIDI channel, key and velocity zones, etc.

  • Page 9: Selecting And Playing Sounds

    Selecting and Playing Sounds Selecting and Playing Sounds Selecting Sounds Selecting Performances from the display 1. Press the PERFORM button, and if necessary press it again. Wherever you are in the system, the second press will always bring up the home page, with the large Performance name selected.
  • Page 10 Selecting and Playing Sounds Performance and Program Categories and buttons 1-16 Button Category Also shows these Categories Shows everything, regardless of Category Bass Lead Soundscape Synth Fast Synth Bell/Mallet Gtr/Plucked Percussion Piano/Keys Brass Woodwind Strings Orchestral Vocal/Airy Arpeggio, Just 4 Fun, Rhythm Hard, Rhythm Soft User Multisample Categories and buttons 1-16 Button...

  • Page 11: Using Set Lists

    Selecting and Playing Sounds be marked as individual Collections. You can also create new Collections in the Editor/Librarian application, and use them for your own projects. To filter the sound list by Collection: 1. In the list popup, hold SHIFT and press >...

  • Page 12: Assigning A Performance To A Set List Slot

    Selecting and Playing Sounds If you select a sound using the display, buttons 1-16 will go dark. To return to the Set List, just press one of the buttons again. You can store many different Set Lists, and switch between them as desired. To select a different Set List: 1.

  • Page 13: Using Note Trigger (Module Only)

    Using Note Trigger (module only) Note Trigger lets you play sounds using the 1-16 buttons as an alternative keyboard—convenient if you don’t have a full keyboard connected. Note Trigger is only available on the wavestate module. To use Note Trigger: 1.

  • Page 14: Basic Editing

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

  • Page 15: Layer Programs

    Basic Editing Layer Programs This page shows the Program selection and Volume for each Layer, as well as Performance Hold. A…D (Programs A…D) [List of Programs] This selects the Program for the Layer. (Volume A…D) [-Inf, -84.9…+6.0 dB] This controls the volume of the Layer (duplicating the Layer Setup page’s Volume parameter). This is saved in the Performance, instead of the Program—so it’s a good choice when balancing levels between Layers.

  • Page 16: Keyboard Zones

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

  • Page 17: Program Setup

    Basic Editing Program Setup Volume [-Inf, -84.9…0.0 dB] This controls the overall volume of the Program, for volume-balancing with other sounds. Octave [-4…+4 octaves] This transposes the Program by up to four octaves up or down. Transpose [-12…+12 semitones] This transposes the Program by up to one octave, up or down, in semitones. Trigger On [Key-On, Key-Off] Key-On: This is the default setting, in which the Program is played when a key is pressed.
  • Page 18 Basic Editing (Voice Assign) Mode [Poly, Mono] This selects the basic voice allocation mode. Depending on which one you select, various other options will appear, such as Single Trig (Poly mode only) and Mono Legato and Priority (Mono mode only). Poly: The Program will play polyphonically, allowing you play chords.

  • Page 19: Layer Setup

    Basic Editing 2-16: The Program uses the specified number of stacked, detuned voices to create a thicker sound. Detune [0…200 cents] This parameter sets the tuning spread for the Unison voices. Voices = 3, Detune = 24, Thickness Off Voices Detune –12 Voices = 4, Detune = 24, Thickness Off...

  • Page 20: Performance Setup

    Basic Editing Tune [-100…+100 cents] This lets you detune the Layer by up to 100 cents (1/100 of a semitone), up or down. Use Global MIDI Channel [Off, On] On: This is the default. The Layer will play from the built-in keyboard, and receive on the Global Channel. Off: The Layer will receive on the channel specified below, and will not play from the built-in keyboard.
  • Page 21 Basic Editing Transpose [-12…+12] This transposes the entire Performance by 12 semitones, up or down. Perf Scale [Off, On] On: The Performance Scale settings, below, are used—unless Global Scale is On, in which case the Global scales are used instead. Off: The Performance Scale settings are ignored.

  • Page 22: Write

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

  • Page 23: Write Metadata

    Write Write Metadata The second page under Write allows you to select two Categories for the saved item. When searching by Category, a sound will be shown if either of its Categories match the search criteria. Note: When Type is set to Set List Slot, this page is not available. Category 1/2 [List of Categories] Each object type—Performances, Programs, Multisamples, etc.—has its own list of Categories.

  • Page 24: Compare

    Write Compare Select [Saved Performance, Edited Performance] Saved Performance: The saved version of the Performance will be heard. Edited Performance: The edited version of the Performance will be heard. If the Performance has not been edited, this is not available. Using Compare To use compare: 1.

  • Page 25: Wave Sequencing 2.0

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

  • Page 26: Editing Steps

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

  • Page 27: Mode = Wave Sequence

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

  • Page 28: Mode = Single Multisample

    Wave Sequencing 2.0 Mode = Single Multisample MS (Multisample) [List of Multisamples] Select this parameter and then either move VALUE or press ENTER to bring up the Multisample Select popup. Channel See “Chan (Channel)” on page 28. Start Offset See “S. Offset (Start Offset)” on page 29. Master Lane When Use Master is On, the Master Lane restarts all of the other Lanes after either a specified number of beats or elapsed time, depending on...

  • Page 29: Front-Panel Lane Controls

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

  • Page 30: Timing

    Wave Sequencing 2.0 Timing This Lane controls the duration and crossfade of each Step, creating rhythms or smooth, evolving sounds. Timing Lane Tempo Off Tempo On Preset, Start, End, Loop Start, Loop End, Repeats See “Front-Panel Lane Controls” on page 24. TEMPO (SHIFT-TIMING) [Off, On]...

  • Page 31: Timing Lane Step

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

  • Page 33: Sample

    Wave Sequencing 2.0 Sample This Lane sets the sample played by each Step. Sample Lane Preset, Start, End, Loop Start, Loop End, Repeats See “Front-Panel Lane Controls” on page 24. Pitch Lane [Only Affects Pitch, Affects Sample Map] Multisamples typically include many different samples, mapped across the keyboard. When you play lower and higher notes, it’s not just the pitch that changes;...

  • Page 34: Pitch

    Wave Sequencing 2.0 Fine (Fine Tune) [-99…+99] This tunes the Multisample up or down by up to 99 cents (1/100 of a semitone). Trim [-Inf, -84.9…0.0 dB] This adjusts the volume of the Multisample. S. Offset (Start Offset) [Off, 1st…8th] In addition to simply starting playback from the beginning, Multisamples may have up to 8 different pre-programmed alternate starting points, or “Start Offsets.”...

  • Page 35: Pitch Lane Step

    Wave Sequencing 2.0 (Scale Key) [C…B] This sets the root note of the scale. For instance, if Scale Key is set to E, and the Scale Type is set to Minor, all notes generated by the Pitch Lane will be confined to notes in the E Minor scale: E, F#, G, A, B, C, or D. Scale Key only applies if Fit To Scale is On.

  • Page 36: Shape

    Wave Sequencing 2.0 Tune [-12.00…+12.00 semitones] This changes the tuning by up to one octave up or down. It does not affect the Multisample map. Probability See “Step Probability” on page 24. Shape The Shape Lane creates a contour over the duration of the step. It can affect volume (when Shape Controls Volume is On) and/or the Pitch or Step Sequencer Lanes (when the respective Lane’s Use Shape is On).

  • Page 37: Gate

    Wave Sequencing 2.0 Gate This controls how long the Step sounds, as a percentage of the duration from the Timing Lane. Gate Lane Preset, Start, End, Loop Start, Loop End, Repeats See “Front-Panel Lane Controls” on page 24. Gate Lane Step Step See “Step”...

  • Page 38: Wave Sequence Utility

    Wave Sequencing 2.0 Value [-100…100%] This sets the output level for the Step. Probability See “Step Probability” on page 24. Wave Sequence Utility Cut Steps, Copy Steps, Paste Steps, Insert Steps, Add Steps To End To cut, copy, paste, insert, or add Steps to either a single Lane or all Lanes: 1.

  • Page 39: Vector

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

  • Page 40: Vector Volume Control And Modulation

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

  • Page 41: Vector Env Time

    Vector X (0…3, R) [-127…+127] 0 is the center; -127 is far left, and +127 is far right. Y (0…3, R) [-127…+127] 0 is the center; -127 is bottom, and +127 is top. Vector Env Time The front-panel knobs control the five Time parameters. The units are in either seconds or note values, depending on the Vector Env Setup page’s Mode parameter.
  • Page 42 [Loud, Smooth] This controls how Vector Volume crossfades when you move the Vector Joystick, and between points on the Vector Envelope. For maximum volume, use Loud (the original wavestate behavior); for more gentle crossfades, use Smooth (the original Wavestation behavior).

  • Page 43: Arpeggiator

    Arpeggiator Arpeggiator Arpeggiator The Arpeggiator is particularly effective in conjunction with Note Advance, so that each generated note starts on a new step in the Lane. Try this with the Sample Lane in particular, with a single Timing step set to Gate. Arpeggiator (ARPEGGIATOR) [Off, On]...
  • Page 44 Arpeggiator Alt1 Alt2 Random Resolution [32nd note triplet…1/4 note] This controls the speed of the Arpeggiator. Try modulating this from the Mod Wheel! Swing [-100%…+100%] This controls the rhythmic swing of the Arpeggiator, based on the Resolution above. 100%: The second rhythmic division will be pushed to the third triplet, for a full swing feel. -100%: The second rhythmic division will be pulled to the second triplet, for a reverse-swing feel.

  • Page 45: Filter

    Filter Filter Filter Type (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, Multi Filter] Pressing the front panel FILTER TYPE button selects and edits the Type parameter. Three useful settings are available directly: the Polysix LP, the MS-20 LP, and a 2-pole resonant HP.
  • Page 46 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 42.

  • Page 47: 2-Pole Lp/Hp/Bp/Br

    Filter 2-Pole LP/HP/BP/BR (Resonance) Bass [Full, Tight] This is available only when Type is one of the 2-pole or 4-pole settings, or Multi Filter. Resonance Bass controls the character of the filter resonance at low cutoff frequencies. Its effect is most noticeable with high Resonance settings. Tight produces a more restrained resonance, similar to a classic, American, wood-paneled monophonic synthesizer.

  • Page 48: Multi Filter

    Filter Normal, 1-osc input: This will produce the classic resonant sounds of these filters with a single oscillator playing at full volume. When input is louder than a single full-volume oscillator, the resonance effect will be less pronounced. Unity, less resonance: Volume is unattenuated. This leaves less headroom, so resonance will be less prominent. Loud, less resonance: This provides a slight volume boost on input.

  • Page 49: Manual

    Filter LP+BP, LP-BP, LP-HP, BP+HP, BP-HP, Dry+LP, Dry-LP, Dry+BP, Dry-BP, Dry+LP-HP, Dry+LP-BP, Dry+BP-LP, Dry+BP-HP, Dry+HP-LP, Dry+HP-BP, LP+HP+BP: These combine two or more filters at equal volumes. Dry is the un-filtered input signal. The minus sign (“-”) indicates when the phase of a filter is reversed. All On uses the Low Pass, High Pass, Band Pass, and Dry signals at equal volumes.

  • Page 50: Filter Key Track

    The wavestate keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can: •...

  • Page 51: How Key Track Works: Keys And Slopes

    Filter How Key Track works: Keys and Slopes The keyboard tracking works by creating four ramps, or At the Center Key, the modulation amount is always 0. slopes, between five keys on the keyboard. The bottom and Mod Amount Mod Amount top keys are fixed at the bottom and top of the MIDI range, Slope: respectively.
  • Page 52 Filter (Low) Key [C–1…G9] This sets the breakpoint note between the two lower slopes—the “hinge” of the lower door. The Low Key can’t be set above the Mid Key. Low-Mid Slope [–Inf, –12.00…+12.00, +Inf] This sets the slope between the Low and Mid keys. For normal key track, use negative values. -1.00 is the default. Mid Key [C–1…G9] This sets the center of the keyboard tracking—the main “hinge.”...

  • Page 53: Pitch

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

  • Page 54: Pitch Mod

    Pitch On: Playing legato will turn on Portamento, and playing detached will turn it off again. Off: Legato/detached playing will not affect Portamento. Type [Constant Rate, Constant Time] Constant Rate: Portamento will always take the same amount of time to glide a given distance in pitch—for instance, one second per octave.
  • Page 55 Pitch Vel->Env (VELOCITY) [-144.00…+144.00] This lets you use velocity to scale the amount of the Pitch Envelope applied to pitch, in semitones. Pitch Bend Up [–60…+60] This sets the maximum amount of pitch bend, in semitones, when you move the wheel above the center point. For normal pitch bend, set this to a positive value.

  • Page 56: Amp

    Notes on Amp Modulation Amp modulation scales the Amp Level and Amp Envelope, with an upper limit of 2x the original settings to prevent uncontrollably loud output. If the original level is low, the maximum modulated volume will also be low. (For the technically inclined: Amp modulation is multiplicative.

  • Page 57: Amp Key Track

    Keyboard tracking (“Key Track”) changes the volume as you play up and down the keyboard. This may be used to make the volume more consistent, or to create special effects. The wavestate’s Key Track can be fairly complex, if desired. For instance, you can: •...

  • Page 58: Differences From Filter Keyboard Track

    Differences from Filter Keyboard Track Amp modulation works slightly differently from other mod routings, in that positive modulation is limited to 2x gain. For more information, see “Notes on Amp Modulation” on page 51. This means that, when applied to Amp Level, Amp Key Track’s negative Slopes act as if they are steeper than positive Slopes.

  • Page 59: Modulation

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

  • Page 60: Viewing And Editing Modulations

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

  • Page 61: Mod Knobs

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

  • Page 62: Modulation Sources

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

  • Page 63: Mod Knobs

    0; above C4 is positive, to a maximum at MIDI note 127. Aftertouch This receives MIDI Aftertouch, as well as aftertouch generated by pressing down on the wavestate SE keyboard. Note: the 37-note keyboards on the wavestate and wavestate mkII do not generate aftertouch.
  • Page 64 Modulation Vector Envelope A/B/C/D The A/B/C/D selections decide which of the Vector Envelope's four outputs to use. For instance, A is the signal that goes to Layer A’s volume, which is max on the left and min on the right. C is the opposite of that, with max on the right and min on the left.
  • Page 65 Modulation CC +/- This is a list of all of the MIDI CCs, interpreted as bipolar signals. MIDI value 64 is 0; values below 64 produce negative modulation, and values above 64 produce positive modulation.

  • Page 66: Envelopes

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

  • Page 67: Filter/Amp/Pitch Envelope Trigger

    Envelopes Different curve settings for up and down Generally, upwards segments use different curvature settings than downward segments. For instance, a curve of 3 is a good default setting for upward segments, such as Attack. On the other hand, a curve of 6 or more is good for downward segments, such as Decay and Release.
  • Page 68 Envelopes Note: modulation sources may not always reliably reach the extreme values of +100 or -100. This can happen due to smoothing, or with LFOs when using certain shapes and faster speeds. If this is the case, Thresholds of +100 or -100 will cause inconsistent behavior.

  • Page 69: Lfos

    LFOs LFOs Filter/Amp/Pitch/Pan LFO The four LFOs—Filter, Amp, Pitch, and Pan—all work identically. Tempo (TEMPO SYNC) [Off, On] On: The LFO synchronizes to the system tempo, with its speed controlled by Base Note and Multiply. Off: The LFO speed is controlled by the Frequency parameter, in Hz. Base Note (FREQUENCY) [List of rhythmic values]...
  • Page 70 LFOs Waveform (WAVEFORM) [Triangle…Random6 (Continuous)] Most of the waveforms are self-explanatory, but a few will benefit from more details: GTR (Guitar) is intended for guitar vibrato. It is positive-only, so that when used for pitch, it only bends upwards. RND 1 (Random 1) generates traditional sample and hold waveforms: random level changes with steady timing. RND 2 (Random 2) randomizes both levels and timing.
  • Page 71 LFOs Offset settings and pitch change produced by vibrato Offset = –100 Offset = 0 Offset = +100 Pitch The one exception to this is the Guitar waveform, which is designed to emulate bending a string on a guitar–so that the pitch only goes up, and not down.
  • Page 72 LFOs Fade [0.0000…9.9000 sec] The LFO can fade in gradually, instead of starting immediately at full strength. This sets the time until the LFO reaches maximum amplitude. If Delay is used (see “Delay” on page 68), the Fade starts after the Delay is complete. See also “When do Delay, Fade, Start Phase, and Random Phase apply?,”...

  • Page 73: Filter/Amp/Pitch/Pan Lfo Details

    LFOs Filter/Amp/Pitch/Pan LFO Details Sync Notes Mode [Sync Notes, Free Run] SYNC NOTES This controls how the LFO behaves when is enabled. Sync Notes: Each note has its own LFO. If no other notes are sounding, the LFO starts as it would normally. If other notes are sounding, the LFO starts by matching the phase of the oldest sounding note.
  • Page 74 LFOs Trigger Threshold [–100%…+100%] This sets the modulation level which will trigger the LFO. When the threshold is positive (or 0), the LFO resets when the value passes through the threshold moving upwards. In other words, if the value has been below the Threshold, and then changes so that it is equal to or greater than the Threshold, the LFO resets.

  • Page 75: 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 76: Offset

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

  • Page 77: Quantize

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

  • Page 78: 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 79 Modulation Processors Mode [Symmetric, Asymmetric] Asymmetric produces a single curve, extending from –100 to +100. Symmetric produces two matching curves extending outwards from 0 to –100 and +100, respectively. Curve and Mode Bipolar Triangle Wave Unipolar Triangle Wave Asymmetric Asymmetric Symmetric (not recommended) +100...

  • Page 80: 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 81: Sum

    Modulation Processors Sum adds two modulation sources together. This is useful if you want to process the combination of two or more signals: for instance, to merge an LFO and an envelope, and then smooth the result. Input [List of Modulation Sources] This selects the main input for the Mod Processor.

  • Page 82: Effects

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

  • Page 83: Edit Page

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

  • Page 84: Tremolo

    This is an improved model of a family of mono phaser pedals–in “90” and “100” versions–which are favorites on many recordings. It’s useful for adding sparkle, animating chord passages, and widening and fattening the sound. Polysix Ensemble This models the mono-in, stereo-out ensemble effect built into the classic Korg Polysix synthesizer.

  • Page 85: Small Phase

    Effects Small Phase This models a classic mono phaser made in New York City during the 70s, with its warm, rich tone and liquid transparency. Talking Modulator This mono effect applies vowel formant filters, like a human voice, to the input. Vintage Chorus This models a mono chorus best-known for being built into a guitar amp.

  • Page 86: Master Reverb

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

  • Page 87: Randomize

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

  • Page 88: Utility

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

  • Page 89: Midi & Usb

    Internal: The wavestate will use the Performance’s Tempo setting (also shown and controlled by the button). Use this when playing the wavestate by itself, or when you want the wavestate to control the tempo of external MIDI devices such as a sequencer or drum machine.

  • Page 90: Controllers

    MIDI; the wavestate SE also generates aftertouch from its built-in keyboard. Aftertouch Curves always work the same way between the wavestate SE’s built-in keyboard and the synth engine. The way that they relate to MIDI, however, is tied to the Convert Position setting (see below).
  • Page 91 This setting controls how the Transpose, Velocity Curve, and Aftertouch Curve settings work. (Note that Aftertouch Curve appears only on the wavestate SE.) You can think of these as a set of MIDI effects processors, which can be used in one of two places within the wavestate.
  • Page 92 Tone Scale Transpose Transpose generator Note Number changes wavestate built-in keyboard MIDI Out Transmitted Received Post-MIDI: Transpose and Velocity/Aftertouch Curves affect MIDI input. Use this to adjust response to an external MIDI controller. Post-MIDI also shifts Global and Performance Scales to match the Transpose setting—convenient for use with non- equal-tempered scales.

  • Page 93: Midi Cc Assign

    Utility MIDI CC Assign You can control Scale Select and each Mod Knob directly from MIDI CCs. These CCs edit the assigned parameters, just like moving the front-panel knobs. To modulate a parameter with variable intensity, and without causing edits to the sound, use modulation instead.
  • Page 94 Performance scale, depending on which is in use). SHIFT+OCTAVE then performs octave up/down functionality. OCTAVE The wavestate module does not have front-panel buttons. Transpose [Transposes Scale, Within Scale] This parameter determines how the Performance and Program Transpose parameters interact with the Scale and Key.

  • Page 95: Preferences

    [Disabled, 4 Hours] By default, to conserve energy, the wavestate will automatically turn off after about four hours have elapsed without use of the front panel, keyboard, or MIDI input, and without being connected to the Editor/Librarian. You can disable this feature, if desired.

  • Page 96: About

    This shows the amount of free space available for storing sound data, including user samples and Performances, Programs, etc. About This page shows the software version number and abbreviated credits. The wavestate is the result of a team effort, built through the talents of many more people than can be listed on-screen!

  • Page 97: Usb

    You can connect the wavestate to computers via USB to send and receive MIDI, edit and organize sound data with the wavestate Editor/Librarian, and edit and organize sample data with the Korg Sample Builder. MIDI The wavestate is a class-compliant USB MIDI device, and requires no driver for MIDI functionality.
  • Page 98 SE: 1,014 × 344 × 110 mm/39.92” × 13.54” × 4.33” wavestate module: 483 × 172 × 113 mm/19.02” × 6.77” × 4.45” Weight: wavestate and wavestate mkII: 2.9 kg/6.93 lb; wavestate SE: 8.6 kg/18.96 lb; wavestate module: 1.7 kg/3.75 lb Included items: AC adapter, Precautions, Quick Start Guide Accessories (sold separately): DS-1H damper pedal, PS-1 pedal switch, PS-3 pedal switch * Specifications and appearance are subject to change without notice.
  • Page 99 *2: Supports universal system exclusive messages device inquiry, master volume, master fine tuning, and master coarse tuning Mode 1: Omni On, Poly Mode 2: Omni On, Mono O: Yes Mode 3: Omni Off, Poly Mode 4: Omni Off, Mono X: No Consult your local Korg distributor for more information on the MIDI implementation.
  • Page 100 © 2020 KORG INC. Published 03/2024...

This manual is also suitable for:

Wavestate mkiiWavestate seWavestate module795359853379536 ... Show all

Table of Contents