Korg POLYSIX Owner's Manual page 9

VF CUT OFF control
This determines the initial cutoff fre-
quency of the filter. At 0, the cutoff is so
low that no sound will be passed. As you
turn the contro! clockwise (towards
higher numbers), the cutoff frequency
increases and the note will begin to
sound, first with a dark, muted timbre
and then with a brighter one. At 10, the
cutoff point is above any audible har-
monic and the sound will be very bright.
2) RESONANCE
The second way that a filter modifies
timbre js by adding resonance, (also
khown as 'Q", "Peak" or "'Emphasis'') at
the cutoff point. Resonance is useful for
a wide 'variety of sounds, such as organ,
french horn, classic synth bass and lead
sounds, and many. special effects. The:
RESONANCE control allows you to vary
the amount of resonance from 0 to
self-oscillation.
At 0, there is no resonance, and fre-
quencies above the cutoff point are rolled
off smoothly. Chainging the cutoff point
with no resonance simply varies the
brightness or high frequency content of
the sound.
Advancing the Resonance control
clockwise (towards higher numbers)
creates a resonant "peak"' which serves to
strongly emphasize the frequencies near
the cutoff point (frequencies above the
cutoff point are still rolled off), This
results in much more dramatic changes to
the timbre of the sound. Medium reso-
nance produces the characteristic "waa-
waa' sound when the filter cutoff is
swept by the EG, footpedal or manually.
At high resonance, the filter will self-
oscillate, producing a pure sine wave at
the cutoff frequency. This can be used as
a second sound source along with the
VCO, or by itself if the VCO is shut off.
The purest tone is generated at about 7.
3) EG INTENSITY
This controls how much the cutoff
frequency
is varied by the EG. it also
determines whether the filter is swept up
(positive modulation) or down
(negative
modulation) during the: attack phase of
the EG. Maximum sweep depth is plus or
minus 10 octaves. Wide sweep depths are
Usually associated with dramatic effects,
"electronic" lead and bass sounds, clav
type sounds, ete. Srnall sweep depths are
often used to add a subtle extra dimen-
sion to more "natural" sounds like french
horn, woodwinds and ather orchestral
sounds. However, there are certainly no
hard and fast rules and anything that
sounds good to you
should be used
freely.
4) KBD TRACK
This controls the degree to which the
filter 'tracks' the keyboard, over a range
of approximately 0% to 150%. Keyboard
3) EG
Hier kann eingestellt werden, wie die
Beschneidfreauenz durch den
VCF-Hillkurvengenerator beeinflu&t wer-
den 'soll. Bei Ejnstellungen rechts von
Position' 0 erhaht sich die Beschneidfre-
quenz mit ansteigender Hallkurvengenera-
tor-Steuerspannung (der Klang wird hel-
ler), Bei Einstellungen links von der
O-Position verandert sich die Beschneid-
frequenz umaekehrt proportional zur
Steuerspannung (ein sehr ungewohnlicher
Effekt).
4) KBD TRACK
Dieser Regler ermoglicht die Variie-
rung der Beschneidfrequenz in Abhangig-
keit von der Tonhdhe der angeschlagenen
Taste. Dieser Effekt erleichtert die Erzeu-
gung z.B. des Klanges von Geige und
Saxophon, bei denen sich die Klangfarbe
mit zunehmender Tonhohe immer mehr
aufhellt. Als interessantes Experiment
kann man z.B. Filter-Eigenoszillation an
die Tonhdhe der angeschlagenen Tasten
koppeln. Dazu die vier VCO LEVEL-
Regler auf O stellen, die Beschneidfrq-
quenz (CUTOFF) auf 5, RESONANCE
auf 10 und die Keyboard-Synchronisie-
rung (KBD TRACK) auf etwa 6 oder 7.
3) EG
Contréle la facon dent le VCF EG
(générateur d'enveloppe) affecte la fré-
Guence de coupure. Tous les réglages
au dessus de 0 (rotation dans sens des
aiguilles d'une montre a partir de la
Position centrale) font augmenter le fré-
quence de coupure (la tonalité est plus
brillante) au fur et a mesure que la
tension de commande du générateur EG
augmente. Cependant, si le bouton est
réglé sur une position inférieure 40, la
fréquence de coupure
devient inverse-
ment proportionnelle a la sortie EG CV
(ce qui permet d'obtenir un effet franche-
ment inhabituel).
4) KBD TRACK
Ce réglage est utilisé pour faire varier
la fréquence de coupure en fonction de la
touche actionnée du clavier. Ceci est
trés utile pour produire des sonorités
riches comparables a celles d'un violon ou
d'un saxophone dont le timbre devient
plus clair au fur et a mesure que des notes
6levées sont jouges.
tracking is an extremely useful function
in which the VCF is made to 'follow'
the note as it is played on the keyboard.
This produces more even and realistic
sounds by insuring that the tonal quality.
(timbre) of a given sound remains con-
sistent over the full 5 octave range (100%
tracking). Without keyboard tracking, a
given sound played at "C'' would sound
bright and buzzy at the lowest "C"', and
muted of even non-existent at the highest
"Cc.
The Polysix also allows deliberate
over- of under-tracking. This produces
smooth and controlled tone quality
changes as you move up and down the
keyboard, for special effects, or to simu-
late instruments
with changing timbres
le.g., many orchestral and keyboard in-
struments). At settings of approximately
"7", the VCF follows the note on a 1 for
1 basis (100%). Below 7, the VCF in
effect "legs behind" the note played; this
causes notes to sound brighter as you go
down in pitch, and rounder or mellower
as you ascend. Conversely, at settings
above
7, the VCF cutoff
increases
"faster" than does the keyboard pitch,
which causes notes to sound brighter as
you go up in pitch and darker as you go
down, The further the control is from 7,
the more pronounced this tonal change
will be.
(euumemeteneeema 100 tracking). Addi-
tionally, special scales known as) Micro-
tonal (e.9., "quartertone") and Macro-
tonal can be created at settings less than,
or greater than 7, respectively,
Variable keyboard tracking is ex-
tremely useful in producing realistic: in-
strumental
sounds, and in helping
to
make any particular program sound good
over a full five octave range.
This provides repetitive filter modula-
tion or automatic
"waa waa" effects.
Low settings of the MG LEVEL control
can give a subtle but very useful anima-
tion to the sound,
External control voltage (MS:01 pedal,
ete.) applied to VCF feM IN jack (nomi-
nal sensitivity is 1V/octave).
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