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Korg multi/poly Owner's Manual
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Korg multi/poly Owner's Manual

Korg multi/poly Owner's Manual

Analog modeling synthesizer
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ANALOG MODELING SYNTHESIZER
Owner's Manual
E1

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Summary of Contents for Korg multi/poly

  • Page 1 ANALOG MODELING SYNTHESIZER Owner’s Manual...
  • Page 2 About the multi/poly manuals ........
  • Page 3 Contents Stereo ......................38 Filters .
  • Page 4 Contents Curve ........................78 Smooth .
  • Page 5 Contents Tremolo ......................110 Wave Shaper .
  • Page 6 Even if you don’t usually read manuals, please read this section! Navigation Press a button or turn a knob, and the display will show the related page. See “multi/poly page map” on page 2 for all of the pages in the UI and their associated front-panel controls.
  • Page 7 Layer’s button, or just double-press the button. Most pages on the display apply only to the selected Layer. For these pages, the Layer’s letter (A/B/C/D) is shown in the upper left of the display. multi/poly page map LEGEND PERFORM SHIFT-HOLD...
  • Page 8 (Randomize) button to bring up a set of pages containing shortcuts and usage tips. Structure The multi/poly plays one Performance at a time. A Performance has four Layers (A…D), Kaoss Physics, an Arpeggiator, and a master reverb and EQ. Each Layer contains 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 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 You can also show the list of categories on the display. To do so: 1. In the list popup, hold SHIFT and press > (for PAGE+). The Filters & Sort Order page appears. 2. Select the Category or Collection parameter, and turn the VALUE knob or press ENTER.
  • Page 11 Selecting and Playing Sounds 2. Select the Set List parameter, and press ENTER or turn the VALUE knob. From this point, selecting Set Lists works just like selecting Performances, as described above. Assigning a Performance to a Set List Slot 1.
  • Page 12 Mod Knob Kaoss Physics Names & Values This is the multi/poly’s main page, where you can select Performances, set the Programs for the four Layers, see the Mod Knob names and values, and view the Kaoss Physics graphic. PERFORM Wherever you are in the system, pressing twice in row always returns here, with the Performance name selected.
  • Page 13 Basic Editing Performance Hold (HOLD) [Off, On] Use Performance Hold to hold notes or chords, leaving your hands free for knobs and modulation. This works differently from the Damper Pedal. When Performance Hold is On, notes or chords are held indefinitely until you play a new note or chord, at which point the previous notes are cut off and the new ones will sound.
  • Page 14 Oversampling means that the internal algorithms run at higher than normal sample rates, for increased audio fidelity. The multi/poly always uses oversampling; it’s just a question of how much. Standard yields higher polyphony, and should sound fantastic for almost all sounds.
  • Page 15 Extreme cuts polyphony in half (or more), but can improve fidelity in a few specific situations, such as when playing high pitches with specific waveshaper setups. When we started working on the multi/poly, we thought that Extreme might be necessary more of the time, even though we had implemented a number of different anti-aliasing and other quality-enhancing techniques throughout the system.
  • Page 16 Basic Editing Mode = Mono Legato [Off, On] Legato is available when Voice Assign Mode is set to Mono. Legato means to play in a smooth, connected way; the next note is played before the last note is released. On: The first note in a legato phrase will sound normally; subsequent notes in the phrase will sound smoother (for instance, envelopes will continue instead of restarting).
  • Page 17 Basic Editing 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 18 Basic Editing Off: The Layer will ignore all MIDI CCs (except for CC#64), as well as Aftertouch, Poly Aftertouch, and Pitch Bend. Performance Setup Volume [-Inf, -84.9…0.0 dB] This controls the Performance volume, for balancing levels with other sounds. Octave [-2…+2] This transposes the entire Performance by up to 2 octaves, up or down.
  • Page 19 Write Saving Sounds The Performance, with its four Layers, contains a complete multi/poly sound. When selecting, editing, and saving sounds, Performances are all you need to use. While you can save Programs and presets for Motion Sequences, Motion Sequence Lanes, and Kaoss Physics, you don’t have to do so: all data is contained in the Performance.
  • Page 20 Write Name Note: you can name Programs, Motion Sequences, Lanes, and Kaoss Physics Presets without writing them separately. As long as you save the enclosing Performance, the new name will be saved. Editing names 1. On the Write page, select the Name. 2.
  • Page 21 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 22 Write A confirmation dialog will appear. 6. Press ENTER to confirm, or any other key to cancel.
  • Page 23 Oscillators Oscillators Oscillator 1/2/3/4 Overview Programs have four identical oscillators, each capable of operating as classic analog oscillators, digital wavetable oscillators, or waveshaper oscillators; use these different types in any combination. In addition to the four oscillators, there’s a noise generator and a ring modulator. Optionally, routing through filters, drive, and amp may be true stereo, with per-oscillator pan.
  • Page 24 Oscillators Classic Type: Osc 1/2/3/4 Waveform Waveform [Saw, Pulse, Triangle, Saw/Pulse, Saw/Triangle, Pulse/Triangle, Square/Triangle, Double Saw, Detuned Saw 1, Detuned Saw 2, Shark Fin] CONTROL I PW/MORPH This selects the waveform for the oscillator, and also affects the assignments of the OSC 1/2/3/4 knobs, as described below.
  • Page 25 Oscillators Knob controls for each Waveform Waveform CONTROL I PW/MORPH Pulse Pulse Width Triangle Triangle symmetry Saw/Pulse Xfade between saw & pulse Pulse Width Saw/Triangle Xfade between saw & triangle Triangle symmetry Pulse/Triangle Xfade between pulse & triangle Pulse Width Square/Triangle Xfade between square &...
  • Page 26 Oscillators The real magic of the pulse wave comes when you modulate the width. Try using a medium-speed triangle LFO, or a sweeping envelope. Pulse waveform at different widths Pulse Width = 10% Pulse Width = 25% Pulse Width = 50% Pulse Width = 75% Morph - detune Detune...
  • Page 27 Wavetable Select popup, which shows all of the Wavetables installed on the instrument. For details on sorting and filtering the list of Wavetables, see “Selecting from lists” on page 4. The multi/poly ships with over 200 Wavetables, and you can also import your own using the Editor/Librarian application. For more information, see the Editor/Librarian manual.
  • Page 28 Oscillators 2. Set the FILTER B LFO to use a Triangle wave. 3. Hold and press >. The Add New Modulation popup appears. 4. Move the CONTROL I knob to set the modulation destination. 5. Press the LFO section’s FILTER B button to set the modulation source.
  • Page 29 Oscillators Low Boost: Boosts the first 5 harmonics. Low Cut: Reduces the fundamental and first few harmonics. Low Cut +: Reduces the first 5 harmonics. Muted: Dramatically lowers the level of all harmonics above the fundamental. Fade Out: Crossfades successive waves in the Wavetable with 0 so that the waveform fades to silence as Position increases.
  • Page 30 Oscillators Digital Type: Osc 1/2/3/4 Morph Morph (Morph Type) [None, Stretch, Flip, Mirror, Mirror Stretch, Narrow, Narrow Stretch, W. NarrowStretch] The Morph Types let you stretch, squeeze, reflect, and otherwise alter the Wavetables in real-time, changing their timbre and—when modulated—creating additional motion in the sound. None: The Wavetable is played unaltered.
  • Page 31 Oscillators Digital Type: Osc 1/2/3/4 Details Xfade Width (Crossfade Width) [0…100] As the Position changes, the Wavetable changes from one waveform to another. When changing between two adjacent waveforms, the transition can be gradual or immediate. Xfade Width controls the amount of the Position range spent interpolating between neighboring waveforms vs.
  • Page 32 Oscillators Waveshaper Type: Osc 1/2/3/4 Waveform This is a west-coast style waveshaper/“wavefolder” oscillator, with some special twists. A sine or triangle wave goes into a Waveshaper, with a wide selection of tables. CONTROL I sets the Gain into the table. CONTROL II sets the Offset.
  • Page 33 Oscillators Pickups Pickup1 Pickup2 These tables simulate electromagnetic pickups, such as those of an electric piano. To create electric piano sounds, use a sine wave as input, and assign an EG to modulate Gain; it should be around maximum at first, and then decay exponentially to a very low value. Offset controls the distance between the pickup and the center of the tine;...
  • Page 34 Oscillators Multipliers Sine Octave Sine 2Octave MultiTri Sine Octave: With maximum Gain, this produces a sine wave one octave higher than the input. Sine 2Octave: With maximum Gain, this produces a sine wave two octaves higher than the input signal. With decreasing Gain settings, it jumps down to the original octave–producing an interesting effect when Gain is modulated.
  • Page 35 Get Fuzzy: This unusual table is noisy only around zero. High Gain settings will produce less noisy output, while low- level signals will be much more noisy. 01/W and Waveshaper Effect tables The rest of the tables, save one, are based on those of the classic Korg 01/W and the Waveshaper effect. Sine + Saw 2 Cycle...
  • Page 36 Oscillators Berkeley Berkeley: This is the classic “folder” waveshaper. Gain [-100.0…+100.0] This sets the volume of the signal going into waveshaper. By reducing the Gain, you can make the signal interact with only part of the table. This is particularly useful in combination with Offset, as shown in the diagram below. Gain can also be modulated to create changes in timbre.
  • Page 37 Oscillators stretched and compressed in the same way. When modulated (as from an LFO, below), the audible result is similar to pulse width modulation on an analog oscillator. Pulse Width and Waveshaper output 50% (Normal) LFO (INTENSITY) [-100.0…+100.0] This controls the amount of Pulse Width modulation from the PW/MORPH LFO. Pre LPF [1,000…23,999 Hz] This is the cutoff frequency of a simple lowpass filter for the Input signal.
  • Page 38 Oscillators Noise Generator Enable (SHIFT-NOISE) [Off, On] To turn the Noise Generator on and off, SHIFT-press or double-press the front-panel NOISE button. Unlike similar controls for the Oscillators and Ring Modulator, this merely mutes the Noise Generator’s output to the Mixer; the Noise Generator continues to run, and is always available for use in the Ring Modulator, X-Mod, and audio-rate filter modulation.
  • Page 39 Oscillators Ring Modulation Carrier Modulator Output Ring Mod Enable (SHIFT-RING MOD) [Off, On] To turn the Ring Modulator on and off, SHIFT-press or double-press the front-panel RING MOD button. Disabling the Ring Modulator frees up processing power, and in some cases may yield higher polyphony. Note that if you're using the Ring Modulator for audio-rate filter modulation, it must be enabled for the modulation to work.
  • Page 40 If you like, you can turn Oscillator 1's Level down; the “sync” sound comes from Oscillator 2. Tip: 3-oscillator sweep This distinct sound is possible only with a four-oscillator structure, such as on the multi/poly and the original Mono/ Poly.
  • Page 41 Detuning the oscillators will further alter the sound. Additionally, sweeping the pitch of follower oscillators with an envelope, LFO, or other mod source will create a highly unusual “contrary motion” effect, with different pitches gliding in different directions. The multi/poly provides various options for X-Mod between the four oscillators, as described below. Xmod (X-MOD) [Off, On] On: X-Mod is enabled, according to the parameters described below.
  • Page 42 Oscillators The X-Mod Amount has a pronounced effect upon the tonal quality of the combined effect. At its minimum value, the normal sync sweep is produced; increasing the Amount introduces gradual changes in the sound quality, creating greater timbral complexity. Mixer 1 Osc 1/2/3/4 Oscillators 1 through 4, the Noise Generator, and the Ring Modulator each have identical controls in the mixer.
  • Page 43 Oscillators Mixer 2 Noise (Noise Generator) and Ring Mod (Ring Modulator) The Noise Generator and the Ring Modulator have similar mixer controls to the Oscillators. For more information, see “Mixer 1” on page 37. Level (LEVEL) (SHIFT-LEVEL) Pol. (Polarity) Note: Polarity is not available for the Noise input. A/B (Filter A/B Balance) (SHIFT-MORPH) Stereo...
  • Page 44 Filters Filters Serial and Parallel routing Parallel (PARALLEL) [Off, On] There are two filters, Filter A and Filter B. They can be arranged either in parallel, or in series. In either case, Filter A/ B Balance, described below, controls signal routing to the filters. Press SHIFT-TYPE to turn Parallel on and off.
  • Page 45 Filters Dual signal paths You can also send some inputs through Filter A and others through Filter B, to create a layered sound. For instance: 1. Turn PARALLEL 2. Set Oscillator 1’s FILTER A/B to 0. This routes Oscillator 1 to Filter A. 3.
  • Page 46 MS-20 LP and HP: These 12dB/octave, self-resonating “Korg 35” 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.
  • Page 47 Filters Cutoff (CUTOFF) [-4.00…+138.00] (semitones) This controls the cutoff frequency of the filter, in semitones mapped to MIDI note numbers (60.00 = middle C). The frequency in Hz is also shown. The specific effect of the cutoff frequency will change depending on the selected Type, as described above.
  • Page 48 Filters 4-Pole LP/HP/BP/BR Resonance Type [Standard, High] Resonance Type is available only when using one of the 4-pole filters. Standard provides the resonance character of a typical analog 4-pole filter. High creates a more pronounced resonance. SE M/P (MODE XFADE) [0.0…100.0] This is available only when Type is either Multi Filter or SE M/P.
  • Page 49 Filters Multi Filter (MODE XFADE) [0.0…100.0] This is available only when Type is either Multi Filter or SE M/P. With the Multi Filter, Xfd (crossfade) morphs between the Mode 1 and Mode 2 settings. 0.0 is all Mode 1, 100.0 is all Mode 2, and 0.1…99.9 are intermediate values MODE XFADE between the two Modes.
  • Page 50 Filters Manual lets you create your own mix of the filters; an additional four parameters will appear. For more information, see “Manual,” below. 2 (Mode 2) Mode 2 has the same selections as Mode 1. Manual When Mode is set to Manual, these parameters let you create your own mix of the filters. You may wonder why Band Reject is not included here.
  • Page 51 Filters Filter A/B Mod Default modulation routings The four parameters at the top of the page control the default modulation routings for Filter Cutoff. Filters A and B FILTER A FILTER B each have their own dedicated envelope and LFO (via the buttons in the envelope and LFO sections).
  • Page 52 The multi/poly 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 53 Filters Mid-High and High: negative slopes make the output go down as you play higher on the keyboard, and positive slopes make the output go up. The table below shows how the slopes affect the modulation output: Slope value Modulation change –Inf 0 to minimum in 1 half-step -10.00...
  • Page 54 Filters (High) Slope [–Inf, –12.00…+12.00, +Inf] This sets the slope between the High key and the top of the MIDI note range. For normal key track, use positive values. +1.00 is the default.
  • Page 55 Pitch Pitch Osc Pitch Osc Pitch Osc 1/2/3/4 OSC 1/2/3/4 Each Oscillator has independent settings for Octave, Transpose, and Tune. Press the buttons to select their respective parameters; press the same button twice to return to the main Waveform page. Oct (OCTAVE) [–2, –1, 0, +1, +2] This sets the basic pitch of the Oscillator, in octaves.
  • Page 56 Vintage Exponential: This uses a simple RC lag filter, as in the Korg Mono/Poly, ARP Odyssey, and vintage American “east-coast” modular systems. Vintage MS-20: This uses a Hz/V frequency RC lag filter (as opposed to 1V/octave pitch), as in the Korg MS-20. Time [0.000…50.000 secs or s/oct]...
  • Page 57 Pitch Gated [Off, On] Gated is available only when Voice Assign Mode (see page 10) is set to Mono. On: Portamento runs only while a note is held, and freezes in place when the note is released. Off: Portamento continues to run after the note is released. Common Pitch Mod These settings apply to all four Oscillators.
  • Page 58 Press to go to this page. 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 59 [L100…L1, C0, R1…R100] This sets the left-right pan. Note that this can be modulated per voice! 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. VCA Type [Linear, Mono/Poly, MS-20, Odyssey, Mini, Pro] Analog VCAs don’t respond evenly to voltage, which affects the perceived shape of modulation—and in particular the...
  • Page 60 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 multi/poly’s Key Track can be fairly complex, if desired. For instance, you can: •...
  • Page 61 Drive SHIFT-AMP Press to go to this page. Drive adds anti-aliased overdrive to the signal chain, after the Filters and before the Amp. It’s particularly effective when combined with filter resonance. Drive [0…100] This sets the intensity of the overdrive.
  • Page 62 No two oscillators in a voice behave the same way; nor do two voices in a patch, nor the same Program in different Layers. Unless the global CMT ID is the same, two multi/poly instruments will also sound slightly different! But even with these differences, MIDI sequences are completely repeatable;...
  • Page 63 Drift [0…100] This controls the amount of variation in PW/Morph and PW/Morph modulation. [0…100] This controls the amount of variation in envelope segment times. [0…100] This controls the amount of variation in LFO frequency, delay, and fade times. Portamento [0…100] This controls the amount of variation in portamento times.
  • Page 64 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 65 Modulation Filter A/B and Pitch Env Velocity Intensity Filter A/B and Pitch Envelope Velocity Intensity parameters cannot themselves be modulated. Viewing and Editing Modulations All user-created modulation routings can be viewed and edited on the Mods page. Note: Built-in modulation routings, such as Filter Envelope modulation of Filter Cutoff or Osc 1 LFO modulation of Osc 1 Morph, are not shown here.
  • Page 66 Modulation Filtering the modulation list The list of modulations can be long. To view only the modulation routings related to a specific controller or section of the synth, use the Show parameter on the Modulation List Info page. As a shortcut to open this parameter's popup and press <, as described below: from anywhere in the UI, hold 1.
  • Page 67 Modulation Mod Knobs You can use the Mod Knobs in real-time performance, and also save the results as new sounds. The names and values are shown on the main PERFORM screen. The values are stored, and can themselves be modulated by the wheels, Kaoss Physics, and MIDI CCs.
  • Page 68 These are MIDI Channel Aftertouch and Poly Aftertouch, respectively, representing pressure on the keyboard after note-on. Aftertouch can be globally switched to respond to Channel Aftertouch, Poly Aftertouch, both, or neither; for details, see “AT Source (Aftertouch Source)” on page 119. Note: the multi/poly keyboard does not generate aftertouch.
  • Page 69 Modulation Kaoss X Kaoss X is the horizontal position of the Kaoss ball: negative to the left of center, 0 in the middle, and positive to the right. Kaoss Y Kaoss Y is the vertical position of the Kaoss Ball: negative below the center, 0 in the middle, and positive above the center.
  • Page 70 Modulation Tempo This lets you use the system tempo as a modulation source. 120 is the center, for a value of 0; 60BPM is -100, and 240BPM is +100 (the value continues to increase up to 300BPM). Note that this is different from tempo synchronization;...
  • Page 71 Envelopes Envelopes Filter A/Filter B/Pitch/Amp Envelope DLY (Delay Time) [0.000…90.000] (seconds) This sets the time between the envelope being triggered and the start of the Attack Time. A (Attack Time) (ATTACK) [0.001…90.000] (seconds) This sets how long the envelope takes to rise to the peak level. Note that when voice cards are re-used, the envelope may start from a level other than zero, just like on a vintage analog synth;...
  • Page 72 (See note below regarding Wavetable modulation.) Classic analog synth envelopes made these curved shapes naturally. The multi/poly goes a step further than vintage synths, however, and lets you control the amount of curvature separately for each envelope segment.
  • Page 73 Envelopes Tip: Curvature and Wavetable Position When using an Envelope to modulate Position for Wavetable oscillators, curvature is a matter of taste, and results will vary depending on the contents of the Wavetable. A Curve of 0.0 (linear) sweeps through the waveforms evenly, with equal time for each.
  • Page 74 Envelopes Note: The Trigger Source’s value at note-on can cause the envelope to trigger instantly. If the Threshold is positive or 0, this will happen if the value is at or above the Threshold; if the Threshold is negative, this will happen if the value is at or below the Threshold.
  • Page 75 LFOs LFOs Overview LFOs create cyclical waveforms for use as a modulation source. For instance, you can: • Select the LFO’s basic waveform, and modify it with the Shape parameter. • Control the LFO’s frequency, or sync it to the system tempo. Use the Fade and Delay parameters to control how long the LFO waits to start after note-on, and whether it starts •...
  • Page 76 LFOs RND 4-6 are smoothed versions of Random 1–3, with slopes instead of steps. Use them to create gentler random variations. LFO Waveforms TRIANGLE SAW UP SQUARE SINE DOWN EXP TRI SAW DN SAW UP STEP STEP STEP STEP TRI 4 TRI 6 SAW 4 SAW 6...
  • Page 77 LFOs For example, let’s say that you are using a triangle LFO to modulate filter cutoff. If Curve emphasizes the high value range, the filter will spend more time at the higher frequencies. If it emphasizes the low range, the filter will spend more time at the lower frequencies.
  • Page 78 LFOs Filter A, Filter B, Amp, Pitch, and PW/Morph 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 79 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 80 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 six Modulation Processors per Program, plus two for the Performance as a whole. The two Program Mod Processors can process any Channel, Performance, or Program modulation sources, but not voice-level signals such as Envelopes;...
  • Page 81 Modulation Processors Control at Note-On Only Cntrl [Off, On] When this is On, the value of the Control Source is only evaluated at note-on. The selected output will then Fixed Val Below remain active throughout the duration of the note, Source regardless of any subsequent change in the Control Source’s value.
  • Page 82 Modulation Processors Converting from unipolar to bipolar Similarly, you can convert a unipolar modulation source to a bipolar signal: 1. Select the modulation source as desired. 2. Set the Level to +200.00%. This doubles the overall level of the modulation source. 3.
  • Page 83 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 84 Modulation Processors Input [List of Modulation Sources] This selects the input for the Mod Processor. 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...
  • Page 85 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 86 Modulation Processors Input [List of Modulation Sources] This selects the main input for the Mod Processor. Input = LFO Main Input Amount [–100.00%…+100.00%] This controls the gain and polarity of the Input. Sum Source = Env Sum Src (Sum Source) [List of Modulation Sources] This selects the modulation source to merge into the Input.
  • Page 87 Motion Sequencing 2.0 Motion Sequencing 2.0 What is Motion Sequencing 2.0? Motion Sequencing 2.0 is evolved from the wavestate’s Wave Sequencing 2.0. Sequences run individually for each voice. Timing, Pitch, Shape, and four sets of Step Sequence values (Seq A-D) are separated into “lanes.” Each lane can have a different number of Steps, its own Loop Start and Loop End, and its own loop direction or step order randomization.
  • Page 88 Motion Sequencing 2.0 Motion Seq Overview This shows all of the Motion Sequence Lanes for the Layer’s oldest sounding voice. It displays up to 16 steps at once, matching the 16 front-panel buttons, for each Layer. The bank, A/B/C/D, is shown to the left of the steps. For each lane, the display automatically shifts to show the bank containing the active step.
  • Page 89 Motion Sequencing 2.0 Motion Sequence Recording Step recording Pitch To record a sequence of notes into the Pitch lane: 1. Press REC. 13-16 (SEQ A-D) will blink. and buttons (PITCH) and 2. Press button (PITCH) to select the Pitch Lane. Alternatively, press REC again to cancel. The Pitch Recording Setup page appears.
  • Page 90 Motion Sequencing 2.0 Important: Loop modulation, random order, and note advance all apply during recording. For most deterministic use, use the option to Clear Steps & Lane Settings (see step 3 below), or disable these features manually! 1. Press REC. 13-16 (SEQ A-D) will blink.
  • Page 91 Motion Sequencing 2.0 Other notes • Only one knob can be recorded per Lane; if a second knob is moved during recording, it is ignored. • The value is recorded at the end of the step. • One value is recorded per step; for finer resolution in time, use a faster timing lane. For playback closest to the original knob movements, leave the Lane’s Transition set to Linear (the default).
  • Page 92 Motion Sequencing 2.0 Motion Sequencer SEQ STEPS This page lets you choose a Motion Sequence for the Program. Press to go to this page. Preset (SEQ STEPS) [List of Presets] This list includes all of the Motion Sequence Presets stored in the database. Enable (ENABLE) [Off, On]...
  • Page 93 Motion Sequencing 2.0 Use Master [Off, On] This enables the Master Lane; for more information, see “Master Lane” on page 88. TEMPO (SHIFT-6) [Off, On] Tempo Off/On is stored in the Timing Lane; the parameter is duplicated here for convenience. For more information, see “TEMPO (SHIFT-6)”...
  • Page 94 Motion Sequencing 2.0 Standard Lane Controls These controls apply to all lanes except Master. Preset Lane Presets store all of the parameters for the Lane and its Steps. Explore the system by mixing and matching presets for different Lanes. Loop (Loop Start), to (Loop End) These parameters control the Steps on which the Lane begins, ends, and loops.
  • Page 95 Motion Sequencing 2.0 Timing This Lane controls the duration of each Step, creating rhythms or points on a timeline. Timing Lane Tempo On Tempo Off SHIFT-10 (TIMING) Press to go to this page. Preset, Loop (Start), to (Loop End), Mode, Repeats, NoteAdv See “Standard Lane Controls”...
  • Page 96 Motion Sequencing 2.0 When TEMPO is On, you can select tempo-locked ratios from 1/4 to 4x of the original Speed. Swing (Resolution) [32nd-note triplet…quarter-note] (Swing Amount) [-300…+300%] Swing adjusts the timing of up-beats relative to the Swing Resolution. For instance, if Resolution is set to 1/8, Swing affects every other 8th note.
  • Page 97 Motion Sequencing 2.0 Type [Note, Rest, Gate] Note: The step will play normally. Rest: On Rest Steps, all Lane outputs are muted. Pitch and Seq Lanes A-D will output a value of zero, instead of the Step’s programmed value. Gate: The sequence will pause at the step until note-off, after which the sequence continues. If this is also the End Step, the Motion Sequence will stay on the step through note-off.
  • Page 98 Motion Sequencing 2.0 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. Note that Shape interacts with Transition, below; to hear Shapes unaltered, set Transition to Off. Transitn (Transition) [Off, Lin, Exp, Log, Indv] This controls whether the pitch changes abruptly at each new step, or glides to the new value.
  • Page 99 Motion Sequencing 2.0 Tritone BluesScale BebopDominant Flamenco Romani HungarianMinor Persian Harmonics Acoustic Enigmatic Pitch Lane Step Step See “Step” on page 91. Transpose [-24…+24 semitones] This offsets the played note by up to two octaves, up or down. Tune [-12.00…+12.00 semitones] This changes the tuning by up to one octave up or down.
  • Page 100 Motion Sequencing 2.0 Shape The Shape Lane creates a contour over the duration of the step. It can affect the Pitch Lane and/or any of the Seq Lanes (when the respective Lane’s Use Shape is On). Shape Lane Press SHIFT-12 (SHAPE) to go to this page.
  • Page 101 Motion 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 89. Seq A/B/C/D The four Seq Lanes generate modulation sources to control other synthesis parameters, just like envelopes, LFOs, etc. Seq Lane SHIFT-13…16 (SEQ A…D) Press...
  • Page 102 Motion Sequencing 2.0 Seq Lane Step Step [A1…D16] See “Step” on page 91. Type [Value + Continuous Mod, Value * Random +/-, Value * Random +, Value + S & H Mod] Value + Continuous Mod: The Step uses the programmed value, and modulation continuously affects the value. For instance, if an LFO is modulating Value, you’ll hear the LFO’s shape during the step.
  • Page 103 Motion Sequencing 2.0 Motion Sequence Utility Cut Steps, Copy Steps, Paste Steps, Insert Steps To cut, copy, paste, or insert Steps to either a single Lane or all Lanes: 1. From a Motion Sequence Lane page, use PAGE+ to go to the Lane Utility page. 2.
  • Page 104 Kaoss Physics Kaoss Physics Overview Kaoss Physics models a ball rolling on a surface. You can start the ball by flicking a finger on the x-y pad, or launch the ball automatically using a trigger source such as Gate + Damper. You can also directly control the ball by holding your finger on the pad.
  • Page 105 Kaoss Physics Kaoss Physics Physics (SHIFT- KAOSS) [Off, On] Off: The physics model is disabled, and the pad works as a simple x-y pad. On: The physics model is enabled. Hold Position [Off, On] When Physics is Off, the physics model is disabled, and the pad works as a simple x-y pad (although Lag Time still applies).
  • Page 106 Kaoss Physics Kaoss Physics Details Bump Height [-100…+100] Positive for convex (a “hill”), negative for concave (a “hole”). Position X [0…50…100] Sets the center point of the bump on the X axis. 50 is the center; 0 is the left side, and 100 is the right. (Position) Y [0…50…100] Sets the center point of the bump on the Y axis.
  • Page 107 Kaoss Physics Kaoss Launch This page lets you launch the ball automatically using a trigger source. For instance, triggering via Gate + Damper will launch the ball whenever you play a new phrase on the keyboard; triggering via the Kaoss Button will launch the ball when you press the front-panel KAOSS button.
  • Page 108 Arpeggiator Arpeggiator Arpeggiator The Arpeggiator is particularly effective in conjunction with Motion Sequence Lane Note Advance, so that each generated note starts on a new step in the Lane. Try this with a single Timing step set to Gate. Arpeggiator (ARPEGGIATOR) [Off, On] To turn the arpeggiator on and off from the front panel, SHIFT-press or double-press the...
  • Page 109 Arpeggiator 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 110 Chord Chord Chord Chords let you play up to 8 notes from a single key. Each Program stores its own Chord, and Chord can be enabled or disabled separately for each Program. The lowest note of the chord is transposed to match the note played on the keyboard. Higher notes are transposed accordingly.
  • Page 111 LAYER ROTATE to go to this page. The multi/poly has four Layers, A/B/C/D. Naturally these can create normal layered sounds, as well as velocity and keyboard splits. Layer Rotate is a new possibility: flexible round-robin for Programs. With Layer Rotate, you can set up two, three, or four Layers with different Programs and cycle through them with each key press.
  • Page 112 Layer Rotate 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 113 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 [List of Effects] For each effect, you can select a Type (or “algorithm”) and a Preset within that Type.
  • Page 114 Effects Gain Adjust [-Inf, -84.9…+24.0 dB] This is similar to Output Level, but provides up to 24dB of gain. It appears only for the Modern Compressor. Reverb Sends Send Level A/B/C/D (REVERB: SEND) [-Inf, -84.9…+6.0 dB] This appears for the Master Reverb only. It controls the amount of signal sent from each of the Layers to the Master Reverb.
  • Page 115 Effects Pre FX Decimator This stereo effect models vintage digital gear, lowering the sampling frequency and reducing bit depth. Graphic EQ This is a stereo graphic EQ with macro controls. Guitar Amp This mono effect models a selection of guitar amps and speaker cabinets, for everything from subtle saturation to roaring distortion.
  • Page 116 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. 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 117 Effects 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 118 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 four-band parametric EQ. To edit the EQ: 1.
  • Page 119 Effects [0.5…10.0] This controls the width of the band when Mode is set to Pk (Peaking). (Gain) [-18.0…+18.0 dB] This sets the amount of cut or boost for the band. Mid 1 and Mid 2 These bands are always in Peaking mode. Otherwise, their controls are similar to Low and High, as described above.
  • Page 120 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 and press PERFORM.
  • Page 121 Tune [–50 (427.47Hz)…+50 (452.89Hz)] This adjusts the overall tuning of the entire multi/poly 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 122 If MIDI Clocks are not being received, the multi/poly uses its internal tempo. • If MIDI Clocks are being received, they control the tempo. If the clocks stop for more than 500 ms, the multi/poly switches back to internal tempo.
  • Page 123 Utility NCM: This is the Network Control Model protocol, for use with MacOS and Windows 10. Controllers Velocity Curve [1 (Heavy), 2, 3, 4 (Normal), 5, 6, 7, 8 (Light), 9 (Wide)] This controls how the volume and/or tone responds to variations in keyboard playing dynamics (velocity). Choose the curve that is most appropriate for your playing strength and style.
  • Page 124 MIDI effects processors, which can be used in one of two places within the multi/poly. Note: Regardless of the Convert Position, Transpose/Octave and Velocity Curve always apply when playing internal sounds directly from the multi/poly keyboard. Pre-MIDI: This is the default. Transpose/Octave and Velocity Curve affect MIDI output. Convert Position = Pre-MIDI...
  • Page 125 Curve Tone Scale Transpose generator Transpose Note Number changes multi/poly built-in keyboard MIDI Out Transmitted Received Knob Mode [Scale, Jump] When you switch to a new Performance or select a different Layer, Motion Sequence Lane, Effect, Envelope, LFO, etc., the parameter values “underneath” the front-panel knobs will change—but the physical knobs won’t move automatically.
  • Page 126 Utility Function Default CC assignment Scale Select Mod Knobs 1…4 24…27 For Kaoss Physics, the first three CCs correspond to x/y position and finger on/finger off, and the last six CCs contain the “throw” information of release position, direction, and velocity. Global Scale Global Scale [Off, On]...
  • Page 127 Auto Power-Off [Disabled, 4 Hours] By default, to conserve energy, the multi/poly will automatically turn off after about four hours have elapsed without use of the front panel, keyboard, or MIDI input. You can disable this feature, if desired. When the power turns off, any un-saved edits or settings will be lost. Make sure that you save important settings before this occurs.
  • Page 128 This shows the amount of free space available for storing sound data, including Wavetables, Performances, Programs, etc. About This page shows the software version number and abbreviated credits. The multi/poly is the result of a team effort, built through the talents of many more people than can be listed on-screen!
  • Page 129 You can connect the multi/poly to computers via USB, to send and receive MIDI and to edit and organize sound data with the multi/poly Editor/Librarian. MIDI The multi/poly is a class-compliant USB MIDI device, and requires no driver for MIDI functionality.
  • Page 130 Specifications Specifications System Keyboard: 37-key semi-weighted keyboard (velocity and release-velocity sensitive) Maximum Polyphony: 60 voices Sound generating system: Analog modeling Modulation Controllers: Mod Wheel, Pitch Wheel, Kaoss Physics, 4x Mod Knobs Other Sources: 4x Envelopes, 5x LFOs, 8x Mod Processors, 3x Key Track, Seq Lanes A-D, Step Pulse, Tempo, Program/Performance Note Count, Program/Performance Voice Count, Poly Legato, Velocity, Exponential Velocity, Release Velocity, Gate, Gate+Damper, Note-On Trigger, Note-On Trigger+Damper, Note Number, Aftertouch and Poly Aftertouch (external MIDI only), MIDI CCs +/-, MIDI CCs +...
  • Page 131 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 132 © 2024 KORG INC. Published 10/2024...