Korg PA 500 Manual
  1. Manuals
  2. Brands
  3. Korg Manuals
  4. Musical Instrument
  5. PA 500
  6. Manual
Korg PA 500 Manual

Korg PA 500 Manual

Advanced edit
Hide thumbs Also See for PA 500:
Table of Contents

Advertisement

Quick Links

Download this manual
E
2
ENGLISH
OS Ver. 1.1

Advertisement

Table of Contents
loading
Need help?

Need help?

Do you have a question about the PA 500 and is the answer not in the manual?

Questions and answers

Subscribe to Our Youtube Channel

Related Manuals for Korg PA 500

Summary of Contents for Korg PA 500

  • Page 1 ENGLISH OS Ver. 1.1...

  • Page 3: Table Of Contents

    Table of Contents Table of Contents Table of Contents ......1 LFO: LFO1 ......... . 20 LFO: LFO2 .

  • Page 4: Sound Operating Mode

    Sound operating mode The MIDI channel Sound operating mode The Sound operating mode is where you can listen to individual Main page Sounds, and edit them. To select a Sound, see the “Basic operations” chapter. Here is the main page of the Sound operating mode: In this mode, the selected Sound can always be played across the full keyboard range.

  • Page 5: Realtime Controls Area

    Sound operating mode Main page CC00 This section shows the value of the Control Hold Change (CC) 00 message (or Bank Select MSB) Use this parameter to keep the notes sustained even after releas- for the selected Sound. ing the keys. CC32 This section shows the value of the Control Note: Please remember the Hold must be On before playing the...

  • Page 6: Edit Menu

    Sound operating mode Edit menu Operating mode Edit menu This indicates that the instrument is in Sound mode. Edit section From any page, press the MENU button to open the Sound edit This identifies the current edit section, corresponding to one of menu.

  • Page 7: Basic: Osc Basic

    Sound operating mode Basic: OSC Basic [n]…16 The n-numbered oscillators (up to 16) can be Basic: OSC Basic turned off, one after the other, if needed. Voice Assign Mode The multisample(s) on which the Sound will be based can be This is the polyphonic mode of the Sound.

  • Page 8: Pitch/Delay/Velocity Switch

    Sound operating mode Basic: Vel/Key Zone The sound will start from the beginning of the Basic: Vel/Key Zone multisample waveform. Level Here you can set a note and velocity range “window” for the These parameters specify the level of each multisample. selected oscillator.

  • Page 9: Drumkit: Sample Setup (Drum Kits)

    Sound operating mode DrumKit: Sample Setup (Drum Kits) Use the numeric field to select the sample. The sample name DrumKit: Sample Setup (Drum Kits) appears on its right. The pop-up menu is where you select the bank (STD or some- thing else, depending on the model), while the numeric field This page appears when you edit a Drum Kit.

  • Page 10: Drumkit: Voice Mixer (Drum Kits)

    Sound operating mode DrumKit: Voice Mixer (Drum Kits) Cutoff Exclusive Group This parameter sets the cutoff frequency for the filter applied to Exclusive Groups are sets of mutually exclusive keys, stopping the selected sample. each other. For example, if the Open Hi-Hat and Closed Hi-Hat are assigned the same Exclusive Group, playing an Open Hi-Hat Resonance will stop the Closed Hi-Hat playing.

  • Page 11: Pitch: Pitch Mod

    Sound operating mode Pitch: Pitch Mod For example if you set this to +12 and move the joystick all the Pitch: Pitch Mod way to the right, the pitch will rise one octave above the original pitch. -60…+12 Maximum pitch change in semitones. Here you can make pitch settings for each oscillator.

  • Page 12: Pitch: Pitch Eg

    Sound operating mode Pitch: Pitch EG As you play more softly, the pitch change will draw closer to the Pitch: Pitch EG pitch EG levels. Pitch change (level) Note-on Note-on Note-on Here you can make settings for the pitch EG, which creates time- Note-off Note-off Note-off...

  • Page 13: Time Modulation

    Sound operating mode Pitch: Pitch EG Attack Time At (Attack Level Swing) Specifies the time over which the pitch will change from note-on This parameter specifies the direction of change in “Attack until it reaches the pitch specified as the attack level. Level”...

  • Page 14: Filter: Filter Type

    Sound operating mode Filter: Filter Type Resonance (Resonance A) Filter: Filter Type The resonance emphasizes the overtone components that lie in the region of the cutoff frequency specified by “Frequency”, pro- ducing a more distinctive sound. Increasing this value will pro- Here you can make settings for the filters that will be used by the duce a stronger effect.

  • Page 15: Filter: Filter Mod

    Sound operating mode Filter: Filter Mod Tracking to A/B Filter: Filter Mod These parameters specify the note numbers at which keyboard tracking will begin to apply, and set the “Intensity to A” and “Intensity to B” parameters to specify the depth and direction of These settings let you apply modulation to the cutoff frequency the change applied to filters A and B.

  • Page 16: Filter A/B Modulation

    Sound operating mode Filter: Filter LFO AMS (EG Alternate Modulation Source) Filter: Filter LFO Selects the source that will control the depth and direction of the effect that the time-varying changes produced by the filter EG will have on the cutoff frequency of filters A and B. See “AMS Here you can use the filter LFO to apply cyclic modulation to the (Alternate Modulation Source) list”...

  • Page 17: Filter: Filter Eg

    Sound operating mode Filter: Filter EG Intensity to A Start Specifies the depth and direction of the effect that “AMS” will This parameter specifies the change in cutoff frequency at the have on filter A. time of note-on. For example if “AMS” is After Touch, higher settings of this -99…+99 Level value.
  • Page 18 Sound operating mode Filter: Filter EG Level Modulation Time Modulation Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value) Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value) Note-on Note-on Note-on Note-on Note-on...

  • Page 19: Amp: Amp Level/Pan

    Sound operating mode Amp: Amp Level/Pan and setting this parameter to – will allow AMS to shorten the as you play higher), and toward the left as the note numbers time. With a setting of 0 there will be no change. decrease (i.e., as you play lower).

  • Page 20: Amp: Amp Eg

    Sound operating mode Amp: Amp EG Amp Modulation Diagram These parameters specify how the volume of the selected oscilla- The diagram on top of the page shows the Amplitude envelope tor will be affected by velocity. line. Velocity Intensity Level With positive (+) values, the volume will increase as you play These parameters are the level of the envelope segment.
  • Page 21 Sound operating mode Amp: Amp EG Time Modulation Slope This parameter specifies the time over which the volume will These parameters let you use an alternate modulation source to change from when it reaches the break point level until it reaches modify the amp EG times that were specified in “Time”...

  • Page 22: Lfo: Lfo1

    Sound operating mode LFO: LFO1 Sl (Slope Time Swing) Frequency This parameter specifies the direction of the effect that “AMS1” Set the LFO frequency. A setting of 99 is the fastest. will have on “Slope”. With positive (+) values of “Intensity”, set- 00…99 Frequency rate.

  • Page 23: Frequency Midi/Tempo Sync

    Sound operating mode LFO: LFO2 AMS1 (Alternate Modulation Source1) LFO: LFO2 Selects the source that will adjust the frequency of the selected oscillator LFO1 (see “AMS (Alternate Modulation Source) list” on page 25). LFO1 can be modulated by LFO2. Here you can make settings for the LFO2, which is the second LFO that can be applied to the selected oscillator.

  • Page 24: Effects: Fx1

    Sound operating mode Effects: FX1 Only the effected signal will be sent to the Audio Page menu Outputs. The direct (non-effected) signal will not be sent. Both the effected signal and direct signals will be Press the page menu icon to open the menu. Press a command to sent to the Audio Outputs.

  • Page 25: Write Sound Dialog Box

    Sound operating mode Write Sound dialog box parameters. You cannot edit the Sound while you are in Com- Copy Oscillator dialog box pare mode. While this function is on, the Compare indicator blinks on the page header. Open this window by selecting the Copy Oscillator item from the page menu.

  • Page 26: Copy Drum Kit Dialog Box

    Sound operating mode Copy Drum Kit dialog box Copy Drum Kit dialog box Open this window by selecting the Copy Drum Kit item from the page menu. Here, you can copy settings from a range of keys of a Drum Kit. From Drum Kit Press this button to open the Sound Select window, and select the source Drum Kit.

  • Page 27: Ams (Alternate Modulation Source) List

    Sound operating mode AMS (Alternate Modulation Source) list AMS (Alternate Modulation Source) list Do not use Alternate Modulation Pitch EG Pitch EG Filter EG Filter EG within the same oscillator Amp EG Amp EG within the same oscillator LFO1 LFO1 within the same oscillator LFO2 LFO2 within the same oscillator Flt KTrk +/+ (Filter Keyboard Track +/+)
  • Page 28 Sound operating mode AMS (Alternate Modulation Source) list The sign of the “Ramp Low” setting will deter- mine the direction of its effect. “Ramp High” will have no AMS effect. example of Amp Keyboard Track settings Ramp Low Ramp High = +50 = +50 Note Number...

  • Page 29: Effects

    Effects Dynamic Modulation sources Effects Pa500 is equipped with four powerful Effect Processors for the Modulation source Note internal MIDI tracks (Upper, Lower, Style, Song, Pads). Damper: #64 Prta.SW: #65 Portamento Switch Dynamic Modulation sources Sostenu: #66 Sostenuto Pedal MIDI(CC#67) When the symbol is encoutered, a Dynamic Modulation MIDI(CC#80)

  • Page 30: Dynamics (Dynamic)

    Effects Dynamics (Dynamic) Dynamics (Dynamic) 000: No Effect Compressor - Sensitivity Level Select this option when you do not use any effects. Sensitivity=100 001: Stereo Compressor Sensitivity=40 This effect compresses the input signal to regulate the level and Time give a “punchy” effect. It is useful for guitar, piano, and drum sounds.
  • Page 31 Effects Dynamics (Dynamic) d: Attack Side PEQ Sets the EQ center frequency for 20...12.00k Cutoff [Hz] the trigger signal d: Release Sets the EQ bandwidth for the 0.5...10.0 trigger signal These parameters set the attack time and release time. A higher Sets the EQ gain for the trigger attack time will cause the compression to be applied more Gain [dB]...

  • Page 32: Multiband Limiter

    Effects Dynamics (Dynamic) 003: Multiband Limiter 004: St.MasteringLimtr (Stereo Mastering Limiter) This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can control dynamics for This is a stereo limiter that is optimized for mastering songs. each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ.
  • Page 33 Effects Dynamics (Dynamic) 005: Stereo Gate c: Threshold d: Attack This effect mutes the input signal when it falls below a specified d: Release level. You can also invert the on/off status of the gate, or use “Threshold” specifies the level at which gating occurs when note-on/off messages to turn the gate on/off directly.

  • Page 34: Eq And Filters (Eq/Filter)

    Effects EQ and Filters (EQ/Filter) EQ and Filters (EQ/Filter) 006: St.Parametric4EQ b: Band1 Type c: Band4 Type (Stereo Parametric 4-Band EQ) Selects a filter type for Band 1 and 4. This is a stereo 4-band parametric equalizer. You can select peak- ing type or shelving type for Band 1 and 4.
  • Page 35 Effects EQ and Filters (EQ/Filter) 007: St. Graphic 7EQ 008: St.Exciter/Enhncr (Stereo Graphic 7-Band EQ) (Stereo Exciter/Enhancer) This is a stereo 7-band graphic equalizer. The bar graph of the This effect is a combination of the Exciter, which adds a punch gain setting for each band gives you a clear, visual idea of fre- to the sound and the Enhancer, which adds spread and presence.
  • Page 36 Effects EQ and Filters (EQ/Filter) 009: Stereo Isolator 010: St. Wah/Auto Wah (Stereo Wah/Auto Wah) This is a stereo effect that separates the input signal into low, mid, and high-frequency bands, and controls the volume of each This stereo wah effect allows you to create sounds from vintage band independently.
  • Page 37 Effects EQ and Filters (EQ/Filter) 011: St. Vintage Wah a: Frequency Bottom a: Frequency Top (Stereo Vintage/Custom Wah) The sweep width and direction of the wah filter are determined This effect simulates the tonal character of a vintage wah pedal. by the “Frequency Top”...
  • Page 38 Effects EQ and Filters (EQ/Filter) a: Mode a: LFO Phase [degree] b: Frequency Bottom Offsetting the left and right phases alters how modulation is b: Frequency Top applied to the left and right channels, creating a swelling affect. c: Resonance Bottom LFO Phase c: Resonance Top +90 +180 [degree]...
  • Page 39 Effects EQ and Filters (EQ/Filter) 013: St. MultiModeFilter 014: St. Sub Oscillator (Stereo Multi Mode Filter) (Stereo Sub Oscillator) This is a multi-mode filter with four types; low pass, high pass, This effect adds very low frequencies to the input signal. It is band pass, and band reject.
  • Page 40 Effects EQ and Filters (EQ/Filter) 015: Talking Modulator c: Voice Top d: Voice Center This effect adds an unusual character, like a human voice, to the e: Voice Bottom input signal. Modulating the tone via dynamic modulation, you These parameters assign vowels to the top, center, and bottom can create an interesting effect that sounds as if the guitar or syn- position of the controller.
  • Page 41 Effects EQ and Filters (EQ/Filter) 016: Stereo Decimator f: Resolution g: Output Level This effect creates a rough sound like a cheap sampler by lower- If you set a smaller value for the “Resolution” parameter, the ing the sampling frequency and data bit length. You can also sound may be distorted.

  • Page 42: Overdrive, Amp Models, And Mic Models (Od Amp Mic)

    Effects Overdrive, Amp models, and Mic models (OD Amp Mic) Overdrive, Amp models, and Mic models (OD Amp Mic) 018: OD/Hi.Gain Wah a: Wah (Overdrive/Hi.Gain Wah) The Wah parameter switches the wah effect on/off. This distortion effect utilizes an Overdrive mode and a Hi-Gain a: Sw mode.
  • Page 43 Effects Overdrive, Amp models, and Mic models (OD Amp Mic) 019: St. Guitar Cabinet 020: St. Bass Cabinet (Stereo Guitar Cabinet) (Stereo Bass Cabinet) This simulates the acoustical character of a guitar amp’s speaker This simulates the acoustical character of a bass amp’s speaker cabinet.
  • Page 44 Effects Overdrive, Amp models, and Mic models (OD Amp Mic) 021: Bass Amp Model 022: Bass Amp+Cabinet (Bass Amp Model+Cabinet) This simulates a bass amp. This simulates a bass amp and speaker cabinet. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out...
  • Page 45 Effects Overdrive, Amp models, and Mic models (OD Amp Mic) 023: Tube PreAmp Model b, f: Saturation [%] (Tube PreAmp Modeling) With higher settings of this value, the waveform will change at high gain levels, tending to cause distortion. Lower settings of This effect simulates a two-stage vacuum tube preamp.
  • Page 46 Effects Overdrive, Amp models, and Mic models (OD Amp Mic) 024: St. Tube PreAmp (Stereo Tube PreAmp Modeling) This is a stereo vacuum tube preamp simulator (See “023: Tube PreAmp Model (Tube PreAmp Modeling)” on page 43.). Stereo In - Stereo Out Left Left FX Amt...

  • Page 47: Chorus, Flanger, And Phaser (Cho/Fln Phaser)

    Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) Chorus, Flanger, and Phaser (Cho/Fln Phaser) 026: Stereo Chorus 027: St.HarmonicChorus (Stereo Harmonic Chorus) This effect adds thickness and warmth to the sound by modulat- ing the delay time of the input signal. You can add spread to the This effect applies chorus only to higher frequencies.
  • Page 48 Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) 028: St. Biphase Mod. 029: Multitap Cho/Delay (Stereo Biphase Modulation) (Multitap Chorus/Delay) This stereo chorus effect adds two different LFOs together. You This effect has four chorus blocks with a different LFO phase. can set the Frequency and Depth parameters for each LFO indi- You can create a complex stereo image by setting each block’s vidually.
  • Page 49 030: Ensemble 031: Polysix Ensemble This Ensemble effect has three chorus blocks that use LFO to This models the ensemble effect built into the classic Korg create subtle shimmering, and gives three dimensional depth PolySix programmable polyphonic synthesizer. and spread to the sound, because the signal is output from the left, right, and center.
  • Page 50 Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) 032: Stereo Flanger 033: St. Random Flanger (Stereo Random Flanger) This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of The stereo effect uses a step-shape waveform and random LFO harmonics.
  • Page 51 Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) 034: St. Env. Flanger 035: Stereo Phaser (Stereo Envelope Flanger) This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the sound by This Flanger uses an envelope generator for modulation.
  • Page 52 Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser) 036: St. Random Phaser 037: St. Env. Phaser (Stereo Random Phaser) (Stereo Envelope Phaser) This is a stereo phaser. The effect uses a step-shape waveform This stereo phaser uses an envelope generator for modulation. and random LFO for modulation, creating a unique phasing You will obtain the same pattern of phasing each time you play.

  • Page 53: Modulation And Pitch Shift (Mod

    Effects Modulation and Pitch Shift (Mod./P.Shift) Modulation and Pitch Shift (Mod./P.Shift) 038: Stereo Vibrato a: AUTOFADE Src b: Fade-In Delay [msec] This effect causes the pitch of the input signal to shimmer. Using b: Fade-In Rate the AutoFade allows you to increase or decrease the shimmering d: LFO Frequency Mod speed.
  • Page 54 Effects Modulation and Pitch Shift (Mod./P.Shift) 039: St. Auto Fade Mod. 040: 2Voice Resonator (Stereo Auto Fade Modulatiom) This effect resonates the input signal at a specified pitch. You can set the pitch, output level, and pan settings for two resonators This stereo chorus/flanger effect enables you to control the LFO individually.
  • Page 55 Effects Modulation and Pitch Shift (Mod./P.Shift) 041: Doppler a: Control Mode f: Voice 1: Resonance This effect simulates the “Doppler effect” of a moving sound h: Voice 2: Resonance with a changing pitch, similar to the siren of an passing ambu- This parameter determines the resonance intensity.
  • Page 56 Effects Modulation and Pitch Shift (Mod./P.Shift) The effect is off when a value for the modulation source specified for a: Scratch Source the “Src” parameter is smaller than 64, and the effect is on when the b: Response value is 64 or higher. The Doppler effect is triggered when the value The Scratch Source parameter enables you to select the modula- changes from 63 or smaller to 64 or higher.
  • Page 57 Effects Modulation and Pitch Shift (Mod./P.Shift) 043: Grain Shifter 044: Stereo Tremolo This effect cuts extremely short samples (“grains”) from the This effect modulates the volume level of the input signal. The input signal waveform and plays them repeatedly, giving a effect is stereo, and offsetting the LFO of the left and right phases mechanical character to the sound.
  • Page 58 Effects Modulation and Pitch Shift (Mod./P.Shift) 045: St. Env. Tremolo 046: Stereo Auto Pan (Stereo Envelope Tremolo) This is a stereo-in, stereo-out auto-panner. The Phase and Shape parameters lets you create various panning effects, such as mak- This effect uses the input signal level to modulate a stereo trem- ing the left and right inputs seem to chase each other around the olo (LFO volume modulation).

  • Page 59: St. Ring Modulator (Stereo Ring Modulator)

    Effects Modulation and Pitch Shift (Mod./P.Shift) Tremolo Sets the tremolo modulation Stereo Auto Pan - LFO Phase 0...100 Depth depth LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees Selects the modulation source L-In L-In L-In Off...Tempo...
  • Page 60 Effects Modulation and Pitch Shift (Mod./P.Shift) 049: Detune Frequency 0.02...20.00 Sets the speed of the LFO [Hz] Using this effect, you can obtain a detune effect that offsets the Selects a modulation source for Off...Tempo pitch of the effect sound slightly from the pitch of the input sig- LFO speed nal.
  • Page 61 Effects Modulation and Pitch Shift (Mod./P.Shift) 050: Pitch Shifter value for the Feedback parameter, the pitch will be raised (or lowered) more and more each time feedback is repeated. This effect changes the pitch of the input signal. You can select If Feedback Position is set to Post, the feedback signal will not from three types: Fast (quick response), Medium, and Slow (pre- pass through the pitch shifter again.
  • Page 62 Effects Modulation and Pitch Shift (Mod./P.Shift) 052: Pitch Shift Mod. sound is panned right. With a FX Amount = 100 setting, the effect and dry sound will be output in a proportion of 1:1. (Pitch Shift Modulation) This effect modulates the detuned pitch shift amount using an 053: Organ Vib/Chorus LFO, adding a clear spread and width to the sound by panning (Organ Vibrato/Chorus)
  • Page 63 Effects Modulation and Pitch Shift (Mod./P.Shift) 054: Rotary Speaker b: Speed Switch This parameter controls how the rotation speed (slow and fast) This effect simulates a rotary speaker, and obtains a more realis- is switched via the modulation source. tic sound by simulating the rotor in the low range and the horn in the high range separately.

  • Page 64: Delay

    Effects Delay Delay 055: L/C/R Delay 056: Stereo/CrossDelay This multitap delay outputs three Tap signals to the left, right, This is a stereo delay, and can by used as a cross-feedback delay and center respectively. You can also adjust the left and right effect in which the delay sounds cross over between the left and spread of the delay sound.
  • Page 65 Effects Delay 057: St. Multitap Delay 058: St. Mod Delay (Stereo Multitap Delay) (Stereo Modulation Delay) The left and right Multitap Delays have two taps respectively. This stereo delay uses an LFO to sweep the delay time. The pitch Changing the routing of feedback and tap output allows you to also varies, creating a delay sound which swells and shimmers.
  • Page 66 Effects Delay d: LFO Sync a: Control Target d: Src This parameter selects no level control, delay output control g: L LFO Phase [deg] (effect balance), or feedback amount control. h: R LFO Phase [deg] a: Polarity If “LFO Sync” is On, the LFO will be reset by the modulation b: Threshold source that is received.
  • Page 67 Effects Delay 060: St. AutoPanningDly 061: Tape Echo (Stereo Auto Panning Delay) This effect simulates a tape echo unit with three playback heads. The distortion and tonal change typical of magnetic tape are also This stereo delay effect pans the delay sound left and right using reproduced.
  • Page 68 Effects Delay d: FB Amt Mode/Reverse Time e: FB Amt Reverse Reverse Envelope Select = Input f: FB Amt g: Feedback Input The feedback output from Tap 1, 2, and 3 is mixed according to Time the “FB Amt,” and then the final amount of feedback is specified Mode = Single by “Feedback.”...
  • Page 69 Effects Delay 063: Sequence BPM Dly 064: L/C/R BPM Delay (Sequence BPM Delay) The L/C/R delay enables you to match the delay time with the song tempo. You can also synchronize the delay time with the This four-tap delay enables you to select a tempo and rhythm arpeggiator or sequencer.
  • Page 70 Effects Delay 065: Stereo BPM Delay 066: St.BPM Mtap Delay (Stereo BPM Multi tap Delay) This stereo delay enables you to set the delay time to match the song tempo. This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.
  • Page 71 Effects Delay 067: St.BPM Mod. Delay L LFO Phase Sets the phase obtained when –180...+180 [deg] the left LFO is reset (Stereo BPM Modulation Delay) Sets the depth of the left LFO Depth 0...200 modulation This is a stereo modulation delay that lets you synchronize the R LFO Phase Sets the phase obtained when –180...+180...
  • Page 72 Effects Delay 068: St.BPMAutoPanDly 069: Tape Echo BPM (Stereo BPM Auto Panning Delay) This is a tape echo that lets you synchronize the delay time to the tempo of the song. This stereo auto panning delay enables you to set the delay time to match the song tempo.
  • Page 73 Effects Delay a: Tap1 Dmod Src b: Tap1 Delay Note b: Times c: Tap1 Dmod Note c: Times If “Tap1 Dmod Src” is Off or the selected modulation is at 0, the delay time will be the length specified by “Tap1 Delay Note” and “Times.”...

  • Page 74: Reverb And Early Reflections (Reverb Er)

    Effects Reverb and Early Reflections (Reverb ER) Reverb and Early Reflections (Reverb ER) 070: Reverb Hall b: Pre Delay [msec] b: Pre Delay Thru [%] This hall-type reverb simulates the reverberation of mid-size The “Pre Delay” sets the delay time to the reverb input, allowing concert halls or ensemble halls.
  • Page 75 Effects Reverb and Early Reflections (Reverb ER) 075: Reverb BrightRoom 076: Early Reflections This room-type reverb emphasizes the early reflections that This effect is only the early reflection part of a reverberation make the sound brighter. sound, and adds presence to the sound. You can select one of the four decay curves.

  • Page 76: Mono-Mono Serial (Mono-Mono)

    Effects Mono-Mono Serial (Mono-Mono) Mono-Mono Serial (Mono-Mono) 077: P4EQ - Exciter 078: P4EQ - Wah (Parametric 4-Band EQ - Exciter) (Parametric 4-Band EQ - Wah/Auto Wah) This effect combines a mono four-band parametric equalizer and an exciter. This effect combines a mono four-band parametric equalizer and a wah.
  • Page 77 Effects Mono-Mono Serial (Mono-Mono) 079: P4EQ - Cho/Flng 080: P4EQ - Phaser (Parametric 4-Band EQ - Chorus/Flanger) (Parametric 4-Band EQ - Phaser) This effect combines a mono four-band parametric equalizer This effect combines a mono four-band parametric equalizer and a chorus/flanger. and a phaser.
  • Page 78 Effects Mono-Mono Serial (Mono-Mono) 081: P4EQ - Mt. Delay 082: Comp - Wah (Parametric 4-Band EQ - (Compressor - Wah/Auto Wah) Multitap Delay) This effect combines a mono compressor and a wah. You can change the order of the connection. This effect combines a mono four-band parametric equalizer and a multitap delay.
  • Page 79 Effects Mono-Mono Serial (Mono-Mono) 083: Comp - Amp Sim 084: Comp - OD/HiGain (Compressor - Amp Simulation) (Compressor - Overdrive/Hi.Gain) This effect combines a mono compressor and an amp simula- This effect combines a mono compressor and an overdrive/high- tion. You can change the order of the effects. gain distortion.
  • Page 80 Effects Mono-Mono Serial (Mono-Mono) 085: Comp - P4EQ 086: Comp - Cho/Flng (Compressor - Parametric 4-Band EQ) (Compressor - Chorus/Flanger) This effect combines a mono compressor and a four-band para- This effect combines a mono compressor and a chorus/flanger. metric equalizer. You can change the order of the effects. You can change the order of the effects.
  • Page 81 Effects Mono-Mono Serial (Mono-Mono) 087: Comp - Phaser 088: Comp - Mt. Delay (Compressor - Phaser) (Compressor - Multitap Delay) This effect combines a mono compressor and a phaser. You can This effect combines a mono compressor and a multitap delay. change the order of the effects.
  • Page 82 Effects Mono-Mono Serial (Mono-Mono) 089: Limiter - P4EQ a: [L]Ratio a: Threshold [dB] (Limiter - Parametric 4-Band EQ) c: [L]Gain Adjust [dB] This effect combines a mono limiter and a four-band parametric This parameter sets the signal compression “[L]Ratio”. Com- equalizer.
  • Page 83 Effects Mono-Mono Serial (Mono-Mono) 090: Limiter - Cho/Flng 091: Limiter - Phaser (Limiter - Chorus/Flanger) This effect combines a mono limiter and a phaser. You can change the order of the effects. This effect combines a mono limiter and a chorus/flanger. You can change the order of the effects.
  • Page 84 Effects Mono-Mono Serial (Mono-Mono) 092: Limiter - Mt.Delay 093: Exciter - Comp (Limiter - Multitap Delay) (Exciter -Compressor) This effect combines a mono limiter and a multitap delay. You This effect combines a mono exciter and a compressor. You can can change the order of the effects.
  • Page 85 Effects Mono-Mono Serial (Mono-Mono) 094: Exciter - Limiter 095: Exciter - Cho/Flng (Exciter - Chorus/Flanger) This effect combines a mono exciter and a limiter. You can change the order of the effects. This effect combines a mono limiter and a chorus/flanger. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left...
  • Page 86 Effects Mono-Mono Serial (Mono-Mono) 096: Exciter - Phaser 097: Exciter - Mt.Delay (Exciter - Multitap Delay) This effect combines a mono limiter and a phaser. This effect combines a mono exciter and a multitap delay. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out...
  • Page 87 Effects Mono-Mono Serial (Mono-Mono) 098: OD/HG - Amp Sim 099: OD/HG - Cho/Flng (Overdrive/Hi.Gain - (Overdrive/Hi.Gain - Chorus/Flanger) Amp Simulation) This effect combines a mono overdrive/high-gain distortion and a chorus/flanger. You can change the order of the effects. This effect combines a mono overdrive/high-gain distortion and an amp simulation.
  • Page 88 Effects Mono-Mono Serial (Mono-Mono) 100: OD/HG - Phaser 101: OD/HG - Mt.Delay (Overdrive/Hi.Gain - Phaser) (Overdrive/Hi.Gain - Multitap Delay) This effect combines a mono overdrive/high-gain distortion and This effect combines a mono overdrive/high-gain distortion and a phaser. You can change the order of the effects. a multitap delay.
  • Page 89 Effects Mono-Mono Serial (Mono-Mono) 102: Wah - Amp Sim 103: Decimator - Amp (Wah - Amp Simulation) (Decimator - Amp Simulation) This effect combines a mono wah and an amp simulation. You This effect combines a mono decimator and an amp simulation. can change the order of the effects.
  • Page 90 Effects Mono-Mono Serial (Mono-Mono) 104: Decimator - Comp 105: AmpSim - Tremolo (Decimator - Compressor) (Amp Simulation- Tremolo) This effect combines a mono decimator and a compressor. You This effect combines a mono amp simulation and a tremolo. can change the order of the effects. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt...
  • Page 91 Effects Mono-Mono Serial (Mono-Mono) 106: Cho/Flng - Mt.Dly 107: Phaser - Cho/Flng (Chorus/Flanger - Multitap Delay) (Phaser - Chorus/Flanger) This effect combines a mono chorus/flanger and a multitap This effect combines a mono phaser and a chorus/flanger. delay. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out...
  • Page 92 Effects Mono-Mono Serial (Mono-Mono) 108: Reverb - Gate f: [G]Envelope Select f: Src This effect combines a mono reverb and a gate. g: [G]Input Reverb Mix g: Threshold FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out The “[G]Envelope Select”...

  • Page 93: Double Size

    Effects Double Size Double Size Double-size effects can be used only with FX processors B and D. 110: PianoBody/Damper (PianoBody/Damper Simulation) 109: St. Mltband Limiter This effect simulates the resonance of the piano sound board (Stereo Mltband Limiter) caused by the string vibration, and also simulates the resonance of other strings that are not being played when you press the This is a stereo multiband limiter.
  • Page 94 Effects Double Size 111: OD/HyperGain Wah 112: GuitarAmp + P4EQ (Overdrive/Hyper Gain Wah) (Guitar Amp Model + Parametric 4-Band EQ) This distortion effect has two modes: overdrive and hyper-gain that produces a strong distortion. A higher high-gain setting is This combines a guitar amp simulation (which even faithfully required for this effect relative to a normal-size effect.
  • Page 95 Effects Double Size 113: BassTubeAmp+Cab. a: Amp Type d: Presence (Bass Tube Amp Model + Cabinet) If the Amp Type is VOX AC15...VOX AC30TB, this sets the atten- This simulates a bass amp (with gain and drive) and speaker uation of the high-frequency range. For other types, this sets the cabinet.
  • Page 96 Effects Double Size 114: St. Mic + PreAmp Tap5 (120) Sets the Tap5 (LFO phase=120 0...2000 [msec] degrees) delay time (Stereo Mic Modeling + PreAmp) Depth 0...30 Sets the Tap5 chorus depth Always On, This is a stereo mic and preamp simulator (See “025: Mic Always Off, Selects on, off, or modulation Model+PreAmp (Mic Modeling + PreAmp)”...
  • Page 97 Effects Double Size 116: St. Pitch Shifter 117: St. PitchShift BPM (Stereo Pitch Shifter) (Stereo Pitch Shifter BPM) This is a stereo pitch shifter. The pitch shift amount for the left This stereo pitch shifter enables you to set the delay time to and right channels can be reversed from each other.
  • Page 98 Effects Double Size 118: Rotary SpeakerOD a: Sw (Rotary Speaker Overdrive) This parameter determines how to switch on/off the overdrive via a modulation source. This is a stereo rotary speaker effect. It has an internal speaker When “Sw” = Toggle, overdrive is turned on/off each time the simulator that simulates overdrive (recreating the amp distor- pedal or joystick is operated.
  • Page 99 Effects Double Size 120: St/Cross Long Delay 121: Hold Delay (Stereo/Cross Long Delay) This effect records the input signal and plays it back repeatedly. You can control the start of recording and reset via a modulation This is a stereo delay, and can by used as a cross-feedback delay source.
  • Page 100 Effects Double Size b: Loop BPM Sync The effect is off when a value for the modulation source specified for the “RST Control Src” parameter is 63 or smaller, and the effect is on c: BPM when the value is 64 or higher. d: Loop Base Note d: Times 122: LCR BPM Long Dly...
  • Page 101 Effects Double Size 123: St. BPM Long Dly 124: Early Reflections (Stereo BPM Long Delay) This early reflection effect has more precise early reflections with twice the maximum length of a normal-size effect (See “076: The stereo delay enables you to match the delay time with the Early Reflections”...
  • Page 102 Effects Double Size...
  • Page 104 Address KORG ITALY SpA Via Cagiata, 85 I-60027 Osimo (An) Italy www.korgpa.com www.korg.co.jp www.korg.com www.korg.co.uk www.korgcanada.com www.laboitenoiredumusicien.com www.korg.de www.ekomusicgroup.com www.korg.es © KORG Italy 2007. All rights reserved...

Table of Contents