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Korg PA 800 Manual
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Korg PA 800 Manual

Korg PA 800 Manual

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E
5
ENGLISH
OS Ver. 2.0

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Summary of Contents for Korg PA 800

  • Page 1 ENGLISH OS Ver. 2.0...
  • Page 3 Table of Contents Table of Contents Sound operating mode ......2 Sampling operating mode ..... 31 The MIDI channel .
  • Page 4 Sound operating mode The MIDI channel Sound operating mode The Sound operating mode is where you can listen to individual Before pressing MENU to enter the edit environment, you Sounds, and edit them. should select a Sound of the type you wish to edit or create. To select a Sound, see the “Basic operations”...
  • Page 5 Sound operating mode Main page Voice Assign Mode Bank Bank the current Sound belongs to. Poly Bank Select / Program Change sequence The Sound will play polyphonically, allowing you play chords. Bank Select MSB / Bank Select LSB / Program Change numbers, Mono in the form “CC00.CC32.PC”.
  • Page 6 Sound operating mode Digital Drawbars page Percussion Digital Drawbars page The percussion adds a percussive sound to the attack segment of the organ sound. DIGITAL DRAWBARS are different from ordinary Sounds. On/Off Their parameters are not saved as a new Sound, but can be saved to a Performance.
  • Page 7 Sound operating mode Edit menu Edit menu Edit page structure From any page, press the MENU button to open the Sound edit All edit pages share some basic elements. menu. This menu gives access to the various Sound edit sections. Operating mode Edit section Page menu...
  • Page 8 Sound operating mode Basic: Sound Basic When the same note is played repeatedly, the pre- Basic: Sound Basic vious note will not be silenced before the next note is sounded. Here you can make basic settings for the Sound, such as basic Legato oscillator settings, the oscillator count, and the polyphonic This parameter is only available when the selected mode is...
  • Page 9 Flash-ROM memory contains 604 different OSC Trigger Mode multisamples (preset multisamples), supplied by Korg as standard. OSC Trigger parameters are used to set the condition to trigger RAM multisample, read from the RAM. These the selected Oscillator. For example, a Normal Oscillator will are user-loaded or created multisamples.
  • Page 10 Sound operating mode Basic: OSC Basic Staccato The Oscillator only plays when the note is NOT Cycle 2 As the above, for use with a different (and paral- played legato (it is the opposite of the above lel) group of Oscillators. Having two Cycle Trig- choice).
  • Page 11 Sound operating mode Basic: Vel/Key Zone Basic: Vel/Key Zone Basic: Damper Mode Here you can set a note and velocity range “window” for the Here you can program how the Damper pedal works, the Reso- selected oscillator. nance/Halo effect, and the range within the Note Off message is not sent to the selected Oscillator: Velocity Zone Damper Mode...
  • Page 12 Sound operating mode Basic: Damper Trigger Resonance/Halo Basic: Damper Trigger Here you can program the Resonance/Halo effect that is enabled by the “Resonance/Halo” Damper Mode (see above). These parameters only affect the Resonance/Halo that is enabled when Here you can set the notes triggered by pressing and releasing pressing the Damper pedal down when a note is already playing.
  • Page 13 Layer 1. The Factory bank. The internal Factory area of the Flash-ROM memory contains 944 different Selected Layer samples (preset samples), supplied by Korg as standard. Velocity Switches RAM sample, read from the RAM. These are user-loaded or created samples.
  • Page 14 Sound operating mode DrumKit: Voice Mixer (Drum Kits) Voice Assign Mode Level This parameter specifies the level of the sample. For more infor- Single Trigger mation, see “Level” on page 7. Use this parameter to set the sample as a single-triggered one. Mono/Stereo indicator When the same key (note) is played repeatedly, Non editable.
  • Page 15 Sound operating mode Pitch: Pitch Mod pitch. This can be used to simulate the downward swoops that a Pitch: Pitch Mod guitarist produces using the tremolo arm. -60…+12 Maximum pitch change in semitones. Here you can make pitch settings for each oscillator. These set- AMS (Alternate Modulation Source) tings specify how keyboard location will affect the pitch of each This parameter selects the source that will modulate the pitch of...
  • Page 16 Sound operating mode Pitch: Pitch EG Portamento Pitch: Pitch EG Enabled This parameter turns the portamento effect (smooth change in Here you can make settings for the pitch EG, which creates time- pitch from one note to the next) on/off, and specifies how it will variant changes in the pitch of the oscillators.
  • Page 17 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 18 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 19 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 20 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 21 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 22 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 23 Sound operating mode Amp: Amp Level/Pan Amp: Amp Level/Pan Amp: Amp Mod These parameters control the volume and pan of the selected These settings allow you to apply modulation to amp (for each oscillator. oscillator) to modulate the volume. Amp Level Keyboard Tracking Volume of the selected oscillator.
  • Page 24 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 25 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 26 Sound operating mode LFO: LFO1 Sl (Slope Time Swing) LFO: LFO1 This parameter specifies the direction of the effect that “AMS1” will have on “Slope”. With positive (+) values of “Intensity”, set- ting this parameter to + will allow AMS1 to lengthen the time, In this and the next page you can make settings for the LFO that and setting it to –...
  • Page 27 Sound operating mode LFO: LFO2 Key Sync AMS2 (Alternate Modulation Source2) Intensity (AMS2 Intensity) This parameter specifies if the LFO is synchronized to key strokes. Make settings for a second alternate modulation source that will adjust the frequency of the oscillator LFO1 (see above “AMS1 The LFO will start each time you play a note, and (Alternate Modulation Source1)”...
  • Page 28 Sound operating mode Effects: FX Select Effects: FX Select Effects: FX1 Here you can select two effects for the whole Sound, switch them In this page you can edit the effected assigned to the FX1 effect on/off, and specify chaining. processor (usually reverb).
  • Page 29 Sound operating mode Page menu parameters. You cannot edit the Sound while you are in Com- Page menu pare mode. While this function is on, the Compare indicator blinks on the page header. Touch the page menu icon to open the menu. Touch a command to select it.
  • Page 30 Sound operating mode Copy Oscillator dialog box Copy Oscillator dialog box Copy Drum Kit dialog box Open this window by selecting the Copy Oscillator item from Open this window by selecting the Copy Drum Kit item from the page menu. Here, you can copy all settings between oscilla- the page menu.
  • Page 31 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 32 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 33 Note: Some demo audio grooves (Real Drum and Turkish/Arabic board to listen to the sampled sound. World, xxx) can be found in the Bonus area of the Korg Pa800 web If you are not satisfied with the recorded sound, return to site (www.korgpa.com).
  • Page 34 Sampling operating mode The Record (Sampling) procedure again, to repeat recording. Touch Record again to stop Select the Write Sound command from the page menu, and recording. A new sample will be automatically created. save the Sound to an empty User location. When finished sampling your sound, you can save it (see If you want so, assign the new Sound to a track, then select Step A below).
  • Page 35 Sampling operating mode Edit menu Level Edit menu Use these meters to see the level of the entering signal. When the CLIP indicator turns red, the signal is too hot. Lower it by reduc- ing the source output level, or by using the GAIN knob on the From any page of the Sampling mode, press the MENU button rear panel of the Pa800.
  • Page 36 Sampling operating mode Sampling: Edit When editing audio grooves, the Loop Start should match the Sampling: Edit Sample Start point. This parameter usually differs from the Sam- ple Start in ordinary sounds (i.e., a guitar, a piano, a voice…). Loop Start (L) Loop End (E) This page allows you to cut, trim or normalize a sample, as well Loop...
  • Page 37 Sampling operating mode Sampling: Loop Edit Changing the sample length and finding Use Zero good-sounding loop points See “Snap to Zero” on page 34. To adjust the sample length and loop points, check the “Loop Loop Lock On” parameter, then use the “Start”, “Loop Start” and “End” This fixes the length of the loop being edited.
  • Page 38 Sampling operating mode Sampling: Sampling Info When you touch the Crossfade button, the Crossfade Loop dia- Drum Samples log box appears: Number of drum samples in memory. Multisamples Number of multisamples in memory. Available Memory RAM Bank Crossfade Length Pa800 comes with 64MB of RAM already installed. This is the maximum amount of samples that can be loaded or recorded.
  • Page 39 Sampling operating mode Time Slice Within the generated multisample, a separate sample is assigned Ex.1 - Generating samples and MIDI Groove data: to a different note on the keyboard, starting from C#3. By play- Original rhythm sample ing an ascending chromatic scale with this multisample, you 120BPM could recreate the original audio groove.
  • Page 40 Sampling operating mode Time Slice Metronome Information Ex.3 - Recombining MIDI notes and samples Meter Use this parameter to specify the Meter of the original sample. Measures Edit the MIDI data Use this parameter to specify the number of measures of the original sample.
  • Page 41 Sampling operating mode The Time Slice procedure Slices Long This option is most suitable for cymbals, whose sound should be sustained up until the next note. This (non-editable) parameter shows the number of generated The “tail” envelope is sustained and falls slowly, slices, i.e.
  • Page 42 Sampling operating mode The Extend procedure A MIDI Groove with the original pattern will also be The Extend procedure generated. The screen will change, to show slices sepa- rated by vertical lines: Set the By parameter, according to the tempo of the groove you will use.
  • Page 43 Sampling operating mode Multisample: Key Assign MS (MultiSample) Buttons Touch this area to open the Choose Multisample window, and Insert select one of the available multisamples in memory. Touch this button to split the current zone in half, and create a new zone (Index) on the left of the selected one.
  • Page 44 SSD (PCM folder) as a New Sample. for more information. • “KSF” is Korg’s native sample format, used by the Trinity and Triton series of workstations, as well as the Pa-series Delete arrangers. The file name must have the “.KSF” extension.
  • Page 45 With this command, you can import the following formats: the multisample to a new Sound. • “PCG” is Korg’s native Program format, used by the Trinity and Triton series of workstations. The file name must have Hint: While in this window, you can use the Search ( ) func- the “.PCG”...
  • Page 46 Sampling operating mode Write Sample dialog box Write Sample dialog box Write Slice dialog box Open this dialog box by selecting the Write command from the Open this dialog box by selecting the Write command from the page menu, while in the Sample Edit / Sample Record section. In page menu, while in the Time Slice page.
  • Page 47 Sampling operating mode Delete Sample dialog box • Select “MultiSamples” to delete all multisamples. No sam- Delete Sample dialog box ples will be deleted, including those associated with the deleted multisamples. • Select “All Samples, Multisamples, Drum Samples” to Open this dialog box by selecting the Delete command from the delete all samples, multisamples and drum samples from page menu, while you are in any page of the Sample Edit/Sample memory.
  • Page 48 The Export operation generates a “.KMP” file (Korg’s proprietary file format for multisamples), and a folder containing a series of “.KSF” files (Korg’s proprietary file format for samples) inside the same directory. Note: When exporting a stereo multisample, be careful to assign a different name to the Left and Right channel files, to avoid over-...
  • Page 49 Effects Dynamic Modulation sources Effects Pa800 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 50 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 51 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 52 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 53 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 54 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 55 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 56 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 57 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 58 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 59 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 60 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 61 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 62 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 63 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 64 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 65 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 66 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 63.). Stereo In - Stereo Out Left Left FX Amt...
  • Page 67 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 68 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 69 030: 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 70 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 71 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 72 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 73 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 74 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 75 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 76 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 77 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 78 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 79 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 80 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 81 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 82 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 83 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 84 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 85 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 86 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 87 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 88 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 89 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 90 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 91 Effects Delay 067: St.BPM Mod. Delay Selects the type of notes to R Delay Base specify the right channel delay Note (Stereo BPM Modulation Delay) time Sets the number of notes to This is a stereo modulation delay that lets you synchronize the Times x1...x32 specify the right channel delay...
  • Page 92 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 93 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 94 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 95 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 96 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 97 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 98 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 99 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 100 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 101 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 102 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 103 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 104 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 105 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 106 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 107 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 108 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 109 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 110 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 111 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 112 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 113 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 114 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 115 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 116 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 117 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 118 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 119 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 120 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 121 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 122 Effects Vocoder Vocoder The Vocoder can only be assigned to the D FX processor (usu- e: Formant Shift ally, the modulating effect for the keyboard tracks). When this By offsetting the Carrier filter, you can adjust the height of the effect is selected, the microphone input no longer goes to the frequency range to which the vocoder effect is applied.
  • Page 124 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 © KORG Italy 2008. All rights reserved...