When installing, servicing, or replacing parts for this product, do not perform any action that is not prescribed in the
owner's manual.
Do not apply excessive force to the electronic components or connectors on the circuit board, and do not disassemble it.
Electrical shock, fire, or malfunction may result.
Before installing this product, disconnect the power supply cable of the device in which it is being installed, and discon-
nect any cables that connect peripheral devices. Failure to do so may cause electrical shock or malfunctions.
Do not allow this product to become wet, and do not place objects on top of it. Doing so will cause malfunctions.
Before touching this product, touch a metal part of the device into which it will be installed, so that any static electricity
in your body will be discharged. Failure to do so will risk damaging the electronic components by static electricity.
When handling this product, be careful not to touch the leads (wires protruding from the electronic components) on the
rear side of the circuit board. Injury may result.
When installing this product, do not touch any unrelated parts or circuit boards. Electric shock or malfunction may result.
When installing this product, be careful not to cut yourself on any sharp edges or parts of this product or of the device into
which this product is being installed.
When installing this product, be careful not to drop screws etc. into the device into which this product is being installed.
The manufacturer makes no warrantee regarding possible malfunctions or damage that may result from improper use or
modification. The manufacturer also will take no responsibility for any damages that may result from loss or disappear-
ance of data.
Installing this product
For the procedure of installing this product, refer to the owner's manual of the device into which the product is being
installed. If you have any questions, please contact your local Korg distributor.
Cautions when installing an option board
In order to install the board correctly, please pay attention to the following points.
Be careful of static electricity, which may damage components inside the product or on the board. Before beginning the
installation, touch an unpainted metal part of the chassis or the grounding terminal of a grounded device to discharge any
static electricity that may be present in your body.
Perform the installation according to the steps given in the directions, making sure that the board is installed correctly and
in the correct orientation.
Verify that the option board has been installed correctly. If installation is incorrect, faulty connections or a shorted power
supply can cause malfunctions.
All the screws that are removed will be used, so be careful not to lose any.
Using screws of the incorrect shape or length can cause malfunctions or damage to the product. Use only the screws that
were included with the option board or the screws that were fastened in the instrument.
When installing or removing the board, be careful not to drop parts or the option board into the instrument.
Make sure that the attaching screws are tightened firmly, and are not loose.
Handle the board with care. Subjecting it to physical shock (by dropping or pressing it) may cause damage or malfunctions.
Be careful not to touch any exposed metal portions of the circuit board, or any parts that are not essential to the installation
process.
2
Warning
Caution

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   Summary of Contents for Korg EXB-MOSS

  • Page 1

    Installing this product For the procedure of installing this product, refer to the owner's manual of the device into which the product is being installed. If you have any questions, please contact your local Korg distributor. Cautions when installing an option board In order to install the board correctly, please pay attention to the following points.

  • Page 2: Table Of Contents

    Selecting a program/combination ..........7 Editing a program ................7 Editing a combination ..............8 Sequencer and Song Play modes ..........9 Control change transmission/reception for the EXB-MOSS ..10 4. Parameters ..............11 Program mode ................11 Program P0: Play ................11 Program P1: Edit-Basic ..............

  • Page 3: Introduction, Features Of The Exb-moss

    1. Introduction Thank you for purchasing the Korg EXB-MOSS DSP Features of the EXB-MOSS synthesizer board. In order to enjoy long and trouble- free use, please read this manual carefully and use the The EXB-MOSS is an option board containing a EXB-MOSS correctly.

  • Page 4: The Structure Of Bank F Programs, Program Structure

    2.The structure of bank F programs Filter Program structure This section processes the waveform by attenuating or boosting specific frequency ranges. Two multi-mode The programs of bank F have the following structure. filters are provided. As filter types, you can select Oscillator from low pass, high pass, band pass, band reject, or dual band pass filters.

  • Page 5: Features Of The Oscillator

    Resonance This oscillator uses filter resonance, and is an This section provides four general-purpose EG units. especially effective way to produce mallet sounds and Each EG can be used as a modulation source for pad sounds. ( p.20 of this manual) various parameters, to apply time-variant change to Ring Modulation the sound.

  • Page 6: Bank F Operations, Loading The Preset Programs, Selecting A Program/combination, Editing A Program

    Selecting a program/ combination Please load the “EXBMOSS-00FD” data from the floppy disk included with the EXB-MOSS. For details In “Program P0: Play,” you can select a bank F on the procedure, refer to “Disk mode” of the TRI- program 000–127 in the same way as for banks A–E.

  • Page 7: Editing A Combination

    (4) Set the Voice Allocation Reserve Editing a combination parameter to specify the polyphony for each timbre. You can select a bank F program for a timbre in a combination, and use it in the combination together For each timbre, specify the number of voices that with programs of banks A–E and G.

  • Page 8: Sequencer And Song Play Modes

    The actual levels of send 1 and 2 for a timbre Sequencer and Song Play using a bank A–E or G program is determined modes by multiplying the timbre setting by the send level of the program, but for timbres that use a bank F program, the send level setting of the Bank F programs can be selected for playback of a timbre will be the actual level.

  • Page 9: Control Change Transmission/reception For The Exb-moss

    CC#76: Pitch LFO Speed Control change transmission/ “LFO1–4 Frequency” (Program P5: LFO1–4 tabs) reception for the EXB-MOSS If LFO 1–4 is selected for Pitch Modulation AMS1, AMS2 (Program P2: OSC1/2 Pitch In the same way as bank A–E or G programs, bank F Mod.

  • Page 10: Parameters, Program Mode, Program P0: Play

    4. Parameters This document explains the parameters that appear the screen pages that are added when the EXB-MOSS is installed. For details on the other screen pages, refer to the Parameter Guide and Basic Guide etc. of the TRITON. In Program mode, you can use the Write Program page menu command to write an edited program into the specified program number.

  • Page 11: Program P1: Edit-basic

    OSC 2 (Oscillator 2 Type) Program P1: Edit-Basic [Standard…E. Piano Model] Selects the oscillator type for oscillator 2. Refer to OSC 1. Here, you can select programs and perform simple editing. 1–1b: Unison 1–1: Program Basic Here, you can make settings for unison mode. Unison [OFF, 2voices, 3voices, 6voices] Specifies the number of notes which will be sounded...

  • Page 12

    The operation of this function will differ depending on Kirnberger (Kirnberger III) the “Voice Assign Mode” setting. A scale created in the 18th century, and used mainly With a setting of Mono (Single), retriggering will for tuning harpsichords. occur if the controller is above the threshold value. If Slendro Retrigger Control is OFF, retriggering will not occur.

  • Page 13

    The waveform modulation provided Makes fine adjustments to the pitch in 0.1 Hz steps. by the EXB-MOSS option is an extension of this, which varies not only the pulse width but also the waveform of a sawtooth wave or triangle wave.

  • Page 14

    Sine Level [0…99] When modulation is 0, the basic sawtooth waveform will be produced, and when it is 99, a sawtooth wave Specifies the output level of the sine waveform. It will of double the frequency will be produced. If the be output mixed with the main waveform.

  • Page 15

    Intensity (Input Level AMS Intensity) [–99…+99] 99, it will be only the output of the wave shaping Specifies the depth and direction of the waveform table. modulation controlled by the “AMS.” AMS (Alternate Modulation Source) Type (Wave Shape Table Type) [Clip/Reso] [Off…MIDI:CC#83] Selects a modulation source ( p.48 of this manual)

  • Page 16: Comb Filter

    Noise Level [0…99] Comb Filter This parameter will be available only if “Input” has In this oscillator, the signal from the other oscillator been set to OSC2(1)+Noise, SubOSC+Noise, waveform or the noise generator is sent through a Filter1+Noise or Filter2+Noise. It specifies the comb filter, and the feedback level of the comb filter volume level of the noise generator output which will is varied in order to produce tonal change.

  • Page 17

    1–3c: High Damp The output of a carrier is phase-modulated by a H. D (High Damp) [0…99] modulator, and output through wave shape processing. Specifies the amount of attenuation that will be By controlling the wave shaping parameters and the applied to the high-frequency component of the feedback gain, tonal changes that are different than feedback signal within the comb filter.

  • Page 18

    Intensity (Level AMS1 Intensity) [–99…+99] Specifies the depth and direction of the effect of Table valiation “AMS1.” AMS2 (Alternate Modulation Source 2) [Off…MIDI:CC#83] Selects a modulation source 2 ( p.48 of this manual) Wave Shape:0 Wave Shape:99 that will control “Level.” Type (Wave Shap Type) [1, 2] Intensity (Level AMS2 Intensity)

  • Page 19

    Resonance AMS2 (Alternate Modulation Source 2) [Off…MIDI:CC#83] This oscillator produces a wide range of tonal change Selects a modulation source 2 ( p.48 of this manual) by allowing you to specify the cutoff frequency and that will control “Level.” resonance of four band pass filters (BPF ). You can select one of the following sources to be the Intensity (Level AMS2 Intensity) [–99…+99]...

  • Page 20: Ring Modulation

    AMS1 (Alternate Modulation Source 1) Ring Modulation [Off…MIDI:CC#83] This multiplies the modulator and carrier and outputs Selects a modulation source 1 ( p.48 of this manual) the signal produced. One of four types of waveform that will control “Depth.” can be selected as the carrier.

  • Page 21

    AMS2 (Alternate Modulation Source 2) Cross Modulation [Off…MIDI:CC#83] This uses a modulator to frequency-modulate a carrier. Selects a modulation source 2 ( p.48 of this manual) You can select one of four waveforms as the carrier. that will control “Depth.” In general, a pitch envelope is applied to the modula- tor.

  • Page 22

    Sync Modulation Organ Model This uses the modulator as the master waveform and This is an oscillator used to produce organ-type the carrier as the slave waveform (which will be sounds. The oscillator simulates three drawbars synchronized to the master). similar to electric organs of the past.

  • Page 23

    Intensity (Level AMS Intensity) [–99…+99] E. Piano Model Specifies the depth and direction of the effect of This oscillator simulates an electric piano. “AMS1.” There are four groups of parameters: Hammer (which specifies how the shape and motion of the hammer Percussion [0…99] will affect tonal change and attack noise), Tone...

  • Page 24

    Brass Model 1–3b: Tone Generator This oscillator is a physical model which simulates lip- The Decay and Release that you specify here will reed instruments such as a trumpet or trombone. control the output level of the oscillator. In order for By using key velocity or modulation wheel to modulate these settings to have an effect, they must be set the Pressure (the force of breath blown into the mouth-...

  • Page 25

    Jump Bend: this uses the signal from the noise generator, the filter of the noise generator can be used to modify the tone JS(+X) (Joystick +X) of the noise. Specifies how the pitch will change when the joystick is moved in the +X direction (toward the right). Strength [0…99] If this is checked, the pitch will rise by in steps by...

  • Page 26

    JS(-X) (Joystick -X) Reed Model Specifies how the pitch will change when the joystick is This oscillator is a physical model which simulates moved in the –X direction (toward the left). woodwind reed instruments such as a saxophone or oboe. By using key velocity or the modulation wheel to control If Jump Bend (+X) and Jump Bend (–X) are Pressure (the strength with which the reed is blown), you...

  • Page 27

    1–3c: Reed Character 1–3f: Peaking EQ AMS (Alternate Modulation Source) Frequency [0…49] [Off…MIDI:CC#83] Specifies the center frequency of the range that will be Selects a modulation source ( p.48 of this manual) that boosted or attenuated by the Peaking EQ. Increasing will modulate the characteristics of the reed.

  • Page 28

    Plucked String Model Noise Level [0…99] Specifies the level of the noise component that is This oscillator is a physical model which simulates included in the attack waveform. As this value is plucked string instruments such as a guitar or bass increased, a greater portion of noise will be included guitar.

  • Page 29

    AMS (Alternate Modulation Source) KTr (Decay Keyboard Track) [–99…+99] [Off…MIDI:CC#83] Specifies how the “Decay” amount will be affected by Selects a modulation source ( p.48 of this manual) the keyboard location. that will control “Picking Point.” With positive (+) settings, the decay will become faster as you play notes above C4.

  • Page 30

    Ctrl (Control) [Off…MIDI:CC#83] Bowed String Model Selects a modulation source ( p.48 of this manual) This oscillator is a physical model which simulates the that will control the harmonics effect. sound of a bowed string instrument such as a violin or cello.

  • Page 31

    Int (Speed AMS2 Intensity) [–99…+99] 1–3c: String Specifies the depth and direction of the effect of “AMS2.” Bowing Point [0…99] Specifies the location at which the bow contacts the Differential string. A setting of 0 is the end of the string, 50 is near If this is not checked, the value produced by EG, the middle, and 99 is at the other end.

  • Page 32

    Ramp High [–99…+99] Gain [–18…+18] Specifies the depth and direction in which the “Damp” Specifies the gain by which the peaking EQ will boost amount will change for notes above the “Damp KTr or attenuate. Key.” Positive (+) settings will cause “Damp” to 1–4: OSC2 (Oscillator 2) increase for notes above the “Damp KTr Key.”...

  • Page 33

    AMS (Alternate Modulation Source) Since the filter characteristics differ from the filter [Off…MIDI:CC#83] type of the “3–1: Filter 1 ,” “3–3: Filter 2” the Selects a modulation source ( p.48 of this manual) resulting effect will be different even if “Filter Type,” “Frequency”...

  • Page 34

    1–7: Contoller Setup 1–7a 1–7b 1-7a: Panel Switch Assign Assign the function of the front panel [SW1] and [SW2] keys. Refer to TRITON Parameter Guide p.217 “SW1, SW2 Assign List.” Since the [SW1] and [SW2] settings of the program assigned to each timbre are not used by a combination, they must be set here again.

  • Page 35: Program P2: Edit-pitch

    2–1b: Pitch Modulation Program P2: Edit-Pitch Specifies the pitch Modulation. 2-1: OSC1 P. Mod AMS1 (Alternate Modulation Source 1) [Off…MIDI:CC#83] (Oscillator 1 Pitch Modulation) Selects a modulation source 1 ( p.48 of this manual) which will modify the pitch (e.g., apply vibrato). Intensity (Pitch AMS1 Intensity) [–99…+99] Specifies the depth and direction of the pitch change...

  • Page 36

    2–4a: Pitch Bend 2–4c: Portamento Specifies the width of pitch change that will occur These settings specify how portamento will be when the joystick is moved to left and right. applied. (Portamento creates a smooth change in pitch from one note to the next.) JS(+X) (Joystick Intensity +X) [–60…+24] Enable...

  • Page 37: Program P3: Edit-filter

    Filter Types and Cutoff Frequency Program P3: Edit-Filter Low Pass Filter (Low Pass) A low pass filter is the most commonly-used type of filter, and Here, you can make settings for one of the two multi- passes the range of frequencies that mode filters.

  • Page 38

    Intensity (Cutoff Frequency Mod. EG Intensity) 3-2: Filter1 Mod. (Filter 1 Modulation) [–99…+99] Specifies the depth and direction of the control that “EG (Cutoff Frequency Modulation EG)” will have on the cutoff frequency. With positive (+) settings of this parameter, the tone will become brighter when the various EG levels rise into the + area (the setting of the 3–2a “Frequency”...

  • Page 39: Program P4: Edit-amp

    Filter B: Program P4: Edit-Amp Here you can adjust the settings for Filter B. These parameters have the same structure as the “Filter A” Here, you can make volume-related settings. parameters. There are two independent amps, and the signals which are input to each amp are determined by the 3-2b: Filter A/B Modulation setting of “3–1a: Routing”...

  • Page 40

    You can also input a value by playing a note Time-variant change in volume created by the amp EG on the keyboard while you hold down the Note-off Attack level Sustain level [ENTER] key. Note-on Ramp Low [–99…+99] Volume Break Specifies the way in which keyboard tracking will level Time...

  • Page 41

    Velocity Control [–99…+99] 4–4: Output Level / Pan Specifies the depth and direction of the effect that velocity will have on the level of the amp EG. Amp1 EG changes (level) (AMS=Velocity, Intensity=+value) Note-on Note-on Note-on Note-off Note-off Note-off 4–4a 4–4b When keyboard is When keyboard is...

  • Page 42: Program P5: Edit-common Lfo

    Frequency [0…199] Program P5: Edit-Common LFO Specifies the frequency of the LFO. This section provides four LFOs (Low Frequency Offset [–50…+50] Oscillators). These LFOs can be used as modulation Specifies the center value of the LFO waveform. sources for parameters of other sections, to create Offset = 0 cyclic changes in the sound.

  • Page 43

    Fade [0…99] 5–2: LFO 2 Specifies the time over which the amplitude of the 5–3: LFO 3 LFO will increase from 0 until it reaches the maxi- 5–4: LFO 4 mum value. LFO 2, LFO 3, and LFO 4 have the same parameter as LFO 1.

  • Page 44: Program P6: Edit-common Eg

    6–1b: Time (EG Time) Program P6: Edit-Common EG Attack (Attack Time) [0…99] This section provides four general purpose EGs Specifies the time from note-on (when a note is (envelope generators). The four EGs can be used as played) until the value reaches the attack level. With a modulation sources for the parameters of other value of 0, the value will change instantly.

  • Page 45: Program P7: Edit-arpeggiator, Program P8: Edit-insert Effect, Program P9: Edit-master Effect

    AMS2 (Alternate Modulation Source 2) Program P7: Edit-Arpeggiator [Off…MIDI:CC#83] Selects a modulation source 2 ( p.48 of this manual) Here you can make arpeggiator-related settings. that will control the EG1 times. For details on the parameters etc., refer to TRITON Parameter Guide p.22, “Program P7.”...

  • Page 46: Combination Mode, Combination P4: Moss Setup

    If this is set to 0, a bank F program selected for that timbre will not sound. When using the EXB-MOSS multi-timbrally, refer to “Multi-timbral settings.” When you change the bank/program of a timbre to change from a bank A–E or G...

  • Page 47: Appendices, Cautions When Using Bank F, Modulation Source List

    Appendices Cautions when using bank F Modulation Source List Sound production when changing EG 1 programs EG 2 EG 3 If you change bank F programs while sound is being produced, the bank F program will stop sounding. The EG 4 newly selected program will sound at the next note-on.

  • Page 48: Voice Name List

    Voice Name List Combination (MOSS.PCG) Name Arp.SWPattern A Run Mod.SW1 Knob1 Knob3 Category Pattern B Run Mod.SW2 Knob2 Knob4 B000 Forest Piano P001: DOWN On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20) Keyboard P000: UP On Lock JS(-Y) & Ribbon F/A Decay (CC#75) Knob Mod.4 (CC#21) B001 !! MOSSPOWER !!

  • Page 49

    Name Arp.SWPattern A Run Mod.SW1 Knob1 Knob3 Category Pattern B Run Mod.SW2 Knob2 Knob4 B029 Soul-DrumOnKnob1 Off U144: 1Note Repeat-Lo On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20) LeadSplits U166: HipHop 1 On Lock JS(-Y) & Ribbon Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) B030 Geronimoss U145: 8 Beat...

  • Page 50

    Name Arp.SWPattern A Run Mod.SW1 Knob1 Knob3 Category Pattern B Run Mod.SW2 Knob2 Knob4 B058 Little Angels P004: RANDOM On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20) Bell/Mallet/Perc P000: UP Off Lock JS(-Y) & Ribbon F/A Attack (CC#73) Knob Mod.4 (CC#21) B059 Moss of the Tyne U150: Bossa Nova On Octave Down...

  • Page 51

    Programs (MOSS.PCG) Bank F Name Category Arp.SW Arpeggio Pattern OSC1 Type OSC2 Type F000 War Birds FastSynth U048: TEKNO stutter Standard OSC Standard OSC F001 Palawan MotionSynth U083: Echo Chords 3 Resonance OSC Organ Model F002 Whirly E.P. Keyboard U035: TechnoBass Riff3 Electric Piano Model Electric Piano Model F003 Death Lead...

  • Page 52

    Name Category Arp.SW Arpeggio Pattern OSC1 Type OSC2 Type F056 Touch FingerBass Bass/Synth Bass U050: Old Dance Bass 1 Plucked String Model F057 Rhythmic Seq MotionSynth U042: Dance Bass+Comp Standard OSC Resonance OSC F058 mini Lead LeadSynth U062: Stepping Note Standard OSC Standard OSC F059 Osiris...

  • Page 53

    Name Category Arp.SW Arpeggio Pattern OSC1 Type OSC2 Type F112 Rezzit Oiid FastSynth U112: Techno Riff 1 Standard OSC Standard OSC F113 Harbinger MotionSynth U134: CrazyComputer 3 Resonance OSC Comb Filter OSC F114 Misty Synth FastSynth U091: House Organ Organ Model Organ Model F115 Soft Syn Brass FastSynth...

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