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About the Parameter Guide This document (“PS60 Parameter Guide”) explains the parameters that can be quickly edited from the PS60 itself or from the PS60 Editor, in addition to the full parameters that can be edited only by from the PS60 Editor. It also explains functions that are specific to the editor. Explanations of the quick parameters in the “PS60 Ownerʹs Manual” are simplified as much as possible, but this docu‐ ment explains these quick parameters in greater detail, including MIDI transmission and reception. * By connecting the PS60 to your computer and using the PS60 Editor application, youʹll be able to edit all of the PS60ʹs parameters (the full parameters). Conventions in the operation manuals Abbreviations for the manuals: OM, PG In the documentation, references to the manuals are abbre‐ viated as follows. OM: Owner’s Manual PG: Parameter Guide Symbols , , Note, Tips These symbols respectively indicate a caution, a MIDI‐ related explanation, a supplementary note, or a tip. Example screen displays The parameter values shown in the example screens of this ...
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Settings when connected to a MIDI device or computer 038: TEX Treml (TEXTREM) ..........103 040: St.AutPan (Stereo Auto Pan) ........104 Messages transmitted and received by the PS60 ..134 041: St.PhsTrm (Stereo Phaser + Tremolo) ....104 MIDI Implementation ........140 042: St.Ring M (Stereo Ring Modulator) .......105...
Performance Edit Panel The upper part of the PS60 Editor panel simulates the main Split Setting buttons and knobs of the PS60ʹs own front panel. Split Setting [OFF, MAIN LOWER, MAIN UPPER] Mode Select, Utility This specifies the Split setting. MAIN LOWER The main timbre will be assigned to the Mode button [PERF, PROG EDIT, GLOB] lower region, and the sub timbre will be assigned to the To select a mode, click the button for the mode that you upper region. want to edit. MAIN UPPER The main timbre will be assigned to the PERF: Performance, Performance Edit upper region, and the sub timbre will be assigned to the PROG EDIT: Program Edit lower region. GLOB: Global Choose either MAIN LOWER or MAIN UPPER, use ʺCTRLʺ to choose either MAIN or SUB, and then use the Timbre On UTILITY [See Utility Command] buttons to select the timbres that you want to play.
Performance Edit BASS knob [-18.0...+18.0] MID knob [-18.0...+18.0] TREBLE knob [-18.0...+18.0] These parameters adjust the gain of the bass, mid, and treble (high) bands (page 120). Keyboard, Wheels This area shows an 88‐note keyboard, a pitch bend wheel, and a modulation wheel. You can play the sounds by clicking the keyboard. Dragging across the keyboard to left or right will produce a glissando. You can use the pitch bend wheel and modulation wheel by moving them up or down.
OverView Main Timbres OverView In this area, you can turn on/off each timbre of the selected will not be transmitted for timbres that are set to the performance, select programs, and edit the settings for Easy same MIDI channel as the global MIDI channel. Setup, master effect, and EQ. In this case, EX2 timbres will show the “Program” Bank as “–”, and will transmit the bank number that was specified in Bank Select (When Status=EX2) (page 7). When you play on the PS60 keyboard and controllers, MIDI messages are transmitted on the global MIDI channel. At the same time, timbres whose Status is set Main Timbres to EXT or EX2 will transmit the same messages on their own MIDI channel. Here you can adjust the settings for the main timbres If the received program change has the same MIDI A.PIANO–SYNTH. channel as the global MIDI channel, the performance will change. Timbre Octave [-5...+0...+5] Timbre On [On, Off] This shifts the pitch of the timbre in steps of one octave. Turn the button on (highlighted) for the timbres that you Volume [000...127] want to enable. This setting is linked with Timbre On but‐ Adjusts the volume of each timbre 1–16. tons on the panel. Note: You can use Easy Setup Volume to control this param‐ Program Select [001...]...
Performance Edit global MIDI channel. This message is transmitted on SplitPoint the MIDI Channel (page 7) specified for each timbre. SplitPoint [C#2...C7] [Name] This specifies the split point. This setting is valid only if This indicates the programʹs insert effect. (The program of Split is on. the STRINGS timbre does not have an insert effect.) Tips: To adjust this setting on the PS60 itself, press the Note: You canʹt edit this setting here. You can adjust settings LOWER button and UPPER button, and then press the key in the Program Edit section (page 63). that you want to specify as the split point. The key you press Send1 (Mod) [000...127] will be the lowest key of the upper region. Send2 (Rev) [000...127] For each timbre, these parameters set the send level to mas‐ ter effects 1 and 2. Control change CC#93 can be used to control the Send Sub Timbres 1 level, and CC#91 to control the Send 2, and modify their respective settings. These messages will be Here you can adjust settings for the sub timbres A.PIANO– received on the MIDI channel (page 7) specified for SYNTH.( “Main Timbres” on page 3) each timbre. MFX1 (Mod.) MFX1 On/Off [Off, On] Switches the master effect 1 on/off. When off, the output ...
Timbre Param (Timbre Parameters) Scale Timbre Param (Timbre Parameters) octave in tune. For the sake of the octave, one of the fifths– Scale the interval from the sharp fourth degree to the sharp first degree–is made quite flat. This specifies the scale used by the performance. Werkmeister (Werkmeister III): This scale was one of the Separately from this setting, you can choose the ʺScaleʺ set‐ many temperament systems developed towards the end of ting of each timbreʹs program take priority if desired . the Baroque period. These “Well‐Tempered” tunings were aimed at allowing relatively free transposition–although Type [Equal Temperament...User Octave Scale 03] you’ll still notice that the different keys maintain their own This selects the basic scale for the performance. distinct characteristics, unlike Equal Temperament. Note that for many of the scales, the setting of the Key J.S. Bach was referring to these new scales in his title, “The parameter, below, is very important. Well‐Tempered Clavier.” As such, this group are particu‐ larly appropriate for late baroque organ and harpsichord Equal Temperament: This is the most widely used scale by music. far, in which each semitone step is spaced at equal pitch intervals. Kirnberger (Kirnberger III): This is a second “Well‐Tem‐ pered” tuning, dating from the early 18th century. Equal Temperament allows easy modulation, so that a ...
Performance Edit Use Equal Temperament for programs whose multi‐ OSC1 OSC2 OSC1 OSC2 OSC1: OSC1: sample (ʺMultisample select,ʺ page 25) is set to mono: Amp1 Pan=L001 Amp1 Pan=L032 OSC2: OSC2: Left Center Right Amp2 Pan=R127 Left Center Right Amp2 Pan=R096 0002, 00003, 0006, 0007, 0009, Stereo: 0001, or 0003 (i.e., the preload programs 13:SoloStretch Grand–15:SoloS‐ Pan (CC#10) Pan (CC#10) C064 C064 tretch Classic). L032 L032 Key (Scale Key) [C...B] L001 L001...
[01...16, Gch] This parameter sets whether the Timbre controls the inter‐ nal sounds, or external MIDI devices. This parameter allows you to set the MIDI transmit/receive channel for each timbre. INT: The timbre will sound, and will also sound in response to MIDI messages from an external MIDI device. MIDI data Gch: The timbre will use the channel that has been selected will not be transmitted. as the global MIDI Channel (page 72). EXT: The timbre will not sound even if it receives messages When Status is INT, MIDI messages will be received on the from a controller, but MIDI data will be transmitted to exter‐ channel that you specify here. If this setting is the same as nal devices. the global MIDI channel, the internal tone generator will sound according to the internal settings. If this is set to EXT EX2: The “Bank Select (When Status=EX2)” (settable only or EX2, playing the PS60 will transmit MIDI messages on via the editor, page 7) LSB value and MSB value will be the MIDI channel thatʹs specified here. (Messages will also used. Instead of the A–D bank numbers that can be selected be transmitted simultaneously on the global MIDI channel.) from the PS60 itself, the bank number specified for “Bank Select” will be transmitted via MIDI. Other aspects are the If a setting 01–16 matches the global MIDI channel, “G” is same as for EXT. shown at the right. MIDI IN/ Bank MSB [000..127] USB B Bank LSB [000..127] Tone This specifies the bank number that is transmitted when ...
Sub Timbres (A. Piano–Synth): play OSC1, OSC2, or both. Here you can adjust pitch and scale settings for each timbre. For programs whose “Oscillator Mode” is Double, this set‐ ting lets you specify that only OSC1 or OSC2 will sound. Pitch BTH (Both): OSC1 and 2 will sound as specified by the set‐ tings of the program. Transpose [–60...+00...+60] OS1: Only OSC1 will sound. This parameter adjusts the pitch of each timbre in semitone OS2: Only OSC2 will sound. Programs will not sound if steps. 12 units equal one octave. Oscillator Mode is set to Single or Drums. When “Status” is INT, this parameter will affect the Portamento [PRG, Off, 001...127] pitches sounded by the PS60. When “Status” is EXT, This parameter allows you to select portamento settings for this parameter will affect the note numbers of the MIDI note messages that are transmitted. For example if you each timbre. create settings of +04 and +07 respectively for two tim‐ PRG: Portamento will be applied as specified by the pro‐ bres that are set to EXT, playing the C key will transmit gram settings. a C note number on the global MIDI channel, and at the Off: Portamento will be off, even if the original program set‐ same time will also transmit E and G note numbers on tings specified Portamento to be on. the MIDI channels of those timbres. 001…127: Portamento will be applied with the portamento time you specify here, even if it is turned off by the program Detune [–1200...+0000...+1200] settings.
Timbre Param (Timbre Parameters) Tone ‐99 means no modulation. +99 means maximum. Modula‐ Tone tion is in the same direction, positive or negative, as the original Program. For instance, if the original Program’s “EG Intensity” was set to ‐25, then setting this parameter to Main Timbres (A. Piano–Synth): +99 moves the “EG Intensity” to ‐99. Sub Timbres (A. Piano–Synth): AmpVel Int (AmpVelocity Intensity) [–99...+99 (Rel)] Here you can adjust the sound of each timbreʹs program. This scales the effect of velocity on the Amp level. These settings are saved in each performance, and do not affect the original programs. ‐99 removes the velocity modulation entirely. +99 means maximum modulation in the same direction, positive or About the Tone parameters negative, as the original Program. The Tone parameters of a performance have the following characteristics. Filter/Amp EG •...
These settings allow you to apply filters to the MIDI data Ribbon (CC#16) [Off, On] that will be transmitted and received by each timbres. For Specifies whether or not MIDI CC#16 will be transmitted or example even if two timbres are being played by the same received. MIDI channel, you can adjust the settings so that the damper pedal will apply to one but not the other. Foot SW [Off, On] On: Transmission and reception of MIDI data is enabled. Specifies whether or not the effect of the assignable switch If “Status” (page 7) is set to INT, effects that pertain to this will be transmitted and received. The function is assigned in setting that are turned On will apply to the timbreʹs pro‐ Global: Basic/MIDI Controllers page. gram when you use the PS60ʹs controllers or when MIDI This filter setting is valid when a MIDI control change is data is received. (The Effect Dynamic Modulation function assigned. is not affected by these settings.) Foot Pedal [Off, On] With the EXT or EX2 setting, the corresponding MIDI data will be transmitted on the channel of that timbre when you Specifies whether or not the effect of the assignable pedal use the PS60ʹs controllers. MIDI transmit/receive settings for will be transmitted and received. The function is assigned in the entire PS60 are made in Global mode “MIDI Filter” Global: Basic/MIDI Controllers page. (page 73). This filter setting is valid when a MIDI control change is MIDI filtering for controllers whose function is user‐assign‐...
[No Effect, Hall, Plate, Room, Delay] • Select the effect type for the master effects, and edit the These select the effect type for each master effect (pages 117, effect parameters. 119). Click the effect type, and choose from the list that appears. • Turn each effect on/off. If you choose No Effect, the output from the master effect • Edit the return level to the L/R bus for the master effect will be muted. outputs. The IFX and MFX/EQ tab pages allow you to edit all of the Return 1 [000...127] effect parameters that cannot be edited from the PS60 itself. Return 2 [000...127] Parameter names shown in purple are the effect parameters These specifies the return level from the master effect to the that can be edited from the PS60. L/R bus (after which it passes through EQ, and is sent from OUTPUT L/MONO and R). Chain MFX&EQ Routing Mastern FX Chain [Off, On] On: Master effects 1 and 2 will be connected in series, in the MFX1, MFX2: order of master effect 1 →...
Performance Edit MFX1 Here you can set the effect parameters for the master effect 1 you selected in the MFX page MFX & EQ Routing. ( “MFX1 (Mod.) (Master Effect1–Modulation) List” on page 117) MFX2 Here you can set the effect parameters for the master effect 2 that you selected in the MFX page MFX & EQ Routing. ( “MFX2 (Rvb/Dly) (Master Effect2–Revreb/Delay) List” on page 119) The master EQ is a three‐band stereo EQ. This is located immediately before the L/R bus is output from the AUDIO OUTPUT L and R jacks, and is used for overall equalizing (using the EQ to adjust the tonal character). ( “EQ (Equal‐ izer)” on page 120)
UTILITY Command EQ UTILITY Command Receive All Note: These Receive and Transmit commands use a KORG Procedure for utility commands SysEx MIDI Dump to send or receive data, or to synchro‐ nize the data between the PS60 and the software. 1. Click the UTILITY button, and choose a command from the menu that appears. Don’t touch the keyboard or the mouse of your com‐ puter while data is being sent or received. Also, don’t 2. Adjust settings in the dialog box. touch the panel switches or the keyboard of the PS60. For details on the contents of each dialog box, refer to the explanation for each command. Receives all data (performances, programs, global settings) 3. Click the OK button to begin, or click the Cancel button if into PS60 Editor/Plug‐In Editor. you decide not to continue. Transmit All Store Performance Transmits all data from PS60 Editor/Plug‐In Editor (perfor‐ This command saves the edited performance. mances, programs, global settings) to the PS60 and writes it into internal memory. • Save the changes you made. • Rename the performance.
Program Edit Selecting the program that you want to edit Hereʹs how to select the program that you want to edit. • If youʹre using Single settings, youʹll enter the program edit page with that program automatically selected. • If youʹre using Layer or Split settings, all timbres that are turned on will blink. Press the LOWER or UPPER button as necessary, and then press an ON button to select the timbre of the program you want to edit. The edit page will appear, and youʹll hear only the sound of the selected program. Panel The upper part of the PS60 Editorʹs panel simulates the main buttons and knobs on the front panel of the PS60 itself ( “Panel” on page 1). The display shows the program name, bank number, cate‐ gory, and tempo. When editing a program, youʹll only be able to control the MFX1, 2, and EQ settings, and tempo.
Program Edit Quick Parameters You can edit the quick parameters either from Program Edit The quick parameters are organized into the tone parame‐ mode on the PS60 itself, or from the editorʹs Quick page, ters (page 21) and parameters that have been selected from described below. among the full parameters. Quick Voices (Number of Voices) [2...6] Overview This controls the number of detuned voices that will be played for each note when using “Unison.” It applies only The overview shows the status of the main parameters that when “Unison” is On. make up the program. By clicking the displayed graphic of a filter or EG, or on an Detune [cents] [00...99 cents] effect setting, you can jump to the page for that parameter. Detune is available when Unison is On. This parameter sets the tuning spread for the Unison voices, in cents (1/100 of a semitone). The “Thicknes” parameter, below, controls how the voices are distributed across the detune amount. When “Thickness” is Off, the voices are dis‐ OSC Common tributed evenly, centered around the basic pitch. For instance, let’s say that the “Voices” parameter is set to 3, “Detune” is set to 24, and “Thicknes” is Off: OSC Common Voice one will be detuned down by 12 cents, voice two will ...
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(and also Amp EG2 if the program uses two oscillators), the negative, as the original Program. sound will continue indefinitely. On: The Hold function is enabled. Even if the Hold function is enabled, it might be dis‐ Audition abled for a specific range of keys ( “Hold Bottom Key” on page 23). When you select a preload program, a previously specified audition riff (phrase) appropriate for that sound can play. Off: Notes will play normally. This is the default setting. Audition Riff No. [000: Off...383: name] Reverse [PROG, Off, On (Rel)] This selects the audition riff. The PS60 contains 383 audi‐ This switches “Reverse” on/off for all multisamples used by tion riffs that are suitable for a wide range of instrumental both oscillators. If this is on, the waveform will play back‐ sounds and musical styles. ward. By setting this to PROG, you can return the setting to If you choose 000: Off, no riff will play. the program’s original setting. Note: You canʹt change the playback tempo of the audition riff. Tone parameters Transpose [-24...+24] Parameters from Filter/Amp to the LFO group allow you to This transposes the pitch of the audition riff in semitone ...
Program Edit Filter EG OSC EG/LFO These parameters adjust the filter EG envelope for oscilla‐ tors 1 and 2 at the same time. Attack (Filter EG Attack Time) [–99...+99 (Rel)] OSC EG This scales the attack times of the Filter EGs. Decay (Filter EG Decay Time) [–99...+99 (Rel)] Filter/Amp EG This scales the decay and slope times of the Filter EGs. Here you can adjust the settings for the filter EG and amp EG of oscillators 1 and 2. Sustain (Filter EG Sustain Level) [–99...+99 (Rel)] In the Filter/Amp EG group, all filter EGs and amp EGs are This scales the sustain levels of the Filter EGs. adjusted simultaneously. In contrast, each parameter is adjusted independently in the Flt EQ and Amp EG groups.
Quick OSC1 CmnLFO Spd (Common LFO Speed) [–99...+99 (Rel)] OSC LFO This scales the Common LFO’s frequency. Here is where you can adjust LFO settings for oscillators 1 and 2. Each oscillator has two LFOs (LFO1 and LFO2). Thereʹs also a common LFO that can be shared by the two oscillators. LFO1 and LFO2 are independent for each voice, but the common LFO OSC1 is shared by all voices of the program. Itʹs useful when you want to produce a uniform LFO effect that is the same for all voices. OSC1 LFO1 These parameters adjust LFO1 for oscillators 1 and 2 at the OSC Mixer same time. Play/Mute [Play, Mute] LFO1 Speed [–99...+99 (Rel, CC#76)] Play: Oscillator 1 will sound. This scales LFO1’s frequency. ( “Frequency” on page 51) Mute: Oscillator 1 will be muted (silent). LFO1 Fade [–99...+99 (Rel)] Solo [Off, On]...
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Program Edit When this is set to 0, playing different notes on the key‐ playing chords, since it ensures that each note in the chord board won’t change the pitch at all; it will be as if you’re will end its glide at the same time. always playing C4. This can be useful for special effects PortaTime (Portamento Time) [000...127] sounds, for instance. This controls the portamento time. Higher values mean lon‐ Pitch JS+X [–60...+12] ger times, for slower changes in pitch. This specifies in semitones mitones how much the pitch will This option is only available when “Portamento Enable” is change when the joystick is moved to the right (or when a turned on. pitch bend message is received). For normal pitch bend, set this to a positive value. For example, if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the These parameters make LFO settings for oscillator 1. original pitch. LFO1 [Triangle...Rnd6(Cnt)] Pitch JS–X [–60...+12] This selects the basic LFO1 waveform. This specifies in semitones how the pitch will change when Please see “LFO waveform” on page 20. the joystick is moved to the left (or when a pitch bend mes‐ Most of the waveforms should be self‐explanatory, but a few sage is received). For normal pitch bend, set this to a nega‐ will benefit from more details: tive value.
Relative Tone Adjust Value The parameters are the same as for oscillator 1. Please see “OSC1” on page 19. Saving Tone parameter Edits Tone parameter edits are saved in two different ways, depending on whether the parameter is Relative or Abso‐ lute. About Relative (Rel) and For more information, please Please see “About Relative Absolute parameters (Rel) and Absolute parameters” on page 21. Relative: Edits to Relative parameters affect the sound The PS60ʹs Tone parameters are of two types: Relative and immediately, but don’t change the underlying Program Absolute. In the case of absolute parameters, a single parameter settings until the Program is saved. When the parameter adjusts a single program parameter. In the case of Program is saved, the PS60 calculates the combined effects, relative parameters, a single parameter simultaneously and saves the results into the Program parameters directly. adjusts the value of two or more program parameters. At that point, all of the Relative parameters are reset to 0. • Relative parameters have an indication of “(Rel)” Absolute: Edits to Absolute parameters are immediately following the parameter value. reflected in the corresponding on‐screen parameters, and ...
• Select the basic scale of the program. Random [0...7] ( “Random” on page 6) OSC Mode Oscillator Mode [Single, Double] Half-Damper Control This specifies the Program’s oscillator assignment; whether it will use one or two oscillators. A half‐damper pedal is a special type of continuous foot Single: The program will use one oscillator (Oscillator 1, Fil‐ pedal, such as the Korg DS‐1H. In comparison to a standard ter 1, Amplifier 1). In this case, the program will normally footswitch, half‐damper pedals offer more subtle control of have a maximum of 120‐note polyphony. sustain, which can be especially useful for piano sounds. Double: The program will use two oscillators (Oscillator 1/ The PS60 will automatically sense when a half‐damper is 2, Filter 1/2, Amplifier 1/2). In this case the program will connected to the rear‐panel DAMPER/PEDAL/SW input. normally have a maximum of 60‐note polyphony. For proper operation, you will also need to calibrate the pedal, using the Half Damper Calibration command in the Global command. ( “HalfDmpr Calib (Half Damper Cali‐ bration)” on page 53 of the Owner’s manual) The off and full‐on positions of the half‐damper work just like a standard footswitch. In conjunction with the Enable Half‐Damper parameter, below, intermediate positions allow a graduated control of sustain, similar to the damper pedal of an acoustic piano.
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Basic About Relative (Rel) and Absolute parameters Enable Half-Damper [On, Off] Using Hold with Acoustic Pianos On: Half‐Damper pedals, normal sustain pedals, and MIDI Hold is also useful for simulating the top octaves of an CC# 64 will all modulate the Amp EG, as described below. acoustic piano, in which notes always sustain until they fade out naturally, regardless of how long you hold the key. Off: the pedals and MIDI CC#64 will still hold notes as usual, but will not modulate the Amp EG. The “Hold Bottom Key” and “Hold Top Key” parameters are designed for exactly this purpose. They let you limit the effect of the Hold parameter to a specific range of the key‐ Half-Damper Pedal and Release Time board. The amount of modulation depends on whether the Amp EG Sustain Level is set to 0 (as is the case with most acoustic piano sounds), or set to 1 or more. The modulation is contin‐ uous, from 1x (no change) to 55 times longer; the table below shows a selection of representative points. Half-Damper modulation of Amp EG Release Time Multiply Amp EG Release Time by…...
Program Edit Priority [Low, High, Last] Program Basic Priority is available when the Voice Assign Mode is set to Mono. • Set the Program to play polyphonically or This parameter determines what happens when more than monophonically one note is being held down. Low: The lowest note will sound. Many vintage, mono‐ phonic analog synths work this way Voice Assign Mode High: The highest note will sound. Voice Assign Mode (Mode) [Poly, Mono] Last: The most recently played note will sound. ( “Voice Assign Mode (Voice Mode)” on page 16) Unison [On, Off] ( “Unison” on page 16) Poly Voices (Number of Voices) [2...6] Poly Legato [Off, On]...
OSC/Pitch Program Basic OSC/Pitch These pages control the first and most basic elements of also use velocity to smoothly fade between the samples of sounds: the Multisamples that the oscillators play, and the these two zones (velocity crossfading). pitch used to them. For instance, you can: • Select Multisamples for Single and Double Programs. “Oscillator Mode” Single, Double • Set up velocity splits, crossfades, and layers for Single and Double Programs. High • Set the basic pitch of the sound, including the octave, fine tuning, and so on. These are the settings for the first and highest velocity zone. • Control pitch modulation using a variety of controllers If you want to create a simple setup with only a single Mul‐ such as LFO, pitch EG, and the joystick. tisample, just set up High as desired, and then set the “Bot‐ tom Vel.” (Bottom Velocity) to 1 and the “Range” to Off. Note that when the Oscillator Mode is set to Single, only Oscillator 1’s filters are active; the pages for Oscillator 2’s fil‐ Multisample On/Off [Off, On] ters will be grayed out. This specifies whether the High multisample will sound. It will sound if this is On. OSC1 Bank [Mono, Stereo] This is displayed if Multisample On/Off is On.
Program Edit Mid-High, Mid-Low, Low OSC1 Multisample These are the settings for the second, third, and fourth velocity zones. The parameters for Mid‐High and Mid‐Low Program’s sounds are based on multisamples, and this page are exactly the same as those for High, as described above. lets you set up all of the basic multisample‐related settings. The parameters for Low are also similar to those for High, Among other things, you can: except that Low has no settings for Bottom Vel. (which is • Select Multisamples for the Oscillator (in a Single or always fixed at 1), Xfd, or Curve. Double Program) • Set the Oscillator’s basic pitch • Create velocity splits and crossfades between OSC2 Multisamples Here you can select the multisample for Oscillator 2. It is only available when the Oscillator Mode is set to Dou‐ What is a multisample? ble; if itʹs not, the page will be grayed out. A sample is a digital recording of a particular instrument or The parameters are identical to those for Oscillator 1. waveform (or other natural or artificially processed sound) recorded at a specific pitch. A multisample is a collection of ( “OSC1” on page 25) similarly voiced samples, used to create the same type of sound ‐ piano, bass, guitar, strings, organ ‐ across the entire ...
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OSC/Pitch OSC1 Multisample Range (Crossfade Range) [Off, 1...127] Crossfade Curves This sets the range of velocities over which High will fade Linear into Mid‐High, going up from the “Bottom Vel.” For instance, if the “Bottom Vel.” is set to 64, and the “Range” is set to 20, Mid‐High will start to fade in at veloci‐ ties of 84 and below. Volume When velocities are within the “Range,” the Oscillator will Xfade use twice as much polyphony as it would normally. Velocity Note: You can only fade between two zones at once. Power Xfade Range = 20 Curve = Linear Volume Bottom Velocity = 64 Xfade Velocity Layer Curve [Linear, Power, Layer] This controls the volume curve of the crossfade. Linear and ...
( “Pitch JS–X” on page 20) Programs provide 48 types (88 destinations) for alternate modulation. AMS (Pitch) [List of AMS Sources] This selects an AMS source to control the pitch. AMS (Alternate Modulation Source) For a list of AMS sources, please see “AMS (Alternate Mod‐ AMS (Alternate Modulation Source) refers to any of the ulation Source) List” on page 121. assignable modulation sources in the PS60, including: AMS Intensity [–12.00...+12.00] • Controllers of the PS60 itself, such as the joystick This controls the depth and direction of the pitch modula‐ • Incoming MIDI controllers tion, in semitones. • Modulators such as the Filter, Pitch, and Amp EGs, the For example if you set AMS (Pitch) to JS+Y: CC#01 and then LFOs, or the AMS Mixers move the joystick in the +Y direction, the pitch will rise if Intensity is a parameter thatʹs used to set the degree (speed, this parameter is set to a positive (+) value, or fall if this depth, amount etc.) of how AMS will control the modula‐ parameter is set to a negative (–) value. tion.
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OSC/Pitch OSC1 Pitch AMS (Pitch EG) [List of AMS Sources] LFO1 This selects any AMS modulation source to scale the amount of the Pitch EG. LFO1 and LFO2 can both control the pitch. You can control the strength of each LFO’s modulation in three different For a list of AMS sources, please see “AMS (Alternate Mod‐ ways: ulation Source) List” on page 121. • Set an initial amount of LFO modulation, using the AMS Intensity [–12.00...+12.00] “LFO1 Int.”parameter. This controls the depth and direction of the pitch EG AMS • Use “JS +Y Int.” to adjust the amount of LFO produced modulation. The AMS modulation and the initial Intensity by JS+Y operations. are added together to determine the Pitch EG’s final effect. • Use any AMS source to scale the amount of the LFO. With positive (+) values, greater modulation will increase The results are added together to produce the total LFO the effect of the Pitch EG, as shown in example B below. effect. With negative (–) values, greater modulation will introduce the opposite effect of the Pitch EG–like inverting the polar‐ LFO1 Intensity [–12.00...+12.00] ity of the envelope. You can use this in several different ...
Program Edit OSC2 Multisample OSC Common This page controls the basic settings for Oscillator 2. It is Here is where you can specify the pitch of each oscillator, available only when the Oscillator Mode is set to Double; if the delay time until the oscillator will begin sounding, and not, the page will be grayed out. the velocity zone. The parameters are identical to those for Oscillator 1, as described under “OSC1 Multisample” on page 26. Frequency OSC1, OSC2 Octave [32' , 16' , 8' , 4'] OSC2 Pitch This sets the basic pitch of the Oscillator, in octaves. The default is 8ʹ. The standard octave of a multisample is 8ʹ. This page controls the pitch settings for Oscillator 2. It is available only when the Oscillator Mode is set to Double; if Transpose [–12...+12] not, the page will be grayed out. This adjusts the pitch in semitones, over a range of ±1 The parameters are identical to those for Oscillator 1, as octave. described under “OSC1 Pitch” on page 28. Tune [–1200...+1200] This adjusts the pitch in cents, over a range of ±1 octave. A ...
OSC/Pitch Pitch EG When you select Key + Damper, notes will only sound if the Pitch EG damper pedal is being held down. When the damper pedal is released, all notes will be stopped–even if they are still being held down. The Pitch EG, or Envelope Generator, lets you create com‐ plex, time‐varying changes to the pitch of Oscillators 1 and 2. The parameters on this page control the shape of the EG. OSC2 For instance, you can: • Create the basic EG shape by setting the levels and times Delay [ms] [0000ms...5000ms, KeyOff] of each segment. Mode [Key, Key + Damper] • Control the curvature of each EG segment, for subtle This specifies the time from when you press a key until control over the modulation time of the EG. oscillator 2 actually begins to sound. • Set up complex modulation of EG levels and times. See “OSC1 Delay” and “Mode,” above. • Set up an AMS source, such as an LFO, to restart the EG. To control how much effect the EG has on the pitch, use the Velocity Zone Pitch EG parameters on the OSC/Pitch– OSC1 Pitch page and OSC2 Pitch page, as described under “Pitch EG” on ...
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Curve 224 ms For the sake of simplicity, most of the diagrams in this man‐ 464 ms ual show envelopes as being made out of straight lines. In 944 ms actuality, though, envelopes are more likely to be made out of curves. 1.8 seconds In other words, each segment’s level will change quickly at 3.8 seconds first, and then slow down as it approaches the next point. 10.9 seconds This tends to sound better than straight, linear segments. 87.3 seconds Classic analog synth envelopes made these curved shapes naturally. The PS60 goes a step further than vintage synths, Attack [00...99] however, and lets you control the amount of curvature sepa‐ This sets how long the EG takes to move from the Start level rately for each of the four envelope segments. to the Attack level. Pitch EG Curve For the fastest possible attack time, you can set the Start level to +99; in this case, the EG will start instantaneously at Curve = 0 (Linear) its maximum value. Curve = 10 (Exp/Log) Decay [00...99] This sets the time it takes to move from the Attack level to ...
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OSC/Pitch Pitch EG Slope [0L (Linear), 1...9, 10E (Exp/Log)] AMS2 This sets the curvature of the Slope segment ‐ the transition This selects the second AMS source for controlling the EG’s from the Break level to the Sustain level (which for the Pitch Level parameters. The Start, Attack, Decay, and Break levels EG is always 0). share this source, but each has its own modulation intensity. The parameters ofAMS2 are identical to those of AMS1, Release [0L (Linear), 1...9, 10E (Exp/Log)] above. This sets the curvature of the Release segment ‐ the transi‐ tion from the Sustain level to the Release level. Time Modulation Level Modulation These settings let you use an AMS source to control the Time parameters of the EG. The Attack, Decay, and Slope These settings let you use two different AMS sources to con‐ times share this AMS source, but each has its own modula‐ trol the Level parameters of the EG. For each of the two tion intensity. AMS sources, the Start, Attack, Decay, and Break levels each have their own modulation intensities. Pitch EG Time Modulation By using different settings for each of the three levels, you ...
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Program Edit Threshold [–99...+99] This sets the AMS level which will trigger the EG reset. When the “Threshold” is positive, the EG triggers when passing through the threshold moving upwards. When the “Threshold” is negative, the EG triggers when passing through the threshold moving downwards. Note: For several LFO waveform types, or if the LFO cycle is fast, the LFO output may not always keep up with high val‐ ues such as +99 or –99.
Filter Pitch EG Filter Filtering can make subtle or dramatic changes to the oscilla‐ Filter1 tor’s timbre. Each oscillator has two multimode resonant fil‐ ters, A and B, as well as a dedicated filter envelope and This page contains all of the basic settings for Oscillator 1’s keyboard tracking generator. Filter A and Filter B. For example, you can: These pages let you control all aspects of the filters. Among • Set up the filters to produce a single 12 dB/oct filter, dual other things, you can: 12 dB/oct filters in either serial or parallel routing, or a • Adjust basic settings for each oscillator’s filters, single 24 dB/oct filter. including routing, modes, cutoff, resonance, etc. • Set each of the two filters to Low Pass, High Pass, Band • Set up filter modulation, including keyboard tracking, Pass, or Band Reject modes. the filter envelope, LFO modulation, and AMS control. Routing [Single, Serial, Parallel, 24dB(4Pole)] Note that when the “Oscillator Mode” is set to Single, only Each oscillator has two filters, Filter A and Filter B. This Oscillator 1’s filters are active; the pages for Oscillator 2’s fil‐ parameter controls whether one or both of the filters are ters will be grayed out. used, and if both are used, it controls how they are con‐ nected to each other. Single: This uses only Filter A as a single 2‐pole, 12 dB/ octave filter (6 dB for Band Pass and Band Reject). When this option is selected, the controls for Filter B will be grayed ...
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Program Edit Serial and Parallel Routing BRF: This filter type–also called a notch filter–cuts only the parts of the sound that are directly around the cutoff fre‐ quency. Try modulating the cutoff with an LFO to create phaser‐like effects. Oscillator Filter A (Low Pass) Filter B (High Pass) Filter Types and Cutoff Frequency Low Pass Filter A (Low Pass) Oscillator High Pass Filter B (High Pass) Band Pass 12db/oct / 24db/oct Low Pass: Band Reject 12dB/oct...
Filter Filter1 Output Level Filter1 Level [00...99] Set the cutoff, resonance, and input and output levels of This controls the output level of Filter A. You can use this to each filter, including modulation of resonance and output balance the volumes of Filters A and B when the Routing is level. set to Parallel, or to turn down the volume to avoid clipping later in the signal chain. AMS Source [List of AMS Sources] FilterA This selects a modulation source to control the output level of Filter A. For a list of AMS sources, please see “Alternate Filter Modulation Source (AMS)” on page 121. Bypass [Off, On] AMS Intensity [–99...+99] This lets you bypass Filter A completely. This controls the depth and direction of the output level modulation. If Bypass is Off, Filter A functions normally. When Bypass is On, Filter A will have no effect. Filter B Frequency [00...99] This controls the cutoff frequency of Filter A, in increments ...
Most acoustic instruments get brighter as you play higher Keyboard Track Shape and Intensity pitches. At its most basic, keyboard tracking re‐creates this Intensity = +99 (Original Shape) effect by raising the lowpass filter cutoff frequency as you play higher on the keyboard. Usually, some amount of key tracking is necessary in order to make the timbre consistent across the entire range. The PS60 keyboard tracking can also be much more com‐ Intensity = +50 (Less Effect) plex, since it allows you to create different rates of change over up to four different parts of the keyboard. How it works: Keys and Ramps Intensity = 0 (No Effect) The keyboard tracking works by creating four ramps, or slopes, between five keys on the keyboard. The bottom and top keys are fixed at the bottom and top of the MIDI range, respectively. You can set the other three keys–named Key ...
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Filter Filter1 Modulation the keyboard, and positive ramps make the output go Filter Keyboard Track is also an AMS source higher. You can use the keyboard tracking as an AMS source to modulate other parameters, just like the envelopes and Center‐High and High‐Top: negative ramps make the key‐ board tracking’s output go down as you play higher on the LFOs. Simply select Filter KTrk in the AMS list for the keyboard, and positive ramps make the output go up. desired parameter. The effect on the filter cutoff is a performance of the ramp values, as set below, and the Intensity to A (B) parameters. Filter EG When Intensity to A (B) is set to +99, a ramp of 50 changes the filter frequency by 1 octave for every octave of the key‐ The Filter EG modulates the Filter A and B cutoff frequen‐ board, and a ramp of +99 changes the frequency by 2 cies over time. You can control how strongly the EG will octaves for every octave of the keyboard. affect the filters in three different ways: • Set an initial amount of EG modulation, using the Bottom-Low [–Inf, –99...+99, +Inf] Intensity to A and B parameters. This sets the slope between the bottom of the MIDI note range and the Key Low key. For normal key track, use nega‐ •...
Program Edit When “Intensity to A” is set to a positive (+) value, the EG’s effect will match its shape. When the EG rises above 0, the cutoff frequency will increase. With negative (–) values, the effect will be in the opposite direction; when the EG rises above 0, the filter cutoff will decrease. Velocity to B [–99...+99] This lets you use velocity to scale the amount of the Filter EG applied to Filter B. For more information, please see “Velocity to A,” above. Intensity to B [–99...+99] This controls the initial effect of the Filter EG on Filter B’s cutoff frequency, before any velocity or AMS modulation. For more information, please see “Intensity to A,” above. AMS Source (Filter EG) [List of AMS Sources] This selects any AMS modulation source to scale the amount of the Filter EG applied to Filters A and B. The two filters share a single AMS source, with separate intensity settings. Otherwise, the AMS modulation will work in the same way as the Velocity to A parameter, described above. For a list of AMS sources, please see “Alternate Modulation Source (AMS)” on page 121. AMS Int to A [–99...+99] This controls the depth and direction of the EG AMS modu‐...
Filter Filter1 LFO Mod. AMS Int to A [–99...+99] Filter1 LFO Mod. This controls the depth and direction of the LFO1 AMS modulation for Filter A. LFO1, LFO2, and the Common LFO can all modulate Filter For example, if AMS is set to JS+Y: CC#01, positive settings A and B’s cutoff frequencies. You can control the strength of mean that YS+Y will increase the amount of LFO1 applied to each LFO’s modulation independently for each filter, in Filter A. three different ways: AMS Int to B [–99...+99] • Set an initial amount of LFO modulation, using the Intensity to A and B parameters. This controls the depth and direction of the LFO1 AMS modulation for Filter B. • Use JS‐Y to scale the amount of the LFO. • Use any AMS source to scale the amount of the LFO. You can use each of these methods for each of the three LFO 2 LFOs, and do so separately for both Filter A and Filter B. The results are added together to produce the total LFO The parameters for LFO2 are identical to those for LFO1. ...
Program Edit Attack [–99...+99] Filter1 EG This sets the level at the end of the Attack time. Break [–99...+99] The Filter EG, or Envelope Generator, lets you create com‐ plex, time‐varying changes to the cutoff frequencies of Fil‐ Break, short for Break Point, sets the level at the end of the ters A and B. The parameters on this page control the shape Decay time. of the EG. Among other things, you can: Sustain [–99...+99] • Create the basic EG shape by setting the levels and times This sets the level at the end of the Slope time. Once it of each segment. reaches the Sustain level, the EG will stay there until note‐ • Control the curvature of each EG segment, for subtle off, unless it is reset via AMS. control over the modulation shape of the EG. • Set up complex modulation of EG levels and times. Release [–99...+99] This sets the level at the end of the Release time. • Set up an AMS source, such as an LFO, to restart the EG. To control how much effect the EG has on the filters, use the Filter EG parameters on the Filter1 Modulation page, as Time described under ( “Filter EG” on page 18). Higher values mean longer times, as shown below: Filter EG is also an AMS source EG Value Actual Time...
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Filter Filter1 EG Curve Filter EG Time Modulation AMS=Velocity, Intensity = a positive (+) value The explanation of the filter EG curve is same as for pitch Note-on Note-off Note-on Note-off Note-on Note-off EG curve. Please see “Curve” on page 32. Attack [0L (Linear), 1...9, 10E (Exp/Log)] This sets the curvature of the Attack segment ‐ the transition “Attack”=+, “Decay”=+, “Attack”=+, “Decay”=+, “Attack”=–, “Decay”=–, from the Start level to the Attack level. “Slope”=+, “Release”=+ “Slope”=+, “Release”=+ “Slope”=–, “Release”=–...
Program Edit Filter2 This page controls Oscillator 2’s basic filter 2 settings. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1. ( “Filter1” on page 35) Filter2 Modulation This page controls Oscillator 2’s filter modulation. It is avail‐ able only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1. ( “Filter1 Modulation” on page 38) Filter2 LFO Mod. This page controls Oscillator 2’s LFO filter modulation. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1. ( “Filter1 LFO Mod.” on page 41) Filter2 EG This page controls Oscillator 2’s Filter EG. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1. ( “Filter1 EG” on page 42)
Amp Filter2 EG Oscillators 1 and 2 have separate controls for volume (also If both CC#7 and CC#11 are used simultaneously, the called “amplitude,” or “amp” for short); pan; and as well as one with the lower value determines the maximum vol‐ dedicated amp envelopes and keyboard tracking genera‐ ume, and the one with the higher value scales down tors. from that maximum. This is controlled on the global MIDI channel (page 72). These pages let you control all of these related parameters. Among other things, you can: [RND, L001...C064...R127] • Set the pan position and pan modulation. This controls the stereo pan of Oscillator 1. A setting of L001 • Control amp level and modulation, including keyboard places the sound at the far left, C064 in the center, and R127 tracking, the amp envelope, LFO modulation, and AMS to the far right. control. When this is set to RND (Random), the pan position will be Note that when the Oscillator Mode is set to Single, only different for each note‐on. Oscillator 1’s amp and pan are active; the pages for Oscilla‐ You can also control pan via MIDI Pan (CC#10). A tor 2 will be grayed out. CC#10 value of 0 or 1 places the sound at the far left, 64 places the sound at the location specified by the Pan parameter, and 127 places the sound at the far right. Amp1 This is controlled on the global MIDI channel (page 72). This page controls the basic settings for the Amp section. Pan AMS Src (Pan AMS Source)[List of AMS Sources] Here, you can: This selects an AMS source to modulate Pan. For a list of ...
Amp2 The total effect of the modulation can increase the volume to This page controls Oscillator 2’s basic level and Pan settings. a maximum of two times louder than the Amp “Level” set‐ It is available only when the Oscillator Mode is set to Dou‐ ting. ble; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1 Keyboard Track ( “Amp1” on page 45). Keyboard tracking lets you vary the volume as you play up and down the keyboard. Usually, some amount of key track‐ ing is necessary in order to make the volume consistent across the entire range. PS60’s keyboard tracking can be fairly complex, if desired. You can create different rates of change over up to four dif‐ ferent parts of the keyboard. For instance, you can: • Make the volume increase very quickly over the middle of the keyboard, and then increase more slowly–or not at all–in the higher octaves. • Make the volume increase as you play lower on the keyboard. • Create abrupt changes at certain keys, for split‐like effects. How it works: Keys and Ramps The keyboard tracking works by creating four ramps, or slopes, between five keys on the keyboard. “Break Key” on page 38...
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Amp Amp1 Modulation Differences from other Keyboard Tracks Amp Modulation There are several differences between the Amp keyboard tracking and the Filter and Common keyboard tracking. You can modulate the Amp level by both velocity and an AMS source. For example, the results of the Ramp values are different. As This modulation scales the basic Amp level and Amp EG shown in the graphic “Amp Keyboard Tracking,” below, level parameters. The resulting volume is determined by negative slopes are more steep than positive slopes. multiplying the volume changes of the amp EG by other Also, the amp does not have separate control of Intensity. values such as AMS. If these original levels are low, the Instead, Intensity is always fixed at the maximum amount, maximum volume available with modulation will also be allowing keyboard tracking to change the volume from reduced. complete silence to twice as loud as the programmed level. Bottom-Low [–Inf, –99...+99, +Inf] Velocity This sets the slope between the bottom of the MIDI note range and the Key Low key. For normal key track, use nega‐ Intensity [–99...+99] tive values. With positive (+) values, the volume will increase as you play harder. Low-Center [–Inf, –99...+99, +Inf] With negative (–) values, the volume will decrease as you ...
Program Edit Time Amp1 EG Higher values mean longer times, as shown below. These parameters let you create time‐varying changes in the EG Value Actual Time volume of oscillator 1. 10 ms 44 ms Envelope 104 ms 224 ms These parameters specify how the amp 1 EG will change over time. 464 ms 944 ms Amp EG Start Attack Break Sustain 1.8 seconds Level Level Level Level 3.8 seconds 10.9 seconds Volume 87.3 seconds Time Attack [00...99] Attack Decay Slope Release...
Amp Amp2 Modulation Release [0L (Linear), 1...9, 10E (Exp/Log)] Attack [–99...+99] This sets the curvature of the Release segment ‐ the transi‐ This controls the depth and direction of the AMS modula‐ tion from the Sustain level to the Release level. tion for the Attack time. For example, if you set the AMS source to Velocity and set Attack to +99, the Attack time will get much longer at higher Level Modulation velocities. If you instead set At (Attack) to –99, the Attack time will get much shorter at higher velocities. These settings let you use any AMS source to control the When the AMS source is at its maximum value–for instance, Level parameters of the EG. The Start, Attack, and Break when Velocity is at 127–a setting of +8 will make the seg‐ levels share a single AMS source, but can each have differ‐ ment time almost twice as long, and a setting of –8 will cut ent modulation intensities. the segment time almost in half. “Level Modulation” on page 33 Decay [–99...+99] This controls the depth and direction of the AMS modula‐ tion for the Decay time. Source [List of AMS Sources] Slope [–99...+99] This selects an AMS source to control the EG’s Level param‐...
Program Edit Each of the Oscillators 1, 2 has two LFOs, which you can use LFO1, LFO2 to modulate the filter, amp, pitch, and many other parame‐ ters. Waveform [Triangle...Random6 (Continuous)] The two Oscillators also share a single Common LFO, simi‐ This selects the basic LFO waveform, as shown in the lar to the global LFO on some vintage analog synths. graphic below. These pages let you set up all of the parameters for all five Most of the waveforms should be self‐explanatory, but a few LFOs. will benefit from more details: Guitar is intended for guitar vibrato, and its shape is specif‐ ically tuned for this purpose. The waveform is positive‐only, OSC 1 so that when used for pitch, it will only bend up, and not down. Here you can specify the LFO1 and LFO2 waveforms for Random1 (S/H) generates traditional sample and hold oscillator 1. These settings allow you to do the following waveforms, in which the level changes randomly at fixed things. intervals of time. • Select the basic waveform for LFO1 and 2, and use Random2 (S/H) randomizes both the levels and the timing. “Shape” to modify it. Random3 (S/H) generates a pulse wave with random tim‐ • Specify the frequency for LFO1 and 2. ing. It’s the opposite of traditional sample and hold; the tim‐ ing varies, but the levels don’t. LFO waveform Rnd1(S/H) Rnd4(Cnt) Triangle...
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LFO Amp2 EG Random4–6 (Continuous) are smoothed versions of Ran‐ OSC 2 dom 1–3, with ramps instead of steps. You can use them to create more gentle random variations. Here you can specify the LFO1 and LFO2 waveforms for oscillator 2. Frequency [00...99] The parameters are the same as the LFO1 and LFO2 settings This controls the speed of the LFO, before any modulation. for oscillator 1 ( “OSC 1” on page 50). Higher values mean faster speeds, as shown in the table below. Waveform [Triangle...Random6 (Continuous)] By using AMS modulation, you can also get speeds much This selects the basic LFO waveform. faster and much slower than are available through this basic “Waveform” on page 50 setting. Frequency [00...99] Frequency Value Frequency in Hz This controls the speed of the LFO, before any modulation. 0.014 Hz “Frequency” on page 51 0.112 Hz Start Phase [–180...+180, RND (Random)] 0.422 Hz...
Program Edit Offset settings and pitch change produced by vibrato OSC1 LFO1 Offset = –99 Offset = 0 Offset = +99 This page has all of the controls for the first LFO of Oscilla‐ Pitch tor 1. For instance, you can: • Control the LFO’s frequency, and assign AMS controllers to modulate the frequency. The one exception to this is the Guitar waveform, which is • Use the “Key Sync” parameter to choose whether the designed to emulate bending a string on a guitar–so that the LFO runs separately for each voice, or is synchronized pitch only goes up, and not down. Because of this, the wave‐ across all of the voices form is centered on 50, and not on 0. Of course, you can • Use the “Fade” and “Delay” parameters to control how always use a negative Offset to shift it back down below 0 long the LFO waits to start after note‐on, and whether it again! starts abruptly or fades in slowly.
LFO OSC1 LFO2 When AMS is at its maximum value (for example by mov‐ Times [01...32] ing the joystick fully away from yourself), the AMS affects This multiplies the length of the Base Note. For instance, if the frequency as shown below: the “Base Note” is set to a sixteenth note, and “Times” is set to 03, the LFO will cycle over a dotted eighth note. Intensity Change to LFO Frequency Faster OSC1 LFO2 This is Oscillator 1’s second LFO. Its parameters are exactly the same as those for the first LFO–except that LFO1 cannot –16 1/2x modulate LFO2. –33 1/4x “OSC1 LFO1” on page 52 –49 1/8x Slower –66 1/16x –82 1/32x –99 1/64x OSC2 LFO1 IntMod Src (Intensity Mod AMS) This page controls Oscillator 2’s first LFO. It is available only ...
Program Edit Offset [–99...+99] Common LFO By default, almost all of the LFO waveforms are centered around 0, and then swing all the way from –99 to +99. This parameter lets you shift the LFO up and down, so that–for Differences from LFO1/2 instance–it’s centered on 50, and then swings from –49 to The Common LFO starts running as soon as you select the +149. Program, and only resets when you tell it to do so explicitly For a complete description, please see the entry under LFO1 via the Reset Source control, below. This is different from ( “Offset” on page 52). LFO1/2’s “Key Sync” parameter, which resets whenever all notes are released. The Common LFO’s persistence can be handy if you want to Frequency Modulation create a constant rhythm with an LFO, and then play “underneath” that rhythm without re‐triggering it. For These parameters are identical to the Frequency Modulation instance, you can use a MIDI controller in your sequencer to settings for LFO1. reset the Common LFO every few bars, regardless of what “Frequency Modulation” on page 52. notes are being played. The Common LFO has most of the same controls as LFO1/2. However, it does not include the “Delay,” “Fade,” and “Key Frequency MIDI/Tempo Sync Sync” settings, since these only make sense for per‐voice ...
AMS Mix/C.KeyTrk (AMS Mixer/Common Keyboard Track) Common LFO AMS Mix/C.KeyTrk (AMS Mixer/Common Keyboard Track) Each Oscillator has two AMS Mixers, which are simple but AMS Mixer1 powerful tools for combining and modifying AMS signals. Mixer Type [A+B, Amt AxB, Offset, Smoothing, The two Oscillators also share two Common keyboard Shape, Quantize, Gate Control] tracking generators, in addition to the dedicated keyboard This controls the type of processing performed by AMS tracking for the Filter and Amp. Mixer 1. Each of the Mixer Types is discussed in detail over These pages let you control all of these modulation sources. the next several pages. Note that when the Oscillator Mode is set to Single, only A+B adds two AMS sources together. For more information, Oscillator 1’s AMS Mixers are active; the pages for Oscillator please see “A+B” on page 56.. 2 will be grayed out.
Program Edit AMS Mixer2 OSC1 AMS Mix Mixer Type [A+B, Amt AxB, Offset, Smoothing, Shape, Quantize, Gate Control] This is the second AMS Mixer for Oscillator 1. The parame‐ AMS Mixer1 ters are exactly the same as those for AMS Mixer 1. “AMS Mixer1” on page 55. AMS Mixer, Type = A+B OSC 2 Amt A This page controls the two AMS Mixers for Oscillator 2. These are available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. AMS A The parameters are identical to those for Oscillator 1. Output “OSC1” on page 55 AMS B Amt B...
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AMS Mix/C.KeyTrk (AMS Mixer/Common Keyboard Track) OSC1 AMS Mix Amt AxB Now you can use the foot switch connected to the PS60 to turn AMS A on/off. AMS Mixer, Type =Amt A x B AMS A Output Offset AMS Mixer, Type = Offset AMS B Amt A Offset A Amt B Amt A AMS A Output This Mixer Type uses AMS B to scale the amount of AMS A. ...
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Program Edit Offset [–199...+199] AMS A Source [List of AMS Sources] This controls the amount of offset for AMS A. This selects the AMS input source to be shaped. Setting Offset to +199 shifts an AMS input of –99 all the way For a list of AMS sources, please see “Alternate Modulation to +99. In conjunction with high AMS A Amount values, this Source (AMS)” on page 121. can be useful for creating clipped shapes, such as shown in Shape [–99...+99] the last of the “AMS Mixer Offset examples,” above. This controls the amount of curvature, and whether the curves are concave or convex. As you can see in the graphic Smoothing examples, the shape will tend to emphasize certain value ranges, and de‐emphasize others. This Mixer Type smooths out the AMS input, creating more gentle transitions between values. You have separate control For example, let’s say that you are using a triangle LFO, of the amount of smoothing during the attack (when the sig‐ through Shape, to modulate filter cutoff. If Shape empha‐ nal is increasing) and decay (when it’s decreasing). sizes the high value range, the filter will spend more time at the higher frequencies. If it emphasizes the low range, the The higher the Attack and Decay settings, the more the filter will spend more time at the lower frequencies. input will be smoothed. Low settings provide subtle controller smoothing, creating Mode [Symmetric, Asymmetric] more gradual aftertouch, for instance. Higher settings create ...
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AMS Mix/C.KeyTrk (AMS Mixer/Common Keyboard Track) OSC1 AMS Mix AMS Mixer Shape examples AMS A Source [List of AMS Sources] This selects the AMS input source to be quantized. Bipolar Triangle Wave Asymmetric For a list of AMS sources, please see “Alternate Modulation Source (AMS)” on page 121. Steps [2...32] This controls the severity of the effect. The lower the num‐ ber of steps, the more “steppy” the output will be. –99 For instance, when this is set to 2, there will be “steps” at 0, 50, and 99. With a bipolar AMS input, there will also be Symmetric steps at –50 and –99. As another example, when it is set to 5, there will be steps at 0, 20, 40, 60, 80, and 99 (as well as –20, –40, –60, –80, and –99 for bipolar inputs). –99 Tip: Quantized Joystick Pitch Bend You can use the joystick to create quantized pitch bends that ...
Program Edit Gate Output 4. Set Below Threshold to a Fixed Value of +00. 5. Set At & Above Threshold to AMS B: JS X. If the value of the Control Source is less than the “Thresh‐ 6. On the OSC Pitch page, assign the AMS Mixer to control old,” the Gate outputs the preset value or AMS source the pitch. selected under “Below Threshold.” If the value of the Control “Source” is greater than or equal 7. Turn off the foot switch, and while holding down a to the “Threshold,” the Gate outputs the preset value or chord, move the joystick in the X‐direction. The pitch AMS source selected in the At & Above Threshold parame‐ will not change. ter. (If the pitch changes, go to the OSC Pitch page and set Pitch “JS (+X) and “JS (–X)” to +00.) Below Thresh. [Fixed Value, AMS A] 8. Turn on the foot switch, and add a new note to the This selects whether Below Threshold uses a preset value, or previous chord. the selected AMS source. 9. Move the joystick in the X‐direction; pitch bend will be Fixed Value [–99...+99] applied only to the newly‐played note.
High Break [C–1...G9] What does Keyboard Tracking do? This specifies the note that will be the break point connect‐ At its most basic, keyboard tracking lets you vary the modu‐ ing the two sloped lines in the high region. lation amount as you play up and down the keyboard. This can be useful for making the timbre consistent across the entire range, or adjusting parameters according to pitch. Ramp The PS60 keyboard tracking can be fairly complex, if Please see “Ramp” on page 38. desired. You can create different rates of change over up to four different parts of the keyboard. For instance, you can: Bottom-Low [–Inf, –99...+99, +Inf] • Make the modulation increase very quickly over the This sets the slope between the bottom of the MIDI note middle of the keyboard, and then increase more slowly– range and the Low Break key. For normal key track, use or not at all–in the higher octaves. negative values. • Make the modulation increase as you play lower on the Low-Center [–Inf, –99...+99, +Inf] keyboard.
Program Edit +Inf and –Inf ramps +Inf and –Inf are special settings which create abrupt changes for split‐like effects. When a ramp is set to +Inf or – Inf, the keyboard tracking will go to its extreme highest or lowest value over the span of a single key. +Inf and –Inf Ramps Ramp = +Inf Ramp = –50 Ramp = –Inf Key Low Center Key High Note: If you set the Center‐High ramp to +Inf or –Inf, the High‐Top parameter will be grayed out. Similarly, if you set the Low‐Center ramp to +Inf or –Inf, the Bottom‐Low ramp will be grayed out. Keyboard Track 2 This is the second Common keyboard tracking generator. Its parameters are exactly the same as those for Keyboard Track 1. “Keyboard Track 1” on page 61...
IFX (Insert Effect) Common KeyTrack (Common Keyboard Track) IFX (Insert Effect) Here, you can adjust settings for the insert effects. Separately from this setting, you can use CC#92 to turn off all insert effects. A value of 0 turns them off, and a For more information, please see “Effect Guide” on page 79. value of 1–127 returns them to their original settings. The [IFX] and [MFX/EQ] tab pages allow you to edit all of This is controlled on the global MIDI channel specified the effect parameters that cannot be edited from the PS60 by ʺMIDI Channel (Global MIDI Channel)ʺ (page 72). itself. Parameter names shown in purple are the effect parameters that can be edited from the PS60. Send1 (Mod) [000...127] Send2 (Rev) [000...127] These adjust the level at which the post‐IFX signal is sent to IFX Routing master effects 1 and 2. This is valid if “Bus (Bus Select)” is Here you can view and edit the settings for the selected set to L/R or Off. insert effect, its on/off status, and the send level to the mas‐ You can use CC#93 to control the Send 1 level and ter effect. CC#91 to control the Send 2 level. These are controlled on the timbreʹs MIDI channel (page 7).
Program Edit Insert Effect (IFX) Here you can edit the parameters of the insert effect that you selected in the IFX Routing page. Effect dynamic modulation (Dmod) is controlled on the MIDI channels set for the corresponding timbres (page 7). For more information, please see “Dynamic Modu‐ lation Source (Dmod)” on page 127. IFX1 Parameters Here you can edit the effect parameters for the insert effect selected in the IFX page IFX Routing. For details on insert effects, refer to “Insert Effects (IFX)” on page 81. The PS60 Editor allows you to edit all of the effect parame‐ ters. In the tables on page 81 and following that explain the effect parameters, items listed in the “Full parameter” section are the parameters that can be edited using the PS60 Editor/ Plug‐In Editor.
[No Effect, Stereo Chorus, Stereo Flanger, Vintage Cho/Flg, Stereo Phaser] EQ. For instance, you can: • Route a sound to the master effects MFX2 [No Effect, Hall, Plate, Room, Delay] • Make detailed settings for the master effects and EQ These select the effect type for each master effect (page 117, page 119). Click the effect type, and choose from the list that For more information, please see “Effect Guide” on page 79. appears. The IFX and MFX/EQ tab pages allow you to edit all of the If you choose No Effect, the output from the master effect effect parameters that cannot be edited from the PS60 itself. will be muted. Parameter names shown in purple are the effect parameters that can be edited from the PS60. Return 1 [000...127] Return 2 [000...127] MFX&EQ Routing These specifies the return level from the master effect to the L/R bus (after which it passes through EQ, and is sent from Here you can specify the type of master effects, and turn OUTPUT L/MONO and R).
Program Edit MFX1 MFX1 Parameters Here, you can edit the parameters of the master effect selected in the MFX/EQ page. For more information, please see “Effect Guide” on page 79. Effect dynamic modulation (Dmod) is controlled on the global MIDI Channel “MIDI Channel” on page 72. For more information, please see “Dmod List (Dynamic Modulation Source List)” on page 127. MFX2 These pages let you edit the parameters of Master Effect 2. To select different effects types, use the MFX/EQ page. The parameters for MFX2 is the same as for MFX1. The EQ is a three‐band stereo EQ. It is located immediately before the L/R bus is output from the AUDIO OUTPUT L and R, and applies equalization (adjustment of the tonal character) to the overall sound ( ʺEQ (Equalizer),ʺ page 120).
Swap Oscillator is available on all of the tabs under the 2. Adjust the settings in the dialog box. Quick, Basic, OSC/Pitch, Filter, Amp pages. For details on the contents of each dialog box, refer to the Note: This can be selected only if Oscillator Mode (page 22) explanation for each command. is Double. 3. Click the OK button to begin, or click the Cancel button if you decide not to continue. Copy EG Write Program This command copies EG settings. Copy EG is available on all of the tabs under the Filter, Amp This command saves the edited program to the PS60ʹs inter‐ pages. nal memory. You can use this to do the following. 1. Use “From” to select the copy‐source EG. • Save the changes you made. • Rename a program. 2. Use “Program” to select the copy‐source program. • Specify the category of a program. 3. Use “To” to select the copy‐destination EG. • Copy a program to a different bank and program number. Copy LFO Select Category [A.PIANO...SYNTH] This command copies LFO settings.
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Program Edit [All, Mod. Rev/Dly, EQ] Transmit Current Prog Specify whether you want to copy effect settings and/or EQ settings. Transmits the program data currently selected in the PS60 Editor/Plug‐In Editor to the PS60 to the PS60. Load... All Sound Off Loads the PS60 Editor/Plug‐In Editor data that was previ‐ ously saved on the computer. Depending on the host application, ʺhungʺ notes may occur while using the hostʹs functions. If this happens, please use the ʺAll Sound Offʺ command. Save... Saves data from the PS60 Editor/Plug‐In Editor to your com‐ puter as a file. All Program (*.PS6apr): All programs Bank Program (*.PS6bpr): programs of one bank Program (*.PS6pr): One program Note: These functions load or save the data as dedicated files for the editor application. Receive All Note: These Receive and Transmit commands use the KORG SysEx MIDI Dump to send or receive data, or to synchro‐ nize the data between the PS60 and the software. Don’t touch the keyboard or the mouse of your com‐ puter while data is being sent or received. Also, don’t touch the panel switches or the keyboard of the PS60 itself. Receives all data from the PS60 data into the editor.
Global Panel The upper part of the PS60 Editor panel simulates the main buttons and knobs of the PS60ʹs own front panel. These cannot be edited in Global mode. Software Setup Global mode Software Setup lets you specify the default set‐ this process is completed, the data you checked in Total tings that the PS60 Editor will use when it starts up. This set‐ Recall & Data Sync Setting will be loaded via data dump. ting is saved when you use the UTILITY command Save as Default, and will be remembered the next time you start up. Local Control Total Recall & Data Sync Settings Auto Local Control This setting automatically sets the PS60’s Local Control set‐ Here you can specify the editor data that will be saved and ting to the appropriate state when you start up the editor. loaded as part of the song data by your DAW software. This We recommend that you normally leave this parameter on. setting lets you save only the data you need. When the PS60 The PS60’s Local Control setting will be reset to its original Editor starts up, the types of data that you’ve checked here state when you close the editor. will also be loaded automatically from the PS60 that’s con‐ nected to your computer. (In other words, this data will be synchronized.) Since a data dump requires a certain amount MIDI Settings of time, you may wish to shorten the startup time by using the Load Data File Automatically function instead of this Here you can adjust the settings for MIDI connections ...
Global Basic/MIDI Controllers Settings in the Basic/MIDI Controllers – Category pages Key Transpose [–12...+00...+12] are remembered while the PS60 Editor / Plug‐In Editor This adjusts the pitch in semitone steps over a ±1 octave is running, but will return to the settings prior to start‐ range. up when you close the PS60 Editor / Plug‐In Editor. By This setting is applied at the location (PreMIDI or PostMIDI) clicking the DUMP button located in the upper right of specified by “Convert Position” (page 72). each Global mode page, the settings at that time will be MIDI number transmitted by thePS60 saved on the PS60 itself. –12 24...84 36...96 48...108 Basic Setup (C1...C6) (C2...C7) (C3...C8) Here you can adjust settings such as master tuning, turn all Note: If Convert Position is set to PreMIDI, the note numbers effects on/off, and specify the memory protect setting. transmitted from the PS60 will be affected by the Key Trans‐ The parameters is the same as for PS60 Quick parameters. pose setting. Master Tune” can be controlled by the MIDI universal “ Basic System Exclusive message Master Fine Tuning (F0, 7F, ...
PostMIDI, the curve is applied immediately before the sound generator. In the case of PreMIDI, your keyboard playing dynamics are modified as shown by transmission curves 1–8 (lower left diagram), and reception is fixed at curve 4 linear (diagram Aftertouch effect at lower right). 8:RANDOM In the case of PostMIDI, your keyboard playing dynamics are transmitted according to transmission curve 4 linear (lower left diagram), and will be interpreted according to reception curve 1–8 (lower right diagram). 1, 2: This curve produces change when strong aftertouch If you’re using the PS60 as a MIDI sound module, and want pressure is applied. to adjust the overall brightness of the sound, set “Convert 3 (Normal): The normal curve. Position” (page 72) to PostMIDI and select the appropriate 4, 5: This curve produces change even when light pressure is velocity curve. applied. For a setting of PreMIDI For a setting of PostMIDI 6, 7: These curves produce change in 24 or 12 steps. Curve Velocity (KBD→MIDI Out) Velocity (MIDI In→TG) number 7 allows change over twelve steps, so when using ...
[Off, On] messages This setting protects the internal performance memory. On: Internal performance memory will be protected, and MIDI received the following write operations cannot be performed. Performances can be switched by program changes received • Writing a performance on the global MIDI channel (page 73). • Loading preloaded performance data Use the global MIDI channel if you want to turn All IFXs • Receiving performance data via MIDI data dump (CC#92), MFX1&2 (CC#94) on/off via MIDI. Off: Data can be written to internal performance memory. MIDI output when playing the PS60 In Performance, this data will be transmitted simultane‐ ously on the global MIDI channel and on the MIDI channels of timbres whose “Status” (page 7) is set to EXT or EX2. Local Control On [Off, On] On: Youʹll be able to use the PS60’s knobs, keyboard, or joy‐ stick etc. to control the PS60’s sound generator section. Choose the On setting if youʹre playing the PS60 by itself. Off: The PS60’s knobs, keyboard, and joystick etc. will be internally disconnected from the tone generator section. This means that your performance on the PS60 (i.e., opera‐ tions of the keyboard or joystick) will not produce sound. Choose the Off setting if echo‐back from your external ...
This setting has no effect on the MIDI data that is since the PS60 does support aftertouch as an Alternate Mod‐ received ulation Source (AMS), it can receive aftertouch to control. Control Change (Ctrl Chg) [Off, On] MIDI OUT MIDI IN PS60 On: Control change messages will be transmitted and received. Another PS60 Off: Control change messages will neither be transmitted EVEN nor received. SysEx (System Exclusive) [Off, On] MIDI IN PS60 On: System exclusive data will be transmitted and received. MIDI OUT MIDI IN MIDI OUT MIDI Patchbay You should also turn this on if youʹve connected the PS60 to ...
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For more information, please see “List of Foot Switch within the full range of the X‐axis, JS Y Lock within the full assignments” on page 128. range of the Y‐axis, JS +Y Lock within the +Y axis, JS ‐Y Lock within the ‐Y axis, and JS X&Y Lock within the full ranges of Foot Pedal function [List of Foot Pedal Assign] the X‐axis and Y‐axis. This is shown if “Type” is set to Switch. Specify the function that will be controlled by the pedal switch (PS‐1, sold sepa‐ rately) connected to the PEDAL/SW2 jack. ( “List of Foot Switch assignments” on page 128) Damper/Switch Polarity [(–) KORG Standard, (+)] Set this to match the polarity of the damper pedal or pedal For example if you choose JS+Y Lock, and then move the switch thatʹs connected to the PEDAL/SW2 jack. joystick away from yourself and turn Lock on, the joystick If youʹve connected a Korg damper pedal (separately sold (+Y) operation will be locked (held) at that position; modu‐ DS‐1H) or a Korg pedal switch (separately sold PS‐1), lation will continue to be applied even when you return the choose the ‐Korg setting, since these products use a ‐ (↓) joystick to its original position. You can then move the joy‐ polarity. If youʹve connected a damper pedal or pedal stick in the ‐Y direction to apply both types of modulation ...
User Scale User Scale Here, you can select the settings for four different User User All Notes Scale Octave Scales and one User All Notes Scale. The user scales you create here can be selected from the fol‐ Tune [–99...+99] lowing pages. Makes independent pitch settings for each of the 128 notes. • Perf: Timbre Param‐Scale Adjust the pitch of each of the 128 notes (C–1 – G9) in one‐ • Prog: Basic–Scale cent steps. This adjustment is relative to equal temperament. If you want to keep the user scale youʹve specified, you A setting of –99 lowers the pitch approximately a semitone must save it. Either use the utility command “Write below normal pitch. Global Setting.” or click the DUMP button located in A setting of +99 raises the pitch approximately a semitone the upper right. above normal pitch. Use the keyboard at the bottom of the window to select the key whose setting you want to edit. User Octave Scale By using the utility command Copy Scale, you can copy set‐ User Octave Scale [User Octave Scale 00...03] tings from a preset scale (including Stretch) or another user ...
Global Category Programs are organized into sub‐categories. You can assign a Program to a category and sub‐category during the utility command Write process. To save changes to sub‐category names, you’ll need to write the Global settings. To do so, use the utility com‐ mand “Write Global Setting.” The main category can not be edited, fixed. Category Name Main Category [00...17] Select the main category that includes the sub‐category whose name you want to specify. Sub Category [00...07] Select a sub‐category, and specify its name. You can specify eight sub‐categories for each category.
UTILITY Command UTILITY Command Procedure for utility commands Export 1. Click the UTILITY button, and choose a command from Data created in the PS60 Editor/Plug‐In Editor can be saved the menu that appears. as PCG data for the PS60. 2. Adjust the settings in the dialog box. For details on the contents of each dialog box, refer to the explanation for each command. Save as Default 3. Click the OK button to begin,, or click the Cancel button Writes (saves) the global mode Software Setup settings of if you decide not to continue. the editor as the default settings that will be used when you start up the editor. Write Global Setting Note: These utilities can be selected only in the editor’s global mode Software Setup page. This command writes Global mode settings. Select Auto Load File Copy Scale In the Software Setup page, use “Load data file automati‐...
Effect Guide Overview EQ (stereo three-band EQ) This applies overall equalization to the signal of the L/R bus, The PS60ʹs effects consist of one insert effect for the program and outputs the result to AUDIO OUTPUT L and R. of each timbre (except for the Strings timbre), two master You can use the front panel switches and knobs to edit the effects used by the entire performance, and EQ settings. settings directly. You can also make more detailed edits in You can choose from a total of 71 different types of full‐digi‐ the program or performance edit pages, or in the editor. tal effect: 63 types for the insert effects, and eight types for the master effects. Effect structure for a program A program uses the insert effect as an important part of cre‐ ating the sound, just as it uses the Filter and Amplifier sec‐ Effect structure tions to process the sound thatʹs output from the oscillators (OSC 1&2). As mentioned above, each program can use one Insert effects insert effect. Then the master effects are used to apply spa‐ tial processing such as chorus and reverb, and last, the EQ is You can use the following insert effects on each timbre cate‐ applied to adjust the final character of the tone. gory. Effect types 62: Organ Vib/Chorus and 63: Rotary Speaker can be used only with programs of the Organ cate‐ gory. Programs of the Strings category cannot use an insert Effect structure for a performance effect.
If you change the category and then save the program, the following will occur. Dynamic modulation (Dmod) • If you save a program to the Strings category from a Dynamic modulation lets you control certain effects param‐ different category, the insert effect will not be available. eters in real‐time, using either the built‐in controllers or • If you save a program from the Strings category to a MIDI. These effect parameters are marked with the logo different category, the insert effect will change to 00: No Effect. For more information, please see “Dynamic Modulation • If youʹve assigned insert effect 62: Organ V/C or 63: Sources (Dmod)” on page 127. Rotary SP to a program of the Organ category, and then save the program to a different category, the insert effect Tempo Synchronization will change to 00: No Effect. You can synchronize some effects parameters, such as LFO speeds and delay times, to the system tempo. This lets you sync the effects to Program LFOs, or an external MIDI clock. Editing effect parameters on the PS60 These effects parameters are marked with the logo itself On the PS60 itself, you can only edit the main parameters of each effect. On the tables that explain the effect parameters on page 83 and following, the parameter names are listed in either “Full parameter” or “Quick parameter.” If a parameterʹs name is ...
Return1, 2 Master Volume Program Dynamic modulation to control an effect parame- OSC 1/2 Volume ter in realtime Input Send1/2 Effect Trim parameter Use the PS60 Editor / Plug‐In Editor to make these settings. Effect Wet/Dry parameter 1. Select any desired program from other than the Strings Output Return1, 2 timbre, and then enter Program Edit mode. 2. Access the IFX page. *1 Some effects may not have these parameters. 3. In IFX Select, set ʺIFXʺ to 029: Stereo Phaser. Notice that *2 These are quick parameters that can be edited from the ...
Send1 responds to CC#93 and Send2 responds to CC#91. For MFX1, this setting will be the level. For MFX2, the ʺLevelʺ specified by the effect is multiplied by the ʺReturn 1ʺ or ʺReturn 2ʺ value to determine the level at which the sig‐ nal is sent to the L/R bus. This signal is then mixed with the Controlling the Insert Effects via L/R output. MIDI For example if the MFX2 ʺLevelʺ is 64 (50%) and ʺReturn 1ʺ is 64 (50%), the effect level will be 25%. If ʺLevelʺ is 127 and For an insert effect, you can use the Dynamic Modulation ʺReturn 1ʺ is 127, the effect level will be 100% (the maxi‐ (Dmod) function to control effect parameters in realtime mum). using the PS60ʹs controllers or an external MIDI device. In the same way, you can also control the ʺPan (Post)ʺ setting 2. Chain that follows the insert effect, as well as the ʺSend 1ʺ and The output of MFX1 is sent to the input of MFX2. Even if ʺSend 2ʺ settings. this is On, the output from MFX1 to the L/R bus is not dis‐ You can control the parameters on the global MIDI channel connected. (page 72). 3. Chain Level This sets the signal level from MFX1 to MFX2 when ʺChainʺ is on. Here you can apply overall equalizing (tonal adjustment) to the signal of the L/R bus before it is sent to AUDIO OUT‐ PUT L and R. In addition to the standard peaking type, the Bass and Tre‐...
IFX (Insert effects) List 000: No Effect IFX (Insert effects) List Sensitivity 000: No Effect Level The “Sensitivity” parameter sets the sensitivity of the Select this option when you do not use any effects. The compressor. If this parameter is set to a higher value, lower Insert Effect section outputs unprocessed signals and the level sounds will be boosted. With a higher Sensitivity, the Master Effect section mutes the output. overall volume level is higher. To adjust the final volume level, use the “Output Level” parameter. Compressor - Sensitivity 001: St.Comp (Stereo Compressor) Level This effect compresses the input signal to regulate the level Sensitivity=100 and give a “punchy” effect. It is useful for guitar, and piano Sensitivity=40 sounds. This is a stereo compressor. You can link left and right channels, or use each channel separately. Time Stereo In - Stereo Out Left Wet / Dry Attack...
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Effect Guide Envelope Source 003:St. Limitr (Stereo Limiter) By selecting FX Control 1 or FX Control 2 you can use the signal of FX Control Bus 1 or 2 as the trigger signal. The Limiter regulates the input signal level. It is similar to For instance, you might use a different, unprocessed sound the Compressor, except that the Limiter compresses only as the trigger, or apply a limiter triggered by a different signals that exceed the specified level to lower unnecessary timbre. peak signals. The Limiter applies a peaking‐type EQ to the trigger signal (which controls the degree of the Limiter Envelope effect), allowing you to set any band width to be covered. When L/R Mix is selected for this parameter, the left and This effect is a stereo limiter. You can link left and right right channels are linked to control the Limiter using the channels, or use each channel individually. mixed signal. If L Only (or R Only) is selected, the left and right channels are linked, and the Limiter is controlled via Stereo In - Stereo Out only the left (or right) channel. Left With L/R individually, the left and right channels control the Wet / Dry Gain Adjust Limiter individually. Limiter Side PEQ Envelope - Control...
IFX (Insert effects) List 004: MulLimitr (Multiband Limiter) Trigger Monitor For example, if you do not want to apply compression to the high range, reduce the “High Offset” value down below the Turning this parameter On will cause the trigger signal to be “Threshold” level. In this way, the high range limiter will output, instead of the effect sound. Use this parameter to not respond, and compression will not be applied. check the trigger signal with EQ applied. Usually, this should be set to Off. PEQ Insert 005: St.MstLmt (Stereo Mastering PEQ Cutoff [Hz] Limiter) Gain [dB] This is a stereo limiter that is optimized for mastering songs. These parameters are used to set the EQ amount thatʹs applied to the trigger signal. Stereo In - Stereo Out The Limiter determines whether the compression is applied Left Wet / Dry or not, based on the post‐EQ trigger signal. Setting the ...
Effect Guide Delay Time [ms] Switches the polarity Polarity +, – of gating p.86 This sets the delay time for the input to the gate. When using Sets the level where ← shorter Attack Time settings, you can lengthen the Delay Threshold 0...100 gating is applied p.86 Time so that the sound is input after the gate opens. Sets the attack time ← Attack 1...100 p.86 Sets the release time ←...
IFX (Insert effects) List 008: St.G7EQ (Stereo Graphic 7-Band EQ) Parametric 4EQ - Band1, Band4 Type Sets the balance Dry, 1 : 99... ← Wet/Dry between the effect 99 : 1, Wet and the dry input +Gain Band4 Type=Shelving High Selects a modulation Source Off...Tempo...
Effect Guide Exciter Blend 011: St. Wah (Stereo Wah/Auto This parameter sets the depth (intensity) of the Exciter effect. Positive values give a frequency pattern (to be emphasized) Wah) different from negative values. This stereo wah effect allows you to create sounds that range Emphasis Freq from vintage wah pedal simulations to auto‐wah This parameter sets the frequency to be emphasized. Higher simulations, as well as a wide variety of other settings. values will emphasize lower frequencies. Stereo In - Stereo Out Left Wet / Dry 010: St.Isolat (Stereo Isolator) Envelope Sens Sweep Mode Envelope Shape Auto Response D-mod This is a stereo effect that separates the input signal into low, ...
IFX (Insert effects) List 012: St.VtgWah (Stereo Vintage/Custom Wah) Frequency Bottom LFO Type Frequency Top within the effect itself. Since this lets you use the same LFO for multiple effects, it’s useful when you want to apply The sweep width and direction of the wah filter are various types of modulation in synchronization. determined by the “Frequency Top” and “Frequency Bottom” settings. Sweep Mode=D-mod Frequency Frequency 012: St.VtgWah (Stereo Vintage/ Top=75 Custom Wah) Bottom=60 This effect simulates the tonal character of a vintage wah Top=30 Bottom=25 pedal. You can customize the tone and range settings. -mod -mod Higher Higher Zero Zero...
Effect Guide Sets the number of Auto, Specifies whether the Times x1...x32 notes that specify the Auto Polarity D-mod, auto-wah sweep is LFO speed p.89 normal or inverted Sets the output level Sets the auto-wah’s Output Level Out Level 0...100 Auto Attack of the effect sound attack speed...
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IFX (Insert effects) List 014: St.RndFlt (Stereo Random Filter) Selects the type of Step Base 015: St.MMFltr (Multi Mode Filter) notes that specify the Note LFO speed p.91 Sets the number of This is a multi‐mode filter with four types; low pass, high pass, Times x1...x32 notes that specify the band pass, and band reject. You can use LFO or dynamic LFO speed p.91 modulation to vary the cutoff frequency or resonance.
Effect Guide Env. Pre LPF Sets the modulation Amount –100...+100 amount for Wet/Dry This parameter sets the upper limit of the frequency range where very low harmonics are added. Adjust this parameter if you do not want to add lower harmonics to the higher range. 016: St.SubOsc (Stereo Sub Oscillator) 017: Talk Mod (Talking Modulator) This effect adds very low frequencies to the input signal. It is This effect adds an unusual character, like a human voice, to very useful when simulating emphasizing powerful low the input signal. Modulating the tone via dynamic range. This effect is different from the equalizer in that you modulation, you can create an interesting effect that sounds can add very low range harmonics. You can also adjust the as if the guitar or synthesizer is talking. oscillator frequency to match a particular note number, for use as an octaver. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Stereo In - Stereo Out...
IFX (Insert effects) List 018: St.Decimt (Stereo Decimator) Voice Top Sets the LFO Amount –100...+100 modulation amount of Voice Center the sampling frequency Voice Bottom High Damp Sets the ratio of cut of 0...100 the high range These parameters assign vowels to the top, center, and Resolution Sets the data bit bottom position of the controller.
Effect Guide 019: St. Record (Stereo Analog 020: OD Wah (Overdrive/Hi.Gain Record) Wah) This effect simulates the noise caused by scratches and dust This distortion effect utilizes an Overdrive mode and a Hi‐ on analog records. It also reproduces some of the Gain mode. Controlling the wah effect, the 3‐band EQ, and modulation caused by a warped turntable. the amp simulation will allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds. Stereo In - Stereo Out Left Wet / Dry EQ Trim Pre EQ Analog Record Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Simulation Left Wet / Dry...
IFX (Insert effects) List 021: St.Gt Cab (Stereo Guitar Cabinet) Sets the balance Dry, 1 : 99... ← 021: St.Gt Cab (Stereo Guitar Wet/Dry between the effect 99 : 1, Wet and the dry input Cabinet) Selects a modulation Source Off...Tempo source for Wet/Dry This simulates the acoustical character of a guitar amp’s ...
Effect Guide 022: St.Bs Cab (Stereo Bass 023: Bass Amp Cabinet) This simulates a bass amp. This simulates the acoustical character of a bass amp’s Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out speaker cabinet. Left Wet / Dry Stereo In - Stereo Out Volume Left Wet / Dry Bass Amp Model Cabinet Simulator Trim...
IFX (Insert effects) List 025: TrebleBST (Treble Booster) Amp Type 024: B.Amp Cab (Bass Amp Cabinet Type Recommended Combinations of Bass Amp Models and Model+Cabinet) Cabinets: This simulates a bass amp and speaker cabinet. Amp Type Cabinet Type LA STUDIO LA - 4x10, LA - 1x18 Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry JAZZ COMBO...
Effect Guide this value will produce distortion even at low gain levels. 026: Tube Pre (Tube PreAmp Since this will also change the overtone structure, you can use it to control the tonal character. Modeling) Mic/Pre Amp - Bias This effect simulates a two‐stage vacuum tube preamp. You can make individual settings for two vacuum tubes Bias = 100 Bias = 50 connected in series. This lets you create the warm sound Bias = 0 typical of vacuum tubes. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Satulation = 50...
IFX (Insert effects) List 029: Stereo Phaser Tube Selects a modulation 53...20.00k, Sets the frequency of Source Off...Tempo High Cut T H[Hz] source for LFO speed Thru the high cut filter [Hz] –20.00... Sets the modulation Amount Sets the input gain to +20.00 amount of LFO speed Tube...
Effect Guide 031: OrangePhs (Orange Phaser) Wet/Dry The Mix parameter specifies the amount of effect sound This models a standard model of analog phaser that relative to the direct sound. A setting of 0 produces the achieved great popularity. It gives a sense of movement to direct sound, a setting of about 50 produces chorus, and a electric piano sounds, adding a rich‐sounding phase shift setting of 100 produces a vibrato effect. If you set the Wet/ effect. Dry parameter to Wet, the sound will be output with the mix balance specified by Mix. 032: BlackPhsr (Black Phaser) 034: St.RndPhs (Stereo Random This models a Danish‐made four‐stage phaser that featured a wide range. Phaser) This is a stereo phaser. The effect uses a step‐shape Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left waveform and random LFO for modulation, creating a ...
IFX (Insert effects) List 035: St.EnvPhs (Stereo Envelope Phaser) Sets the number of Sets the balance –Wet... Times x1...x32 notes that specify the between the effect ← Wet/Dry –1 : 99, Dry, LFO speed p.89 and the dry input 1 : 99...Wet p.91, p.99 Selects the type of Step Base...
Effect Guide Voice 1 Pitch MIDI syncs to the MIDI, system tempo; 40– Voice 1 Fine [cents] 40.00... 300 sets the tempo 300.00 manually for this Voice 2 Pitch individual effect p.89 Voice 2 Fine [cents] Selects the type of The Pitch parameter specifies the pitch of resonance by note ...
IFX (Insert effects) List 038: TEX Treml (TEXTREM) Sets the modulation Amount –100...+100 Stereo In - Stereo Out amount for Wet/Dry Left Wet / Dry LFO Waveform Tremolo This parameter sets the basic shape of the LFO. The Vintage waveform models classic guitar‐amp tremolo. Tremolo Tremolo - LFO Waveform Right Wet / Dry LFO Phase LFO: Tri/Sin/Vintage LFO Shape Triangle...
Effect Guide You’ll only hear the effect of this parameter if the input is 040: St.AutPan (Stereo Auto Pan) true stereo, with different signals in the left and right channels. This is a stereo‐in, stereo‐out auto‐panner. The Phase and Stereo Auto Pan - LFO Phase Shape parameters lets you create various panning effects, LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees such as making the left and right inputs seem to chase each L-In L-In L-In other around the stereo field. R-In R-In R-In L-In L-In...
IFX (Insert effects) List 042: St.Ring M (Stereo Ring Modulator) When this is on, the Full Quick Value Explanation LFO speed is set by parameter parameter LFO MIDI BPM/MIDI Off, On BPM, Base Note, and Sync Sets the damping Sync Times, instead of amount of the high Frequency...
Effect Guide Fixed Freq [Hz] 044: P4EQ-Wah (Parametric 4-Band EQ This parameter sets the oscillator frequency when “OSC Mode” is set to Fixed. - Wah/Auto Wah) Note Offset This effect combines a mono four‐band parametric equalizer Note Fine and a wah. You can change the order of the connection. These parameters for the oscillator are used when “OSC Mode” is set to Note (Key Follow). The “Note Offset” sets Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out the pitch difference from the original note in semitone steps. Left Wet / Dry Routing The “Note Fine” parameter fine‐adjusts the pitch in cent ...
IFX (Insert effects) List 045: P4EQ-Phaser (Parametric 4-Band EQ - Phaser) Sets the balance Sets the balance Dry,1 : 99... Dry, 1 : 99... ← ← Wet/Dry between the effect Wet/Dry between the effect 99 : 1, Wet 99 : 1, Wet and the dry input and the dry input Selects a modulation...
Effect Guide Selects the Wet/Dry 048: Comp-OD (Compressor - [W]Source Off...Tempo modulation source for the wah Overdrive/Hi.Gain) Sets the Wet/Dry [W]Amount –100...+100 modulation amount for the wah This effect combines a mono compressor and an overdrive/ Switches the order of Comp ↓ Wah, high‐gain distortion. You can change the order of the effects. Routing Route the compressor and Wah →...
IFX (Insert effects) List 049: Comp-P4EQ (Compressor - Parametric 4-Band EQ) 049: Comp-P4EQ (Compressor - 050: Comp-Phsr (Compressor - Parametric 4-Band EQ) Phaser) This effect combines a mono compressor and a four‐band This effect combines a mono compressor and a phaser. You parametric equalizer. You can change the order of the can change the order of the effects. effects. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet / Dry...
Effect Guide Limiter - Threshold / Ratio 051: Lmtr-P4EQ (Limiter - Ratio=1.0 : 1 Parametric 4-Band EQ) Output Level Ratio=2.0 : 1 This effect combines a mono limiter and a four‐band Threshold Ratio=4.0 : 1 parametric equalizer. You can change the order of the Ration=Inf : 1 effects. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Louder Left Wet / Dry...
IFX (Insert effects) List 053: Xctr-Comp (Exciter - Compressor) Sets the balance Dry, 1 : 99... ← 054: Xctr- Lmtr (Exciter - Limiter) Wet/Dry between the effect 99 : 1, Wet and the dry input Selects a modulation This effect combines a mono exciter and a limiter. You can Source Off...Tempo source for Wet/Dry change the order of the effects.
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Effect Guide 055: Xctr- Phsr (Exciter - Phaser) 056: OD-Amp (Overdrive/Hi.Gain - Amp Simulation) This effect combines a mono limiter and a phaser. This effect combines a mono overdrive/high‐gain distortion Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out and an amp simulation. You can change the order of the Left Wet / Dry effects. Exciter Phaser EQ Trim Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Exciter Phaser Left...
Effect Guide 059: Deci-Amp (Decimator - Amp 060: Deci-Comp (Decimator - Simulation) Compressor) This effect combines a mono decimator and an amp This effect combines a mono decimator and a compressor. simulation. You can change the order of the effects. You can change the order of the effects. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Left Wet / Dry...
IFX (Insert effects) List 061: Amp-Trml (Amp Simulation- Tremolo) 061: Amp-Trml (Amp Simulation- 062: Organ Vib/Chorus (Organ Tremolo) Vibrato/Chorus) This effect combines a mono amp simulation and a tremolo. This effect simulates the chorus and vibrato circuitry of a vintage organ. The modulation speed and depth can be customized. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out This can be used only for programs of the Organ category. Left Wet / Dry Amp Simulation Tremolo Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out...
Effect Guide Control Mode Adjusts the (low- frequency) rotor Preset Type Stop, speed. Standard Rotor Ratio Custom Mix 0.50...2.00 value is 1.00. Selecting “Stop” will Custom Depth stop the rotation Custom Speed Sets the distance between the micro- Mic Distance 0...100 If Control Mode=Preset, you can use Preset Type to select ...
MFX1 (Mod.) (Master Effect1–Modulation) List No Effect MFX1 (Mod.) (Master Effect1–Modulation) List No Effect St.Flange (Stereo Flanger) Select this if you donʹt want to use an effect. If selected for a This effect produces an intense modulation and a sense of master effect, the output will be muted. pitch movement. It is effective when applied to sounds that contain numerous overtones. For stereo input, the left and right sides of the flanger output are independent. St.Chorus (Stereo Chorus) Stereo In - Stereo Out Left This effect adds depth and warmth to the sound by modulating the delay time of the input signal. Modulation is Flanger produced by opposite‐phase LFOs for the left and right Feedback sides, creating a more spacious chorus effect. Flanger Stereo In - Stereo Out Right Left Rate...
Effect Guide St.Phaser (Stereo Phaser) This effect creates modulation by shifting the phase of the sound. It is effective when applied to sounds such as electric piano. This is a stereo effect, in which opposite‐phase LFOs for the left and right produce a more spacious phaser effect. Stereo In - Stereo Out Left Phaser Feedback Phaser Right Rate 180[degree] Depth Full Quick Value Explanation parameter parameter ← Rate [Hz] 0.02...10.00 LFO speed LFO modulation ← Depth 0...100 depth ←...
MFX2 (Rvb/Dly) (Master Effect2–Revreb/Delay) List No Effect MFX2 (Rvb/Dly) (Master Effect2–Revreb/Delay) List No Effect Delay Choose this if you donʹt want to use an effect. When selected This is a simple and easy to use mono delay with a for the master effect, this mutes the output. maximum delay time of 549 ms. Mono In - Mono Out Left Hall Level Feedback This is a hall‐type reverb that simulates the reverberation of Delay a medium‐sized concert hall or ensemble hall. Time Right Level Plate This is a plate reverb that produces warm (dense) Full Quick reverberation. Value Explanation parameter parameter...
Effect Guide EQ (Equalizer) Choose this if you donʹt want to use an effect. When selected for the master effect, this mutes the output. Full Quick Value Explanation parameter parameter ← Trim 0...100 Input level Bass Gain BassGain –18.0...+18.0 Low band gain [dB] Peaking, Bass Type Bass Shelving- Low band type BassFreq Low band center BassFreq 00...98 [Hz] frequency Bass Q Bass Q...
On the other hand, high velocities produce increasingly more. greater effects, and the difference between any two higher The AMS Mixer outputs appear in the list of AMS sources, velocity values will be more pronounced. just like the LFOs and EGs. Poly After The original, unmodified inputs to the AMS Mixers are still Polyphonic aftertouch allows a different aftertouch value available as well. For instance, if you use LFO 1 as an input for each note. This can be received from external MIDI to a AMS Mixer, you can use the processed version of the devices. The PS60 keyboard itself does not generate poly LFO to control one AMS destination, and the original ver‐ aftertouch, however. sion to control another. After Touch Finally, you can cascade two AMS Mixers together, by using This can be received from external MIDI devices. The PS60 one as the input of another. keyboard itself does not generate poly aftertouch, however. For more information, please see “OSC1 AMS Mix” on page 56. Alternate Modulation Common LFO Shape Shape Intensity Mod Intensity Mod...
Pedal: CC#04 (Foot Pedal: CC#04) Dmpr If you want to use the assignable foot pedal as an AMS, set Note the Controllers “Foot Pedal Function (SW)” (page 74) to Damper Pedal Foot Pedal ( “Foot Pedal Assign” on page 129)). This lets you use a foot pedal connected to DAMPER/ Gate1 PEDAL/SW1 or PEDAL/SW2 to control parameters. Damper: #64 Gate1+Dmpr This is the Damper pedal, also sometimes called the sustain pedal. It corresponds to MIDI CC#64. Time When using Korg’s optional half‐damper pedal, the DS‐1H, this AMS source is continuous–not just on/off. Portamento SW: #65 This is the MIDI portamento switch (CC#65), which also Alternate Modulation settings enables and disables portamento. When you use an AMS (Alternate Modulation Source), the Sostenuto: #66 modulation destination will be affected as shown in the This is the MIDI sostenuto pedal (CC#66). table below. Soft: CC#67 By using alternate modulation, you can create complex sys‐ This is the MIDI oft pedal (CC#67). tems of modulation in which EG, LFO, keyboard tracks, and ...
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Alternate Modulation Source (AMS) Alternate Modulation settings AMS operations and their result AMS source EXT(+/–) *1 & value range Common –Max...0...+Max Pitch & Filter Common Filter & Amp Note EXT(+) *3 Amp EG LFO1 & 2 Key Track Key Track Number 0...127 0...+99...
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Appendices Resonance (page 37) The effects of AMS on various param- You can use the EG, LFO, keyboard tracking, controllers, or eters, and example applications tempo etc. to control the resonance level. • If you select Filter KTrk or Amp KTrk as the AMS, you We’ll describe some examples of using alternate modula‐ can use the filter or amp keyboard tracking settings to tion. control the resonance level. For example if the amp Note: The parameter names and values used in these expla‐ keyboard tracking parameters Ramp BtmLo and Ramp nations can be viewed and edited in microSTATION Editor/ HiTop are set to positive (+) values, Amp KTrk is selected Plug‐In Editor. as the AMS, and Intensity it set to a positive (+) value, Pitch (page 28) playing toward either end of the keyboard will cause Pitch can be controlled by the Common LFO, filter/amp EG, amp keyboard tracking to increase the volume, and AMS controllers, or tempo etc. to raise the resonance level. • If you select Filter EG or Amp EG as the AMS and set • You can select a controller as the AMS, and apply Intensity to +12.00, the pitch will change up to ±1 octave ...
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Alternate Modulation Source (AMS) Alternate Modulation settings Filter LFO1/2 Intensity (page 41) Pan (page 45) The LFO 1/2 filter modulation intensity can be controlled by The oscillator pan can be controlled by the EG, LFO, key‐ the EG, Common LFO, keyboard tracking, controller, or board tracking, controllers, or tempo etc. tempo etc. You can use Intensity to A and Intensity to B to • If you select Note Number as the AMS and set independently specify the intensity for Filter A and B. “Intensity” to +50, panning will be controlled by the • If you select EG as the AMS, the auto‐wah effect keyboard position: center at the C4 note, far right at C9 produced by LFO modulation will be controlled by the or above, and far left at C–1 or below. changes in EG level. If you set Intensity to A and • If EG is selected as the AMS, the oscillator pan will be Intensity to B to a positive (+) value, the wah effect will controlled in synchronization with the changes in EG deepen as the EG level rises, and will lessen as the EG level. If “Intensity” is set to a positive (+) value, the pan level falls. With negative (–) values of Intensity to A and will move toward the right as the EG level increases, and Intensity to B, the phase of the LFO will be inverted. toward the left as the EG level decreases. If “Intensity” is •...
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Appendices LFO Frequency (page 51) The frequency of LFO 1, 2 or Common LFO can be con‐ trolled by the EG, keyboard tracking, controllers, or tempo etc. You can also use the LFO2 frequency to modulate LFO1, or use the Common LFO frequency to modulate LFO 1/2. If Intensity is set to a value of 16, 33, 49, 66, 82, or 99, the cor‐ responding frequency can be multiplied by a maximum of 2, 4, 8, 16, 32, or 64 times (or divided by 1/2, 1/4, 1/8, 1/16, 1/ 32, 1/64). • Select JS +Y:CC#01 for AMS, and set Intensity to +16. When you move the joystick in the +Y direction, the LFO frequency will be increased by a maximum of 2 times. If you set Intensity to –16 and move the joystick in the +Y direction, the LFO frequency will be decreased by up to 1/2. LFO Frequency AMS Intensity (page 52) You can use the EG, keyboard tracking, controllers, or tempo etc. to control the intensity of the AMS that controls the frequency of the LFO 1, 2, or Common LFO. For example if you’re using the pitch EG to modulate the LFO frequency, you could use a separate AMS to control the depth of this effect. • If a foot switch connected to the DAMPER/PEDAL/SW1 or PEDAL/SW2 jack is selected as “AMS,” the pitch EG will lightly modulate the LFO frequency when the foot switch is off; the pitch EG will deeply modulate the LFO frequency when the foot switch is on. LFO Shape (page 51) You can use a EG, keyboard tracking, controllers, or tempo ...
MIDI Control Change (CC#88) can be controlled through dynamic modulation are marked tempo (internal clock or external MIDI clock tempo Tempo by the symbol. data) p.128 Insert effect dynamic modulation (Dmod) is controlled on the MIDI channels set for the corresponding tim‐ Gate1, Gate1+Dmpr (Gate1, Gate1+Damper) bres. The effect is at maximum during note‐on, and will stop when all keys are released. With Gate1 + Damper, the effect Note: Most dynamic modulation settings can be edited only will remain at maximum even after the keys are released, as by using the included editor; they cannot be edited from the long as the damper (sustain) pedal is pressed. PS60 itself. Gate1,Gate1+Dmpr Dmpr Note Damper Pedal Gate1 Gate1+Dmpr Time...
Appendices Foot Switch Assign Gate2, Gate2+Dmpr (Gate2, Gate2+Damper) This is essentially the same as for Gate 1 or Gate 1 + Dmpr. Here you can specify the function of an assignable switch However when Gate 2 or Gate 2 + Damper are used as a (separately sold PS‐1) connected to the DAMPER/PEDAL/ dynamic modulation source for the EG of 075: St. Env. SW1 or PEDAL/SW2 jacks. Flanger etc. or the AUTOFADE of 076: Stereo Vibrato, a trig‐ ger will occur at each note‐on. (In the case of Gate 1 and • Set the Global: Controllers ‐ PEDAL/SW “Type” to Gate 1 + Dmpr, the trigger occurs only for the first note‐on.) Switch, and use the “Foot Switch Function (Sw)” parameter (page 74) to specify the function. Gate2,Gate2+Dmpr Dmpr If you select a function that includes a CC#, that MIDI Note control change message will be transmitted each time Damper Pedal the function is turned on/off (Off: 0, On: 127). Gate2 List of Foot Switch assignments Gate2+Dmpr This setting disables the switch. Time Foot Switch (CC#82) This lets you use the switch as an AMS or Dmod source. ...
(CC#16) to control the desired parameter within the Pro‐ Some of the assignments include MIDI CCs, which are gram or Effect. transmitted whenever the slider is moved. Note that the MIDI CCs can still be received even if they are not assigned to a physical controller. List of Foot Pedal assignments This setting disables the pedal. Master Vol This controls the overall volume, and transmits the Univer‐ sal System Exclusive Master Volume message [F0H, 7FH, nn, 04, 01, vv, mm, F7H]. You can use this to adjust the vol‐ umes of all Timbres at the same time, while preserving their relative balance. If an external MIDI device connected to the PS60 supports this message, its overall system volume can be controlled. Foot Pedal (CC#04) You can use this general‐purpose controller as an AMS or Dmod source. Note that you’ll also need to assign Foot Pedal (CC#04) to control the desired parameter within the Program or Effect. Porta. Time (CC#05) Controls the speed at which portamento will change the pitch. Volume (CC#07) Control the volume of a Performance or Program. PostIFXPan (CC#08) Control the pan after passing through the Insert Effect. (Strings excepted) Pan (CC#10) Control the pan of a timbre in a Performance.
Appendices MIDI transmission when the PS60’s controllers are used The following tables show the relation between the MIDI When you use a controller on the PS60, the corresponding messages that are transmitted when the PS60’s controllers or assigned control change will be transmitted. The excep‐ are used, and the AMS (alternate modulation source) or tion is that when you move the joystick in the X (horizontal) DMS (dynamic modulation source) that correspond to each direction, pitch bend change messages will be transmitted. MIDI message. Here we will explain only control changes, but the same # indicates a fixed function, and * indicates an assignable function. applies for pitch bend change. When one of the PS60’s controllers is used, a control change Available Available Foot Foot message will be transmitted on the global MIDI channel MIDI messages Joystick...
PS60 and MIDI CCs Responses to standard MIDI controllers PS60 and MIDI CCs Responses to standard MIDI controllers The following table shows how the PS60 responds to MIDI control change messages, and the relation between settings and controller movements on the PS60. Control Value Function 0 Bank select (MSB) 0…127 bank select message MSB 1 Modulation 1 0…127 corresponds to joystick movement in the +Y direction (Vertical upward) corresponds to joystick movement in the –Y direction (Vertical 2 Modulation 2 0…127 downward) 3 – –...
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Timbre. (64H=CC#100) and [B0, 65, 00] (65H=CC#101) to the PS60 The procedure is to use an RPN (Registered Parameter to select the RPN coarse tune. Then you would set this to Number) message to select the parameter that you wish to –12 by transmitting [B0, 06, 34] (06H=CC#6), 34H=52 edit, and then use Data Entry to input a value for that (corresponds to –12), and [B0, 26, 00] (26H=CC#38, parameter. To select the parameter, use CC#100 (with a 00H=0). value of 00…02) and CC#101 (with a value of 00). use CC#06 and CC#38 to enter the data. *3 The volume of the PS60 is determined by multiplying the The data entry values for each parameter and the corre‐ Volume (CC#07) with the Expression (CC#11). sponding settings are as follows. *4 A value of 64 will correspond to the value specified by the program parameter. 0 is the minimum, and 127 is the RPN=0 (Pitch bend range) maximum. Changing from 63–1 or from 65–126 will adjust CC#06 CC#38 Parameter value (Semitone steps) the effect from the program parameter setting toward the minimum value or maximum value. For details about the specific parameters controlled by these CCs, please see “Parameters controlled by MIDI CCs #70‐79” on page 133 RPN=1 (Fine tune) *5 Controlled on the global MIDI channel.
PS60 and MIDI CCs Parameters controlled by MIDI CCs #70-79 When a performance receives CC#70–79 messages for a tim‐ Parameters controlled by MIDI CCs bre whose MIDI channel matches the message, the corre‐ sponding program parameter will temporarily be in an #70-79 edited state. However, it is not possible to save this change. Program parameters that were edited by receiving messages CC#70–79 correspond to the PS60’s program parameters on the global MIDI channel in Program Edit mode can be listed below. saved by the Write operation. Internal parameters controlled by the CC Filter/Amp EG Sustain Level ( p.9, 42, 48) 70 (Sustain level) Amp EG 1/2 Sustain ( p.9, 48) 71 (Filter resonance) Filter A/B, 1/2 Resonance ( p.9, 37) 72 (Release time) Filter EG 1/2 Release ( p.9, 42), Amp EG 1/2 Release ( p.9, 48)
Appendices MIDI applications About MIDI Messages transmitted and received by the PS60 MIDI stands for Musical Instrument Digital Interface, and is a world‐wide standard for exchanging various types of In the text below, […] indicates hexadecimal notation. musical data between electronic musical instruments and computers. When MIDI cables are used to connect two or more MIDI devices, performance data can be exchanged MIDI channels between the devices, even if they were made by different manufacturers. • MIDI messages can be exchanged when the transmitting and receiving devices are set to the same MIDI channel. MIDI uses sixteen channels, numbered 1–16. The global MIDI channel is used to transmit/ receive messages for Settings when connected to a MIDI selecting a performance and turning effects on/off, and to device or computer transmit/receive exclusive data. • Each timbre will transmit/receive MIDI data on the MIDI ...
MIDI applications Messages transmitted and received by the PS60 • In Performance, transmission/reception can be switched Pitch bend on/off for each timbre. Pitch bend change [En, bb, mm] Program Bank (n: channel, bb: lower byte of the value, mm: upper byte of (CC#00) (CC#32) Change the value, together expressing a value of 16,384 steps where Performance A-1–D-5 0–19 00–19 8,192 [bb, mm = 00H, 40H] is the center value) 000–127 000–127 When the PS60’s joystick is moved in the X axis (left/right), a pitch bend effect will be applied, and pitch bender messages 000–127 000–127 Program will also be transmitted. When these messages are received, ...
Appendices Controlling portamento Controlling pan (stereo position) Portamento time (CC#05) [Bn, 05, vv] Pan (CC#10) [Bn, 0A, vv] If you assign the above CC# to an assignable pedal on the (vv: value, where 00 is far left, 64 is center, and 127 is far PS60 and use it, portamento time messages will be transmit‐ right) ted, changing the time over which the portamento function When the above CC# is assigned to the Assignable Pedal is changes the pitch. selected, using that controller will transmit Pan messages, When this message is received, the result will be the same as and the panning will change. When this message is when the controller is used. received, the result will be the same as when the controller is used. Portamento switch (CC#65) [Bn, 41, vv] When the above CC# is assigned to the Assignable Switch, Post insert effect pan (CC#08) [Bn, 08, vv] using that switch will transmit vv=127 [7F] for ON or vv=0 ...
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MIDI applications Messages transmitted and received by the PS60 Controller (CC#85, 86, 87, 88) Using various controllers When the VALUE slider of MIDI instruments such as the M3, or a control change assigned to a controller is received, Here we will explain typical ways to use the various con‐ the specified alternate modulation or dynamic modulation trollers. Y effect will be applied. Foot pedal (CC#04) [Bn, 04, vv] If the CC# above is assigned as the Assignable Pedal func‐ tion, this message will be transmitted when the controller is Controlling Program tone & envelope used. shapes • You can turn transmission and reception on/off for each ...
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2. Use data entry MSB (CC#6) [Bn, 06, mm] and data entry and settings that are specific to an individual manufacturer LSB (CC#38) [Bn, 26, vv] (n: channel, mm, vv: upper and or model of device. lower bytes of the value, together expressing 16,384 System exclusive messages that are specific to a manufac‐ levels) to specify the value. turer contain the following information: 3. You can use data increment (CC#96) [Bn, 60, 00] or data • Manufacturer ID decrement (CC#97) [Bn, 61, 00] (n: channel, value is fixed • Model ID at 00) to change the value in steps of one. • Device ID (on the PS60, Device ID = Global Ch) The PS60 can receive the following three RPN messages These messages are used for communication between (tuning, transpose, and pitch bend range). devices of the same model, or to communicate with dedi‐ cated computer editing software. Tuning Since the way in which these messages are used is left up to each manufacturer, they are mainly used to transmit and RPN fine tune [Bn, 65, 00, 64, 01] receive sound data and editing data for parameters that are This RPN message can be used to adjust the detuning for a unique to a particular instrument. The PS60’s system exclu‐ timbre.
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MIDI applications Messages transmitted and received by the PS60 Inquiry message request [F0, 7E, nn, 06, 01, F7] Editing sounds via SysEx Inquiry message [F0, 7E, nn, 06, 02, (nine bytes), F7] When an inquiry message request is received, the PS60 will By using various MIDI System Exclusive data dumps, you respond by transmitting an inquiry message that means “I can rewrite all programs or an individual program. By am a Korg PS60, with system version …” using parameter change messages, you can edit individual parameters as follows. Master volume [F0, 7F, nn, 04, 01, vv, mm, F7] (vv: lower byte of the value, mm: upper byte of the value, ...
Appendices MIDI Implementation Consult your local Korg dealer for more infomation on MIDI System Exclusive implementation. 1 1 .TRANSMITTED DATA 1-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal |Status| Second Third | Description ( Transmitted by ..) |ENA | |[Hex] | [H][D] [H][D]...
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DEVICE INQUIRY REPLY ( Transmits when received a INQUIRY MESSAGE REQUEST ) [ F0,7E,0g,06,02,42,0C,01,05,00,vv,ww,xx,00,F7 ] 3rd byte g : Global Channel 6th byte 42 : KORG ID 7th byte 0C : PS60 series ID 8th byte 01 : PS60 series ID 9th byte 05 : PS60 member code 11th byte...
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Appendices 2 2 .RECOGNIZED RECEIVE DATA 2-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal |[Hex] | [H][D] [H][D] Status Second | Third | Description ( Use ..) |ENA | [Hex] [H] [D] | [H] [D] 8n kk (kk)| xx (xx) | Note Off 9n kk (kk)| 00 (00)
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MIDI Implementation : Alternate Modulation Source FX Dmod Src : Effect Dynamic Modulation Source : MIDI Channel No. (0 - 15) •••••• Usually Global Channel. When in Performance, each timbre's channel.(Status is INT) : Always Global Channel No. (0 - 15) : Random T : Enabled when Enable After Touch in Global mode is on.