Page 1 Operation Guide Operation Guide Please read this guide ﬁrst...
Page 3: Important Safety Instructions
IMPORTANT SAFETY INSTRUCTIONS The lightning flash with arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated • Read these instructions. “dangerous voltage” within the product’s • Keep these instructions. enclosure that may be of sufficient magnitude •...
Page 4: Regarding The Lcd Screen
Refer servicing to qualified personnel. customer or by a third party) resulting from loss of or damage to data written on a CD‐R or CD‐RW disc. Laser diode properties Material Semiconductor laser GaAlAs Laser output Less than HHS and IEC 825‐1 Class 1 Regarding the LCD screen Limit Wave length 784nm The LCD screen of the OASYS is a precision device created using extremely high technology, and careful attention has been paid to its product quality. Although Location of the required label. you may notice some of the issues listed below, please be aware that these are due to the characteristics of LCD screens, and are not malfunctions. • There may be pixels in the screen that are always dark (unlit) or always bright (lit). • Depending on the displayed content, the brightness of the screen may appear uneven. • Depending on the displayed content, horizontal stripes of shading may be visible.
Page 5: Data Handling
* KARMA Technology can be located on the internet at: unsure about your rights to a work, please consult a www.karma‐lab.com. copyright attorney. KORG TAKES NO * This product was developed under license of physical RESPONSIBILITY FOR ANY INFRINGEMENT modeling tone generator patents (http://www.sondius‐ COMMITTED THROUGH USE OF KORG xg.com) owned by Stanford University USA and Yamaha PRODUCTS. Corporation. * Company names, product names, and names of formats etc. are the trademarks or registered trademarks of their respective owners. Korg OASYS Notice: Use of GPL and LGPL software This product uses the Linux kernel and some GNU utilities. This software is licensed by its copyright holder according to the GNU GPL (General Public License). The Korg OASYS software contained in this product is dynamically linked with some software libraries subject to the LGPL (Lesser GPL) license. Copies of the GPL and LGPL licenses, as well as the source code for the software covered under those licenses, are provided on the included CD‐ROM titled OASYS Restore CD 1/4, in the folder named “src.” The complete list of software covered under the GPL, LGPL, and other free or open‐source licenses which are used in the OASYS, including the above software, is ...
Page 6: About This Manual
The Contents page lets you access any part of the Help Please read this first. It explains the names and functions system, including almost all of the text and graphics in of each part of the OASYS, how to make connections, both the Parameter and Operation Guides. The Index basic operation, an overview of each mode, how to edit contains a shorter list of links to important articles. sounds, how to record on the sequencer, and how to *English‐language only. sample. This guide also explains the KARMA function, Conventions in this manual effects, wave sequences, and drum kits. The Operation Guide also contains troubleshooting References to the OASYS information, and supplemental information such as The OASYS is available as an 88‐key model or a 76‐key specifications. model. The manuals refer to both models without Parameter Guide distinction as “the OASYS.” The front panel and rear panel illustrations in the manual show the 76‐key model, The Parameter Guide contains explanations and other but they apply identically to the 88‐key model. information regarding the operations of the parameters and settings on the OASYS. Abbreviations for the manuals: OG, PG, VNL The explanations are organized by mode and page. ...
Page 7: Table Of Contents
New features in software version 1.1 . . . . . . . . . . . 9 Saving your edits . . . . . . . . . . . . . . . . . . . . . . . . . . . .81 Introduction to OASYS... . . 11 Creating songs (Sequencer mode) ..83 Main Features ......11 Overview - About the OASYS’...
Page 8: Using Effects
Synchronizing the KARMA function . . . . . . . . . .217 Settings for the entire OASYS (Global mode) ....151 Appendices ....219 How Global mode is structured . . . . . . . . . . . . . ...
Page 9: Quick Start
SW 1&2 Joystick Ribbon Exit Tempo Headphone Pads Sequencer The OASYS contains an amazing amount of It explains how to set up the OASYS, how to select functionality. This Quick Start is provided for those Programs and control the sound, how to listen to the who just want to get started trying out the sounds right demo songs, and the new features of the latest software away. updates. Setup 1. Connect the OASYS to your mixer or monitor 2. Connect the power cable. system. First connect the included power cable to the OASYS’ Connect the OASYS’ AUDIO OUTPUT (MAIN) power connector, and then to the power outlet. L/MONO and R jacks to your mixer or amplified 3. Lower the OASYS’s front‐panel VOLUME slider. monitor speakers. 4. Turn on the power switch. If you’re monitoring through headphones, connect Press the rear panel POWER switch to turn on the them to the headphone jack located on the left front of power. Wait until the startup screen has finished being the OASYS. The headphones will output the same displayed. sound as the AUDIO OUTPUT (MAIN) L/MONO and 5. Play the keyboard, and gradually raise the ...
Page 10 Quick Start 6. When you’ve found a program you like, press the Program Select Category Popup button OK button to close the dialog box. Then go ahead and play the selected program! Program Bank Contents OASYS ships from the factory with over a thousand Programs loaded into memory. Another 768 Program slots are left open (“initialized”) for your own programming, or additional sound libraries. All of the factory Programs can be over‐written with your own edits, if desired–except for the GM banks. As shipped from the factory, the contents of the Program Banks are as follows: Program bank contents Bank Contents Bank Type Play the keyboard or strike the pads to hear the sound. INT-A…D HD-1Programs 2. The large characters in the upper part of the LCD HD-1 HD-1Programs; requires the screen will be highlighted. INT-E EXs1 ROM Expansion PCM These are the name and number of the current ...
Page 11: Selecting Combinations
Using knobs to modify the timbre ROM Expansion PCM. When the R.TIME KNOBS/KARMA button is lit, the INT-D…G; Initialized Combinations USER-A…G eight knobs at the top of the Control Surface control various aspects of the sounds and effects. Knobs 1‐4 have dedicated functions, as printed on the Using controllers to vary the sound front panel: Filter Cutoff, Filter Resonance, Filter EG 1. Notice the many controllers located on the left side Intensity, and Release Time. of the OASYS’ front panel. Knobs 5‐8 can be assigned to a wide variety of While you play the keyboard, you can also use the functions. Often (but not always), knobs 5 and 6 group of controllers located at the far left–the joystick, modulate synthesis parameters, knob 7 controls the vector joystick, ribbon controller, and SW1/SW2 depth of a chorus or other modulation effect, and knob switches–to vary the sound. 8 controls reverb depth. For a detailed tutorial, see “Editing sounds & effects with the Realtime Knobs” on page 57.
Page 12: Listening To The Demo Songs
2. While holding down the switch, move or press the (Generated Effect) that’s selected for the KARMA control that you’d like to reset. module, the time signature for the pattern that’s being 3. Release the RESET CONTROLS switch. generated, and the KARMA CONTROLS assignments. The controller will be reset. For more information, see “Resetting controls to their saved values” on page 52. Conclusion We hope you enjoyed your quick introduction to the OASYS. There are so many programs and combinations that you probably didn’t actually finish playing them all, so why not take a break from playing, and take some time to listen to the OASYS’ demo songs. Listening to the demo songs Loading the demo song data in Disk mode 1. Press the MODE DISK switch (the LED will light) to enter Disk mode. 2. Access the Disk– Load page. Press the File tab and then the Load tab. 3. Use “Drive Select” to select HDD.
Page 13 Alternatively, you can press the Song Select popup (the Set the “Select .SNG Allocation” and “Select .KSC round button located at the left of the song name), and Allocation” option buttons to Clear. With the Clear a list of song names will appear. Select a song, and setting, all currently loaded RAM multisamples and press the OK button. samples will be erased, and the song data will be 7. Press the SEQUENCER START/STOP switch to loaded in the same configuration as when it was saved. begin playback. To stop playback, press the same (In contrast, the Append setting will preserve any switch once again. existing data, and load the songs following the existing This completes our quick start. data.) Of the OASYS’ wide range of functionality, this If you’ve edited any of the above data already, or operation guide explains how to use some of the most created new data, executing this Load operation typical operations. We highly recommend that you will overwrite and erase this data. If there’s any data take the time to read it completely. you need to keep, save it on the internal hard disk or a USB storage media before you proceed. When you’ve finished working with the OASYS, press the rear panel POWER switch to turn off the power. 7. Press the OK button to execute the Load operation. When you turn off the power, the programs and Listening to the demo songs in Sequencer combinations etc. will revert to the state in which mode they were before you edited them. If you want to ...
Page 14: New Features
Quick Start New features New features in software version 1.3 OASYS software version 1.3 adds a number of new • Up to 52 voices of polyphony. features, including KARMA 2.1, loading and un‐ • Import classic FM sounds from the DX7. loading EXs without restarting, individual transpose • Four per‐voice LFOs, ten re‐triggerable EGs, nine for EXi 1 and 2, separate smoothing for attack and key‐tracking generators, eight AMS mixers, and a decay in all Step Sequencers, lossless compression of per‐voice step sequencer. EXs1 and 2 (increasing the RAM available for sampling), and a new optional EXi: the MOD‐7 • Access to all standard EXi Program features, Waveshaping VPM Synthesizer. New Programs using including the Common LFO, Common Step the MOD‐7 are loaded into Bank USER‐C. Sequencer, Key Track 1 & 2, KARMA, EQ, and effects–as well as layering with any other EXi (including two MOD‐7s together, for 12 VPM New EXi option: MOD-7 oscillators!) The MOD‐7 is a powerful, semi‐modular synthesizer, For more information, see “EXi: MOD‐7 Waveshaping ...
Page 15 Adjustable Quantize Window per Module which the scene was changed. This has been greatly Previously, all Modules that had the Quantize Trigger improved in KARMA 2.1. setting turned On would be quantized to the nearest 16th note. While this allowed intricate DJ‐style Load and un-load EXs without restarting performances, it could also make it difficult to trigger Modules in perfect time during normal performance, You can now change the EXs configuration without especially at faster tempos. Now, you can select a restarting the OASYS. Simply select the desired EXs as Quantize Window independently for each Module–for before, using the Expansion Sample Setup menu example, use a 1/4‐note or 8th‐note value for less command on the Global mode Basic page. When you chance of a timing error, or a 16th‐note when fancier exit the dialog box, the EXs will be loaded and/or un‐ retriggering effects are desired. Triplet‐based values loaded automatically. Note that loading a large EXs are also provided for retriggering triplet‐based grooves may take some time. “off‐ beat.” Even more powerfully, the Quantize Window is also a Lossless compression of EXs1 and 2 destination in the Perf RTP page, so that you can ...
Page 16: New Features In Software Version 1.2
Quick Start New features in software version 1.2 OASYS software version 1.2 adds a number of new Finally, we added AMS modulation for all original MS‐ features, including increased polyphony for the AL‐1 20 controls, plus four additional EGs, four additional and STR‐1, polyphonic unison, unison stereo spread, LFOs, and four AMS mixers. Of course, the MS‐20EX improved parameter smoothing, and a powerful and has access to all standard EXi Program features, easy‐to‐use chord feature. It also includes a demo of including dual key tracking generators, the Common the new Legacy Analog option, which can be enabled LFO and Common Step Sequencer, Vector, KARMA, via an authorization code purchased from EQ, and effects. www.korguser.net. For more information, see “EXi: MS‐20EX” on page 285 of the Parameter Guide. New EXi option: Legacy Analog PolysixEX The Legacy Analog collection for OASYS features The PolysixEX is a rich‐sounding, easy‐to‐use virtual enhanced versions of two classic Korg analog synths, analog synth. It also features very high polyphony–up using Korg’s proprietary CMT (Component Modeling to 172 voices, with room for effects! Technology): the MS‐20EX and PolysixEX. When designing the PolysixEX, we started with a ...
Page 17: New Features In Software Version 1.1
New features New features in software version 1.1 Increased polyphony for the AL-1 & STR-1 Improved parameter smoothing As part of our continued refinements to the OASYS Since its initial release, OASYS has used several system, you can now play more voices of the AL‐1 and different smoothing processes to minimize STR‐1! “steppiness” on knobs, sliders, and controls. These processes have been further improved, via a new The updated AL‐1 is capable of playing 96 voices (up adaptive smoothing algorithm. from 84), and the STR‐1’s max polyphony is now 48 voices (up from 32–a factor of 50%). Naturally, the full Tone Adjust is now smoothed as well, so that you can audio fidelity of the previous versions has been use this Control Surface mode for performance as well preserved. as editing. Many parameters are also now smoothed even when edited from the LCD. Unison enhancements Chord mode Unison has been improved in several ways, for both ...
Page 18 Quick Start PC2700 (DDR333 CL2.5) PC3200 (DDR400 CL3) Capacity for the additional DIMM: 512MB or 1GB DRAM DIMM is not a manufacturer option. Please use commercially‐available memory sold for computers. If you have any questions regarding the type of DRAM DIMM modules that can be used, please contact your local Korg distributor. EXi audio input OASYS now includes standard parameters for routing audio into EXi instruments. You can use this for processing live or recorded inputs through EXi synthesis engines, or for creating feedback loops. Initially, these features are supported by the new STR‐ 1. For more information, see “4–2: EXi Audio Input” on page 168 of the Parameter Guide (Program mode), “2– 6: EXi Audio Input” on page 422 of the Parameter Guide (Combination mode), and “2‐6: EXi Audio Input” on page 530 of the Parameter Guide (Sequencer mode). For information on using audio input with the STR‐1, see “4‐8c: Feedback” on page 261 of the Parameter Guide. New AMS Mixer type: Gate This new Mixer Type lets you set up two different AMS sources (or fixed AMS amounts), and then switch between the two using a third AMS source.
Page 19: Introduction To Oasys
Introduction to OASYS Main Features Open Architecture Synthesis Studio The OASYS features the OA (Open Architecture) • Preset PCM: 314 MB (1,505 multisamples, 1,338 synthesis system, which offers all the benefits of a drum samples) variable software system backed by the hardware • EXs1 ROM Expansion: 313 MB (229 multisamples, integrity that can only come from a fully‐integrated 1,483 drum samples; lossless compression reduces instrument design. RAM size to 284 MB) Currently, the OASYS includes sophisticated PCM • EXs2 Concert Grand Piano: 503 MB (10 sample playback including Wave Sequencing and multisamples; lossless compression reduces RAM Vector Synthesis (the HD‐1 High Definition size to 464 MB) Synthesizer), analog modeling (the AL‐1 Analog • PCM RAM: Up to about 1.5GB, depending upon Modeling Synthesizer), tonewheel organ modeling the installed RAM and currently loaded EXs (CX‐3 Tonewheel Organ), and physical modeling (the samples; see “Sampling and RAM” on page 123 for STR‐1 Plucked String). more information. The optional LAC‐1 Legacy Analog Collection adds • Wave sequences: 374 user memories, 150 preloaded two CMT Modeled Analog Synthesizers, the MS‐20EX ...
Page 20 Introduction to OASYS Ultra high-precision filters are the core of sound the damper pedal and strike a key, the sympathetically design vibrating strings will also sound, faithfully replicating the depth and transparency of an acoustic piano. Because of its power and conceptual ease of Staple ensemble sounds such as strings and brass use understanding, subtractive synthesis (the technique of stereo sampling to capture their natural spaciousness, creating sound by selectively removing portions from with a rich variety of articulations such as tremolo, an overtone‐rich waveform) has become the standard pizzicato, and sforzando, as well as four‐level velocity for synthesizers today. One of the most important switching and crossfading to ensure a natural range of components of subtractive synthesis is the filter. expression. The filter section of the HD‐1 High Definition Reed instruments such as sax and oboe were sampled synthesizer provides four filtering types (low pass, for extended times to include natural‐sounding vibrato high pass, band pass, and band reject) and four types produced by the player. of routing (single, serial, parallel, and 24 dB). The drums that are so important for the overall The amazing power of the OA (Open Architecture) character of a track also use stereo sampling, with long synthesis system produces natural and beautiful samples that capture the natural decay and four‐level filtering that does not weaken the sound, delivering ...
Page 21 • EQ: Three‐band EQ for each voice (mid‐sweepable) • Rec bus: two stereo buses (routing settings for • Modulation: For each voice, two envelope recording and sampling) generators (Filter and Amp), two LFOs, two key tracking generators (Filter and Amp), and two AMS Programs, combinations and drumkits mixers • Other: Pitch EG, common LFO, two common key The carefully constructed programs and combinations tracking generators take full advantage of the OASYS’ synthesis engine, KARMA function, control surface, vector joystick, and other controllers. An effects section with up to sixteen The drum programs utilize long stereo samples to effects available simultaneously ensure natural decays, especially for cymbals. Velocity The OASYS provides twelve insert effects, two master crossfading allows seamless changes in playing effects, and two total effects, all available dynamics, giving you a full range of expression from simultaneously, and all providing stereo input and delicate to dynamic. Drum kits are used by assigning ...
Page 22 Introduction to OASYS Detailed Specifications • Master keyboard functionality: control external MIDI devices • KARMA modules: 1 module in Program mode, 4 • Tone Adjust: adjust the sound of each timbre’s modules in Combination and Sequencer modes Program • GEs (Generated Effects): 2,048 presets • Advanced Vector Synthesis: Use the vector joystick • Controllers: ON/OFF, LATCH, CHORD ASSIGN, or vector envelope (tempo synchronization MODULE CONTROL, KARMA REALTIME available) to control each oscillator’s volume, synth CONTROL SLIDERS 1–8, KARMA SCENES 1–8, parameters, and effect parameters KARMA SWITCHES 1–8, Auto RTC (Real Time Control) Setup function Detailed Specifications: Drumkits • Stereo or mono drum samples Open Sampling System • Four‐level velocity switches or crossfades Mono/stereo sampling KARMA The OASYS provides high‐quality 16‐bit linear 48 kHz ...
Page 23 Main Features Open Architecture Synthesis Studio make precise edits to a waveform. The OASYS modulatable shapes. Other progressive features provides not only a great set of editing operations, but include wave‐shape morphing, a floor‐thumping sub‐ also features that make sample editing easy and oscillator plus a variable‐color noise generator capable efficient, such as a Use Zero function to automatically of white, pink, red flavors ‐ and beyond. detect zero‐crossing points that won’t produce noise. An adjustable drive parameter provides a distinctive character to the vintage oscillator modeling; while Detailed Specifications sync, FM, low‐boost and several varieties of ring • Open Sampling System, with resampling and In‐ modulation offer plenty of tone‐mangling power. Track sampling External live audio can even be accessed as an • 16‐bit/48 kHz stereo/mono sampling additional signal source. • Up to about 1.5GB of PCM RAM, depending upon Dual multi-mode resonant filters the installed RAM and currently loaded EXs Each voice can use either one or two of Korg’s samples; see “Sampling and RAM” on page 123 for incredibly versatile multimode (Low Pass, Band Pass, more information Band Reject [notch], and High Pass) resonant filters. ...
Page 24 Introduction to OASYS Step Sequencer CX-3 Tonewheel Organ The step sequencer built into the AL‐1 can not only A perfect simulation of a tonewheel organ system play phrases or rhythms, but also be used as an extremely sophisticated modulation source. If the Tonewheel organs generate sound by rotating toothed output of the step sequencer is assigned to Pitch, the metal disks (the tonewheels) past a pickup to generate result will be a melodic phrase. If assigned to the filter, sine waves. Korg’s CX‐3 uses cutting‐edge modeling the filter will produce modulation in synchronization technology to precisely replicate the distinctive with the tempo. modulation and noise components of sounds The step sequencer also provides a “Smoothing” produced in this way, and this technology has been parameter that interpolates between the values of each further refined and included in the OASYS as the CX‐3. step, letting you create not just step‐wise modulation Two tonewheel types are provided; “Vintage” which but also smooth change that can function as an LFO models even the leakage noise from the tonewheels, with freely‐specified waveform. Since you can specify and “Clean” which faithfully reproduces the warm the duration of each step individually, this can be used tonewheel organ sound. In addition, the noises ...
Page 25 Main Features Open Architecture Synthesis Studio the distance between mics. This gives you total control At its heart is a faithful re‐creation of the original over the sound field as well as the sound itself, and lets KORG MS‐20, including both its features and its you create the perfect organ sound for any situation. distinctive, often aggressive timbral signature. Since an effect that is completely compatible with this To this core, we added features first introduced in the rotary speaker effect is also provided in the effect KORG Legacy MS‐20 plug‐in. Then, we added section of the OASYS itself, you can enjoy a powerful significant patch‐panel modifications inspired by the rotary speaker sound even when you’ve created a MS‐20’s big brother, the MS‐50, plus many other combination using several instances of the CX‐3, or OASYS‐only enhancements. with other instruments such as the HD‐1 or AL‐1. For more information, see “MS‐20EX” on page 8, and Detailed Specifications “EXi: MS‐20EX” on page 285 of the Parameter Guide. • Tonewheel Organ Model, with Clean/Vintage Detailed Specifications mode, percussion, key click, wheel brake • Two oscillators (including ring modulation), noise • EX mode: Four drawbars with adjustable frequency generator, and resonant, self‐oscillating highpass ratio, and four percussion drawbars and lowpass filters...
Page 26 Introduction to OASYS MOD-7 Waveshaping VPM Synthesizer A new leap to the ideal workstation – a 16-track MIDI sequencer plus a 16-track Semi-modular digital synthesizer hard disk recorder The optional MOD‐7 is a powerful, semi‐modular synthesizer, combining Variable Phase Modulation The sequencer of the OASYS provides plenty of (VPM), waveshaping, ring modulation, PCM sample capacity, with a maximum of 200 songs and 400,000 playback, and subtractive synthesis. Exceptionally MIDI events or 300,000 audio events. It consists of a 16‐ versatile, the MOD‐7 produces everything from classic track MIDI sequencer and 16‐track hard disk recorder, FM keyboards and bells to rhythmic soundscapes, giving you a total of 32 tracks. In addition to realtime from cut‐through‐the‐mix synth basses to sparkling, ...
Page 27 (together with velocity values) to each pad, and in Combination mode you can also specify different MIDI The OASYS provides a total of six audio inputs; four channels to each pad. The Chord Assign switch makes channels of analog input, and two channels of digital it easy to input notes and velocities in a single input. Analog inputs 1 and 2 use combo jacks that can operation. You can also use these pads in conjunction accommodate either phone plugs or XLR plugs. With with the input channel settings of a KARMA module, MIC/LINE select switches, phantom power switches, so that striking a pad will make the KARMA function and level adjustment knobs, the inputs will accept any generate a phrase – yet another technique not available source from mic level to professional level. For digital when using a keyboard alone. The pads have been input, the OASYS provides an S/P DIF jack (optical, 48 newly designed for optimal action and best feel in any kHz/96 kHz). As outputs, there are the main L/MONO situation from performance to production. and R outputs as well as eight individual audio On-board help functionality* outputs and an S/P DIF (optical, 48 kHz/96 kHz) output. 24‐bit resolution is used for the A/D and D/A An on‐board help function is built‐in to assist you in converters that are such crucial elements for taking advantage of the OASYS’ astounding wealth of determining the audio quality of the input and output. functionality. Illustrated explanations of the parameters and how to use the controllers are shown in the screen. You can also jump to the explanation for a desired function, or move through a history of the help items you’ve been looking at, letting you ...
Page 28 Introduction to OASYS Storage expansion via USB 2.0 Four USB 2.0 connectors are built‐in, making it easy to expand your storage via external hard disks, removable disks, flash media, and so on. The OASYS’ expandability The OASYS uses an open architecture that allows it to be expanded without adding hardware. The EXs series of high‐capacity PCM library data that takes full advantage of the PCM synthesis engine, the EXi series which adds new synthesis engines that are organically integrated into the entire system, and the EXf series which adds new plug‐in effects. An ADAT optical output jack and word clock input jack can be added by installing the optional EXB‐DI (hardware). This sends the eight channels of the analog audio output jacks (INDIVIDUAL 1–8) via ADAT optical format channels 1‐8 as 24‐bit 48 kHz digital signals. (You can make settings within the OASYS so that the MAIN L/MONO and R output is assigned to INDIVIDUAL 1–8.) This option also lets you use the word clock input jack to synchronize the OASYS with a connected digital audio device.
Page 29: Front And Rear Panels
Front and rear panels Front panel Front and rear panels Front panel 6: KARMA 7: Control Surface 8: Value controllers 9: Mode 10: Utility 11: Bank Select 12: TouchView™ Display 1: Volume 2: Vector JS 3: SW 1&2 4: Joystick 5: Ribbon 16: Exit 18: Tempo...
Page 30 Introduction to OASYS 1. Play a single note, or a chord of up to 8 notes. 6. KARMA buttons 2. Press the CHORD ASSIGN button. 3. Press the pad to which you’d like to assign the notes. That’s it–the note or chord is now assigned to the pad. For more information, see “Drum & Chord Pads” on page 53. MODULE CONTROL button In Combi and Sequencer modes, KARMA has four independent Modules, each of which can be generating KARMA stands for “Kay Algorithmic Realtime Music a different musical effect. When used to control Architecture.” It’s an immensely powerful recording KARMA, the Control Surface sliders and switches are and live performance tool, which can provide a wide five layers deep: one for each Module (A‐D), and then range of musical effects including: a Master Layer which controls selected parameters • Arpeggiation from all of the Modules at once. • Drum and instrument grooves The MODULE CONTROL button selects whether the KARMA SLIDERS, SWITCHES, and SCENES will • Complex CC gestures (as if it was automatically control either a single Module independently, or the ...
Page 31 Front and rear panels Front panel TIMBRE/TRACK The knobs and sliders have a much wider range of values than there are LEDs in the rings and strips, so TIMBRE/TRACK lets you use the control surface to the values shown are only approximate. Also, note that adjust the volume, pan, EQ, and send levels for OSC the minimum value of the slider is shown by having no 1/2 or EXi 1/2 in Program mode, the current LEDs lit. Multisample in Sample mode, and each of the 16 Timbres or Tracks in Combi and Sequence modes. MIXER KNOBS button The LEDs to the right of the switch show whether This applies only when CONTROL ASSIGN is set to you’re currently editing Timbres (or Tracks) 1‐8 or 9‐16; TIMBRE/TRACK or AUDIO. It toggles the knobs press the TIMBRE/TRACK button to toggle between between controlling the pan of all channels or the two. controlling the pan, EQ, and sends of the currently selected channel. If you switch to one of the other Control Assign modes, and then go back to TIMBRE/TRACK, it will SOLO button automatically return to the previously selected group This applies only when CONTROL ASSIGN is set to (1‐8 or 9‐16). TIMBRE/TRACK or AUDIO. It toggles the SELECT AUDIO buttons between selecting the current Oscillator, Timbre, Track, or Audio Input (when SOLO is off) or AUDIO lets you use the control surface to adjust the ...
Page 32: Utility Buttons
Introduction to OASYS VALUE dial SEQ button Use this dial to edit the selected parameter’s value. This selects Sequencer mode, for recording, playing, This control is convenient when you want to scroll and editing audio and MIDI tracks. through a very long list of selections. SAMPLING button This selects Sampling mode, for recording and editing audio samples and multisamples. GLOBAL button This selects Global mode, for making overall settings, editing Wave Sequences and Drum Kits, and more. DISK button This selects Disk mode, for saving and loading data to and from the internal hard drive or CD‐RW drive, or 0-9, –, ., and ENTER buttons from external USB 2.0 storage devices. These buttons are convenient when you know the exact value that you want to enter. Use the 0–9, –, and 10. UTILITY buttons decimal (.) buttons to enter the value, and then press the ENTER button to confirm the entry. The – button inverts the sign (+/–) of the parameter value; the decimal (.) button inserts a decimal, for ...
Page 33 What’s in each bank? To reset a single control, hold down RESET CONTROLS and then move a Control Surface slider or For details on the contents of the Program banks, see knob, press one of the control surface buttons, or move “Program Bank Contents” on page 2. For details on the the Vector Joystick. Combi banks, see “Combination Bank Contents” on To reset an entire page of the Control Surface all at page 3. once, including all sliders, knobs, and switches, hold down RESET CONTROLS and then touch any of the 12. TouchView display Control Assign buttons, such as TIMBRE/TRACK or TONE ADJUST. The OASYS features our exclusive TouchView graphic interface, based on a touch‐panel LCD screen. You can also reset all of the sliders and switches in the KARMA Module by holding RESET CONTROLS and By touching items on the LCD screen, you can select then pressing the KARMA MODULE CONTROL pages, tabs, and parameters, and set parameter values button. Similarly, to reset a single KARMA Scene, hold via on‐screen menus and buttons. RESET CONTROLS and press any of the SCENE buttons. 13. Headphone jack Finally, you can also use this to clear all solos, by This stereo 1/4” headphone jack carries the same signal holding RESET CONTROLS and then pressing the as the Main L/R outputs. ...
Page 34 Introduction to OASYS LOCATE button 16. EXIT button In Sequencer mode, this button will advance or rewind This button makes it easy to return to the main page of the song to the specified locate point. This lets you the current mode: jump immediately to any point in the current Song. The default locate point is the first beat of measure 1. • Press it once to go to the previously‐selected tab on the main P0 page. To set the locate point to the current position, hold down ENTER and then press LOCATE. You can also • Press it again to go to the first tab on the main P0 set the Locate point directly via the on‐screen menu. page (such as the main Program Play page). If you had previously selected a parameter on this page, REC/WRITE button that parameter will be selected. In Sequencer mode, pressing this button will enter • Press it a third time to select the main parameter on record‐ready mode. Once you’re in record‐ready mode the P0 page, such as the Program name in Program (shown by the button’s lit LED), you can begin mode. recording by pressing the SEQUENCER START/STOP Wherever you are in Program, Combi, or Sequencer button. For more information, see “Recording MIDI in modes, pressing EXIT three times (or fewer) will take real‐time” on page 91.
Page 35 19. SAMPLING buttons For instance, press 0 for the first menu command, 1 for the second, and so on. If the menu command just toggles an option on and off (such as Exclusive Solo), then you’re done. If the command calls up a dialog box, the dialog will appear on the LCD, and you can proceed just as if you’d selected the command from the touch‐screen. ENTER + REC/WRITE: Auto Song Setup REC button The Auto Song Setup feature copies the current In Sampling, Program, Combination, and Sequencer Program or Combination into a Song, and then puts modes, pressing this button enters the initial sampling‐ the OASYS in record‐ready mode. ready mode. The button’s LED will light up. If inspiration for a phrase or song strikes you while To continue, press the SAMPLING START/STOP you’re playing, you can use this function to start button, as described below. recording immediately. To do so: START/STOP button 1. Hold down the ENTER key and press the In Sampling, Program, Combination, and Sequencer SEQUENCER REC/WRITE key. modes, pressing this when the SAMPLING REC The Setup to Record dialog box will open and ask “Are button is lit will do one of three things, depending on you sure?”...
Page 36: Rear Panel
Introduction to OASYS You can use this shortcut throughout the OASYS, such The PLAY/MUTE buttons select Timbres 1–8, and the as for setting keyboard and velocity zones, or selecting SELECT buttons select Timbres 9–16. the note to edit in Drum Kits, Multisamples, or RPPR This is the same as the selected Timbre/Track in setups. TIMBRE/TRACK mode; changing one will also change the other. ENTER + LOCATE 3. Release the TONE ADJUST button. This shortcut sets the Sequencer’s locate point to the current measure, beat, and tick, similar to using the Set The Control Surface and screen will change to show Location menu command (see “Set Location (for the Tone Adjust parameters for the newly selected Locate Key)” on page 583 of the Parameter Guide). Timbre. 1. Hold down the ENTER key. EXIT switch: Return to main page 2. While holding ENTER, press the LOCATE key. This button makes it easy to return to the main page of After this, pressing LOCATE returns the Song to the the current mode: newly set measure, beat, and tick. • Press it once to go to the previously‐selected tab on ...
Page 37: Power Switch
Connect this to any computer audio system, multitrack recorder, digital mixer, effects processor, or other This lets you connect a simple on/off footswitch, such digital audio device which supports the ADAT optical as the optional Korg PS‐1. The footswitch can perform format. a wide variety of functions, such as modulating sounds and effects, tap tempo, sequencer start/stop, etc. 2. MIDI The switch’s function is set in Global mode (on the Controller tab of the Controllers/Scales page), so that it always works the same regardless of the current Program, Combi, or Song. For more information, please see “Specifying the function of the ASSIGNABLE Switch and ASSIGNABLE Pedal” on page 153. MIDI lets you connect OASYS to computers or other ASSIGNABLE PEDAL jack MIDI devices, for sending and receiving notes, controller gestures, sound settings, and so on. For This lets you connect a continuous controller pedal, more information on MIDI connections, please see such as the Korg EXP‐2 foot controller or Korg XVP‐10 “MIDI applications” on page 1055 of the Parameter EXP/VOL pedal, to use as an assignable modulation Guide. source. MIDI THRU connector Like the ASSIGNABLE SWITCH, the pedal’s function is set in Global mode. For more information, please see MIDI data received at the MIDI IN connector is re‐ “Specifying the function of the ASSIGNABLE Switch transmitted without change from the MIDI THRU ...
Page 38 Introduction to OASYS Note that the VOLUME slider does not adjust the 8. Analog AUDIO OUTPUTS S/P DIF output level. All of the analog audio outputs use unbalanced 1/4” IN jack phone jacks, referenced to a +4dBu signal level. You can use this optical S/P DIF input for recording, sampling, and real‐time mixing through the built‐in effects. It can be used simultaneously with the four analog inputs, if you like. Connect these outputs to the input jacks of your amp or mixer. In addition to the L/MONO and R main 7. Analog AUDIO INPUTS stereo audio outputs, the OASYS provides eight individual audio outputs. You can use the audio inputs for recording, sampling, and real‐time mixing through the built‐in effects. The sound from each oscillator, drum, timbre/track, or insert effect can be freely routed to any output. Mic/Line Inputs 1 and 2 Additionally, you can route the metronome sound to an individual output, to separate it from the stereo mix. For more information, see “Routing effect ...
Page 39: Names And Functions Of Objects On The Lcd Display
Page name i: Page menu button a: Current page e: (Category) popup button d: Popup button (2) b: Edit cell c: Popup button (1) h: Page tab g: Page group Tab The OASYS uses Korg’s TouchView graphical user To enter the parameter value, press the desired value in interface. the popup menu. By touching on objects displayed in the LCD screen, When a popup menu is displayed, using a VALUE you can select pages, set parameter values, rename controller (+p.39) will close the popup menu. If the programs and combinations, write data, and perform ...
Page 40 Introduction to OASYS Scroll bar To execute, press the OK button. To cancel without executing, press the Cancel button. (The operation will Use this when you wish to see parameter values that occur when you press and release the button.) The extend beyond what can be displayed in the screen at dialog box will close. The EXIT switch corresponds to one time. the Cancel button, Done button, and Exit button. Press here to scroll to left or right. Text edit button Press here and slide to left or right to Press here to scroll to the scroll to the desired location.
Page 41 Front and rear panels Names and functions of objects on the LCD display Use the numeric keypad [0]‐[9]...
Page 42: Basic Information
Introduction to OASYS Basic Information About the OASYS’ modes The OASYS has a large number of features that let you synthesis type: HD‐1, AL‐1, CX‐3, STR‐1, MS‐20EX, play and edit programs and combinations, record and PolysixEX, MOD‐7or other EXi instruments. play sequence data, record and play back samples, and • Create drum programs using drum kits (as created manage data on disk. The largest unit used to organize in Global mode) these features is called a mode. • Play and control one KARMA module The OASYS has six modes. • Sample and resample For example, you can sample an external audio Program mode source while listening to a performance generated by the KARMA function, or you can play a Program Programs are the basic sounds of OASYS. In Program and resample your performance. mode, you can: • Select and play Programs Combination mode • Edit Programs Combinations are sets of up to 16 Programs that can be Make detailed settings for oscillators, filters, amps, ...
Page 43: About The Oasys' Pcm Memory
Basic Information About the OASYS’ PCM memory • Select and play Combinations • Sample external audio sources (i.e., record samples), including sampling through effects • Use OASYS as a 16‐track multitimbral tone generator • Edit waveform data you sampled or loaded in from media, and set loop points etc. • Edit Combinations • Create and edit multisamples, which consist of one Assign Programs to each of the 16 Timbres, each or more samples spread out across the keyboard with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, vector • Quickly convert multisamples into Programs synthesis, and KARMA. • Digital data can be sampled (“ripped”) directly • Control and play up to four KARMA modules from an audio CD in the CD‐R/RW drive. You can also play back audio CDs. • Sample or resample For example you can sample an external audio Global mode source while listening to the performance of the ...
Page 44 Introduction to OASYS As shipped from the factory, these samples will be User sampling RAM capacity loaded and available at start‐up, along with the ROM samples. This can be changed using the Global mode The OASYS comes with 1 GB of RAM pre‐installed, Expansion Sample Setup menu command, if desired. which can be expanded up to 2 GB with a user‐ installable DIMM module. This memory is shared Some of the factory preloaded sounds require EXs1 to between the operating system, ROM and EXs samples, be loaded. This includes some of the Programs in bank and RAM samples. INT‐E, and some of the Combinations in bank INT‐C. These sounds either use EXs1 samples directly, or use In particular, the size of the currently loaded EXs Wave Sequences or Drum Kits which in turn rely on samples trades off against the memory available for EXs1. RAM samples. The more space used by the EXs samples, the less is available for RAM samples, as All of these Programs, Combinations, Wave Sequences, shown below. and Drum Kits all have “EXs1” in their names, to remind you that they require EXs1. EXs samples and available sample RAM Note: If EXs1 is not loaded, these sounds won’t play Available Sample RAM EXs Loaded correctly. 1GB installed 2GB Installed...
Page 45: About Polyphony
Combination banks and PCM memory use the loaded multisamples/samples. For details, please refer to the tables below. Bank Expansion Samples Required? INT-A, B INT-C Requires EXs1 INT-D…G USER-A…G About polyphony Most hardware synthesizers offer a single, fixed If an effect has been assigned to an IFX, MFX, or TFX, it method of synthesis, a predetermined number of will take up the same amount of processing resources voices, and a fixed amount of effects processing power. even if it is turned Off or bypassed. If you want to free OASYS is different; it has no fixed synthesis method, up the processing resources, change the selection to and it shares its processing power between voices and 000: No Effect. effects. EXi FIXED This flexibility means that the system can deliver This shows the percentage of the total processing power where you need it the most. For instance, one power used for the fixed components of EXi Program may need a bunch of voices layered together, instruments. “Fixed” means that part of the EXi starts but not many effects; another might need complex using processing power as soon as the EXi is loaded, effects processing, but not as many voices. In both before playing any notes; this includes the built‐in cases, OASYS will automatically divide its processing ...
Page 46: Basic Operations
Introduction to OASYS The maximum polyphony may also depend on various other parameters; for more information, see “A note about polyphony” on page 33 of the Parameter Guide. Resource Meter Effect EXi Fixed Free for Voices Basic operations After you’ve turned on the OASYS, here’s how to Here we will use Program mode as an example for our perform basic operations such as selecting modes and explanation. Press the PROGRAM switch. pages. 1. Selecting modes In order to use a particular function on the OASYS, you must first select the appropriate mode. Press one of the front panel mode buttons (COMBI, PROGRAM, SEQ, SAMPLING, GLOBAL, or DISK) to enter the corresponding mode. COMBI switch: Combination mode PROGRAM switch: Program mode Page tab SEQ switch: Sequencer mode SAMPLING switch: Sampling mode Page GLOBAL switch:...
Page 47: Editing Parameters
Basic Information Basic operations In Program mode and Combination mode, this slider can also be used as a control source for alternate modulation or dynamic modulation. (This is active in Program or Combination P0: Play when the “Program Select” or “Combination Select” (the large characters in the upper part of the LCD) is selected). switches Use these when you wish to make small changes in the value. Basic Vector tab 3. Press a tab in the upper line (page tabs) to select a page. As an example here, press the Vector Control tab. The current page indication in the upper left of the LCD VALUE dial screen will stay the same, but the upper right indication will change to “Vector Control.” You’ve Use this when you wish to make large changes in a selected the Vector Control page. value. Note: Some pages have no tabs. Numeric keys 0–9, ENTER switch, – switch, (.) switch Use these when you know the parameter value that you wish to input. After using the numeric keys 0–9 to input a number, ...
Page 48 Introduction to OASYS be recalled. When you press the COMPARE switch once again, the LED will go dark and you will return to the settings that you were editing. If you edit the settings that are recalled by pressing the COMPARE switch (i.e., the settings that are written into memory), the LED will go dark, and it will not be possible to return to the previous edits by pressing the COMPARE switch again. In Sequencer mode, you can use the COMPARE switch to make “before and after” comparisons immediately after using realtime recording or step recording to record a song, or after performing a track edit operation. For example, this can be used effectively when realtime‐recording a track for a song. 1. Realtime‐record a MIDI track. (Take 1) 2. Once again, realtime‐record on the same track. (Take 2) 3. Press the COMPARE switch. The LED will light, and take 1 will be recalled. 4. Press the COMPARE switch once again. The LED will go dark, and take 2 will be recalled. 5. If at step 3 you once again realtime‐record on the same track (take 3), the object of the Compare function will now be take 1. If at step 4 you once again realtime‐record on the same track (take 3), the object of the Compare function will be take 2. In this way, the Compare function lets you recall the previous recording or the previous state of event editing. The Compare function does not work in Global mode, ...
Page 49: Setup
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO 2. Analog audio output connections Make sure that your AC outlet is the correct voltage 1. Connecting the power cable for your instrument. 1. Turn off the power of the OASYS. 2. Analog audio output connections 2. First connect the included power cable to the OASYS’ rear panel AC power inlet. Here’s how to connect the OASYS to your analog amp If your power cable uses a separate ground wire, or mixer. you must connect this ground wire before inserting If you’ve connected a stereo audio amp, be aware the plug into the AC outlet. When disconnecting, that playing at high volume may damage your you must first disconnect the plug before you speaker system. Be careful not to raise the volume ...
Page 50 Introduction to OASYS AUDIO OUTPUT (MAIN) L/MONO and R 2. Use the VOLUME slide to adjust the volume of the headphones. The OASYS’ headphone jack outputs These are the main outputs, accessed by setting Bus the same signal as the (MAIN) L/MONO and R Select to L/R. All of the factory sounds use these jacks. outputs, and the Master and Total Effects are always Tip: To monitor the (INDIVIDUAL) 1–8 signals, use an routed here as well. external mixer. 1. Connect the AUDIO OUTPUT (MAIN) L/MONO and R outputs to the inputs of your amp or mixer. 3. Analog audio input connections If you’re using OASYS in stereo, use both the (MAIN) L/MONO and R jacks. If you’re using OASYS in mono, Here’s how to input external analog audio sources into use only the (MAIN) L/MONO jack. the OASYS so that they can be sampled, recorded on 2. Use the VOLUME slider to adjust the volume. the hard disk, or processed through the internal effects. The VOLUME slider affects only the main stereo AUDIO INPUT 1, 2 outputs and the headphones; it does not affect the ...
Page 51: Digital Audio Output
3. Go to the Global P0 page, and use the Half and a reduction in volume. For best results, route such Damper Calibration menu command to adjust the guitars through a pre‐amp or effects unit before sensitivity if desired. connecting them. For more information, see “Damper Pedal (Sustain)” on page 52, and “Damper Polarity” on page 717 of the 4. Digital audio input/output connections Parameter Guide. Digital audio output Connecting a foot switch The same signal as the OASYS’ AUDIO OUTPUT You can use a connected foot switch to perform (MAIN) L/MONO and R jacks can be digitally output functions such as controlling sostenuto, soft pedal to an audio system, digital mixer, DAT or MD recorder, on/off, KARMA function on/off, selecting programs or or other device that can accept a sampling rate of 48 combinations, starting/stopping the sequencer, and kHz or 96 kHz. controlling tap tempo. • Use an optical cable to connect the S/P DIF OUT 1. Connect a foot switch such as the optional PS‐1 to (MAIN) jack to the optical digital input jack of your ...
Page 52: Connections To Midi Equipment
Introduction to OASYS 2. Execute the Disk mode Utility menu command To avoid this problem, if you connect more than one “Scan USB Device.” USB device, please use a self‐powered USB hub in self‐ powered mode. For details on connections and settings 3. Use the Disk mode Drive Select screen to check for your hub, please refer to its documentation. the connection. For details on the electrical current used by a specific For more information, see “Loading & saving data, and USB device, refer to its owner’s manual. creating CDs” on page 169. OASYS 7. Connections to MIDI equipment & computers Type B CD-R/RW, hard disk, removable disk, etc. Connections to MIDI equipment The keyboard, controllers, and sequencer etc. of Type A USB cable OASYS can be used to control an external MIDI tone ...
Page 53: Using The Cd-R/Rw Drive
Setup Using the CD-R/RW drive 3. Raise the OASYS’s VOLUME slider to an even though you’ve installed the EXB‐DI, it was not appropriate level, and adjust the volume of your installed correctly. Turn off the power and reinstall the powered monitors or stereo amp. EXB‐DI. After you’ve turned off the power, you must wait For details, see “EXB‐DI option board, additional approximately ten seconds before turning the memory, & calendar battery” on page 1089 of the power on again. Parameter Guide. Tip: You can set the “Power On Mode” (Global P0: 2. Turning the power off System Preference page) so that the mode and page that had been selected when you turned the power off 1. Set the front panel VOLUME slider and the will appear when the power is turned on. volume of your powered monitor or stereo amp to For more information, see “Recalling the last‐selected zero. mode and page at power‐on” on page 152. 2. Turn off the power of your powered monitor or Leaving or deleting WAVE files in the TEMP stereo amp.
Page 54 Introduction to OASYS Insert a pin‐like object of less than 1 mm diameter, such as a straightened paper clip, into the manual eject pinhole and push. The disc tray will be forced open. Excessive use of this method may cause the CD‐ R/RW drive to malfunction. This procedure must be performed with the power off. Manual eject pinhole Eject button...
Page 55: Playing And Editing Programs
Playing and editing Programs What’s a Program? This section of the manual takes a quick look at playing Programs, including tours of the front‐panel Programs are the basic sounds of the OASYS. You can controllers and basic editing techniques. play them by themselves, layer them together in Combinations, or play a different Program on each of the 16 MIDI tracks, either from the internal sequencer or from external computer‐based sequencers. Selecting Programs Program Bank Contents There are several different ways to select Programs. Each one is convenient in a different way: As shipped from the factory, the contents of the • Using the front‐panel buttons, value slider, and Program Banks are as follows: value knob, you can select Programs quickly via Program bank contents physical controls Bank Contents Bank Type • Selecting by Bank and number (via the touch‐ INT-A…D HD-1Programs screen) lets you browse twhrough all of the Programs in memory, to find the one that you want HD-1 HD-1Programs;...
Page 56 Playing and editing Programs Changing the Bank Type for USER-A…G 1. Press the Program Select popup button. The Bank/Program Select dialog appears. Banks can contain either HD‐1 Programs or EXi Programs, but not both. This assignment is fixed for Bank/Program Select menu the Internal banks, but can be set separately for each of the USER banks. To change the type of a USER bank: 1. Press the front‐panel GLOBAL button to enter Global mode. 2. Select the Basic tab. 3. Press the page menu button, and select Set Program User‐Bank Type. 4. Change the Type for the desired banks. Leave all of the other banks set to “No Change.” Setting a bank’s type will erase all of the Program data in the bank ‐ so make sure that you’re not erasing any Programs you want to keep! 5. Press the OK button. In this illustration, bank A is selected. The list on the An “are you sure?” dialog appears. right shows the Programs contained in that bank. 6. If you’re certain of the change, press OK again. 2.
Page 57 The name of the selected category will be displayed in 1. Follow steps 1‐4 under “Assigning the footswitch full in the lower left. to Program Up/Down,” above. 2. At the top of the page, set the Foot Switch Assign 3. Press one of the program names in the center area parameter to Value Inc (or Value Dec). to select a program. Now, the foot switch will act just like pressing the The selected program will be highlighted. front‐panel Inc or Dec button. 4. When you are satisfied with the selected program, Note: The footswitch will work like this for the entire press the OK button to close the popup menu. OASYS–not just when the Program or Combination If you press the Cancel button, your selection will be Select window is open. discarded, and you will return to the program that had been selected when you opened the popup menu. Using MIDI Program Change Using a footswitch to select Programs You can send MIDI Program Change messages to OASYS from external MIDI devices, such as computer You can assign a footswitch to step through Programs sequencers or other MIDI controllers. In conjunction one by one, either going up (0, 1, 2, 3, etc.) or going with MIDI Bank Select, you can use these to select any down (3, 2, 1 etc.). This lets you change Programs ...
Page 58: Using Controllers
Playing and editing Programs Using Controllers Resetting the Vector Joystick to the center The OASYS provides a lot of hands‐on ways to control the sound–the mod and pitch‐bend joystick, the Vector You can use the front‐panel RESET CONTROLS button joystick, the ribbon controller, two switches (SW1 and to reset the Vector Joystick to its default center SW2), and the Control Surface knobs, sliders, and position. To do this: switches. 1. Hold down the RESET CONTROLS button. These controls let you modify the tone, pitch, volume, 2. While holding RESET CONTROLS, move the effects, etc. in realtime while you play. Vector Joystick. 3. Release the RESET CONTROLS button. Joystick The joystick will now be reset to its center position. The joystick moves in four directions: left, right, Ribbon Controller forwards (away from yourself), and backwards Move your finger to the (towards yourself). Each of the four directions can be ...
Page 59 Using Controllers An example of settings in a Program 5. Press the SW2 key once again to release the Lock function. Locking the Ribbon Controller Make sure that the INT‐A016: Real Suit E.Piano program is selected. 1. Press the SW2 key. The LED on SW2 will light up. 2. Touch the ribbon controller, and move your finger left and right. Movement in the +X direction will brighten the tone, and movement in the –X direction will darken the tone. 3. Lift your finger up from the ribbon controller. The sound will remain as it was when you last touched the ribbon. When using SW1/2 for AMS or Dmod, the default 4. Press the SW2 key once again to release the Lock settings are SW1 Mod.:CC#80 and SW2 Mod.:CC#81. function. For an example, see “Using Dmod to change the 5. Press the tab labeled Cntrl/View Effect, to go to the feedback level via SW1” on page 195. For a complete Controller/View Effect page. list of the possible assignments, see “SW1/2 In the upper right‐hand portion of the screen, notice Assignments” on page 1033 of the Parameter Guide. that SW2 is assigned to JS Y & Ribbon Lock, and is set ...
Page 60: After Touch
1. Hold down the RESET CONTROLS button. 2. While holding down RESET CONTROLS, move a The damper pedal is also sometimes called the sustain slider or knob, or press one of the control surface pedal. It acts like the similarly‐named pedal on an buttons. acoustic piano; when you hold down the pedal, notes will continue to sustain even when you lift your hands The slider, knob, or switch will be reset to the value off of the keyboard. stored in the Program. 3. When you’re done, release the RESET Damper Switch vs. Half-Damper CONTROLS button. You can use either a standard footswitch (such as the To reset a group of controls at once: Korg PS‐1) or a special half‐damper pedal (such as the Korg DS‐1H) as the Damper. 1. Hold down the RESET CONTROLS button. 2. While holding down RESET CONTROLS, touch If you use a footswitch, it will work like a normal any of the Control Assign buttons, such as synthesizer sustain pedal: notes will sustain forever, as TIMBRE/TRACK or TONE ADJUST. long as the pedal is held down. All of the sliders, knobs, and switches in the Control A half‐damper pedal is a special type of continuous Assign group will be reset to the values stored in the foot pedal (normal foot pedals won’t work properly for Program. this application). It offers more subtle control of sustain, which can be especially useful for piano ...
Page 61 Using Controllers The off and full‐on positions of the half‐damper work Combi, or Song. For more information, please see just like the footswitch, but intermediate positions “Specifying the function of the ASSIGNABLE Switch modulate the release time to increase sustain without and ASSIGNABLE Pedal” on page 153. making it infinite. Drum & Chord Pads The OASYS will automatically sense when a half‐ damper is connected to the rear‐panel DAMPER input. There are eight velocity‐sensitive trigger pads below For proper operation, you will also need to calibrate the LCD screen. These look like drum machine pads, the pedal, using the Calibrate Half‐Damper command and playing drum sounds is certainly one use for them. in the Global page menu. However, they can also play up to eight‐note chords on Damper and MIDI any sound–not just drums. The pads even remember The Damper Pedal is sent and received as MIDI CC the velocities of the individual notes within the chord, #64. In Combi and Sequence modes, you can “filter” as well as the notes themselves. CC# 64 so that it only affects some of the sounds in the In addition to playing sounds directly, the pads are Combi or Song. also used to select chords for Chord mode. For more Assignable Foot Switch information, see “Using Chord mode” on page 54.
Page 62: Using Chord Mode
Playing and editing Programs 1. Press and release the pad whose notes you want to You can even use one of the pads that was being copy. merged, if you like. After pressing the destination pad, you’re done. 2. Press the CHORD ASSIGN button. Fixed Velocity vs. Velocity Sensitive 3. Press the pad to which you’d like to copy the notes. Each pad stores a velocity level for each of its 8 notes. The new pad will now play the same notes as the The PAD MODE button, to the right of the pads, original pad. controls whether or not the pads respond to how hard you play. Merging two or more pads together In Fixed Velocity mode, the pads always use their You can merge the assignments from two or more pads stored velocity settings, regardless of how hard you together, as long as the total number of notes is 8 or play. fewer. To do so: In Velocity Sensitive mode, hitting the pad very 1. Press all of the pads that you’d like to merge, and strongly produces the preset velocities. When you play ...
Page 63 Using Chord mode 1. Go to page 2‐2 OSC (under Timbre Parameters or Advanced uses the Program’s Voice Assign parameters Track Parameters, respectively). to create a variety of different effects, such as mono legato chords with fingered portamento, or poly 2. Set the Timbre/Track’s Chord parameter to Basic chords that overlap one another. The Voice Assign or Advanced. settings apply as if the entire chord was a single note, Alternatively, you can set the Timbre/Track to PRG. with each pitch in the chord created by an additional This is the default, which uses the setting from the transposed oscillator. Program. Note that if the Program’s Chord mode is set Poly, Poly Legato, Single Trigger, Mono, Mono to Off, the Timbre/Track will not respond to the Chord Legato, Legato Offset, Mono Priority, and Mono and Switch. Poly Unison all apply. What if Timbres/Tracks share the same channel, You can achieve the same effect as Basic, above, by but have different Chord settings? setting Chord to Advanced, Voice Assign to Mono, If Timbres/Tracks share the same channel, but have Priority to Last Note, and Legato to Off. different Chord settings, then the Chord SW affects ...
Page 64: Knobs And Switches
When the Chord SW or the front‐panel Pads are used note of the chord is within the Timbre/Track keyboard to change the chord state, separate messages are sent zone, the entire chord will be played in that for each affected Timbre or Track, including: Timbre/Track–even if some of the notes extend beyond the Timbre/Track’s key zone. • In Combi mode, each Timbre on the Global Channel • In Sequencer mode, each Track on the same MIDI channel as the Keyboard Track Quick Edits using the Sliders, Knobs and Switches You can edit any of the Programs shipped with This page mirrors the Control Surface. Often, it will OASYS, or you can start with an initialized Program to show you a little more information about the knob create sounds from scratch. assignments, exact values, and so on. You can do many basic edits directly from the front 3. Press the MIXER KNOBS button until panel Control Surface knobs, switches, and sliders, the INDIVIDUAL PAN LED lights without ever delving deeper into the LCD interface. For instance, you can use the knobs to change attack This makes knob 1 control OSC1’s pan, and release times, make sounds brighter or darker, and knob 2 control OSC2’s pan. alter effects depths, modulate KARMA’s phrase 4. Use sliders 1 and 2 to adjust the volumes of OSC1 ...
Page 65 Quick Edits using the Sliders, Knobs and Switches Internally, the system figures out how the Oscillator is This is an electric piano sound; let’s see what we can do routed to the Master Effects, and automatically adjusts to make it sound a bit different. the appropriate send parameters. 2. Press the R.TIME KNOBS/KARMA button under CONTROL ASSIGN. Editing sounds & effects with the The button’s LED will light up. Realtime Knobs 3. While playing the sound, turn knob 1 (Filter Frequency) to the right, slowly, to about 3 o’clock. The Realtime Knobs are a traditional feature of KORG Notice how the piano becomes a sort of synth sweep. workstations, combining modulation, quick edits, and hands‐on control. 4. Next, turn knob 2 (Filter Resonance) to the right, also to about 3 o’clock. In R.TIME KNOBS/KARMA mode, knobs 1‐4 have dedicated functions, as printed on the front panel: 5. With knob 2 in that position, try moving knob 1 Filter Cutoff, Filter Resonance, Filter EG Intensity, and back and forth as you play. Release Time. All of these correspond to standard With the resonance increased, it now sounds like ...
Page 66: Using Tone Adjust
Playing and editing Programs controller, such as Knob Mod.1 (CC#17). Second, you The button’s LED will light up. assign that MIDI controller to modulate one or more 3. Go to the Control Surface tab of the Play page. Program or effects parameters. This page mirrors the Control Surface. It’s very useful For the first part of the above, use the mode’s Set Up with Tone Adjust, since it shows you the parameter Controllers page. For more information, See “SW1, assignments, exact values, and so on. SW2” on page 50. 4. Look at the assignments for sliders 5, 6, and 8. The default assignments for knobs 5‐8 are Knob Mod.1 Slider 5 is assigned to Amp EG Attack; slider 6 is (CC#17), Knob Mod.2 (CC#19), Knob Mod.3 (CC#20), assigned to Amp EG Decay; and slider 8 is assigned to and Knob Mod.4 (CC#21), respectively. For a complete Amp EG Release. list of the possible assignments, see “Realtime Knobs 5. Raise each of the three sliders so that they are 5–8 Assignments” on page 1034 of the Parameter about 4/5 of the way to the top. Guide. The LCD should show their values as between +60 and Here’s an example of how to set up knob 5 (User 1) to +70. In other words, you’ve just edited the amp control a Program’s filter and amp EG attack time: envelope so that the attack, decay, and release are all 1. Press the PROG switch to enter Program mode. much longer than they were before. 2.
Page 67: Detailed Editing With Hd-1 Programs
Detailed Editing with HD-1 Programs • Parameters which affect only OSC1 or OSC2 are 2. Press the “T” button to bring up the text edit prefixed with [OSC1] and [OSC2], respectively. dialog. You can give the Program a descriptive name using the • Parameters which affect both Oscillators, but which on‐screen keyboard. are specific to HD‐1 Programs, are prefixed with [OSC1&2]. 3. After entering the name, press OK. • The other group of parameters, at the beginning of The text edit window will disappear, returning you to the list, are “Common.” That is, you can use them the main Write dialog. with most EXi Programs, as well as HD‐1 4. Under “To” at the bottom of the dialog, press the Programs. popup button next to Program to bring up the save • Parameters can only be assigned to one Tone location dialog. Adjust control at a time. If a parameter is already 5. Select a location to save the edited Program. assigned, it’s grayed out. You can write to any location in banks INT–A–E and 3. Select a parameter from the list. USER A‐G. To avoid overwriting the factory sounds, The parameter is now assigned to the control. To cancel ...
Page 68: Using Drum Kits
Playing and editing Programs Drums mode is a special variation of Single mode, and Overview of editing pages uses a Drum Kit (as created in Global mode) instead of Multisamples. P0: Play is where you select and play programs, make quick edits using the Control Surface, and adjust the Single Programs use one oscillator, for a maximum of KARMA settings. The other pages let you modify the 172‐note polyphony. sound in more detailed ways. Double Programs use two oscillators, for a maximum Page Main features of 84‐note polyphony. • Select and play Programs Drum Programs use one oscillator to play a Drum Kit. • Perform easy edits using the Realtime Knobs, These will normally have a maximum of 172‐note KARMA sliders, and Tone Adjust polyphony.
Page 69 You can use these Multisamples directly, or use them through Wave Sequences, which play a series of ROM Multisamples are the built‐in “factory” sounds, different Multisamples over time to create rhythms or and are always available. These are organized by complex, evolving timbres. category, such as pianos, guitars, bells, etc. In Single and Double modes, each Oscillator can play RAM Multisamples include Akai, AIFF or WAV files up to four Multisamples or Wave Sequences. In Drum loaded from disk, and samples created in Sampling mode, there is one Oscillator, and it plays a single mode. Drum Kit. EXs Multisample banks are PCM expansion sets created especially for the OASYS. Each has its own Multisamples, Wave Sequences, and Drum Kits unique number; for instance, the ROM Expansion Multisamples, Drum Kits, and Wave Sequences allow option is EXs1, and the Concert Grand Piano option is you to play samples in different ways. EXs2. Only the currently loaded EXs banks will appear • Multisamples lay out one or more samples across in this menu. the keyboard. For instance, a very simple guitar 5. Press the Multisample popup for MS1. Multisample might have six samples–one for each string. • Wave Sequences play back a series of different Multisamples over time. These Multisamples may crossfade to create smooth, evolving timbres, or ...
Page 70: Using Lfos And Envelopes (Egs)
5. Select the Shape parameter, and use the VALUE • Filters (for wah effects) slider to move through its different settings, from ‐ 99 to +99. • Volume (for tremolo) Notice how the shape of the waveform becomes more • Pan (for auto‐panning) curved, and how ‐99 emphasizes the lower part of the The LFOs can modulate many other parameters, in shape, and +99 emphasizes the upper part. addition to those listed above. 6. Select the Start Phase parameter, and use the Basic LFO programming VALUE slider to sweep through its range of values. The OASYS LFOs are very powerful, and offer lots of Notice how the waveform shifts from side to side. control for the power user. It’s simple to get started Among other things, this lets you offset the LFOs from with them, though–and the graphics on the LCD show one another in time, which can create interesting how the parameters affect the sound. Let’s take a brief organic effects. tour. 7. Use the Frequency parameter to set the speed of 1. Go to the OSC1 LFO1 tab of the LFO page. the LFO. 8. Use the Fade and Delay settings to control the way the LFO sounds at the beginning of the note. For more information on LFOs, see “Program P5: LFO” ...
Page 71: Using Alternate Modulation (Ams)
Decay Time Slope Time Attack Time Start Level The HD‐1 includes three EGs, for Pitch, Filter, and Amp. These produce time‐varying changes in pitch, tone, and volume respectively. They can also be used to modulate a number of other Program parameters via AMS. Using Alternate Modulation (AMS) and the AMS Mixers Adding two AMS sources together AMS (Alternate Modulation Source) refers to any of the assignable modulation sources in OASYS, AMS mixers will do different things depending on including: their Type setting. The A+B setting merges two AMS • Built‐in physical controllers, such as the Joystick, sources into one. This can be handy when you need to Ribbon, and Real‐Time Knobs add one more modulation source to a parameter, but you’ve already used up all of the available AMS slots. • Incoming MIDI controllers, or MIDI controllers generated by KARMA or the Vector EG For instance, let’s say that you’re using an LFO to ...
Page 72: Controlling Pitch
Playing and editing Programs More AMS Mixer features AMS Mixer Amt AxB example There are more mixer Types, including Offset, Shape, and Quantize, which offer even more possibilities for AMS A: LFO creative programming. For more details, see these sections in the Parameter Guide: • “6–1: OSC 1 AMS Mixer” on page 90 • “Using SW 1/2 to turn an AMS source on and off” on page 92 AMS B: EG • “Muting individual Wave Sequence steps with SW1” on page 92 • “Converting from bipolar to unipolar” on page 92 • “Converting from unipolar to bipolar” on page 93 Amt A*B Output • “Quantized Ribbon Pitch Bend” on page 94 •...
Page 73: Using Filters
Using Filters Intensity (AMS Intensity) specifies the depth of To realistically simulate the slight change in pitch that vibrato that will be applied by the LFO when occurs when a string is plucked or at the attack of a modulated by the selected AMS (Alternate Modulation brass or vocal sound, you can use the EG to create a Source). For example, if LFO1 AMS is set to After subtle change in pitch at the attack. Touch and you set an appropriate value for Intensity, Portamento vibrato will be applied when you apply pressure to the keyboard or when MIDI aftertouch messages are Portamento makes the pitch change smoothly when received. you play the next note before releasing the previous note. Pitch EG The Time parameter controls how long it take the pitch When the Intensity value is set to +12.00, the pitch EG to change. As this value is increased, the pitch will specified in the Pitch EG page will produce a change over a longer time. With a value of 000, there maximum of ±1 octave of pitch change. will be no portamento. You can turn Portamento on and off via SW1 or SW2, by assigning them to Porta.SW CC#65. Using Filters The filters allows you to diminish or emphasize Serial and Parallel Routing specified frequency areas of the sound. The tone of the sound will depend significantly on the filter settings. Oscillator Filter A (Low Pass) Filter B (High Pass) The basic filter settings, including the routing, type, ...
Page 74 Playing and editing Programs Band Pass. This cuts out all parts of the sound, both highs and lows, except for the region around the cutoff frequency. Since this filter cuts out both high and low frequencies, its effect can change dramatically Low resonance depending on the cutoff setting and the oscillator’s multisample. With low resonance settings, you can use the Band Pass filter to create telephone or vintage phonograph sounds. With higher resonance settings, it can create buzzy or nasal timbres. Band Reject. This filter type–also called a notch filter– cuts only the parts of the sound directly around the cutoff frequency. Try modulating the cutoff with an LFO to create phaser‐like effects. Filter Types and Cutoff Frequency Low Pass High resonance When this is set to 0, there is no emphasis, and High Pass frequencies beyond the cutoff will simply diminish smoothly. At medium settings, the resonance will alter the timbre of the filter, making it sound more nasal, or more extreme. At very high settings, the resonance can be heard as a separate, whistling pitch. Band Pass To make the resonance track the keyboard pitch, see “Key Follow,” on page 66 of the Parameter Guide. Modulating the filters You can modulate the filter cutoff frequency using the ...
Page 75: Using The Amp Section
For example if, AMS is set to After Touch, applying pressure to the keyboard produces an “auto‐wah” effect. Intensity = +50 (Less Effect) Keyboard Track Most acoustic instruments get brighter as you play higher pitches. At its most basic, keyboard tracking re‐ creates this effect by increasing the cutoff frequency of Intensity = 0 (No Effect) a lowpass filter 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 OASYS keyboard tracking can also be much more Intensity = –99 (Inverted) complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can: • Make the filter cutoff increase very quickly over the middle of the keyboard, and then open more slowly–or not at all–in the higher octaves. • Make the cutoff increase as you play lower on the Intensity to A and Intensity to B adjust the effect that keyboard. keyboard tracking will have on filters A and B. For more information, see “3–2a: Keyboard Track,” on ...
Page 76 Amp Modulation parameter adjusts the depth of this control. Normally you will set Amp Modulation to To create a stereo effect when Oscillator Mode is set to positive (+) values. As this setting is increased, there Double, set the Amp1/Driver 1 page Pan to L001, and will be greater volume difference between softly the Amp2/Driver2 page Pan R127. This will make played and strongly played notes. OSC1 go to the left speaker, and OSC2 go to the right speaker. LFO1/2 With a setting of Random, the pan will change Specifies how the LFO’s will produce cyclic changes in randomly each time you play a note on OASYS, volume (tremolo effect). producing an interesting effect. The volume will be affected by the LFO(s) for which Pan AMS and Intensity you set an LFO1 Intensity, LFO2 Intensity value. Intensity specifies the depth of the pan modulation Intensity (AMS Intensity) adjusts the depth by which from the selected AMS source. the tremolo effect produced by the LFO will be affected when you assign an AMS (LFO1 AMS, LFO2 AMS). If you set AMS to Note Number, the pan will change according to the keyboard position of each note For example if you set AMS to JS‐Y (CC #02), tremolo played. With a setting of LFO1 or 2, the sound will will be applied when you move the joystick of OASYS sweep from side to side, creating an auto‐pan effect. toward yourself, or when CC#02 is received. Other settings allow you to move the oscillator pan by ...
Page 77: Using Vector Synthesis
Using Vector Synthesis The two main parameters, Drive and Low Boost, work Piano together to create the overall effect. Drive controls the amount of edge and bite in the timbre. Low settings will produce mild saturation, and higher settings create more obvious distortion. Organ Often, it’s useful to increase the Low Boost along with the Drive. Note: even when the Drive amount is set to 0, the Strings Drive circuit still affects the timbre. If your goal is a completely pristine sound, use the Bypass control instead. Low Boost is a special low‐frequency EQ which controls the body character of the sound. The specific Drive EQ frequencies affected will change with the Drive setting. The Drive circuit adds saturation and overdrive to the Higher amounts increase the bass boost, and will also sound, for everything from subtle fattening to drastic intensify the effect of the Drive parameter. distortion. Unlike an overdrive effect, Drive processes each voice individually, so the timbre stays the same regardless of how many voices are being played. Using Vector Synthesis Vector Synthesis lets you control Program and Effects Vector Envelope moving the Vector Point parameters by moving the Vector Joystick, by using the programmable Vector Envelope, or by the combination +127 of the two. What does Vector mean? Y-Axis Modulation generally works by moving a single ...
Page 78: Effects
Playing and editing Programs Vector and MIDI The Vector Joystick and its CCs control the Vector position, in conjunction with the Vector EG. The Vector features interact with MIDI in two different ways: through the Vector Joystick, and through the The Vector CC Control, on the other hand, is generated Vector CC Control. by the Vector position. Normally, this will only affect internal sounds and effects. If you like, however, you The Vector Joystick sends and receives two MIDI can also enable a Global parameter to send these controllers: one for the X axis, and the other for the Y generated CCs to external MIDI devices. axis. In Global mode, you can assign these to any MIDI CC numbers you like. The defaults are CC#118 for the For more information on Vector Synthesis, see “1–5: X axis, and CC#119 for the Y axis. Vector Control” on page 39 of the Parameter Guide. Vector Synthesis System Vector CC MIDI Output Global switch: Vector MIDI Out Vector Joystick Global Controllers MIDI CC Assignments Vector Joystick Vector CC MIDI Output...
Page 79: Automatically Importing A Program
Automatically importing a Program into Sequence mode Automatically importing a Program into Sequence mode The Auto Song Setup feature copies the current Program or Combination into a Song, and then puts the OASYS in record‐ready mode. If inspiration for a phrase or song strikes you while you’re playing, you can use this function to start recording immediately. To do so: 1. Hold down the ENTER key and press the SEQUENCER REC/WRITE key. The Setup to Record dialog box will open and ask “Are you sure?” 2. Press OK. You will automatically enter Sequencer mode, and will be in the record‐ready state. 3. Press the START/STOP key to start the sequencer and begin recording. ...
Page 80 Playing and editing Programs...
Page 81: Playing And Editing Combinations
A Combi is made up of 16 Timbres. Each Timbre has a for complex and layered generated effects. Program, along with parameters for key and velocity zones, mixer settings, MIDI channel and controller filtering, and so on. Combination overview The detailed editing pages, P1 through P9, give you Combination Banks and factory sounds more in‐depth access to the Combi’s powerful key and velocity zones, MIDI filtering, Vector Synthesis, OASYS ships from the factory with 384 factory‐ KARMA, and Effects. programmed Combinations. You can create your own original combinations by editing these factory‐set Page Main features combinations, or by initializing a combination and • Select and play Combinations starting “from scratch.” • Perform easy edits using the Realtime Knobs, KARMA sliders, and Tone Adjust Over 1,400 Combination slots are left open for your ...
Page 82: Selecting Combinations
INDIVIDUAL 1...8 Timbre4 Parameters REC Bus Program FX Control Bus 3Band EQ Timbre16 Parameters Program 3Band EQ P1–1, P2–2, etc. indicate the OASYS on-screen pages and tabs. Selecting Combinations There are several different ways to select If it is not selected, go to the Combination P0: Play Combinations. Each one is convenient in a different page and touch the Combination’s name, so that it’s way: hilighted. • Using the front‐panel buttons, value slider, and 4. Use the VALUE controllers to select the value knob, you can select Combinations quickly ...
Page 83: Using Controllers To Modify The Sound
Selecting by Category Combinations without using your hands–great for quick Program changes in live performance situations. You can select Combinations from within a category, such as keyboard, organ, bass, and drums. When For more information, see “Using a footswitch to select shipped from the factory, the preloaded Combinations Programs” on page 49. are organized into 16 categories, each with several sub‐ categories. There are also 2 more categories, initially Selecting Combinations from MIDI named User 16 and User 17, which you can use and rename as desired. You can send MIDI Program Change messages to OASYS from external MIDI devices, such as computer 1. Press the Category popup button. sequencers or other MIDI controllers. In conjunction The Category/Combination Select dialog appears. with MIDI Bank Select, you can use these to select any Combination from all 14 Banks. For more information, see “Selecting combinations,” on page 1057 of the Parameter Guide. Using controllers to modify the sound You can use the joystick, ribbon controller, SW1, SW2, Vector Joystick, VALUE slider, keyboard, foot pedals and switches, and the Control Panel knobs, sliders, and switches to control the sound. For more information, see the corresponding ...
Page 84: Easy Combination Editing
Playing and editing Combinations Easy Combination editing 4. Select the on‐screen Pan knob for Timbre 1, and Changing the Programs within the Combi edit its value as desired. Changing the Programs assigned to the 16 Timbres is a Timbre pan interacts with the pan stored in the quick way to dramatically alter the sound of the Program. A setting of C064 reproduces the Program’s Combination. oscillator pan settings. Adjusting the Timbre Pan will move the sound to left or right while preserving the There are two ways to select Programs for a Timbre: pan relationship between the oscillators. A setting of • Selecting Programs from the front panel and LCD, L001 is far left, and R127 is far right. either by Bank or by Category Using the Control Surface for the mix • Selecting Programs via MIDI program change You can also edit the mixer parameters directly from messages the Control Surface, eight Timbres at a time. ...
Page 85: Combination Editing
2. Press the R.TIME KNOBS/KARMA button under this; here’s one of them: CONTROL ASSIGN. 1. Play a single note, or a chord of up to 8 notes. The LCD will now show the KARMA parameters 2. Press the CHORD ASSIGN button. assigned to the sliders and switches. 3. Press the pad to which you’d like to assign the 3. Move the sliders to change the KARMA notes. parameters. For more information on KARMA, see the “KARMA GE guide” on page 949 of the Parameter Guide. Combination editing You can edit the preloaded combinations (Banks A, B, To add finishing touches to the sound, set up the Insert, and E) with which the OASYS is shipped, or start with Master, and Total Effects as desired (on the P8: Insert an initialized Combination to create your own original Effects andP:9 Master/Total Effects pages, respectively.) sounds. These effects can be different from those of the individual Programs in Program mode, if desired. You can use the factory Programs to create new Combis, or use your own custom Programs. If you’re in In addition, you can make KARMA settings (on the P7: the process of editing a Program in Program mode, KARMA page) and controller settings (on the P3: MIDI and you use the Program in a Combi, you’ll hear the Filter/Zones page) to create the finished Combination. edited version in Combi mode as well. Soloing timbres You can use the Control Surface Solo function to listen ...
Page 86: Layers, Splits, And Velocity Switches
Strong Keyboard playing Program A dynamics Soft You can also enter these values by selecting the Velocity Switch: parameter, and then holding down the ENTER key Keyboard playing dynamics (velocity) switches between and playing a note on the keyboard. different programs. Key Zone Slope On OASYS, you can use a different Program for each of In addition to “hard” splits, in which the sound up to sixteen Timbres, and combine two or more of the changes abruptly, you can use the Slope parameters to above methods to create even more complex setups. gradually fade a sound in or out over a range of keys. Program A In the example above, you could set the Bottom Key of Program D Strong Keyboard playing Program B timbre 1 to G3, and set the Top Key of timbre 2 to G4, ...
Page 87: Midi Settings
Timbre entirely. The EXT and EX2 settings allow the Timbre to control an external MIDI device. For more For each MIDI Filter item, you can specify whether or information, see “Status” on page 415 of the Parameter not the corresponding MIDI message will be Guide. transmitted and received. The checked items will be transmitted and received. Bank Select (when status=EX2) The MIDI filters don’t turn the functions themselves on When the Status is set to EX2, these parameters allow or off. Instead, the filter just controls whether or not you to transmit MIDI Bank Select messages for that MIDI message will be transmitted and received. changing banks on external MIDI devices. For example, if portamento is on, portamento will be MIDI Channel applied to the internal OASYS sound even if Timbres that you wish to play from OASYS’s keyboard Portamento SW CC#65 is unchecked. must be set to the global MIDI channel. Your playing As another example, let’s say that you’ve selected a on the keyboard is transmitted on the global MIDI bass Program for Timbre 1, and a piano Program for channel, and will sound any timbre that matches this Timbre 2, with the goal of creating a bass/piano split. channel. Normally you will set this to Gch. When this You could make the following settings so that pressing is set to Gch, the MIDI channel of the timbre will the damper pedal affects only Timbre 2’s piano sound: always match the global MIDI channel, even if you 1. Go to the MIDI Filter 1 tab of the MIDI change the global MIDI channel. Filter/Zones page.
Page 88: Effects
Playing and editing Combinations For more information, see “Force OSC Mode,” on For more information, see “Detune BPM Adjust,” on page 416 of the Parameter Guide. page 464 of the Parameter Guide. OSC Select Use Program’s Scale, Scale Normally, this should be set to BTH (Both). This specifies the scale for each timbre. If you check Use Program’s Scale, the scale specified by the If the timbre is using a program whose Oscillator program will be used. Timbres for which this is not Mode is Double, and you want only OSC1 or OSC2 checked will use the Scale setting. (not both) to sound, set this to OSC1 (only OSC1 will sound) or OSC2 (only OSC2 will sound). Delay Portamento You can set some Timbres so that they don’t sound Normally, this should be set to PRG. immediately at note‐on. This can create cool effects, If the Program uses portamento, but you’d like to and more dramatic layers. disable this for the current Combination, set this You can specify the delay for each Timbre either in parameter to Off. milliseconds (ms), or in rhythmic values which sync to Conversely, if you want to force the portamento to be the system tempo. on, or just to change the portamento time, set this to a If you set the Delay to Key Off, the Timbre will sound value of 001–127. The portamento will change to use ...
Page 89: Automatically Importing A Combination
Automatically importing a Combination into Sequencer mode Total Effects The two Total Effects are dedicated to processing the main L/R outputs. They’re ideally suited to overall mix effects, such as compression, limiting, and EQ–but as with the other effects sections, you can use any type of effect that you like. Automatically importing a Combination into Sequencer mode The Auto Song Setup feature automatically applies the Hold down the ENTER key and press the settings of the current Combination to a song. SEQUENCER REC/WRITE key. The “Setup to Record” dialog box will open and ask “Are you sure?”. Press If inspiration for a phrase or song strikes you while “OK”. You will automatically enter Sequencer mode, you’re playing a program or combination, you can use and will be in the record‐ready state. Press the this function to start recording immediately. START/STOP key to start the sequencer and begin recording. Saving your edits Once you’ve tweaked the sound to perfection, you’ll want to save your work. To save your edits: 1. Select the Write Combination command from the page menu, at the upper right‐hand corner of the ...
Page 90 Playing and editing Combinations...
Page 91: Creating Songs (Sequencer Mode)
Creating songs (Sequencer mode) Overview - About the OASYS’ sequencer The OASYS’ sequencer can hold up to 200 songs and When you turn off the power, the settings made in 400,000 MIDI events or 300,000 audio events. It consists Sequencer mode and the song data, and any user of a 16‐track MIDI sequencer and a 16‐track hard disk pattern data that you recorded will not be backed recorder, giving you a total of 32 tracks. up. If you wish to keep this data, you must save it on media (such as the internal hard disk or CD‐R, or You can use the sixteen MIDI tracks and one master an external USB device) before turning off the track (containing tempo data, etc.) to record and play power, or perform a MIDI data dump to save the back MIDI data using internal or external tone data on an external data filer etc. generators, and use the sixteen audio tracks of the hard disk recorder to record and play back audio signals. If you wish to save the programs, track parameters, (You can play back up to sixteen audio tracks effects, and KARMA function settings etc. selected simultaneously, and record up to four audio tracks for a song as a template song, use the page menu simultaneously.) command “Save Template Song.” Audio tracks can record external audio sources such as Immediately after the power is turned on, OASYS guitar and vocal, as well as the OASYS’ internal tone will not contain any song data, so if you wish to generator. Automation data for volume and pan can play a song on the sequencer, you must first load ...
Page 92 Hard disk recording function WAVE (Mono) Hard disk Make Audio CD WAVE (Stereo) Resampling (L/R 2ch Mix) Parentheses such as (P7) indicate the OASYS page used for editing. Sequencer mode page structure Page Explanation Page Explanation • Insert effect selection, settings, send level...
Page 93: Playing Songs
Playing Songs Playback Playing Songs Playback In order to play back song data in the sequencer, you • Press the LOCATE switch to move to the assigned must first record song data, or load or dump it into the location. OASYS. • Press the PAUSE switch to pause playback. Press Let’s start by loading and playing the demo song data. the PAUSE switch once again to resume playback. For more information, see “Listening to the demo • Press the <<REW or FF>> switches to rewind or fast‐ songs” on page 4. forward. You can use this during playback or while 1. Press the MODE SEQ switch. stopped. You can use the “FF/REW SPEED” page menu The P0: Play/Rec– MIDI Track Program Select/Mixer command to specify the rewind and fast‐forward page will appear. If it does not, press the EXIT speeds. switch and then press the MIDI Prog/Mixer tab. • To set the tempo, turn the TEMPO knob or press 2. Use “Song Select” to select the song you want to the TAP TEMPO switch at the desired interval. play back. You can press the Song Select Popup button and choose from a list. 3. Press the SEQUENCER START/STOP switch.
Page 94: The Control Surface In Sequencer Mode
Creating songs (Sequencer mode) 3. Press track 1 Play/Rec/Mute. The display will change from Play to Mute, and the playback of track 1 will no longer be heard. In this way, the “mute” function allows you to silence a specified track until the track is un‐muted. 5. To switch Solo off, press Solo On/Off once again. Press Solo On/Off for both MIDI tracks 1 and 2. Press track 2 Play/Rec/Mute. The display will The display will change, and the playback of tracks change, and the playback of track 2 will also be 1 and 2 will be muted. If the Solo function is turned muted. To cancel muting, press Play/Rec/Mute once off for all tracks, playback will be according to the again. Play/Rec/Mute settings. Tip: Play/Rec/Mute can be controlled from the front panel mixer section, or from the P0– Control Surface page of the LCD screen. (See “The control surface in Sequencer mode” on page 86) Tip: Play/Rec/Mute can be controlled from the front panel mixer section, or from the P0– Control Surface Exclusive Solo page of the LCD screen. (See “The control surface in Normally, the Solo function operates in “Exclusive Solo Sequencer mode” on page 86) off” mode, where you can solo more than one track at a 4. Press track 1 “Solo On/Off.” time (as in the example above). In contrast, “Exclusive “Solo” will be highlighted, and this time, only the Solo on” mode allows only one track to be soloed at a performance of track 1 will be heard. To play back ...
Page 95 Playing Songs The control surface in Sequencer mode MIX SELECT: Press these buttons to select the current knobs will control the pan and effect sends for a single track. This current track applies to the channel strip input if INPUTS is selected. If HDR 1–8 or HDR 9–16 (when MIXER KNOBS is set to CHANNEL STRIP), are selected, the knobs will control the pan, EQ, and and to Tone Adjust. effect sends for a single track. Use the MIX SELECT switches to select the input/track you want to control, You can also use these buttons to change the and use the knobs to control them. Keyboard/Rec track, so that you can switch between tracks directly from the Control Surface. To do this: MIX PLAY/MUTE, MIX SELECT: These switches work in the same way as they do for TIMBRE/TRACK, as 1. Go to the Control Surface tab of the P0: Play page. described above. 2. Set CONTROL ASSIGN to TIMBRE/TRACK, EXTERNAL using either the front‐panel button or the on‐ screen tab. When EXTERNAL is selected, the control surface is 3. Check the box on the right‐hand side of the screen, used to transmit MIDI messages to an external MIDI labeled Link KBD/REC Trk to Ctrl Surface. device. For more information, see “0–9e: External” on page 499 of the Parameter Guide. Now, you’ll be able to change the Keyboard/Rec track directly from the Control Surface.
Page 96: Loop Playback
Creating songs (Sequencer mode) To change the registered location, use the “Set Location” page menu command. Alternatively, you can register a location during playback by holding down the ENTER switch and pressing the LOCATE switch. When you select a song, the “LOCATE” setting is automatically initialized to 001:01.000. For more information, see “Set Location (for Locate Key)” on page 583 of the Parameter Guide. Loop playback When recording or playing back a song, you can individually loop the MIDI tracks that are playing. In the P0: Play/REC– MIDI Track Loop page, check “Track Play Loop” for the MIDI tracks you want to loop, and use “Loop Start Measure” and “Loop End Measure” to specify the starting and ending measure of the region that will play back as a loop. If you check “Play Intro,” the measures preceding the loop will be played back as an introduction before the loop begins. If you play back from the first measure with the settings shown in the screenshot below, the specified region of measures will repeat as follows. Measures 1 Track 1 Track 2 If “Play Intro” is unchecked, the specified region of measures will repeat as follows. Measures 1 Track 1 Track 2 Track Play Loop...
Page 97: Midi Recording
MIDI recording Preparations for recording MIDI recording • You can record up to 200,000 events (e.g., notes), up • You can perform and record using the RPPR to 200 songs, and up to 999 measures in each song. (Realtime Pattern Play/Recording) function. • The maximum timing resolution is 1/192. • There are 156 built‐in preset patterns ideal for drum tracks, and in addition you can create up to 100 • There are sixteen tracks for MIDI performance data, user patterns for each song. These patterns can be and a master track which controls the time used as performance data for a song, or with the signature and tempo. RPPR function. • You can perform and record using the KARMA function. Preparations for recording Before you begin recording, make sure that the memory protect setting in Global mode is turned off. For more information, see “Memory protect” on page 173. Creating a Song Before we can begin this example, we need to select an empty song where we can record. ...
Page 98 Locate reaches 0001:01:000, press the SEQUENCER START/STOP switch to stop recording. The time signature you specified has been recorded on the Master track. If you press the SEQUENCER START/STOP switch during the pre‐count, the time signature won’t be In the P2: Track Parameters– MIDI page, Status recorded. specifies whether each track will sound the internal 6. Set the “REC Resolution” if necessary. When you tone generator or an external tone generator. MIDI realtime‐record on a MIDI track, this parameter Channel specifies the MIDI channel for each track. specifies how the timing of the recorded MIDI Normally when using the OASYS as a 16‐timbre data will be corrected. The timing will also be sound module, you will select INT or BTH. corrected when you realtime‐record automation data on an audio track. (Already‐recorded data In general, you should set MIDI Channel to will not be corrected.) different channels 1–16 for each track. Tracks that are sent to the same MIDI channel will sound For example, let’s suppose that you realtime‐ simultaneously when either is recorded or played. recorded some eighth notes but your timing was not quite perfect, as shown in part 1 of the illustration Status INT: During playback, the OASYS’ internal below. If “REC Resolution” were set to e when you tone generator will play the MIDI data recorded on recorded, the timing would automatically be that track. When you operate the OASYS’ keyboard corrected as shown in part 2 of the illustration. If or controllers, you will be playing and controlling ...
Page 99: Recording Midi In Real-Time
When you’ve finished with “Preparations for recording,” you can start recording. With this method, the musical data previously This is a method of recording in which your playing on recorded on a track is overwritten by the newly the keyboard and your operations of controllers such recorded data. When you perform overwrite recording as the joystick are recorded in realtime. This method of on a previously‐recorded track, its musical data will be recording is normally used one track at a time, and is deleted and replaced by the newly recorded data. called single track recording. Normally you will use this method to record, and then As an alternative, multitrack recording allows you to modify the results by using other types of realtime simultaneously record multiple channels of data onto recording or MIDI event editing. multiple tracks. This is the method you will use when 1. Use “Track Select” to select the track that you want using the RPPR function and the KARMA function to to record. record multiple tracks of musical data at once, or when 2. Set the Recording Setup to Overwrite. you playback existing sequence data on an external sequencer and record it onto OASYS’s sequencer in realtime. Recording setup In P0: Play/REC– Preference page Recording Setup, select the realtime recording method you want to use. 3. In “Location,” specify the location at which you wish to begin recording. 4. Press the SEQUENCER REC/WRITE switch, and then press the SEQUENCER START/STOP switch. If the Metronome Setup is still set to the default settings, the metronome will sound for a two‐...
Page 100 Creating songs (Sequencer mode) measure pre‐count, and then recording will begin. recording. With this method, the musical data Play the keyboard and move controllers such as the previously on the track is overwritten by the newly joystick to record your performance. recorded data. 5. When you finish playing, press the SEQUENCER 1. Use “Track Select” to select the track that you want START/STOP switch. to record. Recording will end, and the location will return to 2. Set the Recording Setup to Manual Punch In. the point at which you begin recording. If you press the PAUSE switch instead of the SEQUENCER START/STOP switch, recording will pause. When you press the PAUSE switch once again, recording will resume. When you are finished, press the SEQUENCER START/STOP 3. In “Location,” specify a location several measures switch to stop recording. earlier than the point at which you wish to begin Overdub recording. 4. Press the SEQUENCER START/STOP switch. With this method, the newly recorded musical data is added to the existing data. Playback will begin. When you perform overdub recording on a previously‐ 5. At the point at which you wish to begin recording, recorded track, the newly recorded data will be added press the SEQUENCER REC/WRITE switch.
Page 101 MIDI recording Recording MIDI in real-time 1. Use “Track Select” to select the track that you want When you reach the ending location you specified to record. in step 3, you will return to the starting location, and continue recording. 2. Set the Recording Setup to Auto Punch In. The musical data that is loop‐recorded will be added to the previously‐recorded data. 6. You can also erase specific data even while you continue loop recording. If you press the SEQUENCER REC/WRITE switch during loop recording, all musical will be removed 3. In “M (Auto Punch In Start Measure), “M (Auto from the currently selected track as long as you Punch In End Measure)” specify the area that you continue pressing the switch. wish to record. By checking the “Remove Data” check box you can For example if you specify M005–M008, recording erase only the specified data. During loop will occur only from measure 5 to measure 8. recording, press the note that you wish to delete, 4. In “Location,” specify a location several measures and only the data of that note number will be earlier than the point at which you wish to begin deleted from the keyboard as long as you continue recording. pressing that note. 5. Press the SEQUENCER REC/WRITE switch, and Similarly, bender data will be deleted as long as you ...
Page 102: Midi Step Recording
Creating songs (Sequencer mode) An example of realtime recording 5. As shown in the musical example printed above, start by playing the C3 note of the keyboard to In this example, we’ll assign a drum program to MIDI record the bass drum for one measure. Track 01 and create the following one‐measure drum 6. Next, play the E3 note of the keyboard to record phrase. the snare for one measure, and then the F#3 note to record the hi‐hat. Hi hat: F#3 Snare: E3 7. Press the SEQUENCER START/STOP switch to Bass drum: C3 stop recording. 8. Play back the result, and listen to the drum 1. Create a new song, and specify a drum program performance you recorded. for MIDI Track 01. Use “Track Select” to select Press the SEQUENCER START/STOP switch. When MIDI Track 01, and verify that you hear a drum you’ve finished listening, press the START/STOP program.
Page 103 MIDI recording MIDI step recording Input the first C3 note as e. (a dotted eighth note). Step Step Measure/ Use the radio button at the left to select e. Note Time: Time: Key, Button Beat Tick Select . 3 - You can choose from the range of w (a whole note)– r (a 32nd note). C4 key 001 / 02.096 Input a dotted note by selecting “.” with the radio Rest button 001 / 02.144 buttons at right. C4 key 001 / 03.048 You can specify “3” to input a triplet. If you want to ...
Page 104: Recording The Sound Of A Combination Or Program
Select/Mixer page. 1. Create a new song. Such as panning, volume and KARMA setting you For more information, see “Creating a Song” on must first save the edited settings using “Update page 89. Combination” or “Write Combination.” 2. Select the page menu command “Copy From 3. Hold down the ENTER switch and press the Combi.” SEQUENCER REC/WRITE switch. A dialog box will appear. The “Setup to Record” dialog box will appear. 4. Press the OK button to perform the Auto Song Setup. The OASYS will automatically switch to Sequencer mode, and the combination’s settings will be applied to a new song. The new song will be the first unused song. 5. You will automatically enter record‐ready mode, and the metronome will begin sounding according to the settings in P0: Play/REC– Preference page. Select the program or combination that you want to For more information, see “0–5d: Metronome copy (i.e., the copy source). Setup” on page 487 of the Parameter Guide. We will copy the effect settings of the combination 6. Press the SEQUENCER START/STOP switch, and as well, so check the IFXs‐All, MFXs and TFXs realtime recording will begin. check boxes.
Page 105: Recording Multiple Midi Tracks From An External Sequencer
Recording multiple MIDI tracks from an external sequencer If you made a mistake or want to re‐record, you can (The Multi REC check box will be unchecked when use the Compare function (press the COMPARE you use Compare, so you will need to check it switch) to re‐record as many times as you want. again.) Recording multiple MIDI tracks from an external sequencer 1. Make sure that the MIDI OUT of your external For the tracks you don’t want to record, select Play sequencer is connected to the MIDI IN of the or Mute. OASYS. Tip: You can also control the Play/Rec/Mute setting If it is not connected, turn off the power, make the from the front panel mixer section, or from the P0– connection, and then turn the power on. Control Surface page of the LCD screen. (See p.42 “The control surface in Sequencer mode”) For more information, see “MIDI applications” on page 1055 of the Parameter Guide. 2. In the Global P1: MIDI– MIDI page, set MIDI Clock to External MIDI. With this setting, the OASYS will synchronize to MIDI clock messages ...
Page 106: Recording System Exclusive Events
Recording System Exclusive events Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a MIDI track parameter, audio track parameter or effect parameter can be realtime‐recorded on any MIDI track. During playback, the exclusive messages you recorded will control the track parameters and effect parameters of the song, and can be sent to external MIDI devices. Note: You can use the page menu command “Put Effect Setting to MIDI Track” to insert an exclusive event containing the parameter settings for an insert effect, master effect or total effect into the desired location of a track, so that these settings will automatically switch during playback. GM, XG, and GS exclusive messages can be recorded on a track, but the OASYS’s tone generator will not respond to these messages. Recording internal parameter changes You can use SysEx for automation of internal OASYS effects and Program parameters. 2. Select MIDI Track 09 in “Track Select,” and record parameter changes as desired. As an example, let’s record a short phrase on track 1, Note: For this example, select an empty track. If you add an insert effect, and then record parameter want to record onto a MIDI track that already changes for that effect on an unused track. contains data, set the P0:Play/REC– Preference page Note: In order to record system exclusive messages, Recording Setup to “Overdub,” as described on make sure that the Global P1: MIDI– MIDI setting page 92.
Page 107: Recording Patterns
MIDI recording Recording patterns Select another effect for IFX1 in the P8: Insert Effect– To view these events, go to the P4: Track Edit– Track Insert FX page, and edit the effect parameter values, Edit page, and select the page menu command or use the P0: Play/REC– Control Surface page Tone “MIDI Event Edit.” Then in the Set Event Filters Adjust controls to edit the sound in realtime. dialog box, check Exclusive and press the OK button. Location Event display Exclusive events cannot be changed to a different type of event. Nor can other events be changed into exclusive events. 4. If you go to the page (e.g., P8: Insert Effect) that shows the parameters you adjusted in realtime, you can watch the recorded changes be reproduced while the song plays back. Exclusive messages that can be recorded in real- time Note: For details on the effects parameters that you The following exclusive messages can be recorded in can record in real‐time, please see “System real‐time: Exclusive events supported in Sequencer mode” on page 618 of the Parameter Guide. •...
Page 108 Creating songs (Sequencer mode) When you reach the end of the pattern, the sequencer will return to the beginning of the pattern and continue recording. If you continue recording, the newly recorded data will be added to the previously‐recorded data. 9. If you want to delete specific data while you 6. Set the number of measures in the pattern to a continue pattern recording, you can press the “Length” of 04 (four measures), and set “Meter” to SEQUENCER REC/WRITE switch or check the a time signature of 4/4. Press the OK button. “Remove Data” check box. 7. As necessary, set “REC Resolution” to apply For details refer to step 6 of “Loop All Tracks” on realtime quantization. page 93. 8. Begin realtime recording. 10.Press the SEQUENCER START/STOP switch to stop recording. You can record in the same way as you did when recording tracks with Loop All Tracks. (See “Loop If you made a mistake or decide to re‐record, press All Tracks” on page 93.) the SEQUENCER START/STOP switch to stop Press the SEQUENCER REC/WRITE switch, and recording, and press the COMPARE switch. Then then press the SEQUENCER START/STOP switch. begin the pattern recording procedure again as in step 8. After the pre‐count, pattern recording will begin. Play the keyboard and operate the joystick and ...
Page 109: Other Ways To Record
MIDI recording Other ways to record Using KARMA for pattern recording Controller Reset value If the KARMA function is set to operate for the track Channel after touch 00 (zero) that is selected for “Track Select,” and record the Pitch bender 00 (zero) performance of the KARMA function into the pattern. Other ways to record Multi-track recording with KARMA You can record multi‐track performances generated by KARMA. For more information, see “KARMA function settings in Sequencer mode” on page 214. Multi-track recording with RPPR You can record multi‐track performances generated by ...
Page 110: Audio Recording
Creating songs (Sequencer mode) Audio recording Overview: About the OASYS’ hard disk recorder • There are sixteen audio tracks. They allow 16‐bit Audio events and regions in an audio linear PCM recording with a maximum time of 80 track minutes. • Automation data (volume, pan, EQ, send 1/2) can When you record on an audio track, the actual audio be recorded for each track. data is recorded directly on the internal hard disk as a WAVE file. At this time, a “region” is also created; this • Up to sixteen tracks can be played back contains information specifying what portion of that simultaneously, and up to four tracks can be WAVE file is to be actually played back. In addition, an recorded simultaneously. “audio event” which assigns that region is created; this • The Stereo Pair function lets you assign two tracks ...
Page 111: Audio Input Settings And Recording Source Selection
Audio recording Audio input settings and recording source selection Temporary audio files When you save an .SNG file, its related audio files are stored in a separate directory. This directory is created If you’re recording a new song, and haven’t yet saved it automatically, within the same directory as the .SNG as an .SNG file, the audio files are stored in a file. (It’s also created if you load a pre‐existing .SNG file temporary location on disk. The directory structure is which doesn’t have a matching audio directory.) The the same as described above, except that the main directory’s name consists of the first six characters of audio directory is named TEMP. the .SNG file’s name, with the suffix “_A” (for Once you save the song(s) to an .SNG file, these “Audio”). directories and audio files will be copied to the new For instance, if the .SNG file is named “_A” folder automatically. On the other hand, if for WAMOZART.SNG, its audio directory will be named some reason you don’t or can’t save before turning off WAMOZA_A. the power, you’ll be given the chance to restore these This main directory contains sub‐directories for each audio files the next time that you start up the song, named SONG000, SONG001, etc. These in turn instrument. Note that while the audio files can be contain sub‐directories for each audio track, named recovered this way, the rest of the sequencer data ATRACK01, ATRACK02, and so on. Within each of the cannot be restored.
Page 112 Off: The external audio input signal will not be sent to and record the result. any bus. However, you can still record the external audio signal directly by using the P0: Play/REC– Audio Off: The signal will not be output to the REC buses. Track Mixer page REC Source setting to choose an Normally you will leave this Off. external input (Audio Input 1–4, S/P DIF L, S/P DIF R) 1, 2, 3, 4: The external audio input signal will be sent to for recording. the specified REC bus. The Pan setting is ignored, and L/R: The external audio input signal will be sent to the the signal is sent in monaural. L/R bus. Choose this when you want other signals such 1/2, 3/4: The external audio signal will be output to the the OASYS’ internal tone generator to be recorded REC buses in stereo. According to the Pan setting, it along with an external audio source. Set REC Source to will be sent in stereo to buses 1 and 2, or 3 and 4. L/R. Send1 (to MFX1), Send2 (to MFX2) IFX1…12: The external audio input signal will be sent to the IFX1–12 bus. Choose this when you want to These specify the level at which the external audio apply an insert effect while recording. Set REC Source input signal will be sent to the master effects. to match the post‐IFX Bus Select setting. Send1 (to MFX1) sends the signal to master effect 1. 1…8: The external audio input signal will be sent in Send2 (to MFX2) sends the signal to master effect 2. monaural to INDIVIDUAL 1, 2, 3, 4, 5, 6, 7, or 8. If Bus Select (IFX/Indiv.) is set to IFX1–12, the send ...
Page 113 S/P DIF L, R, S/P DIF L/R: Choose these if you want to directly record the audio input from the AUDIO If the sound is distorted even though this level setting INPUT 1–4 or S/P DIF jacks. The input from the is very low, see “Tips for eliminating distortion when AUDIO INPUT 1–4 or S/P DIF jacks will be recorded using the analog inputs” on page 108. directly without passing through the L/R bus, REC Avoiding extraneous noise buses, or Individual buses. AUDIO INPUT 1, 2, 3, 4, 1/2, 3/4, or S/P DIF L, R inputs will be connected If audio cables are connected to AUDIO INPUTS 1– directly, regardless of the Audio Input settings for “Bus 4, any noise carried by the cables will enter into the (IFX/Indiv),” Pan, and “Level.” “Level,” “Solo,” and OASYS mixer structure. Similarly, the S/P DIF input “Play/Mute.” See “REC Source = Audio Input 1, 2, 1/2” may carry noise from external devices. This may diagram. include hiss, hum, and other audio noise. If “Stereo Pair” is on and Audio Input 1/2 is selected, To avoid noise from unused audio inputs, either: AUDIO INPUT 1 will be input to the odd‐numbered • Set the input’s Level to 0 track, and AUDIO INPUT 2 will be input to the even‐ numbered track. Similarly, Audio Input 3/4 and S/P DIF L/R will be input to the odd‐numbered and • Set all of the bus assignments to Off, including Bus even‐numbered tracks respectively. Select (IFX/Indiv. Out Assign), REC Bus, and FX ...
Page 114: Recording Procedure
Creating songs (Sequencer mode) REC Source = Audio Input 1 Indiv. (Single Track REC) 1,2,3,4 1,2,3,4,5,6,7,8 REC Source Recording CLIP ! HDR Track (Mono) Audio Input1 Audio Track selected in Insert Track Select Effects Insert Audio Input 1 Effects Level Insert Level Effects...
Page 115 Audio recording Recording procedure Audio events cannot be recorded. This means that if Normally you will leave this unchecked, and Check you set “Track Select” to Audio Track, and turn this if you want to monitor only the sound that’s being “Automation Only” Off, you will be unable to start recorded. Only the signal of the bus line specified by recording. REC Source will be output to the L/R jacks and the headphone jack. When using Multi REC, you’ll hear the sound from the REC Source buses whose Recording Setup (Audio Track) Play/Rec/Mute setting is set to REC. Automation Only Note: If the REC Source is L/R, this setting is ignored; the L/R (post‐TFX) signal is output from the L/R jacks Normally you will record with this unchecked. Both and the headphone jack. audio track automation events and audio events will be recorded. Rehearsal If this is checked, only audio track automation events Check this if you want to rehearse before actually will be recorded. Use this setting if you want to record recording on an audio track. (recording will not automation after recording. actually occur). Auto Input Audio Track Recording Level This parameter controls monitoring during recording. ...
Page 116 Creating songs (Sequencer mode) 3. Adjust the level(s) of the input signal(s) so that it is as high as possible without activating the CLIP! or ADC OVERLOAD! messages. If you’re using AUDIO INPUTS 1 and/or 2, adjust the Guitar volume using rear‐panel MIC/LINE switches and Effect unit LEVEL knobs. If you’re using AUDIO INPUT 3 and/or 4, or the S/P DIF input, adjust the output level of your external audio source. If you’re sampling external audio through the internal effects, you may also need to adjust the individual effects input and/or output level parameters. If you’re using internal sounds, adjust the levels using LINE the control surface, effects input/output trim, etc. If you connect a guitar with passive pickups (i.e., a 4. If the level is still not high enough, increase the guitar that does not contain a preamp), you will be Recording Level using the on‐screen slider. unable to sample it at the correct level because of the Again, the goal is to get the level as high as possible impedance mismatch. Such guitars should be without activating the CLIP! or ADC OVERLOAD! routed through a preamp or an effect unit. messages. Setup Tips for eliminating distortion when using the 2.
Page 117 Audio recording Recording procedure Location Track Select Access the P8: Insert Effect– Audio Routing1 page. AUDIO TRK 01 (“Level Meter 1,” “Recording Level 1,” “Name 1,” Take, Take No.) will appear. In “Audio Track 1,” specify the output for audio track 1. Use the “Name 1” field to specify a name for the region and WAVE file that will be created. Bus Select (IFX/Indiv. Out Assign) Bus Select (IFX/Indiv. Out Assign): L/R If you intend to record several takes on the same track, check the Take option box. “Send1 (MFX1),” “Send2 (MFX2)”: 000 4. Specify the recording method in Recording Setup and “Recording Setup (Audio Track).” “Overwrite”: selected “Automation Only”: unchecked “Source Direct Solo”: unchecked “Auto Input”: checked “Rehearsal”: unchecked Note: If you want to record from the beginning of the song or from the measure specified by “Location,” you should select “Overwrite.” Note: If Take is unchecked, you will be able to input up to eight characters as the file name. If it is checked, you will be able to input up to six characters. Note: If you want the metronome to sound during recording, use Metronome Setup to make metronome settings. For more information, see “0– 5d: Metronome Setup” on page 487 of the Parameter Guide. Set the recording level 3.
Page 118 3. Record as described in step 8 and following of the preceding section. 7. In the P0: Play/REC– Preference page, use “Location” to specify the location at which Applying an insert effect while you record recording will begin. In this example, we’ll apply an insert effect to the If you want to start recording from the beginning of guitar that’s connected to Audio Input 1, and record the song, set this to 001:01.000. the effect‐processed sound on audio track 1. 8. Press the SEQUENCER REC/WRITE switch Connect your guitar The OASYS will be in record‐ready mode. If you’ve made metronome settings, the metronome will 1. Connect your guitar. (See p.61 “Recording an sound the count. external input source on audio track 1”) 9. Press the SEQUENCER START/STOP switch. Setup Recording will start from the location you specified 2. In the P0: Play/REC– Audio Input/Sampling page, in “Location.” set the “Audio Input” parameters as shown below If you have specified a metronome pre‐count that the signal from the AUDIO INPUT 1 jack is ...
Page 119 Audio recording Recording procedure Track)” settings, or the “P0: Play/REC– Audio Track Mixer page REC Source settings. We will use these settings as they are. Setup 1. In the P0: Play/REC– Preference page, make sure that Audio Track 01 is selected for the “Track Select” parameter. 2. Use Recording Setup to specify how recording will start. In this example, choose punch‐in recording. “Auto Punch In”: on “M***–M***”: Specify the range of measures for which you want to record. AUDIO TRK 01 Name, Take, Take No.: Specify the region and wave file name that you want to record. Note: If you set Recording Setup to Auto Punch In and set “M***–M***” to the desired range of measures, playback will occur until that range of measures, and then only the specified range of measures will be recorded. 4. In the P0: Play/REC– Audio Track Mixer page, set If you set Recording Setup to Manual Punch In, the REC Source to REC1 so that the signal of the REC measures you specify by pressing the SEQUENCER bus will be recorded on audio track 1. REC/WRITE switch or foot switch will be recorded. Audio Track 1 REC Source: REC1 In this case, press the SEQUENCER START/STOP switch to play back the song. When you reach the measure at which you want to start recording, press the SEQUENCER REC/WRITE switch or the foot switch to begin recording. When you reach the measure at which you want to stop recording, press the REC/WRITE switch or foot switch once again; ...
Page 120 Creating songs (Sequencer mode) Setup 8. In “Recording Setup (Audio Track),” uncheck the “Rehearsal” option. 1. In the P0: Play/REC– Audio Track Mixer page, set up audio tracks 1 and 2 as shown below: Record – Audio Track 1 – 9. Use “Location” to specify the location at which Play/Rec/Mute: Play you want to start recording. Set this several measures earlier than the region you specified for Solo On/Off: On “M***–M***”. Pan: L000 10.Press the SEQUENCER REC/WRITE switch. Volume: 127 You will enter record‐ready mode. – Audio Track 2 – Once you press the SEQUENCER REC/WRITE Play/Rec/Mute: Play switch, you will be unable to change the audio track Solo On/Off: On selection in “Track Select.” Pan: L000 11.Press the SEQUENCER START/STOP switch. Volume: 127 Playback will begin from the measure specified by “Location,” and recording will occur only in the Note: By setting Solo On/Off to On for both AUDIO range of measures specified by “M***–M***”. Then 1 and AUDIO 2, you are specifying that only these playback will resume, and will continue to the end audio tracks will be recorded. of the song.
Page 121 Audio recording Recording procedure 6. In the P0: Play/REC– Audio Track Mixer page, set Access the P0: Play/REC– Audio Track Mixer page, and REC Source so that L will be recorded on audio use “Track Select” to select Audio Track 03 as the track track 3. to be recorded. You could use the VALUE controller to operate a desired parameter, but using the control Audio track 3 REC Source: L surface lets you mix up to eight tracks simultaneously. Note: The settings up to this point are the same as if you used the page menu command Auto Setup HDR/Sampling Setup to execute Bounce Audio 1. Access the P0: Play/REC– Preference page. Track with the following settings. For more 2. In Recording Setup, Recording Setup (Audio information, see “If you selected Bounce Audio Track), choose the desired recording method. Track:” on page 588 of the Parameter Guide. In this example, we’ll choose overdub recording so Mode: Mono that we can record repeated passes, adding more From: Audio Track 01: checked automation data on each pass. Audio Track 02: checked – Recording Setup – To: Audio Track 03 Overdub: on When bounce‐recording audio tracks, turn the – Recording Setup (Audio Track) – metronome off (Metronome Setup “Sound”: Off). Automation Only: checked Record If you record without checking “Automation Only,” ...
Page 122: Placing A Wave File In An Audio Track
Creating songs (Sequencer mode) The metronome will begin sounding, and you will 8. When you’re finished recording, press the be in record‐ready mode. SEQUENCER START/STOP switch to stop recording. 7. Press the SEQUENCER START/STOP switch. 9. Listen to the recorded result. After a two‐measure count, recording will begin. Use the sliders etc. to control the pan. Press the SEQUENCER START/STOP switch to play back. Note: When recording automation events, you can use quantization, the resolution setting, and the If you want to record again, use the Compare compare function in the same way as for a MIDI function (press the COMPARE switch) to re‐record. track. 10.If you want to continue adding automation events, repeat the recording procedure from step 6. Placing a WAVE file in an audio track You can play back a WAVE file by importing it into a region of an audio track. Important: You can only directly import WAVE files from the internal hard drive. To use files from CDs or external USB devices, you must first copy them to the internal hard drive, and then import the copied file into the Song.
Page 123: Song Editing
Audio recording Song editing 7. Press the OK button, the selected region will be placed in the audio track. 8. Select the event that you want to edit, and use the location parameters “Measure” and “Beat Tick” to When selecting a WAVE file, you can press the Play edit the location of the event. button to audition the files to help you find the You can’t place two or more events at the same desired one. location. You can also use the “Name” field located above to 9. Press the Done button. assign a name to the region. Edit the “Name” after 10.Press the SEQUENCER START/STOP switch, and you’ve selected a file. make sure that the WAVE file plays back. Note: The OK button is available only if you’ve You can press the COMPARE switch to return to the selected a 48 kHz monaural WAVE file. If you’ve state prior to the edit you just performed. selected a 44.1 kHz file or a 48 kHz stereo file, the button will be grayed‐out and you won’t be able to We’ve kept this example simple, but you can also press it. perform editing operations such as changing the playback position of the WAVE file in steps of a single The Play button is available only if you’ve selected a sample, changing the location relative to an anchor 48 kHz WAVE file. point, or crossfading two audio events. For more Editing a region will affect the audio track for the information, see “Audio Automation Edit” on page 599 entire song. Use caution when editing a region that’s ...
Page 124: Midi Tracks
Creating songs (Sequencer mode) Pattern Resample SEQ Play: Make settings so that you can resample your keyboard playing in Sequencer Step Recording (Loop Type): Here you can perform mode. step recording into a pattern. For more information, In‐Track Sampling: Make settings to sample only see “Step Recording (Loop Type)” on page 612 of the an external audio signal using the In‐Track Parameter Guide. Sampling function. Event Edit: Here you can edit individual events of the Bounce All Tracks To Disk: This command resamples musical data in a pattern. For more information, see all tracks in the song to a single WAVE file (stereo). For “Event Edit” on page 612 of the Parameter Guide. more information, see “Bounce All Tracks To Disk” on Pattern Parameter: This command specifies the page 593 of the Parameter Guide. number of measures and the time signature of the Set Song Length: This command changes the length of selected pattern. For more information, see “Pattern the specified song. When it is executed, the length of Parameter” on page 612 of the Parameter Guide. the master track will change, and the number of Erase Pattern: This command erases the data from the measures played will change. For more information, selected pattern. For more information, see “Erase see “Set Song Length” on page 600 of the Parameter Pattern” on page 613 of the Parameter Guide. Guide.
Page 125: Using Rppr (Realtime Pattern Play/Record)
Audio recording Using RPPR (Realtime Pattern Play/Record) measures will be moved towards the beginning of the Region Edit: Here’s how to edit the regions used in an sequence. For more information, see “Delete Measure” audio track. In addition to Importing or Pasting a on page 602 of the Parameter Guide. region, you can use the Trim dialog box to specify the range in which a WAVE file will play back. For more Insert Measure: This command inserts the specified information, see “Region Edit” on page 609 of the number of measures into the specified track. When you Parameter Guide. execute the Insert Measure command, the musical data following the insert location will be moved backward. Volume Ramp: This command modifies the data For more information, see “Insert Measure” on values (volume) of the specified area. You can page 603 of the Parameter Guide. gradually increase (Fade In) or decrease (Fade Out) the volume between the start and end points. For more Repeat Measure: This command repeatedly inserts the information, see “Volume Ramp” on page 610 of the specified measures for the specified number of times. Parameter Guide. When you execute the Repeat Measure command, the measures will be inserted following the measure Copy Song’s Tempo to Region: This command specified by “To End of Measure,” and musical data changes the tempo used by the specified regions of following the inserted data will be moved backward. audio events so that the audio event tempo will match ...
Page 126: Rppr Playback
Creating songs (Sequencer mode) 2. Select the RPPR Setup tab of the P5: Pattern/RPPR page. In this page, the RPPR function is automatically turned on. 9. Modify only the “Pattern Name.” Select “Pattern Name,” and press the switch to select P01. 10.Select the D#2 parameter, and press the Paste button. The “Assign,” “Bank,” “Pattern Name,” “Track 3. Select the key to which the pattern will be Name,” “Mode,” “Shift,” and “Sync” settings you assigned. made in steps 5 and 6 will be copied automatically. Select C#2. Hold down the ENTER switch and play As you did in step 9, set “Pattern” to P02. a key, or use the scroll bar located at the right to find Note: When making RPPR settings, you can use the the key. Copy button and Paste button in this way to Note: C2 and lower keys are used to stop playback, efficiently assign the “Bank,” “Pattern Name,” and and cannot be assigned. “Track Name” etc. to each key. 4. Check “Assign” for C#2. 11.As described above, assign several other patterns such as P03 and higher. 5. Set “Bank” to Preset, and set “Pattern Name” to P00. 12.Press the C#2 key. The assigned pattern will play. Take your finger off the C#2 key, and press the D2 key. The pattern will change, and playback will begin. At this time, the pattern operation will ...
Page 127: Recording An Rppr Performance
Audio recording Using RPPR (Realtime Pattern Play/Record) 1. Select the P0: Play/REC– MIDI Track Prog Select/ Note: If you want RPPR pattern playback to begin at Mixer page (See the diagram below). the moment that song playback begins, it is a good idea to insert an empty measure containing no musical 2. Check the “RPPR” check box. data before the song playback begins. The RPPR function will be turned on. Set the on/off Note: If the song is stopped, the pattern will for each song. synchronize to the timing of the KARMA function. 3. Play the keyboard, and patterns will begin playing according to the RPPR settings. Recording an RPPR performance • Pattern playback for a key with a “Sync” setting of Beat or Measure will sync to the playback of the You can record RPPR performances in real‐time. first pattern. For more information, see “Sync” on If you are using only one track (such as MIDI Track 01), page 548 of the Parameter Guide. set “Track Select” to the desired track, and un‐check • If you are playing the pattern in synchronization Multi Rec. (when “Sync” is Beat, Measure, or SEQ), the pattern On the other hand, even if RPPR uses only one track, ...
Page 128: Sampling In Sequencer Mode
Creating songs (Sequencer mode) recorded at the same time, check the Multi REC Sync settings check box. Key 1 on Key 2 on Key 1 off Note: If Recording Setup is set to “Loop All Tracks,” it will not be possible to select Multi REC. Set the Song Recording Setup to Overwrite. Patterns 1 and 2 are set to Mode=Manual, and have 6. Press the SEQUENCER REC/WRITE switch to identical Sync settings Sync: Off enter record‐ready mode. Pattern 1 7.
Page 129: Saving Your Song
If the media contains an identically‐named file, you If you want to create a new directory, move to the will be asked whether you want to overwrite the level at which you want to create the directory, and existing data. Press the OK button if you want to execute the Utility page menu command “Create overwrite the data that’s already on the media. If Directory.” you don’t want to overwrite the existing data, press 6. Press the page menu button to access the page the Cancel button, return to step 6, rename the data menu, and press “Save All.” If you’ve chosen in step 7, and save it again. “Save All,” .PCG, .SNG, and .KSC files will be Saving a template song saved. If you want the programs, track parameters, effect settings, and KARMA settings etc. used by a song to be saved as a Template song, use the “Save Template Song” page menu command to save these settings. Cautions and other functions in Sequencer mode The OASYS sequencer supports both the proprietary OASYS sequencer file formats OASYS Song format, and Standard MIDI Files. ...
Page 130: Memory Protect
If you like, you can convert data between the two described on page 586 of the Parameter Guide. This formats, simply by loading the data in one format and means that if you want to re‐do your sampling, you then saving it in the other. can press the COMPARE switch to return the multisample and samples to the state prior to For more information, see “Save to Standard MIDI sampling, and unwanted samples will not remain. File” on page 779 of the Parameter Guide, and “Save SEQ” on page 777 of the Parameter Guide. The program will not be affected by the Compare, and will not return to its prior state. OASYS Song format WAVE files are not deleted when you compare edits This is the native OASYS sequencer format, which is to audio tracks. To delete a WAVE file you no longer required to ensure that all OASYS‐specific data is need, use the menu command “Delete Unused WAV saved correctly. Files,” as described on page 782 of the Parameter Guide. Standard MIDI Files Operations for which Compare is not available You can also load and save Standard MIDI Files (SMF), for compatibility with other sequencers. Note that ...
Page 131: Sampling (Open Sampling System)
Sampling (Open Sampling System) Sampling Overview Approximate Sampling Time (min:sec) About sampling on the OASYS Free RAM Mono Stereo The OASYS can sample external audio from the analog 512 MB 93:12 46:36 or S/P DIF inputs, at 48 kHz 16‐bit resolution, in mono or stereo. You can record samples into RAM, or sample Installing additional RAM directly to disk. You can install additional RAM, up to a total of 2 GB. You can also digitally resample the complete sound of For more information, see “Installing memory” on a Program, Combi, or Song, played live or sequenced, page 1092 of the Parameter Guide. including any effects and KARMA‐generated events. Finally, you can also sample (or “rip”) directly from an ...
Page 132: How Sampling Mode Is Organized
Sampling (Open Sampling System) 2) You can sample external audio sources via the Each level is read, and converted into digital data. The OASYS’ input jacks (see “Sampling mode” 1 and 2, accuracy at this time is determined by the bit above). At this time, you can mix the OASYS’ own resolution. This process converts an analog signal with performance with the audio signals from the external infinite resolution into a digital signal with finite source and sample the combined result, or you can resolution. With 16 bit resolution, each level is monitor the performance of the OASYS while indicated in 65,536 steps (the sixteenth power of two). sampling only the external source from the input jacks. The greater the bit resolution is, the closer to the 3) In Sequencer mode when you sample an external original analog signal the waveform in memory will audio source that’s playing along with the song playback, note data will be automatically created in a 48 kHz 16 bit sampling is the same quality as in audio track to trigger this sample at the appropriate moment devices such as DAT. A CD uses 44.1 kHz 16 bit in the song. This means that you can sample your vocal sampling, which is a slightly lower sampling or guitar performance while playing back the frequency. sequencer. This is called the In‐Track Sampling function. How Sampling mode is organized Sampling frequency and bit resolution This section describes how sampling on the OASYS is ...
Page 133: Preparations For Sampling
Preparations for sampling Multisamples each key or pad. Alternatively, these samples could be assigned at one‐octave intervals, and played as phrase Multisamples lay out one or more Samples across the variations with different playback pitches. keyboard. For instance, a very simple guitar Multisample might have six Samples–one for each The OASYS can hold a maximum of 1,000 string. multisamples in its internal memory. Each Sample is contained in an Index, which includes A multisample can be selected as the oscillator and parameters for the key range, original Sample pitch, wave sequence for a program, and played as a tuning, level, and so on. program. In a combination, they can be combined with preset programs, and used in a multi. They can be used Multisamples can have up to 128 Indexes. with the KARMA function to produce interesting Using multisamples results (for example, by using the KARMA function to automatically play sound effects or spoken samples). When sampling an instrument that is able to produce a wide range of pitches, such as a piano, recording just one sample and applying it (playing it back) over the Multisample entire pitch range will not produce a natural‐sounding Index001 Index002 Index003 Index004 Top Key Top Key Top Key Top Key result. By using a multisample you can record separate ...
Page 134 If Bus Select (IFX/Indiv.) is set to IFX1–12, the send FX Ctrl Bus (FX Control Bus) levels to the master effects are set by the post‐IFX1–12 Send1 and Send2. The FX Control Buses lets you create effects “sidechains.” Sidechains let you control an effect with PLAY/MUTE one audio signal (the sidechain), while the effect This indicates whether the external audio signal being processes a completely different audio signal. This is input is in PLAY or MUTE status. convenient for use with vocoders, compressors and You can use the MIX PLAY/MUTE 1–6 switches to limiters, gates, etc. change this. OASYS includes two true‐ stereo FX Control Buses. For SOLO On/Off more information, see “FX Control Buses” on page 790 of the Parameter Guide. This indicates the SOLO status of each external audio signal input. You can use the MIX SELECT 1–6 REC Bus switches to change this. This sends the external audio input signal to the REC Sound will be output only from channels for which buses (four mono channels; 1, 2, 3, 4). SOLO is On. Other channels will be muted. The solo The REC buses are dedicated internal buses used for function includes the oscillators of the tone generator. sampling or for recording audio tracks in Sequencer mode.
Page 135 Sequencer P0: Play/REC– Audio Input/Sampling AD converter. You’ll need to adjust the MIC/LINE gain select switch, the LEVEL knob (AUDIO INPUT Global P0: Basic Setup– Audio 1 and 2 only), or the output level of your external audio source. Setting the recording level If Bus Select (IFX/Indiv.) is other than Off, raising (Recording Level [dB]) the Level will input the external input signal into the OASYS. If audio cables are connected to AUDIO Recording Level L, R INPUT 1–4 jacks at this time, any noise that may Level Meter exist will be input via the AD converters into the This adjusts the signal level at the final stage of OASYS even if no audio input signal is present, and sampling. For the best‐quality sampling, set the level may be output from AUDIO OUTPUT L/R and 1–8. as high as possible without allowing the level meter to If you’re not using an external input, turn its Bus indicate “CLIP !” Select (IFX/Indiv.) off, or set its Level to 0.
Page 136 Sampling (Open Sampling System) Audio Input 1/2, Audio Input 3/4, S/P DIF L/R: Note On: Press the SAMPLING REC switch and then Choose these settings if you want to directly sample press the SAMPLING START/STOP switch to enter the input from AUDIO INPUT 1–4 or S/P DIF jacks. sampling‐standby mode. Sampling will begin when The input will be sampled directly without being you play the keyboard. routed through the L/R bus, REC buses, or Individual buses. AUDIO INPUT 1/2 or 3/4 and S/P DIF L/R will Making settings for the sample to be be connected directly, regardless of the “Audio Input” recorded settings for “Bus Select (IFX/Indiv),” “Bus (IFX/Indiv),” (REC Sample Setup/Sampling Setup) Pan, and “Level.” If you choose Audio Input 1/2, AUDIO INPUT 1 is Next we will specify the location into which the data input to the L channel and AUDIO INPUT 2 is input to will be sampled, select mono or stereo sampling, and the R channel. If you choose Audio Input 3/4, AUDIO specify the sampling time. INPUT 3 is input to the L channel and AUDIO INPUT In Sampling mode, these settings are made in REC 4 is input to the R channel.
Page 137 Save to Directory.” You can’t sample for longer than 80 Mode minutes. Sample Time Recording Level and Auto +12 dB On When you resample an external audio source, the song playback, or your keyboard performance on a Save to program, combination, or sample, you will normally set the Recording Level at 0 (dB). If this is set at 0 (dB), Specifies the destination to which the data will be the sample data will be recorded at the optimal level. written during sampling. However when this data is played back, the OASYS RAM: The sample will be written to RAM memory. will play it back at a lower level than when it was A sample written into RAM memory can be heard sampled (if +12 dB is off). If you want to play back the immediately in Sampling mode. data at the same level at which it was sampled, you’ll DISK: The sample will be written to the hard disk. need to turn the +12 dB parameter on (Sampling P2– Loop Edit page). If you’ve selected DISK, you can also select the writing‐ If you sample with the Auto +12 dB On setting destination drive. checked, +12 dB will automatically be turned on, and In each mode, use the “Select Directory” page menu the recorded sample will play back at the same level at ...
Page 138: Sampling And Editing In Sampling Mode
Sampling (Open Sampling System) Using the metronome can use this to make the necessary settings for resampling your playing on a program, or to make It is convenient to use the metronome when you want settings for sampling only an external audio source to play a program or combination at a specific tempo while you monitor your playing on a program. and sample your performance. However, these automatic settings assume typical You can make metronome settings in Metronome situations, so you’ll need to adjust the parameters to Setup, in Program or Combination P0: Play– Audio meet your situation. Input/Sampling. You might find it convenient to set This function is available in the following pages: “Bus (OUTPUT) Select” to one of the Indiv. 1–8 outputs, connect the (INDIVIDUAL) 1–8 jacks to a Mode Page mixer, and monitor the metronome via your mixer. Sampling Sampling P0: Recording Automatically setting-up for the desired Combination Combination P0: Play– Audio Input/Sampling sampling method (Auto Sampling Setup) Program Program P0: Play–...
Page 139 Sampling and editing in Sampling mode Multisample Select Popup Keyboard & Pad Index Create Sample Select Create Zone Preference Immediately after the power is turned on, “Index” Creating multisample indexes and will be 001/008. This indicates that there are eight sampling – P0: Recording indexes, and that the first index is selected (see the illustration below). Here’s how to create indexes in a multisample, and Press the Create button several times. Each time you assign a sample to each index. press it, an index will be created. The keyboard 1. Press the MODE SAMPLING switch to enter display will indicate the zone and original key Sampling mode. location of each index. 2.
Page 140 Sampling (Open Sampling System) 5. Select “Index.” You can also select “Index” by holding down the ENTER switch and playing a pad or a note on the keyboard. For this example, select 001. 6. Assign a sample to the “Index.” If RAM memory already contains samples, use “Sample Select” to select the sample and assign it. If you want to record a new sample, you can sample it now. The sample you record will be automatically assigned to the index you selected in step 4. The assigned sample will sound when you play the keyboard in the range of the index to which the sample is assigned. 7. Repeat steps 5 and 6 to assign a sample to each Basic examples of sampling index. The number and order of the indexes in a Sampling your voice from a mic, and multisample, the range of each index, and the playing it back as a one-shot sample original key position can be freely changed later if ...
Page 141 LEVEL knob toward MIN to adjust the level appropriately. For the best sound, adjust the level as high as possible without allowing the “ADC OVERLOAD !” indication to appear. 6. Press the SAMPLING REC switch. Speak into the mic, and notice that the level meter indicates the volume of the sound that will be recorded. If the “CLIP!” indication appears, use the VALUE 4. Press the Recording tab to access the P0: controller to lower the Recording Level slider Recording– Recording page. Make the following (shown in the right of the display) from the +0.0 settings. setting to an appropriate position. – REC Sample Setup – Save to: RAM You will be sampling to RAM memory. Mode: L–Mono The sound of the internal L channel will be sampled in mono. 7. When you’ve finished making adjustments, press the SAMPLING REC switch. Record 8. Press the SAMPLING REC switch. The OASYS will be in record‐ready mode. 9. Speak into the mic, saying the word(s) you want to sample. (Example: “It’s”) Recording will start when the level exceeds the Level –30 dB setting. 10.When you’ve finished saying the word(s), press the SAMPLING START/STOP switch.
Page 142 Sampling (Open Sampling System) This completes the sampling operation. The new (Example: “Easy,” “To,” “Sample,” “With,” sample will be automatically assigned to “Sample “OASYS”) (Sample Select).” Listen to the recorded result Hear the sampled result 17.Play the keys one after another. 11.The sample you just recorded will (by default) be Play the keys starting at C2 in semitone steps. The assigned to Index 001. When you press the samples you just recorded will play one after “OrigKey” key (C2) for Index 001, you will hear another. the sound you just sampled. (For example if you sequentially play the keys from You can also strike pad 1 to hear this sound. C2 through F#2, you will hear “It’s So Easy To Notice that the sample will loop (play repeatedly) if Sample With OASYS.”) you hold down the key or pad. We’re going to turn The multisample you created can be used as a looping off. program or combination. (See “Converting a multisample to a program” on page 144) Turn looping off Sampling external audio through insert 12.Press the Loop Edit tab to access the P2: Loop Edit ...
Page 143 Sampling and editing in Sampling mode 3. Access the P8: Insert Effect– Insert FX page. 9. Select Index. Press the IFX tab, and then the Insert FX tab. If you want to create a new index, press the Create button. 4. Select IFX1, use the numeric keys to input 1, 0, 1, and press the ENTER switch to select 101: Reverb 10.Sample the sound. Hall. Press the SAMPLING REC switch, and then the Press IFX1 On/Off to turn it on. SAMPLING START/STOP switch to enter record‐ ready mode. Speak the word you want to sample. Recording will start when the level exceeds the Level –30 dB setting. Press the SAMPLING START/STOP switch to stop sampling. 11.Play the keyboard. Press the “OrigKey” key to hear the sound you sampled. Sampling from the S/P DIF input In general, sampling from the S/P DIF inputs is very similar to sampling from the analog inputs. For instance, to record a stereo sample from the S/P DIF inputs, set up the sampling parameters as below: Source Bus: S/P DIF L/R Resample: Manual...
Page 144 Sampling (Open Sampling System) When the power is first turned on, the assigned sample will be set to “Orig.Key C2. 2. Make the following settings. – INPUT1 – Bus Select (IFX/Indiv.): Off Turn off the input from the INPUT 1–4 and S/P DIF L/R jacks. – Sampling Setup – Source Bus: L/R The sound sent to the L/R will be sampled. Trigger: Sampling START SW After you’ve pressed the SAMPLING REC switch to enter sampling‐ready mode, resampling will begin when you press the SAMPLING START/STOP switch. Resample: Auto The sample assigned to the index will be resampled automatically. Key: C2 Use Key to specify the sample that will be resampled. 3. In P2: Loop Edit, check the +12 dB setting. Recording Level: 0.0 4. In the P8: Insert Effect– Routing page, set Bus This is the default setting for resampling. Select to IFX1. Save to: RAM 5. In the P8: Insert Effect, Insert FX page, set IFX1 to The data will be written to RAM memory. 101: Reverb Hall, and turn IFX On/Off ON. Sampling Mode: Stereo The sound of the internal L/R channels will be ...
Page 145: Loop Settings
Sampling and editing in Sampling mode the waveform. Functions like Zoom In/Out, Use Zero, and Grid make editing easy. • You can turn looping on/off, adjust the tuning of the loop playback, apply a +12 dB playback boost, or reverse the playback. • You can use the Time Slice function to automatically detect the attacks of kick and snare notes etc. in a rhythm loop sample (a looped sample containing a drum pattern), and automatically slice the sample at the appropriate locations. This function can automatically create performance data (notes) to play the divided samples at the appropriate moments, letting you play this phrase in Sequencer mode at the desired tempo without affecting the pitch of the individual notes. You can also do things like changing the pitch of just the snare drum, replacing it with an entirely different sample, or changing the playback timing of the phrase in the sequencer to transform the original rhythm loop into an entirely different rhythm loop. (Stereo samples are supported.) • You can use the Time Stretch function to modify the Press the C2 key, and verify that reverb is applied. tempo without changing the sample’s pitch. When Also make sure that the Bus Sel. following IFX1 is executing Time Stretch, you can choose either set to L/R. “Sustaining” (suitable for loops of sustained sounds 6. Press the SAMPLING REC switch, and then the such as strings or vocal) or “Slice” (suitable for SAMPLING START/STOP switch.
Page 146 Sampling (Open Sampling System) Area “a” shown in the illustration displays the entire sample. Area “b” indicates the region within the entire sample that is shown in area “c.” As you zoom‐in on the time axis, this shows you where the zoomed region is located within the entire sample. Use the Zoom buttons to specify how area “c” will show a magnified (zoom‐in) or reduced (zoom‐out) view of the waveform. Use Zero If the “Use Zero” check box is checked, only those addresses where the waveform data crosses the zero level will be found automatically when searching, and can be set. This lets you easily make address settings where noise is less likely to occur when looping. To play the sample, press the key to which the Truncate sample is assigned (the key range that is highlighted 5. If necessary, use the page menu command in “Keyboard & Pad”). “Truncate” to delete unwanted data that falls A sample waveform that was sampled with outside the start (or loop start) and end addresses. “Sample Mode” set to Stereo will be displayed in Select the Front & End radio button. two levels. The upper level is the L channel, and the lower level is the R channel. In this example, we will not change the settings of the “Save to No.” and “Overwrite” check boxes, so 3. Specify the start address in “Start,” the loop start press the OK button to execute. address in “Loop Start,” and the end address in “End.” When you execute this operation, the truncated ...
Page 147 4. Press the OK button. ways by the song of Sequencer mode. The sample will automatically be sliced, and a • Multiple rhythm loop samples of differing tempo dialog box will appear. can be matched to the same tempo without changing their pitch. • You can change the tempo in realtime without affecting the pitch. As an example, we will describe how a rhythm loop sample can be time‐sliced in Sampling mode, and then how the rhythm loop sample can be played in Sequencer mode. You will need to provide rhythm loop samples of drums etc. You can either record these on the OASYS, or load them in Disk mode. Initially, you should try this using a one‐measure pattern in 4/4 time with a fairly simple beat, and record the pattern as a mono When you play the keyboard, C2 will play the rhythm loop sample. original sample (Source), and D2 and subsequent 1. Use “Sample Select” to select the sample data that keys will play the divided samples. you want to time‐slice. While listening to each divided sample, adjust Play back the sample, and verify that the beats that “Sensitivity” so that each drum strike or other you want to loop are played cleanly.
Page 148 Sampling (Open Sampling System) adjustments by adjusting “Start” or “End,” and by using Divide to separate or Link to combine. For more information, see “Time Slice” on page 686 of the Parameter Guide. 5. Press the Save button. The Save Samples & MS dialog box will appear. Here you can save the time‐sliced samples and the multisample. At this time, set the items in the Save With area to specify the conversion destination for the program that will use the samples and multisample, and for the performance data (track or pattern) that will be used in Sequencer mode to “recreate” the rhythm loop sample. Press the Save button to save the data. • If you want to create the performance data in a You will return to the dialog box of step 4. track: 6. Press the Exit button. Turn “Program” and Seq.Event On (checked) 7. Press the MODE SEQ switch to enter Sequencer Program: as desired (U‐B000) mode, and select 000 for “Song Select.” Track: On Song: 000, Track: 01, Meter: 4/4 Start Measure: 001, Time: 008 The following song data has been set/created automatically as you specified in step 5. Press the Save button to save the data. • P0: Play/REC page You will return to the dialog box of step 4.
Page 149 Sampling and editing in Sampling mode As an example, set “q (Tempo)” to 100. Notice that the pitch does not change when you play back at a different tempo. If the beat of the original rhythm loop sample is not reproduced correctly when you change the tempo, or if obtrusive noise is heard, this is because the sample was not sliced appropriately in step 4. The way in which the percussion instrument sounds were divided will have a major impact on the quality of the playback when the tempo is changed. You will need to adjust the way in which the samples are divided in step 4. The silence between samples may become obtrusive if you play back at a slower tempo, or noise may occur between samples if you play back at a faster tempo. To avoid such problems, you can set Stretch “New BPM” or “Ratio” in step 5 to the tempo at In the P0: Play/REC– MIDI Track Prog Select/Mixer which you want to play back, and execute time page, press the C#2 key. The RPPR function will stretch to adjust the length of each sample. For more begin playing pattern U00. information, see “Time Stretch” on page 691 of the In the P5: Pattern/RPPR, Pattern Edit page, press the Parameter Guide. SEQUENCER START/STOP switch to start playback 8. In “Song Select,” choose 001. of pattern U00. The following song data has been set/created When you press the C#2 key in the P5: automatically as you specified in step 5. Pattern/RPPR, RPPR Setup page, the RPPR function ...
Page 150: Modifying The Settings Of An Index
Sampling (Open Sampling System) Multisample editing – P3: Multisample Edit Editing a multisample is accomplished with a number of operations i.e. creating indexes for the multisample and assigning a sample to each index, editing operations such as deleting, copying, and inserting indexes, and detailed settings such as sample level and pitch for each index. Multisample editing is performed in P3: Multisample. You can also do some basic edits in the P0: Recording– Recording page. Editing the indexes To change the number or order of the indexes, use the Insert, Cut, Copy, and Create buttons. The waveform data of the currently selected sample 1. Select the P3: Multisample Edit page. will be displayed. Sample waveforms that were recorded with a “Sampling Mode” of Stereo will be shown in two lines. The upper line is the L channel waveform, and the lower line is the R channel waveform. 3. Use “Edit Range Start” and “End” to specify the range that you wish to edit. The selected range will be highlighted. 2. Use “Multisample (MS)” to select the multisample that you wish to edit. 3. Select the “Index.” You can also select an index by holding down the ...
Page 151 If you want to adjust the location, use the VALUE adjust the output of the multisample. You can also use controllers to modify the Range Start or Range End the control surface to control the EQ. settings, or move the cursor to a parameter other than Range Start and Range End and repeat step 8 Here you can also assign the functions of SW1/2, Real‐ to make the setting once again. Time Knobs 5–8, and the note numbers and velocities played by pads 1–8. If you want to move the track playback start location to the beginning of the track, press the LOCATE switch. Ripping – P5: Audio CD 11.When you have finished setting Range Start and The OASYS allows you to “rip” digital audio data from Range End, select the page menu command an audio CD inserted in the internal CD‐R/RW drive or “Destination.” in a USB‐connected CD‐ROM or CD‐R/RW drive. A dialog box will appear. Ripping digital data from an audio CD Specify the destination to which the ripped sample will be written. Here’s how digital data from an audio CD track can be Select RAM if you want to rip the sample into RAM captured as a sample. In this example we’ll explain memory. In this case, you can also set Sample No. how to rip using the internal CD‐R/RW drive. (L), (R) to specify the sample number that will be ...
Page 152: Saving Multisamples And Samples
Sampling (Open Sampling System) the terms, press the Cancel button to cancel the operation. Saving multisamples and samples If you want to keep the multisample and sample data you create, you must save your data onto either the internal hard drive, or an external USB storage device. In Sampling mode if you want to save only the multisamples and samples, you can execute the “Save 3. Press the text edit button to open the text edit Sample Data” page menu command in the Disk– Save dialog box, and input a new program name (up to page. If you have converted a multisample into a 24 characters). By default, this will be the name of program, or if you are using multisamples or samples the multisample. that you created in Combination or Sequencer mode or 4. “Use Destination Program Parameters” a drum kit you created in Sampling mode, we unchecked: recommend that you save your data using “Save All” When you execute, the multisample of the in order to ensure that it will be reproduced correctly conversion‐destination program will be replaced by the next time you load it. the multisample you select here, and the other In Program, Combination, or Sequencer modes, we program parameters will be initialized. The also recommend that you use “Save All.” program will reproduce the sound you heard in When you execute with Save All, the following data Sampling mode. will be saved.
Page 153: Sampling In Program, Combination, And Sequencer Modes
Sampling in Program, Combination, and Sequencer modes Sampling in Program, Combination, and Sequencer modes In addition to using Sample mode, you can also sample Sampling will occur to RAM memory. both external audio sources and internal sounds in “Mode”: Stereo Program, Combination, and Sequencer modes. The sound of the internal L/R channels will be sampled in stereo. For instance, you can resample a performance that uses the OASYS’s full range of features, including filters, Tip: The OASYS will automatically make the above effects, and KARMA. You can even sample a full, settings for you if you execute the “Auto Sampling multitimbral sequence, played either from the internal Setup– Resample Program Play” page menu sequencer or an external MIDI sequencer. command. In addition, it will also assign the Multisample to a new Program after you’ve finished You can also sample the OASYS’s performance resampling. For more information, see “Auto together with audio from an external input source, or Sampling Setup” on page 145. monitor the performance of the OASYS’s KARMA function and sequencer etc. while you sample only the 4. Adjust the recording level.
Page 154 Guitar This makes the appropriate settings for resampling Effect unit your playing on a program. “Save to”: RAM The resampled data will be written into RAM memory. “Convert to Program”: On “Program”: as desired After resampling, the data will automatically be LINE converted into the program number you specified in “Program.” If you connect a guitar with passive pickups (i.e., a guitar that does not contain a preamp), you will be 5. Press the OK button to execute the command. unable to sample it at the correct level because of the The OASYS will make the appropriate settings for impedance mismatch. Such guitars should be resampling. routed through a preamp or an effect unit. 6. Resample your playing as described in steps 4 and 5. Press the Sampling tab to access the P0: Play– 5 of the preceding section. Audio Input/Sampling page. 7. Listen to the sound you resampled. Make the following settings. Access the Program P0: Play– Main page. Press the – Audio Input – MODE PROGRAM switch, then the EXIT switch, Use Global Setting: Off and then the Main tab in the upper line of the LCD screen. INPUT1 Select the program you specified for “Program” in ...
Page 155 Sampling in Program, Combination, and Sequencer modes Mode: Stereo and execute. (See “Converting a multisample to a The sound of the internal L/R channels will be program” on page 144) sampled in stereo. Sampling a guitar from the audio inputs, – Metronome Setup– while listening to a KARMA-generated Bus (Output) Select: L/R drum phrase Level: as desired The output of the metronome will be sent to the L/R Here we’ll explain how you can sample just the sound bus. of an external input source while listening to a performance generated by the KARMA function. 6. Play your guitar at the volume that you will be recording. You can do this by modifying the settings in step 5 of the preceding “Mixing a KARMA‐generated drum If the display indicates “ADC OVERLOAD !” (AD ...
Page 156 Sampling (Open Sampling System) 4. We will be modifying the Audio Input settings, so Source Bus: REC 1/2 turn the Input “Use Global Setting” off. The sound sent to REC 1/2 bus will be sampled. 5. Choose the Auto HDR/Sampling Setup page menu Trigger: Sampling START SW command. Press the SAMPLING REC switch to enter record‐ The dialog box will appear. standby mode. Then press the SAMPLING 6. Choose “In‐Track Sampling.” START/STOP switch to start sampling. Save to: RAM The sample will be recorded to RAM memory. Mode: L‐Mono The sound of the internal left channel will be sampled in mono. 9. For this example, change the settings as follows. Pan: C64 “Trigger”: Threshold, “Threshold Level”: as desired “Sample Time”: as desired 10.Play your guitar at the volume that you will be recording. If the display indicates “ADC OVERLOAD !” (AD converter input overload), turn the rear panel [LEVEL] knob toward MIN to adjust the level appropriately. For the best sound, adjust the level as high as possible without allowing the “ADC OVERLOAD !” indication to appear. 11.Press the SAMPLING REC switch. When you play your guitar, the level meter will ...
Page 157: Resampling A Song To Create A Wave File
Take No. will be input as the last two characters of command. the filename. A dialog box will appear. This number will increment each time you sample, ensuring that the filename will not be the same even 5. Choose “2ch Mix to Disk.” if you sample repeatedly. After you have made the settings, press the Done button to close the dialog box. 8. Set Sample Time to the length that you want to sample. Set this to a length slightly greater than the length of the song. 9. Set the recording level. Press the SAMPLING REC switch. Note: It will take between several seconds to nearly a minute from the moment you press the SAMPLING REC switch until the OASYS enters standby mode (i.e., until the SAMPLING REC switch changes from blinking to lit). This time is required in order to allocate sufficient space on the disk. Press the SEQUENCER START/STOP switch to play back the song, and adjust the sampling volume while you watch the level meters. The default setting is 0.0 dB. If the level is too low, use the VALUE controller to raise the level as high as possible without causing the “CLIP !” indicator to 6. Press the OK button to execute the command. appear. Preparations for In‐Track Sampling are now When you finish making adjustments, press the complete. SAMPLING REC switch. – Audio Input – Press the SEQUENCER START/STOP switch to stop ...
Page 158 Sampling (Open Sampling System) and press the SAMPLING START/STOP switch to listen to the sound that was sampled.
Page 159: Settings For The Entire Oasys (Global Mode)
Settings for the entire OASYS (Global mode) How Global mode is structured In Global mode you can make overall settings that Global mode page structure apply to the entire OASYS, such as master tune, key Page Explanation transpose, effect global switch, global MIDI channel, • Basic settings for the entire OASYS and system clock. P0: Basic Setup • Audio input settings for use outside of In addition, you can create user drum kits, wave Sampling mode (for Use Global Setting) sequence, and scales, make settings for the damper ...
Page 160 Settings for the entire OASYS (Global mode) Tuning and transpose KARMA settings settings Velocity/aftertouch curve settings Effect bypass settings Memory protect settings Select the mode that is selected at power-on Beep setting Linking KARMA to programs and Sounding a beep when you press the LCD...
Page 161: Global Audio Settings
Sampling mode Setting option in the desired Program, Combi, or Song. The settings on the Audio tab select the input source for the analog/digital audio signal, the input level, bus, and master effect sends for use in all of the modes MIDI-related settings P1: MIDI Here you can also assign the functions that the faders, MIDI Setup, MIDI Filter, External knobs, and switches will have when the control surface CONTROL ASSIGN EXTERNAL is on. Here you can make MIDI settings for the entire OASYS. You can also use the menu commands of this page to transmit MIDI System Exclusive data dumps. Pedal and other controller settings The Controller tab of the Controller/Scale page lets you • Tap tempo control how the footswitches and foot pedal will work, • KARMA on/off as well as setting up controller mappings for the • The functions of controllers such as the joystick or KARMA controls and the drum/chord pads. ribbon controller Specifying the function of the...
Page 162: Creating User Scales
Settings for the entire OASYS (Global mode) Program Down will cause the next lower program KARMA, Pad, Vector number to be selected each time you press the foot switch. You can assign control change messages to the KARMA switches and sliders, pads 1–8, and vector 2. Set the “Foot Switch Polarity” to the polarity of the joystick X‐axis and Y‐axis. You can assign control foot switch you have connected. change messages or note numbers to pads 1–8. (See PG If you have connected a Korg PS‐1 pedal switch, set p.161) this to (–) KORG Standard. If the polarity is not set correctly, the pedal will not function appropriately. Normally you will use the default settings. To restore the default settings, execute the “Reset Controller 3. Either press the PROG switch to enter Program P0: MIDI Assign” page menu command and choose Play, or press the COMBI switch to enter Default Setting. Combination P0: Play. When you press the foot switch, the program/ combination will change. Creating user scales You can choose these scales from the following pages. Creating an original scale, and assigning...
Page 163 Setting Category Names for Programs, Combinations, and KARMA...
Page 164: Using Wave Sequences
Settings for the entire OASYS (Global mode) Using Wave Sequences Wave Sequence Overview What’s a Wave Sequence? Crossfading Wave Sequences Wave Sequences play back a series of different By using long durations and crossfade times, Wave Multisamples over time. You can use this to create a Sequences can produce complex, evolving timbres. variety of unique timbral and rhythmic effects, as Modulating the Start Step, Position, and Duration described below. makes the sound even more organic, so that every note can play the Wave Sequence a little differently. Wave Sequences are similar to Drum Kits, in that you create and edit them in Global mode, and then use Velocity-Switching Wave Sequences them in Programs. In HD‐1 Programs, you can use Wave Sequences just as you would normal By setting each step’s duration to GATE, and then Multisamples, including velocity switches or modulating the Start Step by velocity, you can create a crossfades, layering different Wave Sequences on the ...
Page 165: Adjusting The Sound Of An Individual Step
Using Wave Sequences Adjusting the sound of an individual step Wave Sequence graphic 3. Set the End Step as desired. What’s in a step? The read‐only Length parameter will show you the Wave Sequences have 64 steps (although you don’t total number of steps between the two points. have to use all of them–see “Setting the length of the sequence” on page 157). Each step includes: Setting up the loop • A “type” setting, which makes the step either play a Wave Sequences can loop, so that some or all of the Multisample, continue the previous step like a tied steps are played repeatedly–like a drum loop, or a loop note, or play only silence like a musical rest. in a sequencer. • A selected Multisample, which sets the basic sound You can set the start and end of the loop separately of the step. from the start and end of the Wave Sequence itself. The • Multisample Reverse and Start Offset parameters, loop can either play for as long as the note is played, or ...
Page 166 Settings for the entire OASYS (Global mode) the entire Wave Sequence becomes “stereo,” and uses Modulating Program parameters per step twice as many voices ‐ it’s the price that you pay for power! Each step has two AMS Output values. These act kind of like step sequencers, allowing you to modulate any 4. Set the Level (volume) as desired. AMS destination in the Program. In other words, This can be useful for evening out the perceived levels virtually any Program‐level parameter can have a of different Multisamples, or for accenting steps in different setting for each step of the Wave Sequence. rhythmic sequences. For instance, to adjust the Filter Frequency separately 5. Set the Transpose and Tune as desired. for each step: Transpose sets the Multisample’s coarse tuning, in 1. Select the Program that you’ll use for the Wave semitones. You can use this to change the octave for Sequence. individual steps, to create melodies, or to create 2. Go to the Filter Mod 1 tab of the Filter page. interesting variations on percussion sounds by extreme transposition. This page has the filter modulation parameters for ...
Page 167: Using Rhythmic Wave Sequences
Using Wave Sequences Using rhythmic Wave Sequences 5. For AMS A, select Wave Seq AMS Out 1. 10.Under Amp Modulation, set the AMS source to AMS Mixer 1. 6. Set the AMS A Amount to 00. 11.Under the AMS source selection, set the Intensity 7. For AMS B, select SW 1 Mod (CC#80). to –99. 8. Set the AMS B Amount to +99. SW1 will now mute and un‐mute step 1. You can use 9. Go to the Amp 1 Mod tab of the Amp/EQ page. this same technique for any per‐step modulation. Wave Sequence step Durations, Crossfade times, and Fade‐In and Fade‐Out shapes Step 1 Step 2 Step 3 Step 4 Duration Duration Duration Duration Volume Time Step 1 Step 2 Step 3 Step 4...
Page 168 Settings for the entire OASYS (Global mode) External MIDI syncs to incoming MIDI clocks, and Wave Sequence Swing ignores the TEMPO knob. Auto is a combination of the above. When clocks are Swing Resolution = Beat Beat 2 received via MIDI, it syncs to the incoming clocks; when no clocks are being received, it defaults to the Swing = 0% +100 stored tempo settings. Swing = +100% –100 Swing = –100% +200 Using Swing Swing = +200% Swing adds a human feel to the rhythm, and provides Swing = +300% an easy way to turn a “square” rhythm into a shuffle ...
Page 169: Creating Smooth, Evolving Timbres
Using Wave Sequences Creating smooth, evolving timbres • In Program and Combi modes, if KARMA is off, Quantize Triggers note‐ons are synchronized with the sounding Tempo‐mode Wave Sequence, if any. • In Program and Combi modes, if KARMA is on, Note-On note‐ons are synchronized with KARMA. • In Sequence mode during playback or recording, Wave Sequence Rhythm note‐ons are synchronized with the sequence. Quantize • In Sequence mode, while the sequencer is stopped, Triggers note‐ons are synchronized with RPPR and Quantize KARMA. Triggers Each Program, each Combi Timbre, and each Track in a Song has its own Quantize Triggers setting. Note-On To turn on Quantize Triggers in a Program: 1. Go to the Program Basic tab of the Basic/Vector Quantize page. Triggers 2. Check the Quantize Triggers box. Quantize To turn on Quantize Triggers in a Combi or Song: Triggers...
Page 170: Modulating Wave Sequences
Settings for the entire OASYS (Global mode) 2. In the dialog box, set the Expand/Compress % The step durations and crossfade times will be parameter as desired. adjusted by the selected percentage. 100% means the current duration and crossfade times. Note: the Exp/Comp button appears only when the Values 99 and below make the times shorter, and Mode is set to Time. values 101 and above make them longer. You can also stretch and compress Wave Sequences in 3. Press the OK button. real‐time, via AMS. For more information, see “Duration modulation” on page 162. Modulating Wave Sequences Values below 100% make the durations shorter, so the Position modulation Wave Sequence moves more quickly. Values above 100% make the durations longer, so the sequence Position modulation lets you offset the Wave Sequence moves more slowly. from the current step. If Run is turned On, The Wave Sequence will continue to progress through its steps during modulation, kind of like fast‐forwarding while Start Step modulation playing a tape or CD.
Page 171: Saving Wave Sequences
Using Wave Sequences Saving Wave Sequences 6th note: 2, 3, 4, 5, 6 15th note: 5, 6 7th note: 3, 4, 5, 6 etc… 8th note: 4, 5, 6 Finally, if Repeat Times is INF, Note‐On Advance will make the Wave Sequence play as follows. Note that the 9th note: 5, 6 Wave Sequence never returns to the start step, since it’s 10th note: 6 outside of the loop: 11th note: 2, 3, 4, 5, 6 first note: 2, 3, 4, 5, 3, 4, 5, 3, 4, 5, 3, 4, 5… etc… 2nd note: 3, 4, 5, 3, 4, 5, 3, 4, 5, 3, 4, 5… If Repeat Times is 1, Note‐On Advance will make the 3rd note: 4, 5, 3, 4, 5, 3, 4, 5, 3, 4, 5… Wave Sequence play as follows: 4th note: 5, 3, 4, 5, 3, 4, 5, 3, 4, 5… first note: 2, 3, 4, 5, 3, 4, 5, 6 5th note: 3, 4, 5, 3, 4, 5, 3, 4, 5… 2nd note: 3, 4, 5, 3, 4, 5, 6 6th note: 4, 5, 3, 4, 5, 3, 4, 5… 3rd note: 4, 5, 3, 4, 5, 6 7th note: 5, 3, 4, 5, 3, 4, 5… 4th note: 5, 3, 4, 5, 6 8th note: 3, 4, 5, 3, 4, 5… 5th note: 3, 4, 5, 6 9th note: 4, 5, 3, 4, 5, 3, 4, 5… 6th note: 4, 5, 6 10th note: 5, 3, 4, 5, 3, 4, 5… 7th note: 5, 6 etc… 8th note: 6 Note-On Advance and Key Sync 9th note: 2, 3, 4, 5, 3, 4, 5, 6 Note‐On Advance is also affected by the setting of the ...
Page 172: Using Drum Kits
Settings for the entire OASYS (Global mode) Using Drum Kits Drum Kit Overview For details on the factory‐programmed Drum Kits, What’s a Drum Kit? please see the Voice Name List. Drum Kits, as the name implies, are optimized for Drum Kit banks creating drum sounds. They offer a number of special Bank Drum Kit No. Contents features, such as: 00…39 Factory Drum Kits • Each note can play a different sound USER A…G 00…31 User (initialized) Drum Kits •...
Page 173: Editing Drum Kits
For more information, see “First, select a Drum ROM Drum Samples are the built‐in “factory” sounds, Program,” above. and are always available. These are organized by 2. Press the front‐panel GLOBAL button to enter category, such as bass drums, snares, hats, etc. Global mode. RAM Drum Samples include Akai, AIFF or WAV files 3. Go to the Sample Setup tab of the Drum Kit page. loaded from disk, and samples created in Sampling 4. Use the Drum Kit parameter, at the top of the mode. screen, to select the Drum Kit that you wish to EXs Drum Sample banks are PCM expansion sets edit. created especially for the OASYS. Each has its own You can save this to a different memory location after unique number; for instance, the ROM Expansion is editing, if you like. EXs1, and the Concert Grand Piano expansion is EXs2. 5. Use the Key parameter to select the note that you Only the currently loaded EXs banks will appear on wish to edit. this menu. To select a key, you can use any of the standard VALUE 4. Press the Drum Sample popup for DS1. controllers (the slider, dial, numeric keypad etc.). As a This brings up a list of Drum Samples, organized by shortcut, you can also hold down the ENTER key and category. Use the tabs at the left of the screen to browse play a note on the keyboard. through the different categories. This Key selection applies to all three Drum Kit editing ...
Page 174: Saving Drum Kits
Settings for the entire OASYS (Global mode) This can be very useful in creating a smooth velocity 4. For each key, set the Enable Note Off Receive split or crossfade. parameter as desired. If this parameter is unchecked, the key will be held. 2. Set the tuning and EG parameters as desired. For each Drum Sample, you can control offsets to the If it is checked, the key will not be held. Program’s settings for transposition, tuning, and EG If you turn off Hold in the Program, no keys will be attack and decay times. held ‐ regardless of their Enable Note Off Receive 3. Go to the Sample Parameter tab. setting. This page lets you make even more adjustments to the sound. For each Drum Sample, can control offsets to Controlling effects for each key the Program’s settings for filter cutoff and resonance, Drum Kits have their own, built‐in mixers. For each drive, and low boost. Additionally, you can control the key, you can control the Insert Effects bussing, Master gain for each band of the EQ. Effects sends, and pan. For more information, please see “Global P5: Drum To use separate bus settings for each key: Kit” on page 731 of the Parameter Guide.
Page 175 Using Drum Kits Saving Drum Kits You can give the Drum Kit a descriptive name using the on‐screen keyboard. 3. After entering the name, press OK. The text edit window will disappear, returning you to the main Save dialog. 4. Press the popup button next to Drum Kit to bring up the save location dialog. 5. Select a location to save the edited Drum Kit. To avoid overwriting the factory sounds, it’s safer to use a slot in one of the seven USER banks. Note that although you can edit General MIDI kits, you can only save these edits to locations in the INT or USER banks. The original GM kits cannot be over‐ written. 6. After selecting the location, press OK. 7. Press OK again to start the write process. 8. If you’re sure you want to write to this location, press OK again. After that, you’re done!
Page 176 Settings for the entire OASYS (Global mode)
Page 177: Loading & Saving Data, And Creating Cds
Combinations 000–127 in banks INT‐A…G, USER‐ • .KFX file: A…G Effect preset data. • Global settings • .MID file: (Global P0: Basic–P3: Category Name) Saves a Sequencer mode song in Standard MIDI • User wave sequence patterns File (SMF) format. Banks INT: 000…149, Banks USER‐A…G: 00…31 • .EXL file: • User drum kits System exclusive data from an external device that Banks INT: 00…39, Banks USER‐A…G: 00…15 was saved on the OASYS (This allows the OASYS • User template songs U00–U15 to be used as a data filer.) Song settings such as the song name and tempo, • .WAV and .AIF files: track settings, KARMA, and effect settings can be A sample you recorded can be exported (written) as saved (written) to internal memory. However, the a WAVE file or AIFF file. musical data for song tracks and patterns are not • .KCD file: saved to internal memory. Furthermore, settings These are track lists for audio CDs. that govern how the musical data is played back such as “Meter,” “Metronome,” “PLAY/MUTE,” “Track Play Loop (including Start/End measure),” ...
Page 178: Writing To Internal Memory
Loading & saving data, and creating CDs • Wave sequence banks INT: 000–149 • Program banks G, g(1)–g(9), g(d): 001–128 • Demo songs • Preset drum kits 144 (GM)–152 (GM) Preset data is data that cannot be rewritten by the • Preset template songs P00–P15 Write operation. This includes the following data. • Preset patterns P000–P149 Writing to internal memory • The settings of absolute‐type Tone Adjust Writing a program or combination parameters are written “as themselves” (i.e., as the settings of those Tone Adjust parameters). The program and combination settings you’ve edited in the various editing pages can be saved to internal Combination mode: memory. This action is referred to as “writing a • The settings of both relative‐type and absolute‐type program” or “writing a combination.” If you want ...
Page 179 2. To write the data, press the OK button. To cancel without writing, press the Cancel button. Using the (SEQUENCER) REC/WRITE switch to write Writing Drum Kits and Wave Sequences You can use this method to write the selected drum kit or wave sequence. Here’s how a drum kit or wave sequence you’ve edited in Global mode can be written into the internal 1. Press the SEQUENCER REC/WRITE switch. memory of the OASYS. The Update Drum Kit/Update Wave Sequence The Wave Sequence “Tempo,” “Key Sync,” dialog box will appear. “Swing,” and “Quantize Trigger” settings are stored with each program, combination, or song. These parameters are not saved by writing the wave sequence as described here. If you’ve moved from Program or Combination mode and edited these parameters, return to the previous mode and write your edits. Using the page menu Write command The screen shown is for Drum Kit...
Page 180: Editing Names
Editing names Disk Save: Save All…Save Audio CD Track List, File Disk Utility page menu command: Rename You can modify the name of an edited program, combination, song, drum kit, wave sequence, multisample or sample etc. As an example, here’s how to write a Program or Combination using the Write page menu command, You can also modify the category names for programs and entering “OASYS‐Program01” in step 3. and combinations. 1. Press the text edit button to open the text edit dialog box. (See the following diagram) 2. Press the Clear button. Press the Shift button to switch to uppercase characters, and press OASYS‐P. Text Cursor Character Set Selects the type of character.
Page 181 Saving data Writing to internal memory Press the Shift button once again to switch to lowercase characters, and press the characters r, o, g, r, a, m, 0, 1. 3. Press the OK button to close the dialog box. If you don’t need to make any corrections, press the OK button to close Write Program. Memory protect Note: The same dialog box will also appear if, in each of the above pages, you hold down the ENTER switch To prevent programs, combinations, songs, drum kits, and press the 0 switch. (See “Shortcuts” on page 27) wave sequences, and KARMA GE from being 2. To execute the Write operation, press the OK overwritten accidentally, the OASYS provides a button. To cancel, press the Cancel button. Memory Protect setting that prohibits writing to When you press the OK button, the display will ask memory. “Are you sure?” Press the OK button once again to Before you save edited data or load data from media, write the data. use the following procedure to turn the memory protect off (uncheck the appropriate check box). Using the (SEQUENCER) REC/WRITE switch to write You must also turn memory protect off before loading the above data from media or via a MIDI data dump, ...
Page 182: Saving To Disks, Cds, And Usb Media
Loading & saving data, and creating CDs Saving to disks, CDs, and USB media For details on the data that can be saved on storage These types of media are not included. You will media. (See “Types of data that can be saved” on need to purchase them separately. page 169.) Media setup Song data and region data in the OASYS’s Sequencer mode, as well as multisamples and This section explains how to make the OASYS samples cannot be written into internal memory. recognize media so that data can be saved on it. This data will disappear when the power is turned off. In order to keep this data, you must write it to Setup for saving data on the internal hard disk the internal hard disk, to CD media in the internal 1. Press the MODE DISK switch to enter Disk mode.
Page 183 Saving data Saving to disks, CDs, and USB media 4. Press the MODE DISK switch to enter Disk mode. 5. Press the Media Info tab, and then execute the page menu command “Scan device.” 6. Use Drive Select to select your media. If you are using a removable disk, insert the media. After you exchange media in your USB device, press the LCD screen to make the OASYS detect the media. When the media has been detected, the LCD screen will display information about the media. 7. If the media needs to be formatted, execute the 7. Press the text edit button and input a filename for Format operation. the file you want to save. (See p.172) Media requiring formatting is indicated as 8. Press each Selection button to access the dialog Unformatted in Drive Select. For more information, box, and use the check boxes to uncheck any items see “Formatting media” on page 176. that you do not need to save. How to save data You can save the various types of data listed in “Types ...
Page 184: Formatting Media
When you use Save PCG or “Save Sampling Data” to individually save a program or drum kit, or a Select this if the media has already been physically multisample or sample that you created, we formatted, or if you want to format media that has recommend that you save them under the same been UDF‐formatted by the OASYS. Since only the filename in the same directory. When you use “Load system area of the media need be formatted, this will PCG” to load a .PCG file, the identically‐named .KSC require less time. file will also be loaded so that the correct Note: For the internal hard disk you can only select multisamples/samples will correspond automatically. “Quick Format.” Full Format: Select this when formatting media that Using the OASYS as a data filer has not been physically formatted, or media (CD‐RW) that has not been UDF‐formatted. The OASYS can receive MIDI System Exclusive data sent by an external device, and save this data to media. Note: Normally, it is not necessary to perform a Full (This is sometimes referred to as “Data Filer” Format on media that has been physically formatted at functionality.) For more information, see “Save 512 bytes/block. Execute the Quick Format for such Exclusive” on page 779 of the Parameter Guide) media. Note: You will normally select Full Format for CD‐RW Formatting media media etc. that has not been UDF‐formatted. If an error message of “Media not formatted” appears, execute ...
Page 185: Loading Data From Disk
Loading data from disk Loading .PCG, .SNG, and .KSC files Loading data from disk The types of data that can be loaded from media are The Disk mode Load page lets you load data from the shown in the diagram “Supported file types” on internal hard drive, the internal CD‐RW drive, or any page 178. (For more details, see “Load selected” on USB 2.0 Mass Storage Device, such as hard drives, flash page 761 of the Parameter Guide) media, etc. Loading .PCG, .SNG, and .KSC files As an example here, we will explain how to load a Note: The contents and settings of the dialog box will song. We’ll assume that this song uses edited programs differ depending on the type of file that you are and programs that use multisamples you sampled. In loading. such cases, it is best to load “all data.” 6. Check the “Load ********.PCG too” check box. When loading programs, combinations, songs, When you execute loading, the .PCG file will be loaded ...
Page 186 1 program 1 program DOS directory bank I-A...F, U-A...G (Red) All combinations 1 combination 1 combination DOS directory (created by Save SEQ on the OASYS) bank I-A...G, U-A...G (Purple) All drum kits 1 drum kit 1 drum kit DOS directory (User) bank INT, U-A...G...
Page 187: Loading Individual Banks From A .Pcg File
• The bank of each program used by combinations • The bank of each drum kit and wave sequence used by each program • The bank of the program used by each track of the song • If the song contains track/pattern events, the program banks within these events Loading data by individual item or bank The OASYS lets you load programs, combinations, 1. Move to the “Bank INT‐D” directory, and select drum kits, and wave sequences individually or by the combination that you want to load. (.PCG individual banks. file/Combinations/Bank INT‐D/) The procedure is as follows. This is a convenient way to rearrange combinations in the order in which you will use them during a live 1) Perform steps 1–5 under “Loading .PCG, .SNG, performance. and .KSC files” on page 177. Select the .PCG file containing the data you want to load (it will be Be aware that if you change the order of programs, ...
Page 188 Loading & saving data, and creating CDs Alternatively, you could select any file, since the desired file can be selected later from the dialog box. Note: When you press the keyboard of the OASYS, the selected combination will sound. However, the internal programs will be used as the program of each timbre. 2. Press the page menu button and select the “Load Selected” page menu command. The dialog box will appear. 3. Use the “Combination” (upper line) to select the load‐source combination, and use “(To) Combination” (lower line) to specify the destination combination. For this example, select INT‐E000. As shipped from the factory, this Combi location is empty; it has no name, and makes no sound. 4. Press the OK button to execute loading; the loaded combination will be assigned to INT‐E000.
Page 189: Creating And Playing Audio Cds
Creating audio CDs Creating and playing audio CDs WAVE files you create by resampling to the internal When writing data to CD‐R/RW media, the media hard disk or to an external USB hard disk in Sequencer containing the Wave files must have free space mode etc. can be arranged in a desired order and used equal in size to the Wave files you are writing. to create an audio CD. Before you execute this operation, make sure that the drive containing the Wave files contains enough Make sure that both media are detected by the free space. OASYS. Creating audio CDs Select “====End====” (it will be highlighted), and Part 1: Bouncing to disk press the Insert button. If you’re starting with Songs you’ve created in The Insert Track dialog box will appear. Sequencer mode, you’ll first need to bounce the Songs to WAVE files on the internal hard drive. 1. In Sequencer mode, select the first song that you want to burn to the CD. 2. Go to the 0–8: Audio In/Sampling page. 3. Select Bounce All Tracks To Disk from the menu.
Page 190: Playing Audio Cds
Blank Disc.” In order to avoid causing errors, do not subject the An audio CD cannot be created on a disc that drive to physical shock or vibration while CD‐R/RW contains data other than audio (e.g., files). In this media is being written. case, it will not be possible to select the page menu commands “Write to CD” or “Finalize Audio CD.” Saving Track Lists Note: Even when the recommended CD‐R/RW media is used, some audio CD players may be unable to play The track list will be lost when the power is turned off. back the disc. Also, since some audio CD players are If you want to keep this data, you must save it. unable to play back CD‐RW media, we recommend 1. In the Save page, select the directory in which you that you use CD‐R media. want to save the track list. 4. Select the page menu command “Write to CD” to 2. Select the page menu command “Save Audio CD access the dialog box, and specify how the CD will Track List” to open the dialog box. be written. 3. Press the OK button to save the data, or press the Cancel button to cancel without saving. Playing audio CDs You can play audio CDs–including CDs you’ve created–directly on the OASYS. To do so: 1. Press the Play Audio CD tab to go to the Play Audio CD page.
Page 191 Creating and playing audio CDs Playing audio CDs 2. In Drive Select, select your CD‐R/RW drive. Drive Select will indicate Audio CD. 3. To allow monitoring, set the CD‐R/RW Drive Audio Input as follows. LEFT: Bus (IFX/Indiv.) L/R, FX Ctrl Bus Off, REC Bus Off, Send1/Send2 000, Pan L000, Level 127 RIGHT: Bus (IFX/Indiv.) L/R, FX Ctrl Bus Off, REC Bus Off, Send1/Send2 000, Pan R127, Level 127 Volume: 127 4. Use Track to select the track, and press the SEQUENCER START/STOP switch to begin playback.
Page 192: Other Disk Operations
Other disk operations Viewing information about media – Disk Media Info This displays information about the media selected in Mounting USB storage devices “Drive Select.” Use the Disk Media Info page menu command Scan device to mount a device connected via USB 2.0. For more information, see “Scan device” on page 784 of the Parameter Guide. Setting the date and time OASYS has an internal calendar, which is used to The following dialog box will appear. record the date and time when you save data. You can 4. Use the VALUE controllers to set the correct year, set the date and time by using the Disk Utility page’s month, day, hour, minute, and second. “Set Date/Time” menu command. 5. Press the OK button. You will need make these settings after you purchase If the calendar backup battery runs low, a message the OASYS, and after you replace the calendar backup ...
Page 193 • Wave Sequences: 150 Wave Sequences loaded into Bank INT 9. Press the OK button to load the data. Loading from the Restore CD If the sounds have somehow been erased from the internal drive, you can also load them from CD: 4. Select the desired EXs PCM bank. 1. Insert the included CD “Restore 1/4” into the Check “EXs1 ROM Expansion 284 MB,” to load the OASYS’s CD‐R/RW drive. multisamples and samples for EXs1. 2. Press the DISK button to enter Disk mode. 5. Press the OK button. 3. Press the LCD screen to make the OASYS recognize the disc. After pressing OK, the EXs configuration will be adjusted immediately, and samples will be loaded or un‐loaded as necessary. Loading samples may take some time. The selected EXs will also be loaded automatically at power‐on. 4. Go to the Load tab of the File page. 5. Use Drive Select to select CDD. The LCD screen will show the files and folders on the disk. 6. Select the PRELOAD.PCG file.
Page 194 Loading & saving data, and creating CDs...
Page 195: Using Effects
Using Effects For effects processing, the OASYS provides 12 insert Effect I/O effects, two master effects, and two total effects, together with a mixer section that controls the routing Insert effects of these effects. All of these are stereo in/out. Insert Effects (IFX 1–12) are stereo‐in/stereo‐out. If you Specific parameters of these effects can also be select Dry (unprocessed) for the Wet/Dry parameter, controlled in real time from the OASYS’ controllers or the stereo input signal will be output in stereo without via MIDI messages using Dynamic Modulation being processed by the effect. If you select Wet (effect (Dmod), by MIDI/Tempo Sync, or by using a common applied), the processed signal will be output in one of LFO to apply synchronized change to differing the following ways: modulation effects. Mono In - Mono Out Effect Effect types Mono In - Stereo Out Effect You can choose from 185 different full‐digital effects. The effects are categorized as follows. Effect Stereo In - Stereo Out Effect Classification of 185 effects...
Page 196: Effects In Each Mode
Then the master effects are used to create overall Audio Input ambience such as reverb, and use the total effects to You can also input audio sources from AUDIO INPUT make final adjustments. All of these settings can be 1, 2, 3, 4, and S/P DIF IN jacks in modes other than made independently for each program. EXi Programs Sampling mode (i.e., in Program, Combination, and may have a different filter and amp structure for each Sequencer modes). type, but you can also apply insert effects, master You can apply the insert effects, master effects, and effects, and total effects to the oscillators (EXi1&2), just total effects to external audio sources from these jacks as for an HD‐1 Program. and sample them, or use the OASYS as a 6‐in (AUDIO Combination and Sequencer modes INPUT 1, 2, 3, 4, S/P DIF IN L, R) 10‐out effect processor. In Combination and Sequencer modes, you can use the track EQ and insert effects to process the program You can also use an external mic input to control a sound (and audio track sound) of each timbre/track. vocoder effect (093: Vocoder), and modulate the Then you can use the master effects to create overall internal sounds. For examples, see “Vocoder (Program ambience, and use the total effects to make final mode)” on page 791 of the Parameter Guide and adjustments. “Rhythmic Vocoder (Combination mode)” on page 792 of the Parameter Guide. ...
Page 197: Routing Effect Settings
Routing effect settings When effects are applied to the external input sound input level, output level, or effect parameters. Please from the AUDIO INPUT 1, 2, 3, 4, and S/P DIF IN be aware of this particularly when using an effect jacks, certain effect types or parameter settings may that has a high gain. cause oscillation to occur. If this occurs, adjust the Routing effect settings The insert effects, master effects, and total effect have If “Bus Select (IFX/Indiv.Out Assign)” is set to IFX1– the same structure in all modes, but the routing 12, the send level to the master effects is set by settings will determine how the oscillators of a Send1 and Send2 (Insert FX page) after the signal program or the timbres of a combination or track of a passes through the insert effects. song will be sent to each insert effect, master effect or 4. “FX Control Bus (All OSCs to)” sends the total effect. In the pages that follow, we will explain oscillator 1 and 2 output to the FX Control bus. Use how you can make routing settings and effect settings this if you want the audio input to the effect to be in each mode. controlled by a different sound. You can use the two FX Control buses to control Program Effects settings effects freely. (See PG p.575 “4. FX Control Bus”) 5. REC Bus sends the oscillator 1 and 2 output to the Routing REC buses. 1.
Page 198 Using Effects If the Chain check box is checked, the insert effect Effect 1 On/Off: Turns the insert effect on/off. This will be connected in series. Since the output of the is linked with the on/off setting in the Insert FX oscillator is being sent to IFX1 in step 2, making page. settings as shown in the diagram step 6 would P (Effect Preset): Selects an effect preset. The connect all five insertion effects IFX1 → IFX2 → OASYS’ internal memory contains “effect presets” IFX3 → IFX4 → IFX5 in series, so that these effects which are parameter settings for each effect from would be inserted into the output of the oscillator. 001: St.Dyna Compressor through 185: Mt.BPM 10.Make settings for Pan (CC#8), “Bus Sel. (Bus Dly//Mt.BPM Dly. Select),” “Send 1,” “Send 2,” REC Bus and “Ctrl Effect parameters you edit are saved as part of each Bus” for the sound after it has passed through the program, but effect presets allow you to save insert effects. favorite parameter settings for each effect. If you’ve If you’ve specified a chain, the settings that follow come up with an effect setting you like, use the page the last IFX in the chain will be valid (except for menu command “Save to User Preset” to save it as a “Ctrl Bus”). preset so that you can easily recall it in a different program or mode. Pan: Sets the pan of the IFX output. For details on the individual effects, see: Bus Sel. (Bus Select): Specifies the output destination. Normally you will set this to L/R. If you • “Dynamics” on page 819 of the Parameter Guide wish to send the sound that has passed through the • “EQ and Filters” on page 832 of the Parameter ...
Page 199: Using Effects In Combinations And Songs
Routing effect settings 15.Press the On/Off button to turn on the master effect. Each time you press the button, the master effect will be switched on/off. When Off, the output of the master effect will be muted. 16.Use “Return 1” and “Return 2” to adjust the output levels of the master effects. Note: For each effect, the Wet value of the Wet/Dry parameter is the output level at the effect. The return value is multiplied with this (“Return” = 127 will be x1.0) to determine the actual output level of the master effect. 17.Select the MFX1 and MFX2 pages, and set the parameters for each selected effect. For details on the “Program Effects settings” step 2. Use “Bus Select (IFX/Indiv.Out Assign)” to specify the bus to which each timbre will be output. Total Effects Choose IFX1 if you want to send the output of a timbre to insert effect 1. 18.If you use “Bus Select (IFX/Indiv.Out Assign)” to The routing, insert effects, and chain settings are choose L/R as the oscillator output, or if you set the shown graphically in the upper part of the display post‐IFX Bus Select to L/R, the signal will be input screen. In this example, T01 (timbre 1) uses IFX1 and to the total effect. 2. T02 uses IFX2, T03 uses IFX3 and 4, T02 and T05 The output from the master effects is input to the use IFX4, and T06 and T07 use IFX5. total effects via the “Return 1” and “Return 2” 3. Use Send1 and Send2 to specify the send level of settings of the Program P9: Master/Total Effect– each timbre to the master effects. Routing page.
Page 200: Effect Settings In Sampling Mode
Using Effects Insert effects sample the sound of the oscillator output). You can also use this if you want to sample only a specific 5. Access the Combination P8: Insert Effect– Insert timbre. Alternatively, the direct sound from the FX page. audio inputs can be mixed with the sound processed by an insert effect, sent to a REC bus, and sampled. Note: In Sequencer mode, you can also choose a REC bus as the REC Source for each track in the P0– Audio Track Mixer page, so that the signals sent to the REC bus(es) can be recorded to the hard disk. You can use MIDI to control dynamic modulation (Dmod) for each effect, the post‐IFX pan (CC#8), and Send 1 and Send 2. An asterisk “*” is shown at the right of Ch01–Ch16 for the channel number of tracks routed to IFX. If you’ve routed multiple tracks that have differing MIDI channel settings, this specifies the channel on which they will be controlled. 9. Go to the IFX1–12 pages to edit the individual 6. Choose the effect type that you want to use for effect parameters. each insert effect IFX1–12. For more details, see step 11 under “Program Effects Press the popup button, and choose an effect from settings,” beginning on page 189. the nine categories. Master effects and Total effects 7.
Page 201 Routing effect settings For example if you want the signal from a device Each time you press the button, the insert effect will connected to AUDIO INPUT 1 to be input to insert be switched on/off. When Off, the result will be the effect 1, set the INPUT 1 Bus Select (IFX/Indiv.) to same as when 000: No Effect is selected. The input IFX1. sound will be output without change. 3. Use Send1 and Send2 to specify the send level of 12.Make Chain settings. each timbre to the master effects. If the Chain check box is checked, the insert effect This can be set only if Bus Select (IFX/Indiv.) is set will be connected in series. to L/R or Off. 13.Make settings for Pan (CC#8), “Bus Sel. (Bus If Bus Select (IFX/Indiv.) is set to IFX1–12, the send Select),” “Send 1,” “Send 2,” REC Bus and “Ctrl levels to the master effects are set by Send1 and Bus” for the sound after it has passed through the Send2 (Insert FX page) following the insert effects. insert effects. 4. Set PLAY/MUTE and Solo On/Off as desired. You If effects are chained, the settings that follow the last can use the control surface to make these settings. IFX are valid (except for “Ctrl Bus”). 5. Use Pan to set the panning of the audio input. Pan: Sets the pan. If you’re inputting a stereo audio source, you will Bus Sel. (Bus Select): Specifies the output normally set the inputs to L000 and R127 destination. Normally you will set this to L/R. If you respectively. wish to send the sound that has passed through the insert effects to AUDIO OUTPUT (INDIVIDUAL) ...
Page 202: Effect Settings For The Audio Inputs
Using Effects For details on applying an effect to a multisample 2. Use Bus Select (IFX/Indiv.) to specify the bus to and resampling, refer to p.108. which each audio input will be sent. For example if you want the signal from a device Effect settings for the audio inputs connected to AUDIO INPUT 1 to be input to insert effect 1, set the INPUT 1 Bus Select (IFX/Indiv.) to Just as you can in Sampling mode, the Program, IFX1. Combination, and Sequencer modes also let you apply 3. Use Send1 and Send2 to specify the send level of the OASYS’ effects to the signals from the AUDIO each timbre to the master effects. INPUT 1–4 and S/P DIF IN jacks and sample the result, This can be set only if Bus Select (IFX/Indiv.) is set or to use the OASYS as a 6‐in (AUDIO INPUT 1, 2, 3, 4, to L/R or Off. S/P DIF L, R) 10‐out effect processor. You can also use If Bus Select (IFX/Indiv.) is set to IFX1–12, the send the OASYS as a vocoder effect (026:Vocoder) that uses levels to the master effects are set by Send1 and an external mic input to control the internal sounds. Send2 (Insert FX page) following the insert effects. Input‐related settings are made in the P0– Audio 4. Set PLAY/MUTE and Solo On/Off as desired. You Input/Sampling page of each mode. Normally, you will can use the control surface to make these settings.
Page 203: Dynamic Modulation, Midi/Tempo Sync
Dynamic modulation, MIDI/Tempo Sync, and Common FX LFO Dynamic modulation, MIDI/Tempo Sync, and Common FX LFO Using Dmod to change the feedback level via SW1 Dynamic modulation (Dmod) 5. In the P1: Basic/Vector– Set Up Controllers page, Dynamic modulation (Dmod) lets you use MIDI set the SW1 function to SW1 Mod.CC#80, and the messages or the OASYS’s controllers to modulate Mode to Toggle. specific effect parameters in real‐time. 6. Choose P8. Set the Feedback Source to SW1 Mod. For more information, see “Dynamic Modulation (CC#80), and set Amount to +30. Sources (Dmod)” on page 1030 of the Parameter Guide.
Page 204: Common Fx Lfo
Using Effects 3. For L, C, and R, set the Delay Base Note and Times make independent settings for LFO waveform and as desired. phase offset for each effect, you are free to create complex combinations of effects. For this example, set Delay Base Note to e and Times to x1 so that the effect will be easily understandable. Common FX LFO The delay time will repeat at an interval of a 8th note. LFO Type = Common1 Stereo Flanger Common FX LFO1 Frequency[Hz] Waveforem = Triangle Reset Phase Offset = 0 [deg] Generate original LFO waveform Stereo Phaser Waveforem = Sine Phase Offset = 0 [deg] Stereo Auto Pan...
Page 205: Using Karma
Based on note data from the keyboard, the GE uses in, changes in phrase or tone of a techno groove, various internal parameters to control how the note complex interweaving phrases that would be data will be developed, and how rhythm, chord impossible to play on a keyboard, guitar strumming structure, and velocity etc. will be controlled to and finger‐picking simulations with natural‐sounding generate a phrase or pattern. MIDI control changes and changes, and backing grooves that follow your pitch bend data can also be generated in keyboard playing in realtime – all under your control. synchronization with the phrase or pattern. As a KARMA lets you produce phrases and patterns at a far capability unique to the OASYS, the KARMA function more musical and flexible level than conventional can generate MIDI exclusive messages to control wave arpeggiators or pattern playback functions. sequencing, which switches between multisamples etc. of a program in realtime. This lets you create phrases On the OASYS, the KARMA function is designed to and patterns in which the tone color and note pitches work in close conjunction with the numerous other change independently. functions, giving you unbelievable performance power on stage or in the studio. The OASYS provides a large number of GEs that can be used for a variety of instruments, performance The structure of the KARMA function techniques, and musical styles. GE RTP – Real Time Parameters The KARMA function consists of the following major ...
Page 206: Using Karma
Using KARMA You can control the phrase or pattern by editing these parameters, or by assigning them to the KARMA CONTROLS sliders or KARMA SWITCH buttons and operating these during your performance. KARMA - Program mode KARMA function KARMA module A GE (Generated Effect) MIDI IN KARMA module parameters Key Zone Bottom GE parameters Key Zone Top Receive MIDI Filter 01: Rhythm: Swing% Transmit MIDI Filter 02: Note Series: Interval Transpose 03: Note Series: Inversion...
Page 207 Model for the GE used by each module. For example if KARMA CONTROLS sliders or KARMA SWITCHES. a KARMA module used by a program or combination If GE realtime parameters (GE RTP) and KARMA uses a GE of the Drum/Percussion category, the module parameters (Perf RTP) are assigned to the KARMA REALTIME CONTROLS sliders and KARMA KARMA CONTROLS sliders and KARMA SWITCHES will be assigned so that Slider 1 controls SWITCHES, you’ll be able to control them in realtime the swing and Slider 2 controls the pattern variation. to modify the phrase or pattern while you play. Of course, you are also free to edit the REALTIME CONTROLS assignments. Dynamic MIDI Each GE is assigned one of the following RTC Models. Dynamic MIDI is a function that uses the OASYS’ • DP1 ‐ Drum/Perc controllers or MIDI control messages to control specific functions of the KARMA function. • BL1 ‐ Bass/Lead For example, this enables you to use the joystick to • DM1 ‐ Drum Melodic play strummed guitar chords, use a foot switch to • GV1 ‐ Gated Vel/Pattern control the Run/Mute status of a KARMA module, or • GC1 ‐ Gated CCs use the damper pedal to latch a KARMA module. You’ll be able to control them in realtime while you • CL1 ‐ Comp/Lead play. • WS1 ‐ WaveSeq 1 KARMA CONTROLS •...
Page 208: Performing With Karma
SCENE switches the KARMA function. These switches let you store the settings of sliders 1–8 In the pre‐loaded programs and combinations, the and switches 1–8 as eight different “scenes” (SCENE 1– pads are assigned effective chords. You can use the 8). In Combination or Sequencer modes, scenes can CHORD ASSIGN switch to easily assign your own chords. Performing with KARMA Based on your keyboard playing or on the note data received from MIDI IN, the KARMA function automatically generates a diverse variety of phrases or patterns, such as guitar or keyboard backing riffs, bass phrases, or drum patterns. You can use the KARMA CONTROLS sliders and the KARMA SWITCHES to freely modify these phrases or patterns. The OASYS contains pre‐loaded programs and combinations that take full advantage of the KARMA function, covering a wide range of instruments, playing techniques, and musical genres. In these programs and combinations, the parameters most useful for controlling the KARMA function have been assigned to the KARMA CONTROLS sliders and KARMA SWITCHES. As you step through the programs, you’ll find some Performing with KARMA in Program programs for which the KARMA ON/OFF switch mode LED is lit. Press a key or a pad 1–8, and the KARMA function In Program mode you can use one KARMA module to will begin playing. generate a phrase or pattern appropriate for the sound ...
Page 209 Note: The setting of the TEMPO knob is also saved Using the pads: pads 1–8 when you write a program. When you press a pad 1–8, the assigned chord (up to If the Global P1: MIDI–MIDI page “MIDI Clock” eight notes with a velocity setting) will play, and the parameter is set to External, or set to Auto and MIDI KARMA function will start generating a phrase or Clock messages are being received, the Tempo pattern. Effective chords are already assigned for the display will indicate “q =” EXT, and the OASYS will pre‐loaded programs. You can play the pads together be synchronized to an external MIDI device. In this with the keyboard. case, you won’t be able to change the tempo by operating the OASYS. Assigning a chord to a pad: CHORD TRIGGER ASSIGN switch Checking note-on/off and key zone You can assign a chord to each pad 1–8. For each pad, The screen shown below is a realtime display of the you can assign up to eight notes with a velocity setting. ...
Page 210 Using KARMA The note or chord you played in step 1 will be The type or value of the parameter being controlled assigned to the pad, and the CHORD ASSIGN by the sliders and switches is shown in the KARMA switch LED will go dark. Module Info “KARMA Value” field. This lets you see how the parameters are being affected by your slider or switch operations. 4. Press the pad to which you assigned a note or chord. The saved value is shown at the lower right of each The KARMA function will start playing according slider or switch. to the note or chord you assigned. Making the performance continue after you remove your hand from the keyboard or pads 1– 8: LATCH switch You can make the KARMA function continue playing even after you remove your hand from the keyboard or pads 1–8. LED lit: Latch is on. The performance will continue even after you remove your hand from the keyboard or pads 1–8.
Page 211: Combination Mode
Category Select” to choose a GE by category. (See If you’ve used the RESET CONTROLS switch to “GE Category Select” on page 8 of the Parameter reset the Real‐Time Controls knobs and to return all Guide.) scenes to their saved setting, there is no way to return to the edited settings of step 1. Editing KARMA module parameters Selecting a GE (Generated Effect) For details on editing the parameters of a KARMA module, see “KARMA function settings” on page 206. When the KARMA function is on, the KARMA module uses a GE to generate phrases or patterns. The OASYS Performing with the KARMA function in provides a wide range of GEs that you can use for a variety of instruments, playing techniques, and Combination mode musical styles (See “The structure of the KARMA function” on page 197). In Combination mode, up to four KARMA modules can be operating simultaneously. You can use the four For each of the pre‐loaded programs, a GE that’s KARMA modules together with the sixteen timbre appropriate for the sound of the program is already ...
Page 212 Using KARMA The displayed chord name is the chord that is detected by the module selected by the front panel MODULE CONTROL switch. The way in which chords are detected will depend on the settings of the KARMA module. The CCs/Notes area shows the status of the control data and note‐on/off data generated by KARMA modules A, B, C, and D, and the key zone settings of the KARMA modules. As you step through the combinations, you will Note: Chord detection is affected by the KARMA notice that the KARMA ON/OFF switch LED is lit module’s key zone settings (Combination 7–1b), for some combinations. “Transpose” (Combination 7–3b: Module With these combinations, the KARMA function will Parameter‐Control), and Dynamic MIDI begin playing when you play the keyboard or pads “Destination” (Combination 7–8) Chord Scan and 1–8. Smart Scan. Even for other combinations, you can press the Using the KARMA controllers KARMA ON/OFF switch (LED lit) to turn on the KARMA function. You can operate the KARMA controllers to control the phrase or pattern generated by each KARMA module. Adjusting the performance tempo In Combination mode, you can choose the KARMA In the same way as for a program, you can use the module that you want to control. TEMPO knob or the TAP TEMPO switch to adjust the Note: The state of the KARMA controllers is saved ...
Page 213 Overview - What is KARMA? Performing with KARMA The sliders and switches will control the pattern or phrase generated by the KARMA module selected by the MODULE CONTROL switch. If you’ve selected MASTER, you’ll be able to control the module on/off status and vary the patterns and phrases generated by all of the KARMA modules. You can also operate the sliders and switches in the display or using the VALUE controller, just as in Program mode. The KARMA module and the type or value of the parameter being controlled by the sliders and switches is shown in the KARMA Module Info “KARMA Value” field. This lets you see the KARMA module and parameters that are being affected by your slider or switch operations. 2. Use the “Run” and “Solo” settings to specify the module(s) that will operate when KARMA is on. KARMA modules whose “Run” setting is On Value KARMA module Parameter (checked) will operate. If you turn “Solo” On (checked), only that KARMA 4. Use the front panel SCENE 1–8 switches to choose module will sound. This is useful when you are a scene. selecting a GE, or when you want to audition the This changes the scene for the KARMA module(s) phrase that a module is generating. selected by the MODULE CONTROL switch.
Page 214: Karma Function Settings
3. Use “GE Select” to select the GE used by the KARMA module. Selecting a GE Use “Tempo” to set the tempo of the pattern or phrase generated by the GE. Here’s how to select the GE used by the KARMA module. Use “KARMA T.Sig” to specify the time signature of the pattern or phrase generated by the GE. If you 1. Access the Program P7: KARMA– GE Setup/Key select GE/TS the time signature specified by the GE Zones page. will be used; with any other setting, the time signature will change temporarily. The OASYS provides numerous preset GEs that can be used for a wide range of instruments, playing techniques, and musical styles. “Category Select” shows the category of the GE that’s selected for the KARMA module. All GEs are organized by category. You can press “Category Select” to open the Category/GE Select screen, and choose a GE by category and sub‐category (see “GE Category Select” on page 8 of the Parameter Guide). Copying KARMA function settings from another program You can use the “Copy KARMA Module” page menu command to copy the KARMA function settings (EG 2. Press “Load GE Options” to access the dialog box, selection, KARMA module parameter settings, etc.) ...
Page 215: Karma Function
Overview - What is KARMA? KARMA function settings You can use “Transpose In Zone” and “Transpose Out Zone” to transpose the notes played on the keyboard in semitone steps. In the example shown above, the B3 and lower keys will control only the phrase or pattern generated by the KARMA function, and the C4 and higher keys will be used for manual playing on the keyboard. Use “Transpose Out Zone” to adjust the pitch of the manually‐played region. KARMA module MIDI filtering and CC offset 2. Specify the copy‐source mode, bank, and number. 1. Access the Program P7: KARMA– MIDI Filter/CC If you want to copy the GE realtime parameter Offset page. settings and scene settings from the copy‐source program, choose the “GE RTP Control Settings & Scenes” option (checked). If you want to copy performance realtime parameters settings and front panel settings from the copy‐source program, choose the “Perf. RTP & Panel Settings” option (checked). If you to copy the pad settings from the copy‐source program, choose the “Pads” option (checked). 3. Press OK to execute the copy, or press Cancel if you decide to cancel.
Page 216 Using KARMA control effects, for example by turning on a delay On (checked): Trigger timing will be quantized to effect in conjunction with a generated phrase. 16th note intervals relative to the base tempo. Use “CC Number” to specify the MIDI control Note – Trigger change number. Choose one of the CC numbers in This specifies the triggering conditions for the the 70’s which control the sound, or an AMS or phrase or pattern generated by the GE. Try these out Dmod source (see “7–2c: CC Offset” on page 105 of and see how they differ. the Parameter Guide). Any: Triggering will occur each time you play a key, In the example shown in the preceding page, CC#74 and the phrase or pattern will play from the and CC#71 are controlling filter cutoff and beginning. resonance level. AKR: Triggering will occur only the first time you KARMA module parameters play a key after having released all notes on the In the Program P7: KARMA– Module Parameters‐ keyboard. Control and Trigger pages you can edit KARMA 1st: Triggering will occur only at the first note you module parameters. play after turning on the KARMA function. Here we will describe how to edit the most Dyn: Playing the keyboard will not cause frequently‐used parameters. For details on the other triggering. Triggering will occur when you operate parameters, refer to “7–3a: Program Name and the controller specified by Dynamic MIDI.
Page 217 C3 note is sounding, moving slider 1 from 000 toward 127 will cause a pitch change of C3 → G3 → Perf RTP (Perf Real-Time Parameters) C4 → G4 → C5. Here’s how KARMA parameters such as KARMA Dynamic MIDI setting key zone and KARMA module parameters (i.e., KARMA parameters other than GE realtime Dynamic MIDI lets you use an OASYS controller or a parameters) can be assigned to controllers. MIDI control message to control a specific parameter of the KARMA function. You can specify up to eight If you’ve assigned these parameters to KARMA controllers (Source) and what they will do CONTROLS, you’ll be able to control them in (Destination). For more information, see “Dynamic realtime while you perform (see “Control Surface MIDI Sources & Destinations” on page 1038 of the knobs, sliders, & switches” on page 51, and “7–6b: Parameter Guide. Perf Real‐Time Parameters” on page 116 of the Parameter Guide). Naming the KARMA RTC sliders 1–8 and switches 1.
Page 218 Using KARMA cases, however, you may wish to try out different Programs while keeping the KARMA settings the same. The Global Basic page Load KARMA Settings when changing parameters let you select between these two behaviors. There are separate settings for Programs, Combis, and Songs. To set this up: 1. Go to the Global Basic page. 2. Under “Load KARMA setting when changing”, set the “Programs” check‐box as desired. Check the box to load the individual Programs’ KARMA settings. Un‐check the box to keep KARMA settings the same, even when changing Programs. 2. Use “Run” and “Solo” to select the module(s) that For more information, see “Load KARMA settings will operate when the KARMA function is on. when changing” on page 701 of the Parameter Guide. For more information, see “0–6b: GE Select” on page 384 of the Parameter Guide. KARMA function settings in Combination Note: For the preloaded combinations, when the mode MODULE CONTROL switch is set to MASTER, In Combination mode (and Sequencer mode) you can KARMA SWITCHES 1, 2, 3, and 4 will switch “Run” use four KARMA modules (modules A, B, C, and D). on/off for modules A, B, C, and D. In a combination, you can use the four KARMA Selecting a GE modules and the sixteen timbre programs in a variety ...
Page 219 Overview - What is KARMA? KARMA function settings how the KARMA modules play the timbres. These are When you play the keyboard, timbre 1 will sound. the most important settings when using multiple When you strike pads 1–4, timbres 2–5 will sound. KARMA modules in a combination. 8. Turn on the KARMA function. 1. Access the Combination P7: KARMA– GE When you play the keyboard, timbre 1 will sound. Setup/Key Zones page. KARMA module A for which you turned “Gch 2. Specify the “Input Channel” and “Output Also” on (checked) will trigger its GE and play a Channel” of each KARMA module. phrase or pattern on timbre 2. “Input Channel”: For a combination, you will When you strike pads 1–4, KARMA modules A–D normally set this to Gch so that your keyboard will trigger their respective GEs and play phrases or playing will control the KARMA module. patterns on timbres 2–5. “Output Channel”: Set this to the MIDI channel of Setting example 2: the timbre(s) that should be played by this KARMA This example shows how the “Timbre Thru” option module. works. Gch Also: This option is available if Input Channel Select a piano program for timbre 1, a bass program for is set to other than Gch. If you select (check) this timbre 2, and a drum program for timbre 3.
Page 220 Using KARMA GE Real-Time Parameters KARMA module B: “Input Ch” = G ch, “Out Ch”= Here’s how to edit the parameters of the GE selected The timbres played by the KARMA modules are for each KARMA module. shown in red, as specified by the timbre’s MIDI 1. Access the Combination P7: KARMA– GE Real‐ channel setting and the KARMA module’s Out Time Parameters page. Channel setting. 3. For KARMA modules A and B, turn “Run” on (checked), and set “GE Select” to GE. (See ““Run” and “Solo” settings” on page 210.) KARMA module A: select a bass phrase as the GE KARMA module B: select a drum phrase as the GE When the KARMA function is on, your playing on the keyboard will sound a piano on timbre 1, and will simultaneously be sent to KARMA modules A and B. The bass phrase generated by module A is sent on 2. In the tabs at the left, select Master A. MIDI channel 02 to play timbre 2. 3. Set “MIN,” “MAX,” “VALUE,” “ASSIGN,” and The drum phrase generated by module B is sent on “POLARITY.” MIDI channel 03 to play timbre 3. In the Master tabs, specifying “ASSIGN” lets you 4. Use “Timbre Thru” to specify what will sound edit the “MIN,” “MAX,” “VALUE,” and Polarity when the KARMA function is off. settings.
Page 221 Overview - What is KARMA? KARMA function settings KARMA module [A] KARMA module [B] MODULE KARMA REALTIME CONTROLS CONTROL KARMA SCENES MASTER KARMA SWITCHES KARMA CONTROLS KARMA module [C] KARMA module [D] With the appropriate “ASSIGN” settings, a GE realtime parameter of (for example) module A can controlled independently by Master and Module A. For example you can make settings so that the Swing parameter of a drum GE on module A is controlled in MASTER by slider 1 over a range of 0– 50%, and in MODULE A by slider 1 over a range of In the same way as for a program, set “Group,” 50–100%.
Page 222 Here we’ll explain how to use the Auto Song Setup function to get started with realtime recording. We will also describe the procedure for realtime recording (single‐track recording) using the KARMA function, and for realtime recording (multi‐track recording) by Normally, you will set the four modules to use separate copying the settings from a combination. random seeds as shown above; “A”: 1, “B”: 2, “C”: 3, Auto Song Setup and “D”: 4. If you have selected the same GE for two or more KARMA modules and want them to play in The Auto Song Setup function automatically copies the unison using the identical random values, you must settings of a program or combination into a song, and select the same random seed for each of these modules. then puts the OASYS in record‐ready mode. You can For more information, see “7–8: Random Seeds” on then begin recording immediately just by pressing the page 444 of the Parameter Guide. SEQUENCER START/STOP switch. This lets you Linking KARMA settings to Combi changes seamlessly move from playing a program or combination into producing a song, so that phrases or KARMA settings can be saved individually for each ideas for a song that occur to you while using the Combination. Normally, when you select a new KARMA function can be immediately turned into a Combination, its KARMA settings will be loaded as song. well. In some cases, however, you may wish to try out Procedure (using the example of Combination mode) different Combinations while keeping the KARMA ...
Page 223 3. Select a GE for KARMA module A, and set its Parameter Guide. parameters. Content that is copied from a program: You are free to select a GE and make settings as The same content will be copied as when you desired, but in this example we’ll use the “Copy execute the “Copy From Program” page menu KARMA Module” page menu command to copy all of command with IFXs, MFXs, and TFXs checked, To: the program’s KARMA function settings. This is an set to MIDI Track01, with KARMA checked, and easy way to set up and record the phrase or pattern To: set to KARMA Module A. that the program’s KARMA function is generating. 5. The OASYS will automatically enter record‐ready 1. Use the page menu button located in the top left of mode, and the metronome will begin sounding the screen to display the page menu, and choose according to the Metronome setting (Sequencer 0– “Copy KARMA Module.” 5c). 6. Press the START/STOP switch to begin realtime recording. When you’ve finished recording, press the START/STOP switch once again. (See “Recording MIDI in real‐time” on page 91.) Realtime recording using the KARMA function (single-track recording) In the following example, we’ll use the KARMA function to record a drum pattern on track 1.
Page 224 Using KARMA Select the copy‐source combination. Turn IFX‐All, MFXs, TFXs, and Multi REC Standby on (checked). Press OK to execute the copy. 3. The settings of the combination’s timbres 1–16 will be copied to MIDI tracks 1–16. Effect settings, KARMA settings, and all other common The trigger timing will be synchronized to parameters will be copied to the tracks of the song. sixteenth‐note intervals of the sequencer beat. (See 4. Choose “Track Select.” Select a track whose MIDI “Synchronizing the KARMA function” on page 217) channel matches the global MIDI channel. 5. You can synchronize the KARMA module to the Press the ON/OFF switch to turn the KARMA start timing of the sequencer. function on, and play the keyboard and/or pads to • While KARMA is running, press the START/STOP make the KARMA function begin playing in the switch; the KARMA function will synchronize to same way as it did in the copy‐source combination. the synthesizer timing. (Depending on the track you selected in “Track • If you again press the START/STOP switch, the Source,” the performance may not be the same as sequencer and the KARMA function will both stop. when you were playing the combination. Be sure to If you want to stop only the KARMA function, select the track whose MIDI channel is the same as press the (KARMA) ON/OFF switch to turn it off. the global MIDI channel.) • If you want the KARMA function to start at the 5.
Page 225: Synchronizing The Karma Function
“Quantize Trigger” On: The KARMA module will the pre‐count before recording. The KARMA synchronize to sixteenth‐note intervals of the timing modules will not be triggered immediately, but will the first‐triggered KARMA module that is currently be triggered in synchronization with the sequencer running. the moment recording starts. If you want to simultaneously trigger multiple KARMA modules from the keyboard or pads, turn Slave operation “Quantize Trigger” on for each of these KARMA modules. Connect the MIDI OUT of your external MIDI device Synchronization with songs, patterns, and to the OASYS’ MIDI IN. RPPR performance in Sequencer mode Set “MIDI Clock” (Global 1–1a: MIDI Setup) to External MIDI. The OASYS will synchronize to MIDI If you want a KARMA module to play (or be recorded) realtime clock and realtime command messages it in synchronization with the currently‐playing song, receives from the connected MIDI device. pattern, or RPPR, turn “Quantize Trigger” on. Note: If the OASYS is set to MIDI Clock= Auto, it will “Quantize Trig” Off: The KARMA module will be also synchronize to the external MIDI device in the triggered at the timing at which you play the keyboard. same way if MIDI realtime clock messages are being It will not synchronize to the currently‐playing song, received from the external device.
Page 226 Using KARMA Synchronization with MIDI realtime • After the Start message has been sent, turning off KARMA ON/OFF will send the MIDI system commands realtime “Stop” command. In Sequence mode, Song Start, Continue, and Stop messages that the OASYS receives will control song playback and recording just as when you operate the front panel START/STOP switch. The KARMA function also will be controlled in the same way as when you operate the front panel START/STOP switch. (See “Synchronization with song start/stop”) When the OASYS receives a Song Position Pointer message, it will change the location of the song just as when you change the song location by operating the OASYS, and the KARMA function will be controlled in the same way as when you change the location on the OASYS. In Program and Combination modes, Song Start, Continue, and Stop messages that the OASYS receives will control the KARMA function. • While the KARMA function is running, Song Start, Continue, and Song Position Pointer messages received by the OASYS will reset the KARMA function, causing the generated phrases or patterns to start from the beginning. • If a Song Stop message is received, the KARMA function will stop. Master operation Connect the OASYS’ MIDI OUT to the MIDI IN of your external MIDI device.
Page 227: Appendices
Can’t switch modes or pages Display is blank or incorrect If you’re doing any of the following, you may not be The power is turned on, but nothing is shown in able to change modes or switch to a different page: the LCD screen. However, the OASYS functions • Recording or playing back a song or pattern normally when you play the keyboard or perform • Sampling other operations.
Page 228: Audio Input And Output
On the Global Basic Setup page, set the S/P DIF OUT channels. Sample Rate to match the rate of the connected device Can’t output sound from an audio CD (either 48 kHz or 96 kHz). The default setting is 48 kHz. Make sure that you have selected the Disk mode Play Audio CD page or Sampling mode. If System Clock is set to S/P DIF and S/P DIF Sample Rate is set to 48 kHz, and you want to Is the output of the audio CD being input correctly? change the sampling frequency that is being input • In the Disk mode Play Audio CD Page, make the to the S/P DIF IN jack from 96 kHz to 48 kHz or appropriate settings for Bus Select (IFX/Indiv.) and from 48 kHz to 96 kHz, you must make sure that the Level. Alternatively, in the Sampling mode P5: OASYS is not accessing data when you make the Audio CD– Ripping page, make the appropriate change. Also, do not touch the OASYS at this time. settings for Bus Select (IFX/Indiv.) and Level. In particular, you must not change the sampling • Is the Drive Select setting correct? frequency being input to the S/P DIF IN jack when data access is occurring (e.g., load/save, read/write, Is the Volume slider raised? (Disk mode Play Audio CD page, Sampling P5: Audio CD– Ripping page)
Page 229: Programs And Combinations
Troubleshooting Programs and Combinations Noise or oscillation is heard or sampling operations involving the internal hard disk, floppy disk, CD‐R/RW, external USB media, When using an effect on the external audio source sample memory, or internal memory). being input from AUDIO INPUT 1 and 2, oscillation Digital audio input is sometimes not heard for two or may occur depending on the type of effect or on the three seconds. parameter settings. Please adjust the input level, output level, and effect parameters. You need to be • When you change the sampling frequency in particularly careful when using a high‐gain effect. S/P DIF Sample Rate (e.g., from 48 kHz to 96 kHz), two or three seconds will be required in order to After a sample edit has been executed, or after a stereo lock to the new sampling frequency. Please wait sample has been recorded, a small noise may be heard. until the sound is heard. This has no effect on the audio data that was edited or sampled. Noise, Distortion, and other audio When using the MIDI/Tempo Sync function to control the delay time of an effect, noise may occur in the delay problems sound. This noise is due to discontinuities in the delay sound, and is not a malfunction.
Page 230: Songs
Appendices Are the bank/numbers of the programs used by the EXi programs don’t play correctly in a combination the same as when the combination was Combination. created? • If you have switched program banks, you can use Does the Timbre’s number have a gray background the Change all bank references menu command to color, instead of blue? And, does [Inactive] appear after change the program bank for each timbre of a the Program name in the Selected Timbre Info? combination. For more information, see “Change all • The Programs in the Combination are asking for bank references” on page 740 of the Parameter more than the maximum available EXi fixed Guide. resources. Remove one or more of the EXi Programs which uses fixed resources. Can’t write a Program For more information, see “CX‐3 & STR‐1: Limitations on EXi fixed resources” on page 382 of You can’t write HD‐1 programs into bank INT‐F. the Parameter Guide. Conversely, you can’t write EXi programs into banks USER‐A–E. However for banks USER‐A–G, you can A combination does not play correctly use the Global mode page menu command Set ...
Page 231: Sampling
Troubleshooting Sampling Are the settings in the Copy From Combination dialog If you want to perform multi‐track recording (Multi box correct? REC checked), is Play/Rec/Mute set to REC? • In the Copy From Combination dialog box, check Are the audio input settings correct? the Multi REC standby option before you execute • Please see Audio input and output, and Audio the copy. This will cause the settings to be adjusted inputs don’t work properly. automatically. Is there space remaining on the hard disk? • Delete unwanted WAVE files. Can’t record your performance using Tone • Save a copy of important WAVE files on external Adjust media, and then delete them from the hard disk. Changes you make using Tone Adjust are recorded as Are the REC Source settings correct? system exclusive data. Did you check the Global mode A “File already exists” message appears, and you can’t MIDI Filter Enable Exclusive check box? record. • In the P0: Play/REC– Preference page, change the RPPR does not start name of the WAVE file that you’re going to record. ...
Page 232: Karma
Appendices Is the sample name assigned correctly? (See “Stereo” • If this is checked, RAM will be optimized on page 627 of the Parameter Guide.) automatically when sampling ends, meaning that the sound will stop when sampling ends. If a song is being played in Sequencer mode or if a CD is Volume of a recorded sample is too being played back, the playback will stop. low/too high There is a time lag between pressing the Samples that you resampled at a Recording Level of approximately 0.0 (dB) have a lower volume than SAMPLING REC switch and entering when you resampled them. sampling-standby mode • Did you turn on the Auto +12 dB On setting when The length of time until you enter sampling‐standby you resampled? See “Recording Level and Auto +12 ...
Page 233: Wave Sequences
Alternatively, has Send 1 or Send 2 for each 12,” “MFX 1, 2” or “TFX 1, 2.” oscillator of the program used by the timbre/track Are the Effect Global SW IFX 1–12 Off, MFX1&2 Off, been lowered? or TFX1&2 Off (Global P0: Basic Setup page) settings Note: The actual send level is determined by checked? multiplying the send setting of each oscillator in the program with the send setting of the timbre/track. Have you routed the output to an insert effect? MIDI The OASYS does not respond to incoming The OASYS does not respond correctly to MIDI data incoming MIDI data Are all MIDI cables connected correctly? Are the Global P1: MIDI settings MIDI Filter Enable Program Change, Enable Bank Change, Enable Is the MIDI data being received on the channel on Control Change, Enable AfterTouch, and Enable which it is being transmitted? Exclusive each checked? Does the OASYS support the types of messages that are being sent to it? ...
Page 234: Other Problems
Are you using blank media? information, see “Write to CD” on page 784 of the Parameter Guide. • If using CD‐R, please use new media. If using CD‐ RW, use the page menu command Erase CD‐RW • If you only want to finalize the disc, select the page (Disk– Make Audio CD) to erase the contents of the menu command Finalize Audio CD (Disk– Make media before you execute Save. Audio CD), and press the OK button to finalize the disc. For more information, see “Finalize Audio An OASYS CD-R/RW is not recognized by an CD” on page 784 of the Parameter Guide. external device Are you using CD‐R media? A CD‐R/RW saved or copied on the OASYS using • Since some CD players are unable to play CD‐RW packet writing is not recognized on a computer. media, we recommend that you use CD‐R media. • If you install a UDF version 1.5 compatible UDF Have you tried using a different type of media? reader or packet writing software on your computer, it will be possible to recognize the disc. • Some CD‐R/RW media cannot be played by some ...
Page 235 Troubleshooting Other problems Date and time are incorrect Saved files or sampled WAVE files have an incorrect date or time. • Use the page menu command Set Date/Time (Disk– Utility page) to set the current date and time. For more information, see “Set Date/Time” on page 782 of the Parameter Guide. Pads don’t respond correctly Execute the page menu command Pad Calibration (Global P0: Basic Setup) to adjust the pad sensitivity correctly. For more information, see “Pad Calibration” on page 741 of the Parameter Guide. ...
Page 236: Disk And Media Information
The OASYS supports USB external storage class disks. For more information, see “CD‐R/RW disks on devices, including hard drives, flash drives, magneto‐ the OASYS: UDF and packet‐writing” on page 1086 of optical disks, floppy disks, etc. Both MS‐DOS FAT16 the Parameter Guide. and FAT32 formats are supported, with the following The OASYS can also play and record audio CDs (CD‐ capacities: DA), and read ISO9660 (level 1) CDs. FAT32: up to 2 Terabytes (2,000 Gigabytes) FAT16: up to 4 Gigabytes Operations that the OASYS can perform on media • Audio CD creation (Disk mode) Functions available with all media You can create audio CDs from WAVE files, using either internal or USB CD‐R/RW drives. • Saving and Loading files (Disk mode) You can save and load any data stored in memory. • Convert to ISO9660 Format (Disk mode) For details on OASYS file types, please see “Files, The native OASYS CD‐R/RW format is UDF, which directories, and icons” on page 749 of the Parameter allows you to write repeatedly to the same CD. ...
Page 237 Disk and Media information Operations that the OASYS can perform on media : WAVE files on external USB media can only be previewed from disk if the file name is eight characters or less. This restriction applies only to external media, and not to the internal hard drive. Note: If you have any questions regarding the media that can be used, please contact your local Korg distributor. You may also check the Korg website (http://www.korg.com).
Page 238: Specifications And Options
System OA (Open Architecture) Synthesis System Keyboard OASYS 88 88 key Real Weighted Hammer Action (RH2) * The key weight of the RH2 keyboard differs in four stages across the pitch range (with low notes being heavier, and high notes being lighter), delivering a playing feel similar to that of a grand piano.
Page 239 5 Envelopes, 4 per-voice LFOs, 2 Key Tracking generators, String Tracking generator, 4 AMS Mixers. MS-20EX CMT Modeling Uses Korg’s CMT modeling, reproducing not only the sound but also the character and response (Optional) curve of each parameter in a way that is completely faithful to the original model.
Page 240 Appendices PolysixEX CMT Modeling Uses Korg’s CMT modeling, reproducing not only the sound but also the character and response (Optional) curve of each parameter in a way that is completely faithful to the original model. Oscillators VCO: Saw, Pulse, PWM...
Page 241 16 Tracks + 1 Master Track 156 Presets /100 User Patterns (per Song), 18 Preset and 16 User Template Songs Sequencer Format: KORG (OASYS) & SMF (formats 0 and 1) HDR Audio tracks 16-track playback, 4-track simultaneous recording; WAV file format Maximum single-file recording time (mono): 80 minutes.
Page 242 Appendices Audio Outputs Analog Main outputs: L/Mono, R 1/4” TS (Mono), unbalanced, Master Volume slider controls only L/Mono and R Individual outputs: 1–8 Output Impedance 1.1k¾ stereo; 550¾ mono (L/Mono only) Nominal Level +4.0 dBu Maximum Level +16.0 dBu Load Impedance 10 k¾...
Page 243 Specifications and options Hardware Options Hardware EXB-DI Digital Interface Board ADAT output: 24-bit, 8 channels, 48 kHz Sample rate BNC Word Clock input Expression/Volume Pedal XVP-10 Foot Controller EXP-2 Damper Pedal DS-1H Pedal Switch PS-1 Others MIDI Cable Software EXs Expansion Samples:Expansion PCM library (available for purchase in the near future) EXi Expansion Instruments:Expansion Instruments library EXf Expansion Effects: Expansion Effects library (available for purchase in the near future) * Appearance and specifications of this product are ...
Page 244: Midi Implementation Chart
*3:RPN (LSB,MSB)=00,00: Pitch bend range, 01,00: Fine tune, 02,00: Coarse tune *4:Valid if assigned as a MIDI control change in Global P1: External 1, 2 *5:In addition to Korg exclusive messages, Inquiry, GM System On, Master Volume, Master Balance, Master Fine Tune, and Master Coarse Tune are supported.
Page 245 Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer’s or distributor’s warranty. KORG INC. 4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan © 2005 KORG INC.

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