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Korg Electronic Keyboard Parameter Manual

Korg Electronic Keyboard Parameter Manual

Korg electronic keyboard user manual

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Parameter Guide

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Page 1 Parameter Guide Parameter Guide...
Page 3: Table Of Contents
Program mode: HD-1 ....1 HD-1 Overview......1 Program P0: Play .
Page 4 4–1: OSC Basic ......174 4–2: Sub/Noise/Ring Mod....177 4–3: Mixer .
Page 5 Program P7: EG 3-6 ....303 7-1: EG 3 ....... . . 303 7-2: EG 4.
Page 6 1–5: Vector Volume Control ....453 1–6: Vector CC Control ..... 456 1–7: Vector Envelope .
Page 7 4–2: Per-Step Parameters....669 Global P5: Drum Kit ....673 5–1: Sample Setup .
Page 8 057: 2-Voice Resonator ..... 811 058: Doppler ......812 059: Scratch .
Page 9 172: OD/Hi Gain // Wah....888 173: OD/Hi Gain // Cho/Flanger ... 888 174: OD/Hi Gain // Phaser .
Page 10 AIFF and WAVE format details: exporting . . . 1029 About KORG format files ....1030 CD-R/RW disks on the OASYS: UDF and packet- writing .
Page 11: Program Mode: Hd-1
Program mode: HD-1 HD-1 Overview The HD-1 High Deﬁnition Synthesizer is Korg’s new ﬂagship PCM synthesis engine, featuring outstanding sound quality, unique sound-design tools, and a rich array of modulation possibilities, including: • Ultra-high-quality sample interpolation, based on new, proprietary technology, for minimal aliasing and crystal-clear high frequencies •...
Page 12: Program P0: Play
Program P0: Play This is the main page of Program mode for HD-1 Programs. Among other things, you can: • Select Programs • Jump directly to the main editing pages • Make basic edits to KARMA • Set up the audio inputs and resampling options •...
Page 13 Bank Bank Type Category Popup Program Select Popup Program Select If a variation bank doesn’t have a different version of the current Program, the basic GM sound will be recalled instead. In this case, an asterisk * will be added to the beginning of the Program name.
Page 14 4. Press the OK button to conﬁrm your choice, or press the Cancel button to exit without changing the Program. Category All programs are classiﬁed into one of eighteen categories, such as Keyboard, Organ, Strings, etc. Each of these categories may also have up to eight sub- categories.
Page 15 0…7: The programs will be shown by sub-category. 4. Select a program from the list. You can touch a Program’s name directly, or use the Inc and Dec buttons. If there are more Programs than can be shown on the screen at one time, use the scroll bar to browse through the entire Category.
Page 16: 0-6: Karma Ge
Program mode: HD-1 Common Voice Assign Mode This shows the voice assign mode of the program– either POLY or MONO. Touch this area to jump to the corresponding Program P1– Program Basic page. Pitch EG Graphic This shows the shape of the Pitch EG. Touch this area to jump to the Program P2–...
Page 17 0–6a: Program Select, Load GE Options, KARMA T.Sig, Tempo Bank [INT–A…F, GM, g(1…9), g(d), USER–A…G] Bank Type Program [(0…127 (INT and USER Banks), 1…128 (GM Banks)] (Tempo) [040.00…240.00, EXT] These are the current bank, Program, and Tempo. For more information, see “0–1a: Program Select” on page 2.
Page 18 Program mode: HD-1 Tempo ( ) This is the tempo for the current Program, which applies to tempo-synced LFOs and Wave Sequences, KARMA, and tempo-synced effects. EXT means that the tempo will sync to external MIDI clocks. You’ll see this if the Global MIDI page MIDI Clock parameter is set to External MIDI, or if it’s set to Auto and the OASYS is currently receiving MIDI clocks.
Page 19 0–6c: RealTime Controls This displays the names and stored settings of KARMA SLIDERS 1–8 and KARMA SWITCHES 1–8. 1…8 The current setting of the KARMA SWITCHES and KARMA SLIDERS are shown here, which are linked with the operation of the front panel switch. KARMA SWITCHES 2-8 and KARMA SLIDERS 2-8 operate in the same manner as Slider 1 and Switch 1.
Page 20: 0-7: Controller View/Effect
Program mode: HD-1 0–7: Controller View/Effect 0–7a 0–7b 0–7c This page shows the functions assigned to the physical controllers, including the vector joystick, SW1 and 2, and knobs 5–8. It also includes an overview of all of the effects, and lets you adjust the Wet/Dry Balances separately for the IFX, MFX, and TFX.
Page 21: 0-8: Audio Input/Sampling
▼ 0–7: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. 0–8: Audio Input/Sampling 0–7a 0–8a 0–8c This page lets you adjust the volume, pan, effects sends, and bussing for the audio inputs, including analog inputs 1-4 and S/P DIF L/R.
Page 22 S/P DIF L, S/P DIF R These are settings for the S/P DIF digital audio input, for connecting external A/D converters, computer audio systems, DAT machines, or other digital audio gear. OASYS supports S/P DIF input at either 48 kHz or 96 kHz.
Page 23 Tip: You can use the control surface to control this parameter. For more information, see “Using the control surface to adjust Audio Input” on page 11. Level This controls the level of the external audio signal. The default is 127. The analog audio signals from AUDIO INPUTS 1–4 are converted into digital form by an A/D converter.
Page 24 Again, the goal is to get the level as high as possible without activating the CLIP! or ADC OVERLOAD! messages. Tips for eliminating distortion when using the analog inputs If sound from the analog inputs is distorted, but the CLIP! message doesn’t appear, it’s possible that distortion is occurring at the analog input stage, or that distortion is being caused by the settings of the internal effects.
Page 25 Source Bus = REC Bus 1/2 Source Bus = REC Bus 1/2 REC Bus = 1/2 Audio Inputs Level Effects Bus = L/R or IFX1-12 Source Bus = Audio Input 1/2 Source Bus = Audio Input 1/2 Audio Input 1 Level Audio Input 2 Level...
Page 26 Program mode: HD-1 Source Direct Solo On (checked): Only the signal of the bus selected for Source Bus will be output from the L/R jacks and the headphone jack. Turn this on if you want to hear only the sound that will be sampled. Off (unchecked): The L/R (post-TFX) signals and the signals of the bus selected by Source Bus will be output from the L/R jacks and the headphone jack...
Page 27 and reduce it to the minimum size necessary. For more information, see “Truncate (for Sample Edit)” on page 623 and “Truncate (for Loop Edit)” on page 628. You can also press the SAMPLING START/STOP switch to manually stop sampling after you have recorded the desired material.
Page 28: 0-9: Control Surface
Program mode: HD-1 0–9: Control Surface 0–9b 0–9a 0–9c 0–9d 0–9e 0–9f The Control Surface is the set of 9 sliders, 8 knobs, and 16 switches to the left of the LCD display. It looks like a mixer, but it can do other things as well, including editing sounds, controlling KARMA, and sending MIDI messages to external devices.
Page 29: Reset Controls
AUDIO INPUTS lets you adjust the volume, pan, and send levels for the analog and S/P DIF audio inputs. In Sequencer mode, you can also use this to select two banks of hard-disk recording tracks, as shown by the LEDs to the right of the switch. EXTERNAL lets you send MIDI messages to external MIDI devices.
Page 30 Program mode: HD-1 MIXER KNOBS [Channel Strip, Individual Pan] The Mixer Knobs switch is on the front panel, immediately to the right of the knobs, and is also duplicated in the on-screen display. The eight knobs can control two different sets of parameters, depending on the setting of this switch.
Page 31: Master Volume Slider
Solo switch and Select switches 1–2 Solo Solo lets you isolate one or more Oscillators or Audio Inputs, so that you hear them by themselves. It does this by temporarily muting all non-soloed Oscillators and Audio Inputs. Solo uses the Select switches. These switches can show and control either which Oscillator is currently selected, or which Oscillators are soloed.
Page 32 0–9c 0–9c: Audio Inputs This Control Assign setting lets you adjust the volume, pan, and FX send settings for each of the six audio inputs: Analog 1–4, and S/P DIF left and right. You can use this page to mix sounds from other sources into the OASYS outputs - as an on-stage submixer, for instance.
Page 33 External Setups. For instance, you might make one setup for controlling several different pieces of MIDI gear on stage, another for controlling a software synthesizer (such as one of Korg’s Legacy Collection synths), and so on. For more information, see “1–2: External 1” on page 656.
Page 34 These External Setups are completely separate from the Program. You can think of External mode as being a separate control surface which just happens to share OASYS’s sliders, knobs, switches, and drum pads. When you select an External Setup, it stays selected even when you change Programs, or switch to Combi or Sequencer modes.
Page 35 Control [SW1…8, SL1…8] This shows which Switch or Slider is currently selected. Assignment Each KARMA Slider or Switch can control multiple internal parameters simultaneously. The group of parameters can be given a single name, which is shown here. You can select different names, if desired. For more information, see “7–9: Name/Note Map”...
Page 36 Program mode: HD-1 Master Volume Slider Master Volume This controls the volume of the main stereo outputs, after the Total Effects. It does not affect Individual Outputs 1–8. For more information, see the diagram “Master Volume” on page 21. 0–9f 0–9f: Tone Adjust Tone Adjust lets you use all of the sliders, knobs, and switches on the Control Surface to edit Program...
Page 37 Absolute parameters usually control a single Program parameter, such as Oscillator 1 Transpose. The Program and Tone Adjust parameters mirror one another; when you change one, the other will change to match. Relative parameters typically adjust two or more Program parameters simultaneously. For instance, Filter/Amp EG Attack Time affects a total of six Program parameters.
Page 38 Program mode: HD-1 Value [Depends on parameter] This shows the current value of the parameter. The range of values will vary depending on the parameter assigned to the control. Switches 1–16 Tone Adjust switches act a little differently than knobs and sliders.
Page 39: Tone Adjust Parameters
Pitch EG Release Time. (–99…+99) This scales the release times of the Pitch EG (or EGs, in the case of some EXi instruments). Pitch LFO1 Intensity. (–99…+99, CC#77) This scales the effect of LFO1 on the Pitch. –99 removes the LFO modulation entirely. +99 means maximum modulation in the same direction, positive or negative, as the original Program.
Page 40 Program mode: HD-1 The list of Multisamples, Wave Sequences, or Drum Kits can be quite long. The sliders or knobs will let you sweep through the entire range, but it may not be possible to select all of the intermediate values. You can always select any individual item by using select the on-screen parameter and use the standard data entry controls, such as the INC and DEC buttons.
Page 41 Default Tone Adjust Settings Tone Adjust provides an elegant physical interface to the HD-1’s parameters. Most of the factory sounds use the default layout, as shown below. You can also customize the layout for individual sounds, if desired. HD-1 Tone Adjust, Default Settings OSC1 OSC1 Filter LFO1 Intensity to A...
Page 42: Program P1: Basic/Vector
Program mode: HD-1 Program P1: Basic/Vector 1–1: Program Basic 1–1a 1–1b 1–1c 1–1d This page contains all of the basic settings for the Program. Among other things, you can: • Set up the Program to be a Single, a Double, or a Drum Kit •...
Page 43 Polyphony also depends on the effects being used, and on which synthesis types are being used (HD-1, AL-1, CX-3 etc.). For more information, see “8–5a: Effect/EXi Fixed Resource Meter” on page 126. 1–1c: Voice Assign Mode Voice Assign Mode These radio buttons select the basic voice allocation mode.
Page 44 OSC. Chord Chord Off disables the Chord function. Bsc (Basic) re-creates the chord mode of the KORG Polysix. Each time you play a new chord, it will cut off the previous chord. This option ignores the Voice Assign settings.
Page 45 Thickness Thickness is available when Unison is On. This parameter controls the character of the detuning for the unison voices. Off: Unison voices will be evenly distributed across the Detune range, as shown above. 01–09: Unison voices will be detuned in an asymmetric way, increasing the complexity of the detune, and changing the way in which the different pitches beat against one another.
Page 46 8th note. 1–1f: Half-Damper Control A half-damper pedal is a special type of continuous foot pedal, such as the Korg DS-1H. In comparison to a standard footswitch, half-damper pedals offer more subtle control of sustain, which can be especially useful for piano sounds.
Page 47 Note that for many of the scales, the setting of the Key parameter, below, is very important. Equal Temperament: This is the most widely used scale by far, in which each semitone step is spaced at equal pitch intervals. Equal Temperament allows easy modulation, so that a chord progression played in the key of C sounds roughly the same as the same progression played in F#.
Page 48: 1-5: Vector Control
Program mode: HD-1 1–5: Vector Control 1–5a 1–5b Vector Synthesis lets you control Program and Effects parameters by moving the Vector Joystick, by using the programmable Vector Envelope, or by the combination of the two. What does Vector mean? Modulation generally works by moving a single control.
Page 49 Vector Volume Control and CC Control The Vector does two main things: it can control the relative volume of the two Oscillators in Program mode (or of up to 16 Programs at once in Combi mode), and it can generate CCs for controlling Program and Effects parameters.
Page 50 Program mode: HD-1 OSC2 Center Volume This sets the volume of Oscillator 2 at the center of the X axis. The volumes at the extreme ends of the X axis are ﬁxed, in the opposite direction of Oscillator 1’s. At the left side, Osc 2 is always at 0% volume;...
Page 51 Finally, you can also assign +X to control the Master Volume. –X [Off…MIDI CC#119] This assigns the controller sent by the –X vector. It will be grayed out if the VJS X Mode, above, is set to Positive. The selections are the same as for +X, above. VJS Y Mode [Positive, Negative, Xfade, Split] This controls the Vector CC pattern for the Y axis.
Page 52: 1-6: Vector Envelope
1–6: Vector Envelope 1–6a 1–6b 1–6c The Vector Envelope works together with the Vector Joystick to control the Vector position. It’s also special because it’s the only programmable modulation source which lets you modulate both Program and Effects parameters. The Vector Envelope is different from the other envelopes in several ways: •...
Page 53 seconds and milliseconds, you can specify the EG times as rhythmic values, using the Base Note and Multiplier parameters. 1–6b: Vector Envelope Loop The Vector EG can loop between two points, and can continue to loop either for as long as you hold the note, or for a speciﬁed number of repeats.
Page 54 Time This parameter lets you set the Hold Time in seconds and milliseconds. It applies only when the Mode is set to Time. (Base Note) This menu sets a basic rhythmic value for the Hold Time, relative to the system tempo. The values range from a 32nd note to a whole note, including triplets.
Page 55: 1-8: Set Up Controllers
▼ 1–6: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program. For more information, see “Write Program”...
Page 56: 1-9: Set Up Pads
Program mode: HD-1 Knob 5 Knob 6 Knob 7 Knob 8 ▼ 1–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 57 Pad Mode: Fixed Velocity vs. Velocity Sensitive Each pad stores a velocity level for each of its 8 notes. The PAD MODE button, to the right of the pads, controls whether or not the pads respond to how hard you play. Its setting is stored with each Program, Combi, and Song.
Page 58: Program P2: Osc/Pitch
Program mode: HD-1 Program P2: OSC/Pitch These pages control the ﬁrst and most basic elements of HD-1’s sounds: the Multisamples that the oscillators play, and the pitch at which it plays them. For instance, you can: • Select Multisamples and Wave Sequences for Single and Double Programs, or Drum Kits for Drum Programs.
Page 59 Banks INT A–E. U–A through U–G are user banks, for storing sounds that you create yourself, optional sound banks from Korg, or third-party sound libraries. Multisample/Wave Sequence Select This parameter lets you select a Multisample or Wave Sequence, depending on the Type setting.
Page 60 Program mode: HD-1 Multisample ROM Mono Select menu Scroll bar Multisample ROM/EXs Mono/Stereo Select menu If Bank is set to ROM or EXs Mono, the list shows all of the mono Multisamples in the Bank. If the Bank contains stereo multisamples, you’ll also see the left and right channels as separate, mono multisamples, with -L and -R appended to the end of the name.
Page 61 Reverse This lets you play the selected multisample backwards, without looping. Reverse applies only to Multisamples; when the Type is set Wave Sequence, this is grayed out. Note: If the individual samples within a Multisample are already set to Reverse, they will still play in reverse, regardless of this setting.
Page 62 Program mode: HD-1 Power, short for Equal Power, means that the two samples will each be at around 70% of their full volume in the middle of the crossfade. Sometimes, this may create a bump in the volume level, in which case you might try selecting Linear instead.
Page 63: 2-2: Osc1 Pitch
KeyOff is a special setting. Instead of delaying the sound by a particular amount of time, the sound will play as soon as you release the key. In general, when you use the KeyOff setting, it’s also best to set the oscillator’s Amp EG Sustain Level to 0. 2–1f: Drum Kit Drum Kit [I-00…39, U-A00…15, U-B00…15,...
Page 64 Program mode: HD-1 Pitch Slope, pitch, and note Pitch 2oct 1oct 1oct C4 C5 Ribbon You can use the ribbon controller for pitch-bend. This parameter sets the range of the ribbon’s pitch-bend, in semitones. Positive (+) values make the pitch rise when you press the ribbon controller to the right of center, and negative (–) values will cause the pitch to fall.
Page 65 • Set an initial amount of LFO modulation, using the LFO 1/2 Intensity parameters. • Use JS+Y to scale the amount of the LFO. • Use any AMS source to scale the amount the LFO. You can use each of these methods for each of the two LFOs.
Page 66: 2-5: Osc2 Basic
Program mode: HD-1 • 3: Swap Oscillators. For more information, see “Swap Oscillator” on page 144. 2–5: OSC2 Basic This page controls the basic settings for Oscillator 2. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. 2–6: OSC2 Pitch This page controls the pitch settings for Oscillator 2.
Page 67 2–9a: EG Reset AMS (EG Reset AMS) [List of AMS Sources] This selects an AMS source to reset the EG to the start point. For instance, you can use a tempo-synced LFO to trigger the EG in a repeating rhythm. This reset is in addition to the initial note-on, which always causes the EG to start.
Page 68 Program mode: HD-1 Classic analog synth envelopes made these curved shapes naturally. The OASYS goes a step further than vintage synths, however, and lets you control the amount of curvature separately for each of the four envelope segments. When you change the curvature, the EG times remain the same.
Page 69 2–9d: Time Modulation These settings let you use an AMS source to control the Time parameters of the EG. The Attack, Decay, Slope, and Release times share this AMS source, but each has its own modulation intensity. Pitch EG Time Modulation AMS=Velocity, Intensity = a positive (+) value Note-on Note-off...
Page 70: Program P3: Filter
Program mode: HD-1 Program P3: Filter Filtering can make subtle or dramatic changes to the oscillator’s timbre. Each oscillator has two multimode resonant ﬁlters, A and B, as well as a dedicated ﬁlter envelope and keyboard tracking generator. These pages let you control all aspects of the ﬁlters. Among other things, you can: •...
Page 71 Serial and Parallel Routing Oscillator Filter A (Low Pass) Filter A (Low Pass) Oscillator Filter B (High Pass) 12db/oct / 24db/oct Low Pass: 12dB/oct Low Pass: 24dB/oct 3–1b: Filter A Filter Type [ Low Pass, High Pass, Band Pass, Band Reject ] The ﬁlter will produce very different results depending on the selected ﬁlter type.
Page 72 Program mode: HD-1 Resonance Low resonance value Resonance Resonance emphasizes the frequencies around the cutoff frequency. When this is set to 0, there is no emphasis, and 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.
Page 73: 3-2: Filter1 Modulation
3–2: Filter1 Modulation 3–2a 3–2b 3–2c This page contains the settings for Oscillator 1’s ﬁlter modulation. Among other things, you can: • Set up complex keyboard tracking shapes, and control how the tracking affects filter cutoff. • Control the effect of the Filter Envelope on filter cutoff.
Page 74 Program mode: HD-1 The OASYS keyboard tracking can also be much more 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.
Page 75 Low-Center [–Inf, –99…+99, +Inf] This sets the slope between the Low Break and Center keys. For normal key track, use negative values. Center-High [–Inf, –99…+99, +Inf] This sets the slope between the Center and High Break keys. For normal key track, use positive values. High-Top [–Inf, –99…+99, +Inf] This sets the slope between the High Break key and the...
Page 76 Program mode: HD-1 The Filter EG’s shape can swing all the way from +99 to –99. Positive values increase the cutoff frequency, and negative values decrease the cutoff frequency. For instance, see the graphic “Velocity to A,” above. The EG shape in example A rises up at ﬁrst, and then falls below 0 towards the end.
Page 77: 3-3: Filter1 Lfo Modulation
3–3: Filter1 LFO Modulation 3–3a 3–3b LFO1, LFO2, and the Common LFO can all modulate Filter A and B’s cutoff frequencies. You can control the strength of each LFO’s modulation in three different ways, independently for each ﬁlter: • Set an initial amount of LFO modulation, using the Intensity to A and B parameters.
Page 78: 3-4: Filter1 Eg
Program mode: HD-1 Intensity to A This controls the depth and direction of the LFO1 AMS modulation for Filter A. For example, if AMS is set to After Touch, positive settings mean that aftertouch will increase the amount of LFO1 applied to Filter A. Intensity to B This controls the depth and direction of the LFO1 AMS modulation for Filter B.
Page 79 3–4a: EG Reset AMS (EG Reset) [List of AMS Sources] This selects an AMS source to reset the EG to the start point. For instance, you can use a tempo-synced LFO to trigger the EG in a repeating rhythm. This reset is in addition to the initial note-on, which always causes the EG to start.
Page 80 Program mode: HD-1 In other words, each segment’s level will change quickly at ﬁrst, and then slow down as it approaches the next point. This tends to sound better than straight, linear segments. Classic analog synth envelopes made these curved shapes naturally.
Page 81: 3-5: Filter2
3–4d: Time Modulation These settings let you use three different AMS sources to control the Time parameters of the EG. For each of the three AMS sources, the Attack, Decay, Slope, and Release times each have their own modulation intensities. Filter EG Time Modulation AMS=Velocity, Intensity = a positive (+) value Note-on...
Page 82: 3-8: Filter2 Eg
Program mode: HD-1 3–8: Filter2 EG This page controls Oscillator 2’s Filter EG. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “3–4: Filter1 EG,”...
Page 83: Program P4: Amp/Eq
Program P4: Amp/EQ Oscillators 1 and 2 have separate controls for volume (also called “amplitude,” or “amp” for short), pan, and Drive, as well as dedicated amp envelopes and keyboard tracking generators. Additionally, both Oscillators share a three-band EQ. These pages let you control all of these related parameters.
Page 84 Program mode: HD-1 Low Boost This low-frequency EQ controls the body character of the sound. The speciﬁc EQ frequencies affected will change with the Drive setting. Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter. AMS (Low Boost) This selects an AMS modulation source to control the Low Boost amount.
Page 85: 4-2: Amp1 Modulation
4–2: Amp1 Modulation 4–2a 4–2b This page contains the settings for Oscillator 1’s Amp level modulation. Among other things, you can: • Set up complex keyboard tracking shapes to control the Amp level. • Assign AMS modulation for the Amp level. •...
Page 86 Program mode: HD-1 3. While holding ENTER, play a note on the keyboard. Ramp Positive ramp values mean that the keyboard tracking output increases as you play farther from the Center Key; negative ramp values mean that it decreases. Because of this, the meanings of positive and negative ramp settings will change depending on whether the ramp is to the left or right of the Center Key.
Page 87 Amp Keytrack is also an AMS source You can use the keyboard tracking as an AMS source to modulate other parameters, just like the envelopes and LFOs. Simply select Amp Keytrack in the AMS list for the desired parameter. 4–2b: Amp Modulation You can modulate the Amp level by both velocity and an AMS source.
Page 88: 4-3: Amp1 Eg
Program mode: HD-1 4–3: Amp1 EG 4–3a 4–3b 4–3c 4–3d These parameters let you create time-varying changes in the volume of oscillator 1. 4–3a: EG Reset AMS (EG Reset) This selects an AMS source to reset the EG to the start point.
Page 89 Time Higher values mean longer times, as shown below. EG Value Actual Time 0.667 ms 10 ms 44 ms 104 ms 224 ms 464 ms 944 ms 1.8 seconds 3.8 seconds 10.9 seconds 87.3 seconds Attack This sets how long the EG takes to move from the Start level to the Attack level.
Page 90: 4-5: Amp2/Driver2
Program mode: HD-1 Once an EG segment begins, it can’t be modulated Once the EG has started a segment between two points, that segment can no longer be modulated. This includes both the time of the segment, and the level reached at the end of the segment.
Page 91: 4-6: Amp2 Mod
4–6: Amp2 Mod. This page controls Oscillator 2’s amp modulation. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. 4–7: Amp2 EG This page controls Oscillator 2’s amp EG. It is available only when the Oscillator Mode is set to Double;...
Page 92 Program mode: HD-1 High Gain This controls the gain of the 10kHz High Shelf EQ, in increments of 0.5dB. ▼ 4–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 93: Program P5: Lfo
Program P5: LFO Each of the Oscillators has two LFOs, which you can use to modulate the ﬁlter, amp, pitch, and many other parameters. 5–1: OSC1 LFO1 5–1a 5–1b 5–1c This page has all of the controls for the ﬁrst LFO of Oscillator 1.
Page 94 Program mode: HD-1 Random2 (S/H) randomizes both the levels and the timing. Random3 (S/H) generates a pulse wave with random timing. It’s the opposite of traditional sample and hold; the timing varies, but the levels don’t. Random4–6 (Continuous) are smoothed versions of Random 1–3, with ramps instead of steps.
Page 95 Offset By default, almost all of the LFO waveforms are centered around 0, and then swing all the way from –99 to +99. This parameter lets you shift the LFO up and down, so that–for instance–it’s centered on 50, and then swings from –49 to +149.
Page 96: 5-2: Osc1 Lfo2
Program mode: HD-1 5–1c: Frequency MIDI/Tempo Sync MIDI/Tempo Sync On (checked): When MIDI/Tempo Sync is On, the LFO will synchronize to the system tempo, as set by either the Tempo knob or MIDI Clock. The LFO speed will be controlled by the Base Note and Times parameters, below.
Page 97: 5-9: Common Lfo
5–9: Common LFO 5–9a 5–9b 5–9c This is a single, free-running LFO, global for all voices in the Program–like the modulation LFOs in some vintage analog synths. Differences from LFO1/2 The Common LFO starts running as soon as you select the Program, and only resets when you tell it to do so explicitly via the Reset Source control, below.
Page 98 Program mode: HD-1 Stop On (checked): When Stop is On, the LFO does not advance, and the Frequency parameters are ignored. Instead, the LFO simply generate a single value when the Program is selected, and then holds that value until you select another Program, or until you reset the LFO via AMS.
Page 99: Program P6: Ams Mixer/Common Key Track
Program P6: AMS Mixer/Common Key Track Each Oscillator has two AMS Mixers, which are simple but powerful tools for combining and modifying AMS signals. The two Oscillators also share two Common keyboard tracking generators, in addition to the dedicated keyboard tracking for the Filter and Amp. 6–1: OSC 1 AMS Mixer 6–1a The AMS Mixers combine two AMS sources into one,...
Page 100 Program mode: HD-1 Gate chooses between two AMS inputs (or ﬁxed values) based on a third AMS source. See “Gate” on page 93 for more information. AMS Mixer, Type = A+B Amt A AMS A AMS B Amt B A+B merges two AMS sources into one. This can be handy when you need to add one more modulation source to a parameter, but you’ve already used up all of the available AMS slots.
Page 101 Amount to 0. 2. Set AMS B to SW 1 or 2, and AMS B Amount to +99. Now, SW1 or 2 will turn AMS A on and off. Offset AMS Mixer, Type = Offset Amt A Offset A AMS A This simple processor adds a constant offset to the input, and also allows you to double the gain of an AMS source.
Page 102 Program mode: HD-1 AMS A Decay This controls the decay time of the smoother, or how long it takes the smoother to reach a new, lower value. Higher Decay settings mean longer times. Shape This Mixer Type adds curvature to the AMS input. Shape can create custom controller curves, such as exponential joystick, logarithmic velocity, and so on.
Page 103: Gate Control
Unipolar sources only go from 0 to 99, with 50 in the middle. MIDI controllers, such as JS+Y (CC#1), are all unipolar. In practice, EGs are usually programmed to be unipolar, even though the Filter and Pitch EGs do allow both positive and negative levels. With unipolar sources, it’s almost always better to use the Symmetric mode.
Page 104: Gate Output
Program mode: HD-1 Gate Output If the value of the Control Source is less than the Threshold, the Gate outputs the preset value or AMS source selected under Below Threshold. If the value of the Control Source is greater than or equal to the Threshold, the Gate outputs the preset value or AMS source selected under At &...
Page 105: 6-5: Osc 2 Ams Mix
6–5: OSC 2 AMS Mix This page controls the two AMS Mixers for Oscillator 2. These are available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. 6–9: Common Keyboard Track 6–9a 6–9b The two Oscillators share two Common keyboard tracking generators, in addition to each Oscillator’s...
Page 106 Program mode: HD-1 You can think of the resulting shape as being like two folding doors attached to a hinge in the center. At the Center key (the main hinge), the keyboard tracking has no effect. The two folding doors swing out from this center point to create changes in the higher and lower ranges of the keyboard.
Page 107 Program P6: AMS Mixer/Common Key Track • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy Oscillator. For more information, see “Copy Oscillator” on page 144. • 3: Swap Oscillators. For more information, see “Swap Oscillator”...
Page 108: Program P7: Karma
Program mode: HD-1 Program P7: KARMA This pages let you control the Program’s KARMA settings. In Program mode, you can use one KARMA Module (Module A). Turning KARMA on and off KARMA can be enabled or disabled for the current Program by using the front-panel KARMA ON/OFF switch.
Page 109 Load GE Options These options let you specify whether the values and assignments for the KARMA SLIDERS and SWITCHES will be set automatically, be initialized, or be preserved when you select a GE. For a detailed description of this parameter, please see “Load GE Options”...
Page 110: 7-2: Midi Filter/Cc Offset
Program mode: HD-1 ▼ 7-1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program. For more information, see “Write Program”...
Page 111 These settings do not affect the Dynamic MIDI (7–7) settings. If you have speciﬁed MIDI control data as the Dynamic MIDI source, it will be valid regardless of these settings. MIDI IN OASYS’s controllers After Touch Speciﬁes whether MIDI aftertouch messages will be echoed to the tone generator.
Page 112 Program mode: HD-1 Envelope1/Envelope2/Envelope3 Speciﬁes whether to transmit the various MIDI messages or other functions generated by Envelope 1, Envelope 2, and Envelope 3 of the GE selected by the KARMA Module. If Envelope 1, Envelope 2, or Envelope 3 are producing pitch bend messages, these settings will be ignored, and the “GE Bend”...
Page 113: 7-3: Module Parameters-Control
7–3: Module Parameters-Control 7–3a 7–3b Here you can set KARMA Module Control parameters. Note that in Program mode, you can use one KARMA Module (Module [A]). You can make the following settings: • Specify the transposition, range, and chord inversion for phrases and chords generated by the KARMA module •...
Page 114 Program mode: HD-1 Resulting transposed input notes: Lowest: input notes transposed to E2 G#2 B2 D#3 Highest: input notes transposed to E4 G#4 B4 D#5 Input Notes C3–B3[1]: all notes near 4th octave (maintain inversion) The input notes will be forced to a range near the middle octave (C3–B3).
Page 115 This can allow a GE to behave more predictably with all inversions of a chord. (See “Note Series Group” on page 900.) Note: When the GE-Type is Generated-Drum, the notes come from Drum Patterns and not the Note Series. The drum patterns can be used to generate melodies, in addition to drum and percussion grooves.
Page 116: Note Map
Program mode: HD-1 Event: The phrase or pattern will be advanced by one note or one chord, ignoring the rhythm of the phrase or pattern. Each trigger will produce the next note or chord in the phrase. Chord Trigger Mode This is valid when “Mode”...
Page 117 Chord Track (Note Map Chord Track) Selects whether the Note Map Table will track your chord changes within the range of a single octave. Tables use the key of C as a reference. As an example, assume you play a C Chord that generates a C Major arpeggio (C-E-G etc.) in the Middle C octave (C4 to C5).
Page 118: 7-4: Module Parameters-Trigger
Program mode: HD-1 7–4: Module Parameters-Trigger 7–4a 7–4b Here you can set KARMA Module Trigger parameters. In Program mode, you can use one KARMA Module (module [A]). You can make the following settings. • Timing correction and latch operation for triggers •...
Page 119 Note Note Trigger [Any, AKR, 1st, Dyn] Any (Any Note + Dynamic MIDI): Every note-on will cause triggering; i.e., each note-on will cause the phrase or pattern to restart from the beginning. AKR (1st Note After Key Release + Dynamic MIDI): Triggering will occur when the ﬁrst note-on occurs from a state in which no keys are “on.”...
Page 120: 7-5: Ge Real-Time Parameters
Program mode: HD-1 For Sus2 and Rel2, the envelope will continue repeating even if the key is released. ▼ 7-4: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 121 For details on the individual GE Real-Time parameters, please see the “KARMA GE guide” on page 893. MIN (Minimum Value) This sets the parameter value when the selected controller is at its minimum point—for instance, when a slider is at the bottom of its throw. Note that you can reverse the action of the controller by setting this to be higher than the MAX value, below.
Page 122: 7-6: Perf Real-Time Parameters
7–6: Perf Real-Time Parameters 7–6a 7–6b Here you can assign controllers to KARMA Performance Real-Time Parameters (Perf. RTP) outside of the GE Real-Time Parameters that control the internal settings of the GE. Examples include the KARMA Key Zone parameters (Program 7-1b) and KARMA Control and Trigger parameters (Program 7- 3, 7-4).
Page 123 A ( Module A) Speciﬁes the module to which the settings of RT Parm 1–8 will apply. In Program mode, only one KARMA Module (module [A]) can be used. Thus in Program mode, you can turn the RT Parm 1–8 settings on/off. On (checked): RT Parm settings will be valid.
Page 124 Note Map Table Assigns the “Table (Note Map Table)” (Program 7–3b) function. +0000: Custom +0001…+0064: Global Tables 1…64 For more information, see “Table (Note Map Table)” on page 106. Note Map Transpose Assigns the ”Transpose (Note Map Transpose)” (Program 7-3b) function. For more information, see “Transpose (Note Map Transpose)”...
Page 125 Key Zone Bottom Assigns the “Bottom (Key Zone Bottom)” (Program 7– 1a) function. +0000…+0127: C-1–G9 (corresponds to note numbers) For more information, see “Bottom (Key Zone Bottom)” on page 99. Key Zone Top Assigns the “Top (Key Zone Top)” (Program 7–1a) function.
Page 126: 7-7: Dynamic Midi
Program mode: HD-1 • 6: Capture Random Seed. For more information, see “Capture Random Seed” on page 147. 7–7: Dynamic MIDI 7–7a 7–7b Dynamic MIDI lets you use this instrument’s controllers and MIDI control messages to control speciﬁc KARMA functions. You can take advantage of this to control KARMA in various ways while you play.
Page 127 The controller value and the on/off status are related as follows. 000 → 127: on at 127 127→ 000: off at 000 Toggle: The parameter will be controlled as a toggle switch. For example, if Source is JS+Y (CC#01), moving it to the top and releasing it one time will turn the destination on, and moving it to the top and releasing it again will turn the destination off.
Page 128: 7-8: Random Seeds
Program mode: HD-1 7–8: Random Seeds 7–8a 7–8b The Random Seeds page allows you to control some of the randomizable characteristics of a Module’s GE. You can freeze (capture) the endlessly varying phrases generated by KARMA’s randomize features. 7–8a: Program Name and Tempo For descriptions of these parameters, please see “7–2a: Program Name and Tempo”...
Page 129 6. Turn the front panel KARMA LATCH switch on. 7. Go to the 7–8: Random Seeds page. 8. Make sure that the KARMA module’s “Start Seed” value is 0:Random. If “Start “Seed” is other than 0:Random, set it to 0:Random. The KARMA module will generate a lead synth phrase.
Page 130 Program mode: HD-1 phrase will loop (e.g., D-D-C-C, D-D-C-C, D-D-C- C, …). (☞ “Retrigger Each Time” on page 115) 4. “Start Seed”: any value, “Freeze Loop Length”: 1…32 The same phrase will play each time you trigger the GE. That phrase will loop for the number of measures you speciﬁed in “Freeze Loop Length.”...
Page 131: 7-9: Name/Note Map
7–9: Name/Note Map Here you can assign the names for KARMA SLIDERS 1-8 and KARMA SWITCHES 1-8, view Global Note Map Tables, and edit the Custom Note Map Table stored with the Program. 7–9a: Program Name and Tempo For descriptions of these parameters, please see “7–2a: Program Name and Tempo”...
Page 132 Out (Note Out) Specify what will be done with the note you speciﬁed in the “In” ﬁeld. Remove: The note speciﬁed by “In” will be removed from the output data (and changed to a rest). C1…G9: The note speciﬁed by “In” will be converted to the note number you specify here, and sent to the tone generator.
Page 133: Program P8: Insert Effect
Program P8: Insert Effect These pages let you can make settings for the insert effects. For instance, you can: • Send the output of a oscillator to an insert effect • Route a sound to an insert effect 8–1: Routing 8–1a 8–1c 8–1f...
Page 134 Use Dkit Setting = On 8–1c: Bus Select (IFX/Indiv.Out Assign) All OSCs to [L/R, IFX1…12, 1…8, 1/2…7/8, Off] This speciﬁes the output bus for oscillators 1 and 2. L/R: The oscillators will be output to the L/R bus. Normally you will choose L/R. IFX1…12: Output to the IFX1–12 busses.
Page 135 8–1f: OSC MFX Send OSC1 Send1 (to MFX1) Sets the volume (send level) at which the output of oscillator 1 will be sent to master effect 1. This applies only when Bus Select (8–1c) is set to L/R or Off. If Bus Select is set to IFX1–IFX12, the send levels to master effects 1 and 2 are set by Send 1 and Send 2 (8–...
Page 136: 8-5: Insert Fx
Program mode: HD-1 8–5: Insert FX 8–5a 8–5a: Effect/EXi Fixed Resource Meter Background information Most hardware synthesizers offer a single, ﬁxed method of synthesis, a predetermined number of voices, and a ﬁxed amount of effects processing power. OASYS is different; it has no ﬁxed synthesis method, and it shares its processing power between voices and effects.
Page 137 Category/IFX Select menu Note: As with the meter as a whole, the number shown in FREE FOR VOICES is only an approximation. For example, if FREE FOR VOICES is showing 98, the maximum polyphony for the HD-1 may not be exactly 172 ×...
Page 138 Program mode: HD-1 Bus Sel. (Bus Select) [L/R, 1…8, 1/2…7/8, Off] Speciﬁes the bus to which the signal will be sent immediately after the insert effect. L/R: The signal will be sent to the L/R bus, which passes through TFX 1 and 2 and then goes to the main L/R outputs.
Page 139: 8-6: Track View
8–6: Track View 1–1a 8–6a 8–6b 8–6a: Track View This shows the oscillator 1, 2 output and insert effect routing. The selected slot is shown in dark blue. In the “Selected” area below, you can specify the “Effect Type” and “On/Off” status. The “Insert IFX Slot” and “Cut IFX Slot”...
Page 140: 8-7: Ifx 1-12
Program mode: HD-1 • 0: Write Program. For more information, see “Write Program” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy Insert Effect. For more information, see “Copy Insert Effect” on page 149. •...
Page 141 Insert FX page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 142: 8-9: Common Fx Lfo
Program mode: HD-1 8–9: Common FX LFO 8–9a 8–9b The two Common FX LFOs allow you to synchronize LFO-based modulation for multiple effects, such as phasers, ﬂangers, ﬁlters, and so on. The Common LFOs control only the frequency, MIDI synchronization, and reset options; each individual effect still has its own settings for the LFO waveform and phase.
Page 143 Common FX LFO Common FX LFO1 Frequency[Hz] Reset Generate original LFO waveform ▼ 8–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 144: Program P9: Master/Total Effect
Program mode: HD-1 Program P9: Master/Total Effect Here you can make settings for the master effects and total effects. For instance, you can: • Route a sound to an master effects and total effects 9–1: Routing 1–1a 9–1a 9–1b Here you can specify the type of master effects and total effects, and turn them on/off.
Page 145 Category/MFX Select menu MFX2 MFX2 MFX2 On/Off Return 2 These parameters specify the effect type for master effect 2, its on/off status, and the return level from master effect 2 to the L/R bus. See “MFX1” on page 134. Chain: Chain On/Off On (checked): Chain (series connection) will be turned on for MFX1 and MFX2.
Page 146: 9-2: Mfx1
Program mode: HD-1 9–1c: Master Volume Master Volume This speciﬁes the ﬁnal level of the audio output that has passed through total effects 1 and 2, and output from AUDIO OUTPUT (MAIN OUT) L/MONO and R. Note: You can control the master volume from the control surface.
Page 147: 9-3: Mfx2
▼ 9–2: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program. For more information, see “Write Program”...
Page 148: Program: Page Menu Commands
Program mode: HD-1 Program: Page Menu Commands ENTER + 0-9: shortcuts for menu commands Each page has a set of menu commands, which provide access to different utilities, commands, and options, depending on the page you’re currently on. You can use the menu commands entirely from the touch-screen, by pressing the menu button in the upper right-hand corner of the screen and then selecting an option from the menu that appears.
Page 149 • Program mode: “Solo” on page 21 • Combination mode: “Solo” on page 336 • Sequence mode: “Solo” on page 440 Auto Assign KARMA RTC Name This command is available on the KARMA GE tab of the Play page, and the Name/Note Map tab of the KARMA page.
Page 150 Program mode: HD-1 The Auto +12 dB On setting is made independently for Program, Combination, Sequencer, and Sampling modes. 4. “Convert to” speciﬁes whether the sample will automatically be converted into a program as soon as it has been sampled. This is convenient when you want to hear the sound immediately after sampling.
Page 151 Auto Sampling Setup Auto Sampling Setup is available on the Audio In/Sampling tab of the Play page. This command automatically conﬁgures the Program mode sampling-related parameters, making it easy for you to sample an external audio source or to resample your performance as you play a Program.
Page 152 Note f: If you execute Auto Sampling Setup with “Save to” RAM and the “Convert to Program” option checked, and you continue sampling, each successive sample will be automatically assigned to C2, C#2, D2, … to create a multisample. A new multisample will be created the next time you execute Auto Sampling Setup and start sampling.
Page 153 Automatically-set parameters and their values Parameter Initialize Analog, (Source Input (Input Source) : S/P DIF Audio) Level L000 Input1 : Bus Select (IFX) Send1 Send2 Level R127 Input2 : Bus Select (IFX)* Send1 Send2 Source Bus Trigger Sampling START SW Recording Metronome Setup :...
Page 154 3. To execute the Reset Tone Adjust command, press the OK button. To exit without resetting the controls, press the Cancel button. Copy Oscillator Copy Oscillator is available on all of the tabs under the Basic/Vector, OSC/Pitch, Filter, Amp/EQ, and AMS Mix/Common Key Track pages.
Page 155: Sample Parameters
3. Select the copy-source pad number. If you want to copy all settings for pads 1–8, check the All option. 4. Use the “To” ﬁeld to specify the copy-destination pad. Note: Executing this command will copy the note number and velocity value. The MIDI channel is not copied.
Page 156 Program mode: HD-1 This option is available only when the Oscillator Mode is set to Double. 1. Select “Sync Both EGs.” The LCD screen will indicate “Sync Both EGs,” and the two EGs will be synchronized. 2. If you no longer want the EGs to be synchronized, select “Sync Both EGs”...
Page 157: Copy Scene
In addition to the content copied when “GE RTP Control Setting & Scenes” is Off (unchecked), the following content is copied. •7–5: GE RTP page “ASSIGN” and “POLARITY” settings. •The KARMA CONTROLS slider and KARMA SWITCH settings of each scene in the copy- source buffer, and the currently selected scene.
Page 158 Program mode: HD-1 When you are listening to the randomly changing phrases generated each time a KARMA Module is triggered, and you hear a phrase that you would like to reproduce consistently each time you trigger that GE, you can execute this command to capture the seed that resulted in that phrase.
Page 159 Phase Pattern of 8 steps (bars), so it may not sound always as if it is restarting every 2 bars, because of the internal settings of the Phase Pattern. It will repeat the same randomizations, but not necessarily restart the riff from the beginning. However, this can also be useful for getting the same rhythm and note movements, with a longer evolving phrase.
Page 160 Program mode: HD-1 From (Mode) [Program, Combination, This selects whether you’ll copy from a Program, a Combination, a Song, or the current Sampling Mode settings. From (Bank and Number) For Programs and Combis, this selects the Bank and Number from which to copy. When this parameter is selected, you can also use the front-panel BANK buttons to select Banks.
Page 161 Note: In Combi or Seq modes, this Track View page is a convenient way to check the IFX that are chained for each timbre or track, and the Insert FX command can be used in this page as well to edit the effect settings of each timbre or track.
Page 162 Program mode: HD-1 2. Select “Cut IFX Slot” to open the dialog box. 3. Specify the number of the IFX you want to remove. (The IFX you selected in step 1 or 2 will be shown here as the default.) 4.
Page 163 3. Select “Clean Up IFX Routings” to open the dialog box. 4. Press the OK button to execute the Clean Up IFX Routings command, or press the Cancel button if you decide to cancel. In this example, the discontinuous chain IFX1→IFX5→IFX11→IFX12 has been reorganized into IFX1→IFX2→IFX3→IFX4, and the vacant slots (000: No Effect, unless located within a chain) have...
Page 164 Program mode: HD-1 Swap MFX/TFX Swap MFX/TFX is available on all of the MFX/TFX pages. This command swaps (exchanges) settings between MFX1, MFX2, TFX1, and TFX2. 1. Select “Swap MFX/TFX” to open the dialog box. 2. Use “Source 1” and “Source 2” to select the master effect(s) or total effect(s) that you want to swap.
Page 165: Program Mode: Exi
Program mode: EXi EXi Program P0: Play This is the main page of Program mode for EXi Programs. Among other things, you can: • Select Programs • Jump directly to the main editing pages • Make basic edits to KARMA •...
Page 166: 0-6: Karma Ge
Program mode: EXi You can select Banks either via the on-screen menu, or by using the front-panel Bank buttons. Program Select This is name and number of the current Program. When this parameter is selected, you can select Programs using the Inc and Dec numeric buttons 0-9, or the Value dial.
Page 167: 0-7: Controller View/Effects
0–7: Controller View/Effects This page shows the functions assigned to the physical controllers, including the vector joystick, SW1 and 2, and knobs 5–8. It also includes an overview of all of the effects, and lets you adjust the Wet/Dry Balances separately for the IFX, MFX, and TFX.
Page 168: Exi Program P4: Basic/Vector
Program mode: EXi EXi Program P4: Basic/Vector These pages control the basic elements of the Program, along with the Vector synthesis features. For instance, you can: • Select the EXi instruments which form the basis of the Program’s sound 4–1: Program Basic 4–1a 4–1c 4–1d...
Page 169 • Mono Legato • Mono mode (Normal or Use Legato Offset) • Unison (Voice Assign Mode) These radio buttons select the basic voice allocation mode. Depending on which mode you select, various other options will appear, such as Poly Legato (Poly mode only) and Unison (Mono mode only).
Page 170 Program mode: EXi Chord Chord Off disables the Chord function. Bsc (Basic) re-creates the chord mode of the KORG Polysix. Each time you play a new chord, it will cut off the previous chord. This option ignores the Voice Assign settings.
Page 171 4–1g: Half-Damper Control A half-damper pedal is a special type of continuous [C-1…G9] foot pedal, such as the Korg DS-1H. In comparison to a standard footswitch, half-damper pedals offer more subtle control of sustain, which can be especially useful for piano sounds.
Page 172: 4-2: Exi Audio Input
Program mode: EXi The OASYS will automatically sense when a half- damper is connected to the rear-panel DAMPER input. For proper operation, you will also need to calibrate the pedal, using the Calibrate Half-Damper command in the Global page menu. The off and full-on positions of the half-damper work just like a standard footswitch.
Page 173: 4-5: Vector Control
4–2a: EXi 1 Input Source [Off, Audio Input 1/2...3/4, S/P DIF Input L/R, L/R Output, Indiv. Output 1/2...7/8, REC 1/2, 3/4, FX Control 1, 2, IFX 1...12, MFX 1, 2, TFX 1, 2] This selects the input source for EXi1. You can use this to create a feedback loop, if desired.
Page 174: 4-9: Set Up Pads
Program mode: EXi • 0: Write Program. For more information, see “Write Program” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. 4–9: Set Up Pads This page lets you view and edit the note assignments for the 8 drum pads.
Page 175: Exi Program P5: Modulation
EXi Program P5: Modulation The entire Program shares several modulation sources, including: • A single Common LFO, shared by all the voices - similar to the global LFO on some vintage analog synths • A single Common Step sequencer, shared by all the voices 5–1: Common Step Seq 5–1a...
Page 176 Program mode: EXi For example, to play an ascending chromatic scale, set the step values to 0, +4, +8, +12, +16, and so on. One octave up is +48, and two octaves up is +96. 5–1a: Step Sequencer Mode Loop makes the Step Sequence loop continuously between the Start Step and the End Step.
Page 177: 5-2: Common Lfo
Value Reset Resets the “Value” of each step to 000. Smooth Automatically adjusts the “Value” of each step so that they are smoothly connected. Exp/Comp When you press the Exp/Comp button, the Step Sequence Value dialog box will appear. The value of each step will be expanded or compressed by the percentage (%) you specify.
Page 178: Exi Program P8: Insert Effect
Program mode: EXi EXi Program P8: Insert Effect This pages let you control the Program’s twelve Insert Effects (IFX). They work exactly like the similar pages for HD-1 Programs; for more information, see “Program P8: Insert Effect” on page 123. EXi Program P9: Master/Total Effect This pages let you control the Program’s two Master Effects (MFX) and two Total Effects (TFX).
Page 179: Exi Program: Page Menu Commands
EXi Program: Page Menu Commands Copy EXi Oscillator This command copies the oscillator settings of a EXi program. 1. Select “Copy EXi Oscillator” to open the dialog box. 2. Use the “From” ﬁeld to select whether to copy from EXi 1 or EXi 2. 3.
Page 180 Program mode: EXi...
Page 181: Exi: Al-1 Analog Synthesizer
EXi: AL-1 Analog Synthesizer AL-1 Overview The AL-1 is Korg’s most full-featured virtual analog synthesizer to date. It’s played from within EXi Programs, so you can layer it with any other EXi–or layer two AL-1s together. Its features include: • Two ultra-low-aliasing oscillators, based on new, proprietary technology •...
Page 182: Exi Program P0: Play
EXi: AL-1 Analog Synthesizer EXi Program P0: Play 0–1: Main 0–1b This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display, which differs for each individual EXi.
Page 183 EXi Program P0: Play 0–1: Main EGs, LFOs, and Step Sequencer Step Sequencer Graphic This shows a graphic overview of the per-voice step sequencer. Press this area to jump to the Step Sequencer page. EG 1…4, Amp EG Graphics These show the shapes of the ﬁve EGs. Touch any of them to jump directly to the corresponding edit page.
Page 184: Program P4: Osc Pitch
EXi: AL-1 Analog Synthesizer Program P4: OSC Pitch These pages control the most basic elements of AL-1’s sounds: the waveforms that the oscillators play, and the pitch at which it plays them. For instance, you can: • Select the waveforms for Oscillator 1, Oscillator 2, and the Sub-Oscillator.
Page 185 Detuned Saw 1 produces two detuned sawtooth waveforms simultaneously. Detune controls the amount of detuning, and Wave Morph adjusts the volume of the second sawtooth. Detuned Saw 2 is similar to Detuned Saw 1, except that the second sawtooth is 180 degrees out of phase. This produces a timbre similar to pulse width modulation, with the Detune parameter controlling both detune and the speed of the PWM effect.
Page 186 EXi: AL-1 Analog Synthesizer Frequency Note: The Sub-Oscillator’s frequency is always exactly one octave below that of Oscillator 1. This means that adjusting any of the controls in this section, including Octave, Transpose, Tune, and Frequency Offset, will affect the Sub-Oscillator as well as Oscillator 1. Octave [–2[32’], –1[16’], +0[8’], +1[4’], +2[2’]] This sets the basic pitch of Oscillator 1, in octaves.
Page 187: 4-2: Sub/Noise/Ring Mod
▼ 4–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. 4–2: Sub/Noise/Ring Mod 4–2a 4–2b 4–2c 4–2a: Sub Oscillator The Sub Oscillator plays exactly one octave below Oscillator 1.
Page 188: 4-3: Mixer
EXi: AL-1 Analog Synthesizer Carrier Selects the carrier source for the ring modulator. Ext Input uses the audio input selected under Sub OSC/Audio Input, on the Mixer page. For more information, see “4–3c: Sub OSC/Audio Input” on page 179. 4–2c: Noise Generator The noise generator includes Saturation, for creating unique and chaotic noise effects, and a dedicated 1- pole ﬁlter to control noise color.
Page 189 [List of AMS Sources] This selects an AMS source to control the Oscillator 1 Level. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity This controls the depth and direction of the Oscillator 1 Level AMS modulation.
Page 190: 4-4: Pitch Common
EXi: AL-1 Analog Synthesizer 4–4: Pitch Common 4–4a 4–4b This page lets you modulate the pitch of Oscillators 1, 2, and the Sub Oscillator simultaneously, so that the modulation applies equally to all three oscillators. For example, you can: • Set up pitch bend from both Joystick X (with separate settings for bending up and bending down) and the ribbon controller.
Page 191 4–4b: Portamento Portamento lets the pitch glide smoothly between notes, instead of changing abruptly. Enable On (checked): Turns on Portamento, so that pitch glides smoothly between notes. Off (unchecked): Turns off Portamento. This is the default state. Fingered This parameter allows you to control Portamento through your playing style.
Page 192: 4-5: Pitch Eg/Mod
EXi: AL-1 Analog Synthesizer 4–5: Pitch EG/Mod 4–5a 4–5c 4–5d This page lets you modulate the pitches of Oscillators 1 and 2 separately–as opposed to the Pitch Common page, whose controls affect both Oscillators at once. All pitch modulation for Oscillator 1 also affects the Sub Oscillator.
Page 193 Intensity Mod AMS [List of AMS Sources] You can modulate AMS 1’s Intensity from another AMS source. This selects that source. Intensity [+/-48.00 semitones] This controls the depth and direction of the Intensity Mod AMS, in semitones. The result is summed with the main AMS 1 Intensity to produce the ﬁnal pitch modulation amount.
Page 194: Program P5: Filter
EXi: AL-1 Analog Synthesizer Program P5: Filter 5–1: Filter Basic 5–1a 5–1b Interaction between the ﬁlters and the mixer When the Filter Routing is set to either Single or 24dB/oct, the routing from the Oscillator section into the Filter section is fairly simple. There’s only a single ﬁlter, and that ﬁlter processes all of the Oscillator elements.
Page 195 5–1a: Routing Filter Routing [Single, Serial, Parallel, 24dB/oct] There are two ﬁlters, Filter A and Filter B. This parameter controls whether one or both of the ﬁlters are used, and if both are used, it controls how they are connected to each other. Single.
Page 196 EXi: AL-1 Analog Synthesizer This selects a modulation source to control the Output Level. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity This controls the depth and direction of the Output Level modulation. Frequency This controls the cutoff frequency of Filter A, in increments of 1/10 of an octave.
Page 197: 5-2: Multi Filter
5–2: Multi Filter 5–2a 5–2b 5–2c This page is available only when the Filter A Type is set to Multi Filter. What’s a Multi Filter? Standard multimode ﬁlters generate lowpass, highpass, and bandpass ﬁlters simultaneously - but only allow you to use one of them at a time. The Multi Filter gives you access to all three ﬁlter modes simultaneously, in any combination, along with the dry input signal.
Page 198: 5-3: Filter Modulation
EXi: AL-1 Analog Synthesizer Intensity This controls the depth and direction of the Mode 1-2 Crossfade modulation. Intensity Mod AMS This selects an AMS source to modulate the intensity of the main Mode 1-2 Crossfade AMS. For instance, you can set AMS to use one of the LFOs, and then set the Intensity Mod AMS to JS -Y.
Page 199 5–3a: 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 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.
Page 200 EXi: AL-1 Analog Synthesizer Please take these names as suggestions, rather than restrictions. If you like, you’re free to use these EGs to control any EG or AMS destination, or to use other EGs to control Filter Frequency and Pitch. Velocity Intensity This lets you use velocity to scale the amount of the EG applied to Filter A.
Page 201: 5-4: Filter Lfo Mod
5–4: Filter LFO Mod 5–4a There are three LFO-to-Frequency controls for each ﬁlter: a basic amount (LFO Intensity), joystick -Y control of LFO amount (JS- Y Intensity), and AMS control of LFO amount (AMS Intensity). The three controls are summed together to determine the ﬁnal LFO amount.
Page 202: Program P6: Amp
EXi: AL-1 Analog Synthesizer Program P6: Amp These pages let you control the sound’s volume (also called “amplitude,” or “amp” for short), pan, and Drive, as well as its dedicated amp envelopes and keyboard tracking generators. For instance, you can: •...
Page 203 Low Boost This low-frequency EQ controls the body character of the sound. The speciﬁc EQ frequencies affected will change with the Drive setting. Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter. [List of AMS Sources] This selects an AMS modulation source to control the Low Boost amount.
Page 204: 6-2: Amp Modulation
EXi: AL-1 Analog Synthesizer 6–2: Amp Modulation 6–2a 6–2b This page contains the settings for Oscillator 1’s Amp level modulation. Among other things, you can: • Set up complex keyboard tracking shapes to control the Amp level. • Assign AMS modulation for the Amp level. •...
Page 205 Center-High [-Inf, –99…+99, +Inf] This sets the slope between the Center and High Break keys. For normal key track, use positive values. High-Top [-Inf, –99…+99, +Inf] This sets the slope between the High Break key and the top of the MIDI note range. For normal key track, use positive values.
Page 206: 6-3: Amp Eg
EXi: AL-1 Analog Synthesizer 6–3: Amp EG 6–3a 6–3b 6–3c 6–3d The AL-1’s Amp EG is identical to the HD-1’s. For more detailed explanations of the Amp EG features, please see “4–3: Amp1 EG,” on page 78. Other envelopes can be used as additional controls via AMS, if desired.
Page 207 Time Higher values mean longer times. For a chart showing equivalents in milliseconds, please see “Time” on page 79. Attack This sets how long the EG takes to move from the Start level to the Attack level. The minimum attack time is 2/3 of a millisecond–as fast as the most punchy of classic analog synths.
Page 208 EXi: AL-1 Analog Synthesizer Release This controls the depth and direction of the AMS modulation for the Release time. AMS2 and AMS3 These select the second and third AMS sources, respectively, for controlling the EG’s Time parameters. Each has its own intensities for Attack, Decay, Slope, and Release.
Page 209: Program P7: Eg 1-4
Program P7: EG 1-4 There are four assignable EGs, in addition to the Amp EG. Each of these can be used as an AMS modulation source to control a wide variety of parameters. There are also four parameters with dedicated EG modulation inputs: Pitch for Oscillators 1 and 2, and Frequency for Filters A and B.
Page 210 EXi: AL-1 Analog Synthesizer to these values may cause inconsistent behavior, or may mean that the EG doesn’t reset at all. If this happens, reduce the Threshold until the EG triggers consistently. 7–1b: Envelope Attack Break Level Level Start Level Change to Parameter Value...
Page 211 EG Curve Curve = 0 (Linear) Curve = 10 (Exp/Log) Curve = 0 (Linear) Curve = 10 (Exp/Log) Attack [0 (Linear), 1…9, 10 (Exp/Log)] This sets the curvature of the Attack segment - the transition from the Start level to the Attack level. Decay [0 (Linear), 1…9, 10 (Exp/Log)] This sets the curvature of the Decay segment - the...
Page 212: 7-2: Eg 2 (Pitch)
EXi: AL-1 Analog Synthesizer Attack This controls the depth and direction of the AMS modulation for the Attack time. When the AMS source is at its maximum value–for instance, when Velocity is at 127–a setting of +8 will make the segment time almost twice as long, and a setting of -8 will cut the segment time almost in half.
Page 213: Program P8: Step Seq/Lfo
Program P8: Step Seq/LFO 8–1: Step Sequencer 8–1a 8–1a 8–1b 8–1c The Step Sequencer creates complex, rhythmic patterns, for use as an AMS modulation source. For instance, you can modulate a ﬁlter to create sample- and-hold effects, modulate pitch to create melodic patterns, or modulate amplitude to create pulsing, triggered-gate effects.
Page 214: Command Buttons
EXi: AL-1 Analog Synthesizer When Key Sync is Off, the Step Sequencers for all notes are synchronized together (unless the Start Step is modulated by note-speciﬁc AMS sources). The ﬁrst note in a legato phrase will start from the Start Step; subsequent notes will play in sync with that ﬁrst note.
Page 215: 8-2: Lfo 1
This halves the duration of the steps or the “x (Multiply Base Note by…)” value. For example, it would turn quarter notes into eighth notes, and eighth notes into sixteenth notes. ▼ 8–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Page 216 EXi: AL-1 Analog Synthesizer Most of the waveforms should be self-explanatory, but a few will beneﬁt from more details: Guitar is intended for guitar vibrato, and its shape is speciﬁcally tuned for this purpose. The waveform is positive-only, so that when used for pitch, it will only bend up, and not down.
Page 217 Offset By default, almost all of the LFO waveforms are centered around 0, and then swing all the way from -99 to +99. This parameter lets you shift the LFO up and down, so that–for instance–it’s centered on 50, and then swings from -49 to +149.
Page 218: 8-3: Lfo 2
EXi: AL-1 Analog Synthesizer 8–2c: Frequency MIDI/Tempo Sync MIDI/Tempo Sync On (checked): When MIDI/Tempo Sync is On, the LFO will synchronize to the system tempo, as set by either the Tempo knob or MIDI Clock. The LFO speed will be controlled by the Base Note and Multiply parameters, below.
Page 219: Program P9: Ams Mixer
Program P9: AMS Mixer The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new. For instance, they can add two AMS sources together, or use one AMS source to scale the amount of another. You can also use them to modify the response of realtime controllers.
Page 220: Tone Adjust
EXi: AL-1 Analog Synthesizer Tone Adjust AL-1 Tone Adjust Default Settings Oscillators 1 & 2 Oscillators 1 & 2 Width/Phase/Detune Width/Phase/Detune AMS Intensity AMS Intensity Switches 1–5: Switches 1–5: Mixer Mutes Mixer Mutes OSC 1, OSC 2, OSC 1, OSC 2, Sub OSC/Audio, Sub OSC/Audio, Ring Mod,...
Page 221 Tone Adjust 9–1: AMS Mixer In addition to supporting the standard Tone Adjust EG parameters, the AL-1 adds the following separate controls for both EG3 and EG4: • Attack time (relative) • Decay & Slope time (relative) • Sustain level (relative) •...
Page 222: Exi Al-1: Page Menu Commands
EXi AL-1: Page Menu Commands Copy Envelope This copies settings from one AL-1 envelope to another. 1. Select “Copy Envelope” to open the dialog box. 2. Use the “From” ﬁeld to select the copy-source envelope. 3. Use the “To” ﬁeld to select the copy-destination envelope.
Page 223: Exi: Cx-3 Tonewheel Organ
EXi: CX-3 Tonewheel Organ CX-3 Overview The CX-3 is a detailed model of a classic tone-wheel organ, based on Korg’s ground-breaking CX-3 keyboard. Its awesome sound starts with perfect tone-wheel phase coherency, resulting in pure, powerful sounding chords, just like the real thing. Subtleties such as...
Page 224: Exi Program P0: Play
EXi Program P0: Play 0–1: Main 0–1b This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display, which differs for each individual EXi.
Page 225: Rotary Speaker
Lower Drawbars This shows the Lower drawbar settings. Press this area to jump to the Drawbars page. V/C On/Off This shows whether the Vibrato/Chorus is turned on or off for the Lower drawbars. Press this area to jump to the Amp/Vibrato/Chorus page.
Page 226: Program P4: Basic
EXi: CX-3 Tonewheel Organ Program P4: Basic 4–1: Basic 4–1a 4–1b 4–1a: Drawbar Mode Drawbar Mode This is a basic control, which affects the parameters available in the Drawbars and Percussion sections. Normal mode models a standard tone-wheel organ, with 9 drawbars and single-pitch percussion. EX mode adds four additional drawbars, with pitches adjustable in half-step increments between 16’...
Page 227: 4-2: Controllers
The noise includes both colored broad-band noise and tone wheel leakage. The amount of leakage within the noise is scaled by Leakage Level, described above. Gate Type This affects the sound character when notes are turned on or off. It is similar in concept to Key Click, below, but has a different timbral character.
Page 228 EXi: CX-3 Tonewheel Organ emphasized. The Amp section interacts with Expression; for more details, see “7–1a: Amp,” on page 226. To allow optimal modulation ﬂexibility, the AMS works differently from most other parameters. See Mode, below, for more details. Expression Minimum This speciﬁes the minimum level when the Expression Level parameter or Expression AMS are at 0.
Page 229: Program P5: Split & Drawbars
Program P5: Split & Drawbars You can set up the organ to use a single sound across the entire keyboard, or to split the keyboard between two different sets of drawbars. 5–1: Keyboard Split 5–1a 5–1a: Split Split Enable This turns the split on and off. When Split is Off, only the Upper drawbars will be used.
Page 230: 5-2: Drawbars
EXi: CX-3 Tonewheel Organ 5–2: Drawbars 5–2a The drawbars are the heart of the CX-3. These settings control the basic harmonic content of the sound, the perceived fundamental pitch, and the basic volume level. Use Tone Adjust for physical drawbars Using Tone Adjust, you can map the drawbars to the nine front-panel sliders, including both sliders 1-8 and the Master slider.
Page 231: 5-3: Ex Drawbars
▼ 5–2: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. 5–3: EX Drawbars 5–3a 5–3b When the Drawbar Mode is set to EX, this adds four extra drawbars to the basic nine, with pitches adjustable in half-step increments between 16’...
Page 232 5–3c and 5–3d: Upper EX Drawbars These parameters control the individual EX drawbar pitches and volume levels for the Upper split. The controls are identical to those for the Lower EX Drawbars, as described above. ▼ 5–3: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Page 233: Program P6: Percussion
Program P6: Percussion Percussion adds a pitched attack to the notes, for a more crisp, punchy timbre. When you play legato, percussion will only sound for the ﬁrst note in the phrase. 6–1: Percussion 6–1a 6–1b 6–1a: Percussion Percussion This toggles the Percussion section on and off. [List of AMS Sources] This selects an AMS source to turn the Percussion on or off.
Page 234: 6-2: Ex Percussion
This parameter controls the difference in drawbar volume between the Soft and Loud Percussion settings. 6–1c: Decay Decay This toggles the Percussion Decay time between Slow and Fast. The actual decay times are determined by the Fast Decay Time and Slow Decay Time parameters, below.
Page 235 This section is grayed out when Drawbar Mode is set to Normal. 6–2a: EX Percussion Normal Percussion This sets the volume of the 2nd or 3rd harmonic (2-2/3’ or 4’ drawbars), depending on the setting of the Percussion Harmonic parameter. 16’...
Page 236: Program P7: Amp, V/C, Rotary Speaker
EXi: CX-3 Tonewheel Organ Program P7: Amp, V/C, Rotary Speaker 7–1: Amp & V/C 7–1a 7–1c 7–1f 7–1a: Amp Amp Type [Type 1, Type 2, Pre Amp] This selects the type of amp model. Type 1 is a standard powered amp for organ, producing a warm, fat tone.
Page 237 [List of AMS Sources] This selects an AMS source to turn Vibrato/Chorus on or off for the Upper Drawbars. AMS Mode [Toggle, Momentary] This determines the behavior of the Vibrato/Chorus AMS for the Upper drawbars. For details, see “AMS Mode” on page 218. Lower Drawbars V/C This routes the lower drawbars through the Vibrato/Chorus.
Page 238: 7-2: Rotary Speaker
EXi: CX-3 Tonewheel Organ [Random, L001…C064…R127] This controls the stereo pan of the organ. A setting of L001 places the sound at the far left, C064 in the center, and R127 to the far right. When this is set to Random, the Pan position will change at each note-on.
Page 239 AMS Mode [Momentary, Toggle] This determines the behavior of the Rotary Speaker on/off AMS. For details, see “AMS Mode” on page 218. Rotary Speaker Off Output This determines the sound when the Rotary Speaker is turned Off, above. It also determines the “dry” signal in the Wet/Dry mix, as described on page 229.
Page 240 EXi: CX-3 Tonewheel Organ Horn Mic Distance This adjusts the distance between the Horn and its microphones. Lower values bring the mics closer to the speaker. Horn Mic Spread This adjusts the distance between the two Horn microphones, to widen the stereo ﬁeld. Higher values increase the stereo effect.
Page 241: Program P9: Ams Mixer
Program P9: AMS Mixer The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new. For instance, they can add two AMS sources together, or use one AMS source to scale the amount of another. You can also use them to modify the response of realtime controllers.
Page 242: Tone Adjust
EXi: CX-3 Tonewheel Organ Tone Adjust CX-3 Tone Adjust Default Settings V/C Type Amp Gain Expression Noise Level V/C Type Amp Gain Expression Noise Level Switches 1–4: Switches 1–4: Percussion Percussion On/Off, On/Off, Fast/Slow, Fast/Slow, Loud/Soft, Loud/Soft, 2nd/3rd 2nd/3rd Switches 5–6: Switches 5–6: Vibrato/Chorus Vibrato/Chorus...
Page 243: Changes From The Original Cx-3
Changes from the original CX-3 With the OASYS CX-3, Korg has taken the original, ground-breaking CX-3 model and made it even better. If you’d like to convert sounds from the original CX-3, the following notes describe these changes in detail.
Page 244: Exi Cx-3: Page Menu Commands
EXi: CX-3 Tonewheel Organ EXi CX-3: Page Menu Commands Copy Drawbars This copies drawbar or EX drawbar settings within the CX-3 oscillator. 1. Select “Copy Drawbars” to access the dialog box. 2. Use the “From” ﬁeld to specify the copy-source drawbars.
Page 245: Exi: Str-1 Plucked String
ROM, EXs, or RAM samples (using Korg’s ultra-low-aliasing PCM oscillator, as first introduced in the HD-1) • Dual multi-mode resonant filters (including Korg’s Multi Filter, as first introduced in the AL-1), plus an additional multi-mode resonant filter dedicated to the string excitation •...
Page 246 EXi: STR-1 Plucked String LFO1-4 LFO1 LFO1 LFO1 Pluck Noise Feedback Legend Audio, per-voice Modulation STR-1 Overview String EG1-4 T rack 1-2 Position LFO1 LFO1 LFO1 LFO1 Excitation Filter Audio, per-Program Audio Modulation Fret Mixer 1-4 LFO1 LFO1 LFO1 Pickup 1 Pickup 2 Mixer String...
Page 247: Exi Program P0: Play
EXi Program P0: Play 0–1: Main 0–1b Excitation Pluck Excitation PCM Oscilltor Excitation (Mixer) This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display, which differs for each individual EXi.
Page 248 EXi: STR-1 Plucked String Press this area to jump to the 5–1 Filter Basic page. This shows the Amp section’s Pan and Amp Level values. Press this area to jump to the 6–1 Amp page. EGs and LFOs EG 1…4, Amp EG Graphics These show the shapes of the ﬁve EGs.
Page 249: Program P4: String
Program P4: String 4-1: Pluck and Noise 4–1a 4-1a: Pluck Type [Ac Guitar 1…Harpsichord] This selection models different types of plucking actions, including picks and ﬁnger-plucking. The pluck type sets the basic tone of the plucked string. You can also “pluck” the string using the Noise Generator, as well as PCM samples.
Page 250 EXi: STR-1 Plucked String Delay (milliseconds) You can delay the Pluck by up to 250ms after the initial note-on. This lets you create double-strike effects and complex attacks. For instance, try using an envelope with a slow attack time to control the volume or ﬁlter cutoff of the PCM Oscillator or Noise Generator, and then combining this with a delayed Pluck.
Page 251: 4-2: Pcm Oscillator
4-2: PCM Oscillator 4–2a Using PCM in the STR-1 Using PCM samples to “pluck” the string In addition to the Pluck and the Noise Generator, you can also “pluck” the string with PCM samples. In general, this will work best if you use a fast envelope to control the level of the PCM in the Excitation Mixer, so that it becomes just a short attack transient.
Page 252: Start Offset
These can change the character of the comb ﬁlter in interesting ways. Layering PCM with modeled string timbres You can also simply layer PCM samples with string timbres. To do so, set the Filter Routing to Parallel, and then use the Mixer page to route the PCM Oscillator to Filter A, and the String to Filter B (or vice- versa).
Page 253: 4-3: Pcm Oscillator Pitch
Similarly, RAM Multisamples can play either from the beginning of the waveform, or from the loop start point. Start Offsets: ROM and EXs Multisamples With ROM and EXs Multisamples, the Start Offset speciﬁes whether to use the normal start point (Off), or to use one of the alternate start points (1st–8th).
Page 254 Frequency Offset This adjusts the pitch by increments of 0.1 Hz. Frequency Offset is different from Tune in that, when used to detune the two oscillators, it can create a constant beat frequency across the range of the keyboard. Pitch Slope Normally, this should be set to the default of +1.00.
Page 255 JS+Y Intensity [–48.00…+48.00] Moving the joystick “up” from the center detent position, away from yourself, produces the JS+Y controller. You can use this to scale the amount of the LFO applied to the pitch. This parameter sets the maximum amount of LFO modulation added by JS+Y, in semitones.
Page 256: 4-4: Excitation Mixer
EXi: STR-1 Plucked String 4-4: Excitation Mixer 4–4a 4–4c 4-4a: PCM Oscillator Level This controls the PCM Oscillator’s input level to the String. Phase Invert This inverts the phase of the PCM Oscillator’s input to the String. If you use two inputs, and one has an inverted phase, it’s as if they were pushing the string in opposite directions.
Page 257 Low Pass. This cuts out the parts of the sound which are higher than the cutoff frequency. Low Pass is the most common type of ﬁlter, and is used to make bright timbres sound darker. High Pass. This cuts out the parts of the sound which are lower than the cutoff frequency.
Page 258: 4-5: String Main
EXi: STR-1 Plucked String ▼ 4–4: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. 4-5: String Main 4–5a 4–5b 4-5a: Excitation...
Page 259 As a rule of thumb, harmonics which are multiples of the denominator will be silent. For instance, if the Position is set to 20.0, the ratio is 1/5, and so every ﬁfth harmonic will be silent: 5, 10, 15, etc. This is like a comb ﬁlter, with successive, evenly-spaced notches.
Page 260 EXi: STR-1 Plucked String Use Excitation Position This makes the harmonic use the same position as the excitation, including AMS modulation. Using this option creates an interesting hybrid pluck/chime timbre. When this is checked, the rest of the Position parameters will be grayed out. Position This controls the position at which the string is being pressed down.
Page 261 4-5c: Decay Decay This controls the overall decay time of the string without affecting frequency content. This interacts with Damping, which controls the decay time for high frequencies. For more information, see “4-6a: Damping” on page 252. Note: the Amp EG still controls the output level of the STR-1 as a whole, so the ﬁnal decay time will be a combination of the String Decay and the Amp EG.
Page 262: 4-6: Damping And Dispersion
EXi: STR-1 Plucked String 4-6: Damping and Dispersion 4–6a 4–6b 4-6a: Damping Damping This controls the decay time for the string’s high frequencies. Higher settings mean a shorter high frequency decay time, for a bright attack and a more mellow sustained tone. Lower settings let the string ring brightly for a longer period of time.
Page 263 4-6b: Dispersion Dispersion This models the rigidity of the string. Higher values correspond to thicker-gauge strings, and increase the inharmonicity of the string. (“Inharmonicity” means that the pitches of the overtones become out of tune with the fundamental.) At extreme values, it will create bell-like timbres, as if you were hitting a bar of metal.
Page 264: 4-7: String Pitch
EXi: STR-1 Plucked String 4-7: String Pitch 4–7a 4–7b 4–7d 4–7e 4-7a: Main Octave [–2[32’], –1[16’], +0[8’], +1[4’]] This sets the basic pitch of the String, in octaves. The default is +0[8']. Transpose This adjusts the pitch in semitones, over a range of ±1 octave.
Page 265 Fingered This parameter allows you to control Portamento through your playing style. When it’s enabled, playing legato will turn on Portamento, and playing detached will turn it off again. This option is only available when Portamento Enable is turned on. On (checked): Turns on Fingered Portamento.
Page 266: 4-8: Pickups And Feedback
EXi: STR-1 Plucked String 4-7e: AMS AMS 1 This selects the ﬁrst modulation source for controlling the String’s pitch. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity This controls the depth and direction of the AMS 1 pitch modulation, in semitones.
Page 267 The position is approximately symmetric around 50 for all of the notes when Tracking Mode is set to Keyboard; in other words, a value of 60 is roughly the same as 40. When Tracking Mode is set to String, however, the point of symmetry varies for each note. For more information, see “How Position affects the timbre”...
Page 268 EXi: STR-1 Plucked String All three feedback parameters–Distance, Orientation, and Level–can be modulated in real-time. You can use this to model the classic effect of holding an electric guitar near an amp until it feeds back, and then varying the pitch of the feedback by changing the guitar’s orientation in relation to, and distance from, the amp.
Page 269: 4-9: Mixer
4-9: Mixer 4–9a 4–9b 4–9c 4–9d 4–9e The Mixer page controls the volume levels and ﬁlter routing for the main String output, as well as the direct outputs (bypassing the string) of the PCM oscillator and Noise Generator. For instance, you can: •...
Page 270 EXi: STR-1 Plucked String 4-9d: Pickup 1 Pickup 1 has the same mixer parameters as described under “4-9a: String,” above. Try inverting the phase for one of the two pickups; this can produce an interesting effect. 4-9e: Pickup 2 Pickup 2 has the same mixer parameters as described under “4-9a: String,”...
Page 271: Program P5: Filter
Program P5: Filter 5-1: Filter Basic 5–1a 5–1b Interaction between the ﬁlters and the mixer When the Filter Routing is set to either Single or 24dB/oct, the routing from the String section into the Filter section is fairly simple. There’s only a single ﬁlter, and that ﬁlter processes the entire sound.
Page 272 EXi: STR-1 Plucked String Single. This uses only Filter A as a single 2-pole, 12dB/octave ﬁlter (6dB for Band Pass and Band Reject). When this option is selected, the controls for Filter B will be grayed out. Serial. This uses both ﬁlters. The output of Filter A is processed through Filter B.
Page 273 Frequency This controls the cutoff frequency of Filter A, in increments of 1/10 of an octave. The speciﬁc effect of the cutoff frequency will change depending on the selected Filter Type, as described above. Frequency Fine This provides ﬁne control of the ﬁlter cutoff frequency. Each step of this parameter is equal to 1/100 of a step of the main Frequency parameter, above.
Page 274: 5-2: Multi Filter
EXi: STR-1 Plucked String 5-2: Multi Filter 5–2a 5–2b 5–2c This page is available only when the Filter A Type is set to Multi Filter. What’s a Multi Filter? Standard multimode ﬁlters generate lowpass, highpass, and bandpass ﬁlters simultaneously - but only allow you to use one of them at a time.
Page 275: 5-3: Filter Modulation
Intensity This controls the depth and direction of the Mode 1-2 Crossfade modulation. Intensity Mod AMS [List of AMS Sources] This selects an AMS source to modulate the intensity of the main Mode 1-2 Crossfade AMS. For instance, you can set AMS to use one of the LFOs, and then set the Intensity Mod AMS to JS -Y.
Page 276 EXi: STR-1 Plucked String 5–3a: 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 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.
Page 277 Please take these names as suggestions, rather than restrictions. If you like, you’re free to use these EGs to control any EG or AMS destination, or to use other EGs to control Filter Frequency and Pitch. Velocity Intensity This lets you use velocity to scale the amount of the EG applied to Filter A.
Page 278: 5-4: Filter Lfo Mod
EXi: STR-1 Plucked String 5-4: Filter LFO Mod 5–4a There are three LFO-to-Frequency controls for each ﬁlter: a basic amount (LFO Intensity), joystick -Y control of LFO amount (JS- Y Intensity), and AMS control of LFO amount (AMS Intensity). The three controls are summed together to determine the ﬁnal LFO amount.
Page 279: Program P6: Amp
Program P6: Amp These pages let you control the sound’s volume (also called “amplitude,” or “amp” for short), pan, and the dedicated amp envelopes and keyboard tracking generators. For instance, you can: 6-1: Amp 6–1a 6–1b This page controls the basic settings for the Amp section.
Page 280: 6-2: Amp Modulation
EXi: STR-1 Plucked String This selects an AMS source to modulate Pan. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity This controls the depth and direction of the AMS modulation for Pan. For example, if Pan is set to C064 and AMS is set to Note Number, positive (+) intensities will cause the sound to move toward the right as you play higher...
Page 281 Ramp Bottom-Low [-Inf, –99…+99, +Inf] This sets the slope between the bottom of the MIDI note range and the Low Break key. For normal key track, use negative values. Ramp Change in level -Inf Silent in one half-step –99 Silent in one whole-step –95 Silent in one octave –48...
Page 282: 6-3: Amp Eg
EXi: STR-1 Plucked String 6-3: Amp EG 6–3a 6–3b 6–3c 6–3d The STR-1’s Amp EG is identical to the HD-1’s. For more detailed explanations of the Amp EG features, please see “4–3: Amp1 EG,” on page 78. Other envelopes can be used as additional controls via AMS, if desired.
Page 283 Time Higher values mean longer times. For a chart showing equivalents in milliseconds, please see “Time” on page 79. Attack This sets how long the EG takes to move from the Start level to the Attack level. The minimum attack time is 2/3 of a millisecond–as fast as the most punchy of classic analog synths.
Page 284 EXi: STR-1 Plucked String Release This controls the depth and direction of the AMS modulation for the Release time. AMS2 and AMS3 These select the second and third AMS sources, respectively, for controlling the EG’s Time parameters. Each has its own intensities for Attack, Decay, Slope, and Release.
Page 285: Program P7: Eg 1-4
Program P7: EG 1-4 The STR-1 has four assignable EGs, in addition to the Amp EG. Each of these can be used as an AMS modulation source to control a wide variety of parameters. There are also two parameters with dedicated EG modulation inputs: Frequency for Filters A and B.
Page 286: Program P9: Ams Mixers And String Track
EXi: STR-1 Plucked String Program P9: AMS Mixers and String Track AMS Mixers The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new. For instance, they can add two AMS sources together, or use one AMS source to scale the amount of another.
Page 287 This means that some strings may sound very distinct from others, quite aside from the differences in pitch. It’s almost as if each string was a sub-instrument of its own. In order to physically model these differences, it’s sometimes helpful to modulate certain parameters separately for each string, such as Damping, Decay, Dispersion, Inharmonicity, etc.
Page 288: Str-1 Tone Adjust
EXi: STR-1 Plucked String STR-1 Tone Adjust STR-1 Tone Adjust Default Settings Damping Damping Dispersion Dispersion Switches 1 & 2: Switches 1 & 2: PCM Transpose +12, PCM Transpose +12, String Transpose +12 String Transpose +12 Pluck Type Pluck Type Pluck Width Pluck Width Pluck Randomization...
Page 289 Excitation Filter • Excitation Filter Type • Excitation Filter Frequency • Excitation Filter Resonance String • Excitation Position • Harmonic Position • Harmonic Pressure AMS1 Intensity • Decay • Nonlinearity • Damping • Dispersion String Pitch • String Tune (–1200...+1200, relative) •...
Page 290 EXi: STR-1 Plucked String...
Page 291: Exi: Ms-20Ex
The MS-20EX is a ﬂexible, semi-modular virtual analog synthesizer. At its heart is a faithful re-creation of the original KORG MS-20, including both its features and its distinctive, often aggressive timbral signature. To this core, we added features ﬁrst introduced in the KORG Legacy MS-20 plug-in.
Page 292: On-Screen Knobs And Switches, And The Parameter
EXi: MS-20EX On-screen knobs and switches, and the Parameter Details area Parameter Details The LCD displays include graphic knobs for all of the main MS-20EX parameters. These let you view and edit parameters quickly and easily. You can program any original MS-20 sound using only these knobs.
Page 293: Exi Program P0: Play
EXi Program P0: Play 0–1: Main 0–1b This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display, which differs for each individual EXi.
Page 294 EXi: MS-20EX Common Voice Assign Mode This shows the voice assign mode of the Program– either POLY or MONO. Press this area to jump to the Program Basic page. Common Step Sequencer This shows a graphic overview of the Common Step Sequencer.
Page 295: Program P4: Oscillators & Filters
Program P4: Oscillators & Filters 4-1: Oscillators & Filters 4–1a 4-1a: Oscillators VOLTAGE CONTROLLED OSCILLATOR 1 WAVE FORM This sets the basic timbre of Oscillator 1. (Triangle Wave): This is a very basic waveform with few harmonics and a soft, rounded tone color. You can create a sine wave by processing the Triangle Wave through the Lowpass Filter.
Page 296 EXi: MS-20EX SCALE Adjusts the pitch of Oscillator 1 in steps of an octave. With each halving of the “feet” value, the pitch goes up one octave. For example, 4’ is one octave higher than 8’, and 16' is one octave lower that 8'. VOLTAGE CONTROLLED OSCILLATOR 2 WAVE FORM This sets the basic timbre of Oscillator 2.
Page 297 4-1b: High Pass Filter This ﬁlter cuts out the parts of the sound which are lower than the cutoff frequency. You can use this to make timbres sound thinner or more buzzy, or to enhance bass sounds (see “Using the HPF as a sub- oscillator for bass sounds,”...
Page 298 EXi: MS-20EX TRANSPOSE This controls the coarse tuning, in half-steps and cents, up or down two octaves. You can modulate this smoothly via AMS. 4-1e: PAN & ANALOG [Random, L001…C064…R127] This controls the stereo pan of the MS-20EX, at the very end of the signal chain.
Page 299: Program P5: Mg, Eg, & Modulation
Program P5: MG, EG, & Modulation 5-1: MG, EG, & Modulation 5–1a 5–1b 5–1c 5–1a: VOLTAGE CONTROLLED AMPLIFIER VOICE ALLOCATION When the EG selected here completes its release stage, the voice will be silenced, and its processor resources freed. Normally, you should leave this at the default setting, EG2.
Page 300 EXi: MS-20EX On (LED lit): When TEMPO SYNC is On, the MG synchronizes to the system tempo, as set by either the Tempo knob or MIDI Clock. The MG speed is controlled by the combination of the BASE NOTE and FREQUENCY/TIMES parameters, below.
Page 301 EG 2 HOLD TIME Trigger Trigger Hold Time Change to Parameter Value Attack Decay Sustain Release Level Time Time Time ATTACK TIME Adjusts the time from the EG trigger (e.g., note-on) until the EG reaches its maximum value. This is scaled by MIDI CC#73. DECAY TIME Adjusts the time the EG takes to descend from the peak to the sustain level.
Page 302 EXi: MS-20EX Speciﬁes the depth and direction of the modulation applied to the amp (VCA). This scales the combined effect of the VOLUME knob and its AMS modulation. 5–1f: EXTERNAL MODULATION 2 Source [Off, MG Tri, MG Pulse, EG 1, EG 1 REV, EG 2, EG 2 REV, List of AMS Sources] This selects the modulation source to control the parameters below.
Page 303: Program P6: Patch Panel
Program P6: Patch Panel 6-1: Patch Panel 6–1a 6–1d 6–1f 6–1k Using the Patch Panel Basic patching rules Most of the main sections of the MS-20EX, including the VCOs, ﬁlters, MG, EGs, and so on, are connected by default, even without using any patch cables. The lines and arrows on the Patch Panel show these “normal”...
Page 304 EXi: MS-20EX Clearing all connections from the Patch Panel To completely clear the Patch Panel, so that you can start from scratch: 1. Open the menu, and select the Delete All Connections command. All connections will be deleted. Patch Panel modiﬁcations - new inputs/outputs shown in red Patch Panel modiﬁcations In comparison to the original MS-20, the MS-20EX has some important additional features on the Patch Panel.
Page 305 Tip: Creating self-triggering patches Normally, new notes and EGs 1 and 2 are triggered by playing notes on the keyboard. They don’t have to be, however. You can use the MG Square/Pulse output, the Trig Out of the External Signal Processor, or AMS signals from the Wheel or Switch jacks to trigger one or both EGs.
Page 306: Sample & Hold
EXi: MS-20EX (LPF) CUTOFF FREQ input jack This input modulates the cutoff frequency of the Lowpass Filter. (LPF) IN jack This Patch Panel modiﬁcation provides a direct input to the Lowpass Filter. (LPF) OUT jack This Patch Panel modiﬁcation provides the output of the Lowpass Filter.
Page 307: Trigger Inputs
When the CLOCK input is high, the OUT jack will carry a slightly ﬁltered version of the signal from the IN jack. If the CLOCK input goes high for a very brief period of time, then the input from that instant will be “held”...
Page 308 EXi: MS-20EX Note that the MG’s LED is on when it is low. Initially, this seems like the opposite of what one might expect. When using the MG to trigger the EGs, however, this makes perfect sense: the EGs start when the LED goes on, and release when the LED goes off.
Page 309: Audio Inputs
6–1j: MIXERS 1 and 2 MIXER 1 This is a simple 2-in, 1-out mixer; you can use it for merging and scaling either control or audio signals. Note that you can also use this to invert the polarity of a signal. The levels of inputs A and B are controlled by knobs on the MG, EGs, and Modulation page, and can be modulated via AMS;...
Page 310 EXi: MS-20EX SIGNAL IN jack This is the input to the External Signal Processor. To use this with live audio input, connect the EXi AUDIO IN jack to the SIGNAL IN jack. SIGNAL LEVEL knob This adjusts the volume of the signal connected to the SIGNAL IN jack.
Page 311 THRESHOLD, LOW CUT FREQ and HIGH CUT FREQ controls, or when using other controls to modify the input signal. Using the External Signal Processor (ESP) You can use the ESP to control the MS-20EX from an external monophonic audio source, such as a melody played on a guitar.
Page 312 EXi: MS-20EX This selects the modulation source to route into the patch panel. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Important: on the original MS-20, the Mod Wheel was a bipolar modulation source–meaning that the center position produced no modulation, moving down from the center made the value lower, and moving up from the center made the value higher.
Page 313: Program P7: Eg 3-6
Program P7: EG 3-6 The MS-20EX has four assignable EGs, in addition to the original MS-20 EGs 1 and 2. Each of these can be used as an AMS modulation source to control a wide variety of parameters. 7-1: EG 3 7-2: EG 4 7-3: EG 5 7-4: EG 6...
Page 314: 9-1: Ams Mixers 1-2
EXi: MS-20EX 9-1: AMS Mixers 1-2 9-2: AMS Mixers 3-4 The MS-20EX’s AMS Mixers are identical to those of the AL-1 (although the MS-20EX has four, to the AL-1’s two). For detailed explanations, please see “9–1: AMS Mixer,” on page 209. EXi MS-20EX: Page Menu Commands Delete All Connections This command removes all of the connections from the...
Page 315: Ms-20Ex Tone Adjust
MS-20EX Tone Adjust MS-20EX Tone Adjust Default Settings VCO1 VCO1 VCO2 VCO2 Waveform Waveform Waveform Waveform Cutoff Cutoff Delay Delay Attack Attack Release Release Tone Adjust provides an elegant physical interface to the MS-20EX’s parameters. Most of the factory sounds use the default layout, as shown above.
Page 316 EXi: MS-20EX All of the additional parameters are listed below. Tone Adjust parameters may affect the internal parameters in one of two ways: they may be Relative, in which case they scale the existing parameter value, or Absolute, in which case they over-write the existing value.
Page 317: Exi: Polysixex
The PolysixEX is a rich-sounding, easy-to-use, high- polyphony virtual analog synth (up to 172 voices!). It combines the features and sonic character of the classic Korg Polysix (and the Legacy Polysix plug-in) with many additional capabilities unique to the OASYS. Features include: •...
Page 318: On-Screen Knobs And Switches, And The Parameter
EXi: PolysixEX On-screen knobs and switches, and the Parameter Details area Parameter Details The LCD displays include graphic knobs and switches for all of the main PolysixEX parameters. These let you view and edit parameters quickly and easily. Almost all of the original Polysix parameters ﬁt onto a single OASYS page.
Page 319: Exi Program P0: Play
EXi Program P0: Play 0–1: Main 0–1b This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display, which differs for each individual EXi.
Page 320 EXi: PolysixEX Common Step Sequencer This shows a graphic overview of the Common Step Sequencer. Press this area to jump to the Common Step Sequencer page. Common LFO Graphic This shows the waveform of the Common LFO. Press this area to jump to the Common LFO page. 3 Band EQ Graphic This shows the mid-sweepable 3-band EQ.
Page 321: Program P4: Main
Program P4: Main 4-1: Main 4–1a 4–1b 4–1c 4–1d 4-1a: VCO VIBRATO INT Moving the joystick “up” from the center detent position, away from yourself, produces the JS+Y controller (MIDI CC#1). On the PolysixEX, JS+Y normally controls VIBRATO–the amount of the MG applied to VCO pitch.
Page 322 EXi: PolysixEX Pulse waveform at different widths Pulse Width = 0.00 Pulse Width = 5.00 PWM SPEED The PolysixEX has an LFO dedicated to pulse width modulation (PWM). This adjusts the speed of that LFO. Note that this applies only when the WAVEFORM is set to PWM.
Page 323 KBD TRACK Adjusts the depth to which the cutoff frequency will change according to the note number, centered at C3. With a setting of 100, the change in cutoff frequency will be proportionate to the change in pitch (1 octave in pitch = 1 octave in ﬁlter frequency).
Page 324 EXi: PolysixEX VOLUME This controls the main output level. It affects all voices at once, and so it cannot be modulated by per-voice AMS sources such as EGs or LFOs 1 and 2. For per-voice modulation, use the ATTENUATOR parameter instead. For more information, see “ATTENUATOR”...
Page 325 ▼ 4–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program. For more information, see “Write Program”...
Page 326: Program P5: Modulation & Arpeggiator
EXi: PolysixEX Program P5: Modulation & Arpeggiator 5-1: Modulation & Arpeggiator 5–1a 5–1b 5–1c 5-1a: EXTERNAL MODULATION The External Modulation section offers an easy way to assign modulation to multiple destinations at once, using any AMS source. Note that most parameters also include dedicated AMS modulation, via the Parameter Details area.
Page 327 BASE NOTE When TEMPO SYNC is ON, this sets the basic speed of the arpeggiator, relative to the system tempo. The values range from a 32nd note to a whole note, including triplets. This value is then multiplied by the SPEED/TIMES knob, below.
Page 328: Program P7: Eg 2-3
EXi: PolysixEX AMS lets you switch to the opposite of the programmed setting. For instance, if LATCH is set to On, and the AMS Mode is set to Momentary, then pressing down on the footswitch would cause the latch to turn off. If you set AMS to use a continuous controller, such as the Joystick, values of 0-63 are as if the switch was off, and values of 64–127 are as if the switch was on.
Page 329: Polysixex Tone Adjust
PolysixEX Tone Adjust PolysixEX Tone Adjust Default Settings Filter Filter Filter Filter Filter EG Filter EG Cutoff Cutoff Resonance Resonance Intensity Intensity Mode Mode Switches 9 & 10: Switches 9 & 10: Arp Tempo & Key Sync Arp Tempo & Key Sync Attack Attack Decay...
Page 330 EXi: PolysixEX Vibrato Int Vibrato Int AMS Int VCO Octave VCO Waveform PW/PWM PW/PWM AMS Int PWM Speed PWM Speed AMS Int Sub Osc Sub Osc AMS Int Filter Cutoff Filter Cutoff AMS Int Filter Resonance Filter Resonance AMS Int Filter EG Intensity Filter EG Intensity AMS Int Filter Keyboard Track...
Page 331: Combination Mode
Combination mode Combination P0: Play This is the main page of Combination mode. Among other things, you can: • Select combinations • Edit the KARMA function in simple ways • Make audio input and resampling settings for use in Combination mode •...
Page 332 Combination mode Bank Combination Select Popup Each bank contains rewritable combination program areas for 128 combinations (a total of 1,792). Bank INT–A…C 000…127 Preloaded combinations INT–D…G, 000…127 User combinations USER–A…G Note: Pressing one of the BANK SELECT INT A–USER G switches while the Program Select parameter is selected in this page will change the timbre program bank (rather than the combination bank).
Page 333 Category/Combination Select menu Category tab Sub-category tab Scroll bar Category/Combination Select You can select combinations by category and sub- category. All combinations are organized into up to eighteen categories, and each category is further organized into eight sub-categories. You can use these categories and sub-categories to select combinations.
Page 334 Combination mode 0–1b: Timbre Program Select Selected Timbre Info This area shows information on the timbre selected for editing. T: Timbre number/program bank/number/name, Ch: MIDI channel/number. Select Timbre Info Timbre No. Category Bank/Program Select Program Select Status Play/Mute Solo On/Off Volume Timbre 01 Gray color and [Inactive] warning in Timbre Info...
Page 335 If bank select and program change messages are received on a MIDI channel that matches the MIDI channel of a timbre whose Status is INT, the program of that timbre will change. However if the MIDI channel of the incoming message matches the global MIDI channel “MIDI Channel,”...
Page 336 Combination mode L001…C064…R127: A setting of L001 is far left and R127 is far right. A setting of C064 will reproduce the pan setting of the Program mode. OSC1/EXi1 OSC2/EXi2 OSC1/EXi1: OSC1/EXi1 Amp1 Pan=L001 OSC2/EXi2: Left Center Right Amp2 Pan=R127 Pan (CC#10) C064 L032...
Page 337: 0-6: Karma Ge
Gray Timbre/Track number, and [Inactive] shown after Program name If you’ve already loaded Programs which use the maximum amount of EXi ﬁxed resources, and then load additional Programs which require ﬁxed resources, the newly added Programs will not sound. To let you know that this has happened, the Timbre/Track number (at the top of the mixer channel) will turn gray, and the Selected Timbre/Track Info will show the warning [Inactive] after the Program name.
Page 338 Combination mode The settings of the KARMA ON/OFF and LATCH switches, KARMA SCENES 1–8 switches, KARMA SLIDERS 1–8, and KARMA SWITCHES 1–8 are saved independently for each Combination. 0–6a: Combination Select, Load GE Options, KARMA T.Sig, Tempo Bank [INT–A…INT–G, USER–A…USER–G] Combination These are the bank, number, and name of the current Combination.
Page 339 Module ID Indicates which parameters you are controlling from the KARMA SLIDERS or KARMA SWITCHES. A, B, C, D: Indicates the KARMA Module that is being controlled. In this case, you are controlling a GE Real- Time Parameter. P: Indicates that the slider or switch is controlling a Performance Real-Time Parameter.
Page 340: 0-7: Controller View/Effect
Combination mode • 4: Initialize KARMA Module. For more information, see “Initialize KARMA Module” on page 409. • 5: Copy Scene. For more information, see “Copy Scene” on page 409. • 6: Swap Scene. For more information, see “Swap Scene” on page 409. 0–7: Controller View/Effect 0–7a 0–7b...
Page 341: 0-8: Audio Input/Sampling
FX Balance IFX: This controls the “Wet/Dry” balance of all insert effects. A setting of +10 is Wet or –Wet, a setting of +0 leaves the settings of the combination unmodiﬁed, and a setting of –10 is Dry. MFX: This controls the MFX1 and 2 “Return.” A setting of +10 is 127, a setting of +0 leaves the settings of the combination unmodiﬁed, and a setting of –10 is 000.
Page 342 Combination mode 0–8a: Audio Input Use Global setting On (checked): The Audio Input settings (Input1, Input2, Input3, Input4, S/P DIF L, S/P DIF R) you specify in Global P0– Audio page will be used. Normally you will leave this setting On (checked). The Audio Input setting you make in Global mode will always be used;...
Page 343: 0-9: Control Surface
▼ 0–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Combination. For more information, see “Write Combination”...
Page 344: Reset Controls
Combination mode Control Assign Switches and Tabs You can switch the Control Surface between its different functions using either the tabs on the left side of the LCD display, or the front-panel Control Assign switches. The tabs and the front-panel switches mirror one another;...
Page 345 Resetting the Vector Joystick To reset the Vector Joystick to the center position, hold down RESET CONTROLS and then move the Vector Joystick. Resetting KARMA Module parameters You can also reset all of the sliders and switches in the KARMA Module, by holding RESET CONTROLS and then pressing the KARMA MODULE CONTROL button.
Page 346: Master Volume Slider
Combination mode Send 1 This controls the send level into FX Send 1. If the Timbre’s Output Bus parameter is set to L/R or OFF, it scales the Oscillator send levels. If the Output Bus is set to IFX 1–12, it directly controls the post-IFX send levels.
Page 347 0–9c 0–9c: Audio Inputs This Control Assign setting lets you adjust the volume, pan, and FX send settings for each of the six audio inputs: Analog 1–4, and S/P DIF left and right. You can use this page to mix sounds from other sources into the OASYS outputs - as an on-stage submixer, for instance.
Page 348 Combination mode Play/Mute (1–6) When this switch is on (LED = on), the input will be enabled. When the switch is off (LED = off), the input will be muted. Solo switch and Select switches 1–6 Solo Solo lets you isolate one or more Timbres or Audio Inputs, so that you hear them by themselves.
Page 349 External Setups. For instance, you might make one setup for controlling several different pieces of MIDI gear on stage, another for controlling a software synthesizer (such as one of Korg’s Legacy Collection synths), and so on. For more information, see “1–2: External 1” on page 656.
Page 350 Combination mode CC# Assign (1–8) This read-only parameter shows the MIDI CC sent by the slider. Selected Parameter information 0–9e 0–9e: RT/KARMA (Real Time Knobs/KARMA) This Control Assign setting lets you modulate Program, Combi and Effects parameters with the eight knobs, and control KARMA with the switches and sliders.
Page 351 Knobs 1–8 Knobs 1–4 all have dedicated functions which correspond to MIDI CCs. Knobs 5–8 can be assigned to a wide variety of functions, many of which also have corresponding MIDI CCs. When you move the knob, it will send the corresponding MIDI CC to all Timbres on the Global Channel.
Page 352 Combination mode 0–9f 0–9f: Tone Adjust Tone Adjust provides two important features simultaneously: • It lets you use all of the sliders, knobs, and switches to control Program parameters - like the knobs on an analog synth, or the drawbars on an organ. •...
Page 353 Once the Program has been loaded, you can change any or all of the Tone Adjust settings as desired, including both assignments and values. All such edits are stored in the Combi, without affecting the original Program. If Auto Load PRG is On, Tone Adjust settings will be automatically loaded along with the Program.
Page 354 Combination mode Switch Status This simply shows whether the switch is On or Off. The status is also shown by the LEDs in the physical buttons. Sliders 1–8 and Master Slider These work identically to Knobs 1–8, as described above. Common Tone Adjust Parameters These parameters affect both Oscillators in a HD-1 Program, or both EXi in an EXi Program.
Page 355 LFO2 Speed. This scales LFO2’s frequency. When the LFO is in MIDI/Tempo mode, this adjusts the Base Note. For more information, please see “Frequency” on page 84. LFO2 Fade. This scales LFO2’s fade-in time. For more information, please see “Fade” on page 85. LFO2 Delay.
Page 356: Combination P1: Eq/Vector/Controller
Combination mode Combination P1: EQ/Vector/Controller 1–1: Timbre EQ 1–1a 1–1b Each Timbre has a dedicated three-band EQ, with sweepable mid band. This page lets you view and adjust the settings for all 16 Timbres at once. Timbre EQ and the control surface You can use the Control Surface to adjust almost all of the Timbre EQ parameters (except for Bypass).
Page 357 Timbre 01 (Timbre Number) Auto Load Prog EQ When you ﬁrst load a Program into a Timbre, this parameter determines whether or not the Program’s EQ settings will be loaded as well. Once the Program has been loaded, you can change any or all of the EQ settings as desired.
Page 358: 1-5: Vector Volume Control
Combination mode 1–5: Vector Volume Control 1–5a 1–5b Vector Synthesis lets you control Timbre volumes and Program & Effects parameters by moving the Vector Joystick, by using the programmable Vector Envelope, or by the combination of the two. For more background information on Vector Synthesis, please see “What does Vector mean?”...
Page 359 Vector Synthesis system, Combi mode Combination Combi Vector Volume Control Combi Vector EG Combi Vector CC Control Vector Joystick MIDI In (Global Chan.) Vector CC MIDI Output Vector Joystick Timbre 1 The front-panel Vector Joystick applies only when the Timbre is set to the Global Channel Program Vector Volume Control Vector Joystick MIDI In...
Page 360 Combination mode Equal Amount This applies only when Enable Volume Control is On. When Equal Amount is On, the Vector will fade between all four Vector axes while maintaining a total amount of 100%. This provides a smooth fade between the different sounds, and is the type of volume control used by classic Vector synths.
Page 361: 1-6: Vector Cc Control
Timbre Center Volume, VJS Assign = –X 100% Volume 50% -127 Vector X-axis position Center Volume Values: Enable Program Vector Volume When this is turned On, the Program’s Vector Volume control will function as it does in Program mode, crossfading between Oscillators 1 and 2. The crossfade 1–6: Vector CC Control 1–1a 1–6a...
Page 362 Combination mode Finally, you can optionally send these CCs out to external MIDI instruments. A global parameter allows you to enable or disable this MIDI output; by default, it is disabled. Program and Combi Vectors work together In Combi mode, each Timbre’s Program still has its own Vector EG, which controls volume and CCs as it did in Program mode.
Page 363 –X [Off…MIDI CC#119] This assigns the controller sent by the –X vector. It will be grayed out if the VJS X Mode, above, is set to Positive. The selections are the same as for +X, above. VJS Y Mode [Positive, Negative, Xfade, Split] This controls the Vector CC pattern for the Y axis.
Page 364: 1-7: Vector Envelope
Combination mode 1–7: Vector Envelope 1–1a 1–7a 1–7b 1–7c The Vector Envelope works together with the Vector Joystick to control the Vector position. It’s particularly convenient for modulating effects, since it’s the only Combi-wide programmable modulation source outside of KARMA. The Vector Envelope is different from the other envelopes in several ways: •...
Page 365 seconds and milliseconds, you can specify the EG times as rhythmic values, using the Base Note and Multiplier parameters. 1–7b: Vector Envelope Loop The Vector EG can loop between two points, and can continue to loop either for as long as you hold the note, or for a speciﬁed number of repeats.
Page 366 Combination mode Time This parameter lets you set the Hold Time in seconds and milliseconds. It applies only when the Mode is set to Time. (Base Note) This menu sets a basic rhythmic value for the Hold Time, relative to the system tempo. The values range from a 32nd note to a whole note, including triplets.
Page 367: 1-8: Set Up Controllers
▼ 1–7: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Combination. For more information, see “Write Combination”...
Page 368: 1-9: Set Up Pads
Combination mode Knob 5 Knob 6 Knob 7 Knob 8 ▼ 1–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. 1–9: Set Up Pads 1–1a 1–9a...
Page 369 Gch: Use the global MIDI Channel setting. This is the default. For more information, see “MIDI Channel (Global MIDI Channel)” on page 650. Pads and MIDI Channel Pad1 Pad2 KARMA Module A In: Gch/Out:Gch KARMA Module B In: Gch/Out:2ch Pad1 KARMA Module C In: 3ch/Out:3ch Pad2...
Page 370: Combination P2: Timbre Parameters
Combination mode Combination P2: Timbre Parameters 2–1: MIDI 1–1a 1–1b 2–1a Here you can make MIDI settings for each timbre. 2–1a: MIDI Timbre 01 Status This speciﬁes the MIDI and internal tone generator status. You can also set Status from the P0– Program Select page.
Page 371: 2-2: Osc
▼ 2–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. 2–2: OSC 1–1a 1–1b 2–2a These settings specify how each Timbre will be played. 2–2a: OSC Timbre 01 Force OSC Mode...
Page 372 Combination mode PRG: Portamento will be applied as speciﬁed by the program settings. Off: Portamento will be off, even if the original program settings speciﬁed for it to be on. 001…127: Portamento will be applied with the portamento time you specify here, even if it is turned off by the program settings.
Page 373: 2-3: Pitch
2–3: Pitch 1–1a 1–1b 2–3a Here you can make pitch-related settings for each timbre. 2–3a: Pitch Timbre 01 Transpose [–60…+00…+60] Adjusts the pitch of each timbre in semitone steps. 12 units equal one octave. When Status (0–1b, 2–1a) is INT, this parameter will affect the pitches sounded by the OASYS.
Page 374: 2-4: Delay
Combination mode Off (unchecked): The scale speciﬁed by Scale (2–3b) will be used. Timbres 02…16 These are the pitch-related settings for timbres 2 through 16. The settings are the same as for timbre 1. For more information, see “Timbre 01”. 2–3b: Combination’s Scale This speciﬁes the scale that the combination will use.
Page 375: 2-5: Wave Sequence/Karma
Time [ms] [0000…6000ms, KeyOff] Speciﬁes the time (delay time) from note-on until the timbre begins to produce sound, in units of ms (1/1000th of a second). This setting is available if “Mode” is set to Time. KeyOff: The note will begin sounding at note-off. In this case, the sound will not die away if the sustain level of the program’s amp EG is other than 0.
Page 376 Combination mode PRG: The setting of the program is used. Off: Key Sync is forced off. The wave sequence of each note will synchronize to the same step. On: Key Sync is forced on. The wave sequence will start each time you press a key. If the wave sequences have differing steps or rates, they will proceed independently.
Page 377: 2-6: Exi Audio Input
2–6: EXi Audio Input 1–1a 1–1b 2–6a 2–6b These parameters let you route audio into EXi instruments which support audio input, such as the STR-1. You can use this to create feedback loops, or to process live or recorded audio through the EXi’s synthesis engine.
Page 378: Combination P3: Midi Filter/Zones
Combination mode Combination P3: MIDI Filter/Zones 3–1: MIDI Filter1 1–1a 1–1b 3–1a These settings allow you to apply ﬁlters to the MIDI data that will be transmitted and received by each timbre 1–16. For example even if two timbres are being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other.
Page 379: 3-2: Midi Filter2
Enable JS+Y Speciﬁes whether MIDI CC#1 (the +Y axis of the OASYS’s joystick, or a realtime modulation knob assign setting) will be transmitted and received. Enable JS–Y Speciﬁes whether MIDI CC#2 (the –Y axis of the OASYS’s joystick, or a realtime modulation knob assign setting) will be transmitted and received.
Page 380: 3-3: Midi Filter3
Combination mode Enable Realtime Control Knob 5 Enable Realtime Control Knob 6 Enable Realtime Control Knob 7 Enable Realtime Control Knob 8 These specify whether MIDI message will be received for Realtime Control knobs 5 through 8. Timbres 02…16 These are the MIDI Filter2 settings for timbres 2 through 16.
Page 381: 3-5: Keyboard Zones
Timbres 02…16 These are the MIDI Filter3 settings for timbres 2 through 16. They are the same as for timbre 1. See “Timbre 01”. ▼ 3–3: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 382 Combination mode Zone Map Key zone display Bottom Slope Bottom Key Timbre 1 Timbre 16 C–1 72: The volume will increase gradually as you play downward, and will reach the original volume six octaves below the top key. Bottom Slope [00, 01, 02, 03, 04, 06, 08, 10, 12, 18, 24, 30, 36, 48, 60, 72] Speciﬁes the range of keys (12 is one octave) over...
Page 383: 3-6: Velocity Zones
3–6: Velocity Zones 1–1a 3–6a 1–1b 3–6b Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound for each timbre 1–16, and set the Top/Bottom Slope parameters to specify the range over which the volume will change. Velocity Switch: By setting two or more timbres to velocity zones that do not overlap, you can use variations in playing dynamics to play different...
Page 384 Combination mode “Top Velocity” and “Bottom Velocity” settings can also be input by holding down the ENTER switch and playing a note on the keyboard. Timbres 02…16 These are the velocity zone settings for timbres 2 through 16. They are the same as for timbre 1. See “Timbre 01”.
Page 385: Combination P7: Karma
Combination P7: KARMA Here you can make KARMA function settings for the combination. In Combination mode, you can use all four KARMA Modules (A, B, C, and D). This allows you to create a wide variety of setups, including assigning different phrases or patterns to different Programs.
Page 386 Combination mode Load GE Options These options let you specify whether the values and assignments for controllers such as the KARMA SLIDERS 1–8 and KARMA SWITCHES 1–8 will be set automatically, be initialized, or be preserved when you select a GE. For more information, see “Load GE Options”...
Page 387: Output Channel
Off (unchecked): The selected Module will receive data from the speciﬁed “Input Channel,” and will not receive data from the Global Input Channel. On (checked): The selected Module will receive data from the speciﬁed Input Channel and the Global Input Channel.
Page 388 Combination mode When you play the keyboard, you will hear the bass of timbre 1, whose MIDI channel is set to Gch. Since timbre 2 is set to MIDI channel 2, it will not sound in response to the keyboard. (See “KARMA ON/OFF=OFF (1)”...
Page 389: 7-2: Midi Filter/Cc Offset
7–2: MIDI Filter/CC Offset 1–1a 7–2a 7–2b 7–2a: MIDI Filter Receive MIDI Filter For each KARMA Module, specify whether to ﬁlter the MIDI control data received by the Module. After Touch Pitch Bend Damper (CC#64) JS+Y (CC#01) JS–Y (CC#02) Ribbon (CC#16) Other CC Please see “Receive MIDI Filter”...
Page 390: 7-3: Module Parameters-Control
Combination mode CC Number [Off, MIDI CC#00…CC#95] Value ▼ 7–2: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. •...
Page 391: 7-4: Module Parameters-Trigger
Clock Advance Mode [Auto, Dyn, Auto+Dyn, Auto+Dyn2] [ 3, 3, , 3, , , 3, , , 3, , Event] Size Chord Trigger Mode [Off, 1st, Chord1, Chord2, Chord3] Velocity Sense Bottom Please see “Clock Advance” on page 105. Note Map Mode (Note Map Mode) [Off, On-Main, On-Rpt, On-All] Table (Note Map Table)
Page 392 Combination mode Delay Delay Start Delay Start Fixed Please see “Delay” on page 108. Note Note Trigger Please see “Note Trigger” on page 109. Note Latch Please see “Note Latch” on page 109. Note: In Combination mode, this can be turned on/off for each KARMA Module.
Page 393: 7-5: Ge Real-Time Parameters
7–5: GE Real-Time Parameters 7–5a 7–5b 7–5c Here you can edit the Real-Time Parameters of the GE for each KARMA Module [A]–[D]. In addition, you can assign GE Real-Time Parameters to the KARMA Real- Time Controls so that you can control the phrase or pattern in real-time while you play.
Page 394 Combination mode 7–5c: GE Real-Time Parameters for Module Control = A, B, C, D Module Control = A, B, C and D let you control GE Real-Time Parameters independently for the corresponding KARMA Module. GE Real-Time Parameters 01…32 Here you can edit the GE Real-Time Parameters of each KARMA Module and assign them to KARMA Real- Time Controls for use with Module Control = Master, A, B, C and D.
Page 395: 7-6: Perf Real-Time Parameters
duration setting. If you disconnect the Master Layer, the duration value indicated by the Module Layer will be sent out. You can adjust the Module Layer’s Duration % (Gate) control to sound the same at that point, if desired. Turning “Enable RTC By Master” back on will resend the Master Layer’s duration setting, if it was the last moved control connected to the duration in that Master Scene.
Page 396 Combination mode A/B/C/D Speciﬁes whether the Perf Real-Time Parameter settings will be valid for each Module. On (checked): The Perf Real-Time Parameter settings will be valid. Off (unchecked): The Perf Real-Time Parameter settings will be ignored. Assign [---, Slider1…8, Slider1…8(SW), SW1…8, DynaMIDI1…8] For more information, see “Assign”...
Page 397: 7-7: Dynamic Midi
7–7: Dynamic MIDI 1–1a 7–7b Dynamic MIDI is a function that lets you use this instrument’s controllers and MIDI control messages to control speciﬁc KARMA functions. For more information, please see Please see “7–7: Dynamic MIDI” on page 116. 7–7a: Dynamic MIDI (1…8) Input (Input Module) Indicates either A, B, C, or D as the KARMA Module that will be the Dynamic MIDI Source input.
Page 398: 7-8: Random Seeds
Combination mode • 2: Copy KARMA Module. For more information, see “Copy KARMA Module” on page 408. • 3: Initialize KARMA Module. For more information, see “Initialize KARMA Module” on page 409. • 4: Copy Scene. For more information, see “Copy Scene”...
Page 399 Duration (Duration Seed) Controls the randomizable characteristics for the Duration Group, similar to those explained under “Rhythm (Rhythm Seed)” above. For more information, see “Duration Group” on page 914. Index (Index Seed) Controls the randomizable characteristics for the Index Group, similar to those explained under “Rhythm (Rhythm Seed)”...
Page 400: 7-9: Name/Note Map
Combination mode 7–9: Name/Note Map 1–1a 7–9a 7–9b Here you can assign the names for KARMA SLIDERS 1–8 and KARMA SWITCHES 1-8, view Global Note Map Tables, and edit the Custom Note Map Table stored with the Combi. 7–9a: Name Each Module Control layer has its own set of names for the 8 KARMA SLIDERS and 8 KARMA SWITCHES.
Page 401 7–9b ▼ 7–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Combination. For more information, see “Write Combination”...
Page 402: Combination P8: Insert Effect
Combination mode Combination P8: Insert Effect You can also specify the bus routing for the program used by each timbre 1–16. For instance, you can: • Send the output of a timbre to an insert effect • Route a sound to an insert effect 8–1: Routing1 8–1a 1–1a...
Page 403 8–1b: Routing1 Timbre 01 (Timbre Number) Bus Select (IFX/Indiv. Out Assign) Dkit You can select this only if the Timbre’s Program is a drum program (Oscillator Mode Drums). This parameter can also be edited from the P8– Routing 2 page. On (checked): The Bus Select, FX Control Bus, Send1, and Send2 settings for each key of the selected drum kit will be used.
Page 404 Combination mode Example: Inserting a single IFX into multiple timbre Example: Inserting a separate IFX into each timbre, and then inserting an IFX at the ﬁnal stage Example: Sharing a portion of a timbre’s IFX chain with another timbre Send1 (MFX1) Send2 (MFX2) For each timbre, these parameters set the send level to master effects 1 and 2.
Page 405: 8-2: Routing2
• 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy Insert Effect. For more information, see “Copy Insert Effect” on page 149. 8–2: Routing2 8–1a 1–1a 1–1b 8–2a Here you can specify the program oscillator output bus, effect control bus, and REC bus for each timbre 1 through 16.
Page 406: 8-5: Insert Fx
Combination mode Off: The signal will not be sent to a REC bus. Normally you will leave this off. 1…4: The output of the timbre will be sent to the corresponding REC bus. The Pan setting (0–1b) of each timbre will be ignored, and the signal will be sent in monaural.
Page 407 IFX1 IFX1 On/Off Chain to Chain Pan(CC#8) (Post IFX Pan) [L000…C064…R127] Bus Sel. (Bus Select) [L/R, 1…8, 1/2…7/8, Off] Ctrl Bus (FX Control Bus) REC Bus [Off, 1…4, 1/2, 3/4] Send1 Send2 Note: You can use the control surface to control Send 1 and 2.
Page 408: 8-6: Track View
Combination mode 8–6: Track View 8–6a 8–6b 8–6a: Track View Here you can view the timbre output and insert effect routing. Used in Tracks The upper and lower rows of boxes with eight boxes in each row indicate the timbre that is being sent to the corresponding insert effect.
Page 409: 8-7: Ifx 1-12
• 4: Insert IFX Slot. For more information, see “Insert IFX Slot” on page 150. • 5: Cut IFX Slot. For more information, see “Cut IFX Slot” on page 151. 8–7: IFX 1–12 8–7a 8–7b This page lets you edit the detailed parameters of the twelve insert effect s.
Page 410 Insert FX page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 411: 8-9: Common Fx Lfo
8–9: Common FX LFO 8–9a 8–9b The two Common FX LFOs allow you to synchronize LFO-based modulation for multiple effects, such as phasers, ﬂangers, ﬁlters, and so on. The Common LFOs control only the frequency, MIDI synchronization, and reset options; each individual effect still has its own settings for the LFO waveform and phase.
Page 412: Combination P9: Master/Total Effect
Combination mode Combination P9: Master/Total Effect Here you can make settings for the master effects and total effects. For instance, you can: • Route a sound to an master effects and total effects 9–1: Routing 1–1a 9–1a 9–1b Here you can specify the type of master effects and total effects, and turn them on/off.
Page 413: 9-2: Mfx1
9–1c: Master Volume Master Volume ▼ 9–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. 9–2: MFX1 9–2a Here you can edit the parameters of the effect you selected for MFX1 in the P9–...
Page 414: 9-3: Mfx2
Insert FX page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 415: Combination: Page Menu Commands
Combination: Page Menu Commands Combination: Page Menu Commands ENTER + 0–9: shortcuts for menu commands Each page has a set of menu commands, which provide access to different utilities, commands, and options, depending on the page you’re currently on. You can use the menu commands entirely from the touch-screen, by pressing the menu button in the upper right-hand corner of the screen and then selecting an option from the menu that appears.
Page 416 Combination mode IFX-All: The settings of all insert effect settings (the contents of the Insert FX page and the IFX1–12 effect parameters) of the copy-source program will be copied. IFX-All used: Only the insert effects used by the copy-source program will be copied. The copied settings will be packed into vacant slots (i.e., slots with 000: No Effect, unless such slots are located inside the chain).
Page 417 • Initialize: Sets sampling-related parameters to their default state. Resample Combination Play: Makes settings so you can play a combination and resample your performance. REC Audio Input: Makes settings so you can sample an external audio source while listening to yourself play a combination.
Page 418 Combination mode The window will cover the parameters for some of the Timbres on either the right or left sides of the display. If you select one of these Timbres, the window will automatically move to the other side of the display. Copy Vector Envelope Copy Vector Envelope is available on the Vector Envelope tab of the EQ/Vector/Controller page.
Page 419 In addition to the content copied when “GE RTP Control Setting & Scenes” is Off (unchecked), the following content is copied. • 7–5: GE RTP page “ASSIGN” and Polarity settings. • The scene selected in the master buffer (A), the KARMA CONTROLS slider and KARMA SWITCH settings of each scene (0–6d: Realtime Controls and 0–9f: R.Time Knobs/KARMA settings).
Page 420 Combination mode Copy Insert Effect This command copies effects settings from Program, Combination, Song, or Sampling modes. For more information, please see “Copy Insert Effect” on page 149. Note: the slot’s MIDI control channel, as speciﬁed by the Ch parameter on the IFX1–12 pages, will not be copied.
Page 421: Sequencer Mode
Sequencer Overview The OASYS contains a sophisticated sequencer that integrates a 16-track MIDI sequencer with a 16-track hard disk recorder. The sixteen MIDI tracks and the master track (which contains tempo data, etc.) allow you to record and play back MIDI data for the internal tone generator or for external sound modules, and the sixteen audio tracks allow you to record and play back audio signals on the internal hard disk recorder in synchronization with the...
Page 422: Sampling Features
to return to Program mode and edit the program itself. • OASYS’s AMS (Alternate Modulation) capability lets you use control changes for realtime control of the parameters of the programs used in a program. Its MIDI Sync abilities let you synchronize the LFO speed to changes in the tempo.
Page 423: Setup Parameters & Musical Data
Disk mode to create an audio CD from these WAVE files. • In addition to the song name, you can assign names to each pattern, track, and region. Setup parameters & Musical data Each song consists of MIDI tracks 1–16, a master track, audio tracks 1–16, various song parameters such as the song name, settings for the vector function, settings for the KARMA function, effect settings, RPPR...
Page 424: Tip: Auto Song Setup
recommend that you delete unused WAVE ﬁles so that space on the internal hard disk is not occupied unnecessarily. Tip: Auto Song Setup The Auto Song Setup function copies the settings of a program or combination to a song, and puts you in record-ready mode.
Page 425: Sequencer P0: Play/Rec
Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer 0–1a Select Track Info 0–1b Here you can make basic settings for MIDI track recording and playing back in the song, and can select the program that will be used by each track. 0–1a: Location, Song/Track Select Location [001:01.000…999:16.191]...
Page 426 Sequencer mode Changing the time signature in the middle of a song If you know beforehand the location at which you wish to change time signatures in the middle of a song, use the “Insert Measure” menu command to specify and insert the time signature for each measure of the same time signature, and then record your musical data.
Page 427: Creating A New Song
Tempo changes can also be created using the “MIDI Event Edit” or “Create Control Data” menu commands. Note: If you wish to record only the tempo changes, set Recording Setup (0–5a) to Overdub, and the tempo will be recorded on the master track without being affected by the musical data of Track Select.
Page 428 Sequencer mode Multi REC On (checked): Multi-track recording setup is enabled. Select this if you want to record two or more tracks simultaneously. Use MIDI multi-track recording if you want to simultaneously record multiple MIDI tracks of different channels, such as when recording the output of the KARMA or RPPR functions, or when recording from an external multi-track sequencer.
Page 429 • If you’ve chosen “Program Select,” the front-panel BANK buttons will change the program bank for the selected track. (If “Program Bank” is selected, the BANK switch LED of the program bank selected for the track will light.) • Use the Bank/Track Program Select menu to view and select programs by bank.
Page 430 Sequencer mode OSC1/EXi1 OSC1/EXi1 OSC2/EXi2 OSC1/EXi1: Amp1 Pan=L001 OSC2/EXi2: Left Center Right Amp2 Pan=R127 Pan (CC#10) C064 L032 L001 R096 R127 Left Center Right OSC1/EXi1: OSC1/EXi1 OSC2/EXi2 Amp1 Pan=C064 OSC2/EXi2: Left Center Right Amp2 Pan=C064 Pan (CC#10) C064 L032 L001 R096 R127 Left...
Page 431: 0-2: Audio Track Mixer
0–2: Audio Track Mixer 0–1a 0–1b 0–2a Here you can make settings for recording and playback of audio tracks in the song. You can specify the audio source for recording, and change the Play/Mute status, Solo status, pan, and volume for playback.
Page 432 Audio Input 1…4, Audio Input 1/2 and 3/4: Choose these to record directly from analog inputs 1-4. The input signal will be recorded directly, without passing through any buses or effects, and without being REC Source = Audio Input 1 (Single Track REC) Audio Input 1 Level...
Page 433 S/P DIF L, R, S/P DIF L/R: Choose these if you want to record the input from the S/P DIF jack. The input from the S/P DIF jack will be recorded directly without passing through the L/R bus, REC buses, or Individual buses.
Page 434 REC 1, 2, 1/2, REC 3, 4, 3/4: The REC 1/2 or REC 3/4 buses will be recorded. Choose this if you want to record only the audio input while hearing the sequencer playback and your keyboard playing from the L/R outputs. You can also mix several audio inputs to the REC buses, or use the REC buses to mix the direct sound from the audio inputs with the sound REC Source...
Page 435 Note: You can use the control surface to control Play/Rec/Mute. You can also make this setting from the front panel mixer section or from the P0– Control Surface page of the LCD. The procedure given below describes how to make these settings from the front panel.
Page 436: 0-3: Midi Track Loop
Sequencer mode • 0: Memory Status. For more information, see “Memory Status” on page 524. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Rename Song. For more information, see “Rename Song” on page 524. •...
Page 437 For example, you can use this on a drum track to make it play a ﬁll-in and then begin looping. Off (unchecked): Playback will begin from the “Loop Start Measure,” and will begin looping immediately. This will be valid if “Track Play Loop” is checked and “Loop Start Measure”...
Page 438: 0-5: Preferences
Sequencer mode 0–5: Preferences 0–1a 0–1b 0–5a 0–5b 0–5d Here you can specify the realtime recording method, adjust levels and make other settings for audio recording, and adjust the metronome settings. Selected Track Info This displays information about the currently selected MIDI or audio track.
Page 439 If you select Auto Punch In, the display will indicate “M***–M*** (Auto Punch In Start Measure–Auto Punch In End Measure)” at the right, allowing you to specify the range of measures that will be rewritten. Press the SEQUENCER REC/WRITE switch and then the START/STOP switch, and playback will occur until the speciﬁed measure is reached.
Page 440: Audio Tracks
Sequencer mode Audio Input/Output AUDIO INPUT 1,2 AUDIO INPUT 3,4 S/P DIF IN (L, R) Audio track monitor channels (Line: REC Source, Track: track playback) Line Track Line Track Select track Line Line Tracks Track Track Track Track Track Track other than “Track Track Track Track Track Track Track...
Page 441 Name 1…4 Here you can specify the names of the regions and WAVE ﬁles that will be created when you record audio tracks. You can use up to eight characters. If you check Take at the right, the take number will automatically be input as the last two characters of the name.
Page 442: 0-6: Karma Ge
Sequencer mode 0–6: KARMA GE 0–6a 0–6b Select KARMA Module Info 0–6c 0–6d This page gives you an overview of the four KARMA Modules (A-D), and lets you make basic adjustments. For more detailed editing of KARMA parameters, see “Sequencer P7: KARMA” on page 495. The settings of the KARMA ON/OFF and LATCH switches, KARMA SCENES 1–8 switches, KARMA SLIDERS 1–8, and KARMA SWITCHES 1–8 are saved...
Page 443 0–6d: Real-Time Controls 1…8 KARMA SWITCH KARMA SWITCH Stored value KARMA SWITCH Control Timbre Category Name KARMA SWITCH Name KARMA SLIDER 1 KARMA SLIDER 1Stored value KARMA SLIDER 1 Control Timbre Category Name KARMA SLIDER 1 Name Please see “0–6c: RealTime Controls” on page 9.. ▼...
Page 444: 0-7: Controller View/Effect
Sequencer mode 0–7: Controller View/Effect 0–7a 0–7b 0–7c Here you can view the function that is assigned to the vector joystick, SW1 and 2, and knobs 5–8, and view information about the effects. You can also adjust the FX Balance. 0–7a: Location, Song/Track Select Location [001:01.000…999:16.191]...
Page 445: 0-8: Audio In/Sampling
• 0: Memory Status. For more information, see “Memory Status” on page 524. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Rename Song. For more information, see “Rename Song” on page 524. • 3: Delete Song. For more information, see “Delete Song”...
Page 446 Sequencer mode If you want to have separate Audio Input settings for each song, uncheck this box and make the desired Audio Input settings here. Input1…4 These are settings for analog inputs 1/4. Inputs 1/2 are mic/line; inputs 3–4 are line-level only. S/P DIF L, S/P DIF R These are settings for the digital S/P DIF input.
Page 447: 0-9: Control Surface
Sample Time For more information, please see “Sample Time” on page 16. ▼ 0–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 448 Sequencer mode • Control each Track’s EQ settings and Master Effects Send levels • Modulate sounds and effects using the Real Time Knobs • Control KARMA, and select KARMA scenes, using the sliders and switches • Edit sounds using Tone Adjust •...
Page 449: Reset Controls
When it is set to Catch, you need to move the slider or knob so that it “catches” the parameter, by passing through its current value. Until the value is caught, moving the slider or knob has no effect on the parameter.
Page 450 Sequencer mode Note: With some EXi instruments, such as the CX-3, notes cannot be panned individually. For these EXi, Random pan will move all sounding notes to a different pan position at each note-on. EQ Trim This controls the volume level going into the EQ. High settings of the Low, Mid, and High Gain controls can cause substantial increases in the overall level.
Page 451: Master Volume Slider
On most pages, you can also toggle Exclusive Solo by holding ENTER and pressing 1 on the numeric keypad. Select 1/9–8/16 These buttons either select or solo the Track, depending on the state of the Solo switch. For more details, see Solo, above. You can link these Select buttons to the Keyboard Track selection, so that you can switch between playing the different tracks simply by pressing their front-panel...
Page 452 0–9c 0–9c: Audio Inputs This Control Assign setting lets you adjust the volume, pan, and FX send settings for each of the six audio inputs: Analog 1–4, and S/P DIF left and right. You can use this page to mix sounds from other sources into the OASYS outputs - as an on-stage submixer, for instance.
Page 453 Solo switch and Select switches 1–6 Solo Solo lets you isolate one or more MIDI Tracks, HDR Audio Tracks, or Audio Inputs, so that you hear them by themselves. It does this by temporarily muting all non-soloed Tracks and Inputs. The Select switches can show and control either which Input is currently selected, or which Inputs are soloed.
Page 454 External Setups. For instance, you might make one setup for controlling several different pieces of MIDI gear on stage, another for controlling a software synthesizer (such as one of Korg’s Legacy Collection synths), and so on. These External Setups are completely separate from the Song.
Page 455 CC# Assign (1–8) This read-only parameter shows the MIDI CC sent by the slider. 0–9f 0–9f: RT (Real Time Knobs)/KARMA This Control Assign setting lets you modulate Program and Effects parameters with the eight knobs, and control KARMA with the switches and sliders. Selected parameter information When you select a KARMA Slider or Switch, this area shows detailed information about its KARMA...
Page 456 Sequencer mode Knobs 1–8 Knobs 1–4 all have dedicated functions which correspond to MIDI CCs. Knobs 5–8 can be assigned to a wide variety of functions, many of which also have corresponding MIDI CCs. When you move the knob, it will send the corresponding MIDI CC to the current Keyboard Track, and also to all Tracks on the same MIDI Channel as the Keyboard Track.
Page 457: Track Select
Selected parameter information 0–9g 0–9g: Tone Adjust Tone Adjust provides two important features simultaneously: • It lets you use all of the sliders, knobs, and switches to control Program parameters - like the knobs on an analog synth, or the drawbars on an organ. •...
Page 458 Sequencer mode Once the Program has been loaded, you can change any or all of the Tone Adjust settings as desired, including both assignments and values. All such edits are stored in the Song, without affecting the original Program. If Auto Load PRG is On, Tone Adjust settings will be automatically loaded along with the Program.
Page 459 On Value [Depends on parameter] The parameter is set to this value when the switch is When the switch is assigned to a two-state Absolute parameter, such as Hold, this will always be the same as the Switch Status (see below). Switch Status This simply shows whether the switch is On or Off.
Page 460: Sequencer P1: Eq/Vector/Controller
Sequencer mode Sequencer P1: EQ/Vector/Controller 1–1: MIDI Track EQ 1–1a 1–1b Each Track has a dedicated three-band EQ, with sweepable mid band. This page lets you view and adjust the settings for all 16 MIDI Tracks at once. 1–1a: Location, Song/Track Select Location [001:01.000…999:16.191] Song Select...
Page 461 Regardless of this setting, subsequent edits to the Program’s EQ in Program mode will not affect the Combination. On: the Program’s EQ settings will be loaded automatically along with the Program. This is the default setting. Off: the Program’s EQ settings won’t be loaded. Use this if you’ve set up the EQ in a speciﬁc way, and then want it to stay unchanged while you try out different Programs.
Page 462: 1-2: Audio Track Eq
Sequencer mode 1–2: Audio Track EQ 1–1a 1–1b 1–2a Here you can adjust the three-band EQ (with sweepable mid range) for audio track. 1–2a: 3 Band Parametric EQ Track 01…16 (Track Number) STEREO This is shown if “Stereo Pair” is on. Bypass Input Trim High Gain...
Page 463: 1-5: Vector Volume Control
• 3: Delete Song. For more information, see “Delete Song” on page 524. • 4: Copy From Song. For more information, see “Copy From Song” on page 524. • 5: Load Template Song. For more information, see “Load Template Song” on page 524. •...
Page 464 Sequencer mode Vector Synthesis system, Sequencer mode Song Song Vector EG Vector Joystick MIDI In (Global Chan.) The front-panel Vector Joystick applies only when the Keyboard Track is on the Global Channel. Vector Joystick Track 1 The front-panel Vector Joystick applies only when the Track is on the same MIDI Channel as the Keyboard Track.
Page 465 Equal Amount This applies only when Enable Volume Control is On. When Equal Amount is On, the Vector will fade between all four Vector axes while maintaining a total amount of 100%. This provides a smooth fade between the different sounds, and is the type of volume control used by classic vector synths.
Page 466: 1-6: Vector Cc Control
Sequencer mode Enable Program Vector Volume When this is turned On, the Program’s Vector Volume control will function as it does in Program mode, crossfading between Oscillators 1 and 2. The crossfade will be controlled by the combination of the Program’s Vector EG and the Vector Joystick, and is not affected by the Song’s Vector EG.
Page 467 The Vector CCs are also sent to all Global Channel Tracks. These may modulate Program parameters, like any other MIDI CCs, depending on the settings within each individual Program. Finally, you can optionally send these CCs out to external MIDI instruments. A global parameter allows you to enable or disable this MIDI output;...
Page 468 Sequencer mode Vector CC Modes Positive Generates only +X, increasing from left to right. +X CC –127 +127 X-Axis Xfade Generates both +X and –X. One increases as the other decreases. +X CC –X CC –127 +127 X-Axis Show Point [VJS, Vector EG Point 0…4] You can view the volume and CC values for the current position of the Vector Joystick, or for any of the...
Page 469: 1-7: Vector Envelope
1–7: Vector Envelope 1–1a 1–7a 1–7b 1–7c The Vector Envelope works together with the Vector Joystick to control the Vector position. It’s particularly convenient for modulating effects, since it’s the only programmable modulation source stored with the Song, outside of KARMA. The Vector Envelope is different from the other envelopes in several ways: •...
Page 470 Sequencer mode seconds and milliseconds, you can specify the EG times as rhythmic values, using the Base Note and x (Multiply Base Note by…) parameters. 1–7b: Vector Envelope Loop The Vector EG can loop between two points, and can continue to loop either for as long as you hold the note, or for a speciﬁed number of repeats.
Page 471 Time This parameter lets you set the Hold Time in seconds and milliseconds. It applies only when the Mode is set to Time. (Base Note) This menu sets a basic rhythmic value for the Hold Time, relative to the system tempo. The values range from a 32nd note to a whole note, including triplets.
Page 472: 1-8: Set Up Controllers
Sequencer mode ▼ 1–7: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Memory Status. For more information, see “Memory Status”...
Page 473 Momentary: The function will be on only while you continue holding down the SW1 switch. [Off, …, After Touch Lock] Mode [Toggle, Momentary] Assigns a function to the SW2 switch. The functions you can assign to the SW2 switch are the same as for the SW1 switch with the exception than SW1 Mod.:CC#80 is replaced by SW2 Mod.:CC#81.
Page 474: 1-9: Set Up Pads
Sequencer mode 1–9: Set Up Pads 0–1a 1–9a There are eight velocity-sensitive trigger pads below the LCD screen. These look like drum machine pads, and playing drum sounds is certainly one use for them. However, they can also play up to eight-note chords on any sound–not just drums.
Page 475 Off: Select this to disable the note. C–1…G9: This sets the note number. 001…127: This sets the note’s velocity value. For more information on pads and velocity, please see “Pad Mode: Fixed Velocity vs. Velocity Sensitive” on page 465. Pad Mode: Fixed Velocity vs. Velocity Sensitive Each pad stores a velocity level for each of its 8 notes.
Page 476: Sequencer P2: Track Parameters
Sequencer mode Sequencer P2: Track Parameters 2–1: MIDI 0–1a 1–1b 2–1a Here you can make MIDI-related settings for each MIDI track. 2–1a: MIDI Track 01 (Track Number) Status [Off, INT, BTH, EXT, EX2] This sets whether the Track controls the internal sounds, external MIDI devices, or both.
Page 477 speciﬁed on the MIDI MIDI Channel Speciﬁes the MIDI channel that the MIDI track will use to transmit and receive musical data. The MIDI channel you specify here will be the receive channel when Status is INT, the transmit channel when it is EXT or EX2, and the receive/transmit channel when it is BTH.
Page 478: 2-2: Osc
Sequencer mode 2–2: OSC 0–1a 1–1a 2–2a These parameters specify how each MIDI track will be sounded. 2–2a: OSC Track 01 (Track Number) Force OSC Mode Selects the Voice Assign Mode (Program 1–1c) of the program selected for each MIDI track. For more information, please see Combination mode “Force OSC Mode”...
Page 479 This setting does not limit the Unison Number of Voices parameter. For instance, if Max # of Notes is set to 6, and Unison Number of Voices is set to 3, you can play up to 6 notes, each with 3 Unison voices. If the Program is set to Double, the Max # of Notes applies equally to both Oscillators.
Page 480: 2-3: Pitch
Sequencer mode 2–3: Pitch 0–1a 1–1a 2–3a Here you can make pitch-related settings for each MIDI track. 2–3a: Pitch Track 01 (Track Number) Transpose Adjusts the pitch of each MIDI track in semitone steps. 12 units equal one octave. Detune (BPM Adj. in Page Menu) [–1200…+0000…...
Page 481: 2-4: Delay
2–3b: Scale Scale Speciﬁes the scale that the song will use. For more information, please see “1–1g: Scale” on page 36. Type (Song’s Scale) [Equal Temperament…User Selects the scale. Selects the tonic key of the selected scale. Random As this value is increased, an increasingly random deviation will be added to the pitch at each note-on.
Page 482 Sequencer mode 2–4a: Delay Track 01 (Track Number) Mode This selects whether the Track delay will be set in milliseconds, or in rhythmic units. Time: Specify the delay time in units of milliseconds (ms = 1/1000th of a second). Tempo: Specify the delay time in terms of a Base Note and Times relative to the system tempo.
Page 483: 2-5: Wave Sequence/Karma
2–5: Wave Sequence/KARMA 0–1a 1–1a 2–5a Here you can make settings related to wave sequence and KARMA functionality for each MIDI track. 2–5a: Wave Sequence/KARMA Track 01 (Track Number) Wave Sequence Key Sync Speciﬁes the wave sequence Key Sync setting (Program 1–1e) of the program selected for the MIDI track.
Page 484 Sequencer mode by On (OSC Off by KARMA On): The track will not sound when the KARMA ON/OFF switch is on. The track will sound as usual when the KARMA ON/OFF switch is off. Use this when you are using a KARMA Module to control multiple tracks that are set to the same MIDI channel, and want a speciﬁc track to be silent only when the KARMA function is on.
Page 485: 2-6: Exi Audio Input
2-6: EXi Audio Input 1–1a 1–1b 2–6a 2–6b These parameters let you route audio into EXi instruments which support audio input, such as the STR-1. You can use this to create feedback loops, or to process live or recorded audio through the EXi’s synthesis engine.
Page 486: 2-7: Audio Track Delay
Sequencer mode 2–7: Audio Track Delay 0–1a 1–1a 2–7a Here you can specify a delay time by which the audio events of each audio track will be delayed relative to their “Location.” 2–7a: Delay Track 01…16 (Track Number) STEREO This is shown if “Stereo Pair” is on. Mode Time [ms] Base Note [ ,...
Page 487: Sequencer P3: Midi Filter/Zones
Sequencer P3: MIDI Filter/Zones 3–1: MIDI Filter1 1–1a 1–1b 3–1a Here you can select whether or not to apply ﬁltering to the MIDI data received by MIDI tracks 1–16. For example even if two tracks are receiving the same MIDI channel, one can be set to respond to damper pedal activity while the other does not.
Page 488 Sequencer mode Enable JS+Y Speciﬁes whether or not MIDI CC#1 (the +Y axis of the OASYS’s joystick, or a Modulation Knob Assign setting) will be received. Enable JS–Y Speciﬁes whether or not MIDI CC#2 (the –Y axis of the OASYS’s joystick, or a Modulation Knob Assign setting) will be received.
Page 489: 3-2: Midi Filter2
3–2: MIDI Filter2 1–1a 1–1b 3–2a Here you can enable transmission for the REALTIME CONTROLS 1–8 knobs. The MIDI control messages of knobs 1–4 are ﬁxed. The function of knobs 5–8 can be assigned in the Set Up Controllers page. 3–2a: MIDI Filter 2 Track 01 (Track Number) Enable Realtime Control Knob 1...
Page 490: 3-3: Midi Filter3
Sequencer mode • 10: Copy From Combination. For more information, see “Copy from Combination” on page 526. 3–3: MIDI Filter3 1–1a 1–1b 3–3a 3–3a: MIDI Filter 3 Track 01 (Track Number) Enable SW1 Enable SW2 Speciﬁes whether or not the effect of the SW1 and SW2 switches will be received.
Page 491: 3-5: Keyboard Zones
• 4: Copy From Song. For more information, see “Copy From Song” on page 524. • 5: Load Template Song. For more information, see “Load Template Song” on page 524. • 6: Save Template Song. For more information, see “Save Template Song” on page 525. •...
Page 492 Sequencer mode Bottom Slope [00, 01, 02, 03, 04, 06, 08, 10, 12, 18, 24, 30, 36, 48, 60, 72] Speciﬁes the range of keys (12 is one octave) over which the volume will be reached starting from the bottom key. 0: The volume will be at the original level from the bottom key.
Page 493: 3-6: Velocity Zones
3–6: Velocity Zones 1–1a 3–6a 1–1b 3–6b Here you can set the Top/Bottom Velocity parameters to specify the range of velocities that will be sounded by MIDI tracks 1–16, and Top/Bottom Slope specify the range over which the volume will be adjusted. These settings do not affect MIDI transmission/ reception.
Page 494 Sequencer mode ▼ 3–6: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Memory Status. For more information, see “Memory Status”...
Page 495: Sequencer P4: Track Edit
Sequencer P4: Track Edit 4–1: Track Edit 0–1a 4–1b 4–1a 4–1b Here you can edit MIDI tracks, the master track, and audio tracks. When editing a MIDI track, you can move, insert, and delete individual events of note or control change data, or copy, move, insert, and delete measures or tracks.
Page 496 Sequencer mode 4–1b: Track Select, From Measure, To End of Measure Track Select [MIDI Track01…MIDI Track16, Master Track, Audio Track01…Audio Track16] Here you can select the track you want to edit (or use as the copy-source) or record. If you want to perform an operation on all tracks, you don’t need to specify a track here.
Page 497: 4-2: Midi Track Name
• 14: Region Edit. For more information, see “Region Edit” on page 550. • 15: Volume Ramp. For more information, see “Volume Ramp” on page 552. • 16: Copy Song’s Tempo to Region. For more information, see “Copy Song’s Tempo to Region” on page 553.
Page 498: 4-3: Audio Track Name
Sequencer mode 4–3: AUDIO Track Name 0–1a 1–1a 4–3a Here you can assign a name to each audio track. 4–3a: Audio Track Names T01…T16 Here you can rename the audio tracks. Press the text edit button to open the dialog box, and input the desired characters.
Page 499: Sequencer P5: Pattern/Rppr
Sequencer P5: Pattern/RPPR On the OASYS you can use preset patterns P00–155, and user patterns U00–99. Preset patterns provide patterns that are suitable for drum tracks, and can be selected from any song. One hundred user patterns are provided for each song; you can create and store your own patterns in these.
Page 500 Sequencer mode 5–1b: Pattern, Pattern Select, Metronome, Remove Data How to record a user pattern 1. Use “Song Select” to select the song in which you want to create a user pattern. 2. Use Track Select to select the sound that you will record.
Page 501: 5-2: Pattern Name
5–2: Pattern Name 5–1a 5–1b 5–2a 5–2a: User Pattern Names Pattern name Here you can rename the pattern. Press the text edit button to open the dialog box, and input the name. You can enter up to 24 characters. For more information, see “Editing names”...
Page 502: 5-3: Rppr Setup
Sequencer mode 5–3: RPPR Setup 5–3a 5–3b 5–3c Here you can make settings for the RPPR (Realtime Pattern Play/Recording) function. RPPR lets you assign patterns to individual keys, and then playback patterns simply by pressing individual notes on the keyboard. This performance can be recorded in real- time.
Page 503 5–3b: KEY, Keyboard & Assigned graphics KEY (Key Select) Speciﬁes the key to which you want to assign an RPPR pattern. Non-assignable Assigned keys and keys tracks Key range Key range shown in the RPPR Setup List 5–3c: RPPR Setup Note Assign On (checked): When you playback the key speciﬁed by...
Page 504 Sequencer mode Sync settings Key 1 on Key 2 on Song Patterns 1 and 2 are set to Mode=Manual, and have identical Sync settings Sync: Off Pattern 1 Pattern 2 Sync: Beat Pattern 1 Pattern 2 Sync: Measure Pattern 1 Pattern 2 Sync: SEQ Pattern 1...
Page 505: Sequencer P7: Karma
Sequencer P7: KARMA Here you can make settings for the KARMA functions used in Sequencer mode. A Sequencer mode song can use four KARMA Modules (Modules [A], [B], [C], and [D]). In Sequencer mode, you can use the KARMA function on song tracks or for pattern real-time recording.
Page 506: 7-1: Ge Setup/Key Zones
Sequencer mode 7–1: GE Setup/Key Zones 7–1a 7–1b 7–1c Here you can select the GE that will be used by each KARMA Module, and specify the Key Zone and MIDI Setup for the four KARMA Modules used by the Sequencer mode song. 7–1a: Location, Track Select, Load GE Options, KARMA T.Sig, Tempo Location...
Page 507 Btm (Key Zone Bottom) Top (Key Zone Top) Please see “Key Zones” on page 376. Note: In Sequencer mode, MIDI data for each KARMA Module is transmitted and received on the “Input Channel” and “Output Channel” (7–1c) that you specify for each Module. Transpose Thru In Z (Thru In Zone) Trans (Transpose In Zone)
Page 508 Sequencer mode Example 1 KARMA ON/OFF = ON Track Select = MIDI Track 01 Track Select = MIDI Track 02 Example 2 KARMA ON/OFF = ON Track Select = MIDI Track 01 Track Select = MIDI Track 02 Example 3 KARMA ON/OFF = ON Track Select = MIDI Track 01 Track Select = MIDI Track 02...
Page 509 “Input Channel”: 01 “Output Channel” 01 5. Set KARMA Module [B] as follows. “GE Select”: a riff of GE category Bass “Input Channel”: 02 “Output Channel” 02 6. Set KARMA Module [C] as follows. “GE Select”: a drum pattern (a pattern of GE category Drums) “Input Channel”: Tch “Output Channel”...
Page 510: 7-2: Midi Filter/Cc Offset
Sequencer mode 7–2: MIDI Filter/CC Offset 1–1a 7–2a 7–2b 7–2a: MIDI Filter Receive MIDI Filter After Touch Pitch Bend Damper (CC#64) JS+Y (CC#01) JS–Y (CC#02) Ribbon (CC#16) Other CC For more information, see “Receive MIDI Filter” on page 100. Transmit MIDI Filter Pitch Bend CC–A, CC–B Envelope1, Envelope2, Envelope3...
Page 511: 7-3: Module Parameters-Control
• 3: Initialize KARMA Module. For more information, see “Initialize KARMA Module” on page 409. • 4: Copy Scene. For more information, see “Copy Scene” on page 409. • 5: Swap Scene. For more information, see “Swap Scene” on page 409. •...
Page 512: 7-4: Module Parameters-Trigger
Sequencer mode (Note Map Keyboard Track) Note Map Table Display For more information, see “Note Map” on page 106. ▼ 7–3: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 513: 7-5: Ge Real-Time Parameters
Envelope1, Envelope2, Envelope3 Envelope Trigger [Any, AKR, 1st, Dyn] Envelope Latch [Off, Sus1, Rel1, Sus2, Rel2] Please see “Envelope1, Envelope2, Envelope3” on page 109. Module Trigger Trigger By Module GE Phrase Length Cutoff Module A, B, C, D Please see “Module Trigger” on page 382. ▼...
Page 514 Sequencer mode (Tempo) For more information, see “Tempo” on page 5. 7–5b: GE Real-Time Parameters for Module Control = Master GE PARAMETER MIN (Minimum Value) MAX (Maximum Value) VALUE ASSIGN [---, Slider1…8, Slider (SW)1…8, SW1…8, DynaMIDI1…8] POL.ARITY For more information, see “7–5b: GE Real-Time Parameters”...
Page 515: 7-6: Perf Real-Time Parameters
7–6: Perf Real-Time Parameters 1–1a 7–6a Here you can assign controllers to KARMA Performance Real-Time Parameters (Perf. RTP) outside of the GE Real-Time Parameters that control the internal settings of the GE. Examples include the KARMA Key Zone parameters (Combination 7–1b) and KARMA Control and Trigger parameters (Combination 7–3, 7–4).
Page 516: 7-7: Dynamic Midi
Sequencer mode 7–7: Dynamic MIDI 1–1a 7–7a Dynamic MIDI is a function that lets you use this instrument’s controllers and MIDI control messages to control speciﬁc KARMA functions. For more information, please see “7–7b: Dynamic MIDI” on page 116 and p.387. 7–7a: Dynamic MIDI Input (Input Module) Source...
Page 517: 7-8: Random Seeds
7–8: Random Seeds 1–1a 7–8a 7–8b The Random Seeds page allows you to control some of the randomizable characteristics of a Module’s GE. Different Modules using the same GE can have various randomizable characteristics “linked” so that they share the same start seeds, generating phrases with the same characteristics.
Page 518: 7-9: Name/Note Map
Sequencer mode 7–9: Name/Note Map 1–1a 7–9a 7–9b Here you can assign the names for KARMA SLIDERS 1-8 and KARMA SWITCHES 1-8, view Global Note Map Tables, and edit the Custom Note Map Table stored with the Sequence. 7–9a: Name Master, Module A…D Each Module Control layer has its own set of names for each of the KARMA SLIDERS and SWITCHES.
Page 519: Sequencer P8: Insert Effect
Sequencer P8: Insert Effect You can also specify the bus routing for the program used by each MIDI track 1–16 and audio track 1–16. For instance, you can: • Send the output of a track to an insert effect • Route a sound to an insert effect 8–1: MIDI Routing1 8–1a 1–1a...
Page 520 Sequencer mode On (checked): The Bus Select, FX Control Bus, Send1, and Send2 settings for each key of the selected drum kit will be used. Check this setting if you want to apply an individual insert effect to each drum instrument, or to send individual drum instruments to AUDIO OUTPUT (INDIVIDUAL).
Page 521: 8-2: Midi Routing2
• 5: Put Effect Setting To Track. For more information, see “Put Effect Setting to Track” on page 557. • 6: FF/REW Speed. For more information, see “FF/REW Speed” on page 525. 8–2: MIDI Routing2 8–1a 1–1a 1–1b 8–2a Here you can specify the program oscillator output bus, effect control bus, and REC bus for each MIDI track 1 through 16.
Page 522: 8-3: Audio Routing1
Sequencer mode inputs to the REC buses for sampling or resampling, and set Source Bus (P0– Audio Input/Sampling 0–8c) to REC1/2 or 3/4 so that these signals can be sampled. Off: The signal will not be sent to a REC bus. Normally you will leave this off.
Page 523 Bus Select (IFX/Indiv. Out Assign) [L/R, IFX1…12, 1…8, 1/2…7/8, Off] This speciﬁes the bus for the audio track. The current settings can also be viewed in the Routing Map. This parameter can also be edited from the P8– Audio Routing 2 page. For more information, please see “Bus Select (IFX/Indiv.Out Assign)”...
Page 524: 8-4: Audio Routing2
Sequencer mode 8–4: Audio Routing2 8–1a 1–1a 1–1b 8–4a Here you can specify the buses, effect control bus, and REC bus for the outputs of audio tracks 1–16. 8–4a: Audio Routing2 Track 01 (Tack Number) STEREO This is shown if “Stereo Pair” is on. Bus Select (IFX/Indiv.Out Assign) [L/R, IFX1…12, 1…8, 1/2…7/8, Off] This speciﬁes the bus for the audio track.
Page 525: 8-5: Insert Fx
8–5: Insert FX 1–1b 8–5a 8–5a: IFX Here you can choose the type of each insert effect 1 through 12, its on/off status, chaining, and adjust the post-IFX mixer settings. For insert effects, the direct sound (Dry) is always stereo-in and out. The input/output conﬁguration of the effect sound (Wet) depends on the effect type.
Page 526 Sequencer mode IFX2: Chain to IFX3: Chain to IFX4: Chain to IFX5: Chain to IFX6: Chain to IFX7: Chain to IFX8: Chain to IFX9: Chain to IFX10: Chain to IFX11: Chain to 8–5b: Effect/EXi Fixed Resource Meter EXi FIXED FREE FOR VOICES The number of voices you can play is affected by how effects and EXi are being used.
Page 527: 8-6: Track View
8–6: Track View 1–1b 8–6a 8–6a: Track View Here you can view the track output and insert effect routing. Used in Tracks The upper and lower rows of boxes with eight boxes in each row indicate the timbre that is being sent to the corresponding insert effect.
Page 528: 8-7: Ifx 1-12
Sequencer mode • 4: Insert IFX Slot. For more information, see “Insert IFX Slot” on page 556. • 5: Cut IFX Slot. For more information, see “Cut IFX Slot” on page 556. • 6: Clean Up IFX Routings. For more information, see “Clean Up IFX Routings”...
Page 529 Insert FX page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 530: 8-9: Common Fx Lfo
Sequencer mode 8–9: Common FX LFO 1–1b 8–9a 8–9b The two Common FX LFOs allow you to synchronize LFO-based modulation for multiple effects, such as phasers, ﬂangers, ﬁlters, and so on. The Common LFOs control only the frequency, MIDI synchronization, and reset options; each individual effect still has its own settings for the LFO waveform and phase.
Page 531: Sequencer P9: Master/Total Effect
Sequencer P9: Master/Total Effect Here you can make settings for the master effects and total effects. For more information, please see “Effect Guide” on page 727. 9–1: Routing 1–1b 9–1a 9–1b Here you can specify the type of master effects and total effects, and turn them on/off.
Page 532: 9-2: Mfx1
Sequencer mode • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy MFX/TFX. For more information, see “Copy MFX/TFX” on page 153. • 3: Swap MFX/TFX. For more information, see “Swap MFX/TFX” on page 154. 9–2: MFX1 9–2a Here you can edit the parameters of the effect you...
Page 533: 9-3: Mfx2
• 0: Memory Status. For more information, see “Memory Status” on page 524. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy MFX/TFX. For more information, see “Copy MFX/TFX” on page 153. • 3: Swap MFX/TFX. For more information, see “Swap MFX/TFX”...
Page 534: Sequencer: Page Menu Commands
Sequencer mode Sequencer: Page Menu Commands Memory Status If you select “Memory Status,” the remaining amount of sequencer memory will be displayed. Exclusive Solo This speciﬁes how the Solo function will operate. Each time you select “Exclusive Solo,” the setting will alternate between multiple solo and exclusive solo.
Page 535 This dialog box is the same as in the page menu command “Copy To MIDI Track”. 5. In Pattern, select the pattern that you wish to copy. In To Track, select the copy destination track. In Measure, specify the beginning measure of the copy destination.
Page 536 Sequencer mode Note: When this dialog box is not open, you can hold down the ENTER switch and press the LOCATE switch to set the current location as the “Set Location” value. GM Initialize This command transmits a GM System On message to the Sequencer mode, resetting all MIDI tracks to the GM settings (See “GM Initialize List”...
Page 537 GM Initialize List Page Parameter Program Select Play/Mute, Solo P0 MIDI Prog/Mixer Volume Auto Load Prog EQ Bypass Input Trim P1 MIDI Track EQ High Gain Mid Frequency Mid Gain High Gain Status MIDI Channel MIDI Bank Select MSB/LSB Timbre Priority Force OSC Mode OSC Select Portamento...
Page 538 Sequencer mode Stereo Pair This lets you assign adjacent audio tracks as a stereo pair. The following parameters of paired channels will be linked with the same values. Volume, Pan, Send1, Send2, EQ (Bypass, Input Trim, Low Gain, Mid Cutoff, Mid Gain, High Gain), Play/Rec/Mute In addition, you can use the P4: Track Edit page menu commands to edit paired tracks simultaneously.
Page 539 The Auto +12 dB On setting is made independently for Program, Combination, Sequencer, and Sampling modes. 4. “Convert to” lets you specify whether the sample will automatically be converted to a program after sampling. You can also specify whether a note event will be created at the time of sampling.
Page 540 Sequencer mode 3. The settings for the rest of the procedure will depend on what you selected in step 2. (For details, refer to the explanations below.) If you selected Initialize: 1. Refer to Auto HDR/Sampling Setup steps 1 and 2, and select Initialize.
Page 541 2. Use “Mode” to specify whether you will bounce in mono or in stereo. Mono: Settings will be made so the track(s) you selected in “From” can be bounced in mono to a single audio track. Stereo: Settings will be made so that the track(s) you selected in “From”...
Page 542 Sequencer mode Note: Use the page menu command “Select Directory” to specify the location in which the new WAVE ﬁle will be created. If you selected Resample SEQ Play: 1. Refer to Auto HDR/Sampling Setup steps 1 and 2, and select Resample SEQ Play. 2.
Page 543 S/P DIF IN jack will be input to the OASYS. (0–8a “Audio Input”) 3. Use “Mono-L/Mono-R/Stereo” to select the input source and the number of channels you will sample. The Mono-L setting will sample from Audio Input1, 3 and S/P DIF L to sample to L-MONO, Mono-R will use Audio Input2, 4, and S/P DIF R to sample to R-MONO, and Stereo will use Audio Input 1/2, 3/4, and S/P DIF L/R to sample in stereo.
Page 544 Sequencer mode Play/Rec/Mut Play Solo – Audio Track REC Source Stereo Pair Source Bus Source Direct (N/A) Solo Trigger Note On Metronome (N/A) Precount Sampling Setup Save to (Name) Mode Stereo Sample Maximum Time(RAM) Sample 80min? Time(DISK) Rec Level +0.0 Auto +12dB Convert to Program...
Page 545 2. Select “Bounce All Tracks To Disk” to open the dialog box. 3. Use “Drive Select,” “Open,” and “Up” to select the directory in which the WAVE ﬁle will be saved. 4. Use “Name” to specify the ﬁlename of the WAVE ﬁle that will be created by bounce-recording.
Page 546 Sequencer mode 4. In “Step Time,” specify the length (in terms of a note value) of the basic interval at which you will input data. From the popup menu at the left, select the note length in a range of (whole note) through note).
Page 547 “Control Change” lets you specify the control change number. Normally you will leave this set at ALL. You can also check various other events (“Pitch Bend,” “Program Change,” “After Touch,” “Poly After Touch,” and “Exclusive”). 2. Press the OK button to open the Event Edit dialog box.
Page 548 Sequencer mode Note: As long as there is data in the master track, you can open the audio event editing dialog box even if the audio track is empty. 1. Use Track Select to select the audio track you want to edit, and use From Measure (4–1b) to select the measure at which you want to begin editing.
Page 549 The procedure is the same as for “Region Edit.” The region will be changed when you press the OK button. If you press the Cancel button, the region will not be changed. If stereo pairing is enabled and you’re editing a stereo audio event, the dialog box will appear twice.
Page 550 Sequencer mode WAVE ﬁle waveform display, ZOOM This area displays the waveform of the WAV ﬁle assigned to the region. the waveform display and ZOOM buttons operate in the same way as in Sampling mode, except that the displayed data is a WAVE ﬁle.
Page 551: Erase Track
3. Measure and Index located in the top line of the dialog box show the measure for editing and the index number of an event within that measure; this event is shown at the top of the list of events. You can use the scroll bar at right to move to the event you want to edit.
Page 552: Copy Track
Sequencer mode If you do not check All Tracks, All MIDI Tracks, or All Audio Tracks, only the playback data of the track you selected in Track Select will be erased. If you check All Tracks, the playback data of all tracks (MIDI tracks, master track, and audio tracks) will be erased.
Page 553: Delete Measure
Audio tracks 3. In From Measure select the ﬁrst measure to be erased, and in To End of Measure select the last measure to be erased. (By default, From Measure and To End of Measure will be set to the range that you speciﬁed in the Track Edit page.) 4.
Page 554 Sequencer mode 3. In From Measure select the ﬁrst measure that you wish to delete, and in To End of Measure select the last measure that you wish to delete. By default, the range of measures will be set as speciﬁed on the Track Edit page.
Page 555 The playback data in subsequent measures will play just as it did before this command was executed. If you check All MIDI Tracks (when a MIDI track is selected), the measures will be inserted into all MIDI tracks. If you check All Audio Tracks (when an Audio track is selected), the measures will be inserted into all audio tracks.
Page 556: Copy Measure
Sequencer mode If you execute Repeat Measure at a location in the middle of an audio event that spans several measures, a new region will be automatically created and named. Note: The WAVE ﬁle itself will not be modiﬁed. Copy Measure This command copies the measures of musical data speciﬁed as the “From”...
Page 557 If All Tracks, All MIDI Tracks, and All Audio Tracks are unchecked, only data from the selected track will be moved. If you check All Tracks, the playback data of all tracks including the Master Track will be moved. If you check All MIDI Tracks (when a MIDI Track is selected), all MIDI tracks will be moved.
Page 558 Sequencer mode Control change: Control change data will be erased. Use “#” to specify the control change number. After Touch: Aftertouch data will be erased. Pitch Bend: Pitch bend data will be erased. Tempo: Tempo data will be erased. (If you’ve selected the master track) 5.
Page 559: Modify Velocity
Original 100% 100% 100% 100% Quantize Resolution = Offset = 0, Intensity = 100% Quantize Resolution = Offset = 0, Intensity = 50% 100% 100% 100% 100% Quantize Resolution = Offset = +48, Intensity = 100% Quantize Resolution = Offset = +48, Intensity = 75% 100% 100% 100%...
Page 560 Sequencer mode will be modiﬁed. 2. Select “Modify Velocity” to open the dialog box. 3. Specify the range in which note velocity will be modiﬁed. From Measure and To End of Measure specify the measure, and Beat.Tick specify the beat and clock. (By default, From Measure and To End of Measure will be set to the range that you speciﬁed in the Track Edit page.)
Page 561 Select the region that you want to import, and press the Import button. The Import dialog box will appear. Use “Drive Select,” “Open,” and “Up” to move to the desired directory, select the region ﬁle or WAVE ﬁle you want to import, and press OK. You can use “Name”...
Page 562 Sequencer mode On: If you edit the “Start” or “End” address, the “End” or “Start” address will automatically be adjusted to preserve the existing length between “Start” and “End.” Allow Tempo [Off, On] This speciﬁes whether the Region’s Tempo (see “Tempo [40.00…240.00],”...
Page 563 Copy Song’s Tempo to Region This command changes the tempo used by the speciﬁed regions of audio events so that the audio event tempo will match the tempo of the location in which those regions play back. If the tempo of an audio track matches the tempo of the MIDI tracks, executing this command to match the region tempo will ensure that the “Adjust Region to Song’s Tempo (Time Stretch)”...
Page 564 Sequencer mode 6. Press the OK button to execute the Time Stretch command, or press the Cancel button to cancel. Note: When you execute this command, new regions and WAVE ﬁles will be created, and ﬁle names and region names will be assigned automatically. The audio events will also be modiﬁed.
Page 565 (By default, this will be the song and pattern that was selected in the Pattern Edit page.) 3. In To: Song and Pattern, specify the copy destination song and pattern. For Pattern, only user patterns U00–U99 can be speciﬁed. 4. To execute the Copy Pattern command, press the OK button.
Page 566 Sequencer mode Note: If you press the SEQUENCER START/STOP switch while the dialog box is open, the selected pattern will play back. 2. In Pattern and Pattern Select, select the “put” source pattern. (By default, this will be the pattern selected in the Pattern Edit page) •...
Page 567 Copy MFX/TFX For more information, please see “Copy MFX/TFX” on page 153. Note: the slot’s MIDI control channel, as speciﬁed by the Ch parameter on the MFX1–2 pages, will not be copied. Swap MFX/TFX For more information, please see “Swap MFX/TFX” on page 154.
Page 568 Sequencer mode You can only insert events to specify the type of effect and the effect parameters. Settings for effect on/off and bus selection must be recorded in realtime. 1) Inserting effect settings at the beginning and in the middle of the song In this example we’ll use the page menu command “Put Effect Setting to Track”...
Page 569 To: Song: 000 Track: 03 Measure: 009 Beat.Tick: 01.000 8. Press the OK button to execute the command. After execution, select song 000 and play it back. The effect for track 3 will change to 048: Stereo Flanger at measure 9. 9.
Page 570: System Exclusive Events Supported In Sequencer Mode
Sequencer mode System Exclusive events supported in Sequencer mode You can record and play back System Exclusive events, and edit tracks that contain System Exclusive events. SysEx messages that can be recorded in real-time The following exclusive messages can be recorded in real-time: Parameter change messages that you can realtime-record in Sequencer mode Front panel/Page...
Page 571 System Exclusive events supported in Sequencer mode Put Effect Setting to Track data. These recorded events may not be reproduced correctly if you rewind or fast-forward during playback. If you want to record such events, check only one of these two “Enable” settings in Global mode MIDI Filter.
Page 572 Sequencer mode...
Page 573: Sampling Mode
Korg’s own format, Akai S1000/3000 samples and program data, and AIFF or WAVE samples. (Once data has been loaded into the OASYS, it will all be treated as Korg format sample data.) • You can export samples created on the OASYS as AIFF or WAVE files.
Page 574 Sampling mode either internal or external sources. For instance, you can use compression, EQ, lo-fi, etc. You can also use tempo-based LFO or delay effects, which can be very useful when sampling rhythmic loops. • Sampling can be initiated by the SAMPLING START/STOP switch, note-on, threshold, or the SEQUENCER START/STOP switch.
Page 575 loop sample (a looped pattern of drums etc.), and divides it into separate rhythm instrument sounds. A pattern corresponding to the divided samples is created automatically, so that you can immediately use the Sequencer mode RPPR function to play the pattern and adjust the tempo without changing the pitch.
Page 576 Sampling mode inﬁnite resolution into a digital signal with ﬁnite resolution. With 16 bit resolution, each level is indicated in 65,536 steps (the sixteenth power of two). The greater the bit resolution is, the closer to the original analog signal the waveform in memory will 48 kHz 16 bit sampling is the same quality as in audio devices such as DAT.
Page 577: Sampling P0: Recording
Sampling P0: Recording This page is where you make basic settings for recording (sampling), including: • Creating and editing multisamples and indexes • Specifying the writing-destination for the samples you record, and selecting either mono or stereo samples 0–1: Recording 0–1a 0–1b 0–1d...
Page 578 Sampling mode Keyboard & Pads Keyboard: This indicates the index zone of multisample, the original key, and the root key. The red triangles indicate the keyboard range, and the white triangle indicates the C4 key. Keyboard & Pads Index01 Note: The base key (displayed in blue) •...
Page 579 Original Key Speciﬁes the key that will play the sample at its original pitch (i.e., the pitch at which it was recorded). The pitch will change in semitone steps relative to the original key. For example, suppose that you recorded a sample with Original Key of F2.
Page 580 Sampling mode Convert” to convert the -L and -R samples to differing sampling rates, they will no longer be handled as a stereo sample. ADC OVERLOAD ! If the signal level from AUDIO INPUT 1–4 jacks is too high, the “ADC OVERLOAD !” indication will appear. You’ll need to adjust the MIC/LINE gain select switch, the LEVEL knob (AUDIO INPUT 1 and 2 only), or the output level of your external audio source.
Page 581 R-Mono: The R channel of the Source Bus will be sampled in mono. Stereo: The L and R channels of the Source Bus will be sampled in stereo, creating a stereo multisample. Example 1) Sampling a mono source connected to AUDIO INPUT 1 without applying internal effects If using the Audio Input: Source Bus: Audio Input 1/2 (0–8c)
Page 582 Sampling mode • Whether sampling in stereo or in mono. If “Mode” (0–1d) is set to Stereo, the maximum “Sample Time” will be halved. • The time specified for “Pre Trigger REC” (0–8c: a function that automatically samples the sound even before you begin sampling) will be subtracted from the amount of memory that actually remains.
Page 583: 0-8: Audio Input
• 4: Sample Mono To Stereo. For more information, see “Sample Mono To Stereo (Change Sample Type)” on page 617. • 5: Delete MS. For more information, see “Delete MS (Delete Multisample)” on page 617. • 6: Copy MS. For more information, see “Copy MS (Copy Multisample)”...
Page 584 Sampling mode When using the S/P DIF input, make sure that the word clocks on all connected digital audio devices are conﬁgured correctly. For more information, see “System Clock” on page 644. Note: Audio input settings for CD audio from the internal CD-R/RW drive or a USB-connected CD- R/RW drive are made in “P5: Audio CD.”...
Page 585 Tip: You can use the control surface to control this parameter. (See “Using the control surface to adjust Audio Input” on page 11.) ADC OVERLOAD ! If the signal level from AUDIO INPUT 1–4 jacks is too high, the “ADC OVERLOAD !” indication will appear. You’ll need to adjust the MIC/LINE gain select switch, the LEVEL knob (AUDIO INPUT 1 and 2 only), or the output level of your external audio source.
Page 586 Sampling mode Source Bus = REC Bus 1/2 Source Bus = REC Bus 1/2 CD-R/RW Drive Audio Input Source Bus = Audio Input 1/2 Source Bus = Audio Input 1/2 Audio Input 1 Audio Input 2 Source Bus = S/P DIF L/R Source Bus = S/P DIF L/R S/P DIF L S/P DIF R...
Page 587 Off (unchecked): The L/R (post-TFX) signals and the signals of the bus selected by Source Bus will be output from the L/R jacks and the headphone jack according to the Audio Input Bus Select (8–1b) and post-IFX Bus Select (8–5a) settings. This is the normal state.
Page 588 Sampling mode You can apply effects to a sample and then resample it, or resample a performance of samples that you play. Manual: This is the normal method. Use this when you want to sample an external input sound. If a sample is already assigned, the sample assigned for playing from the keyboard will be resampled together with the external input sound.
Page 589: 0-9: Control Surface
• 10: MS Stereo To Mono. This will appear only if the current MS is Stereo. For more information, see “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619. • 11: Optimize RAM. For more information, see “Optimize RAM”...
Page 590 Sampling mode Front-panel LEDs for sliders and knobs There’s a vertical column of LEDs next to each slider, and a ring of LEDs around each knob. Similarly, each of the switches has an LED to show whether it’s on or off.
Page 591 Knobs 1–8, Channel Strip When the Mixer Knobs switch is set to Channel Strip, the knobs provide quick access to the Pan, EQ, and FX Send parameters. The Pan and EQ parameters duplicate the similarly-named parameters found on the Program editing pageS. [Random, L001…C064…R127] This controls the stereo pan of the selected Oscillator.
Page 592: Master Volume Slider
Sampling mode Master Volume Slider Master Volume This controls the volume of the main stereo outputs, after the Total Effects. It does not affect Individual Outputs 1–8. 0–9c 0–9c: Audio Inputs This Control Assign setting lets you adjust the volume, pan, and FX send settings for each of the six audio inputs: Analog 1–4, and S/P DIF left and right.
Page 593 Outputs 1–8. For more information, see the diagram “Master Volume” on page 582. gear on stage, another for controlling a software synthesizer (such as one of Korg’s Legacy Collection synths), and so on. For more information, see “1–2: External 1” on page 656.
Page 594 Sampling mode When you select an External Setup, it stays selected even when you change Programs, or switch to Combi or Sequencer modes. This makes it easy to select different OASYS sounds without disrupting any external MIDI control, and vice-versa. Setup This selects the Global setup for the knobs, sliders, switches, and drum pads.
Page 595 When you move a knob, it sends out the corresponding MIDI CC. Also, when the CC is received via MIDI or generated by KARMA, the knob value changes to match the CC value. Unless otherwise noted, “scaling” means that the parameters are at their programmed values when the controller is at 64, at their minimum when the controller is at 0, and at their maximum when the...
Page 596: Sampling P1: Sample Edit
Sampling mode Sampling P1: Sample Edit In this page you can edit sample data (waveform data). You can make detailed edits while watching the sample waveform display. Here are the main operations you will perform in this page. • Truncate (delete unwanted regions), copy, paste, move, normalize (boost the level as high as possible without distortion), rate convert (lower the 1–1: Sample Edit...
Page 597 If you have selected a stereo multisample or sample, the L channel and R channel of the sample data will be shown above and below. Sample waveform display 1–1d: Edit Range Start This speciﬁes the range (start address and end address) of the sample that will be edited by page menu commands.
Page 598 Sampling mode If the zoom ratio is low (1X or less), the “Sample waveform display” may differ slightly from the displayed waveform before and after waveform editing, but this does not affect the playback sound. If this occurs, raising the zoom ratio will make the display accurate.
Page 599: Sampling P2: Loop Edit
Sampling P2: Loop Edit In this page you can specify the region of the sample that will play and the portion that will loop. You can edit the waveform down to the level of individual samples while watching the sample waveform display. Here are the main operations you will perform in this page.
Page 600 [000000000…] These settings will be preserved if you save the sample as a Korg format sample ﬁle (.KSC, .KMP, .KSF). However, these settings are ignored by Korg- format-compatible devices other than the OASYS and the TRITON STUDIO; i.e., these settings are ignored by the TRITON, TRITON-Rack, TRITON Le, and TRINITY etc.
Page 601 2–1f: ZOOM ZOOM This allows you to zoom-in/out in horizontal and vertical directions of the “Sample waveform display” (1–1f). ▼ 2–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 602: Sampling P3: Multisample Edit
Sampling mode Sampling P3: Multisample Edit In this page you can edit multisamples. You can create, delete, copy, and paste indexes, and assign samples to indexes. You can also edit detailed settings such as level and pitch for each index. Here are the main operations you will perform in this page.
Page 603 Since in Sampling mode the playback unity level will normally be the maximum level, adjustments in the + direction will have no effect. If Volume (CC#07) or Expression (CC#11) has been assigned to the ASSIGNABLE PEDAL or as the Realtime Modulation knob 5–8 and these controllers have been operated, or if these MIDI messages have been received to lower the playback unity level, then...
Page 604 Sampling mode “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619. • 10: MS Stereo To Mono. This will appear only if the current MS is Stereo. For more information, see “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)”...
Page 605: Sampling P4: Eq/Controller
Sampling P4: EQ/Controller In this page you can edit a mid-sweepable three-band EQ that is applied to the output of the multisample. 4–1: EQ 4–1a Here you can edit the mid-sweepable three-band EQ that is applied to the output of the multisample. 4–1a: 3 Band Parametric EQ In addition to editing these parameters in the screen, you can use the control surface to edit all EQ...
Page 606: 4-8: Set Up Controllers
Sampling mode ▼ 4–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Delete Sample. For more information, see “Delete Sample”...
Page 607 Mode [Toggle, Momentary] Speciﬁes how on/off operation will occur when you press the SW1 switch. Toggle: On/off will alternate each time you press the SW1 switch. Momentary: The assigned function will be on only while you hold down the SW1 switch. [Off, …, After Touch Lock] Mode [Toggle, Momentary]...
Page 608: 4-9: Set Up Pads
Sampling mode 4–9: Set Up Pads 4–9a Here you can specify the note numbers (and their velocities) that will be produced by pads 1–8 in Sampling mode. You can assign up to eight note numbers (and their velocities) to each pad. 4–9a: Pads 1 [Off, C-1…G9 / 001…127] [Off, C-1…G9 / 001…127]...
Page 609 • 10: MS Stereo To Mono. This will appear only if the current MS is Stereo. For more information, see “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619. • 11: Optimize RAM. For more information, see “Optimize RAM”...
Page 610: Sampling P5: Audio Cd
Sampling mode Sampling P5: Audio CD You can use the internal CD-R/RW drive, or a USB- connected CD-R/RW drive, to sample directly from an audio CD. You can even send the live audio from the CD through Insert or Master Effects, to the REC and FX Control Buses, and control pan and level separately for the left and right channels, just as you can with the audio inputs.
Page 611 Drives other than a CD-R/RW drive cannot be selected here. Track Selects the track of the audio CD that you want to play or sampling. Index Selects the index of the audio CD that you want to play or sampling. This can be selected only if you have selected a track that contains index data.
Page 612 Sampling mode specify the Range End. If you press the ENTER switch three or more times, the Range Start and Range End will be set to the locations of the last press and the last- but-one press. Range End Speciﬁes the ending location of the data that will be ripped.
Page 613: Sampling P8: Insert Effect
Sampling P8: Insert Effect Here you can make insert effect settings for use in Sampling mode. If you want to apply an insert effect IFX1–12 to the external audio signal while you sample it, choose IFX1–12 as the Bus Select (IFX/Indiv.) (0–8a) parameter for Input1–4 or S/P DIF L,R, and adjust the parameters of the insert effect.
Page 614 Sampling mode (In the same way, the on/off settings for MFX1, 2 and TFX1, 2 will also be turned off.) Be aware of this if you want to sample once again. 8–1c: FX Control Bus FX Control Bus This sends the output of the oscillator (multisample) to a FX Control bus (stereo 2-channel;...
Page 615: 8-5: Insert Fx
8–5: Insert FX 8–5a In this page you can select the effect types for the insert effects, turn them on/off, and make chaining settings. 8–5a: IFX Here you can select the type of effect for each insert effect 1–12, turn it on/off, make chaining settings, and make post-IFX mixer settings.
Page 616 Sampling mode Pan (CC#8) (Post IFX PanCC#8) Speciﬁes the panning immediately after the insert effect. You can use CC#8 to control this. Bus Sel. (Bus Select) [L/R, 1…8, 1/2…7/8, Off] Speciﬁes the bus to which the signal will be sent immediately after the insert effect.
Page 617: 8-6: Track View
8–6: Track View 8–6a 8–6b 8–6a: Track View This shows the oscillator output and insert effect routing. The selected slot is shown in dark blue. In the “Selected” area below, you can specify the “Effect Type” and “On/Off” status. The “Insert IFX Slot” and “Cut IFX Slot”...
Page 618: 8-7: Ifx 1-12
Insert FX page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 619: 8-9: Common Fx Lfo
8–7b: IFX2…12 Here you can edit the parameters of the insert effects selected in the P8– Insert FX page. The parameters for IFX2–IFX12 are the same as for IFX1. See “8–7b: IFX2…12,” above. 8–9: Common FX LFO 8–9a 8–9b The two Common FX LFOs allow you to synchronize LFO-based modulation for multiple effects, such as phasers, ﬂangers, ﬁlters, and so on.
Page 620 Sampling mode ▼ 8–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Copy Insert Effect. For more information, see “Copy Insert Effect”...
Page 621: Sampling P9: Master/Total Effect
Sampling P9: Master/Total Effect Here you can select the effect types for the master effects and total effects, and turn them on/off. The master effects are output to the L/R bus. The total effects are inserted in the L/R bus. If you want to use these while sampling, set Source Bus to L/R.
Page 622 Sampling mode MFX2 MFX2 MFX2 On/Off Return 2 These parameters specify the effect type for master effect 2, its on/off status, and the return level from master effect 2 to the L/R bus. See “MFX1” on page 611. Chain Chain On/Off On (checked): Chain (series connection) will be turned on for MFX1 and MFX2.
Page 623: 9-2: Mfx1
9–2: MFX1 9–2a 9–2a: MFX1 Here you can edit the parameters of the effect you choose for MFX1 in the P9– Routing page. Effect dynamic modulation (Dmod) is controlled on the global MIDI Channel (Global 1–1a). MFX1 On/Off This turns master effect 1 on/off. It is linked with the on/off setting in the P9: Master/Total Effect - Routing page.
Page 624 Sampling mode The parameters for MFX2, TFX1, and TFX2 are the same as for MFX1. For more information, see “9–2: MFX1” on page 613.
Page 625: Sampling: Page Menu Commands
Sampling: Page Menu Commands ENTER + 0-9: shortcuts for menu commands Each page has a set of menu commands, which provide access to different utilities, commands, and options, depending on the page you’re currently on. You can use the menu commands entirely from the touch-screen, by pressing the menu button in the upper right-hand corner of the screen and then selecting an option from the menu that appears.
Page 626 Sampling mode Unmapped Samples: All samples that are not mapped (used) in a multisample or drum kit will be deleted. All Samples: All samples in memory will be deleted. The sample assignments of all multisamples will change to ---No Assign---. 3.
Page 627 Sampling: Page Menu Commands 1. Use “Sample Select” (0–1b) to select the copy source sample. 2. Select “Move Sample” to open the dialog box. 3. Use To “Sample” to specify the move destination sample number. When moving a stereo sample, you must move the samples individually.
Page 628 Sampling mode 5. To execute the Delete Multisample command, press the OK button. To cancel, press the Cancel button. Even if you also choose to delete the samples that are included in the deleted multisample(s), any sample data (waveform data) used by these samples that is shared with other samples will not be deleted.
Page 629 Sampling: Page Menu Commands The multisample will be converted into a program whose Oscillator Mode (Program 1–1b) is Single. If “Use Destination Program Parameters” is checked: Executing this command will replace the multisample of the convert destination program with the multisample selected here, and will not initialize the remaining program parameters.
Page 630 Sampling mode used in programs, the multisample numbers of the programs will also be reassigned automatically. Normally you will leave this checked. 5. To execute the Move Multisample command, click the OK button. If you decide not to execute, click the Cancel button.
Page 631 When you execute this command, the applicable parameters will be set automatically. You cannot use the COMPARE switch to recall the previous settings. The settings are automatically made for the most typical applications. After executing the auto setup operation, you can further adjust any of the settings to suit your needs as described in the “Note:”...
Page 632 Sampling mode 2) Press the OK button to execute Auto Sampling Setup (Auto Resample through IFX), or press the Cancel button if you decide not to execute. For more information, please see “Auto Sampling Setup: Automatically-set parameters and their values” on page 622.
Page 633 Truncate (for Sample Edit) This command deletes unwanted data that lies beyond the “Start” and “End.” Use this command when you wish to delete silence at the beginning or end of the waveform data. Note: If you wish to delete unneeded (unplayed) sample data after setting the Start Address “Start,”...
Page 634 Sampling mode 3. The range to be edited is shown by Range “Start” and “End.” 4. In “Save to No.,” specify the save destination sample number. By default, an unused sample number will be selected. The sample number cannot be speciﬁed if “Overwrite”...
Page 635 For stereo samples, use “Save to No.(L)” and “(R)” to specify the save-destination of the L and R channels. 5. To execute the Mix command, press the OK button. To cancel, press the Cancel button. If the buffer into which data was placed by the “Copy”...
Page 636 Sampling mode 6. To execute the Insert Zero command, press the OK button. To cancel, press the Cancel button. Normalize/Level Adjust This command uniformly modiﬁes the data values (volume) of the data between the “Start”–“End.” “Normalize” will amplify the level of the sample data as far as possible without allowing it to clip (distort).
Page 637 5. In “Curve,” specify the way in which the volume will change. Linear: The volume will change linearly. For normal fade-in or fade-out, select Linear. Power: The volume will change non-linearly. When you use the “Mix” menu command to combine a faded-in waveform with a different faded-out waveform (i.e., crossfade), using a Linear fade- in/out may produce an impression that the volume...
Page 638 Sampling mode The volume of the two samples can be changed gradually at the transition to gradually mix the samples with each other. This is called crossfade, and can be used to produce a natural-sounding transition between the two sounds. SOUND A CROSSFADE LINK Volume...
Page 639: Time Slice
setting the start address, loop start address, and end address of the sample, use this command to delete unwanted sample data. 1. Use “Sample Select” (2–1b) to select the sample that you want to edit, and use “Start (Start Address)” or “Loop Start (Loop Start Address)” and “End (End Address)”...
Page 640 Sampling mode Edit the performance data Note: As an alternative to the “Time Slice” command, the “Time Stretch” menu command is another way to change the tempo of a rhythm loop or similar sample. You may wish to use this if you don’t need to divide the sample and create song performance data for the divided samples.
Page 641 Time Slice step 4 Index [Source, xxx(001…090)/yyy(001…090)] Selects the sample index. If this is set to Source, the original waveform before time slicing will be selected. By selecting xxx/yyy you can specify individual samples that were sliced. xxx indicates the selected sample, and yyy indicates the total number of samples that were sliced.
Page 642 Sampling mode When you use Time Slice on a rhythm loop sample, the quality of the playback in Sequencer mode will depend largely on the “cutoff” of each percussion instrument sound that was sliced. Be aware that if you change the “Sensitivity” after adjusting the slice location, the attacks will be re- detected and the sample will automatically be sliced again.
Page 643 Use New BPM to specify the BPM value of the sample you wish to create. The Ratio will automatically be calculated from the Source BPM and the New BPM values. It is not possible to make settings that would cause Source BPM or New BPM to exceed the range of 40.00–480.00.
Page 644: Time Stretch
Sampling mode If you exit Time Slice without using the Save button to save the samples and multisamples, be aware that the samples and multisamples you create will be lost. Before executing Time Slice on a long sample, you should ﬁrst divide the sample into measures. In some cases, it may not be possible to assign the sample to the keyboard or create sequence data.
Page 645 Set Beat as the number of quarter-note beats. When you change Beat, the Source BPM value will be changed automatically. Source BPM will indicate the playback BPM value at the original key. This BPM value is automatically calculated according to the length from the start address to the end address (if loop is off) or from the loop start address to the end address (if loop is on).
Page 646 Sampling mode number will be selected. If “Overwrite” is checked, this cannot be selected. The sample number cannot be speciﬁed if “Overwrite” is checked (page 615). For stereo samples, use “Save to No.(L)” and “(R)” to specify the save-destination of the L and R channels.
Page 647 8. Audition the results that were created by Time Stretch. The sample before being time-stretched is assigned to the C2 note of the keyboard. The time-stretched sample is assigned to C#2. Sliced (divided) samples will be assigned consecutively upward, starting from D2 on the keyboard.
Page 648 Sampling mode that multisample for the “2–1c: OSC1 Multisample/ Wave Sequence” or “2–5: OSC2 Basic” parameters “MS1”–“M4” (if “Type” = Multisample) and create a program. Be aware that if you exit Time Stretch without using the Save button then press the OK button to save the sample, the sample(s) you created will be lost.
Page 649 Lowering the pitch will slow down the playback speed. This can be used to match the loop length etc. of the sample to a tempo of the desired BPM value. 1. Select “Pitch BPM Adjust” to open the dialog box. 2.
Page 650 Sampling mode Cut IFX Slot For more information, please see “Cut IFX Slot” on page 151. Clean Up IFX Routings For more information, please see “Clean Up IFX Routings” on page 152. Copy Master/Total Effect This copies the effect settings from a desired program, combination, song, or Sampling mode.
Page 651: Global Mode
Global P0: Basic Setup In Global mode you can make settings that affect the entire instrument, such as master tuning, MIDI, and memory protect. You can also edit user scales, drum kit setups, and wave sequence patterns. If you want the settings you make in Global mode to be backed up when the power is turned off, you must write them into memory.
Page 652 Global mode Key Transpose can be controlled by the MIDI universal system exclusive message Master Coarse Tuning (F0, 7F, nn, 04, 04, vv, mm, F7: nn=MIDI channel, vv/mm=value). These messages are received on the global MIDI channel speciﬁed by MIDI Channel (1–1a). In Program, Combination, and Sequencer modes, MIDI RPN messages can be received to control the tuning and transposition of the program or timbre...
Page 653 63. 05 R/T 121. 00 R/T, 56. 00 R, 00. 00 R 121. 01…09 R/T 120. 00 R/T, 62. 00 R, 63. 127 R (→Korg MUTE) 63. 08 R/T 63. 09 R/T 63. 10 R/T 63. 11 R/T 63. 12 R/T 63.
Page 654 Global mode System Clock [Internal, Word Clock, S/P DIF] This sets the system clock, or word clock, of the OASYS. When connecting multiple digital audio devices–such as the OASYS, an ADAT-compatible system, and a S/P DIF device–it is important that the word clocks of the devices be locked together.
Page 655 Conceptual frequency response of the audio data transmitted with each setting Gain S/P DIF Sample Rate = 48kHz 24kHz Frequency Gain S/P DIF Sample Rate = 96kHz (Normal) 24kHz 48kHz Frequency Gain Emphasis of the high-frequency component is controlled dynamically S/P DIF Sample Rate according to the output audio signal.
Page 656 Global mode Auto Optimize RAM If RAM is speciﬁed as the data writing destination for sampling, this parameter speciﬁes whether the sample memory (RAM) will be optimized after data is written. Optimization rearranges any unused memory areas so that all of the remaining memory can be used. On (checked): RAM will automatically be optimized when sampling ends.
Page 657: 0-2: Audio Input
• 0: Write Global Setting. For more information, see “Write Global Setting” on page 682. • 1: Set Program User-Bank Type. For more information, see “Set Program User-Bank Type” on page 682. • 2: Change all bank references. For more information, see “Change all bank references”...
Page 658 Global mode L/R: The input signal will be sent to the L/R bus. IFX1…12: The input signal will be sent to the IFX1–12 bus. Choose one of these settings if you want to apply an insert effect while sampling. 1…8: The input signal will be sent to the speciﬁed INDIVIDUAL OUTPUT in monaural.
Page 659 The analog audio signals from the AUDIO INPUT 1–4 jacks are converted by a AD converter from analog to digital signals. This parameter sets the level of the signal immediately after it has been converted into digital form. If the sound is distorted even though this level setting is very low, it is possible that the sound is distorting earlier than the AD converter.
Page 660: Global P1: Midi
Global mode Global P1: MIDI 1–1: MIDI 1–1a 1–1b Here you can make MIDI-related settings that affect the entire OASYS. You can also transmit MIDI System Exclusive data dumps using the page menu commands in this page. Here you can also specify the function of the sliders, knobs, and switches when the control surface CONTROL ASSIGN EXTERNAL switch is on.
Page 661 The MIDI CC# (control change) messages are transmitted on the MIDI channel speciﬁed in the Global P1– External 1 and External 2 pages. Local Control On Local Control On (Checked): The OASYS’s internal tone generator will be controlled by its own keyboard, joystick, SW1 and SW2, and connected foot pedal.
Page 662: Midi Clock
Global mode Pad1 RESET CONTROLS button: Local Control does not change the way that the Control Surface interacts with RESET CONTROLS. For instance, if Local Control is Off, holding RESET CONTROLS and moving a knob will still reset the knob. Other Control Surface buttons: the CONTROL ASSIGN buttons, the MIXER KNOBS button, and the SOLO button are not affected by Local Control.
Page 663 Select the Internal setting when using the OASYS by itself, or when you want the OASYS to be the master (controlling device) so that another connected external MIDI device will synchronize to the MIDI Clock messages transmitted from the OASYS. External MIDI: The KARMA function and internal sequencer will operate in synchronization with MIDI Clock messages from an external MIDI device...
Page 664 Global mode Chord Notes: When you strike a pad, the (up to eight) MIDI note-on/off messages (and velocities) speciﬁed by the Pad “Pad1”–“Pad8” (1–9) setting of each program, combination, or song will be transmitted. If all notes are turned off, no MIDI messages will be transmitted.
Page 665 Clock: External MIDI IN MIDI OUT For more information, see “Connecting MIDI devices & computers” on page 1001, “Synchronizing the playback of the KARMA function or sequencer” on page 1011, and “Synchronizing the KARMA function” on page 213 of the Operation Guide. 1–1c: MIDI Filter Enable Program Change On (checked): Program changes will be transmitted...
Page 666: 1-2: External 1
MIDI gear on stage, another for controlling a software synthesizer (such as one of Korg’s Legacy Collection synths), and so on. These External Setups are completely separate from the Program. You can think of External mode as being a separate control surface which just happens to share OASYS’s sliders, knobs, switches, and drum pads.
Page 667 1–2b: Knobs/Switches/Sliders Knobs 1–8 MIDI Channel (1–8) This sets the MIDI Channel for the knob. Each can send on a different channel, if desired. Gch means that the knob will transmit on the Global MIDI Channel, as set in Global mode. This allows you to re-direct any number of sliders, knobs, switches, and pads to a different channel at once, without editing the individual controls.
Page 668: 1-3: External 2
Global mode 1–3: External 2 1–3a 1–3b This page lets you set up the drum pad assignments for the Control Surface’s EXTERNAL mode. Each pad can play a note, or send a Control Change (CC) message, on any of the MIDI channels. For more information, see “1–2: External 1”...
Page 669: Global P2: Controller/Scale
2–1a: Foot Switch & Pedal/Damper Foot Switch Assign This selects the function that will be controlled by a pedal switch (such as the optional Korg PS-1) connected to the ASSIGNABLE SWITCH jack. For a complete list of possible assignments, please see “Foot Switch Assignments”...
Page 670: 2-2: User Scale
Global mode KARMA SCENE [Off, MIDI CC#00…119] This assigns a control change message to the KARMA SCENE switch. KARMA LATCH [Off, MIDI CC#00…119] This assigns a control change message to the KARMA LATCH switch. KARMA Sliders 1-8 [Off, MIDI CC#00…119] These assign control change messages to each of the KARMA CONTROL sliders.
Page 671 2–2a: User Octave Scale User Octave Scale [User Octave Scale 00…15] Selects the User Octave Scale that you want to edit. Tune Makes pitch settings for each note in the octave. When you adjust the pitch of each note in the octave (C–B) in one-cent steps, your settings will be applied to all octaves.
Page 672: Global P3: Category Name
Global mode Global P3: Category Name Programs, Combinations, and KARMA GEs are organized into categories and sub-categories. Categories make it easy to ﬁnd a particular type of sound, such as keyboards, bass, or drums, or a speciﬁc type of KARMA GE, such as arpeggios or gated patterns.
Page 673: 3-2: Combi Category
Use “Main Category Select” to select the main category that includes the sub-category name you want to edit. Then press the “Sub Category Select” text edit button to open the text edit dialog box, and enter a name. You can enter up to 24 characters. (See OG p.57) You can name each of the eight categories.
Page 674: Global P4: Wave Sequence
4–1PMC U–A through U–G are user banks. You can use these for storing sounds that you create yourself, optional sound banks from Korg, or third-party sound libraries. Each User bank contains 32 Wave Sequences. Mode This switches between Time mode (for crossfading Wave Sequences) and Tempo mode (for rhythmic Wave Sequences).
Page 675 In Time mode, step durations are speciﬁed in milliseconds, and are not affected by the system tempo. In Tempo mode, step durations are speciﬁed in rhythmic values, and are synchronized to the system tempo. Each step stores separate values for the two modes, so that you can switch back and forth without losing any data.
Page 676: Loop Parameters
Global mode The Quantize Triggers parameter on this page affects the way that the Wave Sequence plays back during editing, but is not stored with the Wave Sequence itself. Instead, each Program, each Combi Timbre, and each Track in a Song has its own Quantize Triggers setting.
Page 677 Loop End Step This is the step on which the loop ends. It must be after the Loop Start. Direction [Forwards, Backwards/Forwards, This sets the direction in which the loop is played. Forwards plays from the Start Step to the Loop End, and then skips back to the Loop Start.
Page 678 Global mode 4–1d: Modulation Position This selects a modulation source to offset the Wave Sequence from its current position. The Wave Sequence will continue to progress through its steps during position modulation. To sweep through a sequence manually, set “Run,” above, to Off. If Position AMS changes by a large value over a small amount of time, it will skip intermediate steps if necessary.
Page 679: 4-2: Per-Step Parameters
4–2: Per-Step Parameters 4–1a 4–2a 4–2b 4–2a: Basic Wave Sequence [I–000…149, U–A00…U-G31] This is the bank, number, and name of the current Wave Sequence. For more information, please see “Wave Sequence,” on page 664. Mode This switches between Time mode (for evolving, crossfaded Wave Sequences) and Tempo mode (for rhythmic Wave Sequences).
Page 680 Global mode 4–2c: Step parameters This list shows the parameters for eight steps at a time. Use the scroll bar at the right of the screen to change which steps are in view. Type This sets the step to one of three basic types. Multisample means that the step will sound a new Multisample, as set by the Multisample Select parameter, below.
Page 681 Xfade This determines the time it takes to fade into the next step. For example, Step 1’s Crossfade determines the time to fade between Step 1 and Step 2. Crossfades use millisecond units for both Time and Tempo modes. Note: In Time mode, the Xfade time cannot exceed the total duration of the two steps being crossfaded;...
Page 682 Global mode Exp/Comp (Mode = Time) This command appears only when the Mode is set to Time. It brings up a dialog box, which allows you to expand or compress all of the duration and crossfade times by a speciﬁed percentage. Duration Time dialog box Expand/Compress [%] [0…100,000]...
Page 683: Global P5: Drum Kit
Global P5: Drum Kit Here you can create drum kits by assigning a drum instrument (drum sample) to each key. A drum kit you edit here can be sent through the ﬁlter, amp, and effects and played in the same way as oscillators for multisamples or wave sequences (if Oscillator Mode is Single or Double).
Page 684 RAM: These are user samples. You can choose samples you created in Sampling mode or loaded in Disk mode. In Disk mode, you can load not only KORG format sample ﬁles, but also AKAI S1000/S3000 format, AIFF format, and WAVE format data as samples, and use them as drum samples.
Page 685 RAM mono, RAM stereo Select menu Use the tabs to select a group of one thousand, and then choose a RAM sample within that group. Press the OK button to execute, or press the Cancel button to cancel. If you choose “Bank” RAM mono: Mono drum samples will be displayed.
Page 686 Global mode Linear means that the two samples will each be at 50% of their full volume in the middle of the crossfade. Sometimes, this may create a dip in the volume level; if so, try using Power instead. Power, short for Equal Power, means that the two samples will each be at around 70% of their full volume in the middle of the crossfade.
Page 687: 5-2: Sample Parameters
5–2: Sample Parameters 5–1a 5–2a Here you can edit the ﬁlter cutoff, resonance, and three-band EQ gain for each drum sample. These settings are offsets that are applied to the settings of the program. 5–2a: Drumsample Parameters DS1 (High): (Drumsample 1 High) DS1(High) On/Off On (checked): Check this if you want to use DS1 (High).
Page 688: 5-3: Voice Assign/Mixer
Global mode • 0: Write Drum Kit. For more information, see “Write Drum Kit” on page 689. • 1: Copy Key Setup. For more information, see “Copy Key Setup” on page 689. 5–3: Voice Assign/Mixer 5–1a 5–3a Specify the voice assign, pan, and effect routing etc. for each key of the drum kit.
Page 689 Tip: In most of the preloaded drum kits, the following types of drum instrument have the same Bus Select settings. Tip: Most of the preloaded drum kits use the same basic Bus Select settings, as shown below: Snares → IFX1 Kicks →...
Page 690: Global P6: Plug-In Info
EXs plug-ins. Here, you can: • View information on all installed plug-ins and plug-in bundles • Authorize plug-ins with codes purchased from www.korguser.net/oasys/exi, or from your Korg distributor 6–1a: Public ID Public ID [nn nn nn nn nn nn nn nn] This is a unique identiﬁer, like a very speciﬁc name;...
Page 691 Purchasing plug-in licenses from your Korg distributor If you do not have access to the internet, your national Korg distributor will be happy to assist you in purchasing plug-in authorization codes. 1. Write down your OASYS Public ID. 2. Contact your Korg distributor, and ask them for assistance with purchasing plug-in authorizations for OASYS.
Page 692: Global: Page Menu Commands
Global mode Global: Page Menu Commands Write Global Setting This command writes Global mode settings (except for Drum Kits and Wave Sequences). 1. Select Write Global Setting to open the dialog box. 2. To write the data, press the OK button. To cancel without writing, press the Cancel button.
Page 693: Lcd Setup
2. If you are unable to select this command from the page menu, go to the main Global page as normal, and then hold down the ENTER button and press 3 on the numeric keypad. This will call up the calibration dialog.
Page 694: Update System Software
OASYS may become inoperable. If this occurs, please contact your local Korg distributor. 5. When the update has been completed, a dialog box with the following message will appear.
Page 695 Dump Program This command lets you send the internal memory’s Program data as a System Exclusive data dump. You can choose to send all of the Programs from all of the banks, all of the Programs from a single bank, or a single Program.
Page 696 Global mode Type of data to be Data size dumped Combination Single 8887 Drum Kit All 1962624 Drum Kit Bank (INT) 516480 Drum Kit Bank (U-A…U-G) 206592 Drum Kit Single 12912 Wave Sequence All 513876 Wave Sequence Bank 206100 (INT) Wave Sequence Bank 43968 U-A…U-G)
Page 697 Local control Tone Generator Enable KARMA Module to MIDI Out KARMA Enable MIDI In to KARMA Module Local control Tone Generator Enable KARMA Module to MIDI Out KARMA Enable MIDI In to KARMA Module Trigger KARMA generation from external device/sequencer Choose this if you want the KARMA Module to be triggered by MIDI input from an external MIDI device or MIDI sequencer.
Page 698 Global mode CC Default: The parameters will be reset to the typical settings, including the standard settings for the pads and the KARMA sliders and switches. The default values are shown in the table below. If you want to record KARMA controllers in Sequencer mode, or use the controllers to control an external MIDI device, we recommend using this setting.
Page 699 Write Drum Kit This command writes an edited drum kit into internal memory. You must write an edited drum kit if you want to keep it. An edited drum kit cannot be recovered if you turn off the power or select a different drum kit before writing it.
Page 700 Global mode...
Page 701: Disk Mode
(OASYS format) .SNG Songs and regions (OASYS format) .MID Standard MIDI File (SMF) .EXL MIDI System Exclusive data Korg Multisample Parameter ﬁle Songs and .KMP regions (OASYS format) .KSF Korg Sample File (Korg format) .KSC Korg Script File (Korg format)
Page 702 Disk mode Files that can be loaded DOS file All programs .PCG file All combinations All drum kits All wave sequences Global settings .SNG file (000-199) All regions .KFX file All effects All presets (P) All effects All presets (U) Partition AKAI S1000/S3000 1 program...
Page 703: Disk P0: File
Disk P0: File 0–1: Load 0–1b 0–1c 0–1a This page lets you load a selected ﬁle or directory into internal memory. Use the Open button and Up buttons to select the desired ﬁle or directory, and press the Load button to load it. You can also load data by using the Load selected page menu command.
Page 704 Disk mode Drive types HDD: INTERNAL HD: Internal hard disk drive CDD: Internal CD-R/RW drive, or a USB-connected CD-ROM or CD-R/RW drive HDD: USB-connected hard disk drive RDD: Removable media such as ﬂash media readers or MO (Magneto-Optical) drives Volume label No Label: Media that has no volume label Unformatted: Media that has not been formatted No Disc: Media is not inserted in the CD-ROM or CD-...
Page 705: 0-2: Save
Type This icon indicates the type of ﬁle. For details on how the icons correspond to the different ﬁle types, refer to the diagram “Files that can be loaded” on page 692. Lock Files and directories with this symbol are locked, and cannot be overwritten, copied, or deleted.
Page 706: 0-3: Utility
Disk mode The USB device will now appear in the Drive Select menu. File date and time The OASYS contains an internal calendar and clock. When you save a ﬁle, the date and time will be assigned automatically. To set the current date and time for the OASYS system, use the Utility page menu command Set Date/Time.
Page 707: 0-9: Media Information
• 1: Translation. For more information, see “Translation” on page 703. • 2: Lock/Unlock selected. For more information, see “Lock/Unlock selected” on page 703. • 3: Rename. For more information, see “Rename” on page 721. • 4: Copy. For more information, see “Copy” on page 721.
Page 708: Disk P1: Audio Cd
Disk mode Disk P1: Audio CD 1–1: Make Audio CD 1–1a 1–1b 1–1c Here you can use the internal CD-R/RW drive or a USB-connected CD-R/RW drive to create an audio CD. To create an audio CD, you will use WAVE ﬁles that you resampled from the OASYS’s sequencer playback etc.
Page 709 1–1b: Audio CD Track List Track Displays the track numbers of the WAVE ﬁles arranged in the audio CD track list. (1–1a “Track (Track Select)”) WAVE File Displays the names of the WAVE ﬁles. To add a WAVE ﬁle, place the cursor at the WAVE ﬁle of the audio CD track that follows the audio CD track you want to add, and press the Insert button.
Page 710: 1-2: Play Audio Cd
Disk mode 1–2: Play Audio CD 1–2a Here you can use the internal CD-R/RW drive or a USB-connected CD-R/RW drive to play an audio CD. It is convenient to use this method to verify a CD that you created in the Make Audio CD page. It is not possible to play back an audio CD that has not been ﬁnalized.
Page 711 Note: The CD-R/RW Drive Audio Input settings are linked with the Sampling mode “5–1b: CD-R/RW Drive Audio Input” settings. LEFT RIGHT Bus Select (IFX/Indiv.) [L/R, IFX1…12, 1…8, 1/2…7/8, Off] L/R: The audio signal from the CD-R/RW drive will be sent to the L/R bus. Normally you will use the L/R setting.
Page 712: 1-9: Media Information
Disk mode 1–9: Media Information 1–9a 1–9b This screen shows information about the media in the CD-R/RW drive. Use “Drive Select” (1–9b) to select the drive/media. For more information, please see “0–9: Media Information” on page 697. ▼ 1–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Page 713: Disk: Page Menu Commands
Multisamples and Samples on the disk, instead of the abbreviated DOS names. Note that on disk, Multisamples are stored as .KMP (Korg Multisample Parameter) ﬁles, and Samples are stored as .KSF (Korg Sample Format) ﬁles. Lock/Unlock selected This locks/unlocks the ﬁle or directory that’s selected...
Page 714 Disk mode 1. Use the “Load ****** .SNG too” and “Load ****** .KSC too” check boxes to select the .SNG ﬁle and .KSC ﬁle. If this ﬁle does not exist in the current directory, load it as described in the above procedure “If a ﬁle to be loaded cannot be found,…”...
Page 715 If the power has just been turned on, or you want to reproduce the state that was saved, select Clear. .KSC Allocation .KMP file to load Internal memory of the OASYS after loading KMP000 KMP000 KMP001 KMP002 KMP003 KMP003 Append KMP004 KMP005 KMP005...
Page 716 Disk mode 1. In “To,” specify the loading destination bank. 2. To load the data, press the OK button. To cancel without loading, press the Cancel button. Note: If “Multiple Select” (0–1a) is checked and you’ve selected more than one bank, the data will be loaded starting with the bank you speciﬁed in the “To”...
Page 717 Load Wave Sequence Bank [INT, USER-A…USER-G] All wave sequence data of the selected bank will be loaded into the bank you select as the load-destination. 1. Use the “To” ﬁeld to select the load-destination bank. 2. To load the data, press the OK button. To cancel without loading, press the Cancel button.
Page 718 Disk mode • If you check “Load ********.KSC too,” use “Select .KSC Allocation” to specify how the multisamples and samples within the .KSC file will be loaded. See “1) Load .PCG: 4.” 3. Press the OK button to load the data, or press the Cancel button to cancel without loading.
Page 719 Load a Region This loads the selected region data into the region number you select as the load-destination. 1. If you’re loading region data other than the selected data, use “Region” (the upper line) to reselect the region data you want to load. 2.
Page 720 The program bank and program numbers loaded into the song will follow the “Bank Map” (Global 0– 1d) setting. If “Bank Map” is KORG, bank A will be selected for bank select 00.00 (MSB.LSB). If “Bank Map” is GM(2), bank G will be selected.
Page 721 .KSF ﬁles used by the multisample will be saved in this directory. KSF ﬁles Files with a ﬁlename extension of KSF (Korg Sample File) contain the parameters and waveform data which make up a single sample.
Page 722: Piano.wav Sfx_A_00.Wav
Disk mode 4. If you specify * and execute loading, all of the WAVE ﬁles will be loaded as follows. PIANO.WAV SFX_A_00.WAV SFX_A_01.WAV SFX_B_00.WAV SFX_B_01.WAV SFX_C_00.WAV Load .KSC The .KMP ﬁles and .KSF ﬁles listed in the .KSC ﬁle will be loaded as multisamples and samples respectively.
Page 723 (Append load). If the loaded data is then saved to storage media, it will be saved as a Korg format .KSF ﬁle. (possible to export as a .AIF, .WAV format, “Export Samples as AIF/WAV”) Note: You can load multiple ﬁles within the directory.
Page 724 Disk mode Akai S1000/S3000 Loop Conversion In rare cases, loops from Akai samples may need to be changed when loaded into the OASYS: • Some Akai samples may contain multiple loops. If this is the case, OASYS will use the first HOLD loop, if present.
Page 725 be converted into a OASYS program, or into programs and a combination. (Multisamples will also be convert-loaded.) If you don’t check this, all Sample ﬁles included in the selected volume will be loaded as samples, and the Program ﬁle will be loaded as a multisample. Only the keymap-related parameters from the Program ﬁle will be loaded to create a multisample.
Page 726 Disk mode 3. If you also want to load the .SNG ﬁle of the same name as the .PCG ﬁle, check the “Load ********.SNG too” check box. Note: The .KSC ﬁle of the same ﬁlename as the .PCG ﬁle will be loaded together with the .PCG ﬁle. If the ﬁle does not exist in the current directory, load the ﬁle as described in “If a ﬁle to be loaded cannot be found, or when loading a ﬁle that was saved across...
Page 727 If you decide that you don’t want to save a divided ﬁle, press the Cancel button, and save your data to media that has more available space. 2. When a volume of media ﬁlls up during the save, the following dialog box will appear. Insert the next volume of media and press the LCD screen to make the OASYS detect the media, or use “Drive Select”...
Page 728 When this command is executed, the following list of multisample and sample data will be saved to media as Korg format .KMP ﬁles, .KSF ﬁles, and a .KSC ﬁle that collects these ﬁles. This is valid only when the current directory is a DOS...
Page 729 2. Press the text edit button to move to the text dialog box, and specify the ﬁlename (OG p.115). 3. Use “To” to specify the contents that will be saved. (All content will be saved in Korg format.) Use the following ﬁve radio buttons to make your selection.
Page 730 Note: Normally, it is recommended that you use Save All or Save Sampling Data to save sample data in Korg format (.KSC, .KMP, .KSF). This will allow you to save the data in a way that preserves the state of the multisamples (and the samples that they use) as they exist in sample RAM.
Page 731 Export Samples as AIFF/WAVE 2. In “Format,” select either AIFF or WAVE as the ﬁle format for export. 3. Press the text edit button to move to the text dialog box, and specify the ﬁlename. 4. In “To,” specify the content that will be exported. All Samples: All samples will be exported.
Page 732 Disk mode 3. “Copy” will show the name of the selected ﬁle or directory. If you wish to change the ﬁle or directory that will be copied, use the text edit button to move to the text input dialog box, and specify the ﬁlename that you wish to copy.
Page 733: Create Directory
Create Directory This command creates a new directory within the current directory. 1. Select “Create Directory” to open the dialog box. 2. Use the text edit button to access the text input dialog box, and specify the name of the new directory.
Page 734: Scan Device
Disk mode This conversion temporarily uses memory space on the hard disk. 1. Select “Convert to ISO9660 Format” to open the dialog box. 2. Press the OK button to execute the conversion, or press the Cancel button to cancel without executing.
Page 735 Write to CD When this command is executed, the WAVE ﬁles speciﬁed in the audio CD track list will be written as audio CD tracks. If desired, you can also ﬁnalize the disc at this time. When writing data to CD-R/RW media, the media containing the Wave ﬁles must have free space equal in size to the Wave ﬁles you are writing.
Page 736 Disk mode When you execute Quick Erase, the ﬁles and data will appear to be gone, but the data itself will remain on the disc until it is overwritten. If you want to erase data that should not be seen by someone else, execute Full Erase to erase the data completely.
Page 737: Effect Guide
Overview The OASYS provides 12 insert effects, two master effects, and two total effects, together with a mixer section that controls the routing of these effects. For each of these effect processors, you can choose from 185 different types of effects, grouped into the following categories: Effects categories Dynamics:...
Page 738: Effects In Each Mode
Effect Guide When FREE FOR VOICES is at 100%, you can achieve the maximum polyphony–for instance, 172 voices of the HD-1, 96 voices of the AL-1, or 172 voices of the CX-3. When more effects or EXi ﬁxed resources are being used, polyphony will be reduced accordingly.
Page 739: Audio Input
Audio Input (set to Program mode) Oscillator1 Filter1 Driver1 Amplifier1 Oscillator2 Filter2 Driver2 Amplifier2 AUDIO INPUT (1, 2, 3, 4) S/P DIF IN (L, R) the P0: Recording– Audio Input page to make audio input settings for Sampling mode. These settings apply only to Sampling mode.
Page 740: Common Fx Lfos
Effect Guide BPM/MIDI Sync: Delay Time 3. Set the BPM as desired. To synchronize to the system clock, set BPM to MIDI. Common FX LFOs Normally, LFO-based effects–such as choruses, ﬂangers, phasers, ﬁlters, and auto-pan–each have their own independent LFO. The OASYS effects support this standard mechanism, but add a new one: Common FX LFOs.
Page 741 Gated Reverb (Program) Bus Select OSC1&2 : IFX1 FX Control Bus : FX Ctrl1 Compressor (Combination) Timbre1 : Pad Program Program split Timbre2 : Guitar Example: Compressor (Combination) Compressor-type effects use the level of the audio input to control the level gain of the audio output. For these effects, the envelope detection source can be either the audio input itself (the usual method) or FX Control Bus 1 or 2.
Page 742: Effect I/O
Effect Guide Rhythmic Vocoder (Combination) KARMA Drum pattern Example: Rhythmic Vocoder (Combination) Vocoder effects produce their distinctive sound by using an audio signal (the modulator) to modulate a different audio signal (the carrier). Although the most common application of a vocoder is to use audio from a mic as the modulator, you can also use a drum pattern or similar signal as the modulator instead, producing a rhythm vocoder effect.
Page 743 Sampling mode AUDIO INPUT LEVEL on the rear panel Audio Input Level (P0, P5) Input Effect Trim parameter (P8, P9) Send1/2 (P0, P5, P8) Effect Wet/Dry parameter (P8, P9) Output Return1, 2 (P9) Audio Input AUDIO INPUT LEVEL on the rear panel Input Level (P0) Send1/2 (P0)
Page 744: Insert Effects (Ifx1
Effect Guide Insert Effects (IFX1…IFX12) In/Out Insert Effects (IFX 1–12) have a stereo input and a stereo output. If you set the Wet/Dry parameter (P8– IFX1–12 page) to Dry (no effect), the input signal will be passed through, in stereo, without being processed by the effect.
Page 745 If Bus Select is set to IFX1–12, use Send1 and Send2 (Program 8–5a) to specify the send level of the post-IFX signal. Send1 responds to CC#93, and Send2 responds to CC#91. At this time, the actual send level uses the value of the Send 1 and 2 settings for Oscillators 1 and 2, multiplied by the Send 1 and 2 values received via MIDI.
Page 746 Effect Guide Fig. 2–1b Fig. 2–1c Combination and Sequencer modes Use Bus Select (P8: “Routing” 1 and 2 page in each mode) for timbres (Combination) and tracks (Sequencer) to select an Insert Effect to apply to the corresponding timbres and tracks. You can route multiple timbres and tracks to a single Insert Effect.
Page 747 Example: Inserting one IFX into two or more timbres Example: Inserting a separate IFX into each timbre, and inserting another IFX later Example: Sharing part of a timbre’s IFX chain with another timbre As with Program mode, select L/R, IFX1–12, 1–8, 1/2– 7/8, or Off for each timbre and track.
Page 748 Effect Guide Fig. 2–2a In the diagram (Fig. 2–2b), IFX1’s Chain check box is checked and Chain to set to IFX2, sending the output of IFX1 to IFX2. Timbre 1 is being processed by IFX1: 001: Stereo Dyna Compressor and IFX2: 048: Stereo Fig.
Page 749 Fig. 2–2c Drum Kit IFX Patch If “Bus Select DKit” is checked, you can select the Drum Kit IFX Patch page menu command by selecting a timbre parameter or by pressing Timbre Number (the blue area in the display for each timbre). This option allows you to change the routing of the Insert Effects temporarily by changing Bus Select for each key.
Page 750 Effect Guide Fig. 2–2e Sampling mode The external input sounds from the AUDIO INPUT 1, 2, 3, 4, and S/P DIF IN jacks can be processed by the insert effects, master effects, or total effects then sampled. You can also apply insert effects to the samples assigned to a multisample, and resample the result.
Page 751 Insert Effects (IFX1…IFX12) Routing Fig. 2–3a Fig. 2–3b...
Page 752 Effect Guide Audio Input, S/P DIF IN In Program, Combination, Sequencer, and Disk modes, external audio sources from the AUDIO INPUT 1, 2, 3, 4, and S/P DIF IN jacks can be processed by insert effects, master effects, and total effects just as they can in Sampling mode.
Page 753: Disk Mode
Audio CD In Sampling mode, the sound from an audio CD in the internal CD-R/RW drive or a USB external CD drive can be processed by the insert effects, master effects, and total effects. Use the Bus Select setting in the P5: Audio CD - Ripping page to specify the bus to which the CD audio will be sent.
Page 754: Mixer
Effect Guide Mixer In Program, Combination, and Sequencer modes, the P8 - Insert FX page lets you set “Pan (CC#8)” (post-IFX panning), “Bus Sel. (Bus Select),” “Ctrl Bus” (FX control bus), REC Bus, and Send1 and Send2 levels to the master effects. If you have checked the Chain to connect the Insert Effects in series, these parameters “Pan (CC#8)”...
Page 755: Controlling The Insert Effects Via Midi
you want to use the Send1 or Send2 levels to route the signal through a master effect in series (i.e., not as a send effect). Ctrl Bus (FX Control Bus) This speciﬁes the FX Control bus that follows the insert effect.
Page 756: Sequencer Mode
Effect Guide Gch: Select this option if you wish to control the parameters on the global MIDI channel. This is a common setting. All Routed: Select this option to control the parameters on all the channels (channels 1–16 that have a “*” mark) that are routed to the corresponding Insert Effects.
Page 757: Master Effects (Mfx1, 2)
Master Effects (MFX1, 2) In/Out The I/Os of Master Effects MFX1 and MFX2 are stereo- in/stereo-out. Send1 and Send2 determine the send level to the Master Effects. (For Send1 and 2, see “Routing” and “Mixer.”) Master effects will not output the Dry (unprocessed) signal speciﬁed in Wet/Dry (P9 - MFX1, 2 page).
Page 758: Program Mode
Effect Guide the Send1 (to MFX1) and Send2 (to MFX2) parameters speciﬁed independently for the oscillators (Program/Sampling mode), timbres (Combination mode), tracks (Sequencer mode), and audio inputs (in all modes). For example, since you can adjust the master effect send levels for each timbre/track, you can make settings so that reverb is applied deeply to the piano, lightly to the strings, and not at all to the bass.
Page 759 Fig. 2–1b Fig. 2–1c OSC1/EXi1 Send1=127 (100%) *064 (50%)=064 (50%) OSC1/EXi1 Send2=064 (50%) *127 (100%)=064 (50%) OSC2/EXi2 Send1=064 (50%) *064 (50%)=032 (25%) OSC2/EXi2 Send2=127 (100%) *127 (100%)=127 (100%) If IFX1–12 is selected for Bus Select, use the Send1 and Send2 parameters for the post-IFX signals. If 1–8, or 1/2–7/8 is selected instead, these Send1 and 2 settings are ignored and the Master Effect is not applied.
Page 760 Effect Guide post-IFX2, 3, and 4 signals to set the send levels of Timbres 2, 3, and 4, and use the Send1 and Send2 parameters for the post-IFX5 signal to set the send levels of Timbres 5 and 6. For Timbres 7 and 16, the settings of Send1 (to MFX1) and Send2 (to MFX2) will be effective.
Page 761: Mixer
Audio CD In Sampling mode you can apply the insert effects, master effects, and total effects to the sound of an audio CD from the internal CD-R/W or a USB- connected external CD drive. In the P5: Audio CD page, use “Drive Select” to select the drive from which you want to input CD audio, and use Bus Select to select the bus to which you want to send the CD audio.
Page 762: Controlling The Master Effects Via Midi
Effect Guide Chain Direction If you have checked the Chain box, you can set the direction of the connection here. You can also visually conﬁrm the direction on the LCD. Controlling the Master Effects via MIDI In the same way as for insert effects, parameters of the master effects can also be controlled in realtime via Dynamic Modulation (Dmod) from the OASYS’s controllers or an external MIDI device during...
Page 763: Total Effects (Tfx1, 2)
Total Effects (TFX1, 2) In/Out The total effects TFX1 and TFX2 are stereo-in and stereo-out. The Dry (unprocessed) side of the Wet/Dry parameter sends the stereo input sound directly to the stereo output. The way in which the Wet (processed) side is output depends on the type of effect, as follows.
Page 764: Mixer
Effect Guide Mixer Master Volume This sets the level of the ﬁnal output after passing through the total effects. Using MIDI to control the Total Effects In the same way as for Insert and Master Effects, the Total Effects can be controlled in realtime via Dynamic Modulation (Dmod).
Page 765: Outputs
Outputs Main Outputs Outputs Main Outputs The main L/MONO and R outputs of the OASYS are output from the AUDIO OUTPUT (MAIN) L/MONO and R jacks, the S/P DIF OUT (MAIN) jack, and the headphone jack. Individual Outputs The OASYS is equipped with eight individual audio outputs, which can be used as individual mono outputs, stereo pairs, or any combination of the two.
Page 766: Effect/Mixer Block Diagrams
Effect Guide Effect/Mixer Block Diagrams Program mode...
Page 767 Effect/Mixer Block Diagrams Individual Outputs Combination mode, Sequencer mode...
Page 768 Effect Guide Sampling mode...
Page 769: Examples Of The Effect Graphics
Examples of the effect graphics Here are some examples of the effects that display graphics. Purple area: This shows the frequency response after passing through all of the bands. Vertical axis: Gain (dB) Horizontal axis: Frequency (Hz) These sliders adjust the gain (dB) of each band.
Page 770 Effect Guide Xover Filters Xover Filters is used in 004: St.Multiband Compressor, 015: Stereo Isolator, and 086: Multiband Mod. Delay. Crossover point between band 3 and band 4 Crossover point between band 2 and band 3 Crossover point between band 1 and band 1 Band1 Band2 Band3 Band4 Limiter Limiter is used in 005: Stereo Limiter, and in “Limiter”...
Page 771: Stereo Compressor
002: Stereo Compressor Indicates the output response relative to the input. This will change according to the Ratio, Threshold, and Soft Knee Width. 003: Stereo Expander Examples of the effect graphics Other items are the same as for Limiter. Refer to Limiter. Indicates the range specified by Soft Knee Width.
Page 772 Effect Guide Multiband Limiter The Multiband Limiter is used in 006: Multiband Limiter and 007: Stereo Multiband Limiter. 008: Stereo Master Limiter Indicates the output response relative to the input. This will change according to the Threshold setting. The Mastering Limiter applies limiting at the Threshold level, and optimizes the output level as high as possible.
Page 773 Gate Gate is used in 009: Stereo Gate and in 140: Reverb Gate. This is a realtime indication of the control input signal level following the Side Chain EQ (Input) and the output signal level (Output). With the Gate effect, there will be no output when the control input signal is below the Threshold level.
Page 774: Dynamics
Effect Guide Dynamics 000: No Effect Choose this option when you are not using the selected effects slot. This frees up processing resources for other effects and/or synth voices. 001: Stereo Dyna Compressor This effect compresses the input signal to regulate the level and give a “punchy”...
Page 775: 002: Stereo Compressor
002: Stereo Compressor This is a sophisticated stereo compressor that allows you to make detailed settings, such as the level detection method and the compression curve. Stereo In - Stereo Out Left Delay Compressor Side EQ Envelope - Control Envelope - Control Envelope Select Delay Compressor...
Page 776: 003: Stereo Expander
Effect Guide compressor becomes a brick-wall limiter; once the signal hits the Threshold, the output level will no longer increase, regardless of the input level. Compressor/Limiter - Threshold and Ratio Output Level Threshold Louder Input Level Ratio=1.0 : 1 Level Ratio=2.0 : 1 Ratio=4.0 : 1 Threshold...
Page 777: 004: St.multiband Compressor
SIDE CHAIN EQ This multimode ﬁlter applies only to the control signal, and not to the main audio path. Use it to alter the response of the expander so that it reacts (or does not react) only to speciﬁc frequencies. The parameters are the same as for the Stereo Compressor;...
Page 778: 005: Stereo Limiter
Effect Guide Range [dB] The combination of Threshold and Range controls the band’s basic functionality (traditional compressor, low- level expander, etc.), and the combination of Range and Knee creates the band’s compression/expansion. To create a traditional compressor action, set the Threshold around 0.0, and the Range to a negative value.
Page 779: 006: Multiband Limiter
SIDE CHAIN EQ This EQ applies only to the control signal, and not to the main audio path. Use it to alter the response of the limiter so that it reacts (or does not react) only to speciﬁc frequencies. For instance, if you want the limiter to ignore cymbal crashes, adjust the sidechain EQ to reduce the gain of frequencies speciﬁc to the cymbals.
Page 780: 007: Stereo Multiband Limiter
Effect Guide Amount Sets the modulation amount of the output gain. Offset [dB] This adjusts the Threshold level for the low range. Offset [dB] This adjusts the Threshold level for the mid range. 007: Stereo Multiband Limiter This is a true-stereo multiband limiter. For more information, see the mono version, “006: Multiband Limiter,”...
Page 781: 009: Stereo Gate
LIMITER Threshold [dB] This affects both the limiting threshold and the output gain. Signals above the Threshold will be limited; signals below this level will not be limited, but will still beneﬁt from any increase in output gain (see below). The output gain is automatically increased by the difference between the Threshold and the Out Ceiling.
Page 782: 010: Stereo Noise Reduction
Effect Guide GATE Threshold Sets the level at which gating is applied. Note that this does not apply when the ENVELOPE Source is set to Dmod. Output Level Threshold Louder Attack Sets the attack time. Release Sets the release time. 010: Stereo Noise Reduction This effect minimizes obtrusive noise by reducing the volume when the signal is at a low level.
Page 783: Eq And Filters
EQ and Filters 011: Stereo Parametric 4EQ This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation. Stereo In - Stereo Out Left Band1 Band2 Band3 Band4 Trim...
Page 784: 012: Stereo Graphic 7Eq
Effect Guide 012: Stereo Graphic 7EQ This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound.
Page 785: 014: Stereo Exciter/Enhncr
014: Stereo Exciter/Enhncr This effect is a combination of the Exciter, which adds a punch to the sound and the Enhancer, which adds spread and presence. Stereo In - Stereo Out Left Exciter EQ Trim Delay Delay EQ Trim Exciter Enhancer Right -mod...
Page 786: 016: Stereo Wah/Auto Wah
Effect Guide XOVER FILTER Trim Sets the input level. Frequency Low-Mid [Hz] Sets the frequency at which the low and mid bands are divided. Frequency Mid-High [Hz] Sets the frequency at which the mid and high bands are divided. ISOLATOR Low Gain [dB] Sets the low-frequency gain.
Page 787: Midi/Tempo Sync
MIDI/Tempo Sync MIDI/Tempo Sync On (checked): When MIDI/Tempo Sync is On, the LFO will synchronize to tempo as set by BPM, below. The LFO speed will be controlled by the Base Note and Times parameters, below. All settings for Frequency and Frequency Source and Amount will be ignored.
Page 788: 018: Stereo Random Filter
Effect Guide CONTROL Sweep Mode Selects the control from auto-wah, modulation source, and LFO. For more information, see “Sweep Mode” on page 776. Source Selects the modulation source for the wah when Sweep Mode is set to Dmod. Manual Sets the center frequency when Sweep Mode is set to Dmod and Source is set to Off.
Page 789 FILTER Manual Sets the ﬁlter’s center frequency, before LFO modulation. Depth The LFO modulates the ﬁlter’s frequency; this sets the intensity of the LFO modulation. Source Selects a source to modulate the LFO Depth. Amount Sets the intensity of the Depth modulation. Resonance Resonance emphasizes the audio around the ﬁlter’s center frequency.
Page 790: 019: Multi Mode Filter
Effect Guide Common 1 or 2: the steps use the frequency or tempo sync of the selected Common LFO, so that you can synchronize multiple LFO-based effects together. Common LFO Phase Offset [degrees] Sets the phase offset when Type = Common 1 or Common 2.
Page 791: 020: Stereo Sub Oscillator
Amount [–20.00…+20.00] This sets the Frequency modulation amount, in Hz. MIDI/Tempo Sync [MIDI, 40.00…240.00] Base Note Times When MIDI/Tempo Sync is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency. For more information, see “MIDI/Tempo Sync” on page 777.
Page 792: 021: Talking Modulator
Effect Guide 021: Talking Modulator This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the guitar or synthesizer is talking.
Page 793: 022: Stereo Decimator
022: Stereo Decimator This effect creates a rough sound like a cheap sampler by lowering the sampling frequency, reducing the bit depth, and creating aliasing. Stereo In - Stereo Out Left High Damp Output Level Pre LPF Resolution Decimator -mod Sampling Frequency Decimator Pre LPF...
Page 794: 023: Stereo Analog Record
Effect Guide 023: Stereo Analog Record This effect simulates the noise caused by scratches and dust on analog records. It also reproduces some of the modulation caused by a warped turntable. Stereo In - Stereo Out Left EQ Trim Pre EQ Analog Record Simulation EQ Trim...
Page 795 Wave Shape Tables 00:Sine 01:2 Cycle 02:Frequency3 03:Frequency7 05:Cocoon 06:Double Sine 07:Phase 08:20 Cycle 10:Symmetry 11:Frequency8 12:Resonant1 13:Resonant2 15:GeoGraphic 16:Reptile 17:SyncSter 18:Profile 20:Take1 21:Vital Signs 22:Forest 23:Zigzag 25:Line Sine1 26:WS Bass 27:Soft Curve 28:Smoothy 30:Take2 31:Take3 32:Take4 33:Take5 35:Real Steep 36:Pulse5 37:BowwBass 38:Pulse Octave...
Page 796: 025: Piano Body/Damper
Effect Guide 025: Piano Body/Damper This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the resonance of other strings that are not being played when you press the damper pedal. It will create a very realistic sound when applied to acoustic piano sounds.
Page 797 2. Go to the Global P0: Basic Setup-Audio page. 3. For the Audio Input to which you connected the mic, temporarily set Bus Select to L/R. This lets you listen to the mic input while adjusting the LEVEL control. 4. While talking into the mic, use the LEVEL knob to adjust the level as high as possible without distortion.
Page 798: Overdrive, Amp Models, And Mic Models
Effect Guide Overdrive, Amp models, and Mic models 027: OD/Hi-Gain Wah This versatile effect offers two different-sounding distortion modes (Overdrive and Hi-Gain), a modulatable wah-wah ﬁlter, a speaker simulation, and 3-band EQ. It’s suitable for guitars, organs, and general sonic mayhem. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Mode: Overdrive / Hi-Gain...
Page 799: 028: Od/Hypergain Wah
OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 028: OD/HyperGain Wah This distortion effect has two modes: overdrive and hyper-gain that produces a strong distortion. A higher high-gain setting is required for this effect relative to a normal-size effect.
Page 800: 029: Stereo Guitar Cabinet
Effect Guide 029: Stereo Guitar Cabinet This simulates the acoustical character of a guitar amp’s speaker cabinet. Stereo In - Stereo Out Left Cabinet Simulator Trim Trim Cabinet Simulator Right CABINET SIMULATOR Trim Sets the input level. 030: Guitar Amp Model +P4EQ This combines a guitar amp simulation (which even faithfully replicates the distortion and tone control circuitry) with a four-band equalizer.
Page 801: 031: Guitar Amp Model +Cabinet
Overdrive, Amp models, and Mic models Sets Band 4’s bandwidth. Gain [dB] Sets the gain of Band 4. 031: Guitar Amp Model +Cabinet This simulates a guitar amp and speaker cabinet. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Volume Guitar Amp Model...
Page 802: 032: Stereo Bass Cabinet
Effect Guide OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 032: Stereo Bass Cabinet This simulates the acoustical character of a bass amp’s speaker cabinet. Stereo In - Stereo Out Left Cabinet Simulator Trim...
Page 803: 034: Bass Amp Model +Cabinet
Overdrive, Amp models, and Mic models Amount Sets the modulation amount of the output level. Bass Sets the bass (low range) level. Middle Sets the middle (mid range) level. Mid Range Sets the mid-frequency range. 034: Bass Amp Model +Cabinet This simulates a bass amp and speaker cabinet.
Page 804: 035: Bass Amp Tubedrive +Cab
Effect Guide Recommended Combinations of Bass Amp Models and Cabinets AMP MODEL LA STUDIO LA 4X10 or LA 1X18 JAZZ JAZ 1X15 GOLD PANEL MDN 4X10 SCOOPED MTL 4X10 VALVE2 CLS 8X10 VALVE CLS 8X10 CLASSIC COMBI 035: Bass Amp TubeDrive +Cab This simulates a bass amp (with gain and drive) and speaker cabinet.
Page 805: 036: Tube Preamp Modeling
036: Tube PreAmp Modeling This effect simulates a two-stage vacuum tube preamp. You can make individual settings for two vacuum tubes connected in series. This lets you create the warm sound typical of vacuum tubes. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Invert Tube Pre Amp1...
Page 806: Tube Preamp
Effect Guide MIC SIMULATOR Type [Vnt.Dy/55SH, Mlt.Cn/C414, Pc.Cn/C451, Whale/MD421, Vo.Dy/SM58, Mlt.Dy/SM57, Vo.Cn/U87, Vo.Tube/U47, BDr.Dy/RE20] Selects the type of mic. Position This expresses the effect that the mic position has on the sound. The Close setting is the closest mic position, and the Far setting is the farthest.
Page 807: Chorus, Flanger, And Phaser
Chorus, Flanger, and Phaser 040: Stereo Chorus This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. Stereo In - Stereo Out Left Chorus...
Page 808: 041: Stereo Harmonic Chorus
Effect Guide 041: Stereo Harmonic Chorus This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use feedback to turn the chorus into a ﬂanger. Stereo In - Stereo Out Left Chorus/Flanger...
Page 809: 043: Multitap Cho/Delay 4Taps
MODULATION L Pre Delay [msec] Sets the delay time for the left channel. p.797. R Pre Delay [msec] Sets the delay time for the right channel. p.797. Depth1 Sets the depth of LFO1 modulation. Depth2 Sets the depth of LFO2 modulation. Source Selects the modulation source of LFO1&2 modulation depth.
Page 810: 044: Multitap Cho/Delay 6Taps
Effect Guide MOD DELAY Taps 1-4 There are four delay taps, each with separate settings for delay time, chorus depth, level, and pan. The chorus LFO phases are different for each tap: Tap 1 = 0 degrees Tap 2 = 180 degrees Tap 3 = 90 degrees Tap 4 = 270 degrees Tap 1…4 [msec]...
Page 811: 045: Bi Chorus
Source This selects a modulation source to modulate the tap output levels (as set by Status, above) and the Tap 1 Feedback amount. Amount Sets the modulation amount for the Tap 1 Feedback. Panning Preset [1: L 1 2 3 4 5 6 R, 2: L 135 246 R, 3: L 1 3 5 2 4 6 R, 4: L 1 4 5 6 3 2 R] This selects combinations of stereo panning patterns for the tap outputs.
Page 812: 046: Ensemble
Effect Guide LFO2 Amount This sets the LFO2 Frequency modulation amount, in MIDI/Tempo Sync LFO1 Note Times LFO2 Note Times When MIDI/Tempo Sync is on, the LFO speeds are set by BPM, Note, and Times, instead of Frequency. The two LFOs each have their own settings for Note and Times.
Page 813: 047: Polysix Ensemble
047: Polysix Ensemble This models the ensemble effect built into the classic Korg PolySix programmable polyphonic synthesizer. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Polysix Ensemble Right POLYSIX ENSEMBLE Depth Sets the depth of the effect.
Page 814: 049: Stereo Random Flanger
Effect Guide OUTPUT Wet/Dry [–Wet…–1:99, Dry, 1: 99…Wet] Sets the balance between the “wet” processed sound and the dry input. Negative values invert the phase of the wet signal. This interacts with Feedback; for more information, see “Feedback” on page 803. 049: Stereo Random Flanger The stereo effect uses a step-shape waveform and random LFO for modulation, creating a unique...
Page 815: 051: Stereo Phaser
Decay Sets the EG decay time. FLANGER L Delay Bottom [msec] Sets the lower limit of the left-channel delay time. For more information on the Bottom and Top settings, see the graphic under “Frequency Bottom” on page 777. L Delay Top [msec] Sets the upper limit of the left-channel delay time.
Page 816: 052: Stereo Random Phaser
Effect Guide MIDI/Tempo Sync Base Note Times When MIDI/Tempo Sync is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency. For more information, see “MIDI/Tempo Sync” on page 777. Type [Individual, Common1, Common2] This controls whether the effect uses its individual LFO, or one of the Common FX LFOs.
Page 817: 053: Stereo Envelope Phaser
Amount Sets the modulation amount for Wet/Dry. 053: Stereo Envelope Phaser Stereo In - Stereo Out Left Phaser Resonance High Damp Phaser Right D-mod -mod Sweep Mode EG Attack/Decay This stereo phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each time you play.
Page 818 Effect Guide Amount Sets the amount by which the phaser 1 LFO modulation depth will be controlled. Resonance This controls the intensity of Phaser 1. For more information, see “Resonance” on page 805. PHASER2 Manual Sets the frequency of phaser 2. LFO2 Depth Sets the LFO modulation depth of phaser 2.
Page 819: Modulation And Pitch Shift
Modulation and Pitch Shift 055: Stereo Vibrato This effect modulates the pitch of the input signal to create a shimmering timbre. AutoFade allows you to increase or decrease the shimmering speed. Stereo In - Stereo Out Left Vibrato Vibrato Right LFO: Tri / Sine LFO Shape AutoFade...
Page 820: 056: Stereo Auto Fade Mod
Effect Guide OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 056: Stereo Auto Fade Mod. This stereo chorus/ﬂanger effect enables you to control the LFO speed and effect balance using auto fade, and you can spread the sound by offsetting the phase of the left and right LFOs from each other.
Page 821: 057: 2-Voice Resonator
057: 2-Voice Resonator This effect resonates the input signal at a speciﬁed pitch. You can set the pitch, output level, and pan settings for two resonators individually. You can control the resonance intensity via an LFO. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left High Damp Resonator...
Page 822: 058: Doppler
Effect Guide 058: Doppler This effect simulates the “Doppler effect” of a moving sound with a changing pitch, like the siren of a passing ambulance. Mixing the effect sound with the dry sound will create a unique chorus effect. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Doppler Right...
Page 823: 059: Scratch
059: Scratch This effect is applied by recording the input signal and moving the modulation source. It simulates the sound of scratches you can make using a turntable. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Scratch Scratch...
Page 824: 061: Stereo Tremolo
Effect Guide GRAIN SHIFTER Duration Duration sets the length of the sampled grain, and the LFO Sample Cycle controls how often a new grain is sampled. In between Sample Cycles, the current grain is repeated continuously. Sample Cycle / Duration Sample Cycle Duration Source...
Page 825: 062: Stereo Envelope Tremolo
Frequency [Hz] This sets the LFO speed, in Hz. It applies only when MIDI/Tempo Sync, below, is Off. Source This selects a modulation source for the Frequency. Amount [–20.00…+20.00] This sets the Frequency modulation amount, in Hz. MIDI/Tempo Sync [MIDI, 40.00…240.00] Base Note Times When MIDI/Tempo Sync is on, the LFO speed is set by...
Page 826: 063: Stereo Auto Pan
Effect Guide OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 063: Stereo Auto Pan Stereo In - Stereo Out Left Right LFO: Tri / Sin LFO Shape This is a stereo-in, stereo-out auto-panner.
Page 827: 064: Stereo Phaser+Tremolo
064: Stereo Phaser+Tremolo This effect combines a stereo phaser and tremolo, with linked LFOs. Swelling phaser modulation and tremolo effects synchronize with each other, creating a soothing modulation effect particularly suitable for electric piano. Stereo In - Stereo Out Left Phaser Phaser Wet / Dry Resonance...
Page 828: 065: Stereo Ring Modulator
Effect Guide 065: Stereo Ring Modulator This effect creates a metallic sound by applying the oscillators to the input signal. Use the LFO or Dynamic Modulation to modulate the oscillator to create a radical modulation. Matching the oscillator frequency with a note number will produce a ring modulation effect in speciﬁc key ranges.
Page 829: 066: Stereo Frequency Shifter
066: Stereo Frequency Shifter This is a stereo effect that shifts the frequency of the input signal. You can use LFO modulation and delay to produce a wide range of pitch-change effects. Stereo In - Stereo Out Left Feedback Frequency Shifter Delay High Damp HPF High Damp HPF...
Page 830: 067: Detune
Effect Guide 067: Detune This effect offsets the pitch slightly from the input signal. Compared to a chorus, this can be used to create a more subtle thickening effect, Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Input Level Detune...
Page 831: 069: Stereo Pitch Shifter
High Damp [%] Sets the damping amount in the high range. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. PITCH SHIFTER: Mode This parameter switches the pitch shifter operating mode.
Page 832: 070: Pitch Shifter Bpm
Effect Guide OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 070: Pitch Shifter BPM This pitch shifter enables you to set the delay time to match the song tempo. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Input Level...
Page 833: 072: Pitch Shift Mod
INPUT Input Level Dmod [%] Sets the modulation amount of the input level. p.820. Source Selects the modulation source for the input level. p.820. PITCH SHIFTER Mode [Slow, Medium, Fast] Switches Pitch Shifter mode. p.821. L/R Pitch [Normal, Up/Down] Determines whether or not the L/R pitch shift amount is inverted.
Page 834: 073: Organ Vibrato/Chorus
Effect Guide Source Selects the modulation source of the depth of modulation. Amount Sets the modulation amount of the depth of modulation. This simultaneously controls the panning and stereo width for the pitch-shifted and dry sounds. The value is shown for the pitch-shifted signal, and the dry signal is always at the opposite side of the stereo ﬁeld.
Page 835: 074: Rotary Speaker
Amount Sets the modulation amount for controlling the mix level of the direct sound. Depth Sets the vibrato depth. Source Selects the modulation source that will control vibrato depth. Amount Sets the modulation amount for controlling the vibrato depth. 074: Rotary Speaker This effect simulates a rotary speaker, and obtains a more realistic sound by simulating the rotor in the low range and the horn in the high range separately.
Page 836: 075: Rotary Speaker Pro Od
Effect Guide Horn/Rotor Balance Sets the level balance between the high-frequency horn and low-frequency rotor. p.825. These settings model a pair of stereo microphones, recording the rotary speaker. Rotary Speaker - Mic Placement Mic Spread Microphone Mic Distance Mic Distance Rotary Speaker (Top View) 075: Rotary Speaker Pro OD This is a stereo rotary speaker model, including amp...
Page 837: 076: Rotary Speaker Pro Cx
These settings model a pair of stereo microphones recording the rotary speaker. They are identical to those of the Rotary Speaker effect; for more information, see “MIC” on page 826. 076: Rotary Speaker Pro CX This effect models a vintage rotary speaker, with detailed control over both timbre and behavior.
Page 838 Effect Guide Stop Deceleration This sets how long it takes the horn to come to rest after the Mode Switch has changed from Rotate to Stop. ROTOR The rotor carries the low frequencies of the Rotary Speaker. Its parameters are identical to those of the Horn, above.
Page 839: Delay
Delay 077: L/C/R Delay This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust the left and right spread of the delay sound. Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Left L Delay Input Level D-mod...
Page 840: 079: Stereo/Cross Delay
Effect Guide R Delay Time [msec] Sets the delay time of the Right Delay. Level Sets the output level of the Right Delay. Feedback (C Delay) Sets the feedback amount of the Center Delay. Source Selects the modulation source for the Center Delay feedback.
Page 841: 080: Stereo/Cross Long Delay
080: Stereo/Cross Long Delay This is a stereo delay, and can by used as a cross- feedback delay effect in which the delay sounds cross over between left and right by changing the feedback routing. You can set a maximum of 2,730msec for the delay time.
Page 842: 082: Stereo Modulation Delay
Effect Guide Tap2 Time [msec] Sets the Tap2 delay time. Feedback (Tap2) Sets the Tap2 feedback amount. Source Selects the modulation source of the Tap2 feedback amount. Amount Sets the modulation amount of the Tap2 feedback amount. Tap1 Level This lets you adjust the relative volume of Tap1, compared to Tap2 (which is always at the maximum volume).
Page 843: 083: Stereo Dynamic Delay
MOD DELAY L Delay Time [msec] Sets the delay time for the left channel. R Delay Time [msec] Sets the delay time for the right channel. L Depth Sets the depth of the left LFO modulation. R Depth Sets the depth of the right LFO modulation. L Feedback Sets the feedback amount of left delay.
Page 844: 084: Stereo Auto Panning Delay
Effect Guide When Polarity is positive, the “Target” value is obtained by multiplying the parameter value by the “Offset” value (if the input level is below the threshold), or equals the parameter value if the input level exceeds the threshold. When Polarity is negative, Control Target value equals the parameter value if the input level is below the threshold, or is obtained by multiplying the parameter...
Page 845: 085: Tape Echo
085: Tape Echo This effect simulates a tape echo unit with three playback heads. The distortion and tonal change typical of magnetic tape are also reproduced. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Feedback Feedback Amt Tape...
Page 846: 086: Multiband Mod. Delay
Effect Guide 086: Multiband Mod. Delay This effect divides the input signal into low, mid, and high-frequency bands, and applies a modulation delay to each band. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Feedback Feedback Source Input Source...
Page 847: 087: Reverse Delay
BAND4 LFO Band 4’s LFO has the same parameters as the “BAND1 LFO,” above. 087: Reverse Delay This is a delay that plays back the input signal in reverse. You can also continue feedback while alternating playing the signal in reverse and forward directions.
Page 848: 088: Hold Delay
Effect Guide If you set Sync Source to Gate1, this will be reset at each note-on, meaning that you will always hear the reverse playback of the sound that occurs between the note-on and the speciﬁed Reverse Time. If you don’t specify Sync Source, the location at which reverse playback starts will be indeterminate.
Page 849: 089: Auto Reverse
The effect is off when a value for the modulation source speciﬁed for the Reset Source parameter is 63 or smaller, and the effect is on when the value is 64 or higher. HOLD DELAY: MIDI/Tempo Sync, BPM, Base Note, and Times If MIDI/Tempo Sync is on, the Loop Time setting is ignored;...
Page 850: 090: Sequence Bpm Delay
Effect Guide Reverse Time [msec] This speciﬁes the maximum time of the reverse playback. For short, single-note slapback effects, set the Reverse Time to a low value. Direct Mix [Always On, Always Off, Cross Fade] Selects how the dry sound is mixed. For more information, see “PLAYBACK: Direct Mix”...
Page 851: 091: L/C/R Bpm Delay
091: L/C/R BPM Delay The L/C/R delay enables you to match the delay time with the song tempo. You can also synchronize the delay time with the arpeggiator or sequencer. If you program the tempo before performance, you can achieve a delay effect that synchronizes with the song in real-time.
Page 852: 092: L/C/R Bpm Long Delay
Effect Guide 092: L/C/R BPM Long Delay The L/C/R delay enables you to match the delay time with the song tempo. You can set the delay time up to 5,460msec Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Left L Delay Input Level D-mod...
Page 853: 094: Stereo Bpm Long Delay
INPUT Input Level Dmod [%] Sets the modulation amount of the input level. p.820. Source Selects the modulation source for the input level. p.820. DELAY [MIDI, 40.00…240.00] MIDI syncs to the system tempo; 40-240 sets the tempo manually for this individual effect. p.822. Time Over? L >...
Page 854: 095: Stereo Bpm Multitap Delay
Effect Guide Adjust [%] Fine-adjust the left channel delay time. R Delay Base Note Selects the type of notes to specify the right channel delay time. p.822. Times Sets the number of notes to specify the right channel delay time. p.822. Adjust [%] Fine-adjust the right channel delay time.
Page 855: 096: Stereo Bpm Mod. Delay
Source Selects the modulation source of the effect sound’s stereo image width. Amount Sets the modulation amount of the effect sound’s stereo image width. 096: Stereo BPM Mod. Delay This is a stereo modulation delay that lets you synchronize the delay time to the tempo of the song. Stereo In - Stereo Out Left Delay...
Page 856: 097: St. Bpm Auto Panning Dly
Effect Guide Times Sets the number of notes to specify the right channel delay time. p.822. L Depth Sets the depth of the left LFO modulation. R Depth Sets the depth of the right LFO modulation. 097: St. BPM Auto Panning Dly This stereo auto panning delay enables you to set the delay time to match the song tempo.
Page 857: 098: Tape Bpm Echo
Source Selects the modulation source for the panning width. Amount Set the modulation amount of the panning width. 098: Tape BPM Echo This models a tape echo unit with three playback heads–but with the ability to sync to tempo. The distortion and tonal changes typical of magnetic tape are also reproduced.
Page 858: 099: Reverse Bpm Delay
Effect Guide Source Selects the modulation source for the Feedback Level. Amount Sets the modulation amount for the Feedback Level. Tone High Damp [%] This cuts the high frequencies in both the main output and the feedback. Higher settings create a darker tone. 099: Reverse BPM Delay This is a reverse-playback delay that lets you synchronize the delay time to the tempo of the song.
Page 859: Reverb And Early Reflections
Reverb and Early Reﬂections 100: Overb The O-Verb features a high-quality, diffusion-based reverb core. In addition to setting the size of the room, you can model its shape and materials by adjusting the diffusion characteristics of both the initial reﬂections and the main reverberant wash, and via separate controls for the high, mid, and low decay times.
Page 860: 101: Reverb Hall
Effect Guide In real acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound. Bass Crossover [Hz] Sets the crossover frequency for the Bass Gain. Gain [dB] This lets you tailor the decay time of the reverb’s low frequencies, using the frequency set by the Bass Xover.
Page 861: 105: Reverb Room
Pre Delay Thru [%] Sets the mix ratio of non-delay sound. p.851. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. Pre Delay [msec] and Pre Delay Thru [%] The Pre Delay sets the delay time to the reverb input, allowing you to control spaciousness.
Page 862: 107: Early Reflections
Effect Guide 107: Early Reﬂections This effect is only the early reﬂection part of a reverberation sound, and adds presence to the sound. You can select one of the four decay curves. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left EQ Trim Pre Delay...
Page 863 Reverb and Early Reflections 108: Early Reflections Hi Dens Type [Sharp, Loose, Modulated, Reverse] Selects the decay curve for the early reﬂections. For more information, see “Type” on page 852. ER Time [msec] [10…1600] Sets the time length of early reﬂection. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance.
Page 864: Mono-Mono Serial
Effect Guide Mono-Mono Serial 109: P4EQ - Exciter This effect combines a mono four-band parametric equalizer and an exciter. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Parametric 4Band EQ Trim Right PARAMETRIC EQ Trim Sets the parametric EQ input level.
Page 865: 111: P4Eq - Chorus/Flanger
Gain [dB] Sets the gain of Band 2. Band3 Fc [Hz] Sets the center frequency of Band 3. Sets the bandwidth of Band 3. p.773. Gain [dB] Sets the gain of Band 3. Band4 Fc [Hz] Sets the center frequency of Band 4. Sets the bandwidth of Band 4.
Page 866: 112: P4Eq - Phaser
Effect Guide CHORUS/FLANGER Waveform Selects the LFO Waveform. Frequency [Hz] Sets the LFO speed. FLANGER Delay Time [msec] Sets the delay time. Depth Sets the depth of LFO modulation. Feedback Sets the feedback amount. p.803. Output Mode Normal sends the output of the chorus/ﬂanger to both outputs with the same phase.
Page 867: 113: P4Eq - Multitap Delay
Resonance Sets the resonance amount. p.805. Output Mode [Normal, Wet Invert] Selects whether the phaser output is mono or pseudo- stereo. For more information, see “Output Mode” on page 857. Wet/Dry [Dry, 1:99…99:1, Wet] Sets the phaser effect balance. p.780, p.806. 113: P4EQ - Multitap Delay This effect combines a mono four-band parametric equalizer and a multitap delay.
Page 868: 114: Comp - Wah
Effect Guide 114: Comp - Wah This effect combines a mono compressor and a wah. You can change the order of the connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Compressor EQ Trim LEQ HEQ Comp Output Level...
Page 869: 116: Comp - Od/Higain
COMPRESSOR Pre EQ Trim Sets the EQ input level. LEQ Gain [dB] Sets the gain of the Low EQ. HEQ Gain [dB] Sets the gain of the High EQ. COMPRESSOR Sensitivity Sets the sensitivity. p.764. 116: Comp - OD/HiGain This effect combines a mono compressor and an overdrive/high-gain distortion.
Page 870: 117: Comp - P4Eq
Effect Guide Gain [dB] Sets the gain of Mid/High EQ 2. 117: Comp - P4EQ This effect combines a mono compressor and a four- band parametric equalizer. You can change the order of the effects. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Compressor...
Page 871: 119: Comp - Phaser
LEQ Gain [dB] Sets the gain of the Low EQ. HEQ Gain [dB] Sets the gain of the High EQ. COMPRESSOR Sensitivity Sets the sensitivity. p.764. Attack Sets the attack level. p.764. Output Level Sets the compressor output level. p.764. CHORUS/FLANGER Waveform Selects the LFO Waveform.
Page 872: 120: Comp - Multitap Delay
Effect Guide Resonance Sets the resonance amount. p.805. Wet/Dry Sets the phaser effect balance. p.780, p.805. Source Selects the Wet/Dry modulation source for the phaser. Amount Sets the Wet/Dry modulation amount for the phaser. 120: Comp - Multitap Delay This effect combines a mono compressor and a multitap delay.
Page 873: 121: Limiter - P4Eq
121: Limiter - P4EQ This effect combines a mono limiter and a four-band parametric equalizer. You can change the order of the effects. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Limiter Parametric 4Band EQ Limiter Trim Gain Adjust...
Page 874: 123: Limiter - Phaser
Effect Guide Attack Sets the attack time. p.766. Release Sets the release time. p.766. Gain Adjust [dB] Sets the limiter output gain. p.766. CHORUS/FLANGER Pre EQ Trim Sets the EQ input level. LEQ Gain [dB] Sets the gain of the Low EQ. HEQ Gain [dB] Sets the gain of the High EQ.
Page 875: 124: Limiter - Multitap Delay
Resonance Sets the resonance amount. p.805. Output Mode [Normal, Wet Invert] Selects whether the phaser output is mono or pseudo- stereo. For more information, see “Output Mode” on page 857. When Routing is set to Phaser→ → → → Comp, Output Mode will automatically be set to Normal.
Page 876: 126: Exciter - Limiter
Effect Guide Routing [Exciter ➝ Comp, Comp ➝ Exciter] Routing Switches the order of the exciter and compressor. EXCITER Pre EQ Trim Sets the EQ input level. LEQ Gain [dB] Sets the gain of the Low EQ. HEQ Gain [dB] Sets the gain of the High EQ.
Page 877: 127: Exciter - Chorus/Flanger
127: Exciter - Chorus/Flanger This effect combines a mono limiter and a chorus/ﬂanger. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Exciter Chorus/Flanger EQ Trim LEQ HEQ Exciter Chorus/Flanger Feedback Cho/Flng Wet / Dry Right LFO: Tri / Sine EXCITER...
Page 878: 129: Exciter - Multitap Delay
Effect Guide PHASER Waveform Selects the LFO Waveform. Frequency [Hz] Sets the LFO speed. PHASER Manual Sets the frequency to which the effect is applied. Depth Sets the depth of LFO modulation. Resonance Sets the resonance amount. p.805. 129: Exciter - Multitap Delay This effect combines a mono exciter and a multitap delay.
Page 879: 130: Od/Hi Gain - Amp Sim
130: OD/Hi Gain - Amp Sim This effect combines a mono overdrive/high-gain distortion and an amp simulation. You can change the order of the effects. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Overdrive / Hi-Gain Amp Simulation 3 Band PEQ...
Page 880: 132: Od/Hi Gain - Phaser
Effect Guide Drive Sets the degree of distortion. Output Level Sets the overdrive output level. Source Selects the modulation source for the overdrive output level. Amount Sets the modulation amount of the overdrive output level. Low Fc [Hz] Sets the center frequency for Low EQ (shelving type). Gain [dB] Sets the gain of the Low EQ.
Page 881: 133: Od/Hi Gain - Multitap Dly
Drive Sets the degree of distortion. Output Level Sets the overdrive output level. Source Selects the modulation source for the overdrive output level. Amount Sets the modulation amount of the overdrive output level. Low Fc [Hz] Sets the center frequency for Low EQ (shelving type). Gain [dB] Sets the gain of the Low EQ.
Page 882: 134: Wah - Amp Sim
Effect Guide Low Fc [Hz] Sets the center frequency for Low EQ (shelving type). Gain [dB] Sets the gain of the Low EQ. Mid1 Fc [Hz] Sets the center frequency for Mid/High EQ 1 (peaking type). Sets the band width of Mid/High EQ 1. p.773. Gain [dB] Sets the gain of Mid/High EQ 1.
Page 883: 135: Decimator - Amp Sim
Amount Sets the Wet/Dry modulation amount for the wah. AMP SIM Ampliﬁer Type Selects the type of guitar ampliﬁer. 135: Decimator - Amp Sim This effect combines a mono decimator and an amp simulation. You can change the order of the effects. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing...
Page 884: 137: Amp Sim - Tremolo
Effect Guide Output Level Sets the compressor output level. p.764. 137: Amp Sim - Tremolo This effect combines a mono amp simulation and a tremolo. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Amp Simulation Amp Simulation Filter Right LFO: Tri/Sin/Vintage/Up/Down...
Page 885: 139: Phaser - Chorus/Flanger
Tap2 Time [msec] Sets the Tap2 delay time. Tap1 Level Sets the Tap1 output level. p.832. Feedback Sets the Tap2 feedback amount. High Damp [%] Sets the damping amount in the high range. p.829. Wet/Dry [Dry, 1:99…99:1, Wet] Sets the multitap delay effect balance. 139: Phaser - Chorus/Flanger This effect combines a mono phaser and a chorus/ﬂanger.
Page 886: 140: Reverb - Gate
Effect Guide 140: Reverb - Gate This effect combines a mono reverb and a gate. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Reverb EQ Trim Pre Delay Reverb LEQ HEQ Right Input Reverb Mix Input Envelope - Control Gate+Dmpr...
Page 887: Mono/Mono Parallel
Mono/Mono Parallel 141: P4EQ // P4EQ through 185: Mt.BPM Dly//Mt.BPM Dly are parallel effects, with the left input going through one effect, and the right going through the other. These provide various combinations of 4-band EQ, Compressor, Limiter, Exciter, Overdrive, Wah, Chorus/Flanger, Phaser, and Multitap Delay., as described below.
Page 888 Effect Guide OUTPUT Sets the stereo image. Wet/Dry Sets the balance between the effect and the dry input. Source Selects a modulation source for Wet/Dry. Amount Sets the modulation amount for Wet/Dry. Exciter Pre EQ Trim Sets the EQ input level. LEQ Gain [dB] Sets the gain of the Low EQ.
Page 889 Frequency Bottom Sets the lower limit of the wah center frequency. p.777. Frequency Top Sets the upper limit of the wah center frequency. p.777. Resonance Sets the resonance amount. Low Pass Filter Switches the wah low pass ﬁlter on and off. OUTPUT [L000…C064…R127] Sets the stereo image.
Page 890: 141: P4Eq // P4Eq
Effect Guide Tap2 Base Note Selects the type of notes to specify the delay time for Tap2. p.822. Times Sets the number of notes to specify the delay time for Tap2. p.822. Tap1 Level Sets the Tap1 output level. Feedback Sets the Tap2 feedback amount.
Page 891: 144: P4Eq // Exciter
144: P4EQ // Exciter This effect connects a four-band EQ and an exciter in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “4 band EQ” on page 877 and “Exciter” on page 878. 145: P4EQ // OD/Hi Gain This effect connects a four-band EQ and an overdrive in parallel.
Page 892: 148: P4Eq // Phaser
Effect Guide 148: P4EQ // Phaser This effect connects a four-band EQ and a phaser in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “4 band EQ” on page 877 and “Phaser” on page 879. 149: P4EQ // Multitap BPM Dly This effect connects a four-band EQ and a multitap BPM delay in parallel.
Page 893: 152: Comp // Exciter
152: Comp // Exciter This effect connects a compressor and an exciter in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Compressor” on page 877 and “Exciter” on page 878. 153: Comp // OD/Hi Gain This effect connects a compressor and an overdrive in parallel.
Page 894: 156: Comp // Phaser
Effect Guide 156: Comp // Phaser This effect connects a compressor and a phaser in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Compressor” on page 877 and “Phaser” on page 879. 157: Comp // Multitap BPM Dly This effect connects a compressor and a multitap BPM delay in parallel.
Page 895: 160: Limiter // Od/Hi Gain
160: Limiter // OD/Hi Gain This effect connects a limiter and an overdrive in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Limiter” on page 877 and “OD/HI-GAIN” on page 878.
Page 896: 164: Limiter // Mtap Bpm Dly
Effect Guide 164: Limiter // Mtap BPM Dly This effect connects a limiter and a multitap BPM delay in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Limiter” on page 877 and “Multi-tap BPM Delay” on page 879.
Page 897: 168: Exciter // Chorus/Flanger
168: Exciter // Chorus/Flanger This effect connects an exciter and a chorus/ﬂanger in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Exciter” on page 878 and “Chorus/Flanger” on page 879.
Page 898: 172: Od/Hi Gain // Wah
Effect Guide 172: OD/Hi Gain // Wah This effect connects an overdrive and a wah in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “OD/HI-GAIN” on page 878 and “WAH” on page 878. 173: OD/Hi Gain // Cho/Flanger This effect connects an overdrive and a chorus / ﬂanger in parallel.
Page 899: 176: Wah // Wah
176: Wah // Wah This effect connects two wahs in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “WAH” on page 878. 177: Wah // Chorus/Flanger This effect connects a wah and a chorus/ﬂanger in parallel.
Page 900: 180: Cho/Flange // Cho/Flanger
Effect Guide 180: Cho/Flange // Cho/Flanger This effect connects two chorus/ﬂangers in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Chorus/Flanger” on page 879. 181: Cho/Flange // Phaser This effect connects a chorus/ﬂanger and a phaser in parallel.
Page 901: 183: Phaser // Phaser
183: Phaser // Phaser This effect connects two phasers in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “Phaser” on page 879. 184: Phaser // Mtap BPM Dly This effect connects a phaser and a multitap BPM delay in parallel.
Page 902 Effect Guide...
Page 903: Karma Ge Guide
KARMA GE guide About the KARMA GE guide This section of the manual explains the GE parameters of the KARMA function built into the OASYS, organized according to the groups that make up the Generated Effects. The OASYS provides more than two thousand preset GEs (Generated Effects).
Page 904 KARMA GE guide Display example [Phase] #No. #No. 000…125: CC#000…CC#125 PB: Pitch Bend Env: parameter name [Env] #No. #No. #No. Parameters of the Env (Envelope) Group also indicate the being controlled by that GE parameter, and indicate the parameter or MIDI message that is controlled by the Envelope.
Page 905: About Karma
About KARMA Overview KARMA stands for Kay Algorithmic Realtime Music Architecture, named after its inventor, Stephen Kay. The KARMA function generates MIDI data, using many different complex algorithms seamlessly integrated to provide a powerful “music generation engine”. Based on the notes and chords you play, KARMA generates phrases and patterns in real-time, generating not just notes but MIDI control data as well.
Page 906: Karma Architecture (Diagram)
KARMA GE guide KARMA Architecture (Diagram)
Page 907: Ge (Generated Effect) Group
This can be used to simulate several types of popular techno effects, such as gating a synth pad with a hi-hat track and an external audio gate/compressor. This GE Type can also be used to simulate the Korg Triton Arpeggiator, along with “Gate Type” = Vel CP, explained below.
Page 908 Note Series and Input Sort settings. This can be used to simulate the operation of the Korg Triton Arpeggiator, for example. Note that ﬁlling all ten rows of each column is essentially the same as using 0: Vel above.
Page 909 GE (Generated Effect) Group GE Global Parameters because it can simplify a dense GE in an interesting sounding way. For example, you can turn a comping keyboard part into a single note bass line. Note: “Force Mono” and Rhythm Group: “Humanize” When “Force Mono”...
Page 910: Note Series Group
KARMA GE guide Note Series Group Overview The Note Series Group controls the creation of a “Note Series” in memory, which is the foundation of a large percentage of Generated Effects. The Note Series is a collection of pitches and corresponding velocities, created from initial notes coming from input source material (i.e.
Page 911 3: Chromatic The 12 steps of a chromatic scale will be used as input source material. The ﬁrst note of the Note Series is based on the lowest note received as input source material. 4: Whole Tone The 6 steps of a whole tone scale will be used as input source material.
Page 912 KARMA GE guide Changes or cycling. Doubled notes caused by the use of the “Double” parameter in the Index Group will also be wrapped around at the top of the Note Series when this is off. 0: Off The notes determined by the Repetitions setting (described above) are used as the range within which to generate notes.
Page 913 key of E. In the above example, playing a C would result in a E diatonic scale, playing a D results in an F# minor scale (F# Dorian mode) and so on. Not available if “GE Type” = 1: Generated-Gated. For more information, see “GE Type”...
Page 914: Phase Group
KARMA GE guide Phase Group Overview A Generated Effect has two different “Phases.” Each of them is a separate collection of certain parameters including Rhythm, Velocity, Cluster, Pan and Index Patterns, among others. As the effect is generated, a Phase Pattern controls switching between the two Phases, so that completely different collections of About Phase Patterns Phase Pattern = 8...
Page 915 in the middle of the Note Series from which the indexes can be chosen in either direction according to the Index Pattern. Not available when “GE Type” (☞p.897) = 1: Generated-Gated. If 2: Generated-Drum, the Note Series can be applied as pitch bend, discussed elsewhere.
Page 916: Up&Down
KARMA GE guide Phase Change occurs. This can be used to simulate the Triton Arpeggiator setting “Arpeggio Type”: Up&Down. 4: B-cycle back from beginning of Phase Allows “cycling” to occur at the beginning of the playback portion of the Phase. For example, if the movement speciﬁed by the Index Pattern causes the index to go backwards beyond the beginning of the playback portion, “cycling”...
Page 917: End Loop Parameters
number of events is then performed in each Phase, regardless of any other circumstances which might trigger a Phase Change. When the Phase “Length Mode” is 0: AC-Actual, then these parameters are not available. The Phases will then change according to the movement through the Note Series.
Page 918 KARMA GE guide Template Steps 13…16 Same as above, except for steps 13–16. Note that if the number of steps in the Phase Pattern (Pattern Items) is less than the steps for which Templates are being changed, these will produce no audible results.
Page 919: Rhythm Group
Rhythm Group Overview The Rhythm Group controls the rhythmic characteristics of the Generated Effect. It can also have an inﬂuence on when “Auto Bend” pitch bending effects (set up on the Bend Group) are generated. About Rhythm Patterns Rhythm Patterns control the timing with which notes will be generated.
Page 920: Pattern Grid & Associated Parameters
KARMA GE guide Swing Use Multiplier 0: Off 2: P1-Phase1 1: Ind-Independently 3: P2-Phase2 The “Rhythm Multiplier” (explained later on in this chapter) causes the values in the Rhythm Pattern to be increased or decreased by a percentage. The “Swing Use Multiplier”...
Page 921: Random Weighting Parameters - Pools
Random Weighting Parameters - Pools The Random Weighting Parameters - Pools are made available when at least one step (column) in the Rhythm Pattern has multiple rhythmic values selected (constituting a “random pool” of values). Whenever a random pool is encountered in playing through the pattern, a random choice is made from the values in that step.
Page 922: Associated Parameters
KARMA GE guide value is +99, the choices are “locked” to no ties whatsoever; when the value is -99, the choices are “locked” to ties always (and the effect is the same as if absolute ties were selected). For more information, see “Random Weighting Curves”...
Page 923 Rhythm Group Associated Parameters Template + Restore [0: [As Stored]…63] Similar to the above setting; however, the internal settings of the GE can be restored and used as part of the real-time Template operation. In this case, the Min setting of the Template Range actually does not select that Template;...
Page 924: Duration Group
KARMA GE guide Duration Group Overview The Duration Group contains the parameters that control the duration of the notes in a Generated Effect. About Duration Patterns Duration Patterns control the duration of notes for each “rhythm event” that is generated according to the settings in the Rhythm Group.
Page 925 notes, any step in the Duration Pattern (as modiﬁed by the Duration Value) that is shorter than a quarter note will cause the notes (and all sustaining notes at that time) to have the speciﬁed duration. This is useful for simulating the technique of strumming and damping certain chords within the progression.
Page 926: Random Weighting Parameters - Pools
KARMA GE guide Random Weighting Parameters - Pools The Random Weighting Parameters - Pools are made available when at least one step (column) in the Duration Pattern has multiple rhythmic values selected (constituting a “random pool” of values). ☞p.911 “Rhythm Group”: “Random Weighting Parameters - Pools”...
Page 927: Index Group
Index Group Overview The Index Group controls the order of the pitches as they are generated from the Note Series, and some other characteristics that can affect the number of notes generated at a time. About Index Patterns Index Patterns describe a way of moving through the Note Series in memory and consequently control the order of the pitches as they are generated.
Page 928: Random Weighting Parameters
KARMA GE guide 2: Random Walk (“Random Walk Max Step”: 1…9) Makes available the “Random Walk Max Step” parameter. Causes the pitches to meander from the start pitch in a random fashion, with the largest step that can be taken in any direction controlled by the “Random Walk Max Step”...
Page 929 voicings, or randomizing Drum Patterns in a manner different than above. Another effect of this is that after each cluster, the next cluster starts where the previous cluster left off, in effect advancing through the Phase and the Note Series (or Drum Pattern) much more quickly.
Page 930 KARMA GE guide An Index Pattern Template consists of: • the configuration of the Index Pattern Grid • Random Weighting Parameters Template [1…63] ☞p.912 “Rhythm Group”: “Template”. Template + Restore [ 0: [As Stored] …63] ☞p.913 “Rhythm Group”: “Template + Restore”.
Page 931: Cluster Group
Cluster Group Overview The Cluster Group contains the parameters that control the “clustering” characteristics of the Generated Effect (the number of notes to generate simultaneously each time a rhythm event occurs, About Cluster Patterns A “cluster” is a group of notes that will be generated at the same time, with a size ranging from 1 to 10.
Page 932: Random Weighting Parameters
KARMA GE guide Random Weighting Parameters The Random Weighting Parameters are made available when at least one step (column) in the Cluster Pattern has multiple values selected (constituting a “random pool” of values). For more information, see “Rhythm Group” on page 909, and “Random Weighting Parameters - Pools”...
Page 933: Velocity Group
Velocity Group Overview The Velocity Group controls most of the aspects that affect the velocities of the notes in the Generated Effect. About Velocity Patterns A Velocity Pattern represents amounts to be subtracted from the initial velocities of notes as they are about to be generated.
Page 934: Pattern Grid & Associated Parameters
KARMA GE guide 1/64, an input velocity of 64 would enter KARMA as 32 (velocities in the range 1–127 are scaled into the range 1–64, or 50% softer). Note: Setting the two values to the same value creates a constant value, and would be the same as using “Velocity Mode”...
Page 935 indicated by the pattern, with a net advance of six steps. This means that each note in a cluster or each note of a drum pattern that is generated simultaneously can be given its own velocity. This is useful for more subtly shifting accents within clusters of notes, and adding more human-like velocity randomness to drum patterns.
Page 936: Ccs/Pitch Group
KARMA GE guide CCs/Pitch Group Overview The CCs/Pitch Group allows the editing of parameters that control generation of CC (Control Change) messages. For example, this can control the panning (CC #10) of the notes in the Generated Effect (stereo placement left to right). Any other CC data may also be generated to control any MIDI controllable characteristic of your synthesizer, such as resonance, ﬁlter frequency, vibrato, etc.
Page 937: Random Weighting Parameters
Not available in Phase 2 when Pitch Offsets are being used. CC Mode 0: Pattern 3: Index to 32…96 1: Index to 0…127 4: Index to 0…64 2: Index to 24…108 5: Index to 64…127 Not available in Phase 2 when Pitch Offsets are being used.
Page 938: Global Parameters
KARMA GE guide Octaves-Random Factor Controls the shape of the weighting curve being applied to the bottom part of the CC Pattern Grid (Octaves). For more information, see “Rhythm Group” on page 909 and “Pools-Random Factor” on page 911. This is valid only if the GE settings make the Phase 2 CC pattern specify Pitch Offset values.
Page 939 Pitch Offset Patterns and ensuring that the results stay in a certain key or chord. The note tables used to shift the notes are the same as the ones used in Note Series Group “Note Type”: 1: Scalic. For more information, see “Note Type”...
Page 940: Waveseq Group
KARMA GE guide WaveSeq Group Overview The WaveSeq Group controls a set of parameters that allow the waveforms of the OASYS’s programs to be varied in real-time, creating popular “wave-sequence” style effects. About WaveSeq Patterns WaveSeq Patterns control the waveforms of the synth programs that are being used to generate notes.
Page 941: Pattern Grid & Associated Parameters
1: Osc2 In Both Phases The speciﬁed waveforms will be selected according to the switching of the Phase Pattern, but only for Oscillator 2. During steps utilizing Phase 1, the Phase 1 Pattern will be used to change the waveforms, and during steps utilizing Phase 2, the Phase 2 Pattern will likewise be used.
Page 942: Random Weighting Parameters
KARMA GE guide Waveform Type 0: MultiSound 1: WaveSequence Speciﬁes whether the messages sent will change the program's oscillator(s) to different Multisamples, or different Wave Sequences. 0: MultiSound The choices indicated by the pattern values will cause various Multisamples to be selected for the speciﬁed oscillators.
Page 943 WaveSeq Group Associated Parameters Template + Restore [0: [As Stored]…63] For more information, see “Rhythm Group” on page 909, and “Template + Restore” on page 913.
Page 944: Envelope Group
KARMA GE guide Envelope Group Overview Each Generated Effect has 3 envelopes which can be applied to various options such as Velocity, Tempo, Pitch Bend, Duration, Repeat Time, and any CC (Control Change). About Envelopes For those of you familiar with synthesizer envelopes, these are standard ADSR Envelopes, with the addition of a Start Level.
Page 945 velocities of the notes being generated, to impart an overall velocity shape while maintaining the accents within the individual notes. 1: [TA] Tempo-Absolute Controls the speed of the Riff, for accelerando and ritard effects. When active, the effect does not sync to the Internal Master Clock or External Sync, but runs on its own clock, controlled by the Tempo Envelope.
Page 946 KARMA GE guide Decay Time The time it will take to reach the “Sustain Lev (Sustain Level)” from the Attack Level. This is a portion of the overall time setting speciﬁed in the “Time Scale” parameter described below. Sustain Level The second level which the envelope reaches in the amount of time speciﬁed by “Decay Time.”...
Page 947: Level Combinations
Tempo Relative 0: Off 1: On When 1: On, makes the selected envelope’s time scale relative to tempo. This means that the envelope can Track the notes being generated, or a particular length of time. If you have it set to make a particular shape over 1 bar of 4/4, then changing the tempo will maintain this relationship by scaling the tempo range of the envelope accordingly.
Page 948 KARMA GE guide Dec/Rel Time (Decay/Release Time) Controls an Envelope’s Decay and Release Times at the same time - both will be set to the same value. All Times Controls an Envelope’s Attack, Decay and Release Times at the same time - all will be set to the same value.
Page 949: Repeat (Melodic Repeat) Group
Repeat (Melodic Repeat) Group Overview Melodic Repeat allows any note to be repeated in a delay-like fashion, with many additional features and enhancements. When the GE Type is one of the “Generated” types (i.e. 0: Generated - Riff), the notes as they are generated may each start sequences of repeating notes.
Page 950 KARMA GE guide Dotted Rhythms 0: None (Instant) 3: 16th Dotted 1: 64th Dotted 4: 8th Dotted 2: 32nd Dotted 5: Quarter Dotted Selects a value for the “Rhythm Value” parameter from a subset of the entire range. The subset consists of the dotted values along with 0: None and 8: Rhythm Pattern.
Page 951 algorithms to shift the notes to musically correct ones, even in pending repeated notes that haven’t yet sounded. Even when the Transpose setting is 0, this can be used to make the pending repeated notes conform to the new chord, which is impossible with outboard analog/digital delays.
Page 952: Range Parameters
KARMA GE guide Range Parameters These parameters affect the pitch range of the repeating notes as they transpose, and what happens when they go outside of the range. They also control a range for triggering by velocity. Range Mode 0: Absolute 1: Lowest Note Relative 2: Highest Note Relative 3: Lowest/Highest Note Relative...
Page 953: Ge Mode = Real-Time Parameters
GE Mode = Real-Time Parameters If the “GE Type” is 3: Real-Time, these additional parameters are also available. Duration Mode (RT) 0: As Played 1: Fixed 2: As Played-No Overlap 3: Fixed-No Overlap 4: As Played-Delay No Overlap Chooses one of 5 different modes for the durations of the repeated notes, which not only can greatly reduce problems with polyphony, but also provide some interesting performance options.
Page 954 KARMA GE guide “Chord Quantize (RT)” setting of 0: Off. This may or may not be desirable; sometimes you may want it, other times you may not. When “Chord Quantize (RT)” is set to 1: On, the notes in the ﬁrst repeat of the chord will be hard quantized so that they generate simultaneously.
Page 955: Bend Group
Bend Group Overview The Bend Group allows various shapes of automatic pitch bending to be applied to individual notes as they are generated. It also allows a special “arpeggiated bending” option to be applied to Drum Patterns. However, no bending will actually occur unless the Phase Pattern has been conﬁgured to allow it.
Page 956 KARMA GE guide 13, 14, 15, 17 & 18 not available when “GE Type” (“GE Type” on page 897) is 3: Real-Time. Force Bend If Zero 0: Off 1: On When using next or previous note bending, if the two pitches to be bent between are adjacent, a bend of zero can result (no bend).
Page 957: Ge Mode = Real-Time Parameters
the length and twice as fast as an 8th note duration. If the duration is varied in real-time, the length of the bends will also be varied. Not available when “GE Type” (☞p.897) is 3: Real- Time, since the duration of the note is determined by actually playing the keyboard.
Page 958 KARMA GE guide 0: Bend, it would be the same as starting a note with the Joystick all the way in the pitch down position, and then moving it to the center. 1: To The bend starts at the current pitch (i.e. Joystick center), and ends at a pitch offset equal to the Amount setting.
Page 959: Drum Group
Drum Group Overview The Drum Group allows up to three different Drum or Melodic Patterns (of equal or different lengths) to be created, edited, and simultaneously looped, while being separately modiﬁed by various other parameters. Many of these modiﬁcations are controlled About Drum Patterns A Drum Pattern is a special type of “ﬁxed”...
Page 960: Associated Parameters
KARMA GE guide Also shown above is a 65th column, known as the “Always Column” and indicated by the abbreviation “a” underneath it. When a row is selected in this column, it will cause any values in that row of the Associated Parameters Play On/Off 0: Off...
Page 961: Random Weighting Parameters- Pools
Pattern Vel. Offset Subtracts or adds a constant amount to the velocities for each Drum Pattern. Allows a Pattern’s relative volume to be raised or lowered with regard to the other Patterns. Note that this is subtractive/additive: 0 leaves velocities at the Initial Velocity they would normally be generated based on the Velocity Group settings.
Page 962: Random Weighting Parameters- Rests
KARMA GE guide The following table summarizes the effect of the various Weighting Curves and the Factor ﬁeld on Drum Sound choices: Drum Pool values that receive priority: Weighting Curve + (positive) Random Weighting Parameters– Rests The Random Weighting Parameters - Rests are made available when at least one column in the grid has a rest and at least one other Drum Sound turned on.
Page 963 7 rows specifying drum notes) are generated. If 3 keys are pressed, then only the notes speciﬁed by the lowest three rows are generated. This can be used to simulate the Korg Triton Arpeggiator setting “Fixed Tone Mode”: Trigger As Played. Wrap Bottom Wrap Top 0…127: C–1…G9...
Page 964 KARMA GE guide Time Controls Editor) to control all three Patterns at the same time. The values 0~8 select one of 9 different combinations, shown in the following table: Melodic Repeat will be turned off in each step of the Phase Pattern, for the speciﬁed Drum Patterns.
Page 965 Template Parameters The two Template Parameters select from one of three banks of Drum Pattern Templates within the current selected Template Bank (shared by all three Drum Patterns), and load the parameters into the selected Drum Pattern Editing Grid and associated parameters. Each Drum Template Bank contains 63 or 64 different Drum Pattern Templates.
Page 966: Direct Index Group
KARMA GE guide Direct Index Group Overview Direct Index means to take a controller and map it into the Note Series directly, so that notes can be directly indexed and generated in real-time. One use is to take an area of a keyboard and map it into the Note Series, so that when you play the keys you are not generating the true note, but are selecting notes from within the Note Series.
Page 967: Duration Parameters
Held Note Trig Mode 0: Off 2: Retrigger 1: Bend/Retrigger 3: Mute Selects one of several options for deciding what happens when Direct Index notes are being sustained, and the chord is changed so that the sustained note(s) no longer “ﬁt” with that chord (i.e. are no longer are part of the Note Series).
Page 968: Repeat Parameters
KARMA GE guide 0: Poly Extend Each note will sustain until the next generation of the same note, or until that note is no longer a part of the Note Series (caused by playing a new chord, for example). For example, if the notes to a CMaj chord are sustaining and the chord is changed to a CMinor, only the Es will be shut off.
Page 969 14: Next Index+1 Bends each note to the index in the Note Series that is 2 indexes forward (note that this may be an up or down bend depending on how the Note Series is constructed and sorted). For example, if the Note Series contains {C, E, G, B, C…}, then when the E is Direct Indexed it will bend to the B.
Page 970: Appendices
KARMA GE guide Appendices Using Auto-Bend Auto-Bend refers to a feature of KARMA that can generate a bend along with every generated note. It can be used to create gliding effects between notes (simulating portamento), to automatically bend each note to a preset step size, to produce guitar “hammer- on”...
Page 971: Random Weighting Curves
“GE Type” 3: Real-Time Since the duration of the note is determined by actually playing the keyboard, Bend Group “Length” 25: Note Duration is not available for this GE Type, and will act the same as 7: 16th if selected. The other Bend Length settings operate as described above.
Page 972 KARMA GE guide Exponential Curves with Positive/Negative Factors Exp (+Factor) - choose from upper values more often Exp-S (+Factor) - choose from center values more often upper Y Axis = The Pool lower Random choice with equal probability between min and max Exponential S (Exp-S) With a positive Factor (+), choices will be exponentially weighted towards the center values in...
Page 973 Comparison of Exponential and Logarithmic Curves Exponential Curves and Logarithmic Curves have similar shapes. They are different, however, as the following diagram illustrates: Factor +40 Factor +20 Factor +10 CURVE: LOG Factor +40 Factor +20 Factor +10 CURVE: EXP X Axis = random choice with equal probability between min and max. Y Axis = the Pool. This characteristic can be used to even more ﬁnely tune the effect you are trying to achieve.
Page 974 KARMA GE guide Y Axis = The Pool With a Positive Factor (+40): Exponential Cur ve (Exp) 75% chance of a choice from the upper 10% of the pool; 25% chance of a choice from the lower 90% of the pool. Logarithmic Curve (Log) 90% chance of a choice from the upper 25% of the pool;...
Page 975: Appendices
Alternate Modulation Sources (AMS) Alternate Modulation Overview Alternate Modulation lets you use controllers, envelopes, LFOs, etc. to modulate Program parameters. You can use one controller to modulate multiple parameters simultaneously. You can also create complex modulation setups in which (for example) an envelope modulates the frequency of an LFO, and that LFO is then used to modulate a ﬁlter.
Page 976 Appendices Alternate Modulation - EXi AL-1 Analog Synthesizer Type Shape Intensity Mod Intensity Mod Frequency Mod 1 Frequency Mod 1 LFO1 Frequency Mod 2 Frequency Mod 2 Pitch LFO Mod Intensity Mod (Sub OSC) Pitch Mod 1 Pitch Mod 2 Morph Mod OSC1 Width/Phase/Detune...
Page 977: Ams (Alternate Modulation Source) List
Alternate Modulation Sources (AMS) AMS (Alternate Modulation Source) List Physical and MIDI controllers This means that no modulation source is selected. Note Number This is the note’s MIDI note number, from 0 (C-2) to 127 (G9). Velocity This is the note’s MIDI note-on velocity. Exponential Velocity This is MIDI note-on velocity through an exponential curve.
Page 978 Damper (CC#64) This is the Damper pedal, also sometimes called the sustain pedal. It corresponds to MIDI CC#64. When using Korg’s optional half-damper pedal, the DS-1H, this AMS source is continuous–not just on/off. Porta. SW (CC#65) This is the MIDI portamento switch (CC#65), which also enables and disables portamento.
Page 979 Alternate Modulation Sources (AMS) Tempo This lets you use the system tempo as a modulation source. 120 is the center, for a value of 0; 60BPM is -99, and 240BPM is +99. Note that this is different from actually syncing to tempo;...
Page 980 Appendices Step Sequencer This is the output of the per-voice Step Sequencer. For more information, see “8–1: Step Sequencer” on page 203. EG1 (Filter), EG2 (Pitch), and EGs 3 & 4 These are the outputs of the four assignable EGs. For more information, see “7–1: EG 1 (Filter)”...
Page 981: Alternate Modulation Settings
LFO1 …2 These are the outputs of the two assignable LFOs. For more information, see “8–2: LFO 1” on page 205. Alternate Modulation settings When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the table below. By using alternate modulation, you can create complex systems of modulation in which EG, LFO, keyboard tracks, and controllers work together.
Page 982 Appendices Wave Sequence (+63) 0…+63 Position Wave Sequence (400%) 1x…4x Step Duration Notes for the table EXT(+–): JS X, Ribbon (CC#16), KnobMod.5 (CC#17), KnobMod.6 (CC#19), KnobMod.7 (CC#20), KnobMod.8 (CC#21) When Tempo is selected as an AMS source, the base value is =120. For example if the Pitch AMS is set to Tempo, and Intensity is set to 12.00, doubling the tempo value ( =120 →...
Page 983 • You can select Common LFO, LFO1 or 2 as the AMS, and use the LFO to control the resonance level. Output Level (Program 3–1b) You can use the wave sequence’s AMS Out, EG, LFO, keyboard tracking, controllers, or tempo etc. to control the output level of Filter A/B.
Page 984 Appendices Pan (Program 4–1c) The oscillator pan can be controlled by the wave sequence’s AMS Out, EG, LFO, keyboard tracking, controllers, or tempo etc. • If you select Note Number as the AMS and set “Intensity” to +50, panning will be controlled by the keyboard position: center at the C4 note, far right at C6 or above, and far left at C2 or below.
Page 985 • By setting AMS to Gate 1, you can make the Common LFO reset when a note is played from a state in which all notes are off. For example, this will ensure that a filter sweep always starts from the same place.
Page 986: Dynamic Modulation Sources (Dmod)
Appendices Dynamic Modulation Sources (Dmod) You can control certain effect parameters using the joystick, vector joystick, ribbon controller, etc. “on the ﬂy.” These parameters can also be controlled by KARMA, the Vector joystick and EG, or the sequencer. Controlling effects in this way is referred to as Dynamic Modulation.
Page 987 Gate1, Gate1+Damper The effect is at maximum during note-on, and will stop when all keys are released. With Gate1 + Damper, the effect will remain at maximum even after the keys are released, as long as the damper (sustain) pedal is pressed.
Page 988 Appendices Tempo The resulting modulation will be zero at 120 BPM, the maximum positive value at 240 BPM, and the maximum negative value at 60 BPM. Many effects LFOs and delays can also be synchronized to tempo. For more information, see “Tempo Synchronization”...
Page 989: Controller Assignments
Controller Assignments SW1/2 Assignments Switch assignments are saved separately with each Program, Combination, and Song. In Sampling mode, assignments apply to the entire mode. For more information, see: • HD-1 Programs: “1–8: Set Up Controllers” on page 45 • EXi Programs: “4–8: Set Up Controllers” on page 163 •...
Page 990: Realtime Knobs 5-8 Assignments
Appendices Chord SW This enables and disables Chord mode. For more information, see “Using Chord mode” on page 49 of the Operation Guide. Realtime Knobs 5–8 Assignments Knob assignments are saved separately with each Program, Combination, and Song. In Sampling mode, assignments apply to the entire mode.
Page 991: Foot Switch Assignments
Foot Switch Assignments You can connect a footswitch (such as the optional Korg PS-1) to the rear-panel ASSIGNABLE SWITCH input, and then use it to control a wide variety of functions, as described below. This setting is made globally, on the Global P2–1 Controller page.
Page 992: Foot Pedal Assignments
The switch duplicates the effect of the ribbon controller. Foot Pedal Assignments You can connect a pedal (such as the optional Korg XVP-10 or EXP-2) to the rear-panel ASSIGNABLE PEDAL input, and then use it to control a wide variety of functions, as described below.
Page 993 Foot Pedal (CC#04) You can use this general-purpose controller as an AMS or Dmod source. Note that you’ll also need to assign Foot Pedal (CC#04) to control the desired parameter within the Program or Effect. Portamento Time (CC#05) Controls the speed at which portamento will change the pitch.
Page 994: Dynamic Midi Sources & Destinations
Appendices Dynamic MIDI Sources & Destinations Dynamic MIDI Sources The sources (Dynamic MIDI Sources) are organized into the following groups JS +Y #01…JS X: Controller group Short Note…Black Note: Note group Velocity…Vel Out Z: Velocity Group Depending on the combination of source and destination (Dynamic MIDI Destinations), the selected destination may not function as you intend.
Page 995: Note Group
Note: If you want to use the ±X axis of the vector joystick as a source, set the Global P2–1c: MIDI CC# Assign-Vector Joystick/Pads parameter “VJS X” to CC#119. VJS +X Mod. (CC#85) The +X direction (the left direction) of the vector joystick (CC#85) will be the source.
Page 996: Velocity Group
Appendices Use “Input” to specify the applicable KARMA module. White Note Use Bottom and Top (7–7b) to specify the range of note numbers. Only the white notes (C, D, E, F, G, A, B) within the speciﬁed range will be the source. Black Note Use Bottom and Top (7–7b) to specify the range of note numbers.
Page 997 etc. to turn latch on so that the currently-operating Envelope1, 2, or 3 will continue to be held even after you release the keyboard or the Pad 1–8. Examples of use Setting 1 (Program mode) Note Latch (7–4b): On (normally leave this On for a program) Dynamic MIDI 1 Source (7–7b): Dynamic MIDI 1 Bottom (7–7b):...
Page 998 Appendices Dynamic MIDI 1 Source (7–7b): Dynamic MIDI 1 Bottom (7–7b): Dynamic MIDI 1 Top (7–7b): Dynamic MIDI 1 Action (7–7b): Dynamic MIDI 1 Destination (7–7b): Dynamic MIDI 1 Polarity (7–7b): Module Stop & Repeat Stop Combines the effects of Module Stop and Melodic Repeat Stop (above), so that all note generation from the assigned module(s) will be immediately terminated.
Page 999 Note input in the key zone speciﬁed for each module will not be used for normal chord detection on KARMA modules for which Smart Scan is operating. If Smart Scan and Chord Scan are speciﬁed simultaneously, the Chord Scan note range will also be handled as the Smart Scan note range.
Page 1000 Appendices Use this when you wish to stop the phrase or pattern played by the KARMA module and simultaneously switch to realtime note generation by Direct Index. Direct Index 1 Way The same as Direct Index (above), but only functions in one direction of the selected controller.
Page 1001: Midi Transmission When The Oasys's Controllers Are Operated
MIDI transmission when the OASYS’s controllers are operated MIDI transmission when the OASYS’s controllers are operated The following tables show the relation between the MIDI messages that are transmitted when the OASYS’s controllers are operated, and the AMS (alternate modulation source) or DMS (dynamic modulation source) that correspond to each MIDI message.