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Korg OASYS musical instruments Operation Manual

Open architecture synthesis studio.
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Operation Guide
Operation Guide
Please read this guide first


   Summary of Contents for Korg OASYS musical instruments

  • Page 1

    Operation Guide Operation Guide Please read this guide first...

  • Page 3: Important Safety Instructions

    IMPORTANT SAFETY INSTRUCTIONS • Read these instructions. • Keep these instructions. • Heed all warnings. • Follow all instructions. • Do not use this apparatus near water. • Mains powered apparatus shall not be exposed to dripping or splashing and that no objects filled with liquids, such as vases, shall be placed on the apparatus.

  • Page 4

    • Do not bend or drop a disc. Responsibility for loss of data Korg Corporation will accept no responsibility for any dam- ages (direct or indirect, whether sustained by the customer or by a third party) resulting from loss of or damage to data written on a CD-R or CD-RW disc.

  • Page 5

    Incorrect operation or malfunction may cause the contents of memory to be lost, so we recommend that you save impor- tant data on a CD or other media. Please be aware that Korg will accept no responsibility for any damages which may re- sult from loss of data.

  • Page 6: About This Manual

    Thank you for purchasing the Korg OASYS Open Architecture Synthesis Studio. To help you get the most out of your new instrument, please read this manual carefully. About this manual The owner’s manuals and how to use them The OASYS includes two owner’s manuals: •...

  • Page 7: Table Of Contents

    About this manual..... . . vi Quick Start ..... . 1 Quick Start .

  • Page 8

    MIDI-related settings P1: MIDI ....149 Pedal and other controller settings ... 149 Creating user scales ......150 Setting Category Names for Programs, Combinations, and KARMA .

  • Page 9: Quick Start

    Quick Start POWER KARMA Control Surface Volume Vector Joystick SW 1&2 Joystick Ribbon Headphone The OASYS contains an amazing amount of functionality, but this Quick Start is provided for those who just want to get started trying out the sounds right away.

  • Page 10: Selecting Combinations

    Program Select Category Popup button Play the keyboard or strike the pads to hear the sound. 2. The large characters in the upper part of the LCD screen will be highlighted. These are the program number and program name (“Program Select”). In this state, you can press the select the next or previously numbered program.

  • Page 11

    Combination Select Category Popup button Combination Bank Contents As shipped from the factory, the contents of the Combination Banks are as follows: Combination bank contents Bank Contents INT-A, B Factory Combinations Factory Combinations; requires the INT-C EXs1 ROM Expansion PCM. INT-D…G;...

  • Page 12: Listening To The Demo Songs

    For details on these controllers, see “Performing with KARMA” on page 196. 3. After you’ve edited a program, you can restore the program to the original state in which it was saved. Listening to the demo songs Loading the demo song data in Disk mode 1.

  • Page 13

    Listening to the demo songs in Sequencer mode 1. Press the MODE SEQ switch (the LED will light) to enter Sequencer mode. 2. Access the P0: Play/REC– MIDI Track Prog Select/Mixer page. If this page is not displayed, press the EXIT switch. Although the exact number will depend on the page you’re in, pressing the EXIT switch no more than three times will take you to the top page of P0.

  • Page 14: New Features In Software Version 1.2

    Korg MS-20, including both its many features and its distinctive, often aggressive timbral signature. To this core, we added all of the features first introduced in the Korg Legacy MS-20 plug-in, such as the External Modulation routings, tempo synchronization, and the Analog knob, for modeling the inherent instabilities of analog oscillators and filters.

  • Page 15: New Features In Software Version 1.1

    As the first EXi update for OASYS, the STR-1 Plucked String advances the state of the art in physical modeling, building on over a decade of Korg’s research with new innovations exclusive to OASYS. It offers a comprehensive and sophisticated set of synthesis tools,...

  • Page 16

    If you have any questions regarding the type of DRAM DIMM modules that can be used, please contact your local Korg distributor. EXi audio input OASYS now includes standard parameters for routing audio into EXi instruments. You can use this for processing live or recorded inputs through EXi synthesis engines, or for creating feedback loops.

  • Page 17: Introduction To Oasys

    Introduction to OASYS Main Features Open Architecture Synthesis Studio The OASYS features the OA (Open Architecture) synthesis system, which offers all the benefits of a variable software system backed by the hardware integrity that can only come from a fully-integrated instrument design.

  • Page 18

    Korg’s AMS (Alternate Modulation Sources) give you a rich array of modulation possibilities, with 52 different modulation sources you can use to control the sound in complex ways.

  • Page 19

    You can also apply effects while sampling or during hard disk recording. What is REMs (Resonant structure and Electronic circuit Modeling System) is Korg’s proprietary technology for digitally recreating the numerous factors that produce and influence a sound, ranging from the sound- production mechanisms of acoustic instruments and...

  • Page 20

    You can load sample files in AIFF, WAVE, AKAI S1000/ 3000, or Korg formats; all will be handled as Korg format data once they are loaded. You can also export sample data as AIFF or WAVE files. You can use...

  • Page 21

    External live audio can even be accessed as an additional signal source. Dual multi-mode resonant filters Each voice can use either one or two of Korg’s incredibly versatile multimode (Low Pass, Band Pass, Band Reject [notch], and High Pass) resonant filters.

  • Page 22

    In addition to modeling a standard tone-wheel organ with 9 drawbars and single-pitch percussion, the CX-3 adds Korg’s exclusive EX mode. This adds four additional drawbars, with pitches adjustable in half- step increments between 16’ and two octaves above 1’.

  • Page 23

    Building on over a decade of Korg’s research, the STR- 1 advances the state of the art with a number of new innovations exclusive to OASYS.

  • Page 24

    • MIDI tracks: 16 tracks + 1 master track, 156 preset and 100 user patterns (per song), 18 preset and 16 user template songs. Formats: Korg (OASYS) format, support for SMF formats 0 and 1 • Audio tracks: Maximum simultaneous playback of 16 tracks, maximum simultaneous recording of 4 tracks, WAVE file format.

  • Page 25

    The huge array of functions and parameters are displayed in a 10.4 inch color LCD for excellent visibility. The OASYS uses Korg’s proprietary TouchView graphical user interface, letting you perform operations simply by touching the screen. In addition to traditional controllers such as joystick, ribbon controller, and assignable keys, there’s also a...

  • Page 26: Front And Rear Panels

    Introduction to OASYS Front and rear panels Front panel 6: KARMA 1: Volume 2: Vector JS 3: SW 1&2 4: Joystick 5: Ribbon 13: Headphone Jack 1. VOLUME slider (MAIN/HEADPHONE) This adjusts the volume of the main L/R audio outputs, as well as the volume of the headphone jack. It does not affect any of the other outputs, including S/P DIF, the individual outputs 1-8, or the optional ADAT output.

  • Page 27

    6. KARMA buttons KARMA stands for “Kay Algorithmic Realtime Music Architecture.” It’s an immensely powerful recording and live performance tool, which can provide a wide range of musical effects including: • Arpeggiation • Drum and instrument grooves • Complex CC gestures (as if it was automatically moving knobs or joysticks for you) •...

  • Page 28

    Introduction to OASYS TIMBRE/TRACK TIMBRE/TRACK lets you use the control surface to adjust the volume, pan, EQ, and send levels for OSC 1/2 or EXi 1/2 in Program mode, the current Multisample in Sample mode, and each of the 16 Timbres or Tracks in Combi and Sequence modes.

  • Page 29

    VALUE dial Use this dial to edit the selected parameter’s value. This control is convenient when you want to scroll through a very long list of selections. 0-9, –, ., and ENTER buttons These buttons are convenient when you know the exact value that you want to enter.

  • Page 30: Headphone Jack

    To reset a single control, hold down RESET CONTROLS and then move a Control Surface slider or knob, press one of the control surface buttons, or move the Vector Joystick. To reset an entire page of the Control Surface all at once, including all sliders, knobs, and switches, hold down RESET CONTROLS and then touch any of the Control Assign buttons, such as TIMBRE/TRACK or...

  • Page 31

    where you can immediately use the numeric keys or switches to select a Program, Combination, or Song. When a dialog box is open, this button cancels the settings made in the dialog box and closes the dialog box, just like pressing the Cancel button. If a popup menu or page menu is open, pressing EXIT closes the menu.

  • Page 32: Rear Panel

    19. SAMPLING buttons REC button In Sampling, Program, Combination, and Sequencer modes, pressing this button enters the initial sampling- ready mode. The button’s LED will light up. To continue, press the SAMPLING START/STOP button, as described below. START/STOP button In Sampling, Program, Combination, and Sequencer modes, pressing this when the SAMPLING REC button is lit will do one of three things, depending on the setting of the Trigger parameter (on the Sampling...

  • Page 33

    ASSIGNABLE Switch and ASSIGNABLE Pedal” on page 149. ASSIGNABLE PEDAL jack This lets you connect a continuous controller pedal, such as the Korg EXP-2 foot controller or Korg XVP-10 EXP/VOL pedal, to use as an assignable modulation source. Front and rear panels Like the ASSIGNABLE SWITCH, the pedal’s function...

  • Page 34

    Introduction to OASYS Mic/Line Inputs 1 and 2 Inputs 1 and 2 provide combined XLR and 1/4” TRS balanced connectors. You can use these for either microphone-level or line-level signals. The two inputs have identical sets of controls, as described below. MIC/LINE switches These set the input’s nominal signal level.

  • Page 35: Names And Functions Of Objects On The Lcd Display

    Edit cell c: Popup button (1) h: Page tab g: Page group Tab The OASYS uses Korg’s TouchView graphical user interface. By touching on objects displayed in the LCD screen, you can select pages, set parameter values, rename programs and combinations, write data, and perform many other operations.

  • Page 36

    Introduction to OASYS Scroll bar Use this when you wish to see parameter values that extend beyond what can be displayed in the screen at one time. Press here to scroll to left or right. Press here and slide to left or right to scroll to the desired location.

  • Page 37

    Front and rear panels Names and functions of objects on the LCD display Toggle buttons This type of button will change its function or switch on/off each time it is pressed. Play/Rec/Mute button in Sequencer mode Solo On/Off button in Sequencer mode Use the numeric keypad [0]-[9]...

  • Page 38: Basic Information

    Introduction to OASYS Basic Information About the OASYS’ modes The OASYS has a large number of features that let you play and edit programs and combinations, record and play sequence data, record and play back samples, and manage data on disk. The largest unit used to organize these features is called a mode.

  • Page 39: About The Oasys' Pcm Memory

    • Select and play Combinations • Use OASYS as a 16-track multitimbral tone generator • Edit Combinations Assign Programs to each of the 16 Timbres, each with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, vector synthesis, and KARMA.

  • Page 40

    Introduction to OASYS To use these samples when making your own sounds, select Bank ROM (Stereo, Mono) for a program’s MS Select (Program P2: OSC/Pitch-OSC Basic) or a drum kit’s “DS Select” (Global P5: Drum Kit– Sample Setup) fields. EXs1 ROM Expansion: 313 MB EXs1 includes spectacular stereo drums and additional large acoustic and synthesizer multisamples, capturing extra detail and character.

  • Page 41: About Polyphony

    The Expansion Sample Setup has now been changed. In order for your changes to take effect, please turn the power off, and then on again. [OK] ------------- This completes the Expansion Sample Setup operation. The next time you turn on the power, the specified PCM bank will be loaded and available.

  • Page 42: Basic Operations

    Introduction to OASYS 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 x 0.98 (approximately 168).

  • Page 43

    Basic Vector tab 3. Press a tab in the upper line (page tabs) to select a page. As an example here, press the Vector Control tab. The current page indication in the upper left of the LCD screen will stay the same, but the upper right indication will change to “Vector Control.”...

  • Page 44

    Introduction to OASYS be recalled. When you press the COMPARE switch once again, the LED will go dark and you will return to the settings that you were editing. If you edit the settings that are recalled by pressing the COMPARE switch (i.e., the settings that are written into memory), the LED will go dark, and it will not be possible to return to the previous edits by pressing the...

  • Page 45: Setup

    AC outlet. When disconnecting, you must first disconnect the plug before you disconnect the ground wire. If you are unsure of how to make connections, please contact Korg customer service. If you are using a condenser...

  • Page 46

    Introduction to OASYS AUDIO OUTPUT (MAIN) L/MONO and R These are the main outputs, accessed by setting Bus Select to L/R. All of the factory sounds use these outputs, and the Master and Total Effects are always routed here as well. 1.

  • Page 47

    Note: Guitars with active pickups can be connected directly to any of the inputs. Guitars with passive pickups (i.e., guitars that do not have an internal preamp) can be used with inputs 1 and 2, but the impedance mismatch will cause both a change in tone and a reduction in volume.

  • Page 48: Turning The Power On/off

    Introduction to OASYS 2. Execute the Disk mode Utility menu command “Scan USB Device.” 3. Use the Disk mode Drive Select screen to check the connection. For more information, see “Loading & saving data, and creating CDs” on page 163. Type B CD-R/RW, hard disk,...

  • Page 49: Using The Cd-r/rw Drive

    3. Raise the OASYS’s VOLUME slider to an appropriate level, and adjust the volume of your powered monitors or stereo amp. After you’ve turned off the power, you must wait approximately ten seconds before turning the power on again. Tip: You can set the “Power On Mode” (Global P0: System Preference page) so that the mode and page that had been selected when you turned the power off will appear when the power is turned on.

  • Page 50

    Insert a pin-like object of less than 1 mm diameter, such as a straightened paper clip, into the manual eject pinhole and push. The disc tray will be forced open. Excessive use of this method may cause the CD- R/RW drive to malfunction. This procedure must be performed with the power off.

  • Page 51: Playing And Editing Programs

    Playing and editing Programs What’s a Program? Programs are the basic sounds of the OASYS. You can play them by themselves, layer them together in Combinations, or play a different Program on each of the 16 MIDI tracks, either from the internal sequencer or from external computer-based sequencers.

  • Page 52

    Using the front-panel buttons 1. Make sure that the PROGRAM button, under MODE, is lit. This means that you’re in Program mode, in which you can select and edit Programs. If the button isn’t lit, press it now; it will light up, and the main Program Play page will appear.

  • Page 53: Using Controllers

    1. Connect a foot switch to the rear-panel ASSIGNABLE SWITCH input. Use a simple on/off footswitch, such as the optional KORG PS-1 2. Press the GLOBAL button to enter Global mode. 3. Go to the Controller tab of the Controllers/Scales page.

  • Page 54

    Playing and editing Programs Joystick Lock The joystick is spring-loaded, so that it automatically returns to the center position when you let go. However, you can use either of the two front-panel switches (SW1 or SW2), or a foot-switch, to “lock” the current position of the joystick.

  • Page 55

    The sound will remain as it was when you last touched the ribbon. 4. Press the SW2 key once again to release the Lock function. 5. Press the tab labeled Cntrl/View Effect, to go to the Controller/View Effect page. In the upper right-hand portion of the screen, notice that SW2 is assigned to JS Y &...

  • Page 56: Note Number

    CC# 64 so that it only affects some of the sounds in the Combi or Song. Assignable Foot Switch This lets you use a simple footswitch, such as the Korg PS-1, as an assignable controller. The footswitch can perform a wide variety of functions, such as: •...

  • Page 57: Using Chord Mode

    Assigning notes and chords to pads You can assign single notes and chords to the pads in three different ways. Play the notes, and then press CHORD ASSIGN 1. Play a single note, or a chord of up to 8 notes. 2.

  • Page 58

    Playing and editing Programs Chord Switch The Chord Switch (abbreviated Chord SW) lets you turn Chord mode on and off via SW1/2 or the Foot Switch. Important: Programs will only respond to the Chord SW if their Chord parameter has been set to either Basic or Advanced.

  • Page 59: Quick Edits Using The Sliders

    You can achieve the same effect as Basic, above, by setting Chord to Advanced, Voice Assign to Mono, Priority to Last Note, and Legato to Off. Creating and editing chords Chords are assigned to the Pads, stored, and edited as described under “Drum &...

  • Page 60

    Master Effects, and automatically adjusts the appropriate send parameters. Editing sounds & effects with the Real-Time Knobs The Real-Time Knobs are a traditional feature of KORG workstations, combining modulation, quick edits, and hands-on control. In R.TIME KNOBS/KARMA mode, knobs 1-4 have dedicated functions which correspond to MIDI CCs.

  • Page 61: Editing Sounds

    7. While holding RESET CONTROLS, move first knob 1, and then knob 2. As you move the knobs, their values will be reset to the default, center positions. 8. Release the RESET CONTROLS button. Now, you’re back to the original electric piano sound. The table below shows the standard assignments of the Real-Time knobs: Real-Time Knob functions...

  • Page 62: Detailed Editing With Hd-1 Programs

    Playing and editing Programs A popup window will appear, with a long list of parameters. You can tell various things about the selections, just from the way they appear in the list: • Parameters which affect only OSC1 or OSC2 are prefixed with [OSC1] and [OSC2], respectively.

  • Page 63

    Overview of editing pages P0: Play is where you select and play programs, make quick edits using the Control Surface, and adjust the KARMA settings. The other pages let you modify the sound in more detailed ways. Page Main features •...

  • Page 64

    Playing and editing Programs • All of the tabs on the Amp page, except for EQ • All of the tabs on the LFO page, except for Common LFO • The AMS Mixer tabs You can use the page menu’s Copy Oscillator command to copy these parameters from one Oscillator to another.

  • Page 65: Using Lfos And Envelopes (egs)

    Notice that the graphic now shows the two ranges tapering into one another. Between 80 and 100, MS2 will fade out, and MS1 will fade in, creating a gradual velocity transition instead of a hard split. 12.If you like, adjust the Levels for the two Multisamples.

  • Page 66: Using Alternate Modulation (ams)

    Playing and editing Programs EGs (Envelope Generators) An envelope creates a modulation signal by moving from one level to another over a specified time, and then moving to another level over another period of time, and so on. Using Alternate Modulation (AMS) and the AMS Mixers AMS (Alternate Modulation Source) refers to any of the assignable modulation sources in OASYS, including:...

  • Page 67: Controlling Pitch

    AMS Mixer Amt AxB example AMS A: LFO AMS B: EG Amt A*B Output Smoothing The Smoothing Type smooths out the AMS input, creating more gentle transitions between values. You have separate control of the amount of smoothing during the attack (when the signal is increasing) and decay (when it’s decreasing).

  • Page 68: Using Filters

    Playing and editing Programs Pitch EG When the Intensity value is set to +12.00, the pitch EG specified in the Pitch EG page will produce a maximum of ±1 octave of pitch change. To realistically simulate the slight change in pitch that occurs when a string is plucked or at the attack of a brass or vocal sound, you can use the EG to create a subtle change in pitch at the attack.

  • Page 69

    frequencies, its effect can change dramatically depending on the cutoff setting and the oscillator’s multisample. With low resonance settings, you can use the Band Pass filter to create telephone or vintage phonograph sounds. With higher resonance settings, it can create buzzy or nasal timbres.

  • Page 70: Using The Amp Section

    Playing and editing Programs LFO modulation You can modulate the filter via LFO1, LFO2, and the Common LFO. Among other applications, LFO modulation of the filter can produce the classic “auto- wah” effect. The Filter LFO Mod tab lets you set up the following parameters separately for each LFO: Intensity to A and Intensity to B specify how much the LFO changes the tone.

  • Page 71

    Piano Volume Volume Volume decays gradually Time The main Pan parameter controls the stereo position after the signal has passed through the oscillator, filter, and amp. Normally you’ll set this to C064, so that the sound is centered equally between the left and right speakers.

  • Page 72: Using Vector Synthesis

    Playing and editing Programs Piano Organ Strings Drive The Drive circuit adds saturation and overdrive to the sound, for everything from subtle fattening to drastic distortion. Unlike an overdrive effect, Drive processes each voice individually, so the timbre stays the same regardless of how many voices are being played.

  • Page 73: Effects

    Vector and MIDI The Vector features interact with MIDI in two different ways: through the Vector Joystick, and through the Vector CC Control. The Vector Joystick sends and receives two MIDI controllers: one for the X axis, and the other for the Y axis.

  • Page 74: Automatically Importing A Program

    Playing and editing Programs Automatically importing a Program into Sequence mode The Auto Song Setup feature copies the current Program or Combination into a Song, and then puts the OASYS in record-ready mode. If inspiration for a phrase or song strikes you while you’re playing, you can use this function to start recording immediately.

  • Page 75: Playing And Editing Combinations

    Playing and editing Combinations What’s a Combination? Combinations, or “Combis” for short, let you split and layer up to 16 Programs at once. A Combi is made up of 16 Timbres. Each Timbre has a Program, along with parameters for key and velocity zones, mixer settings, MIDI channel and controller filtering, and so on.

  • Page 76: Selecting Combinations

    Playing and editing Combinations Combination structure and corresponding pages Timbre1 Parameters Program 3Band EQ Timbre2 Parameters 3Band EQ Program Timbre3 Parameters Program 3Band EQ Timbre4 Parameters Program 3Band EQ Timbre16 Parameters Program 3Band EQ Selecting Combinations There are several different ways to select Combinations.

  • Page 77

    Bank/Combination Select menu: In this illustration, bank INT-A is selected. The list on the right shows the Combinations contained in that bank. 2. Press the tabs on the left side of the display to select a bank. 3. Press one of the Combination names in the list to select a Combination.

  • Page 78: Easy Combination Editing

    Playing and editing Combinations Easy Combination editing Changing the Programs within the Combi Changing the Programs assigned to the 16 Timbres is a quick way to dramatically alter the sound of the Combination. There are two ways to select Programs for a Timbre: •...

  • Page 79: Combination Editing

    • Arpeggiation • Drum and instrument grooves • Complex CC gestures (as if it was automatically moving knobs or joysticks for you) • Musical phrase generation, such as piano flourishes • Any combination of the above • …and much more. You can control many KARMA parameters directly from the front panel.

  • Page 80: Layers, Splits, And Velocity Switches

    Playing and editing Combinations Resetting individual controls The RESET CONTROLS button lets you revert an individual knob, slider, or switch to its saved setting. For more information, see “Resetting individual controls” on page 54. Layers, Splits, and Velocity Switches Within a Combination, you can use note number and velocity to determine which Timbres will sound.

  • Page 81: Midi Settings

    Timbre 1 Brass Timbre 2 Strings 1. Go to the Prog Select /Mixer page. 2. Select a brass sound for Timbre 1, and a strings sound for Timbre 2. 3. Go to the MIDI tab of the P2: Timbre Parameters page.

  • Page 82: Effects

    Playing and editing Combinations For more information, see “Force OSC Mode,” on page 361 of the Parameter Guide. OSC Select Normally, this should be set to BTH (Both). If the timbre is using a program whose Oscillator Mode is Double, and you want only OSC1 or OSC2 (not both) to sound, set this to OSC1 (only OSC1 will sound) or OSC2 (only OSC2 will sound).

  • Page 83: Automatically Importing A Combination

    Total Effects The two Total Effects are dedicated to processing the main L/R outputs. They’re ideally suited to overall mix effects, such as compression, limiting, and EQ–but as with the other effects sections, you can use any type of effect that you like. Automatically importing a Combination into Sequencer mode The Auto Song Setup feature automatically applies the settings of the current Combination to a song.

  • Page 84

    Playing and editing Combinations...

  • Page 85: Creating Songs (sequencer Mode)

    Creating songs (Sequencer mode) Overview - About the OASYS’ sequencer The OASYS’ sequencer can hold up to 200 songs and 400,000 MIDI events or 300,000 audio events. It consists of a 16-track MIDI sequencer and a 16-track hard disk recorder, giving you a total of 32 tracks. You can use the sixteen MIDI tracks and one master track (containing tempo data, etc.) to record and play back MIDI data using internal or external tone...

  • Page 86

    Creating songs (Sequencer mode) This is a conceptual diagram of Sequencer mode including the hard disk recording function. Song Setting Perform- parameters ance data Setting Perform- parameters ance data Setting Perform- parameters ance data MIDI Track 01..16 Setting Perform- parameters ance data Setting Perform-...

  • Page 87: Playing Songs

    Playing Songs Playback In order to play back song data in the sequencer, you must first record song data, or load or dump it into the OASYS. Let’s start by loading and playing the demo song data. For more information, see “Listening to the demo songs”...

  • Page 88: The Control Surface In Sequencer Mode

    Creating songs (Sequencer mode) way, the “mute” function allows you to silence a specified track until the track is un-muted. Press track 2 Play/Rec/Mute. The display will change, and the playback of track 2 will also be muted. To cancel muting, press Play/Rec/Mute once again.

  • Page 89

    MIX SELECT: Press these buttons to select the current track. This current track applies to the channel strip (when MIXER KNOBS is set to CHANNEL STRIP), and to Tone Adjust. You can also use these buttons to change the Keyboard/Rec track, so that you can switch between tracks directly from the Control Surface.

  • Page 90

    Creating songs (Sequencer mode) To change the registered location, use the “Set Location” page menu command. Alternatively, you can register a location during playback by holding down the ENTER switch and pressing the LOCATE switch. When you select a song, the “LOCATE” setting is automatically initialized to 001:01.000.

  • Page 91: Midi Recording

    MIDI recording • You can record up to 200,000 events (e.g., notes), up to 200 songs, and up to 999 measures in each song. • The maximum timing resolution is 1/192. • There are sixteen tracks for MIDI performance data, and a master track which controls the time signature and tempo.

  • Page 92

    Creating songs (Sequencer mode) Use “Program Select” (P0: Play/REC– MIDI Track Prog Select/Mixer page) to assign a program to each MIDI track. At this time you can press the “Category” popup and select programs by category. You can copy various settings from Programs or Combinations, including effects, KARMA settings, Tone Adjust, and so on.

  • Page 93: Recording Midi In Real-time

    Saving your song parameter settings The song parameter settings you make here can be saved as a template. If you use these settings frequently, you can simply load one of the templates you’ve saved. For more information, see “Save Template Song” on page 525 of the Parameter Guide. Template songs Loading a template song is an easy way to make settings appropriate for a particular musical style.

  • Page 94

    Creating songs (Sequencer mode) measure pre-count, and then recording will begin. Play the keyboard and move controllers such as the joystick to record your performance. 5. When you finish playing, press the SEQUENCER START/STOP switch. Recording will end, and the location will return to the point at which you begin recording.

  • Page 95

    1. Use “Track Select” to select the track that you want to record. 2. Set the Recording Setup to Auto Punch In. 3. In “M (Auto Punch In Start Measure), “M (Auto Punch In End Measure)” specify the area that you wish to record.

  • Page 96: Midi Step Recording

    Creating songs (Sequencer mode) An example of realtime recording In this example, we’ll assign a drum program to MIDI Track 01 and create the following one-measure drum phrase. Hi hat: F#3 Snare: E3 Bass drum: C3 1. Create a new song, and specify a drum program for MIDI Track 01.

  • Page 97

    Input the first C3 note as . (dotted eighth note). Use the radio button at the left to select . You can choose from the range (whole note)– (32nd note). Input a dotted note by selecting “.” with the radio buttons at right.

  • Page 98: Recording The Sound Of A Combination Or Program

    Creating songs (Sequencer mode) Recording the sound of a Combination or Program Here’s how you can easily copy the settings of a Combination or Program, and then record using that sound. When you’re performing in Program or Combination mode, you can use the Auto Song Setup function to automatically set up the settings of that program or combination into a song.

  • Page 99: Recording Multiple Midi Tracks From

    MIDI recording If you made a mistake or want to re-record, you can use the Compare function (press the COMPARE switch) to re-record as many times as you want. Recording multiple MIDI tracks from an external sequencer 1. Make sure that the MIDI OUT of your external sequencer is connected to the MIDI IN of the OASYS.

  • Page 100: Recording System Exclusive Events

    Creating songs (Sequencer mode) 12.Press the SEQUENCER START/STOP switch to play back. Note: If the correct sounds are not selected when you start playing back, you may be able to solve the Recording System Exclusive events Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a MIDI track parameter, audio track parameter or effect parameter can be realtime-recorded on any MIDI...

  • Page 101: Recording Patterns

    Select another effect for IFX1 in the P8: Insert Effect– Insert FX page, and edit the effect parameter values, or use the P0: Play/REC– Control Surface page Tone Adjust controls to edit the sound in realtime. Note: For details on the effects parameters that you can record in real-time, please see “System Exclusive events supported in Sequencer mode”...

  • Page 102

    Creating songs (Sequencer mode) 6. Set the number of measures in the pattern to a “Length” of 04 (four measures), and set “Meter” to a time signature of 4/4. Press the OK button. 7. As necessary, set “REC Resolution” to apply realtime quantization.

  • Page 103: Other Ways To Record

    Controller Channel after touch Pitch bender Other ways to record Multi-track recording with KARMA You can record multi-track performances generated by KARMA. For more information, see “KARMA function settings in Sequencer mode” on page 210. Multi-track recording with RPPR You can record multi-track performances generated by RPPR.

  • Page 104: Audio Recording

    Creating songs (Sequencer mode) Audio recording Overview: About the OASYS’ hard disk recorder • There are sixteen audio tracks. They allow 16-bit linear PCM recording with a maximum time of 80 minutes. • Automation data (volume, pan, EQ, send 1/2) can be recorded for each track.

  • Page 105: Audio Input Settings And Recording Source Selection

    When you save an .SNG file, its related audio files are stored in a separate directory. This directory is created automatically, within the same directory as the .SNG file. (It’s also created if you load a pre-existing .SNG file which doesn’t have a matching audio directory.) The directory’s name consists of the first six characters of the .SNG file’s name, with the suffix “_A”...

  • Page 106

    Creating songs (Sequencer mode) When sampling via S/P DIF, you must set the Global mode System Clock appropriately. For more information, please see “System Clock” on page 644 of the Parameter Guide. Bus Select (IFX/Indiv.) This specifies the output bus for each audio signal. Off: The external audio input signal will not be sent to any bus.

  • Page 107

    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. This parameter sets the level of the signal immediately after this conversion.

  • Page 108: Recording Procedure

    Creating songs (Sequencer mode) REC Source = Audio Input 1 (Single Track REC) Insert Effects Audio Input 1 Level Insert Effects Audio Input 2 Level Insert Effects Sequencer Playback Keyboard Bus = L/R or IFX1-12 This specifies the pan of audio track. Recording procedure Recording Setup These parameters specify how audio tracks will be...

  • Page 109

    Audio events cannot be recorded. This means that if you set “Track Select” to Audio Track, and turn “Automation Only” Off, you will be unable to start recording. Recording Setup (Audio Track) Automation Only Normally you will record with this unchecked. Both audio track automation events and audio events will be recorded.

  • Page 110

    Creating songs (Sequencer mode) 3. Adjust the level(s) of the input signal(s) so that it is as high as possible without activating the CLIP! or ADC OVERLOAD! messages. If you’re using AUDIO INPUTS 1 and/or 2, adjust the volume using rear-panel MIC/LINE switches and LEVEL knobs.

  • Page 111

    Access the P8: Insert Effect– Audio Routing1 page. In “Audio Track 1,” specify the output for audio track 1. Bus Select (IFX/Indiv. Out Assign) Bus Select (IFX/Indiv. Out Assign): L/R “Send1 (MFX1),” “Send2 (MFX2)”: 000 3. In the P0: Play/REC– Preference page, set “Track Select”...

  • Page 112

    Creating songs (Sequencer mode) (located in the right side of the display) from +0.0 down to an appropriate level. Press the SEQUENCER START/STOP switch to play back the song, and check the volume balance. If you want to monitor only the guitar sound during playback, check “Source Direct Solo.”...

  • Page 113

    4. In the P0: Play/REC– Audio Track Mixer page, set REC Source to REC1 so that the signal of the REC bus will be recorded on audio track 1. Audio Track 1 REC Source: REC1 5. In the P0: Play/REC Preference page, set “Track Select”...

  • Page 114

    Creating songs (Sequencer mode) 8. In “Recording Setup (Audio Track),” uncheck the “Rehearsal” option. Record 9. Use “Location” to specify the location at which you want to start recording. Set this several measures earlier than the region you specified for “M***–M***”.

  • Page 115

    6. In the P0: Play/REC– Audio Track Mixer page, set REC Source so that L will be recorded on audio track 3. Audio track 3 REC Source: L Note: The settings up to this point are the same as if you used the page menu command Auto HDR/Sampling Setup to execute Bounce Audio Track with the following settings.

  • Page 116: Placing A Wave File In An Audio Track

    Creating songs (Sequencer mode) The metronome will begin sounding, and you will be in record-ready mode. 7. Press the SEQUENCER START/STOP switch. After a two-measure count, recording will begin. Use the sliders etc. to control the pan. Note: When recording automation events, you can use quantization, the resolution setting, and the compare function in the same way as for a MIDI track.

  • Page 117: Song Editing

    When selecting a WAVE file, you can press the Play button to audition the files to help you find the desired one. You can also use the “Name” field located above to assign a name to the region. Edit the “Name” after you’ve selected a file.

  • Page 118: Midi Tracks

    Creating songs (Sequencer mode) Resample SEQ Play: Make settings so that you can resample your keyboard playing in Sequencer mode. In-Track Sampling: Make settings to sample only an external audio signal using the In-Track Sampling function. Bounce All Tracks To Disk: This command resamples all tracks in the song to a single WAVE file (stereo).

  • Page 119

    measures will be moved towards the beginning of the sequence. For more information, see “Delete Measure” on page 543 of the Parameter Guide. Insert Measure: This command inserts the specified number of measures into the specified track. When you execute the Insert Measure command, the musical data following the insert location will be moved backward.

  • Page 120: Using Rppr (realtime Pattern Play/record)

    Using RPPR (Realtime Pattern Play/Record) This section explains how to assign a pattern to RPPR, and how to play and record. Creating RPPR data 1. Create a new song, and choose a drum program for MIDI track 1. 2. Select the RPPR Setup tab of the P5: Pattern/RPPR page.

  • Page 121

    RPPR playback Let’s use the RPPR you created to perform in the P0: Play/REC– MIDI Track Prog Select/Mixer page. 1. Select the P0: Play/REC– MIDI Track Prog Select/ Mixer page (See the diagram below). 2. Check the “RPPR” check box. The RPPR function will be turned on.

  • Page 122: Sampling In Sequencer Mode

    With a setting of SEQ, patterns played by the RPPR function while the sequencer is playing or recording will start in synchronization with the measures of the sequencer. 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...

  • Page 123: Saving Your Song

    change its timing to transform the original rhythm loop sample into a completely new rhythm loop. • The In-Track Sampling function lets you sample an external audio source that’s playing along with the Saving your song This section explains how to save your song on the internal hard disk.

  • Page 124: Cautions And Other Functions In Sequencer Mode

    Creating songs (Sequencer mode) Cautions and other functions in Sequencer mode OASYS sequencer file formats The OASYS sequencer supports both the proprietary OASYS Song format, and Standard MIDI Files. If you like, you can convert data between the two formats, simply by loading the data in one format and then saving it in the other.

  • Page 125

    Audio recording Cautions and other functions in Sequencer mode If you wish to use the Sequencer mode of the instrument as a 16-track multi-timbral tone generator, select INT or BTH. For more information, see “Status” on page 466 of the Parameter Guide. Synchronizing the sequencer with an external MIDI device The record/playback tempo of OASYS’s sequencer can...

  • Page 126

    Creating songs (Sequencer mode)

  • Page 127: Sampling (open Sampling System)

    Sampling (Open Sampling System) Sampling Overview About sampling on the OASYS The OASYS can sample external audio from the analog or S/P DIF inputs, at 48 kHz 16-bit resolution, in mono or stereo. You can record samples into RAM, or sample directly to disk.

  • Page 128: How Sampling Mode Is Organized

    Sampling (Open Sampling System) 2) You can sample external audio sources via the OASYS’ input jacks (see “Sampling mode” 1 and 2, above). At this time, you can mix the OASYS’ own performance with the audio signals from the external source and sample the combined result, or you can monitor the performance of the OASYS while sampling only the external source from the input jacks.

  • Page 129: Preparations For Sampling

    Multisamples Multisamples lay out one or more Samples across the keyboard. For instance, a very simple guitar Multisample might have six Samples–one for each string. Each Sample is contained in an Index, which includes parameters for the key range, original Sample pitch, tuning, level, and so on.

  • Page 130

    1…8: The external audio input signal will be sent to INDIVIDUAL 1, 2, 3, 4, 5, 6, 7, or 8 in monaural. 1/2…7/8: The external audio input signal will be sent via the Pan setting to INDIVIDUAL 1 and 2, 3 and 4, 5 and 6, or 7 and 8 in stereo.

  • Page 131

    even though this level setting is very low, it is possible that the sound is distorting earlier than the AD converter. 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 132

    channel and REC bus 2 is input to the R channel. If you choose REC3/4, REC bus 3 is input to the L channel and REC bus 4 is input to the R channel. Audio Input 1/2, Audio Input 3/4, S/P DIF L/R: Choose these settings if you want to directly sample the input from AUDIO INPUT 1–4 or S/P DIF jacks.

  • Page 133

    Program mode Save to Mode Sample Time Save to Specifies the destination to which the data will be written during sampling. RAM: The sample will be written to RAM memory. A sample written into RAM memory can be heard immediately in Sampling mode. DISK: The sample will be written to the hard disk.

  • Page 134: Sampling And Editing In Sampling Mode

    Sampling (Open Sampling System) Using the metronome It is convenient to use the metronome when you want to play a program or combination at a specific tempo and sample your performance. You can make metronome settings in Metronome Setup, in Program or Combination P0: Play– Audio Input/Sampling.

  • Page 135

    Multisample Select Popup Index Sample Select Create Zone Preference Creating multisample indexes and sampling – P0: Recording Here’s how to create indexes in a multisample, and assign a sample to each index. 1. Press the MODE SAMPLING switch to enter Sampling mode.

  • Page 136

    Sampling (Open Sampling System) 5. Select “Index.” You can also select “Index” by holding down the ENTER switch and playing a pad or a note on the keyboard. For this example, select 001. 6. Assign a sample to the “Index.” If RAM memory already contains samples, use “Sample Select”...

  • Page 137

    – Sampling Setup – Source Bus: L/R The sound being sent to the L/R bus will be sampled. Trigger: Threshold With this setting, sampling will start when the input exceeds a specific volume. Threshold Level: –30 dB From the record-ready state, recording will start automatically when the audio input exceeds –30 dB.

  • Page 138

    Sampling (Open Sampling System) 10.When you’ve finished saying the word(s), press the SAMPLING START/STOP switch. This completes the sampling operation. The new sample will be automatically assigned to “Sample (Sample Select).” Hear the sampled result 11.The sample you just recorded will (by default) be assigned to Index 001.

  • Page 139

    3. Access the P8: Insert Effect– Insert FX page. Press the IFX tab, and then the Insert FX tab. 4. Select IFX1, use the numeric keys to input 1, 0, 1, and press the ENTER switch to select 101: Reverb Hall.

  • Page 140

    Sampling (Open Sampling System) When the power is first turned on, the assigned sample will be set to “Orig.Key C2. 2. Make the following settings. – INPUT1 – Bus Select (IFX/Indiv.): Off Turn off the input from the INPUT 1–4 and S/P DIF L/R jacks.

  • Page 141

    Press the C2 key, and verify that reverb is applied. Also make sure that the Bus Sel. following IFX1 is set to L/R. 6. Press the SAMPLING REC switch, and then the SAMPLING START/STOP switch. The sample assigned to C2 will play automatically, and resampling will begin.

  • Page 142

    Sampling (Open Sampling System) To play the sample, press the key to which the sample is assigned (the key range that is highlighted in “Keyboard & Pad”). A sample waveform that was sampled with “Sample Mode” set to Stereo will be displayed in two levels.

  • Page 143

    Set “Resolution” as desired, and specify the tempo BPM value. The grid is displayed according to the playback pitch at the base key (the key shown in blue for “Keyboard & Pad”). You can select the base key by holding down the ENTER switch and playing a key. Press the base key to play the sample, and press the TAP TEMPO switch at quarter-note intervals along with the phrase.

  • Page 144

    Sampling (Open Sampling System) adjustments by adjusting “Start” or “End,” and by using Divide to separate or Link to combine. For more information, see “Time Slice” on page 629 of the Parameter Guide. 5. Press the Save button. The Save Samples & MS dialog box will appear. Here you can save the time-sliced samples and the multisample.

  • Page 145

    As an example, set “ (Tempo)” to 100. Notice that the pitch does not change when you play back at a different tempo. If the beat of the original rhythm loop sample is not reproduced correctly when you change the tempo, or if obtrusive noise is heard, this is because the sample was not sliced appropriately in step 4.

  • Page 146

    Sampling (Open Sampling System) The waveform data of the currently selected sample will be displayed. Sample waveforms that were recorded with a “Sampling Mode” of Stereo will be shown in two lines. The upper line is the L channel waveform, and the lower line is the R channel waveform.

  • Page 147

    indicates the zone determined by the “Top Key” setting. • Level adjusts the playback level of the sample. You can use this to ensure that all samples in a multisample have a consistent level. • If you check “Constant Pitch,” all notes in the index zone will sound the sample at its original pitch.

  • Page 148

    Sampling (Open Sampling System) begin ripping. If you do not consent to the terms, press the Cancel button to cancel the operation. Saving multisamples and samples If you want to keep the multisample and sample data you create, you must save your data onto either the internal hard drive, or an external USB storage device.

  • Page 149: And Sequencer Modes

    Sampling in Program, Combination, and Sequencer modes In addition to using Sample mode, you can also sample both external audio sources and internal sounds in Program, Combination, and Sequencer modes. For instance, you can resample a performance that uses the OASYS’s full range of features, including filters, effects, and KARMA.

  • Page 150

    In this example we’ll explain how you can use Auto Sampling Setup to make the settings described above in the preceding section. 1. Carry out steps 1 and 2 described in the preceding section. 2. Press the Audio Input/Sampling tab to access the P0: Play–...

  • Page 151

    Mode: Stereo The sound of the internal L/R channels will be sampled in stereo. – Metronome Setup– Bus (Output) Select: L/R Level: as desired The output of the metronome will be sent to the L/R bus. 6. Play your guitar at the volume that you will be recording.

  • Page 152

    4. We will be modifying the Audio Input settings, so turn the Input “Use Global Setting” off. 5. Choose the Auto HDR/Sampling Setup page menu command. The dialog box will appear. 6. Choose “In-Track Sampling.” 7. Make the following settings for “In-Track Sampling.”...

  • Page 153

    Resampling a song to create a Wave file You can record a completed Song to a stereo WAVE file, and then burn that WAVE file to an audio CD using the internal CD-R/RW drive. For more information, see “Creating and playing audio CDs” on page 175. 1.

  • Page 154

    Sampling (Open Sampling System) Use the page menu command “Select Directory” to verify that the WAVE file was created. Select the file and press the SAMPLING START/STOP switch to listen to the sound that was sampled.

  • Page 155: Settings For The Entire Oasys (global Mode)

    Settings for the entire OASYS (Global mode) How Global mode is structured In Global mode you can make overall settings that apply to the entire OASYS, such as master tune, key transpose, effect global switch, global MIDI channel, and system clock. In addition, you can create user drum kits, wave sequence, and scales, make settings for the damper pedal and assignable foot switches/pedals, and...

  • Page 156: Global Audio Settings

    Settings for the entire OASYS (Global mode) Tuning and transpose settings Velocity/aftertouch curve settings Effect bypass settings Select the mode that is selected at power-on Beep setting Linking KARMA to programs and combinations You can specify whether the KARMA settings written to a program or combination will also be selected when you select that program or combination, or whether the KARMA settings will not change when you switch...

  • Page 157: Midi-related Settings P1: Midi

    If you have connected a Korg PS-1 pedal switch, set this to (–) KORG Standard. If the polarity is not set correctly, the pedal will not function appropriately. 3. Either press the PROG switch to enter Program P0: Play, or press the COMBI switch to enter Combination P0: Play.

  • Page 158: Creating User Scales

    Settings for the entire OASYS (Global mode) KARMA, Pad, Vector You can assign control change messages to the KARMA switches and sliders, pads 1–8, and vector joystick X-axis and Y-axis. You can assign control change messages or note numbers to pads 1–8. (See PG p.161) Creating user scales Creating an original scale, and assigning...

  • Page 159: Using Wave Sequences

    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. • On the Step Parameters page, the horizontal scroll- bar at the top of the graphic shows you the eight steps currently displayed on the screen.

  • Page 160: Adjusting The Sound Of An Individual Step

    Settings for the entire OASYS (Global mode) Wave Sequence graphic What’s in a step? Wave Sequences have 64 steps (although you don’t have to use all of them–see “Setting the length of the sequence” on page 152). Each step includes: •...

  • Page 161

    the entire Wave Sequence becomes “stereo,” and uses twice as many voices - it’s the price that you pay for power! 4. Set the Level (volume) as desired. This can be useful for evening out the perceived levels of different Multisamples, or for accenting steps in rhythmic sequences.

  • Page 162: Using Rhythmic Wave Sequences

    Settings for the entire OASYS (Global mode) 5. For AMS A, select Wave Seq AMS Out 1. 6. Set the AMS A Amount to 00. 7. For AMS B, select SW 1 Mod (CC#80). 8. Set the AMS B Amount to +99. 9.

  • Page 163

    External MIDI syncs to incoming MIDI clocks, and ignores the TEMPO knob. Auto is a combination of the above. When clocks are received via MIDI, it syncs to the incoming clocks; when no clocks are being received, it defaults to the stored tempo settings.

  • Page 164: Creating Smooth, Evolving Timbres

    Settings for the entire OASYS (Global mode) • In Program and Combi modes, if KARMA is off, note-ons are synchronized with the sounding Tempo-mode Wave Sequence, if any. • In Program and Combi modes, if KARMA is on, note-ons are synchronized with KARMA. •...

  • Page 165: Modulating Wave Sequences

    2. In the dialog box, set the Expand/Compress % parameter as desired. 100% means the current duration and crossfade times. Values 99 and below make the times shorter, and values 101 and above make them longer. 3. Press the OK button. Modulating Wave Sequences Position modulation Position modulation lets you offset the Wave Sequence...

  • Page 166: Saving Wave Sequences

    Settings for the entire OASYS (Global mode) 6th note: 2, 3, 4, 5, 6 7th note: 3, 4, 5, 6 8th note: 4, 5, 6 9th note: 5, 6 10th note: 6 11th note: 2, 3, 4, 5, 6 etc… If Repeat Times is 1, Note-On Advance will make the Wave Sequence play as follows: first note: 2, 3, 4, 5, 3, 4, 5, 6...

  • Page 167: Using Drum Kits

    Using Drum Kits Drum Kit Overview What’s a Drum Kit? Drum Kits, as the name implies, are optimized for creating drum sounds. They offer a number of special features, such as: • Each note can play a different sound • Instead of selecting Multisamples (which span the entire keyboard), you can select Drum Samples (which contain a single drum sound).

  • Page 168: Editing Drum Kits

    Settings for the entire OASYS (Global mode) Drum Kits may be used by more than one Program When you edit a Drum Kit, all Programs that use that Drum Kit will be affected. To avoid changing the factory voicing, you may wish to copy Drum Kits to empty locations in the USER banks before editing.

  • Page 169: Saving Drum Kits

    This can be very useful in creating a smooth velocity split or crossfade. 2. Set the tuning and EG parameters as desired. For each Drum Sample, you can control offsets to the Program’s settings for transposition, tuning, and EG attack and decay times. 3.

  • Page 170

    Settings for the entire OASYS (Global mode) You can give the Drum Kit a descriptive name using the on-screen keyboard. 3. After entering the name, press OK. The text edit window will disappear, returning you to the main Save dialog. 4.

  • Page 171: Loading & Saving Data, And Creating Cds

    Loading & saving data, and creating CDs Saving data Types of data that can be saved There are three ways to save data; you can write it into internal memory, save it to media (internal hard disk, internal CD-R/RW, or a USB-connected hard disk, CD- R/RW, or removable disk), or transmit it as a MIDI data dump.

  • Page 172: Writing To Internal Memory

    Loading & saving data, and creating CDs • Wave sequence banks INT: 000–149 • Demo songs Preset data is data that cannot be rewritten by the Write operation. This includes the following data. Writing to internal memory Writing a program or combination The program and combination settings you’ve edited in the various editing pages can be saved to internal memory.

  • Page 173

    Combination P0: Play– Prog Select/Mixer “Category” (Category/Program Select) Sequencer P0: Play/REC– MIDI Track Prog Select/ Mixer “Category” (Category/Program Select) 6. Use “To” to specify the bank and number of the writing destination program/combination. Use the VALUE controllers or the BANK switches to make your selection.

  • Page 174

    Loading & saving data, and creating CDs If you wish to save this modified data into internal memory, you must perform the Write operation. When you perform the Write operation, the data in the edit buffer is written to the specified program, combination, wave sequence, or drum kit number of the specified bank.

  • Page 175: Writing Global Settings

    Press the Shift button once again to switch to lowercase characters, and press the characters r, o, g, r, a, m, 0, 1. 3. Press the OK button to close the dialog box. If you don’t need to make any corrections, press the OK button to close Write Program.

  • Page 176: Saving To Disks, Cds, And Usb Media

    Loading & saving data, and creating CDs Saving to disks, CDs, and USB media For details on the data that can be saved on storage media. (See “Types of data that can be saved” on page 163.) Song data and region data in the OASYS’s Sequencer mode, as well as multisamples and samples cannot be written into internal memory.

  • Page 177: How To Save Data

    4. Press the MODE DISK switch to enter Disk mode. 5. Press the Media Info tab, and then execute the page menu command “Scan device.” 6. Use Drive Select to select your media. If you are using a removable disk, insert the media. After you exchange media in your USB device, press the LCD screen to make the OASYS detect the media.

  • Page 178: Formatting Media

    Loading & saving data, and creating CDs The amount of time required will depend on the amount of data being saved. If a file with the same name already exists on the media, you will be asked whether you want to overwrite.

  • Page 179: Loading Data From Disk

    Loading data from disk The types of data that can be loaded from media are shown in the diagram “Supported file types” on page 172. (For more details, see “Load selected” on page 703 of the Parameter Guide) Loading .PCG, .SNG, and .KSC files As an example here, we will explain how to load a song.

  • Page 180

    Loading & saving data, and creating CDs Supported file types DOS file .PCG file All programs All combinations All drum kits All wave sequences Global settings .SNG file All regions All effects .KFX file All presets (P) All effects All presets (U) Partition AKAI S1000/S3000 1 program...

  • Page 181: Loading Individual Banks From A .pcg File

    Loading individual banks from a .PCG file 1. Select the .PCG file containing the data you want to load, and choose the page menu command “Load Selected.” Refer to steps 1–4 of “Loading .PCG, .SNG, and .KSC files” on page 171.” Select the .PCG file in step 5. 2.

  • Page 182

    Loading & saving data, and creating CDs Note: When you press the keyboard of the OASYS, the selected combination will sound. However, the internal programs will be used as the program of each timbre. 2. Press the page menu button and select the “Load Selected”...

  • Page 183: Creating And Playing Audio Cds

    Creating and playing audio CDs WAVE files you create by resampling to the internal hard disk or to an external USB hard disk in Sequencer mode etc. can be arranged in a desired order and used to create an audio CD. Make sure that both media are detected by the OASYS.

  • Page 184

    Loading & saving data, and creating CDs If you select a WAVE file in this page whose sampling frequency is 48 kHz, you can also use the Play button to play the sample. To add other WAVE files to the track list, press the Insert button once again.

  • Page 185: Playing Audio Cds

    Playing audio CDs You can play audio CDs–including CDs you’ve created–directly on the OASYS. To do so: 1. Press the Play Audio CD tab to go to the Play Audio CD page. 2. In Drive Select, select your CD-R/RW drive. Drive Select will indicate Audio CD.

  • Page 186: Other Disk Operations

    Loading & saving data, and creating CDs Other disk operations Viewing information about media – Disk Media Info This displays information about the media selected in “Drive Select.” Setting the date and time OASYS has an internal calendar, which is used to record the date and time when you save data.

  • Page 187

    Restoring program, combination, drum kit, wave sequence, and global settings to their factory-set condition This section explains how to restore these settings to their factory-set condition. This is done by loading the PRELOAD.PCG file (provided on the included CD and on the internal hard disk).

  • Page 188: Other Functions

    Loading & saving data, and creating CDs Other functions Assigning functions to SW1/2 and the REALTIME KNOBS Setting the functions of SW1 and SW2 SW1 and SW2 are the two switches above the joystick and ribbon. These on/off switches can perform a number of different functions, such as modulating sounds or effects, or locking the modulation values of the joystick, ribbon, or aftertouch.

  • Page 189: Using Tap Tempo

    3. From the page menu located in the upper right of the LCD, choose “LCD Setup” to open the dialog box. 4. Set the various parameters. Pressing the RESET button will reset the parameters to their default values. Using tap tempo In Program, Combination and Sequencer modes, you can use the tap tempo function to control the KARMA tempo.

  • Page 190: Shortcuts

    Loading & saving data, and creating CDs Note: Resetting the REALTIME KNOBS of MODE R.TIME KNOBS/KARMA will set them to the center position. Note: MODE TONE ADJUST will be reset as follows, depending on the parameter that is assigned. For a program, absolute-type parameters will be reset to the specified value, and relative-type parameters Shortcuts ENTER switch + numeric keys 0–9...

  • Page 191: Using Effects

    For effects processing, 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. All of these are stereo in/out. Specific parameters of these effects can also be controlled in real time from the OASYS’...

  • Page 192: Effects In Each Mode

    Using Effects Note: The Parameter Guide includes block diagrams for each individual effect, which include the effect’s input/output structure. Effects in each mode Program mode For programs of HD–1, you can use insert effects to process the final sound in the same way that you use the Filter, Driver, Amplifier, and EQ (equalizer) to process the sound from the oscillators (OSC 1 &...

  • Page 193: Routing Effect Settings

    Uncheck this if you want programs and combinations to use their own settings. For example when writing the program as a vocoder effect program. When effects are applied to the external input sound from the AUDIO INPUT 1, 2, 3, 4, and S/P DIF IN jacks, certain effect types or parameter settings may Routing effect settings The insert effects, master effects, and total effect have...

  • Page 194: Master Effects

    Using Effects Each time you press the button, the insert effect will be switched on/off. When Off, the result will be the same as when 000: No Effect is selected. The input sound will be output without change. 9. Make Chain settings. If the Chain check box is checked, the insert effect will be connected in series.

  • Page 195

    14.In MFX1 and MFX2, select the type of each master effect. The procedure is the same as when selecting an insertion effect (see step 7). 15.Press the On/Off button to turn on the master effect. Each time you press the button, the master effect will be switched on/off.

  • Page 196: Insert Effects

    Using Effects can set the Sampling Setup Source Bus to a REC bus, and sample the signal that is sent to the REC bus. Use this if you want to sample only the sound of a specific timbre. Note: Sequencer mode has settings for MIDI Routing 1/2 and Audio Routing 1/2.

  • Page 197

    2. Use Bus Select (IFX/Indiv.) to specify the bus to which each audio input will be sent. For example if you want the signal from a device connected to AUDIO INPUT 1 to be input to insert effect 1, set the INPUT 1 Bus Select (IFX/Indiv.) to IFX1.

  • Page 198

    Using Effects For more details, see step 11 under “Program Effects settings,” beginning on page 185. Master effects and Total effects These settings can be made in the same way as in “Program Effects settings” (p.186). For details on applying an effect to an external audio input and sampling the result, refer to p.107.

  • Page 199: Dynamic Modulation, Midi/tempo Sync

    If you want to save the edited settings in the OASYS, you must write them. Use the Global mode page menu command Write Global Setting to do this. 9. If you want to use the Global mode Input settings in the other modes, check the “Use Global Setting”...

  • Page 200

    Using Effects 3. For L, C, and R, set the Delay Base Note and Times as desired. For this example, set Delay Base Note to to x1 so that the effect will be easily understandable. The delay time will repeat at an interval of a 8th note. 4.

  • Page 201: Using Karma

    Overview - What is KARMA? KARMA stands for Kay Algorithmic Realtime Music Architecture, named after its inventor, Stephen Kay. The KARMA function generates MIDI data, using many different 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 202

    Using KARMA You can control the phrase or pattern by editing these parameters, or by assigning them to the KARMA CONTROLS sliders or KARMA SWITCH buttons and operating these during your performance. KARMA - Program mode MIDI IN KARMA - Combination/ Sequencer mode MIDI IN 01ch RTC Model...

  • Page 203

    you’re switching through various GEs that have the same RTC Model, you will be able to control them in a uniform manner and make valid comparisons between them, since their default state will be the same. Of course, you are free to edit the GE realtime parameters. In the pre-loaded programs and combinations, the KARMA CONTROLS sliders and switches are assigned in a uniform manner depending on the RTC...

  • Page 204: Performing With Karma

    Using KARMA KARMA CONTROLS sliders 1–8 KARMA SWITCHES 1–8 KARMA SCENES 1–8 When CONTROL ASSIGN is set to R.TIME KNOBS/ KARMA, these control the KARMA module(s) selected by MODULE CONTROL. By operating these controls, you can adjust GE realtime parameters and KARMA module parameters to freely vary the phrases or patterns generated by the KARMA module.

  • Page 205

    As an alternative to using the TEMPO knob or the TAP TEMPO switch, you can choose “ =” in the display, use numeric keys 0–9 to enter the tempo, and then press the ENTER switch. You can also use the VALUE controller to set the tempo. The LED will blink at the tempo you specify.

  • Page 206

    Using KARMA The note or chord you played in step 1 will be assigned to the pad, and the CHORD ASSIGN switch LED will go dark. 4. Press the pad to which you assigned a note or chord. The KARMA function will start playing according to the note or chord you assigned.

  • Page 207: Combination Mode

    1. Operate the sliders and switches to edit the values saved in the program. 2. Hold down the RESET CONTROLS switch, and operate the slider or switch that you want to restore. The selected slider or switch will return to its stored setting.

  • Page 208

    Using KARMA As you step through the combinations, you will notice that the KARMA ON/OFF switch LED is lit for some combinations. With these combinations, the KARMA function will begin playing when you play the keyboard or pads 1–8. Even for other combinations, you can press the KARMA ON/OFF switch (LED lit) to turn on the KARMA function.

  • Page 209

    The sliders and switches will control the pattern or phrase generated by the KARMA module selected by the MODULE CONTROL switch. If you’ve selected MASTER, you’ll be able to control the module on/off status and vary the patterns and phrases generated by all of the KARMA modules. You can also operate the sliders and switches in the display or using the VALUE controller, just as in Program mode.

  • Page 210: Karma Function Settings

    Using KARMA GE (Generated Effect) selection Just as for a program, you can use the “GE Select” field to select the GE used by each module. (See “KARMA function settings in Combination mode” on page 206) KARMA function settings This section explains how to make settings for the KARMA function in each mode.

  • Page 211

    2. Specify the copy-source mode, bank, and number. If you want to copy the GE realtime parameter settings and scene settings from the copy-source program, choose the “GE RTP Control Settings & Scenes” option (checked). If you want to copy performance realtime parameters settings and front panel settings from the copy-source program, choose the “Perf.

  • Page 212

    Using KARMA control effects, for example by turning on a delay effect in conjunction with a generated phrase. Use “CC Number” to specify the MIDI control change number. Choose one of the CC numbers in the 70’s which control the sound, or an AMS or Dmod source (see “7–2c: CC Offset”...

  • Page 213

    a certain degree of standardization to the over 200 internal parameters of the GE. By default, GEs that have the same RTC Model will be preset with the same GE realtime parameters. 2. Use “VALUE,” “MIN,” and “MAX” to specify the value, minimum value, and maximum value of each GE realtime parameter.

  • Page 214

    Using KARMA Linking KARMA settings to Program changes KARMA settings can be saved individually for each Program. Normally, when you select a new Program, its KARMA settings will be loaded as well. In some cases, however, you may wish to try out different Programs while keeping the KARMA settings the same.

  • Page 215

    how the KARMA modules play the timbres. These are the most important settings when using multiple KARMA modules in a combination. 1. Access the Combination P7: KARMA– GE Setup/Key Zones page. 2. Specify the “Input Channel” and “Output Channel” of each KARMA module. “Input Channel”: For a combination, you will normally set this to Gch so that your keyboard playing will control the KARMA module.

  • Page 216

    Using KARMA KARMA module B: “Input Ch” = G ch, “Out Ch”= The timbres played by the KARMA modules are shown in red, as specified by the timbre’s MIDI channel setting and the KARMA module’s Out Channel setting. 3. For KARMA modules A and B, turn “Run” on (checked), and set “GE Select”...

  • Page 217

    MODULE KARMA REALTIME CONTROLS CONTROL KARMA SCENES MASTER KARMA SWITCHES KARMA CONTROLS With the appropriate “ASSIGN” settings, a GE realtime parameter of (for example) module A can controlled independently by Master and Module A. For example you can make settings so that the Swing parameter of a drum GE on module A is controlled in MASTER by slider 1 over a range of 0–...

  • Page 218

    Using KARMA Auto Assign KARMA RTC Name (See “Auto Assign KARMA RTC Name” on page 139 of the Parameter Guide) Specifying the random seeds For each GE realtime parameter group, you can specify whether the random seed (used to generate random values) will be shared between the four KARMA modules.

  • Page 219

    command with IFXs, MFXs, and TFXs checked, and Multi REC Standby checked. For more information, see “Copy from Combination” on page 526 of the Parameter Guide. Content that is copied from a program: The same content will be copied as when you execute the “Copy From Program”...

  • Page 220

    The trigger timing will be synchronized to sixteenth-note intervals of the sequencer beat. (See “Synchronizing the KARMA function” on page 213) 5. You can synchronize the KARMA module to the start timing of the sequencer. • While KARMA is running, press the START/STOP switch;...

  • Page 221: Synchronizing The Karma Function

    Synchronizing the KARMA function Synchronization with a wave sequence If you want a KARMA module to synchronize with a currently-playing wave sequence (“Mode”= Tempo), turn “Quantize Trigger” on (checked) so that it will synchronize to sixteenth-note intervals of the timing. The “Quantize Trigger”...

  • Page 222

    KARMA in Program and Combi modes will also control start and stop on external MIDI devices, such as sequencers and drum/groove machines (such as the KORG Electribe series). To do so: 1. Go to the Global MIDI page. 2. Under MIDI Routing Setup, turn on “Enable Start/Stop Out in Prog/Combi.”...

  • Page 223: Appendices

    Troubleshooting If you experience problems, refer to the relevant item and take the appropriate measures. Power supply Power does not turn on • Is the power cable connected to an outlet? For more information, see “Connections” on page 37. LCD screen Display is blank or incorrect The power is turned on, but nothing is shown in the LCD screen.

  • Page 224: Audio Input And Output

    Appendices Audio input and output No sound Are connections made correctly to your amp, mixer, or headphones? For more information, see “Connections” on page 37 Is the connected amp or mixer powered-on, and is its volume raised? Is Local Control turned on? •...

  • Page 225: Programs And Combinations

    • When you change the sampling frequency in S/P DIF Sample Rate (e.g., from 48 kHz to 96 kHz), two or three seconds will be required in order to lock to the new sampling frequency. Please wait until the sound is heard. Noise, Distortion, and other audio problems Noise and distortion occur in the input sound or...

  • Page 226: Songs

    Appendices Are the bank/numbers of the programs used by the combination the same as when the combination was created? • If you have switched program banks, you can use the Change all bank references menu command to change the program bank for each timbre of a combination.

  • Page 227: Sampling

    Are Assign, Pattern Select, and Track set correctly? See “Using RPPR (Realtime Pattern Play/Record)” on page 112. If the MIDI Clock (Global P1: MIDI) parameter set to Internal or Auto? See “MIDI Clock (MIDI Clock Source)” on page 652 of the Parameter Guide. Can’t record on an audio track Have you unchecked the Memory Protect Internal HDD Save check box (Global P0)?

  • Page 228: Karma

    Appendices • If this is checked, RAM will be optimized automatically when sampling ends, meaning that the sound will stop when sampling ends. If a song is being played in Sequencer mode or if a CD is being played back, the playback will stop. There is a time lag between pressing the SAMPLING REC switch and entering sampling-standby mode...

  • Page 229: Effects

    Effects Effects are not applied Have you selected effect program 000? • Select an effect other than 000: No Effect for “IFX1– 12,” “MFX 1, 2” or “TFX 1, 2.” Are the Effect Global SW IFX 1–12 Off, MFX1&2 Off, or TFX1&2 Off (Global P0: Basic Setup page) settings checked? MIDI...

  • Page 230: Other Problems

    • If you install a UDF version 1.5 compatible UDF reader or packet writing software on your computer, it will be possible to recognize the disc. • In the case of a CD-R, it may be possible to make the disc be recognized by executing the page menu command Convert to ISO9660 Format (Disk–...

  • Page 231: Media That Can Be Used With The Oasys

    Media that can be used with the OASYS Media that can be used with the OASYS Types of media supported by the OASYS (as of April 2005) Internal hard disk Naturally, you can read and write data using the built- in hard disk.

  • Page 232

    Appendices Note: If you have any questions regarding the media that can be used, please contact your local Korg distributor. You may also check the Korg website (

  • Page 233: Specifications And Options

    Specifications and options Specifications and options Operating temperature +5 – +35 °C System OA (Open Architecture) Synthesis System Keyboard OASYS 88 OASYS 76 Sound Engine Synthesis Types Maximum Polyphony Preset PCM Bundled EXs PCM Libraries 313MB: ROM Expansion EXs1 (229 Multi Samples and 1,483 Drum Samples). PCM RAM Wave Sequences HD-1 Programs...

  • Page 234

    5 Envelopes, 4 per-voice LFOs, 2 Key Tracking generators, String Tracking generator, 4 AMS Mixers. Uses Korg’s CMT modeling, reproducing not only the sound but also the character and response curve of each parameter in a way that is completely faithful to the original model.

  • Page 235

    Other Functions Operations that the OASYS can perform on media Uses Korg’s CMT modeling, reproducing not only the sound but also the character and response curve of each parameter in a way that is completely faithful to the original model.

  • Page 236

    Appendices Load/Save/Disk Load, Save, Utility, Make Audio CD, Play Audio CD Utility/Audio CD Data Filer functionality (Save and Load MIDI System Exclusive Data) CD-R/RW (UDF Format read/write), Record & Play audio CDs (CD-DA), ISO9660 Level 1 Controllers Joystick, Vector Joystick, Ribbon Controller, SW1/SW2. Pads 1–8 Control Surface KARMA Controller Section...

  • Page 237

    Specifications and options Audio Outputs Analog Main outputs: L/Mono, R Individual outputs: 1–8 Headphone output Digital Optical S/P DIF EXB-DI Digital Interface Board (Optional) Audio Inputs Analog Audio inputs 1, 2 Audio Inputs 3, 4 Digital Optical S/P DIF Control Inputs DAMPER (Supports piano-style half-damper pedals as well as standard foot switches) ASSIGNABLE SWITCH, ASSIGNABLE PEDAL MIDI...

  • Page 238

    Appendices Options Hardware EXB-DI Digital Interface Board Expression/Volume Pedal Foot Controller Damper Pedal Pedal Switch Others Software EXs Expansion Samples: EXi Expansion Instruments: Expansion Instruments library EXf Expansion Effects: * Appearance and specifications of this product are subject to change without notice. (April/’05) ADAT output: 24-bit, 8 channels, 48 kHz Sample rate BNC Word Clock input XVP-10...

  • Page 239: Midi Implementation Chart

    *3:RPN (LSB,MSB)=00,00: Pitch bend range, 01,00: Fine tune, 02,00: Coarse tune *4:Valid if assigned as a MIDI control change in Global P1: External 1, 2 *5:In addition to Korg exclusive messages, Inquiry, GM System On, Master Volume, Master Balance, Master Fine Tune, and Master Coarse Tune are supported.

  • Page 240


  • Page 241

    Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer’s or distributor’s warranty. KORG INC. 4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan © 2005 KORG INC. IMPORTANT NOTICE TO CONSUMERS...

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