PS60 Parameter Guide E 1
About the Parameter Guide This document (“PS60 Parameter Guide”) explains the parameters that can be quickly edited from the PS60 itself or from the PS60 Editor, in addition to the full parameters that can be edited only by from the PS60 Editor. It also explains functions that are specific to the editor.
Table of Contents Keyboard, Wheels ............................................... 2 Filter1 EG ...............................................................42 Filter2 ..........................................................................................44 Filter2 Modulation ..................................................................44 Filter2 LFO Mod. ......................................................................44 Filter2 EG ..........................................................
Effect Guide ................................. 79 Overview ..............................................................79 Dynamic modulation (Dmod) and Tempo Synchronization .............................................................................................. 80 Effect I/O .................................................................................... 81 Insert Effects (IFX) ..............................................81 In/Out .............................................................
Performance Edit Panel The upper part of the PS60 Editor panel simulates the main buttons and knobs of the PS60ʹs own front panel. Split Setting Split Setting Mode Select, Utility Mode button [PERF, PROG EDIT, GLOB] To select a mode, click the button for the mode that you want to edit. PERF: Performance, Performance Edit PROG EDIT: Program Edit GLOB: Global UTILITY [See Utility Command] Here you can perform useful commands that are applicable to each mode. Please see “UTILITY Command” on page 13.
Performance Edit EQ BASS knob [-18.0...+18.0] MID knob [-18.0...+18.0] TREBLE knob [-18.0...+18.0] These parameters adjust the gain of the bass, mid, and treble (high) bands (page 120). Keyboard, Wheels This area shows an 88‐note keyboard, a pitch bend wheel, and a modulation wheel. You can play the sounds by clicking the keyboard. Dragging across the keyboard to left or right will produce a glissando. You can use the pitch bend wheel and modulation wheel by moving them up or down.
OverView Main Timbres OverView In this area, you can turn on/off each timbre of the selected performance, select programs, and edit the settings for Easy Setup, master effect, and EQ. Main Timbres Here you can adjust the settings for the main timbres A.PIANO–SYNTH. Timbre Timbre On Octave [On, Off] Turn the button on (highlighted) for the timbres that you want to enable. This setting is linked with Timbre On but‐ tons on the panel.
Performance Edit global MIDI channel. This message is transmitted on the MIDI Channel (page 7) specified for each timbre. IFX [Name] This indicates the programʹs insert effect. (The program of the STRINGS timbre does not have an insert effect.) Note: You canʹt edit this setting here. You can adjust settings in the Program Edit section (page 63). Send1 (Mod) Send2 (Rev) [000...127] [000...127] SplitPoint SplitPoint [C#2...C7] This specifies the split point.
Timbre Param (Timbre Parameters) Scale Timbre Param (Timbre Parameters) Scale This specifies the scale used by the performance. Separately from this setting, you can choose the ʺScaleʺ set‐ ting of each timbreʹs program take priority if desired . Type [Equal Temperament...User Octave Scale 03] This selects the basic scale for the performance. Note that for many of the scales, the setting of the Key parameter, below, is very important.
Performance Edit Use Equal Temperament for programs whose multi‐ sample (ʺMultisample select,ʺ page 25) is set to mono: 0002, 00003, 0006, 0007, 0009, Stereo: 0001, or 0003 (i.e., the preload programs 13:SoloStretch Grand–15:SoloS‐ tretch Classic). Key (Scale Key) OSC1 OSC2 Left Center Right [C...B] This selects the key of the specified scale. This setting does not apply to the Equal Temperament, Stretch, and User All Notes scales.
Timbre Param (Timbre Parameters) MIDI/OSC "Status" EXT Timbre's MIDI channel Program's bank number: program name MIDI/OSC Main Timbres (A. Piano–Synth): Sub Timbres (A. Piano–Synth): Here you can adjust settings for each timbreʹs MIDI trans‐ mission status, channel, and oscillator mode. "Status" EX2 Timbre's MIDI channel Program change number: [MSB/LSB] MIDI Status [INT, EXT, EX2] This parameter sets whether the Timbre controls the inter‐ nal sounds, or external MIDI devices.
Performance Edit With the MN or LGT settings, the Program’s setting will determine the priority of the note that sounds when you play two or more notes. OSC Select [BTH, OSC1, OSC2] This parameter specifies whether the timbre’s program will play OSC1, OSC2, or both. For programs whose “Oscillator Mode” is Double, this set‐ ting lets you specify that only OSC1 or OSC2 will sound. BTH (Both): OSC1 and 2 will sound as specified by the set‐ tings of the program. OS1: Only OSC1 will sound.
Timbre Param (Timbre Parameters) Tone Tone Main Timbres (A. Piano–Synth): Sub Timbres (A. Piano–Synth): Here you can adjust the sound of each timbreʹs program. These settings are saved in each performance, and do not affect the original programs. About the Tone parameters The Tone parameters of a performance have the following characteristics. • They allow you to edit some of the Tone parameters of the program selected for the timbre. • They can be set individually for timbres 1–16.
Performance Edit JS+Y Specifies whether MIDI CC#1 (the +Y axis of the joystick) will be transmitted and received. Main Timbres (A. Piano–Synth): Sub Timbres (A. Piano–Synth): JS–Y On: Transmission and reception of MIDI data is enabled. If “Status” (page 7) is set to INT, effects that pertain to this setting that are turned On will apply to the timbreʹs pro‐ gram when you use the PS60ʹs controllers or when MIDI data is received.
MFX/EQ (Master Effect/EQ) MFX&EQ Routing MFX/EQ (Master Effect/EQ) On this page you can adjust the settings for the master effects. These settings consist mainly of the following. • Specify the routing for the master effects. • Select the effect type for the master effects, and edit the effect parameters. • Turn each effect on/off. • Edit the return level to the L/R bus for the master effect outputs.
Performance Edit MFX1 Here you can set the effect parameters for the master effect 1 you selected in the MFX page MFX & EQ Routing. ()“MFX1 (Mod.) (Master Effect1–Modulation) List” on page 117) MFX2 Here you can set the effect parameters for the master effect 2 that you selected in the MFX page MFX & EQ Routing. ()“MFX2 (Rvb/Dly) (Master Effect2–Revreb/Delay) List” on page 119) EQ The master EQ is a three‐band stereo EQ.
UTILITY Command EQ UTILITY Command Receive All Procedure for utility commands Note: These Receive and Transmit commands use a KORG SysEx MIDI Dump to send or receive data, or to synchro‐ nize the data between the PS60 and the software. 1. Click the UTILITY button, and choose a command from the menu that appears. 2. Adjust settings in the dialog box. For details on the contents of each dialog box, refer to the explanation for each command. 3.
Performance Edit 14
Program Edit Selecting the program that you want to edit Hereʹs how to select the program that you want to edit. • If youʹre using Single settings, youʹll enter the program edit page with that program automatically selected. • If youʹre using Layer or Split settings, all timbres that are turned on will blink. Press the LOWER or UPPER button as necessary, and then press an ON button to select the timbre of the program you want to edit.
Program Edit Quick Parameters You can edit the quick parameters either from Program Edit mode on the PS60 itself, or from the editorʹs Quick page, described below. The quick parameters are organized into the tone parame‐ ters (page 21) and parameters that have been selected from among the full parameters. Quick Voices (Number of Voices) Overview The overview shows the status of the main parameters that make up the program.
Quick OSC Common Oscillator Flt EG Int (Filter EG Intensity) [–99...+99 (Rel, CC#79)] These parameters adjust the transpose, hold, and reverse settings for oscillators 1 and 2 at the same time. PtchStrtch (Pitch Stretch) [–12...0...+12 (Rel)] This special control increases the Oscillator “Tune” parame‐ ter while lowering the “Transpose” parameter. The result is that the pitch stays the same, but the mapping of the sam‐ ples to the keys changes.
Program Edit Filter EG OSC EG/LFO These parameters adjust the filter EG envelope for oscilla‐ tors 1 and 2 at the same time. OSC EG Attack (Filter EG Attack Time) Filter/Amp EG Decay (Filter EG Decay Time) [–99...+99 (Rel)] This scales the attack times of the Filter EGs. Here you can adjust the settings for the filter EG and amp EG of oscillators 1 and 2. In the Filter/Amp EG group, all filter EGs and amp EGs are adjusted simultaneously.
Quick OSC1 CmnLFO Spd (Common LFO Speed) [–99...+99 (Rel)] OSC LFO This scales the Common LFO’s frequency. Here is where you can adjust LFO settings for oscillators 1 and 2. Each oscillator has two LFOs (LFO1 and LFO2). Thereʹs also a common LFO that can be shared by the two oscillators. LFO1 and LFO2 are independent for each voice, but the common LFO is shared by all voices of the program. Itʹs useful when you want to produce a uniform LFO effect that is the same for all voices.
Program Edit When this is set to 0, playing different notes on the key‐ board won’t change the pitch at all; it will be as if you’re always playing C4. This can be useful for special effects sounds, for instance. Pitch JS+X [–60...+12] This specifies in semitones mitones how much the pitch will change when the joystick is moved to the right (or when a pitch bend message is received). For normal pitch bend, set this to a positive value.
Quick OSC2 Filter LFO 2 Intensity to A (FltLFO2toA) [–99...+99] This controls the depth and direction of Filter A cutoff mod‐ ulation from LFO2. )“Filter LFO1 Intensity to A (FltLFO1toA)” on page 20 Relative Tone parameter parameter scaling 99 Parameter Value Filter LFO2 Intensity to B (FltLFO2toB) [–99...+99] This controls the depth and direction of Filter B cutoff mod‐ ulation from LFO2. Amp LFO1 Intensity (AmpLFO1Int) [–99...+99] This controls the depth and direction of Amp modulation from LFO1.
Program Edit Full Parameters The parameters listed in the pages that follow are the full parameters. They can be edited only from the editor. Basic This page contains all of the basic settings for the Program. Among other things, you can: • Set up the Program to be a Single, or a Double • Enable/disable the half‐damper function • Create keyboard split settings for OSC1, OSC2, and Hold. • Select the basic scale of the program. Scale Type [Equal Temperament...
Basic About Relative (Rel) and Absolute parameters Enable Half-Damper [On, Off] On: Half‐Damper pedals, normal sustain pedals, and MIDI CC# 64 will all modulate the Amp EG, as described below. Off: the pedals and MIDI CC#64 will still hold notes as usual, but will not modulate the Amp EG. Half-Damper Pedal and Release Time The amount of modulation depends on whether the Amp EG Sustain Level is set to 0 (as is the case with most acoustic piano sounds), or set to 1 or more.
Program Edit Priority Program Basic • Set the Program to play polyphonically or monophonically Voice Assign Mode Voice Assign Mode (Mode) [Poly, Mono] ()“Voice Assign Mode (Voice Mode)” on page 16) [On, Off] Voices (Number of Voices) Poly Legato [Off, On] Poly Legato is available when the Voice Assign Mode is set to Poly. Legato means playing notes so that they are smooth and connected; the next note is played before the last note is released. This is the opposite of playing detached.
OSC/Pitch Program Basic OSC/Pitch These pages control the first and most basic elements of sounds: the Multisamples that the oscillators play, and the pitch used to them. For instance, you can: • Select Multisamples for Single and Double Programs. • Set up velocity splits, crossfades, and layers for Single and Double Programs. • Set the basic pitch of the sound, including the octave, fine tuning, and so on.
Program Edit Mid-High, Mid-Low, Low These are the settings for the second, third, and fourth velocity zones. The parameters for Mid‐High and Mid‐Low are exactly the same as those for High, as described above. The parameters for Low are also similar to those for High, except that Low has no settings for Bottom Vel. (which is always fixed at 1), Xfd, or Curve. OSC2 Here you can select the multisample for Oscillator 2.
OSC/Pitch OSC1 Multisample Range (Crossfade Range) [Off, 1...127] This sets the range of velocities over which High will fade into Mid‐High, going up from the “Bottom Vel.” For instance, if the “Bottom Vel.” is set to 64, and the “Range” is set to 20, Mid‐High will start to fade in at veloci‐ ties of 84 and below. When velocities are within the “Range,” the Oscillator will use twice as much polyphony as it would normally. Note: You can only fade between two zones at once.
Program Edit OSC1 Pitch This page contains all of the settings for Oscillator 1’s pitch modulation. For example, you can: • Specify pitch bend controlled by the joystick X (or an incoming pitch bend message) set to independent Bend Up and Bend Down, or controlled by an incoming message CC#16 (the ribbon control message etc). • Use Pitch Slope to control how the pitch changes when you play up and down the keyboard. • Assign AMS modulation for pitch.
OSC/Pitch OSC1 Pitch AMS (Pitch EG) [List of AMS Sources] This selects any AMS modulation source to scale the amount of the Pitch EG. For a list of AMS sources, please see “AMS (Alternate Mod‐ ulation Source) List” on page 121. AMS Intensity [–12.00...+12.00] This controls the depth and direction of the pitch EG AMS modulation. The AMS modulation and the initial Intensity are added together to determine the Pitch EG’s final effect.
Program Edit OSC2 Multisample OSC Common 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. The parameters are identical to those for Oscillator 1, as described under “OSC1 Multisample” on page 26. Here is where you can specify the pitch of each oscillator, the delay time until the oscillator will begin sounding, and the velocity zone.
OSC/Pitch Pitch EG When you select Key + Damper, notes will only sound if the damper pedal is being held down. When the damper pedal is released, all notes will be stopped–even if they are still being held down. OSC2 Delay [ms] Mode [0000ms...5000ms, KeyOff] [Key, Key + Damper] This specifies the time from when you press a key until oscillator 2 actually begins to sound. See “OSC1 Delay” and “Mode,” above.
Program Edit Time Break Higher values mean longer times, as shown below: Break, short for Break Point, sets the level at the end of the Decay time. EG Value Actual Time 10 10 ms 20 44 ms 30 104 ms 40 224 ms 50 464 ms 60 944 ms 70 1.8 seconds 80 3.8 seconds 90 10.9 seconds 99 87.3 seconds Attack [–99...+99] Release [–99...+99] This sets the level at the end of the Release time. Curve [00...
OSC/Pitch Pitch EG Slope [0L (Linear), 1...9, 10E (Exp/Log)] This sets the curvature of the Slope segment ‐ the transition from the Break level to the Sustain level (which for the Pitch EG is always 0). Release [0L (Linear), 1...9, 10E (Exp/Log)] This sets the curvature of the Release segment ‐ the transi‐ tion from the Sustain level to the Release level. AMS2 This selects the second AMS source for controlling the EG’s Level parameters.
Program Edit Threshold [–99...+99] This sets the AMS level which will trigger the EG reset. When the “Threshold” is positive, the EG triggers when passing through the threshold moving upwards. When the “Threshold” is negative, the EG triggers when passing through the threshold moving downwards. Note: For several LFO waveform types, or if the LFO cycle is fast, the LFO output may not always keep up with high val‐ ues such as +99 or –99.
Filter Pitch EG Filter Filtering can make subtle or dramatic changes to the oscilla‐ tor’s timbre. Each oscillator has two multimode resonant fil‐ ters, 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: • Adjust basic settings for each oscillator’s filters, including routing, modes, cutoff, resonance, etc.
Program Edit Serial and Parallel Routing Oscillator Filter A (Low Pass) Filter B (High Pass) BRF: This filter type–also called a notch filter–cuts only the parts of the sound that are directly around the cutoff fre‐ quency. Try modulating the cutoff with an LFO to create phaser‐like effects.
Filter Filter1 Output Level Filter1 Level [00...99] Set the cutoff, resonance, and input and output levels of each filter, including modulation of resonance and output level. This controls the output level of Filter A. You can use this to balance the volumes of Filters A and B when the Routing is set to Parallel, or to turn down the volume to avoid clipping later in the signal chain. FilterA AMS Source Filter This selects a modulation source to control the output level of Filter A.
Program Edit High Key Filter1 Modulation Here you can edit the filter keyboard tracking and filter modulation for oscillator 1. These settings include the fol‐ lowing. • Set up complex keyboard tracking shapes, and control how the tracking affects filter cutoff. • Control the effect of the Filter Envelope on filter cutoff. • Assign AMS modulation for filter cutoff. Filter B is available when the Filter Routing is set to Serial or Parallel. Otherwise, the parameters for Filter B will be grayed out.
Filter Filter1 Modulation the keyboard, and positive ramps make the output go higher. Center‐High and High‐Top: negative ramps make the key‐ board tracking’s output go down as you play higher on the keyboard, and positive ramps make the output go up. The effect on the filter cutoff is a performance of the ramp values, as set below, and the Intensity to A (B) parameters.
Program Edit When “Intensity to A” is set to a positive (+) value, the EG’s effect will match its shape. When the EG rises above 0, the cutoff frequency will increase. With negative (–) values, the effect will be in the opposite direction; when the EG rises above 0, the filter cutoff will decrease. Velocity to B [–99...+99] This lets you use velocity to scale the amount of the Filter EG applied to Filter B. For more information, please see “Velocity to A,” above. Intensity to B [–99...
Filter Filter1 LFO Mod. AMS Int to A Filter1 LFO Mod. 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 independently for each filter, in three different ways: • Set an initial amount of LFO modulation, using the Intensity to A and B parameters. • Use JS‐Y to scale the amount of the LFO. • Use any AMS source to scale the amount of the LFO.
Program Edit Attack Filter1 EG [–99...+99] This sets the level at the end of the Attack time. The Filter EG, or Envelope Generator, lets you create com‐ plex, time‐varying changes to the cutoff frequencies of Fil‐ ters A and B. The parameters on this page control the shape of the EG. Among other things, you can: • Create the basic EG shape by setting the levels and times of each segment. • Control the curvature of each EG segment, for subtle control over the modulation shape of the EG.
Filter Filter1 EG Curve Filter EG Time Modulation The explanation of the filter EG curve is same as for pitch EG curve. Please see “Curve” on page 32. Attack AMS=Velocity, Intensity = a positive (+) value Note-on Note-off Note-on Note-off Note-on Note-off [0L (Linear), 1...9, 10E (Exp/Log)] This sets the curvature of the Attack segment ‐ the transition from the Start level to the Attack level.
Program Edit Filter2 This page controls Oscillator 2’s basic filter 2 settings. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1. ()“Filter1” on page 35) Filter2 Modulation This page controls Oscillator 2’s filter modulation. It is avail‐ able only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1.
Amp Filter2 EG Amp Oscillators 1 and 2 have separate controls for volume (also called “amplitude,” or “amp” for short); pan; and as well as dedicated amp envelopes and keyboard tracking genera‐ tors. These pages let you control all of these related parameters. Among other things, you can: • Set the pan position and pan modulation. • Control amp level and modulation, including keyboard tracking, the amp envelope, LFO modulation, and AMS control.
Program Edit Amp1 EG Amp1 Modulation This displays the Amp1 EG envelope specified in the Amp1 EG page. The graphic shows the shape of the Amp1 EG. You can also change the shape by using the mouse to drag each of the squares. 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. • Control the effect of the LFOs on the Amp level.
Amp Amp1 Modulation Differences from other Keyboard Tracks There are several differences between the Amp keyboard tracking and the Filter and Common keyboard tracking. For example, the results of the Ramp values are different. As shown in the graphic “Amp Keyboard Tracking,” below, negative slopes are more steep than positive slopes. Also, the amp does not have separate control of Intensity.
Program Edit Time Amp1 EG Higher values mean longer times, as shown below. These parameters let you create time‐varying changes in the volume of oscillator 1. EG Value Actual Time 10 10 ms 20 44 ms Envelope 30 104 ms These parameters specify how the amp 1 EG will change over time. 40 224 ms 50 464 ms Amp EG 60 944 ms 70 1.8 seconds 80 3.8 seconds 90 10.9 seconds 99 87.
Amp Amp2 Modulation Release [0L (Linear), 1...9, 10E (Exp/Log)] This sets the curvature of the Release segment ‐ the transi‐ tion from the Sustain level to the Release level. Level Modulation These settings let you use any AMS source to control the Level parameters of the EG. The Start, Attack, and Break levels share a single AMS source, but can each have differ‐ ent modulation intensities. )“Level Modulation” on page 33 Attack [–99...
Program Edit LFO Each of the Oscillators 1, 2 has two LFOs, which you can use to modulate the filter, amp, pitch, and many other parame‐ ters. The two Oscillators also share a single Common LFO, simi‐ lar to the global LFO on some vintage analog synths. These pages let you set up all of the parameters for all five LFOs. OSC 1 Here you can specify the LFO1 and LFO2 waveforms for oscillator 1. These settings allow you to do the following things.
LFO Amp2 EG Random4–6 (Continuous) are smoothed versions of Ran‐ dom 1–3, with ramps instead of steps. You can use them to create more gentle random variations. Frequency [00...99] This controls the speed of the LFO, before any modulation. Higher values mean faster speeds, as shown in the table below. By using AMS modulation, you can also get speeds much faster and much slower than are available through this basic setting. OSC 2 Here you can specify the LFO1 and LFO2 waveforms for oscillator 2.
Program Edit Offset settings and pitch change produced by vibrato OSC1 LFO1 Offset = –99 This page has all of the controls for the first LFO of Oscilla‐ tor 1. For instance, you can: • Control the LFO’s frequency, and assign AMS controllers to modulate the frequency.
LFO OSC1 LFO2 When AMS is at its maximum value (for example by mov‐ ing the joystick fully away from yourself), the AMS affects the frequency as shown below: Intensity Change to LFO Frequency +99 64x +82 32x +66 16x +49 8x +33 4x +16 2x –16 1/2x –33 1/4x –49 1/8x –66 1/16x –82 1/32x –99 1/64x Faster [01...32] This multiplies the length of the Base Note.
Program Edit Offset Common LFO 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. This is different from LFO1/2’s “Key Sync” parameter, which resets whenever all notes are released. The Common LFO’s persistence can be handy if you want to create a constant rhythm with an LFO, and then play “underneath” that rhythm without re‐triggering it.
AMS Mix/C.KeyTrk (AMS Mixer/Common Keyboard Track) Common LFO AMS Mix/C.KeyTrk (AMS Mixer/Common Keyboard Track) Each Oscillator has two AMS Mixers, which are simple but 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. These pages let you control all of these modulation sources.
Program Edit AMS Mixer2 Mixer Type [A+B, Amt AxB, Offset, Smoothing, Shape, Quantize, Gate Control] This is the second AMS Mixer for Oscillator 1. The parame‐ ters are exactly the same as those for AMS Mixer 1. )“AMS Mixer1” on page 55. OSC1 AMS Mix AMS Mixer1 A+B OSC 2 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. The parameters are identical to those for Oscillator 1.
AMS Mix/C.KeyTrk (AMS Mixer/Common Keyboard Track) OSC1 AMS Mix Amt AxB Now you can use the foot switch connected to the PS60 to turn AMS A on/off. AMS Mixer, Type =Amt A x B Output AMS A Offset AMS Mixer, Type = Offset AMS B Amt A Amt B Offset A Amt A This Mixer Type uses AMS B to scale the amount of AMS A. For instance, you can control the amount of LFO1 with the Filter EG, or control the amount of the Pitch EG with the joystick.
Program Edit Offset [–199...+199] This controls the amount of offset for AMS A. Setting Offset to +199 shifts an AMS input of –99 all the way to +99. In conjunction with high AMS A Amount values, this can be useful for creating clipped shapes, such as shown in the last of the “AMS Mixer Offset examples,” above. Smoothing This Mixer Type smooths out the AMS input, creating more gentle transitions between values.
AMS Mix/C.KeyTrk (AMS Mixer/Common Keyboard Track) OSC1 AMS Mix AMS A Source AMS Mixer Shape examples [List of AMS Sources] This selects the AMS input source to be quantized. For a list of AMS sources, please see “Alternate Modulation Source (AMS)” on page 121. Bipolar Triangle Wave Asymmetric +99 Steps 0 [2...32] This controls the severity of the effect. The lower the num‐ ber of steps, the more “steppy” the output will be.
Program Edit Gate Output 4. Set Below Threshold to a Fixed Value of +00. If the value of the Control Source is less than the “Thresh‐ old,” 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 in the At & Above Threshold parame‐ ter. 5. Set At & Above Threshold to AMS B: JS X. Below Thresh.
AMS Mix/C.KeyTrk (AMS Mixer/Common Keyboard Track) Common KeyTrack (Common Key- Common KeyTrack (Common Keyboard Track) Keyboard Track 1 Key The two Oscillators share two Common keyboard tracking generators, in addition to each Oscillator’s dedicated key‐ board tracking for the Filter and Amp. You can use these Common keytracks as AMS sources for modulating most AMS destinations.
Program Edit +Inf and –Inf ramps +Inf and –Inf are special settings which create abrupt changes for split‐like effects. When a ramp is set to +Inf or – Inf, the keyboard tracking will go to its extreme highest or lowest value over the span of a single key. +Inf and –Inf Ramps Ramp = +Inf Ramp = –50 Ramp = –Inf Key Low Center Key High Note: If you set the Center‐High ramp to +Inf or –Inf, the High‐Top parameter will be grayed out.
IFX (Insert Effect) Common KeyTrack (Common Keyboard Track) IFX (Insert Effect) Here, you can adjust settings for the insert effects. For more information, please see “Effect Guide” on page 79. The [IFX] and [MFX/EQ] tab pages allow you to edit all of the effect parameters that cannot be edited from the PS60 itself. Parameter names shown in purple are the effect parameters that can be edited from the PS60.
Program Edit IFX Insert Effect (IFX) Here you can edit the parameters of the insert effect that you selected in the IFX Routing page. Effect dynamic modulation (Dmod) is controlled on the MIDI channels set for the corresponding timbres (page 7). For more information, please see “Dynamic Modu‐ lation Source (Dmod)” on page 127. IFX1 Parameters Here you can edit the effect parameters for the insert effect selected in the IFX page IFX Routing.
MFX/EQ (Master Effect/EQ) IFX MFX/EQ (Master Effect/EQ) Here, you can adjust the settings for the master effects and EQ. For instance, you can: • Route a sound to the master effects • Make detailed settings for the master effects and EQ For more information, please see “Effect Guide” on page 79. The IFX and MFX/EQ tab pages allow you to edit all of the effect parameters that cannot be edited from the PS60 itself.
Program Edit MFX1 MFX1 Parameters Here, you can edit the parameters of the master effect selected in the MFX/EQ page. For more information, please see “Effect Guide” on page 79. Effect dynamic modulation (Dmod) is controlled on the global MIDI Channel “MIDI Channel” on page 72. For more information, please see “Dmod List (Dynamic Modulation Source List)” on page 127. MFX2 These pages let you edit the parameters of Master Effect 2. To select different effects types, use the MFX/EQ page.
UTILITY Command EQ UTILITY Command Procedure for utility commands 1. Click the UTILITY button, and choose a command from the menu that appears. 2. Adjust the settings in the dialog box. For details on the contents of each dialog box, refer to the explanation for each command. 3. Click the OK button to begin, or click the Cancel button if you decide not to continue. Swap Oscillator This command exchanges the settings of oscillators 1 and 2.
Program Edit FX [All, Mod. Rev/Dly, EQ] Specify whether you want to copy effect settings and/or EQ settings. Transmit Current Prog Transmits the program data currently selected in the PS60 Editor/Plug‐In Editor to the PS60 to the PS60. Load... Loads the PS60 Editor/Plug‐In Editor data that was previ‐ ously saved on the computer. Save... Saves data from the PS60 Editor/Plug‐In Editor to your com‐ puter as a file. All Program (*.PS6apr): All programs Bank Program (*.
Global Panel The upper part of the PS60 Editor panel simulates the main buttons and knobs of the PS60ʹs own front panel. These cannot be edited in Global mode. Software Setup Global mode Software Setup lets you specify the default set‐ tings that the PS60 Editor will use when it starts up. This set‐ ting is saved when you use the UTILITY command Save as Default, and will be remembered the next time you start up.
Global Basic/MIDI Controllers Settings in the Basic/MIDI Controllers – Category pages are remembered while the PS60 Editor / Plug‐In Editor is running, but will return to the settings prior to start‐ up when you close the PS60 Editor / Plug‐In Editor. By clicking the DUMP button located in the upper right of each Global mode page, the settings at that time will be saved on the PS60 itself.
Basic/MIDI Controllers Octave [-3...+0...+3] This shifts the pitch of the performance or program in one‐ octave steps across a range of six octaves. Velocity Curve (Vel Curve) [1...9] This specifies the way that the volume and/or tone will change in response to variations in keyboard playing dynamics (velocity). The curves you can select will depend on the “Convert Posi‐ tion” (page 72) setting. If the setting is PreMIDI, the curve is applied immediately after the keyboard.
Global overall sound, or to back off the high range to soften the sound. MIDI Memory Protect Here, you can adjust MIDI‐related settings that affect the entire PS60. Program [Off, On] This setting protects the internal program memory. On: Internal program memory will be protected, and the following write operations cannot be performed. • Writing a program • Loading preloaded program data • Receiving program data via MIDI data dump Off: Data can be written to internal program memory.
Basic/MIDI Controllers MIDI IN Velocity Curve Tone Generator Scale Transpose Note number change PS60 MIDI OUT Transmitted Table PostMIDI: Velocity Curve, aftertouch Curve, and Transpose will be applied to data before it enters the tone generator. This means that the Velocity Curve, aftertouch Curve, and Transpose settings will affect the data that is sent to the internal tone generator when you play the PS60’s keyboard, or when data is received from MIDI IN.
Global Foot Switch & Pedal (PEDAL SW 2) Controllers JS Lock [X, Y, +Y, -Y, XY] You can switch the joystick between Lock and Unlock states (the LED will light when the joystick is locked). If you turn the Lock function on while using the joystick, the effect will be locked at that controller position. This parameter specifies the range where the joystick effect will be locked. The effect will be locked only within the range you specify.
User Scale User Scale Here, you can select the settings for four different User Octave Scales and one User All Notes Scale. The user scales you create here can be selected from the fol‐ lowing pages. • Perf: Timbre Param‐Scale • Prog: Basic–Scale If you want to keep the user scale youʹve specified, you must save it. Either use the utility command “Write Global Setting.” or click the DUMP button located in the upper right. User Octave Scale User Octave Scale [User Octave Scale 00...
Global Category Programs are organized into sub‐categories. You can assign a Program to a category and sub‐category during the utility command Write process. To save changes to sub‐category names, you’ll need to write the Global settings. To do so, use the utility com‐ mand “Write Global Setting.” The main category can not be edited, fixed. Category Name Main Category [00...17] Select the main category that includes the sub‐category whose name you want to specify. Sub Category [00...
UTILITY Command UTILITY Command Procedure for utility commands 1. Click the UTILITY button, and choose a command from the menu that appears. 2. Adjust the settings in the dialog box. For details on the contents of each dialog box, refer to the explanation for each command. 3. Click the OK button to begin,, or click the Cancel button if you decide not to continue. Write Global Setting This command writes Global mode settings.
Global 78
Effect Guide Overview EQ (stereo three-band EQ) The PS60ʹs effects consist of one insert effect for the program of each timbre (except for the Strings timbre), two master effects used by the entire performance, and EQ settings. You can choose from a total of 71 different types of full‐digi‐ tal effect: 63 types for the insert effects, and eight types for the master effects. Effect structure Insert effects You can use the following insert effects on each timbre cate‐ gory.
Effect Guide PERFORMANCE A.PIANO (Timbre1) E.
Insert Effects (IFX) Synchronizing LFOs Most effects with LFOs, such as S11: St.Wah, can be synchro‐ nized to tempo. This applies to the individual effects LFOs. To set up LFOs to synchronize to tempo: 1. Set “MIDI Sync” to On. 2. Set the BPM as desired. To synchronize to the system clock, set BPM to MIDI. To set the LFO to a specific tempo, separate from the sys‐ tem clock, set BPM to the desired tempo (between 40.00 and 300.00 BPM). 3.
Effect Guide You can also use “Effect SW” to turn IFX on and off. This MIDI control is performed on the global MIDI channel (page 72). (See “Effect SW” on page 49 of the Owner’s manual) Master Effects (MFX1, 2) In/Out Mixer For a performance or program, the mixer lets you edit the ʺPan (Post)ʺ setting which follows the insert effect (not found on the Strings timbre, which has no IFX), ʺSend 1,ʺ and ʺSend 2.ʺ Pan (Post) This parameter enables you to set the pan of the post‐IFX signal.
IFX (Insert effects) List 000: No Effect IFX (Insert effects) List Sensitivity Level 000: No Effect Select this option when you do not use any effects. The Insert Effect section outputs unprocessed signals and the Master Effect section mutes the output. The “Sensitivity” parameter sets the sensitivity of the compressor. If this parameter is set to a higher value, lower level sounds will be boosted. With a higher Sensitivity, the overall volume level is higher.
Effect Guide Envelope Source 003:St. Limitr (Stereo Limiter) The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter compresses only signals that exceed the specified level to lower unnecessary peak signals. The Limiter applies a peaking‐type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to set any band width to be covered. This effect is a stereo limiter.
IFX (Insert effects) List 004: MulLimitr (Multiband Limiter) Trigger Monitor Turning this parameter On will cause the trigger signal to be output, instead of the effect sound. Use this parameter to check the trigger signal with EQ applied. Usually, this should be set to Off. PEQ Insert PEQ Cutoff [Hz] Q Gain [dB] For example, if you do not want to apply compression to the high range, reduce the “High Offset” value down below the “Threshold” level.
Effect Guide Polarity +, – Switches the polarity of gating p.86 Threshold ← 0...100 Sets the level where gating is applied p.86 Attack ← 1...100 Sets the attack time p.86 Release ← 1...100 Sets the release time p.86 Side PEQ PEQ Insert Off, On Switches the trigger signal equalizer on/ off p.85 Side PEQ Trigger Monitor Off, On Switches between monitoring the effect output and the trigger signal p.85 Side PEQ PEQ Cutoff [Hz] 20...12.
IFX (Insert effects) List 008: St.G7EQ (Stereo Graphic 7-Band EQ) Dry, 1 : 99... 99 : 1, Wet Sets the balance between the effect and the dry input Source Off...Tempo Selects a modulation source for Wet/Dry Amount –100...
Effect Guide Exciter Blend This parameter sets the depth (intensity) of the Exciter effect. Positive values give a frequency pattern (to be emphasized) different from negative values. 011: St. Wah (Stereo Wah/Auto Wah) Emphasis Freq This stereo wah effect allows you to create sounds that range from vintage wah pedal simulations to auto‐wah simulations, as well as a wide variety of other settings. This parameter sets the frequency to be emphasized. Higher values will emphasize lower frequencies.
IFX (Insert effects) List 012: St.VtgWah (Stereo Vintage/Custom Wah) Frequency Bottom Frequency Top LFO Type within the effect itself. Since this lets you use the same LFO for multiple effects, it’s useful when you want to apply various types of modulation in synchronization. The sweep width and direction of the wah filter are determined by the “Frequency Top” and “Frequency Bottom” settings.
Effect Guide Times x1...x32 Sets the number of notes that specify the LFO speed p.89 Auto Polarity Output Level Out Level 0...100 Sets the output level of the effect sound Auto Attack Source Off...Tempo Selects the modulation source that will control the effect output level Amount –100...+100 Sets the modulation amount of the effect output level Wet/Dry ← Source Amount Wet/Dry Dry, 1 : 99... 99 : 1, Wet Sets the balance between the effect and the dry input Off...
IFX (Insert effects) List 014: St.RndFlt (Stereo Random Filter) ... Selects the type of notes that specify the LFO speed p.91 Times x1...x32 Sets the number of notes that specify the LFO speed p.91 Step Base Note ... Selects the type of notes to specify the LFO step speed p.91 x1...x32 Sets the number of notes to specify the LFO step speed p.91 Step Base Note Times Wet/Dry ← Source Amount –Wet... –1 : 99, Dry, 1 : 99...Wet Sets the balance between the effect and the dry input p.91 Off.
Effect Guide Amount –100...+100 Env. Pre LPF Sets the modulation amount for Wet/Dry This parameter sets the upper limit of the frequency range where very low harmonics are added. Adjust this parameter if you do not want to add lower harmonics to the higher range. 016: St.SubOsc (Stereo Sub Oscillator) This effect adds very low frequencies to the input signal. It is very useful when simulating emphasizing powerful low range.
IFX (Insert effects) List 018: St.Decimt (Stereo Decimator) Voice Top Voice Center Voice Bottom These parameters assign vowels to the top, center, and bottom position of the controller. E.g.: When “Voice Top”=A, “Voice Center”=I, and “Voice Bottom”=U: If “Sweep Mode” is set to D‐mod is selected as the modulation source, moving your finger from the right to left of will change the sound from “a” to “i,” then “u.
Effect Guide 019: St. Record (Stereo Analog Record) 020: OD Wah (Overdrive/Hi.Gain Wah) 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. This distortion effect utilizes an Overdrive mode and a Hi‐ Gain mode. Controlling the wah effect, the 3‐band EQ, and the amp simulation will allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds.
IFX (Insert effects) List 021: St.Gt Cab (Stereo Guitar Cabinet) Dry, 1 : 99... 99 : 1, Wet Sets the balance between the effect and the dry input Source Off...Tempo Selects a modulation source for Wet/Dry Amount –100...+100 Sets the modulation amount for Wet/Dry Wet/Dry ← l 021: St.Gt Cab (Stereo Guitar Cabinet) This simulates the acoustical character of a guitar amp’s speaker cabinet. Wah The Wah parameter switches the wah effect on/off.
Effect Guide 022: St.Bs Cab (Stereo Bass Cabinet) 023: Bass Amp This simulates a bass amp. This simulates the acoustical character of a bass amp’s speaker cabinet. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Stereo In - Stereo Out Volume Left + Wet / Dry Bass Amp Model Cabinet Simulator Trim Right Wet / Dry Trim D-mod Cabinet Simulator Right Wet / Dry Full parameter Full parameter Quick parameter Trim Value Explanation 0...
IFX (Insert effects) List 025: TrebleBST (Treble Booster) Amp Type Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets: 024: B.Amp Cab (Bass Amp Model+Cabinet) This simulates a bass amp and speaker cabinet.
Effect Guide this value will produce distortion even at low gain levels. Since this will also change the overtone structure, you can use it to control the tonal character. 026: Tube Pre (Tube PreAmp Modeling) Mic/Pre Amp - Bias 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.
IFX (Insert effects) List 029: Stereo Phaser Tube High Cut [Hz] Tube Gain [dB] T H[Hz] 53...20.00k, Thru Sets the frequency of the high cut filter T G[Hz] Sets the input gain to –24.0...+24.0 the vacuum tube preamp Tube Saturation [%] T Saturat 0...100 Sets the input/output response of the preamp p.98 Tube Bias T Bias 0...100 Sets the bias level of the preamp p.98 Tube Output Lvl [dB] Level [dB] ← Wet/Dry Source Amount –48.0...+0.0 Sets the output level of the preamp Dry, 1 : 99...
Effect Guide 031: OrangePhs (Orange Phaser) This models a standard model of analog phaser that achieved great popularity. It gives a sense of movement to electric piano sounds, adding a rich‐sounding phase shift effect. Mix Wet/Dry The Mix parameter specifies the amount of effect sound relative to the direct sound. A setting of 0 produces the direct sound, a setting of about 50 produces chorus, and a setting of 100 produces a vibrato effect.
IFX (Insert effects) List 035: St.EnvPhs (Stereo Envelope Phaser) Times x1...x32 Sets the number of notes that specify the LFO speed p.89 Step Base Note ... Selects the type of notes to specify the LFO step speed p.89 Times x1...x32 –Wet... –1 : 99, Dry, 1 : 99...Wet Sets the balance between the effect and the dry input p.91, p.99 Source Off...Tempo Selects a modulation source for Wet/Dry Sets the number of notes to specify the LFO step speed p.89 Amount –100...
Effect Guide BPM MIDI, 40.00... 300.00 MIDI syncs to the system tempo; 40– 300 sets the tempo manually for this individual effect p.89 Base Note ... Selects the type of notes that specify the LFO speed p.89 Times x1...x32 Sets the number of notes that specify the LFO speed p.89 Mod. Depth Mod Depth –100...+100 Sets the amount of resonance intensity control via LFO/Dmod Voice1: Pitch V1 Pitch C0...B8 Sets the voice1 Pitch for resonance p.102 –50...
IFX (Insert effects) List 038: TEX Treml (TEXTREM) Amount –100...+100 Sets the modulation amount for Wet/Dry Stereo In - Stereo Out Left Wet / Dry LFO Waveform Tremolo This parameter sets the basic shape of the LFO. The Vintage waveform models classic guitar‐amp tremolo. Tremolo Tremolo - LFO Waveform Right Wet / Dry LFO Phase Triangle Sine Vintage Up + LFO Phase [deg] This parameter determines the difference between the left and right LFO phases.
Effect Guide 040: St.AutPan (Stereo Auto Pan) This is a stereo‐in, stereo‐out auto‐panner. The Phase and Shape parameters lets you create various panning effects, such as making the left and right inputs seem to chase each other around the stereo field. You’ll only hear the effect of this parameter if the input is true stereo, with different signals in the left and right channels.
IFX (Insert effects) List 042: St.Ring M (Stereo Ring Modulator) LFO BPM/MIDI Sync LFO MIDI Sync When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency p.89 Pre LPF MIDI, 40.00... 300.00 MIDI syncs to the system tempo; 40– 300 sets the tempo manually for this individual effect p.89 OSC Mode ... Selects the type of notes that specify the LFO speed p.89 Fixed Freq [Hz] Off, On LFO BPM LFO Base Note Full parameter Quick parameter Value Explanation 0...
Effect Guide Fixed Freq [Hz] This parameter sets the oscillator frequency when “OSC Mode” is set to Fixed. 044: P4EQ-Wah (Parametric 4-Band EQ - Wah/Auto Wah) Note Offset Note Fine This effect combines a mono four‐band parametric equalizer and a wah. You can change the order of the connection. These parameters for the oscillator are used when “OSC Mode” is set to Note (Key Follow). The “Note Offset” sets the pitch difference from the original note in semitone steps.
IFX (Insert effects) List 045: P4EQ-Phaser (Parametric 4-Band EQ - Phaser) Dry,1 : 99... 99 : 1, Wet Sets the balance between the effect and the dry input Wet/Dry Source Off...Tempo Selects a modulation source for Wet/Dry Amount –100...+100 Sets the modulation amount for Wet/Dry ← Wet/Dry 045: P4EQ-Phaser (Parametric 4Band EQ - Phaser) This effect combines a mono four‐band parametric equalizer and a phaser.
Effect Guide [W]Source [W]Amount Off...Tempo Selects the Wet/Dry modulation source for the wah –100...+100 Sets the Wet/Dry modulation amount for the wah Routing Route Switches the order of Comp ↓ Wah, Wah → Comp the compressor and wah Wet/Dry ← Dry, 1 : 99... 99 : 1, Wet Sets the balance between the effect and the dry input Source Off...Tempo Selects a modulation source for Wet/Dry Amount –100...+100 Sets the modulation amount for Wet/Dry 048: Comp-OD (Compressor Overdrive/Hi.
IFX (Insert effects) List 049: Comp-P4EQ (Compressor - Parametric 4-Band EQ) 049: Comp-P4EQ (Compressor Parametric 4-Band EQ) 050: Comp-Phsr (Compressor Phaser) This effect combines a mono compressor and a four‐band parametric equalizer. You can change the order of the effects. This effect combines a mono compressor and a phaser. You can change the order of the effects.
Effect Guide Limiter - Threshold / Ratio 051: Lmtr-P4EQ (Limiter Parametric 4-Band EQ) Ratio=1.0 : 1 Output Level Ratio=2.0 : 1 This effect combines a mono limiter and a four‐band parametric equalizer. You can change the order of the effects. Threshold Ratio=4.0 : 1 Louder Ration=Inf : 1 Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Louder Left Wet / Dry Routing Limiter + Input Level Parametric 4Band EQ Level Limiter Ratio=1.0 : 1 Ratio=2.0 : 1 Ratio=4.
IFX (Insert effects) List 053: Xctr-Comp (Exciter - Compressor) Dry, 1 : 99... 99 : 1, Wet Sets the balance between the effect and the dry input Source Off...Tempo Selects a modulation source for Wet/Dry Amount –100...+100 Sets the modulation amount for Wet/Dry ← Wet/Dry 054: Xctr- Lmtr (Exciter - Limiter) This effect combines a mono exciter and a limiter. You can change the order of the effects.
Effect Guide 055: Xctr- Phsr (Exciter - Phaser) This effect combines a mono limiter and a phaser. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Exciter EQ Trim LEQ Phaser 056: OD-Amp (Overdrive/Hi.Gain Amp Simulation) This effect combines a mono overdrive/high‐gain distortion and an amp simulation. You can change the order of the effects.
IFX (Insert effects) List 058: Wah-Amp (Wah - Amp Simulation) 057: OD-Phsr (Overdrive/Hi.Gain Phaser) This effect combines a mono overdrive/high‐gain distortion and a phaser. You can change the order of the effects. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Routing Overdrive / Hi-Gain Phaser 3 Band PEQ + Phaser Driver Output Level Resonance Mode: Overdrive / Hi-Gain Drive + – Normal Output Mode Wet Invert Dry, 1 : 99...
Effect Guide 059: Deci-Amp (Decimator - Amp Simulation) 060: Deci-Comp (Decimator Compressor) This effect combines a mono decimator and an amp simulation. You can change the order of the effects. This effect combines a mono decimator and a compressor. You can change the order of the effects.
IFX (Insert effects) List 061: Amp-Trml (Amp Simulation- Tremolo) 061: Amp-Trml (Amp SimulationTremolo) 062: Organ Vib/Chorus (Organ Vibrato/Chorus) This effect combines a mono amp simulation and a tremolo. This effect simulates the chorus and vibrato circuitry of a vintage organ. The modulation speed and depth can be customized. This can be used only for programs of the Organ category.
Effect Guide Control Mode Preset Type Custom Mix Custom Depth Custom Speed If Control Mode=Preset, you can use Preset Type to select the effect. In this case, the Custom Mix/Depth/Speed settings are ignored. If Control Mode=Custom, the Custom Mix/ Depth/Speed settings are valid, and the Preset Type setting is ignored. Rotor Ratio Stop, 0.50...2.00 Adjusts the (lowfrequency) rotor speed. Standard value is 1.00. Selecting “Stop” will stop the rotation Mic Distance 0...
MFX1 (Mod.) (Master Effect1–Modulation) List No Effect MFX1 (Mod.) (Master Effect1–Modulation) List No Effect St.Flange (Stereo Flanger) Select this if you donʹt want to use an effect. If selected for a master effect, the output will be muted. This effect produces an intense modulation and a sense of pitch movement. It is effective when applied to sounds that contain numerous overtones. For stereo input, the left and right sides of the flanger output are independent. St.
Effect Guide St.Phaser (Stereo Phaser) This effect creates modulation by shifting the phase of the sound. It is effective when applied to sounds such as electric piano. This is a stereo effect, in which opposite‐phase LFOs for the left and right produce a more spacious phaser effect. Stereo In - Stereo Out Left Phaser Feedback Phaser Right Rate Depth 180[degree] LFO Full parameter Quick parameter Value Explanation Rate [Hz] ← 0.02...10.00 LFO speed Depth ← 0...
MFX2 (Rvb/Dly) (Master Effect2–Revreb/Delay) List No Effect MFX2 (Rvb/Dly) (Master Effect2–Revreb/Delay) List No Effect Delay Choose this if you donʹt want to use an effect. When selected for the master effect, this mutes the output. This is a simple and easy to use mono delay with a maximum delay time of 549 ms. Mono In - Mono Out Left Hall Level Feedback This is a hall‐type reverb that simulates the reverberation of a medium‐sized concert hall or ensemble hall.
Effect Guide EQ (Equalizer) EQ Choose this if you donʹt want to use an effect. When selected for the master effect, this mutes the output. Full parameter Quick parameter Value Explanation Input level Trim ← 0...100 Bass Gain [dB] BassGain –18.0...+18.0 Low band gain Bass Type Bass Peaking, ShelvingLow Low band type BassFreq [Hz] BassFreq 00...98 Low band center frequency Bass Q Bass Q 0.5...10.0 Low band width Mid Gain [dB] Mid Gain –18.0...+18.
Appendices Alternate Modulation Source (AMS) Alternate Modulation Overview AMS (Alternate Modulation Source) List Alternate Modulation Sources Alternate Modulation lets you use controllers, envelopes, LFOs, etc. to modulate Program parameters. You can use one controller to modulate multiple parameters simultane‐ ously. 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.
Appendices JS X This is the horizontal movement of the main joystick. It also receives MIDI Pitchbend. JS+Y: CC#01 This is the vertical movement of the main joystick, upwards from the center. It also receives MIDI CC#01 (mod wheel). JS–Y: CC#02 This is the vertical movement of the main joystick, down‐ wards from the center. It also receives MIDI CC#02 (breath controller). JS +Y & AT/2 (Joy Stick +Y & After Touch/2) The effect will be controlled by the joystick +Y (Vertical upward) and by aftertouch.
Alternate Modulation Source (AMS) Alternate Modulation settings AMS operations and their result AMS source & value range Pitch & Filter EGs –99...0...+99 Amp EG 0...+99 LFO1 & 2 –99...0...+99 Common LFO –99...0...+99 –1...0...+1 Octaves Parameter AMS Intensity Pitch (+12.00) 0...+1 Octave –1…0…+1 Octaves (Filter EG as AMS; dedicated parameter for Pitch EG) Dedicated parameter Pitch EG Int. (+12.00) – Dedicated parameter for Pitch EG – Pitch LFO1/ 2 Int. (+12.00) 0...+1 Octave –1...0...
Appendices The effects of AMS on various parameters, and example applications We’ll describe some examples of using alternate modula‐ tion. Note: The parameter names and values used in these expla‐ nations can be viewed and edited in microSTATION Editor/ Plug‐In Editor. Pitch (page 28) Pitch can be controlled by the Common LFO, filter/amp EG, controllers, or tempo etc. • If you select Filter EG or Amp EG as the AMS and set Intensity to +12.
Alternate Modulation Source (AMS) Alternate Modulation settings Filter LFO1/2 Intensity (page 41) The LFO 1/2 filter modulation intensity can be controlled by the EG, Common LFO, keyboard tracking, controller, or tempo etc. You can use Intensity to A and Intensity to B to independently specify the intensity for Filter A and B. • If you select EG as the AMS, the auto‐wah effect produced by LFO modulation will be controlled by the changes in EG level.
Appendices LFO Frequency (page 51) The frequency of LFO 1, 2 or Common LFO can be con‐ trolled by the EG, keyboard tracking, controllers, or tempo etc. You can also use the LFO2 frequency to modulate LFO1, or use the Common LFO frequency to modulate LFO 1/2. If Intensity is set to a value of 16, 33, 49, 66, 82, or 99, the cor‐ responding frequency can be multiplied by a maximum of 2, 4, 8, 16, 32, or 64 times (or divided by 1/2, 1/4, 1/8, 1/16, 1/ 32, 1/64).
Dynamic Modulation Source (Dmod) Alternate Modulation settings Dynamic Modulation Source (Dmod) You can control certain effect parameters using the joystick, realtime control knobs, etc. “on the fly.” For programs of the Organ category, you can also use the ORGAN SLOW/FAST button to switch the rotary speaker effect between slow/fast speeds. Controlling effects in this way is referred to as Dynamic Modulation.
Appendices Gate2, Gate2+Dmpr (Gate2, Gate2+Damper) This is essentially the same as for Gate 1 or Gate 1 + Dmpr. However when Gate 2 or Gate 2 + Damper are used as a dynamic modulation source for the EG of 075: St. Env. Flanger etc. or the AUTOFADE of 076: Stereo Vibrato, a trig‐ ger will occur at each note‐on. (In the case of Gate 1 and Gate 1 + Dmpr, the trigger occurs only for the first note‐on.
Foot Pedal Assign Alternate Modulation settings Foot Pedal Assign Here you can specify the function that will be controlled by an assignable pedal (separately sold XVP‐10, EXP‐2) con‐ nected to the DAMPER/PEDAL/SW1 or PEDAL/SW2 jack. • Set the Global: Basic/MIDI Controllers “Type” to Pedal, and use the “Foot Pedal Function (Pdl)” parameter (page 74) to specify the function. Some of the assignments include MIDI CCs, which are transmitted whenever the slider is moved.
Appendices MIDI transmission when the PS60’s controllers are used The following tables show the relation between the MIDI messages that are transmitted when the PS60’s controllers are used, and the AMS (alternate modulation source) or DMS (dynamic modulation source) that correspond to each MIDI message. # indicates a fixed function, and * indicates an assignable function. MIDI messages CC # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22...31 32 33...37 38 39...63 64 65 66 67 68...
PS60 and MIDI CCs Responses to standard MIDI controllers PS60 and MIDI CCs Responses to standard MIDI controllers The following table shows how the PS60 responds to MIDI control change messages, and the relation between settings and controller movements on the PS60.
Appendices CC# Control Value 0…127 for controlling AMS or Dmod 84 – – – 85…88 Controller (CC#85…88) 0…127 for controlling AMS or Dmod – – 91 Effect depth 1 (send 2 level) 0…127 send 2 level Effect depth 2 (Insert Effect On/ 92 Off) 0…63(Off), 64…127(On) turn Insert effect on/off 93 Effect depth 3 (send 1 level) 0…127 send 1 level Effect depth 4 (master effect 1, 2 94 On/Off) 0…63(Off), 64…127(On) master effect 1, 2 on/off 95 – – – 96 Data increment 0 89, 90 – *5 *5 97 Dat
PS60 and MIDI CCs Parameters controlled by MIDI CCs #70-79 Parameters controlled by MIDI CCs #70-79 CC#70–79 correspond to the PS60’s program parameters listed below. CC# When a performance receives CC#70–79 messages for a tim‐ bre whose MIDI channel matches the message, the corre‐ sponding program parameter will temporarily be in an edited state. However, it is not possible to save this change.
Appendices MIDI applications About MIDI MIDI stands for Musical Instrument Digital Interface, and is a world‐wide standard for exchanging various types of musical data between electronic musical instruments and computers. When MIDI cables are used to connect two or more MIDI devices, performance data can be exchanged between the devices, even if they were made by different manufacturers.
MIDI applications Messages transmitted and received by the PS60 • In Performance, transmission/reception can be switched on/off for each timbre. Bank No. Performance A-1–D-5 0–19 Program MSB LSB Program (CC#00) (CC#32) Change 00 00 00–19 A 000–127 00 00 000–127 B 000–127 00 01 000–127 C 000–127 00 02 000–127 D 000–127 00 03 000–127 Switching performances You can use program change messages to switch perfor‐ mances.
Appendices Controlling portamento Controlling pan (stereo position) Portamento time (CC#05) [Bn, 05, vv] If you assign the above CC# to an assignable pedal on the PS60 and use it, portamento time messages will be transmit‐ ted, changing the time over which the portamento function changes the pitch. When this message is received, the result will be the same as when the controller is used.
MIDI applications Messages transmitted and received by the PS60 Using various controllers Here we will explain typical ways to use the various con‐ trollers. Y Foot pedal (CC#04) [Bn, 04, vv] If the CC# above is assigned as the Assignable Pedal func‐ tion, this message will be transmitted when the controller is used. • You can turn transmission and reception on/off for each timbre (“Foot Pedal” on page 10).
Appendices Resetting all controllers on a specific channel Reset all controllers (CC#121) [Bn, 79, 00] (value 00) When this is received, the value of all controllers on that channel will be reset. However, notes that are playing at the time that the message is received will not be turned off. Changing the pitch bend range RPN pitch bend range [Bn, 64, 00, 65, 00] This RPN message can be used to adjust the pitch bend range for a timbre. The procedure is as follows. 1.
MIDI applications Messages transmitted and received by the PS60 Inquiry message request [F0, 7E, nn, 06, 01, F7] Inquiry message [F0, 7E, nn, 06, 02, (nine bytes), F7] When an inquiry message request is received, the PS60 will respond by transmitting an inquiry message that means “I am a Korg PS60, with system version …” Master volume [F0, 7F, nn, 04, 01, vv, mm, F7] (vv: lower byte of the value, mm: upper byte of the value, together indicating 16384 steps) This message is transmitted if you assign Mast
Appendices MIDI Implementation Consult your local Korg dealer for more infomation on MIDI System Exclusive implementation. 1.
MIDI Implementation 1-2 SYSTEM REALTIME MESSAGES Status[Hex] F8 FE Description ( Transmitted when ... ) Timing Clock ( Always in Performance/Prog Edit) Active Sensing ( Always ) *3 *4 *3 Transmits these messages when MIDI Clock in Global mode is Internal. *4 Transmits these messages when MIDI Clock in Global mode is External.
Appendices 2.RECOGNIZED RECEIVE DATA 2-1 CHANNEL MESSAGES 142 [H] :Hex, [D] :Decimal | | |[Hex] | [H][D] [H][D] | Status Second | Third [Hex] [H] [D] | [H] [D] | Description ( Use .....
MIDI Implementation AMS : Alternate Modulation Source FX Dmod Src : Effect Dynamic Modulation Source n g x ENA : MIDI Channel No. (0 - 15) When in Performance, each : Always Global Channel No. : Random T : Enabled when Enable After A,C,P : Same as Transmitted data *1 : MIDI In pp [Hex] = 00 - 13 •••••• Usually Global Channel. timbre's channel.(Status is INT) (0 - 15) Touch in Global mode is on. Performance : 000 - 019 *2 : When in Program, Global channel. When in Performance, each Timbres channel.
Appendices IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If you have purchased this product via the internet, through mail order, and/or via a telephone sale, you must verify that this product is intended to be used in the country in which you reside.
